Im Gegensatz zu Shakespeares Stück versucht der Ehemann in diesen überlieferten Darstellungen, sich seinerseits äußerst brutal mit Prügeln und Handgreiflichkeit durchzusetzen. [24], Efforts to date the play's composition are complicated by its uncertain relationship with another Elizabethan play entitled A Pleasant Conceited Historie, called the taming of a Shrew, which has an almost identical plot but different wording and character names. [196] In 2000, BBC Radio 3 aired another full-length production (without the Induction) as part of their Shakespeare for the New Millennium series, directed by Melanie Harris, and starring Ruth Mitchell and Gerard McSorley. The first wife insisted on knowing the reason for the command; she received several blows from her husband's fist. Meanwhile, Tranio persuades Hortensio that Bianca is not worthy of his attentions, thus removing Lucentio's remaining rival. In token of which duty, if he please, From this, Oliver concludes that an original version of the play existed in which Hortensio was simply a friend of Petruchio's, and had no involvement in the Bianca subplot, but wishing to complicate things, Shakespeare rewrote the play, introducing the Litio disguise, and giving some of Hortensio's discarded lines to Tranio, but not fully correcting everything to fit the presence of a new suitor. [179] The production moved to the West End in 1951, directed by Samuel Spewack with choreography again by Holm, and starring Patricia Morrison and Bill Johnson. Er will sich einen Spaß mit dem Mann erlauben. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one: ). The music and lyrics are by Porter and the book is by Samuel and Bella Spewack. And craves no other tribute at thy hands "[91] Phyllis Rackin argues that "seen in the context of current anxieties, desires and beliefs, Shakespeare's play seems to prefigure the most oppressive modern assumptions about women and to validate those assumptions as timeless truths. Man redet Schlau ein, dass sein bisher gelebtes Leben nichts als ein Traum gewesen sei, bis er die Geschichte schließlich selbst glaubt. [192] In 1947, BBC Light Programme aired extracts for their Theatre Programme from John Burrell's Edinburgh Festival production, with Patricia Burke and Trevor Howard. Of course, The Taming of the Shrew is a comedy, and Petruchio’s techniques are somewhat fantastical. [31], Ann Thompson considers A Shrew to be a reported text in her 1984 and 2003 editions of the play for the New Cambridge Shakespeare. Sie ist stark-gewollt, hartnäckig und ungehorsam und macht sie zu einer unermesslichen Wahl für die Ehe von den meisten Männern zu der Zeit. Kate's final long speech on the obligations and fitting style of wives we can think of as a more or less automatic statement – that is, the kind appropriate to farce – of a generally held doctrine. The question of whether the play is misogynistic has become the subject of considerable controversy, particularly among modern scholars, audiences, and readers. "[153], In a different reading of how gender politics are handled in the play, David Beauregard reads the relationship between Katherina and Petruchio in traditional Aristotelian terms. PETRUCHIO The connection is casual at first when Petruchio suggests the "wind" has blown him into town (1.2.9). It blots thy beauty, as frosts do bite the meads, ILe pheeze you infaith. The subplot in A Shrew, however, which features an extra sister and addresses the issue of marrying above and below one's class, "has many elements more associated with the romantic style of comedy popular in London in the 1590s. ; siehe auch, Der Widerspenstigen Zähmung (Begriffsklärung), https://de.wikipedia.org/w/index.php?title=Der_Widerspenstigen_Zähmung&oldid=195472838, „Creative Commons Attribution/Share Alike“. The drunken beggar Christopher Sly gets thrown out of a tavern and falls asleep. [Page 208] Actus primus. [164] John Kendrick Bangs' Katherine: A Travesty (1888) is a Gilbert and Sullivan-style parody operetta which premiered in the Metropolitan Opera. Schließlich widerspricht Katharina nicht mehr, als Petruchio sagt: „Kiss me, Kate, we will be married o´Sunday“ (II.1.320). Ein Sommernachtstraum | After the play has finished, the actress playing Peg steps forward and speaks directly to the audience as herself; "Well, I must own, it wounds me to the Heart/To play, unwomanly, so mean a Part./What – to submit, so tamely – so contented,/Thank Heav'n! (4.3.184–192). [113] He suggests that if the Induction is removed from a production of the play (as it very often is), a fundamental part of the structure has been lost. William Shakespeares Komödie Der Widerspenstigen Zähmung zählt bis heute zu seinen erfolgreichsten Theaterstücken. Chambers, who supported Alexander's bad quarto theory regarding The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster and The True Tragedy of Richard Duke of Yorke, argued A Shrew did not fit the pattern of a bad quarto; "I