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Shakespeare Wrote Shakespeare
OPEN FORUM The Pages of The Oxfordian are open to all sides of the Authorship Question Shakespeare Wrote Shakespeare David Kathman or the vast majority of Shake- speare scholars, there is no ‘au- thorship question’; they agree that F the works of William Shake- speare were written by William Shake- speare of Stratford-upon-Avon (allow- ing for some collaboration), and tend to ignore or dismiss anyone who claims oth- erwise. In the following pages I will try to explain, from the perspective of a Shake- speare scholar, why the Stratford Shakespeare’s authorship is so generally ac- cepted by historians, and why those historians do not take seriously the various attempts to deny that attribution. I realize from experience that this explanation is not likely to convince many committed antistratfordians, but at the very least I hope to correct some misconceptions about what Shakespeare scholars actually believe. For the purposes of argument, we can distinguish among three main strands of William Shakespeare’s biography, which I will call Stratford Shakespeare, Actor Shakespeare, and Author Shakespeare. Stratford Shakespeare was baptized in Stratford-upon-Avon in 1564, married Anne Hathaway in 1582, had three children with her, bought New Place in 1597 and various other properties in and around Stratford over the following decade, and was buried in there in 1616. Actor Shakespeare was a member of the Lord Chamberlain’s/King’s Men, the leading acting company in London from 1594 on, and an original sharer in the Globe and Blackfriars playhouses. Author Shakespeare signed the dedications of Venus and Adonis (1593) and The Rape of Lucrece (1594), and over the next twenty years was named on title 13 THE OXFORDIAN Volume XI 2009 Kathman pages as the author of numerous plays and poems, and was praised by such crit- ics as Francis Meres and Gabriel Harvey. -
Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. -
The Globe Theatre Place of Birth: Stratford-Upon-Avon D.O.D: 23 April 1616 Shakespeare’S Plays Were Performed at the Globe Theatre
Y7 Performing Arts - Knowledge Organiser 3 Key Shakespeare Introduction Terminology Mat Key facts and key words Full Name: William Shakespeare D.O.B: April 1564 The Globe Theatre Place of birth: Stratford-upon-Avon D.O.D: 23 April 1616 Shakespeare’s plays were performed at the Globe Theatre. Theatre Roots: The King’s Men, formally known as The Lord This was a theatre like no other, it was an open air theatre, Chamberlain’s Men. with a large stage. Elizabethan Theatre Iambic Pentameter Groundlings Scene Originally built: 1599 —however in 1613, during Shake- Traveling Theatre Stage Direction Audience Genre speare’s play Henry VIII, a cannon set fire to the straw in the Audience Appreciation Shakespeare Playwright Act roof and it burnt down. It was quickly rebuilt the year after. Layout: The stage configuration is the stage layout and type of stage the play is performed on. The Globe theatre was a Genre Proscenium Arch stage. Performances: A flag was raised to All Shakespearean plays fall into one of 3 genres; Comedy, show a play was about to begin. Plays began at 2 in the after- Tragedy and history. Some may also have a romantic element. noon to ensure it was still light for the performance. Comedy History Tragedy All’s well that ends well Henry IV Anthony and Cleopatra Actors: In Shakespeare's time, there were no women actors. Women's parts were played by boys. For a time, child actors As you Like it Henry V Coriolanus Comedy of Errors Cymbeline were more popular than grown-actors. -
Globe Theatre
Episode 25 Teacher Resource 4th September 2018 Globe Theatre Students will explore the history of 1. Before you watch the BTN Globe Theatre story, record what you the Globe Theatre. Students will know about William Shakespeare. explore the meaning, use and form 2. When was the Globe Theatre first built? of Shakespeare’s language. 3. Where was it built? Locate using Google Maps. 4. What happened to the original Globe Theatre? 5. Name a play written by William Shakespeare. 