The trophic ecology of reef fishes: the cnidarian challenge

Víctor Huertas explored the trophic ecology of cnidarian-feeding labrids to understand how these fishes overcome the difficulties associated with a diet of corals or jellyfish. He described the evolution of two highly modified oral jaw structures that confers an extraordinary ability to secrete mucus which enables fishes to exploit this unusual diet. This work offers a new view of the importance of corals and coral feeding fishes

Traumatic Redemption Chronotope as Theoretical Model to Study Serial Shakespeares

This article proposes a methodology to study Shakespearean intertexts in contemporary complex TV series. While the presence of Shakespeare's inter-texts in contemporary complex TV seems ubiquitous, a sustained and theoretically focused academic study of the impact of Shakespeare in these works has not been produced. Reviewers and social media users' comments have proposed readings of the series pointing at the importance of the series' redemptive qualities. Taking Hannah Wolfe Eisner's "Into the Middle of Things: Traumatic Redemption and the Politics of Form" as basis, I am presenting a theoretical model to study serial Shakespeares, with which I am referring to a limited corpus of American complex TV series appropriating Shakespeare's texts, as narratives embedded in a cultural politics of trauma and redemption. Additionally, it shows that such series potentially work as guidelines to study the overall impact of traumatic redemption in other contemporary adaptations of Shakespearean plays

Rethinking Serial Shakespeare in the Culture of Traumatic Redemption: Shakespearean Intertexts in Boardwalk Empire (HBO 2010-2014)

Shakespearean intertexts serve narrative and ideological functions in contemporary complex TV series. While scholars and press reviewers have pointed at this fact, few steps have been taken to explore the narrative implications of the Shakespearean intertexts in complex TV series. This article contextualizes complex TV series within a social, political and economic context of 'traumatic redemption.' With regards to this, Hannah Wolfe Eisner develops the chronotope of traumatic redemption. Moving away from previous accounts of trauma which stress healing and recovery too precipitately, Eisner develops the aforementioned chronotope via exploration of dialectics of trauma and redemption in contemporary narratives. If such dialectics taking place between affirmative narrative strands and strands which engage with in-depth exploration of suffering and trauma can be used to analyze complex TV series, it is instructive to observe which function(s) the Shakespearean references and intertexts fulfill within these popular TV works using the lenses provided by this chronotope. Taking Eisner's ideas into account, the article contextualizes the ideological and political spaces where complex TV series are developed. It explains, taking into account few previous scholarly works on serial Shakespeares, the theoretical tenets of traumatic redemption to lay down the foundations of analysis of serial Shakespeares as proposed. Finally, it explores the Shakespearean intertexts of Boardwalk Empire (HBO 2010-2014) and analyzes some examples of the serial's Shakespearean influences. The conclusions reveal that Shakespeare's intertexts might be powerful indicators of the dialectics of trauma and redemption, for their intertextual interweaving with the serial's script, narrative structure and characters situate such Shakespearean intertexts to ambivalently fulfill functions that strengthen redemption strands as well as traumatic strands in this complex TV narrative

Katabasis in Rupert Goold's Macbeth (BBC, 2010): Threshold-Crossing, Education, Shipwreck, Visionary and Trial Katabatic Experiences

Rupert Goold's stage production of Macbeth opened at the Minerva Theatre in Chichester, went to the Gielgud Theatre (London) and toured to the Harvey Theater in New York (2007-2008) before, in 2010, BBC, PBS and Illuminations Media turned it into a TV film.1 Set in a twentieth-century regime displaying the iconography of Stalin's dictatorship, Anthony Ward's decor was "confined within a windowless basement kitchen, perhaps a few tiers above hell" (Nicholas De Jongh). Unsurprisingly, several reviewers compare these aspects of the scenography with a living hell. However, the recording turned those hellish textures into a dominant motif

Ruper Goold's Macbeth (2010): Surveillance Society and Society of Control

This article deals with Rupert Goold's film version of Macbeth (2010). Based on a stage production, this film is set in an unspecified Soviet country. I will analyze Goold's creation of a stage-to-screen hybrid recording framed as a surveillance film. Relying on Michel Foucault's and Gilles Deleuze's works as well as various contributions made by Cultural Materialist and New Historicist critics, I intend to explore the power relations in this surveillance film. I will also examine how the surveillance film conventions deployed by Goold turn the narrative into a meta-filmic event. This allows the viewer to perceive surveillance as part of the subject matter of the story and as inseparable from its narrative structure. Eventually, this will serve to explore how surveillance entirely transforms the filmscape. What begins as a film set in a surveillance society ends up as an environment dominated by a society of control

Theatrical Self-Reflexivity in Gregory Doran's Hamlet (2009)

