0Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
^hjrchiqdavlat^edagGgika^niversiteti^^^^^^^Za
WILLIAM SHAKE SPEAR'S LEGACY IN XXI CENTURY
Asilbek Rayimjonovich Karimov
Chirchiq state pedogogical university faculty of tourism, student of Stage 2 e-mail: karimovasilbek642@gmail .com
ABSTRACT
It is through this article that every reader will have a keen understanding of William Shakespear's legacy in XXI century.
Keywords: "cold blooded", utilized, "good riddance", rising action, climax, power, greed, legacy, unforgettable plays, novels, songs, tropes.
INTRODUCTION
"That someone could see the revolution of the times and read the book of fate" Isy Platt talks on Shakespeare's relevance and influence on contemporary art and society. Shakespeare appears to have the gift of eternal youth, despite the fact that he is almost 450 years old. It is estimated that 410 Shakespeare plays are produced year worldwide, so there is nearly always a performance going on at any given moment. Eighty percent of Britons have seen or read his plays. By themselves, these figures show the Bard's widespread appeal, enduring popularity, and fervent consumption. His writings have improved our understanding of history, added to the English language, and impacted the manner of writing of both his contemporaries and their successors.
Research materials and methodology
What, though, is the reason for the global cultural fixation on Shakespeare that we share? And why, given the stark differences in racial and gender roles in his plays, are they still so extensively read and performed? We can start our investigation into the causes of the influence and legacy left by his works by examining a few productions that have been produced worldwide over the past century or so. Shakespeare's plays have been staged more and more in recent years, with an increasing number of companies attempting to replicate the original staging, whether through setting (The Globe in London and the RSC's Swan Theatre in Stratford-upon-Avon, for example), costume, music, casting, or audience interaction with the ensemble. Twelfth Night, which starred Mark Rylance as Olivia and had its London debut at Middle Temple Hall in 2002 before receiving a revival at The Globe in 2012, was one production that accomplished all of the aforementioned tasks. These shows, which are referred to as "original pieces," aim to mimic the techniques and performing style of the original
April 23-24, 2024
562
Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
^hjrchiqdavlat^edagGgika^niversiteti^^^^^^^Za
Shakespearean company. The products of meticulous research into many aspects of Elizabethan and Jacobean theatre are productions that make provocative links between the politics of the past and present, despite avoiding controversy with an allmale cast. Shakespeare's plays have always had a contentious connection with race. More recently, changes in the scholarly discourse surrounding his plays have sparked discussions about how representations of politics, religion, ethnography, and identity might have a greater contemporary resonance. According to actor Hugh Quarshie, who most recently played the title character at the RSC, the history of Othello on stage reveals just as much about the societies in which it is performed as it does about the text. The focus of more recent productions, like the one at the National Theatre and Quarshie's, has shifted from racial relations to the play's tragedy—which is the result of jealousy. It has been said that the 1939 Harlem production of Macbeth, with its creative transposition and success in advancing African-American theater, is a diversity landmark. The 750-person cast, which was made up entirely of black actors, was assembled by the female-led Federal Theatre Project and performed for fully integrated audiences across the nation during a period when Jim Crow laws institutionalized the disenfranchisement of the black community in the United States. The chance for struggling and unemployed Black performers to play recognized roles took place about thirty years before the American Civil Rights Movement, and it greatly advanced the public conversation on racial equality. Women often contribute less than 17% of the conversation in Shakespeare's plays. Many modern performances have either blind cast the roles or gender-swapped them, bringing fresh gender dynamics from the source text onto the stage in an effort to narrow this enormous gap. The play's examination of parental connections was changed when Glenda Jackson played King Lear on Broadway; Lear's rejection of Cordelia in the play's opening scene was interpreted as a rejection of the daughter for deviating from her mother's ideal of womanhood. Moreover, gender roles are flipped when Hamlet is played, a role that is just as important for a younger male actor to play as Lear is for an older one. The text's initial criticisms of the father-son bond and the Danish kingdom's masculine hierarchy are refuted. This does not, however, distort the Prince of Denmark's essential qualities or confine the discussion to gender relations. Maxine Peake's staging at the Royal Exchange in Manchester did not reverse Ophelia's gender, in contrast to Michelle Terry's staging, which did. As a result, the play also examined internalized and implicit homophobia through Laertes' defense of his sister and Hamlet's rejection of Ophelia. Using a women's jail as a framing device, the allfemale trilogy of plays performed at the Donmar Warehouse illustrated the benefits of gender-swapped productions.
