Teaching Shakespeare Today: Practical Approaches and Productive Strategies
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Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19. -
Fortinbras Program
THE MIT COMMUNITY PLAYERS PRESENT FORTINBRAS BY LEE BLESSING THURSDAY–SATURDAY, MAY 22-24, 1997 KRESGE LITTLE THEATRE ON THE MIT CAMPUS FORTINBRAS by Lee Blessing *Produced by special arrangement with Baker’s Plays The Persons of the Play Fortinbras ...................................... Steve Dubin Hamlet ........................................... Greg Tucker (S) Osric .............................................. Ian Dowell (A) Horatio........................................... Matt Norwood ’99 Ophelia .......................................... Erica Klempner (G) Claudius ........................................ Ben Dubrovsky (A) Gertrude ........................................ Anne Sechrest (affil) Laertes .......................................... Randy Weinstein (G) Polonius......................................... Peter Floyd (A, S) Polish Maiden 1............................. Alice Waugh (S) Polish Maiden 2............................. Anna Socrates Captain .......................................... Jim Carroll (A) English Ambassador ..................... Alice Waugh (S) Marcellus....................................... Eric Lindblad (G) Barnardo ....................................... Russell Miller ’00 The Scenes of the Play Act I: Elsinore — ten minute intermission — Act II: Still Elsinore (“S” indicates MIT staff member, “G” indicates graduate student, “A” indicates alumnus, and “affil” indicates affiliation with a member of the MIT community). Behind the Scenes Director............................................. Ronni -
An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas
Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1971 Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas. Lise Brandt Pedersen Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Pedersen, Lise Brandt, "Shavian Shakespeare: Shaw's Use and Transformation of Shakespearean Materials in His Dramas." (1971). LSU Historical Dissertations and Theses. 2159. https://digitalcommons.lsu.edu/gradschool_disstheses/2159 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]. I I 72- 17,797 PEDERSEN, Lise Brandt, 1926- SHAVIAN .SHAKESPEARE:' SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS. The Louisiana State University and Agricultural and Mechanical College, Ph.D., 1971 Language and Literature, modern University Microfilms, XEROXA Company, Ann Arbor, Michigan tT,TITn ^TnoT.r.a.A'TTAItf U4C PPPM MT PROPTT.MF'n FVAOTT.V AR RECEI VE D SHAVIAN SHAKESPEARE: SHAW'S USE AND TRANSFORMATION OF SHAKESPEAREAN MATERIALS IN HIS DRAMAS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Lise Brandt Pedersen B.A., Tulane University, 1952 M.A., Louisiana State University, 1963 December, 1971 ACKNOWLEDGMENT I wish to thank Dr. -
The Rings and Inner Moons of Uranus and Neptune: Recent Advances and Open Questions
Workshop on the Study of the Ice Giant Planets (2014) 2031.pdf THE RINGS AND INNER MOONS OF URANUS AND NEPTUNE: RECENT ADVANCES AND OPEN QUESTIONS. Mark R. Showalter1, 1SETI Institute (189 Bernardo Avenue, Mountain View, CA 94043, mshowal- [email protected]! ). The legacy of the Voyager mission still dominates patterns or “modes” seem to require ongoing perturba- our knowledge of the Uranus and Neptune ring-moon tions. It has long been hypothesized that numerous systems. That legacy includes the first clear images of small, unseen ring-moons are responsible, just as the nine narrow, dense Uranian rings and of the ring- Ophelia and Cordelia “shepherd” ring ε. However, arcs of Neptune. Voyager’s cameras also first revealed none of the missing moons were seen by Voyager, sug- eleven small, inner moons at Uranus and six at Nep- gesting that they must be quite small. Furthermore, the tune. The interplay between these rings and moons absence of moons in most of the gaps of Saturn’s rings, continues to raise