PRESS PACKET What, Lamb! What, Ladybird! 2011
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CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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 consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
And Performance
and Performance THE REPERTORY SYSTEM PLAYS A successful play would typically run for eight to twelve performances over a period of four to Playing companies in six months the 1590s presented a different play each AUDIENCES day, selecting from a The demand from repertoire of usually London audiences twenty to forty plays ACTING for new plays forced COMPANIES companies to add a new play every two weeks Two most significant (and rival) acting companies: the Admiral’s Men and the Lord Chamberlain’s Men Typical types of plays included: tragedies (Othello, Romeo and Juliet), comedies (Twelfth Night), and histories (Henry VIs All classes of society and Richards) visited public theatre PLAYWRIGHTS ACTORS Richard Burbage, 1568-1619 A member of the Lord Chamberlain’s Men from 1594, a close collaborator with Shakespeare, and a frequent player in his plays William Ben Shakespeare Jonson William Kemp, 1585-1603 A prominent comic actor in Shakespeare’s company in 1590s Robert Armin, 1563-1615 A writer and comic actor in Christopher John Shakespeare’s company who Marlowe Fletcher most notably portrayed the wise fools TH 17 CENTURY1642-1660 1660 Interregnum, Restoration period, when period when theatre going became a public theatres fashionable and social were closed experience POPULAR TYPES OF PLAYS HEROIC DRAMA PATHETIC TRAGEDY RESTORATION COMEDY (The Conquest of Granada (The Orphan (The Country Wife by John Dryden) by Thomas Otway) by William Wycherly) INNOVATION Special effects on stage became increasingly technical with the introduction of scenery -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS in VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton)
THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton) ABSTRACT This dissertation presents a study of Lord Byron’s historical dramas (Marino Faliero, The Two Foscari, Sardanapalus, and Werner) alongside the performative aesthetics of Don Juan, and it uses performance theory as a hermeneutic for examining this relationship. It provides a literary analysis of some neglected works and important issues in Byron’s writings, it explores the legacy of Byron in the nineteenth-century theater, and it tests the limits of current scholarship on Romantic drama. The dissertation brings together a large amount of scholarship and provides a new perspective on Byron, Romantic drama, and the Victorian theater. INDEX WORDS: Lord Byron, Romanticism, Romantic drama, nineteenth-century theater, Don Juan, Marino Faliero, Sardanapalus, The Two Foscari, Werner, Childe Harold’s Pilgrimage, Beppo, Manfred, performance, Percy Shelley, William Charles Macready, Helen Faucit, Charles Kean, Samuel Phelps. THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI BA, Augustana College, 2002 MA, University of Chicago, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2011 © 2011 Lirim Neziroski All Rights Reserved THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI Major Professor: Nelson Hilton Committee: Roxanne Eberle Richard Menke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 ACKNOWLEDGEMENTS I would like to thank some of the many people that have provided academic, financial, and moral support during my time as a graduate student. -
A Document in Death and Madness: a Cultural and Interdisciplinary Study of Nineteenth-Century Art Song Settings on the Death of Opelia
The University of Southern Mississippi The Aquila Digital Community Dissertations Summer 8-2014 A Document in Death and Madness: A Cultural and Interdisciplinary Study of Nineteenth-Century Art Song Settings on the Death of Opelia Jennifer Leigh Tipton University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Classics Commons, Literature in English, British Isles Commons, Musicology Commons, Music Performance Commons, Other English Language and Literature Commons, Other Music Commons, Theatre and Performance Studies Commons, and the Women's Studies Commons Recommended Citation Tipton, Jennifer Leigh, "A Document in Death and Madness: A Cultural and Interdisciplinary Study of Nineteenth-Century Art Song Settings on the Death of Opelia" (2014). Dissertations. 273. https://aquila.usm.edu/dissertations/273 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi A DOCUMENT IN DEATH AND MADNESS: A CULTURAL AND INTERDISCIPLINARY STUDY OF NINETEENTH-CENTURY ART SONG SETTINGS ON THE DEATH OF OPHELIA by Jennifer Leigh Tipton Abstract of a Dissertation Submitted to the Graduate School of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts August 2014 ABSTRACT A DOCUMENT IN DEATH AND MADNESS: A CULTURAL AND INTERDISCIPLINARY STUDY OF NINETEENTH-CENTURY ART SONG SETTINGS ON THE DEATH OF OPHELIA by Jennifer Leigh Tipton August 2014 In the nineteenth century the character of Ophelia transformed from a minor role in Hamlet into one of the great muses of the Romantic period. -
Traditions in Production of the Winter's Tale Traditions in Production
