راستش این جا دیگه واقعا گیج شدم‌ امتیازی که میدم بر چه اساسی باشه!!!که هم حس خودم رو نشون بدم و هم اثر ادبی رو از لحاظ جایگاه در ادبیات....
خلاصه من همون مزه ای که به خودم داد رو لحاظ کردم و دو ستاره دادم .
هیچ دوستش نداشتم ولی دیگه دلم نیومد شکسپیر هم بی ستاره بمونه.خلاصه که خیلی جدی نگیرید شاید بی سوادی منم بوده.
شاید هم ترجمه ی خوبی رو انتخاب نکردم.
نوع ادبیاتش حتی در فارسی هم سخت بود و با اینکه گفته شده زبان طنزی داره من خیلی خیلی کم‌این برداشت رو داشتم موقع خوندن شاید فقط چند جای کوچیک.

I don't know if it's because I saw a particularly good performance of this at RADA in London but Twelfth Night is my favourite of Shakespeare's comedies (which I've always liked less than the tragedies and histories). The actors did a great job of delivering the jokes in a way a 21st century audience would appreciate - I laughed a lot.

Una comedia muy buena que he logrado entender con mejor exactitud gracias a lo que hemos trabajado en uno de mis seminarios del master.

Me gustaría mucho ver la obra de teatro pronto. ¡Tiene que ser divertidísima!

Además ha sido muy interesante ver como Shakespeare juega con el lenguaje para confundir a los actores, y no solo eso, como ha usado el vestirse de hombre para abrir un pseudo-discurso sobre una mujer enamorándose de otra, y que significa realmente ser hombre o mujer. Que es masculino y femenino.

Necesitas un buen contexto para entenderla del todo, pero esta edición, con sus notas a pie de página, ¡ha ayudado mucho en eso!

Muy divertida :)

n  "Nothing that is so is so."n
-act IV, scene I

When I reviewed n  As You Like Itn at the very beginning of this year I made a lot of the fact that it was, as far as anyone knows for sure, the final play Shakespeare wrote in the 16th century and also, more symbolically, the last of the silly romantic comedies which dominated the first half of his career (thereby marking a transition to his more brooding later work). It was a nice conceit for a review, and it felt serendipitous since AYLI also happened to be the last Shakespeare play I read before the 2010s gave way to the 2020s, but as it turns out it was mostly bullshit.

For some reason I'd gotten the idea before reading it that Twelfth Night was one of Will's melancholy pseudo-comedies, more akin to the tonally ambiguous problem plays like The Winter's Tale or The Tempest than his goofy early stuff. And sure, there is a dash of darkness here, though most of it is implied rather than commented upon explicitly. The maliciously-pranked Malvolio storms off stage in the last scene swearing revenge, never to be seen again, and for all we know the reformed pirate Antonio is left to languish in prison after risking it all for his best pal boyfriend.

But mostly Twelfth Night is just Shakespeare doing all the stuff which, after a decade or so in the comedy-writing biz, he could do with one hand tied behind his back. Love triangles, clowns, pranks, puns, drinking, drag, songs, gay subtext—you know the deal. It's fun, sure, but for me the comedies are rarely Shakespeare's high notes to begin with, and after nine plays full of these tropes it's hard to get too excited about them on the tenth go-round. Especially coming on the heels of As You Like It, which I continue to believe is pretty much the platonic ideal for this type of play.

