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Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
I'm Not Finished — Done Dimitri A
Bard College Bard Digital Commons Senior Projects Spring 2014 Bard Undergraduate Senior Projects 2014 I'm Not Finished — Done Dimitri A. Cacouris Bard College Recommended Citation Cacouris, Dimitri A., "I'm Not Finished — Done" (2014). Senior Projects Spring 2014. Paper 159. http://digitalcommons.bard.edu/senproj_s2014/159 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Spring 2014 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. I’m Not Finished— Done Senior Project Submitted to The Division of Arts of Bard College by Dimitri Cacouris Annandale-on-Hudson, New York May 2014 Acknowledgements: The list of people who have contributed to this project is long; I would like to keep this one short. To that end, the following is a list of people I would like to thank for their specific contributions to the project, and I hope any omissions will be taken for the mellow iniquities of a befuddled adolescent mind. Thanks to Roberto Tardocchi, for pointing me toward Un Amleto di Meno, and to Prof. Thomas Bartscherer for doing the same for la Critique Génétique Thanks to Jorge Cortiñas, Anne Gridley, Chiori Miyagawa, Geoff Sobelle, Jonathan Rosenberg, and Jean Wagner for critical feedback and keen eyes; you allowed the piece to tick Thanks to Naomi Thornton for telling me the truth Thanks to Zoë Elders, Sebastian Gutierrez, Sean Leo, Jacqueline Reddington, Konstantin Rizos, Paul Weintrob, and Adam Zuckerman, for conversations, collaborations, and comprehension, but I can’t thank you enough Thanks to the employees, designers, and crew members of the Richard B. -
Sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès
Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès To cite this version: Celine Savatier-Lahondès. Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory. Linguistics. Université Clermont Auvergne; University of Stirling, 2019. English. NNT : 2019CLFAL012. tel-02439401 HAL Id: tel-02439401 https://tel.archives-ouvertes.fr/tel-02439401 Submitted on 14 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. University of Stirling – Université Clermont Auvergne Transtextuality, (Re)sources and Transmission of the Celtic Culture Through the Shakespearean Repertory THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PH.D) AND DOCTEUR DES UNIVERSITÉS (DOCTORAT) BY CÉLINE SAVATIER LAHONDÈS Co-supervised by: Professor Emeritus John Drakakis Professor Emeritus Danièle Berton-Charrière Department of Arts and Humanities IHRIM Clermont UMR 5317 University of Stirling Faculté de Lettres et Sciences -
Writing the Shakespeare Mask: the Novelist's Choices
Writing The Shakespeare Mask: The Novelist’s Choices Newton Frohlich *Corresponding Author: [email protected] Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The authorship of the works of Shakespeare by de Vere is depicted from when he was five to the time of his the glover from Stratford -on-Avon has been considered a tragic death, including his "favored," sexual relationship myth almost from its inception. No less than Charles Dickins, with the queen and his intimate relationship with Emilia Mark Twain, Henry and William James, Ralph Waldo Bassano, who is widely accepted as the "Dark Lady" of Emerson, Herman Melville, Walt Whitman, Royal Shake-speare's Sonnets. (There is no evidence of any Shakespeare Company actors John Gielgud, Derek Jacobi, relationship between the Stratford man and Emilia Bassano.) Jeremy Irons, and Michael York, British Prime Minister In short, while the documentary evidence of de Vere's -- or Benjamin Disraeli, five United States Supreme Court the Stratford man's -- authorship of the works of Shakespeare Justices, and thousands who signed a Declaration of Doubt is missing, the circumstantial evidence of de Vere's About Will circulating the World-Wide Web have attested to authorship is overwhelming. And as United States Supreme their doubts. In response to the request by his publisher, Court Justice John Paul Stevens puts it, "circumstantial author Newton Frohlich, commencing research connected evidence can be as persuasive as documentary evidence with a sequel to his novel about Columbus, came across especially where, as here, there's so much of it. -
Amleth, Prince of Denmark