am quite unable to believe that A Shrew had any such origin. The verbal parallels are limited to stray phrases, most frequent in the main plot, for which I believe Shakespeare picked them up from A Shrew. [184], In 1924, extracts from the play were broadcast on BBC Radio, performed by the Cardiff Station Repertory Company as the eight episode of a series of programs showcasing Shakespeare's plays, entitled Shakespeare Night. Duthie's arguments were never fully accepted at the time, as critics tended to look on the relationship between the two plays as an either-or situation; A Shrew is either a reported text or an early draft. In an article listing over twenty examples of bad quartos, Kirschbaum did not include A Shrew, which he felt was too different from The Shrew to come under the bad quarto banner; "despite protestations to the contrary, The Taming of a Shrew does not stand in relation to The Shrew as The True Tragedie, for example, stands in relation to 3 Henry VI. Auf der anderen Seite war ihre jüngere Schwester Bianca schön und viel angenehmer. [124] Language is also important in relation to the Induction. Host. The Taming of the Shrew Translation. She focuses on the closure of the theatres on 23 June 1592, arguing that the play must have been written prior to June 1592 for it to have given rise to A Shrew. Look what I speak, or do, or think to do, The second half of the play offers a view of married life and the restructuring of identities and relationships within marriage. All references to The Taming of the Shrew, unless otherwise specified, are taken from the Oxford Shakespeare (Oliver, 1982), which is based on the 1623 First Folio. He dresses Sly up in noble clothes and convinces him that he is a wealthy nobleman who has recently been mad and had forgotten his true identity. Daraufhin fängt die Haupthandlung an. Tranio (still disguised as Lucentio) appears, and the pedant acknowledges him to be his son Lucentio. The Taming of the Shrew. This comedy contains several instances of disguises and without stage directions the whole play would be utterly confusing. It shall be what o'clock I say it is. [3], Bei dem gegenwärtigen Stand der Diskussion gilt Der Widerspenstigen Zähmung in der Shakespeareforschung ungeachtet der Problematik einer genauen Datierung der Entstehungsgeschichte des Werkes allgemein als eine der frühen Komödien Shakespeares und wird üblicherweise in eine Gruppe mit The Two Gentlemen of Verona und The Comedy of Errors eingeordnet. Taming of the Shrew, being a comedy, is rich with stage directions that aid readers in understanding what is going on in a scene. "[75], After little further discussion of the issue in the 1970s, the 1980s saw the publication of three scholarly editions of The Shrew, all of which re-addressed the question of the relationship between the two plays; Brian Morris' 1981 edition for the second series of the Arden Shakespeare, H.J. Because of a similarity between the two expressions in French, she understood her husband to command her to leap upon the table. Whereas before he seemed to mishear or misunderstand her words, Petruchio now overtly tests his wife's subjection by demanding that she concede to his views even when they are demonstrably unreasonable. [18][19][20][21], A source for Shakespeare's sub-plot was first identified by Alfred Tolman in 1890 as Ludovico Ariosto's I Suppositi, which was published in 1551. Or make an appeal to the slippery category of 'irony'? The Taming of the Shrew Annotated And Illustrated book. To counter Katherina's shrewish nature, Petruchio pretends that any harsh things she says or does are actually kind and gentle. Faustus. For example, in Act 3, Scene 2, Petruchio explains to all present that Katherina is now literally his property: She is my goods, my chattels, she is my house, The Taming of the Shrew book. [187] In 1927, a forty-three-minute truncation of the play was broadcast on BBC National Programme, with Barbara Couper and Ian Fleming. Using the music of Alessandro Scarlatti, it was originally performed by the Ballet de l'Opéra de Paris in 1954. The important role of language, however, is not confined to the taming plot. Die Nebenhandlung um Bianca und ihre drei Freier steht dagegen in einer eher literarischen Tradition und fußt zum Teil auf der Komödie The Supposes (1566) von George Gascoigne, deren Plot von Shakespeare allerdings erheblich umgewandelt wurde. Taming of the Shrew Summary Lucentio loves Bianca but cannot court her until her shrewish older sister Katherina marries. Perikles, Prinz von Tyrus | Selbst wenn man Kates Unterwerfungsrede am Ende, mit der sie Petruccio seine Wette gewinnen lässt, so versteht, dass sie nur augenzwinkernd und ironisch die unterwürfige Gezähmte spielen sollte, wäre dies immer noch das Spiel des Mannes, das heißt, seine patriarchalische Autorität bliebe unangetastet. The nobleman then has the play performed for Sly's diversion. Komödien: Come, come, you