Dympna Callaghan's CV
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The North Face of Shakespeare: Activities for Teaching the Plays
Vol. XXIV Clemson University Digital Press Digital Facsimile Vol. XXIV THE • VPSTART • CROW• Contents Part One: Shakespeare's Jests and Jesters John R.. Ford • Changeable Taffeta: Re-dressing the Bears in Twelfth Night . 3 Andrew Stott • "The Fondness, the Filthinessn: Deformity and Laughter in Early-Modem Comedy........................................................................... 15 Tamara Powell and Sim Shattuck • Looking for Liberation and Lesbians in Shakespeare's Cross-Dressing Comedies ...................... ...................... 25 Rodney Stenning Edgecombe • "The salt fish is an old coar' in The Merry Wives of Windsor 1. 1 ................................•.....•..... .......•. ... ...... ......... ..... 34 Eve-Marie Oesterlen • Why Bodies Matter in Mouldy Tales: Material (Re)Tums in Pericles, Prince of Tyre .......................... ...... ...... ......... ... ................... 36 Gretchen E. Minton • A Polynesian Shakespeare Film: The Maori Merchant of Venice ............................................................................................... 45 Melissa Green • Tribal Shakespeare: The Federal Theatre Project's "Voo- doo Macbeth n(1936) ........................................ ...... ......... ... ............... .... 56 Robert Zaller • "Send the Head to Angelon: Capital Punishment in Measure for Measure ................................................................................:......... 63 Richard W. Grinnell • Witchcraft, Race, and the Rhetoric of Barbarism in Othello and 1 Henry IV......................................................................... -
Shakespeare and Violence
SHAKESPEARE AND VIOLENCE R. A. FOAKES The Pitt Building, Trumpington Street, Cambridge , United Kingdom The Edinburgh Building, Cambridge, ,UK West th Street, New York, -, USA Williamstown Road, Port Melbourne, , Australia Ruiz de Alarc´on , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org C R. A. Foakes This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville Monotype /. pt System LATEX ε [] A catalogue record for this book is available from the B ritish Library Library of Congress Cataloguing in Publication data Foakes, R. A. Shakespeare and Violence / R. A. Foakes. p. cm. Includes bibliographical references and index. --- – --- (pb.) . Shakespeare, William, – – Views on violence. Shakespeare, William, – – Views on war. Violence in literature. War in literature. Title. . –dc hardback paperback Contents List of illustrations page ix Preface xi . Introduction: ‘Exterminate all the brutes’ . Shakespeare’s culture of violence Shakespeare and classical violence Shakespeare and Christian violence . Shakespeare and the display of violence Marlowe and the Rose spectaculars Shakespeare’s chronicles of violence: Henry VI, Part Henry VI, Part Butchery in Henry VI, Part and the emergence of Richard III Torture, rape, and cannibalism: Titus Andronicus . Plays and movies: Richard III and Romeo and Juliet Richard III for a violent era Romeo and Juliet . Shakespeare on war: King John to Henry V Muddled patriotism in King John Model warriors and model rulers in Henry IV Henry V and the idea of a just war . -
INSIDE: Vietnam,Chile, Cuba, Dhofar,China,J
RED 20p RAG A MAGAZINE OF WOMENS LIBERATION No.9 “ Women are the greatest victims of the war, but they are also the greatest heroes” Vietnamese saying INSIDE: Vietnam, Chile, Cuba, Dhofar, China, Japan, 2 EDITORIAL Red Rag No 9 JUNE 1975 In International Women’s Year there’s no country on earth in Imperialist defeats in Cambodia and Vietnam represent a which women are not oppressed, and few countries in the real victory for internationalism both in the concrete support world where women are not beginning to struggle towards given by socialist countries and through political and ideol their liberation. The basic features of our oppression — the ogical campaigns fought in Europe and America. Their sexual division of labour and women’s role in the reproduc victory is ours. We helped them, but the Vietnamese have tion of labour power — stretch across all national boundaries. helped us far more, by demonstrating that with international Women still have the primary responsibility for cooking, solidarity, the largest imperialist force in the world can be cleaning and the care of children, and the majority still work defeated. in the lowest paid, least skilled jobs. However, the forms of We recognise the increasing urgency of the anti-imperialist women’s oppression and the struggles against it vary struggles in Northern Ireland, and the need to translate our enormously around the world. The kind of problems women solidarity into concrete support for Irish women, whose lives face in socialist, capitalist or ‘Third World’ countries - are are a daily struggle against the effects of internment, repres determined by the political, economic and ideological con sion and British occupation. -