Amleth, Prince of Denmark Saxo Grammaticus Amleth, Prince of Denmark Table of Contents Amleth, Prince of Denmark From the Gesta Danorum of Saxo Grammaticus..................................................1 translated by Oliver Elton..............................................................................................................................1 i Amleth, Prince of Denmark From the Gesta Danorum of Saxo Grammaticus translated by Oliver Elton Horwendil, King of Denmark, married Gurutha, the daughter of Rorik, and she bore him a son, whom they named Amleth. Horwendil's good fortune stung his brother Feng with jealousy, so that the latter resolved treacherously to waylay his brother, thus showing that goodness is not safe even from those of a man's own house. And behold when a chance came to murder him, his bloody hand sated the deadly passion of his soul. Then he took the wife of the brother he had butchered, capping unnatural murder with incest. For whoso yields to one iniquity, speedily falls an easier victim to the next, the first being an incentive to the second. Also the man veiled the monstrosity of his deed with such hardihood of cunning, that he made up a mock pretense of goodwill to excuse his crime, and glossed over fratricide with a show of righteousness. Gerutha, said he, though so gentle that she would do no man the slightest hurt, had been visited with her husband's extremest hate; and it was all to save her that he had slain his brother; for he thought it shameful that a lady so meek and unrancorous should suffer the heavy disdain of he husband. Nor did his smooth words fail in their intent; for at courts, where fools are sometimes favored and backbiters preferred, a lie lacks not credit. -
1 | Hudson Valley Shakespeare Festival
1 | HUDSON VALLEY SHAKESPEARE FESTIVAL TABLE OF CONTENTS OUR MISSION AND SUPPORTERS EDUCATION DIRECTOR’S STATEMENT PART ONE: SHAKESPEARE’S LIFE AND TIMES William Shakespeare Shakespeare’s England The Elizabethan and Jacobean Stage PART TWO: THE PLAY Plot Summary Who is Who: The Cast The Origins of the Play Themes A Genre Play: Revenge Tragedy or Tragedy? PART THREE: WORDS, WORDS, WORDS By the Numbers Shakespeare’s Language States, Syllables, Stress Feet + Metre = Scansion Metrical Stress vs. Natural Stress PART FOUR: HVSF PRODUCTION Note from the Director Doubling Hamlet: Full Text Vs. The HVSF Cut What to Watch For: Themes and Questions to Consider Theatre Etiquette PART FIVE: CLASSROOM ACTIVITIES Activities That Highlight Language Activities That Highlight Character Activities That Highlight Scene Work PART SIX: Hamlet RESOURCES 2 | HUDSON VALLEY SHAKESPEARE FESTIVAL HUDSON VALLEY SHAKESPEARE FESTIVAL OUR MISSION AND SUPPORTERS Founded in 1987, the Hudson Valley Shakespeare Festival's mission is to engage the widest possible audience in a fresh conversation about what is essential in Shakespeare’s plays. Both in production and in the classroom, our theater lives in the present moment, at the intersection of the virtuosity of the actor, the imagination of the audience, and the inspiration of the text. HVSF’s primary home is a spectacular open-air theater tent at Boscobel House and Gardens in Garrison, NY. Every summer, more than 35,000 patrons join us there for a twelve-week season of plays presented in repertory, with the natural beauty of the Hudson Highlands as our backdrop. HVSF has produced more than 50 classical works on our mainstage. -
An Introduction to Hamlet
AN INTRODUCTION TO HAMLET There are a couple of things to go over before getting into the play itself. First, you need to understand how an Elizabethan viewed the world and how it was organized. The British explained life and existence as a “Chain of Being”, on which every component of the Earth was positioned. At the very top of this “chain” was God. On God, all things depended. Next was the King, God’s chosen representative on Earth. Because God had chosen the King, the King himself was seen as almost immortal. Under the King were the Nobility, then the working class professionals, then the commoners, then the peasants. After people, came the animals. The top of the chain, after God, the King, and other people, was the lion. Etc., etc. Then came plants. The top of the plant part of the chain was the oak tree, etc. etc. On the very bottom of the chain was dust, considered the lowest element on the Earth. Hence, the killing of a King was seen as an assault on God, himself. In fact, in several plays, there are references to the ire (anger) shown by God (or the gods, depending on the setting / time of the play). In Julius Caesar the “sheeted dead did jibber in the streets” after the murder of Caesar, and in Macbeth, after Macbeth murders his King, the horses break out of their stalls and eat each other, the “graves stood tenantless”, and a storm of incredible ferociousness knocked down church steeples. Yes, killing a King had its consequences in the minds of most people. -