froward and unable worms! The roughness is, at bottom, part of the fun: such is the peculiar psychology of sport that one is willing to endure aching muscles and risk the occasional broken limb for the sake of the challenge. [168] Another overture inspired by the play is Alfred Reynolds' The Taming of the Shrew Overture (1927). "[176], Cole Porter's musical Kiss Me, Kate is an adaptation of Taming of the Shrew. It’s a story told by a man, Sly, in an alehouse in England, and his story is set in Padua, Italy – in a public square, in Baptista’s house, and in Lucentio’s house. My horse, my ox, my ass, my any thing. Ein Lord, der mit seinem Gefolge von der Jagd nach Hause zurückkehrt, sieht ihn liegen und nimmt ihn mit auf sein Schloss. This new boundary was built on notions of class and civil behaviour. [197], In the United States, the first major radio production was in July 1937 on NBC Blue Network, when John Barrymore adapted the play into a forty-five-minute piece, starring Elaine Barrie and Barrymore himself. Unten finden Sie eine detaillierte Zusammenfassung und Analyse von The Taming of the Shrew! Finding Sly drunk out of his wits in front of an alehouse, the lord has his men take Sly to his manor, dress him in his finery, and treat him as a lord. [74], Alexander returned to the debate in 1969, re-presenting his bad quarto theory. When they are bound to serve, love, and obey. As much as Elsa’s parents tried to control them but there was no helping it, so Elsa was shut away in her bedroom for most of her early childhood, she was given gloves to help suppress her powers and was told to hold in her emotions. This is most obvious in plays like As You Like It, where the unpredictable Forest of Arden contrasts strongly with the authoritarian setting of Duke Frederick's Court.. Die komplexe Handlung um Bianca enthält eine Reihe von Intrigen, Tricks und erstaunlichen Wendungen, während die Zähmungshandlung dagegen vergleichsweise simpel ausfällt. Lucretia | The issue of gender politics is an important theme in The Taming of the Shrew. [166] Philip Greeley Clapp's The Taming of the Shrew (1948) was first performed at the Metropolitan Opera. "[191] In 1940, a thirty-minute musical version of the play written by Joseph Gottlieb and Irvin Graham aired on CBS as part of their Columbia Workshop series, starring Nan Sunderland and Carleton Young. Anschließend nimmt er seine neue Ehefrau mit in sein Haus, wo er ihr alle Annehmlichkeiten des Wohlstands vorenthält, und zwar aus vorgeblicher Fürsorge für seine frisch Angetraute. [29], In his 1982 edition of the play for The Oxford Shakespeare, H.J. Will you similarly be able to control your proto-shrews? (4.3.74–80). For example, in a psychoanalytic reading of the play, Joel Fineman suggests there is a distinction made between male and female language, further subcategorising the latter into good and bad, epitomised by Bianca and Katherina respectively. However, Baptista has sworn Bianca is not allowed to marry until Katherina is wed; this motivates Bianca's suitors to work together to find Katherina a husband so that they may compete for Bianca. And they're betting on the women as though they are dogs in a race or horses. The Shrew is long and complicated. [95] G.R. [83][40][74] These revisions, Oliver says, relate primarily to the character of Hortensio, and suggest that in an original version of the play, now lost, Hortensio was not a suitor to Bianca, but simply an old friend of Petruchio. Soon thereafter, the real Philogano arrives, and all comes to a head. "[136] Similarly, John C. Bean sees the speech as the final stage in the process of Katherina's change of heart towards Petruchio; "if we can appreciate the liberal element in Kate's last speech – the speech that strikes modern sensibilities as advocating male tyranny – we can perhaps see that Kate is tamed not in the automatic manner of behavioural psychology but in the spontaneous manner of the later romantic comedies where characters lose themselves and emerge, as if from a dream, liberated into the bonds of love. Widely reputed throughout Padua to be a shrew, Katherine is foul-tempered and sharp-tongued at the start of the play. [165] Spyridon Samaras' La furia domata: commedia musicale in tre atti (1895) is a now lost lyric comedy with libretto by Enrico Annibale Butti and Giulio Macchi, which premiered at the Teatro Lirico. Taming of the Shrew. [85] As Oliver argues, "A Shrew is a report of an earlier, Shakespearian, form of The Shrew in which Hortensio was not disguised as Litio. Auch aufgrund anderer Kriterien und Begleitumstände wird von heutigen Shakespeare-Forschern auf diesem Hintergrund eine Datierung der Entstehung von The Taming of the Shrew um oder vor 1593, etwa 1592, angenommen, wobei manches allerdings weiterhin fraglich bleibt.