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THE ALCHEMIST THROUGH the AGES an Investigation of the Stage
f [ THE ALCHEMIST THROUGH THE AGES An investigation of the stage history of Ben Jonson's play by JAMES CUNNINGHAM CARTER B.Sc., University of British Columbia, 196 8 A THESIS SUBMITTED IN PARTIAL FULFILMENT. OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date 27 QclAtt ii ABSTRACT THE ALCHEMIST THROUGH THE AGES An Investigation of the Stage History of Ben Jonson's Play This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 197 0 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception. -
Ph.D. THESIS Ewa Błasiak
UNIVERSITY OF WROCŁAW Faculty of Letters Ph.D. THESIS Ewa Błasiak The Return of the Morality Play in Anglophone Drama of the First Half of the Twentieth Century Supervisor prof. dr hab. Ewa Kębłowska-Ławniczak Co-supervisor dr Marcin Tereszewski Wrocław 2020 2 ACKNOWLEDGEMENTS I wish to express my gratitude to my supervisor, Professor Ewa Kębłowska-Ławniczak, for her mentorship, guidance and constant support throughout the writing process. I am grateful for her patience, encouragement and the time she devoted to helping me develop this project. I would also like to thank her for being an extraordinary academic teacher, for it was the intellectual challenge of her English Literature classes which I attended as a first-year undergraduate student that inspired me to undertake further studies in this direction. I wish to extend my gratitude to my co-supervisor, Doctor Marcin Tereszewski, for the attention he gave to this thesis and for his invaluable suggestions. I am also grateful to the entire Institute of English Studies at the University of Wrocław for providing me with a stable and stimulating academic environment during all the years I spent there as an undergraduate and postgraduate student. I wish to thank all my teachers and lecturers for instilling in me curiosity and equipping me with skills which proved indispensable in working on this thesis. 3 4 Contents Introduction: Within and Beyond the Middle Ages ........................................ 7 Modern reception and assessment of the Middle Ages .................................................... 12 The notion of medievalism ............................................................................................... 18 Part I: The Return of the Morality Play Tradition to Contemporary British, European and American Drama and Its Reception ....................... -
ROMANTIC CRITICISM of SHAKESPEARIAN DRAMA By
ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA By JOHN g,RAWFORD Associate of Arts Texarkana College Texarkana, Texas 1956 Bachelor of Science in Education Ouachita Baptist University Arkadelphia, Arkansas 1959 Master of Science in Education Drake University Des Moines, Iowa 1962 Submitted to the faculty of .the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of DOCTOR OF EDUCATION May, 1968 OKLAHOMA STATE UNIVERSITY LIBRARY OCT 24 1968 ROMANTIC CRITICISM OF SHAKESPEARIAN DRAMA Thesis Approved: Thesis Adviser \ f ,A .. < \ Dean of the Graduate College ii ACKNOWLEDGMENTS I should like to· thank anumber·of people who helped me in many different ways during· the·preparation· of .this dissertation, notably Dr. David· S. Berkeley,·major adviser, who-lent words of encouragement, guidance, understanding, and patience; but also my committee members, Dr. Darrel Ray·, Pr~ Judson Milburn, and· .Dr~- Loyd Douglas; and. the Oklahoma State University library staff, especially Miss Helen Donart and Mrs • .:fosephine Monk. iii TABLE-OF CONTENTS Chap tel' Page. I. INTRODUCTION •••• 1 II. HAMLET .••• . ' . .. ... 29 III. ANTONY -~ CLEOPATRA • • • • . • • . • • • It • . • • . • .• • a1 ·IV. HENRYV· . ,. ". .• . 122 V. THE· MERCHANT ·QE. VENICE .- . "' . 153 VI. CONCLUSION • • ' . -. ,. 187 BIBLIOGRAPHY • • • • · • . .. 191 iv CHAPTER I INTRODUCTION Of all the so-called schools of Shakespearian criticism, the Romantic has been and continues to be one of the most influential. Per- haps this is true merely because of the impor~ance which the Romantic School places upon the genius of the subj~ct, for all schools of criti- cism recognize Shakespeare's ability at creating effective drama. A more accurate answer, however, probably lies in the fact that "romanti- cism" has a broad base and encompasses so very much. -
William Poel
William Poel EDWARD M. MOORE FT would be difficult to exaggerate the debt that all of Shake spearian owe to William Poel. It can easily be argued, as William Archer did, that scenic Shakespeare had reached such extremes by the turn of the last century that a reaction Downloaded from https://academic.oup.com/sq/article/23/1/21/5100337 by guest on 29 September 2021 was inevitable, and it is not difficult to find forces alive at the end of the century that would have ended the established vogue even if Poel had never lived and had never formed the Elizabethan Stage Society. It is also true that Poel's direct influence hardly spread beyond London. Nevertheless, the fact remains that it was Poel who first demonstrated that the whole conception behind the current methods of staging Shakespeare was radically wrong, demonstrated this fact not by criticism alone but by what Shaw later referred to as "desperate experiments".1 It is further true that the later producers who did finally overturn spectacular Shakespeare—from Gran- ville-Barker to Bridges-Adams and Nugent Monck—were directly indebted to him. As it turns out, Poel is actually a rather difficult person to come to terms with. Pie was so radically right in the main things he did, and so persevering against the forces of the theater that he opposed, that one hates to have to qualify one's praise. Moreover, he fought virtually single-handedly for the first twenty-five years of his professional career; Shaw's was almost the only im portant critical voice raised in his favor, and at the time Shaw's patronage was probably at least as much a handicap as a blessing. -
