Abstract

Since its earliest performances, The Merchant of Venice garnered attention for its depiction of Shylock, the greedy Jewish moneylender who takes the protagonist of the play to court, demanding a pound of flesh. Over the centuries, depictions of this character have varied as much as the critical and popular reception to him. In the hands of each actor who newly embodies the character, Shylock can take the shape of a grotesque antisemitic caricature or a sympathetic anti-hero speaking truth to power. While Shylock began as a comic villain whose defeat allows the comedic resolution, almost all modern directors, actors, and audiences are forced to reckon with the cruel antisemitism voiced by the play’s protagonists. In tracing the performance history of this character from the turn of the 17th century, to the Third Reich, to his most recent incarnations, this research resists reducing Shylock to any single interpretation. Instead, this essay argues that Shylock serves as a reflection of the place and time in which he is performed, both an indicator of cultural attitudes and a potential instigator of cultural action towards oppression, justice, and representation of those deemed outsiders.

Highlights

  • The Merchant of Venice is a play burdened with over four centuries of historical, political, and performative baggage, and as such should be read, discussed, and performed in ways that incorporate and build upon its complex history

  • While Stewart places an emphasis on Shylock’s distinct language, it is through his words that we find the most prominent clues regarding his physical appearance

  • Al Pacino stands out as perhaps the definitive actor of Shylock in the twentyfirst century far, having played the role once in a 2004 film and twice on stage in 2010 (Ebert).9. While those two embodiments of the character were quite different, together they serve as a central point upon which historical Shylock performances and norms for future interpretations hinge

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Summary

Introduction

The Merchant of Venice is a play burdened with over four centuries of historical, political, and performative baggage, and as such should be read, discussed, and performed in ways that incorporate and build upon its complex history.

Results
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