[7]. Karen Newman points out, "from the outset of the play, Katherine's threat to male authority is posed through language: it is perceived by others as such and is linked to a claim larger than shrewishness – witchcraft – through the constant allusions to Katherine's kinship with the devil. It ran for 501 performances. So wurde in der Rezeptionsgeschichte des Werkes erstmals bereits Ende des 18. [107], An element in the debate regarding the play's misogyny, or lack thereof, is the Induction, and how it relates to the Katherina/Petruchio story. Miller agrees with most modern scholars that A Shrew is derived from The Shrew, but he does not believe it to be a bad quarto. This suggests The Shrew was on stage prior to June 1592. Aufgrund der misogynen Handlung gilt das Werk spätestens seit dem ausgehenden 19. But sun it is not, when you say it is not, As such, audiences may not have been as predisposed to tolerate the harsh treatment of Katherina as is often thought. Knowing how the Stockholm syndrome works can help us to see that whatever "subjectivity" might be achieved is created out of domination and a coercive bonding. For example, Conall Morrison, director of the RSC's "relentlessly unpleasant" 2008 production, wrote: I find it gobsmacking that some people see the play as misogynistic. [12] The ballad tells the story of a marriage in which the husband must tame his headstrong wife. [6][7] Historically, another such woman was Xanthippe, Socrates' wife,[8] who is mentioned by Petruchio himself (1.2.70). [158] He suggests that cruelty is a more important theme than gender, arguing that "the aggression represented in Taming can be read as having less to do with gender and more to do with hate, with the text thereby becoming a comic representation of the general problem of human cruelty and victimisation."[159]. Indeed, when Tranio rises to the role of Lucentio, this mirrors Sly's own donning of … Gender roles: The play can be … (5.2.136–179), Traditionally, many critics have taken the speech literally. [54] By the end of the eighteenth century, the predominant theory had come to be that A Shrew was a non-Shakespearean source for The Shrew, and hence to include extracts from it was to graft non-authorial material onto the play. When Baptista determines that once Lucentio's father confirms the dowry, Bianca and Tranio (i.e. And it's all about money and the level of power. "[122] Katherina is free to say whatever she wishes, as long she agrees with Petruchio. Lucentio) can marry, Tranio decides that they will need someone to pretend to be Vincentio, Lucentio's father. Marjorie Garber, for example, suggests Shakespeare created the Induction so the audience wouldn't react badly to the misogyny in the Petruchio/Katherina story; he was, in effect, defending himself against charges of sexism. At the end, there is no wager. The Taming of the Shrew. The Shrew is a reworking of this lost play. Thematisch behandeln die verschiedenen Handlungsstränge nicht nur unterschiedliche Formen der Werbung, sondern bieten zugleich vielfältige Formen des Theatervergnügens. Das Stück endet mit einem Monolog der vormals Widerspenstigen, in dem sie ein Loblied auf die Unterwürfigkeit der Frauen singt. When she stated the reason for her conduct, the other merchants acknowledged without further trial that they had lost the wager. With Elizabeth Taylor, Richard Burton, Cyril Cusack, Michael Hordern. Eine solche Aufklärung der Entstehungsgeschichte wird dadurch erschwert, dass es eine ähnliche Komödie gibt, die 1594, also knapp dreißig Jahre vor der Folioausgabe, anonym erschien. [b][10] In 1959, John W. Shroeder conjectured that Chevalier de La Tour Landry's depiction of the Queen Vastis story may also have been an influence on Shakespeare. In the scene that follows Petruchio says: If thou know This is another play by Shakespeare, which is impossible to understand. The larger framework involves a drunkard named Christopher Sly, who stumbles out of an inn and falls into a deep sleep. Sly is duped by a Lord into believing that he himself is a lord. Over two million Shakespeare Shorts sold! The play begins with an Induction, which establishes a frame for the main plot. Unbestreitbar besteht zwischen diesen beiden Stücken ein enger Zusammenhang; die genaue Art der Beziehung und das Verhältnis der beiden Werke zueinander lässt sich allerdings aus heutiger Sicht nicht eindeutig oder mit hinreichender Sicherheit bestimmen. In a farce, plotting takes precedence over characterization. "[86] Oliver suggests that when Pembroke's Men left London in June 1592, they had in their possession a now lost early draft of the play. He points to the fact that in The Shrew, there is only eleven lines of romance between Lucentio and Bianca, but in A Shrew, there is an entire scene between Kate's two sisters and their lovers. However, Detmer is critical of scholars who defend Shakespeare for depicting male dominance in a less brutal fashion than many of his contemporaries. The Taming of the Shrew shares this country versus city dichotomy, though it isn't as obvious as in many of Shakespeare's plays.