The Return of Elizabeth: William Poel's Hamlet and the Dream Of
ঃਆઽࢂٷணপ࠙ 제16권 1호 (2008): 201-220 The Return of Elizabeth: William Poel’s Hamlet and the Dream of Empire Yeeyon Im (Yonsei University) 1. Translation and Authenticity There would be no dispute that few works of art have been ‘translated’ more widely than some plays in the Shakespeare canon. With a Shakespeare play, translation does not confine itself to language alone; its theatrical mode also undergoes a transformation when it is staged in a new cultural environment. Odd it may sound, Shakespeare has been translated even in England. It was Harley Granville-Barker who first emphasized the temporal distance between Shakespeare’s plays and the modern audience that needs to be translated: “The literature of the past is a foreign literature. We must either learn its language or suffer it to be translated”(7). Elizabethan plays “are like music written to be performed upon an 202 Yeeyon Im instrument now broken almost beyond repair”(9). Shakespeare’s plays, their putative universality notwithstanding, underwent changes and adaptations to suit the demands of different times. Shakespeare was ‘translated’ in terms of theatre as well. Anachronism was essential on the Elizabethan stage, which accommodated the fictional world of drama as well as the reality of the audience’s everyday life through presentation and representation. Elizabethan anachronism gave way to a more accurate representation of the dramatic world in the illusionist proscenium stage of the Victorian age. At present, modern directors are at liberty to ‘translate’ Shakespeare’s plays virtually in any period and style as they wish; it took an iconoclastic experimental spirit to break with the long‐standing Victorian tradition of archaeologically correct and pictorially spectacular staging. -
The Not-So-Holy Shrine of Catholicism in Romeo and Juliet
Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet Margaret Rothrock “Te Not-So-Holy Shrine of Catholicism in Romeo and Juliet” questions a view of Shakespeare’s relationship to the Reformation in the early tragedy, which claims that his main Reformed concern in the play is to endorse individualistic notions of desire and repentance. Instead, the play is shown to display Reformational sensibilities in its exposure of blasphemous imagery and societal corruption as the vehicle for the lovers’ downfall. Tis reading takes a critical eye to a culturally idealized romance, allowing modern readers to consider more carefully how passion and temptation were viewed in a post- Reformational context. See and view the whole Chapter with diligence, for it is worthy David Balty is one of the few scholars who tries to to be well considered, specially that is written of the deceauing fll this gap. In his dissertation, Te Teological Bard: of the simple and vnwise common people by Idols and Images, Shakespeare and the Evolving English Reformation, he and repeated twise or thrise lest it should be forgotten. And in the argues that a Protestant emphasis on individualism is the Chapter following be these words: Te painting of the picture and driving force behind the play: the lovers are victims of a carued Image with diuers colours, entiseth the ignorant so, that societally-focused, Catholic schema which de-emphasizes he honoureth and loueth the picture of a dead image that hath no individual repentance and instead endorses social obliga- soule (Apocrypha. Wisdom 15.4-5). Neuerthelesse, they that loue tion. -
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. -
“Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers Capital University, [email protected]
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference November 2014 “Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers Capital University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Ethics and Political Philosophy Commons, Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons Recommended Citation Summers, David (2011) "“Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 4 , Article 4. Available at: http://ideaexchange.uakron.edu/spovsc/vol4/iss2011/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. “Much Virtue in If”: Ethics and Uncertainty in Hamlet and As You Like It David Summers, Capital University n recent years we have seen a renewed interest in Shakespeare as an intellect, a mind at work on problems we I could properly consider “philosophical.” Not only have we seen literary critics writing about philosophy—David Bevington’s Shakespeare’s Ideas, Jonathan Bates’s The Soul of the Age and A.D. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster 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. -
Oshakespeare
o Shakespeare English 329-01, Spring 2016, TTh 12:30–1:45 in Smith 210 Christine Coch [email protected] (the best way to contact me) 508/793.3947 Office hours: T 2–3, W 1–2:15, Th 11–11:45, & by appointment, in Fenwick 224 Description: This course provides an introduction to Shakespeare’s drama, tracing its development across his career. We will be closely reading plays from the four major genres: history, comedy, tragedy, and romance. As we do, we will investigate the influence of the new playhouses, the Elizabethan and Jacobean courts, the rising middle class, and contemporary notions of gender, identity, and authorship. To appreciate the creative decisions involved in transforming a written text into an acted drama, we will analyze scenes from recent film versions of many of our plays. We will also attend the HC Theatre Department’s production of Hamlet and, if interest and scheduling allow, a professional performance of Richard II by the Actors’ Shakespeare Project in Cambridge. Goals: n To gain a sense of Shakespeare’s range and development as a playwright n To hone close reading skills by learning to ask and answer interesting questions n To experience the dynamic relationship between written word and acted drama n To explore how Renaissance drama interacted with its cultural contexts n To engage with other critics’ analyses of Shakespeare’s plays n To discover why Shakespeare’s plays continue to move audiences today Texts: n There are many modern editions of Shakespeare’s plays, and for reasons we’ll be exploring, each presents a different version of the text. -
Newsletter Incorporating Occasional Papers and Reviews
Newsletter incorporating Occasional Papers and Reviews SHAKESPEARE SOCIETY OF SOUTHERN AFRICA http://www.ru.ac.za/shakespeare DECEMBER 2014 Index Administration and Publications ‘Macbeth – A Play in a Day’ 2 Reports: Shakespeare Society of Southern Africa Newsletter incorporating Occasional Papers and Reviews 3 From the President 3 Shakespeare in Southern Africa 4 SSoSA Branches 6-11 With regret … 5 Journal Contents Vol. 26 5 Shakespeare Feature Page 12 Occasional Papers and Reviews: The Syrian Crisis: King Lear inspires refugee children Shakespeare Day 14 Shakespeare Lights Up Celebrating the bard’s 450th birthday, Lives of Homeless along with the Institute for the Study of English in Africa’s 16 50th birthday As You Like It 18 Rufford Old Hall 19 Contact Details (See ‘Grahamstown Branch Report’ pages 7–9) 20 Shakespeare Society of Southern Africa (A project of The Grahamstown Foundation) Head Office: c/o Institute for the Study of English in Africa (ISEA) Rhodes University, P O Box 94, Grahamstown, 6140, Rep. South Africa html://www.ru.ac.za/shakespeare Administration and Publications Emeritus Professor of Rhodes Dr Chris Thurman, editor of University, Laurence Wright. Shakespeare in Southern Africa. (Formerly HA Molteno Professor He holds degrees from Rhodes, of English and Director of the London and Cape Town, and Institute for the Study of English lectures at the University of the in Africa, Professor Wright is a Witwatersrand. His doctorate is Founder Member of SSoSA and on Guy Butler. Honorary Life President of the Society, successor to the late Professor Guy Butler.) Laurence Wright Chris Thurman Mr Warren Snowball, President Ms Hildé Slinger, former of SSoSA from 2010. -
Education at INCW: Fact Or Fantasy? (SEE PAGES 4 and 5)
Education at INCW: Fact or Fantasy? (SEE PAGES 4 AND 5) Six students enter the seahawk Senior Honors Program university of north carolina-wilmington Six students have entered the Seniors Honors Program of UNC-W. These students are: Clyde Keith Farmer, Daniel Gary Grady, Harry S. Howard, Jeannie Howe, Michael D. Purvis, and Laviece C. Ward. The Senior Honors Program includes independent study, a paper reporting the results of the study, and an oral examination. Keith Farmer, under the direction of Dr. James F. Parnell, is making an ecosystem analysis of a swamp community. Gary Grady, under the direction of Dr. Irvin G. Clater, is studying the Newtonian gravitational field theory. Harry Howard, also under Dr. Irvin G. Clator, is conducting a theorectical and experimental investigation of gaseous lasers. Jeannie Howe, under Dr. Daniel B. Plyer, is studying the effects of maleic hydrazide on nucleic acid metabolism. Michael Purvis, under Dr. James C. Halsey, is applying groups to a number theoretic problem. Laviece C. Ward, under Mrs. Marie Powles, is studying the influence of John Donne’s poetic style on the poetic techniques of Dylan Thomas. The Senior Honors Program is open to any senior with a 3.0 average, 30 hours of work completed at UNC-W, and the recommendation of the chairman of the area in which he is concentrating. Since it was started with the first four year graduating class in 1965, 16 students have completed the honors program. Common fender brings no charge Larry and Jenny ran into damage was estimated at The Nitty Gritty Dirt Band each other last Tuesday $125 to the Sturken vehicle morning.