Abstract
Abstract The Merchant of Venice remains a ‘problem play’ for contemporary production. Whether the play is inherently antisemitic or not, it remains one of the most popular of the canon. I will consider how actors and their directors can, with the wisdom imparted by twentieth-century psychology and Stanislavskian-derived ideas of objectives, circumstances and subtext, seek to circumvent the challenges and infuse problematic text with more acceptable interpretations. Possible reinterpretations of Shylock are centrally considered, but the characters and motives of Jessica, Portia, Antonio and Bassanio are also scrutinized. Such re-evaluation of the underlying motivations seems a reasonable resolution for keeping the text intact while undermining any inherent negative stereotyping. However, once we admit of this subversion of a writer’s intentions, what might the consequences be if there are those who wish to use the same tools to create anti-humanitarian theatre?
Sign-in/Register to access full text options 
Free) 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a call