6. About how many people can the Globe Theatre can hold? 7. How many storeys high is the Globe? English – Year 5 8. What is at the base of the stage? Understand that the pronunciation, 9. Illustrate an aspect of the Globe Theatre story. spelling and meanings of words have histories and change over 10. Which film is based on one of Shakespeare’s plays? time. a. Hotel Transylvania b. Trolls Understand that patterns of language interaction vary across c. Gnomeo & Juliet social contexts and types of texts and that they help to signal social roles and relationships. Create literary texts using realistic and fantasy settings and characters that draw on the worlds represented Discuss the BTN Globe Theatre story as a class. What questions were in texts students have experienced. raised in the discussion (what are the gaps in their knowledge)? The following KWLH organiser provides students with a framework to explore English – Year 6 Experiment with text structures their knowledge on this topic and consider what they would like to know and and language features and their learn. effects in creating literary texts, for example, using imagery, sentence variation, metaphor and word What do I choice. -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
Playing Shakespeare with Deutsche Bank Production of Twelfth Night
2016 shakespeare’s globe Annual review contents Welcome 5 Theatre: The Globe 8 Theatre: The Sam Wanamaker Playhouse 14 Celebrating Shakespeare’s 400th Anniversary 20 Globe Education – Inspiring Young People 30 Globe Education – Learning for All 33 Exhibition & Tour 36 Catering, Retail and Hospitality 37 Widening Engagement 38 How We Made It & How We Spent It 41 Looking Forward 42 Last Words 45 Thank You! – Our Stewards 47 Thank You! – Our Supporters 48 Who’s Who 50 The Playing Shakespeare with Deutsche Bank production of Twelfth Night. Photo: Cesare de Giglio The Little Matchgirl and Other Happier Tales. Photo: Steve Tanner WELCOME 2016 – a momentous year – in which the world celebrated the richness of Shakespeare’s legacy 400 years after his death. Shakespeare’s Globe is proud to have played a part in those celebrations in 197 countries and led the festivities in London, where Shakespeare wrote and worked. Our Globe to Globe Hamlet tour travelled 193,000 miles before coming home for a final emotional performance in the Globe to mark the end, not just of this phenomenal worldwide journey, but the artistic handover from Dominic Dromgoole to Emma Rice. A memorable season of late Shakespeare plays in the Sam Wanamaker Playhouse and two outstanding Globe transfers in the West End ran concurrently with the last leg of the Globe to Globe Hamlet tour. On Shakespeare’s birthday, 23 April, we welcomed President Obama to the Globe. Actors performed scenes from the late plays running in the Sam Wanamaker Playhouse at Southwark Cathedral, a service which was the only major civic event to mark the anniversary in London and was attended by our Patron, HRH the Duke of Edinburgh. -
THEATRE of the ENGLISH and ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance
THEATRE OF THE ENGLISH AND ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance Edited by J. R. MULRYNE Professor of English and Comparative Literary Studies and Chairman, Graduate School of Renaissance Studies, University of Warwick and MARGARET SHEWRING Lecturer in Theatre Studies and Course DirectoT, Graduate School of Renaissance Studies, University of Warwick Palgrave Macmillan ISBN 978-1-349-21738-0 ISBN 978-1-349-21736-6 (eBook) DOI 10.1007/978-1-349-21736-6 © J. R. Mulryne and Margaret Shewring 1991 Softcover reprint ofthe hardcover 1st edition 1991 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 ISBN 978-0-312-06771-7 Library of Congress Cataloging-in-Publication Data Theatre of the English and Italian Renaissance / edited by J. R. Mulryne and Margaret Shewring. p. cm. Revised papers from a Seminar on 'English and ltalian Renaissance Theatre' held at the University of Warwick, May 1987. Inc1udes bibliographical references and index. ISBN 978-0-312-06771-7 1. Italian drama-To 17OQ-History and criticism-Congresses. 2. English drama-Early modem and Elizabethan, 1500-1600-History and criticism-Congresses. 3. Theater-ltaly-History-16th century-Congresses. 4. Theater-England-History-16th century -Congresses. I.Mulryne. J.R. 11. Shewring, Margaret. 111. Seminar on 'English and Italian Renaissance Theatre' (1987: University ofWarwick) PQ4139.T54 1991 352'.409-dc20 91-21021 -
Shakespeare's Globe Theatre the Globe Theatre Was Constructed in 1599, out of Timber Taken from the Theatre
