| Popis: |
The article focuses on the manifold ways in which the spectre of Shakespeare’s Cleopatra manifests itself in Derek Walcott’s A Branch of the Blue Nile (1983), a play which is to a large extent about a Trinidadian theatre company’s attempt to put on a production of Antony and Cleopatra. It argues that this spectre circulates trauma but it is also part of a process of re-articulation of the stage as a place where the ‘familiar’ and the ‘foreign’ interrogate one another. In particular, by responding to the spectre, the play marks a movement from a ‘writing against or without’ Shakespeare to a more complex sense of writing with Shakespeare, which is not, however, an uncritical appropriation of the Bard. |
