Lettres de Franz Liszt à la princesse Marie de Hohenlohe-Schillingsfürst, née de Sayn-Wittgenstein

International audienceLes lettres de Liszt à Marie de Sayn-Wittgenstein n'étaient jusqu'à présent connues que dans leur traduction anglaise très contestée (Howard E. Hugo, 1953). Leur version originale française est livrée ici pour la première fois dans leur intégralité. Elles sont abondamment annotées en notes infrapaginales. L'ouvrage s'ouvre sur un hommage écrit par Malou Haine à la mémoire de Pauline Pocknell décédée avant l'achèvement du projet. Une longue introduction signée par Malou Haine et Nicolas Dufetel décrit les relations entre Liszt et la princesse Maris, fille de sa compagne Carolyne de Sayn-Wittgenstein, de l'historique des lettres et des éditions projetées et jamais réalisées précédemment.

Lettres de Franz Liszt à la princesse Marie de Hohenlohe-Schillingsfürst, née de Sayn-Wittgenstein

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The German-Jew that Bandmann drew: Daniel E. Bandmann’s Shylock on the Australian colonial stage, 1869–1870

Anae, N ORCiD: 0000-0001-8441-2771A particularly noteworthy tragedian enacting Shylock on the Australian colonial stage between 1869 and early 1870 was visiting German touring star Daniel Edward Bandmann (1840–1906). His Australian tour in its initial stages was framed within the discourse of legitimacy, based both on his success in mastering the English language and perhaps above all on his ability to withstand the test of critical English audiences. Yet, the reportage of his appearances as Shylock tracked a radical turn toward a dramaturgical reconceptualisation of the part. This paper contends two separate but interrelated points: that as a German-Jewish actor Bandmann's Shylock both evoked the dramaturgical techniques of the British theatre in this role and pushed the limits of English conventions essentially to rework the enactment of Shylock for a modern Victorian audience for specific dramaturgical ends. The examination draws extensively on extant Australian colonial press ephemera covering Bandmann's tour to re-read his enactment of the role as a revolution polarising the critical nineteenth-century debates about Shylock’s emotional aesthetic, and by extension, explores Bandmann's influence in reimagining the so-called “Jew that Shakespeare Drew” in The Merchant of Venice. In this way, the analysis reclaims Bandmann's dexterity in manipulating the potential of The Merchant of Venice to redirect audiences’ attention back to the conditions and representations of colonial race politics