This article deals with the metatheatrical concerns in Gregory Doran's Hamlet (2009). This film derives from an RSC stage production presented at the Courtyard Theatre (Stratford-upon-Avon) and the Novello Theatre (London).1 In opposition to the standing prejudices against the possibility of filming plays on the small screen, Doran and the creative team of Illuminations Media embrace the opposed natures of theatre and film. The result of such creative decision is materialized in the form of a hybrid television performance. The film has been shot in a type of location that has been re-furbished to purposefully evoke its stage origins. In this sense, the collision between these two languages theatre and film precisely constitutes the highest point of interest in the film far beyond its mere formal implications. In fact, David Tennant's approach to performing Hamlet in this film consistently operates on the idea of the eponymous hero trying to fight his frustrations through dramatic art. However, Hamlet does not reconcile the playful nature of drama with its other more rigorous aspects. As a consequence, the hero toys with film, thus overcomplicating his artistic drive. Hamlet's inability to handle either of these codes derives into worsening the character's perceptions of himself. The nature of Hamlet's failure is not necessarily in the choosing of drama as a means of self-preservation but the ways through which he engages in dramatic activity

Off-Modern Hybridity in TV Theatre. Theatrical, Cinematic and Media Temporalities in Rupert Goold's Macbeth (BBC/Illuminations Media, 2010)

Rupert Goold's screen production of Macbeth - firstly, staged in 2007 and, later, filmed in 2010 - has been studied as an example of the stage-to-screen hybrid corpus of Shakespearean audio-visual adaptations. Thus, much of the critical emphasis on the production has been placed on its filmic qualities. Particularly, the genre film conventions deployed across the film has summoned the attention of Shakespeare on screen scholars and it has been the creators' intentions to precisely point at Goold's filmic intertextual repertoire. Given the recent increasing attention to the multiple media and languages employed in stage-to-screen hybrid Shakespearean adaptations and other exchanges between the languages of the stage and film to rework Shakespearean and theatrical productions, it is instructive to observe the ways in which adaptations such as this one engage with larger processes of transmedia storytelling, not only paying attention to theatrical and filmic languages but to the transmedia strategies these TV theatrical films make use of. Importantly, it is instructive to look into the narrative and philosophical purposes served by transmedia storytelling as the multiple media and languages used in the film display a range of temporalities and film genres associated to them that allow us to expand the interpretive range of Shakespeare's source text. Following this premise, this essay examines Goold's Macbeth as a nostalgia narrative in which transmedia strategies serve to display a range of media-based narrative strands that expand the film's range of possible interpretations. To prove this, I will insert Goold's film in the larger process of transmedia storytelling encompassing the performance history of Macbeth. Additionally, I will identify narrative strands in Goold's televisual, theatrical, musical, poetic and computerbased sources. The results will show that Macbeth - and, by extension, potentially this applies to TV theatrical adaptations of Shakespeare's plays - constitutes a strand of the larger corpus of transmedia storytelling wrapping up the Scottish play's performance history as well as Shakespeare's overall performance histor

Hibridaciones de la Royal Shakespeare Company entre el escenario y la pantalla. Revisión crítica y perspectivas metodológicas recientes

In this article we revise the history and main existing bibliography on the theatricalaudiovisual hybrid relations concerning the Royal Shakespeare Company's productions. To continue, we summarize the main methodological trends followed for the study of hybridity in the RSC's audiovisual productions. En este artículo revisamos la historia y la principal bibliografía existente con respecto a las relaciones de hibridación teatral-audiovisual de las producciones de la Royal Shakespeare Company. A continuación, resumimos las líneas metodológicas principales que se han seguido para el estudio de la hibridación en producciones audiovisuales de RSC

La tragedia de Mariam, la hermosa reina de los judíos, de Elizabeth Cary

Edició bilingüe anotada, introducció i traducció a l'espanyol, a càrrec de Víctor Huertas Martín, de la tragèdia anglesa LA TRAGEDIA DE MARIAM, LA HERMOSA REINA DE LOS JUDÍOS de Elizabeth Cary.Annotated and bilingual edition, introduction and translation into Spanish by Víctor Huertas Martín of Elizabeth Cary's English tragedy THE TRAGEDY OF MARIAM, THE FAIR QUEEN OF JEWRY.PID2019-104045GB-C5

De EMOTHE a CIRCE: una base de datos de adaptaciones a cine y TV de teatro moderno europeo

Explicaremos la estructura de la base de datos «CIRCE: Early Modern Theatre on Screen». Dicha base de datos recoge información relevante sobre adaptaciones a cine y televisión de obras teatrales de las tradiciones española, inglesa, francesa, portuguesa e italiana de la Edad Moderna. Basada en las bases de datos de EMOTHE y de ARTELOPE, CIRCE se propone facilitar el establecimiento de patrones de conexión entre adaptaciones audiovisuales de las cinco tradiciones teatrales del periodo. Sirviéndonos de los principios teóricos de las humanidades digitales y de la teoría de la adaptación, explicaremos los cuatro campos principales con los que esperamos que la base de datos sea robusta a la par que flexible: (1) «Basic Information», (2) «Creatives», (3) «Adaptational Strategies and Procedures» y (4) «Related Texts». Explicaremos la información contenida en cada uno de dichos campos y aportaremos algunos ejemplos que nos permitirán entender su utilidad