Shakespeare's Globe Theatre The Globe Theatre was constructed in 1599, out of timber taken from the Theatre. It stood next to the Rose, on the south side of the Thames, and was the most elaborate and attractive theatre yet built. The Globe was designed and constructed for the Chamberlain's Men by Cuthbert Burbage, son of the Theatre's creator, James Burbage. The lease for the land on which the Globe stood was co-owned by Burbage and his brother Robert, and by a group of five actors -- Will Kempe, Augustine Phillips, John Heminge, Thomas Pope, and William Shakespeare. Much of Shakespeare's wealth came from his holdings in the Globe. The Globe was the primary home of Shakespeare's acting company beginning in late 1599, and it is a possibility that As You Like It was written especially for the occasion. On June 29, 1613, during a performance of Henry VIII, a misfired canon ball set the Globe's thatched roof on fire and the whole theatre was consumed. Swift reconstruction did take place and the Globe reopened to the public within a year, with the addition of a tiled roof. The new Globe theatre lasted until 1644, at which time it was demolished, and housing was quickly built where it once stood. Recent attempts have been made to re-create the Globe, and replicas have been built in Tokyo and in London. The Globe Stage The stage had two primary parts: 1) The outer stage, which was a rectangular platform projecting into the courtyard, from the back wall. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
Othello Theme: the Challenges of Staging the Play
Discovering Literature www.bl.uk/shakespeare Teachers’ Notes Curriculum subject: English Literature Key Stage: 4 and 5 Author / Text: William Shakespeare, Othello Theme: The challenges of staging the play Rationale These activities encourage young people to join the debate about how to stage and cast Othello. Students will consider the sensitive question of who should play the central roles – black or white actors, men or women. Using controversial paintings, playbills and production photos, they will explore how changing social contexts have shaped the way Othello has been staged over the course of four centuries. They will debate the pros and cons of different productions, and plan how they would stage the play if they could do so themselves. Content Literary and historical sources from the site: Portrait of Richard Burbage (early 17th century) The first illustrated works of Shakespeare edited by Nicholas Rowe (1709) Painting of Ira Aldridge as Othello (1826) Playbill advertising Ira Aldridge’s appearance as Othello in Northampton (1831) Playbill advertising Ira Aldridge’s appearance as Othello, Richard III and Shylock in Newcastle (1845) Paul Robeson as Othello and Uta Hagen as Desdemona (1943–44) Postcard of Olivier as Othello (1964) Photograph of Hugh Quarshie and Lucian Msamati in Othello (2015) Photograph of Joanna Vanderham and Hugh Quarshie in Othello (2015) Recommended reading (short articles): Playing Othello: Hugh Quarshie Othello, the role that entices and enrages actors of all skin colours: Andrew Dickson External -
The Elizabethan Age
The Elizabethan Age This royal throne of kings, this sceptred isle, This earth of majesty, this seat of Mars, This other Eden, demi-paradise, This fortress built by Nature for herself Against infection and the hand of war, This happy breed of men, this little world, This precious stone set in the silver sea, Which serves it in the office of a wall Or as a moat defensive to a house, Against the envy of less happier lands,- This blessed plot, this earth, this realm, this England. – Richard II, William Shakespeare DRAMA TEACHER ACADEMY © 2015 LINDSAY PRICE 1 INDEX THE ELIZABETHAN AGE What was going on during this time period? THE ELIZABETHAN THEATRE The theatres, the companies, the audiences. STAGING THE ELIZABETHAN PLAY How does it differ from modern staging? DRAMA TEACHER ACADEMY © 2015 LINDSAY PRICE 2 Facts About Elizabethan England • The population rose from 3 to 4 million. • This increase lead to widespread poverty. • Average life expectancy was 40 years of age. • Country largely rural, though there is growth in towns and cities. • The principal industry still largely agricultural with wool as its main export. But industries such as weaving started to take hold. • Society strongly divided along class lines. • People had to dress according to their class. • The colour purple was reserved for royalty. • The religion was Protestant-Anglican – the Church of England. • There was a fine if you didn’t attend church. • Only males went to school. • The school day could run from 6 am to 5 pm. • The middle class ate a diet of grains and vegetables – meat was a luxury saved for the rich, who surprisingly ate few vegetables.