1920 Patricia Ann Mather AB, University
THE THEATRICAL HISTORY OF WICHITA, KANSAS ' I 1872 - 1920 by Patricia Ann Mather A.B., University __of Wichita, 1945 Submitted to the Department of Speech and Drama and the Faculty of the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. Redacted Signature Instructor in charf;& Redacted Signature Sept ember, 19 50 'For tne department PREFACE In the following thesis the author has attempted to give a general,. and when deemed.essential, a specific picture of the theatre in early day Wichita. By "theatre" is meant a.11 that passed for stage entertainment in the halls and shm1 houses in the city• s infancy, principally during the 70' s and 80 1 s when the city was still very young,: up to the hey-day of the legitimate theatre which reached. its peak in the 90' s and the first ~ decade of the new century. The author has not only tried to give an over- all picture of the theatre in early day Wichita, but has attempted to show that the plays presented in the theatres of Wichita were representative of the plays and stage performances throughout the country. The years included in the research were from 1872 to 1920. There were several factors which governed the choice of these dates. First, in 1872 the city was incorporated, and in that year the first edition of the Wichita Eagle was printed. Second, after 1920 a great change began taking place in the-theatre. There were various reasons for this change. -
Theatre Magazine Volume 1
THE THEATRE Illustrated Monthly Magazine Devoted to the Drama and Music VOL. i, 1901 ,.2-fo NEW YORK MEYER BROS. & COMPANY PUBLISHERS Twenty-six West Thirty-third Street Special Articles ISSUE PAGE vs. F. Acung Elocution, by H. McMechan Oct. America's Greater Players, by Alfred Ayres Critics and Criticism, by W. T. Price .... Chorus Girl to Leading Woman, by Irene Bentley . Essence of Rostand's Genius, by Cleveland Moffett Essentials ot Stage Success, by Julia Marlowe Henrik Ibsen the Man, by E. Limedorfer . Love Letters of an Actor, by George H. Payne Music and Musicians, by Emily G. von Tetzel Our American Dramatists, by Edgar Saltus . Scenes from Plays ISSUE 1'AOE Portraits Continued ISSI-E PAGE ISSL'K PAGE ISSUE PAGE Mt.ncinelli. Signer, bust ..May. ....14 Otis, Elita Proctor, in "City of Pleasure".. .May 8 Shannon, Eflie, in private dress ...P.G 4 Mann, Louis, In "Red Kloof" ..Nov.. in "Sporting Life" May 8 Sheehan, Joseph F., as Faust ...Sept. 7 .14 Manner ing, Mary, in private dress ..P. G. 5 in private dress May 9 Skinner, Otis, as Norbert ...June. .12 as Juliet ..P. G. , 6 in "Brixton Burglary".. July 3 Snyder, Ella, in "Casino Girl" ...July. in "Janice Meredith". ..July. .14 Sothern, E. H., in private dress ...P. G.. .31 Paderewski, Ignace, In private dress July 17 . 2 Mansfield, Richard, as Cyrano de Berber* c.P. Q. .30 as Richard Lovelace ...Sept. Pol, as P. G 8 Plancon, Mephistopheles .10 riding in park . .June. .17 in his study ...Dec.. in dress Dec 31 private 11 in private dress ..Dec.., . -
From 1912 Thr')Ugh 1916 on the Broa(Way Sl;Lge
SHAKESPo;l\REl\.N FESTIVA[J3 IN WE.5TERN KA>.JSl\.S by De 1m" r C. Homan CANSA!> 1 From 1912 thr')ugh 1916 on the Broa(way sl;lge, productions of ShOlk~spc,.r<o's rIal's "'s["c pro\' id~n9 t'oles f,)I:: E.H. Sothero ilrl'1 Julia Marlowe, John Dre.", .J'Jhnston forbes-Robertson and IN TWENTIETH Gertrud", Elli0~.t-_, MilrO",..pt Anglin, Robcc-t 8. M;:;nlell, ow,] Sir H'O~bert Beerbohm Tree, CIS well as SarOlh BernhauJt, TyronQ 21 PO'''er, <lnd Sydn",,;, Gr8enstreet nlc.ntle and Sherw(.)oc 1'145, ~im). At that ~ame time, in five town.'> in ""'(estern Kansas, productions of Shakespea~e's r1iiYs \oIere sorvi.ng os coml1ljnlty projc~·t~ "nd ,cOmnluJliLy eJctc;rt.ainment, HI dccordance .... ith some of the most advanced th"'orics of the daY about the [('"cue of the theater from the shackles of comm8rc~. os The fiv~ tcwns "'J':"e Kinsley, Hutc:h·-;ns0n, 1.incc,]n, tleringt~n, and St. John. These towns were not large; glish a."ld Chairnan Of the ar;~ording to the 1910 c;"nSl;.·j, Kinsley, IOher", the festi.als ,ollege, Lindsborg, Kansas. b8~an, had a popul~tioll of 1,547; Hutehi,son, 16,364; Lincoln, a Ulliv~rsity. Professor 1,508; Herington, 3,27); and St. John, 1,785. 8ven these of .3rticles on William l'oI'lll,,~ions represented c; doubling si"c:" 1900 In Hutchinson, -Gilmor Bro~rl and the Heringtun, <In,j St. John, and ,::>f cc.'ursc s,::>m", grGwth contlnu,=,d, tre History Studies, 1~8q, IOjth Killsley reaching 1\'1:1 il) 1913, and with Lincoln claIming lunty Ka~sas: 1886-1910," 1,700 in t1e some year. -