TRADITIONS IN PRODUCTION OF THE WINTER'S TALE TRADITIONS IN PRODUCTION OF THE WINTER'S TALE By JOHN ALEXANDER STRUTHERS, B.A. A Thesis Submitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University March, 1979 MASTER OF ARTS (1979) McMASTER UNIVERSITY (English) Hamilton, Ontario TITLE: Traditions in Production of The winter's Tale AUTHOR: John Alexander Struthers, B.A. (Queen's University) SUPERVISOR: Professor Berners A.W. Jackson NUMBER OF PA GES : v, 141 ii ABSTRACT This thesis concerns the traditions in production of The winter's Tale that have emerged since 1750. To find these traditions, and to understand the nature of each one, the major productions of The winter's Tale that have been given in England since 1750, and in North America since 1900, are considered. Also, to clarify the nature of each tradition, the general conditions during the period of a tradition are outlined. This involved outlining the state of Shakespeare production in general, or outlining the trends in literary criticism that influenced production of The winter's Tale. iii I wish to thank Dr. Berners Jackson for the advice and encouragement he has given me throughout the course of this work. Also I am indebted to those connected with the theatre who generously took time to speak with me about theatre production generally, and about productions of The winter's Tale. The reference material used in this study was found in the Mills Memorial Library at McMaster University, the Metropolitan Toronto Central Library, and the Robarts Research Library at the University of Toronto. -
Social Convention and Performance Choices""*
I >epartment of f lumanities I»MIV !•" H *i rr\ <>K The Shakespeare Institute ,\ J « % f i"v?-11 A \ i The University of Birmingham K f KM J 'N Cl li A Vl January 2006 Social Convention and Performance Choices""* in Three Interpretations of Lady Macbeth: Sarah Siddons( 1755-1832), Helen Faucit (1814-1898), and Ellen Terry (1847-1928). By Alexandra Helene Noble A thesis submitted to The University of Birmingham For the degree of Master of Philosophy Lady Macbeth is one of Shakespeare's greatest female roles but she sits uneasily within the patriarchal society of late eighteenth and nineteenth century Britain. In this thesis I explore the ways in which she was made fit for audiences through the interpretations of three leading actresses of the period; Sarah Siddons, Helen Faucit and Ellen Terry. In particular in the first chapter, but throughout the thesis 1 discuss the textual history of the play and the ways in which the alterations changed the balance between Lady Macbeth and her husband. I consider the place of the actress in society and the effect this might have had upon her realization of a character, in particular Lady Macbeth. I show through debates in parliament, articles in newspapers and journals and in the literature of the period, the prevailing patriarchal nature of society but also the challenges to it. From contemporary accounts and the words of Sarah Siddons, Helen Faucit and Ellen Terry, I reconstruct their performances within that society. Theatre is part of its society: this thesis shows the interaction between the ideas of late eighteenth and nineteenth-century society and the realization of one of Shakespeare's major characters. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 76-3458 HUSTON, Hollis Wilburn, 1947- MACREADY and the ORIGINS of THEATRICAL DIRECTION
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns 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 thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of die material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Gender Ideology and Shakespeare's Female Characters
1 VICTORIAN VOICES: GENDER IDEOLOGY AND SHAKESPEARE’S FEMALE CHARACTERS A dissertation presented by Mary Balestraci to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy in the field of English Northeastern University Boston, Massachusetts May, 2012 2 VICTORIAN VOICES: GENDER IDEOLOGY AND SHAKESPEARE’S FEMALE CHARACTERS by Mary Balestraci ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy in English In the Graduate School of Northeastern University May, 2012 3 Abstract The Victorians loved Shakespeare and, during this period, the study of Shakespeare became a popular form of education for middle class women, some of whom began writing about the female characters who populated these plays. Ongoing debates about the inherent nature of womanhood and the role of women in society—collectively known as the Woman Question—were also taking place in England at this time. These two areas converge in the writing produced by nineteenth-century female critics who used their criticism of Shakespeare’s female characters to express their views about Victorian gender ideology. Through their commentary on Shakespeare’s plays, Anna Jameson, Constance O’Brien, Grace Latham, Helena Faucit, and Madeleine Leigh-Noel Elliott reveal their own conceptions of gender by affirming, challenging, or rejecting many of the accepted Victorian gender norms that they identify in Shakespeare’s female characters. Several of the characters that these critics discuss fall into distinct categories: there are the tragic innocents—Ophelia, Desdemona, and Cordelia; the defiant daughters and dutiful wives—Juliet, Katherine, and Lady Macbeth; and the wise and witty women—Portia, Beatrice, and Rosalind. -
Portrait of a Lady