April 23-24, 2024
563
Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
^hirchiq^avlat^edagogjka^niVBBiitiii^^^^^^^^lSllli
RESULTS AND DISCUSSION
The text's initial criticisms of the father-son bond and the Danish kingdom's masculine hierarchy are refuted. This does not, however, distort the Prince of Denmark's essential qualities or confine the discussion to gender relations. Maxine Peake's staging at the Royal Exchange in Manchester did not reverse Ophelia's gender, in contrast to Michelle Terry's staging, which did. As a result, the play also examined internalized and implicit homophobia through Laertes' defense of his sister and Hamlet's rejection of Ophelia. Using a women's jail as a framing device, the allfemale trilogy of plays performed at the Donmar Warehouse illustrated the benefits of gender-swapped productions. A varied team of actors was assembled by director Phyllida Lloyd to portray female prisoners performing a Shakespearean play. Each actor played a character who played a character, creating a multifaceted final product. Henry IV has one of the most poignant scenes where the prisoner portraying Rosie, a recovering heroin addict who is about to be released on parole, shares Hal's redemptive narrative. Falstaff, who doubles as Hal's heroin supplier, receives Hal's final rejection, much as Rosie does from her previous life. Shakespearean framing techniques can open up the text to fresh interpretations that support contemporary resonance, as evidenced by the way the play's and the production's worlds are layered. Shakespeare plays have been staged more often over the world in the 20th and 21st centuries. In Lithuania, one of the longest-running Hamlet plays in history was utilized to spread political ideals that struck a chord with a populace that had just recently been freed from Soviet rule. Because of the similarities between China's theatrical culture and legacy and the complexity of Shakespeare's works, Shakespeare is regularly translated into Mandarin in China. His plays have been translated into more than a hundred languages. There are many different and elusive explanations behind this. It has been suggested that Shakespeare's works were a part of the cultural exchange between Britain and Europe during the Renaissance; Shakespeare was required reading in schools during the height of British colonialism in India; George Washington even used a famous quote from Prospero—who was also Ariel's captor—in a polemic against British colonialism. The writings have been transformed into new formats, contexts, and ideas in each of these locations as well as others; the Bard's international beginnings as the poet of the British Empire have changed throughout time to assume new national significance. Shakespearean stagings have occasionally "gone wrong," hitting the wrong notes with both critics and audiences. The most recent Macbeth performance at the National Theatre drew criticism for its basic flaws. The play's main theme of feudal hierarchies could not be reconciled with the play's transposition from medieval Scotland to a post-apocalyptic world with collapsing order.
April 23-24, 2024
564
Chirchik State Pedagogical University Current Issues of Modern Philology and Linguodidactics
Staatliche Pädagogische Universität Chirchik Aktuelle Fragen der modernen Philologie und Linguodidaktik
Chirchiq davlat pedagogika universiteti Zamonaviy filologiya va lingvodidaktikaning dolzarb masalalari
This made Macbeth's violation of this hierarchy by killing King Duncan look foolish. By looking at this, we can see that while Shakespeare is flexible, there are limits to what can be done; the production was erratic, changing some aspects but not others, with unsatisfactory results. Shakespeare's plays are given a modern resonance because his texts act as blank canvases that fresh ideas that might not have been considered can find a home in. "I think you are only really qualified to talk about Shakespeare at the moment in time in which you are engaging with him actively, that moment in time when you can hold his iambic mirror up to nature and gain a whole new perspective about the times in which you live," writes Leaphia Darko in a blog post for Shakespeare's Globe. Although it comes from a particularly white, masculine, Elizabethan perspective, it yet has a pulse on the whole human condition.
CONCLUSION
Shakespeare is well-known, as was previously noted, and his popularity brings audiences to the theater since they generally know what to expect when the lights go down and Romeo and Juliet's prologue starts to play. The goal of every production is for the directors, actors, producers, designers, and other team members to surprise the audience and add something fresh. Creative teams are now far more prepared to take chances and delve deeper into the texts, whether it's to provide criticism or just uncover something that was previously unknown.
REFERENCES
1. https://www.amexessentials.com/shakespeare-in-the-21 st-century/
2. https://www.calliopeartsiournal.com/post/shakespeare-s-legacy-and-impact-in-the-20th-and-21 st-centuries
3. https://nosweatshakespeare.com/blog/shakespeares-21st-century-popularity/
4. https://online.maryville.edu/blog/william-shakespeare-influence/
565
April 23-24, 2024