Buzz Goodbody and the Other Place
Early Modern Studies Journal Volume 5 : Shakespeare and Performance English Department | University of Texas | Arlington Knowing Her Place: Buzz Goodbody and The Other Place Alycia Smith-Howard British American Drama Academy; CAPA International Education - London Yes, of course our theatre is moribund – like our cinema. But only two courses are honourable: shut up – or do something. - Lindsay Anderson, 1957 _ Polonius. “The actors have come hither, my lord.” Hamlet. “Buzz, buzz.” (II.ii., 255-256) The Other Place, the Royal Shakespeare Company’s studio venue in Stratford-upon-Avon (opened in 1974, closed and demolished in 1989) best represented the RSC’s pioneering mission to “conserve, advance and disseminate the dramatic heritage of Shakespeare.”1 From its humble beginnings as a makeshift rehearsal room and storage hut, The Other Place, became the most productive tin shed in theater history and the site of some of the RSC’s most adventurous, experimental and controversial work on Shakespeare. The Other Place combined the excitement and social challenge of alternative theater with the brilliance and 78 artistry of classical theater tradition. The Other Place was the brainchild of Mary Ann “Buzz” Goodbody (1947-75). A beautiful, Roedean-educated, middle-class girl from Surrey who became a feminist and a Communist at the tender age of 15, Buzz Goodbody became the RSC’s first woman director when she was only 20 years old.2 Her studio, The Other Place, was no meteor suddenly appearing in theatrical skies, it instead rose slowly through a series of experiments within the RSC such as Actors Commando and Theatergoround. -
Theatre Survey the Theatrical Scrapbook
Theatre Survey http://journals.cambridge.org/TSY Additional services for Theatre Survey: Email alerts: Click here Subscriptions: Click here Commercial reprints: Click here Terms of use : Click here The Theatrical Scrapbook Sharon Marcus Theatre Survey / Volume 54 / Issue 02 / May 2013, pp 283 307 DOI: 10.1017/S0040557413000069, Published online: 22 April 2013 Link to this article: http://journals.cambridge.org/abstract_S0040557413000069 How to cite this article: Sharon Marcus (2013). The Theatrical Scrapbook. Theatre Survey, 54, pp 283307 doi:10.1017/S0040557413000069 Request Permissions : Click here Downloaded from http://journals.cambridge.org/TSY, IP address: 128.59.161.30 on 15 May 2013 Theatre Survey 54:2 (May 2013) © American Society for Theatre Research 2013 doi:10.1017/S0040557413000069 RE:SOURCES BETH A. KATTELMAN Sharon Marcus THE THEATRICAL SCRAPBOOK Librarian’s nightmare or researcher’s dream? Theatre historians frequently use and librarians happily acquire the rare theatrical scrapbook related to a single famous individual, but many undervalue and overlook ordinary theatrical albums, and with good cause: the ordinary theatrical scrapbook’s provenance is often unclear, its compilers are usually unknown, and its contents are typically hetero- geneous, commonplace, and decaying. The cracked bindings and flaking news- print characteristic of such scrapbooks frustrate conservation, while their clippings, programs, and images pose serious cataloging challenges, shorn as they often are of identifying information. Finally, at least some of the material in these albums (such as newspaper clippings) is often duplicated elsewhere, mak- ing their contents easily seem redundant.1 This essay argues, nonetheless, for the importance of the ordinary theatrical scrapbook as archive and medium. -
For Patrons, Friends and Supporters