CHAPTER THREE: PORTRAIT OF A LADY That the stage, and indeed scholarship, is subject to fashion seems only to have been acknowledged during the last fifty years. Michael Dobson cites a number of attacks made upon Thomas D‟Urfey by his successors for plagiarism and indecency. 1 The point, as previously made, is that D‟Urfey was attempting to capitalise on popular, contemporary taste. In exactly the same way, subsequent productions of the play reflect shifting attitudes. Garrick‟s adaptation, like D‟Urfey‟s, reflects its political and theatrical context. Having been criticised for „unBritish‟ adaptations of The Winter’s Tale and The Taming of the Shrew, Cymbeline, following Harlequin’s Invasions and the composition of the song Hearts of Oak, ultimately emphasises Garrick‟s patriotism in establishing a final „Pax Britannica‟ where no Roman tribute is paid.2 However, this aspect alone does not explain its popularity. Of the adaptations in the seventeenth and eighteenth century, Garrick‟s is much the closest to Shakespeare‟s original – despite stringent excisions in Act 5. Following D‟Urfey‟s practice, Garrick‟s adaptation transposes some scenes in order to facilitate changes of location and to make the best use of theatrical scenery. Any remaining masque-like elements move to Cloten‟s aubade in Act 2 scene 3; Jupiter and the soothsayer are cut. Dobson discusses at length Shakespeare‟s growing status as National Poet in the eighteenth century and Garrick‟s deliberate attempts to gain authority through identification with him (p.166-177). Garrick, however, purports to be simply shortening the play from theatrical expediency whilst “letting the sheer weight of Shakespeare‟s wording come across the footlights” as Stone puts it.3 Odell regards Garrick‟s as “the most accurate” of the eighteenth century acting versions, quoting Garrick‟s own justifications to “bring it within the Compass of a 32 Night‟s Entertainment”.4 George Winchester Stone, writing in 1975, sees this edition as “an excellent acting text […] injuring no important character in the excisions”. -
This Precious Book of Love: Shakespeare, Women, and Narrative in the 19Th Century Catherine Ann Moore Lehigh University
Lehigh University Lehigh Preserve Theses and Dissertations 2011 This precious Book of Love: Shakespeare, Women, and Narrative in the 19th Century Catherine Ann Moore Lehigh University Follow this and additional works at: http://preserve.lehigh.edu/etd Recommended Citation Moore, Catherine Ann, "This precious Book of Love: Shakespeare, Women, and Narrative in the 19th Century" (2011). Theses and Dissertations. Paper 1370. This Dissertation is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. “This precious Book of Love”: Shakespeare, Women, and Narrative in the 19th Century by Catherine Bachochin Moore A Dissertation Presented to the Graduate and Research Committee of Lehigh University in Candidacy for the Degree of Doctor of Philosophy in English Lehigh University May 2011 © 2011 Copyright Catherine Bachochin Moore ii Approved and recommended for acceptance as a dissertation in partial fulfillment of the requirements for the degree of Doctor of Philosophy Catherine Bachochin Moore “This precious Book of Love”: Shakespeare, Women, and Narrative in the 19th Century Dissertation Director Approved Date Committee Members: Rosemary Mundhenk Barbara Traister Elizabeth Dolan Augustine Ripa (Name of Committee Member) iii TABLE OF CONTENTS Abstract 1 Introduction: “This precious Book of Love”: Shakespeare, 2 Women, and Narrative Chapter 1: “The man behind the text”: Male Victorians 37 and Shakespeare Chapter 2: “You are now out of your text”: Textual 72 Engagement of Women Character Critics Chapter 3: Storying Imogen in the Gallery and Garden 118 Chapter 4: The “double process” of Acting: Fanny 191 Kemble, Ellen Terry, and Paradox Epilogue: “Books of Love” 228 Bibliography 233 Vita 244 iv ABSTRACT This dissertation examines the nineteenth-century character criticism written by women addressing Shakespeare’s female characters. -
6 X 10.5 Long Title.P65
Cambridge University Press 978-0-521-22158-0 - The Winter’s Tale Edited by Susan Snyder and Deborah T. Curren-Aquino Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons, University of M¨unster associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE WINTER’S TALE The Winter’s Tale is one of Shakespeare’s most varied, theatrically self-conscious and emo- tionally wide-ranging plays. This edition provides a newly edited text, a comprehensive introduction that takes into account current critical thinking, and a detailed commentary on the play’s language designed to make it easily accessible to contemporary readers. Much of the play’s copiousness inheres in its generic intermingling of tragedy, comedy, romance, pastoral and the history play. In addition to dates and sources, the introduction attends to iterative patterns, the nature and cause of Leontes’ jealousy, the staging and meaning of the bear episode and the thematic and structural implications of the figure of Time. Special attention is paid to the ending and its tempered happiness. Performance history is integrated throughout the introduction and commentary. Textual analysis, four appendices – including the theatrical practice of doubling and a select chronology of performance history – and a reading list complete the edition.