fundamental dynamical questions; after a decade-long search by Cassini’s cameras, sug- each moon and each ring contributes a piece of the gests that confinement mechanisms other than shep- story of how these systems formed and evolved. herding might be viable. However, the details of these Nevertheless, Earth-based observations have pro- processes are unknown. vided and continue to provide invaluable new insights The outermost µ ring of Uranus shares its orbit into the behavior of these systems. Our most detailed with the tiny moon Mab. Keck and Hubble images knowledge of the rings’ geometry has come from spanning the visual and near-infrared reveal that this Earth-based stellar occultations; one fortuitous stellar ring is distinctly blue, unlike any other ring in the solar alignment revealed the moon Larissa well before Voy- system except one—Saturn’s E ring. -
Abstracts of the 50Th DDA Meeting (Boulder, CO)
Abstracts of the 50th DDA Meeting (Boulder, CO) American Astronomical Society June, 2019 100 — Dynamics on Asteroids break-up event around a Lagrange point. 100.01 — Simulations of a Synthetic Eurybates 100.02 — High-Fidelity Testing of Binary Asteroid Collisional Family Formation with Applications to 1999 KW4 Timothy Holt1; David Nesvorny2; Jonathan Horner1; Alex B. Davis1; Daniel Scheeres1 Rachel King1; Brad Carter1; Leigh Brookshaw1 1 Aerospace Engineering Sciences, University of Colorado Boulder 1 Centre for Astrophysics, University of Southern Queensland (Boulder, Colorado, United States) (Longmont, Colorado, United States) 2 Southwest Research Institute (Boulder, Connecticut, United The commonly accepted formation process for asym- States) metric binary asteroids is the spin up and eventual fission of rubble pile asteroids as proposed by Walsh, Of the six recognized collisional families in the Jo- Richardson and Michel (Walsh et al., Nature 2008) vian Trojan swarms, the Eurybates family is the and Scheeres (Scheeres, Icarus 2007). In this theory largest, with over 200 recognized members. Located a rubble pile asteroid is spun up by YORP until it around the Jovian L4 Lagrange point, librations of reaches a critical spin rate and experiences a mass the members make this family an interesting study shedding event forming a close, low-eccentricity in orbital dynamics. The Jovian Trojans are thought satellite. Further work by Jacobson and Scheeres to have been captured during an early period of in- used a planar, two-ellipsoid model to analyze the stability in the Solar system. The parent body of the evolutionary pathways of such a formation event family, 3548 Eurybates is one of the targets for the from the moment the bodies initially fission (Jacob- LUCY spacecraft, and our work will provide a dy- son and Scheeres, Icarus 2011). -
Braggart Courtship from Miles Gloriosus to the Taming of the Shrew
2707 Early Theatre 19.1 (2016), 81–112 http://dx.doi.org/10.12745/et.19.1.2707 Philip D. Collington ‘A Mad-Cap Ruffian and a Swearing Jack’: Braggart Courtship from Miles Gloriosus to The Taming of the Shrew There is a generic skeleton in Petruchio’s closet. By comparing his outlandish behav- iour in Shakespeare’s The Taming of the Shrew (ca 1592–94) to that of Pyrgopo- linices in Plautus’s Miles Gloriosus (ca 200 BC), as well to that of English variants of the type found in Udall, Lyly, and Peele, I re-situate Petruchio as a braggart soldier. I also reconstruct a largely forgotten comic subgenre, braggart courtship, with distinctive poetic styles, subsidiary characters, narrative events, and thematic func- tions. Katherina’s marriage to a stranger who boasts of his abilities and bullies social inferiors raises key questions: What were the comic contexts and cultural valences of a match between a braggart and a shrew? Is there a generic skeleton in Petruchio’s closet? When he arrives in Padua in The Taming of the Shrew (ca 1592–94), he introduces himself to locals as old Antonio’s heir — and those who remember the father instantly embrace the son. ‘I know him well’, declares Baptista, ‘You are welcome for his sake’ (2.1.67–9).1 But when Petruchio begins beating his servant and boasting of his abilities, he may also have struck playgoers as a character type they knew well: the braggart soldier. By comparing Petruchio to the type’s most storied ancestor, Pyrgopo- linices in Plautus’s Miles Gloriosus [The Braggard Captain] (ca 200 BC), as -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