‘...an autumn ‘twas that grew the more by reaping.’ Antony and Cleopatra, Act 5 Scene 2 William Shakespeare What News? FOR PATRONS, FRIENDS AND SUPPORTERS AUTUMN 2018 Welcome x Thank You For Making A Difference x Shreds & Patches Learning x Collections x Houses x International What’s On x Shopping x Friends’ Exclusive x Creative Muse Contents AT A GLANCE Thank You Shreds & Learning 6–7 Collections 8 Houses 9 For Making Patches 4–5 A Difference 3 International What’s On Gift Shop 14 Friends’ Creative 10–11 12–13 Exclusive 15 Muse 20 Welcome A warm welcome to our autumn edition of What News? As you read through this latest issue you will see that there is plenty happening at the Trust over coming months. We now have a new and novel exhibition in the Shakespeare Centre. “ShakespeariANNE” features the provocative work of our first artist-in-residence, Carrie Reichardt, with her unique take on the life and times of Anne Hathaway. Carrie is quite a character in her own right and her artistic take on Anne and her role is refreshing and challenging. Do visit if you can. This exhibition and a number of other events coincide with the centenary of women’s suffrage in the UK and in November we will be showcasing items from our collection with ‘Women Centre Stage’ and publishing the ‘Juliet Files’, continuing to compare and contrast the roles, rights and responsibilities of women in Shakespeare’s time with the present day. In December we will conclude the year with a series of spectacular outdoor performances of “Fierce Sisters”, a dazzling immersive performance by female-led acrobatic troupe Mimbre, at Shakespeare’s New Place. -
RSC PERFORMANCE HISTORY for Full Details, Including Cast Lists, Visit
RSC PERFORMANCE HISTORY For full details, including cast lists, visit: http://collections.shakespeare.org.uk/ PRESS NIGHTS PERFORMANCE VENUE 1961 12/01/1961 Ondine Aldwych Theatre, London 20/02/1961 The Devils Aldwych Theatre, London 19/03/1961 The Hollow Crown Aldwych Theatre, London 04/04/1961 Much Ado About Nothing Royal Shakespeare Theatre, Stratford-upon-Avon 11/04/1961 Hamlet Royal Shakespeare Theatre, Stratford-upon-Avon 24/05/1961 Richard III Royal Shakespeare Theatre, Stratford-upon-Avon 04/07/1961 As You Like It Royal Shakespeare Theatre, Stratford-upon-Avon 11/07/1961 Becket Aldwych Theatre, London 15/08/1961 Romeo and Juliet Royal Shakespeare Theatre, Stratford-upon-Avon 13/09/1961 The Taming of the Shrew Aldwych Theatre, London 10/10/1961 Othello Royal Shakespeare Theatre, Stratford-upon-Avon 05/12/1961 The Cherry Orchard Royal Shakespeare Theatre, Stratford-upon-Avon 13/12/1961 Becket Globe Theatre, London 1962 10/01/1962 As You Like It Aldwych Theatre, London 01/02/1962 The Hollow Crown Aldwych Theatre, London 13/03/1962 Everything in the Garden New Arts Theatre Club, London. 19/03/1962 The Art of Seduction Aldwych Theatre, London 29/03/1962 The Caucasian Chalk Circle Aldwych Theatre, London 10/04/1962 Measure for Measure Royal Shakespeare Theatre, Stratford-upon-Avon 12/04/1962 Nil Carborundum New Arts Theatre Club, London. 17/04/1962 A Midsummer Night's Dream Royal Shakespeare Theatre, Stratford-upon-Avon 23/04/1962 The Taming of the Shrew Royal Shakespeare Theatre, Stratford-upon-Avon 09/05/1962 The Lower Depths New Arts Theatre Club, London. -
Sir Ian Mclellan in Shakespeare
'ACTING GOOD PARTS WELL': SIR IAN McKELLEN IN SHAKESPEARE by HILARY EDITH W. LONG A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English Faculty of Arts The University of Birmingham March 2000 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis examines the performances which have earned Sir lan McKellen a reputation as one of the foremost Shakespearean actors of the day. His reputation has been built on five major performances: Richard II, Macbeth, Coriolanus, lago and Richard III. His performances as Hamlet, Romeo, Leontes and Kent were only limited successes. This thesis places McKellen's performances in these roles in the specific context of the production as a whole. Where it is relevant it assesses the significance of the casting of other roles, the influence of the personality, style and interests of the director, the policy of the theatre company and the impact of the performance space. This thesis identifies patterns in McKellen's work determined by his own personality and sexuality, the Cambridge education he shares with Sir Peter Hall, John Barton and Trevor Nunn, and his relationships with other actors. -
The Sunday Night Productions Without Decor at the Royal Court Theatre, 1957-1975
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1984 The undS ay Night Productions Without Decor at the Royal Court Theatre, 1957-1975 (England, Playwriting, Drama). Gordon Maxwell Bolar Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bolar, Gordon Maxwell, "The undS ay Night Productions Without Decor at the Royal Court Theatre, 1957-1975 (England, Playwriting, Drama)." (1984). LSU Historical Dissertations and Theses. 4006. https://digitalcommons.lsu.edu/gradschool_disstheses/4006 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed.