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Zur Geschichte einer deutschen Erinnerungsfigur

what it would be like to hear the sad, self-wounding merchant Antonio recite sonnet 87 to Bassanio, for whom he hazarded so much, as the young man turns away to another, richer love, or to hear Shylock repeat these lines to Antonio after Shylock’s own bond with the hated merchant is voided in court, and the cost of that bond be- comes so nakedly clear. “Farewell, thou art too dear for my possess- ing.” Could Shylock speak this line to his absent daughter Jessica, converted to Christianity and enriched with his gold, spending it so carelessly? In the play

Multicultural Shakespeare: Translation, Appropriation and Performance vol. 15 (30), 2017; DOI: 10.1515/mstap-2017-0012 Diana E. Henderson∗ The Merchant in Venice: Shylock’s Unheimlich Return The first decades of the new millennium have seen an odd return to origins in Shakespeare studies. The Merchant in Venice, a site-specific theatrical production realized during the 500th anniversary year of the “original” Jewish Ghetto, was not only a highlight among the many special events commemorating the 400th anniversary of Shakespeare’s death in

H I L D E H A I D E R - P R E G L E R ( W I E N ) Shylock 1943 Im fünfzigsten Regierungsjahr von Kaiser Franz Josef wurde in Wien am Währin- ger Gürtel unter der Leitung von Adam Müller-Guttenbrunn eine neue, auf Ver- einsbasis durch Zeichnung von Anteilscheinen finanzierte Bühne eröffnet: Das Kaiser-Jubiläums-Stadttheater, laut Vereinsstatut eine Pflegestätte deutscher Kunst, unter programmatischem Ausschluss jüdischer Autoren, jüdischer Ensemblemit- glieder und jüdischer Mitarbeiter.1 An diesem Haus, das nach dem Bankrott der Direktion Müller

M O I S H E B R O D E R S O N Shy lock Laughs Dressing room of the great English tragedian Edmund Kean. He is made up as Shylock, ready to go on stage for the Trial Scene. His friend, the Prompter, adjusting his robe. Kean is tense, on edge. The big dressing room is white- washed, so that the back wall, as soon as the lights are out, becomes a screen on which appear as shadows the Shylock figures to which Kean delivers his monologue. Prompter: I am afraid, Master! Kean: What makes you afraid, old fool? Be much better if you opened a window in here. It

III SHYLOCK The years 1740 and 1741 mark a dividing point in the English theatre. Colley Cibber, who had seemingly lived his life so that he could apologize for it, in 1740 published his witty autobiography. In February 1741 Macklin played Shylock for the first time, and eight months later Garrick conquered London with his blazing performance as Richard III. The reign of Cibber and Quin was over. The reign of Garrick and Macklin had begun. From all accounts, Fleetwood felt little enthusiasm about reviving Shakespeare's Merchant of Venice. During the au

Jan Süselbeck Flüchtling Shylock Antisemitismuskritik und Empathielenkung in Walter Mehrings Drama Der Kaufmann von Berlin I Ein jüdischer Flüchtling kommt nach Deutschland Im Jahr 1943 schrieb Hannah Arendt einen autobiografischen Essay mit dem Titel „We Refugees“. Der Aufsatz erschien in der jüdischen Zeitschrift The Menorah Journal und wurde erst 1986 von Eike Geisel ins Deutsche übersetzt.¹ Von ihren eigenen Exilerfahrungen in Frankreich und den USA ausgehend, arbeitet Arendt in ihrem Beitrag erstmals die Besonderheit des Flüchtlingsstatus jüdischer Ver

I would fain see a prize set up that the well-fed usurer and the politic bankrupt might rail one against the other for it. O, it would beget a riming comedy. Thomas Dekker, The seven deadly sinnes of London (1606) 1 Setting the stage Bassanio needs money to finance his courtship of Portia, and his friend Antonio agrees to borrow 3,000 ducats on his behalf from a Jewish moneylender Shylock. As collateral, Antonio uses the value of merchandise carried by six vessels at sea, which he expects to return an amount of “thrice three times” the value of the bond. Thus

Shylock Three thousand ducats, well. Bassanio Ay, sir, for three months. Shylock For three months, well. Bassanio For the which, as I told you, Antonio shall be bound. Shylock Antonio shall become bound, well. Bassanio May you stead me? Will you pleasure me? Shall I know your answer? Shylock Three thousand ducats for three months, and Antonio bound. From the very first moments of its being broached in the play, the question of the bond is linked to Shylock’s habit of verbal rep- etition. We can approach the matter of the bond through looking