"I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S
CHAPTER 4 "I Could Not Say 'Amen'": Prayer and Providence in Macbeth Robert S. Miola Though ancient playwrights believed in different deities and ethical sys- tems, they too depicted human beings struggling with the gods, with fate and free will, crime and punishment, guilt and suffering. Sophocles (5th c. BC) portrays Oedipus, solver of the Sphinx's riddle and King of Thebes, who discovers that all along he has been fulfilling, not fleeing, the curse of Apollo and its dread predictions: "Lead me away, O friends, the utterly lost (ton meg' olethrion), most accursed (ton kataratotaton), and the one among mortals most hated (exthrotaton) by the gods!" (1341-43). In several plays that provided models for Macbeth, Seneca (d. 65 AD) presents men and women saying the unsayable, doing the unthinkable and suffering the unimaginable. The witch Medea slays her own children in a horrifying act of revenge. In contrast to Euripides Medea, which ends in a choral affirmation of Zeus's justice and order, Seneca's play concludes with Medea's transformation into something inhuman: she leaves the scene of desolation in a chariot drawn by drag- ons, bearing witness, wherever she goes, that there are gods, testare nullos esse, qua veheris, deos (1027). Driven mad by the goddess Juno, Seneca's Hercules in Hercules Furens kills his children, then awakens to full recognition of his deed in suicidal grief and remorse. These tragic heroes struggle against the gods and themselves. Such classical archetypes inform tragedy in the West, with Seneca especially shaping Elizabethan tragedy. Medea and Hercules Furens partly account for the child-killing so prominent in Macbeth. -
Redeeming the Debauched Falstaff | the American Conservative
10/26/2017 Redeeming the Debauched Falstaff | The American Conservative BLOGS POLITICS WORLD CULTURE EVENTS NEW URBANISM ABOUT DONATE The Right’s Redeeming the Happy Birthday, I Fought a War How Saddam Ezra Pound, Shutting Up The Strangene Biggest Wedge Debauched Hillary Against Iran— Hussein Locked Away Richard Spencer of ‘Stranger Issue: Donald Falstaff and It Ended Predicted Things’ Trump Badly America’s Redeeming the Debauched Falstaff Do not moralize---there is a little of Shakespeare's 'Fat Knight' in all of us. By ALLEN MENDENHALL • October 26, 2017 Like 3 Share Tweet Falstaff und sein Page, by Adolf Schrödter, 1866 (Public Domain). Falstaff: Give Me Life (Shakespeare’s Personalities) Harold Bloom, Scribner, 176 pages. In The Daemon Knows, published in 2015, the heroic, boundless Harold Bloom claimed to have one more book left in him. If his contract with Simon & Schuster is any indication, he has more work than that to complete. The effusive 86-year-old has agreed to produce a sequence of five books on Shakespearean personalities, presumably those with whom he’s most enamored. The first, recently released, is Falstaff: Give Me Life, which has been called an “extended essay” but reads more like 21 ponderous essay-fragments, as though Bloom has compiled his notes and reflections over the years. The result is a solemn, exhilarating meditation on Sir John Falstaff, the cheerful, slovenly, degenerate knight whose unwavering and ultimately self- destructive loyalty to Henry of Monmouth, or Prince Hal, his companion in William Shakespeare’s Henry trilogy (“the Henriad”), redeems his otherwise debauched character. http://www.theamericanconservative.com/articles/redeeming-the-debauched-falstaff/ 1/4 10/26/2017 Redeeming the Debauched Falstaff | The American Conservative Except Bloom doesn’t see the punning, name-calling Falstaff that way.