Luckily Twelfth Night is still Shakespeare, meaning that—along with the brilliant language—whatever it lacks in original plotting it almost makes up for in tantalyzing hints and thematic undercurrents. I mentioned gay subtext a couple of times already, and TN certainly continues to amp up the queer content which has been increasingly prevalent in Will's mid-career comedies, particularly n  Merchant of Venicen (whose main gay-coded male character, Antonio, actually shares a name with the one here—did Shakespeare have a fling with an Anthony??) and AYLI. To be honest I thought the gender play and homoerotic flirtations were more compelling in the latter play than they are here, in part because Rosalind is a much more dynamic lead than Viola, but it's possible I'd feel differently if I'd read Twelfth Night first, as most people seem to do. The obligatory hetero pairings-off in TN's final scene are even tidier and less satisfying than in most Shakespeare comedies, straining the reader's already-tenuous suspension of disbelief to the breaking point, but I suppose the main reason the ending seems so tacked-on is because the author has allowed the transgressive role-playing to go on so long and so unrestrainedly in the preceding four acts. Will seems nearly as reluctant as his 21st-century audiences to bring it to a socially-acceptable conclusion.

I'm fascinated by religion in Shakespeare's time, the constant bloody back-and-forth between Catholics and Protestants, between mainline Protestants and fringe denominations, between religious people of all kinds and those who weren't really interested either way, but references to these topics in Shakespeare's work are (probably wisely, on his part) few and far between. I was excited and genuinely surprised, then, when this play's designated punching bag Malvolio was explicitly described and criticized as a puritan. It's no surprise that a career actor and playwright like Shakespeare would hate that particular sect—the puritans were always trying to close down the theaters, after all—and Malvolio's holy pretensions do, of course, fall away the moment he think he has a shot with the beautiful (and rich!) Olivia, but Shakespeare also makes it pretty clear that the guy is more pathetic than anything else and really doesn't deserve as cruel a punishment as he receives at the hands of Sir Toby and his drunken cronies.

Actually, as I write this I'm starting to wonder about those drunken Fools and tavern-dwellers who also show up especially frequently in Shakespeare's middle-period plays. Sir Toby is, after all, just a dialed-down Falstaff, and his crew of drinking buddies would fit right in with the merry pranksters of the n  Henry IVn plays, whose jokes also tend to tip into cruelty and get them all roundly chastised (or, in n  Henry Vn, straight-up executed). Usually I breeze past the comedies' clown-y parts as quickly as I can—a man can only take so many archaic puns—but maybe there really is more there than I tend to assume. It's crowd-pleasing stuff, sure, but it's hard not to infer a more personal angle as well, especially knowing how rowdy the London theater world was in Shakespeare's day and how much time he'd inevitably have spent in such places with such people. (To say nothing of how frequently his Fools discourse on players and plays.) There's a weird mixture of celebration and guilt that seems to permeate these boisterous scenes, as if the small-town husband and father Will-from-Stratford is peeking out from behind the fast-talking, fun-loving, hard-partying London actor he's become. But that's all speculation, as so much of Shakespeare is, and probably a little projection too.

Anyway. As usual, I've ended up saying much more about a work I found fairly mediocre and forgettable than I probably would have if I'd loved it. But I guess that just illustrates what really intrigues me about Shakespeare, and what keeps me coming back so eagerly. At their best the plays themselves are transcendent, of course, but even when they're not—and I don't think it's heresy to say that they're frequently, even usually, not—they're still keys to a whole world of interesting thought; in their roundabout way they can lead us pretty much anywhere we may wish to go.

4/5stars
2019:
second time reading it and still a great play! I always enjoy Shakespeare's comedies but this one seems to feel especially humorous to me

2017:
this was pretty great! I've never read this play by Shakespeare and I thoroughly enjoyed it for the hyjinks and craziness that happened! I loved the fact that thoroughout the majority of this play, since there were not very many female actresses in SP's time, there is a boy, dressing up as a girl, who is dressing up as a boy. Pretty funny stuff here, William. Also the lesbians. Also it was just really funny - I adore Shakespeare's comedy plays!

There is tragedy. Viola becomes her brother Sebastian, and cross-dressing ensues. Orsino loves Olivia. Olivia loves Cesario. Viola loves Orsino. It all ends happy and well, there is marriage.

“She’s The Man is better than its source material,” I say into the mic.

The crowd boos. I begin to walk off in shame, when a voice speaks and commands silence from the room.

“She’s right,” it says. I look for the owner of the voice. There in the 3rd row he stands: Willie Shakes himself.

***

Let me break it down for you: Orsino is in love with Olivia, despite the fact that he has never seen her. Malvolio thinks Olivia is in love with him, Sir Andrew thinks he can marry Olivia. Sebastian agrees to marry Olivia two minutes after meeting her.



Olivia thinks she can marry ‘Cesario’ (who is in fact Viola in disguise). Antonio thinks Viola is Sebastian (her twin brother; don’t ask), Sir Andrew and Sir Toby think Sebastian is Viola, Malvolio thinks Feste is Sir Topas. Viola thinks Sir Andrew a redoubtable swordsman and he thinks the same of her.

For real, who is supposed to keep up with that shit? A shirtless Channing Tatum is all I wanted. I’m not that hard to please, Shakes.



Also, Antonio and Sebastian are hella gay, and you can’t tell me otherwise. Sebastian dropped Olivia like a hot potato as soon as he was reunited with his one true love.

n  “Antonio! O, my dear Antonio! How have the hours racked and tortured me since I have lost thee.”n

Previous to this, Antonio was bragging about how he hasn't left Sebastian's side for three months, both day and night.

We went to see a Cambridge University production of this last night, set in a similar period to the production we saw of As You Like It we saw earlier this year.

Zak Ghazi-Torbatt was hilarious as the perpetually drunk aristocrat Sir Toby Belch (subtlety is not the long suit of this play), he worked well with his off-sider, Sir Aguecheek, ably played by Ryan Monk. Ben Walsh’s Malvolio was a object lesson in how to not overplay comic creepiness. Megan Gilbert looked like an old hand doing Maria: it’s the best of the female roles and she didn’t let it down.

The setting was not, in my opinion, important to the play, neither detracting nor adding, but fifties music and song – If music be the food of love, play on – worked a treat. However, the director decided, in that modern way that is being forced upon us, to do her part in denying gender. To this end two changes were made to the play. One is the role of Antonio, changed to Antonia and played by a girl being a girl. This was not only inexplicable in terms of the desire to mess around with gender – after all, Antonio is a boy in love with a boy – but makes the relationship with Sebastian ridiculous. There can be no explanation, of course, as to why Sebastian can’t accept the love of Antonia. Nor, in a play with a happily-ever-after ending is it sensical to have this one person inexplicably left bereft. Needless to say, if it is a male character in love with a heterosexual male, we at least understand why Antonio can’t be part of the happy ending. I do wish that we had not been denied the chance to watch that doomed love, instead of which we bemusedly watched a girl carting around a bloke’s suitcases for three months wondering who she was going to end up with.

Rest here:


https://alittleteaalittlechat.wordpre...

“Be not afraid of greatness. Some are born great, some achieve greatness, and others have greatness thrust upon them.”
― William Shakespeare, Twelfth Night

Some of these people, my gosh, Janelle Monae and Frank Ocean and Emma Gonzalez, they seem to have moved altogether past gender, right? Oh brave new world. And here's Shakespeare, who once again is meeting us in the future.

Let’s get to it: in Elizabethan times, female parts on the stage were played by men, so we’re starting with cross-dressing. Shakespeare was inspired and amused by this, and he often plays with it. Twelfth Night is the best example, and one of his most enduring comedies. Here’s how it goes: Viola, played by a man, disguises herself as a man. As a man she tries to woo Olivia for this guy Orsino. She falls in love with Orsino herself. Of course, Olivia falls in love with Man Viola. But there’s a real Man Viola - Viola’s lost brother Sebastian - whom Olivia meets later and mistakes for Man Viola, and who's played by the same guy anyway.

"An apple cleft in two is not more twin
Than these two creatures."

So we're running, what, four levels deep? Man plays woman plays man mistaken for another man who actually exists. Meanwhile Orsino has fallen for Viola even though he thinks she's a man:

Diana's lip
Is not more smooth and rubious, thy small pipe
Is as the maiden's organ, shrill and sound,
And all is semblative a woman's part,"

he says to her. In the end Olivia and the brother get married, and so do Viola and Orsino. All is well.

I know! "This is to give a dog and in recompense desire my dog again." Shakespeare seems indifferent to gender in ways we’re only starting to catch up with now. Here’s his famous 20th Sonnet:

A woman’s face, with nature’s own hand painted,
Hast thou, the master-mistress of my passion;
A woman’s gentle heart, but not acquainted
With shifting change, as is false women’s fashion;
An eye more bright than theirs, less false in rolling,
Gilding the object whereupon it gazeth;
A man in hue, all hues in his controlling,
Which steals men’s eyes and women’s souls amazeth.
And for a woman wert thou first created,
Till nature as she wrought thee fell a-doting,
And by addition me of thee defeated,
By adding one thing to my purpose nothing.
  But since she pricked thee out for women’s pleasure,
  Mine be thy love, and thy love’s use their treasure.

Here again, he seems to talk about love above gender. Shakespeare’s identity, sexual and physically, has been in question for ages; he’s a trickster and he’s a genius, and we’re collectively in a bit of a tizzy about it.

I have no horse in this race. I like the world weird. It's the future now, and some brave new vanguard of us are wiggling into some kind of post gender, post sexual orientation kind of situation. And here we are with hoary old Shakespeare, who seems to have beaten us to it, doesn't he? Plays like this will of course end traditionally, with everyone heteropaired off. But in between there's a confusion of flirting; anything seems possible. Dude Viola, pretending to make Orsino's case to Olivia, is clearly flirting with her instead. In the end they'll all marry people of the opposite gender - but not really, since they're all men up on that stage. The play is still happening.

I’ve been spending all this time talking about gender politics and I’ve forgotten to talk about the play. Will you like it? Sortof. The problem with Shakespeare's comedies is that they employ a lot of puns and wordplay, and that exposes our unfamiliarity with Shakespeare's words. There are these long scenes with people giggling about back-tricks and codding, and you just don't understand a word of it.

Toby: What is thy excellence in a galliard, knight?
Andrew: Faith, I can cut a caper.
Toby: And I can cut the mutton to't.

What the fuck is that? Who cares? There's a sub plot involving Toby, Andrew, Maria and Malvolio that should be entirely ignored. It's Shakespeare at his most impenetrable. The only fun part of it is, we get this famous quote: "Some are born great, some achieve greatness, and some have greatness thrust upon them." Fun to see Shakespeare, here at the peak of his powers, just throwing shit around; these are immortal lines that've inspired countless dumb tattoos and dumber political speeches, and they come from a fake letter in a shitty subplot in a comedy. (And for that matter, they are considerably more dick-joke-oriented than these college students and politicians probably had in mind. Greatness! Thrust!)

Act III is almost totally lost to this nonsense. But this gender-bending shit - I want to be serious for a hot minute here. Shakespeare’s tragedies are more accessible than his comedies. This comedy, I like for its gender politics mostly. I’m a cis man. I was born a straight white man and that’s worked out great for me and I’ve never really had to debate anything. (I had sex with a guy once to see what it was like, don’t get me wrong, but let’s not confuse tourism with life.) To live in a world where people get to question and, if necessary, redefine their genders, or even discard the word - that makes the world richer for me. There are more stories. I don’t think it’s meaningless to have support from the best writer in the history of the planet. Here's what makes Shakespeare great: wherever humans find ourselves, we find him somehow there ahead of us.

What a beautiful gay fiasco, the proportions of which only Shakespeare can pull off. A hilariously irreverent play that is also a precise staging of desire and gender that thwarts all kinds of convention. Shakespeare was simply, certifiably, That Bitch™️.

كتبها ماركيز عن قصة حقيقية لأحد البحارة الكولومبيين لويس أليخاندرو فيلاسكو الذي كان يطمح إلى كسب المال من خلال بيع قصته إلى مكتب الجريدة التي يعمل بها ماركيز وذلك بعد أن انحسرت عنه أضواء الشهرة والبطولة وبريق المال وبالفعل تمت الموافقة وعرض على ماركيز كتابتها باسمه وحين نشرت لأول مرة نشرت على لسان البحار وباسمه حتى قرر ماركيزإعادة نشرها خضوعا لطلب الناشرين
يقول :
لم أعد إلى قراءة هذه القصة منذ خمسة عشرة سنة ، ورغم إنها تبدو لي متحلية بقدر كاف من الكرامة
لنشرها ، فلستُ مدركا أهمية هذا النشر ، وإذا كانت تنشر اليوم بين دفتي كتاب فلأنني قبلتُ بذلك دون إطالة التفكير ، إلتزاما مني بالوعد ، إن فكرة كون الناشرين يهتمون باسم صاحب التوقيع أكثر من اهتمامهم بقيمة النص خاصة إذا كان هذا الكاتب ( موضة ) هو أمر يحزنني ولكن من حسن الحظ أن هناك كتبا ليست ملكا لمن يكتبها وإنما هي ملك أؤلئك الذين يجعلونها ممكنة بتجربتهم الأليمة مثل ذلك المواطن النكرة الذي تألم طيلة عشرة أيام بدون أكل أو شرب على سطح طوافة إن كتابي هذا يدخل ضمن هذا الصنف !

ويبدو أن ماركيز كان هو الموضة في تلك الفترة ولم يكن يدري أنه سيصبح موضة دائمة صالحة لكل زمان ومكان والحمد لله أنه قبل نشر الكتاب بدون أن يطيل التفكير : )

هذه الرواية في الأصل تحقيق صحفي ولكنه أصبح قصة تحكي سيرة بحار يعمل على ظهر المدمرة كالداس والتي تحمل بعض العتاد الحربي غير إن االسفينة فيما يبدو كانت تحمل بعض الحمولة الزائدة وهي عبارة عن بعض الشحنات التي لم تربط ربطا جيدا مما أدى إلى اهتزاز السفينة وسقوط ثمانية بحارة من على ظهرها دون أن ينتبه طاقم السفينة إلى المفقودين كما إن الحكومة أخفت الخبر وأعلنت أن الحادثة كانت نتيجة لعاصفة ولم تظهر الحقيقة إلا بعد أن أعلنها ماركيز في قصته على لسان الرواي والتي أدت إلى إتخاذ السلطة الديكتاتورية عقوبات تعسفية كان من ضمنها إقفال الجريدة !

البحار لويس وجد نفسه وحيدا على ظهر طوافة ، لم يستطع أن ينقذ زملائه وتمسك بقوة الإرادة ما بين سطوع أمل وإنطفاء آخر وحيدا يتآكله الظمأ والجوع رهبة البحرو ، وهم أشجار جوز الهند وحقيقة أسماك القرش طوال تلك الأيام المريرة في بحر عاصف بين الحياة والموت مما استدعى ذاكرتي رائعة يان مارتل حياة باي وكذلك قوة الإرادة التي تصنع المستحيلات كما حدث مع هنري شاريير في سيرة سجنه وهروبه في رواية الفراشة
إن ماركيز على الرغم من أنه يروي قصة رجل آخر كما فعل في قصة موت معلن إلا إنه يملك أدواته جيدا ويعرف كيف يستخدمها باحتراف يجعل القارىء يتتبع سطوره ورواياته ميزة هذا الكتاب أنه ترجم على يد اليوسفي وهو شاعر وأديب مما سيجعلك تحظى بقراءة ماتعة بلا شك