Snorri Sturluson Skáldskaparmál 2
Snorri Sturluson Edda Skáldskaparmál 2 Snorri Sturluson Edda Skáldskaparmál 2. Glossary and Index of Names Edited by ANTHONY FAULKES VIKING SOCIETY FOR NORTHERN RESEARCH UNIVERSITY COLLEGE LONDON 1998 © Anthony Faulkes 1998 First published by Viking Society for Northern Research 1998 Reprinted with minor corrections 2007 ISBN: 978 0 903521 38 3 Volume 2, paper bound edition Printed by Short Run Press Limited, Exeter Contents of Volume 1 Introduction ............................................................................. vii Title ....................................................................................... vii Synopsis ...............................................................................viii The composition of the work ............................................... x Date and authorship.............................................................. xi The verse quotations ..........................................................xiii The flulur .............................................................................. xv The dialogue frame...........................................................xviii The prose narratives .......................................................... xxii The analysis of poetic diction .......................................... xxv Purpose............................................................................xxxvii Manuscripts ..................................................................... xxxix This edition ........................................................................... -
The Fantastic in Shakespeare: Hamlet and Macbeth
Odsjek za anglistiku Filozofski fakultet Sveučilište u Zagrebu The Fantastic in Shakespeare: Hamlet and Macbeth (Smjer: Engleska književnost i kultura) Kandidat: Petra Bušelić Mentor: dr. sc. Iva Polak Ak. godina: 2014./2015. Listopad, 2015. Contents 1. Introduction .......................................................................................................................... 1 2. Todorov’s Theory of the Fantastic ..................................................................................... 2 3. Hamlet .................................................................................................................................... 7 3.1. “Who’s There”: Enter Fantastic Ghost ............................................................................ 8 3.2. Putting on the “Antic Disposition” ................................................................................ 15 3.3. The Ghost Comes in Such a Questionable Shape .......................................................... 19 4. Macbeth ............................................................................................................................... 22 4.1. The “Unreal Mock’ry” of Banquo’s Ghost ................................................................... 22 4.2. The Weird Sisters as Imperfect Speakers ...................................................................... 26 4.3. Kingship, Witchcraft and Jacobean Royal Ideology ..................................................... 32 5. Shakespeare’s Dramatic Use of the Supernatural ......................................................... -
Hamlet, the Ghost and the Model Reader
HAMLET, THE GHOST AND THE MODEL READER THE PROBLEMS OF THE RECEPTION AND A CONCEPT OF SHAKESPEARE’S HAMLET Doctoral dissertation by András G. Bernáth Supervisor: Prof. Guido Latré, PhD Université Catholique de Louvain 2013 ABSTRACT In a comprehensive study of Hamlet and its reception, this dissertation offers a concept and interpretation of Shakespeare’s work as a complex literary work and play for the theatre. It is argued that the play, through a series of ambiguities, implies two main levels of meaning, which complement each other in a truly dramatic contrast, exploring the main theme of Hamlet and dramatic art in general: seeming and being, or illusion and reality. On the surface, which has been usually maintained since the Restoration, Hamlet seems to be a moral hero, who “sets it right” by punishing the evil villain, the usurper King Claudius, following the miraculous return of the murdered King Hamlet from the dead. At a deeper level, exploring the Christian context including King James’s Daemonologie (1597), the Ghost demanding revenge is, in fact, a disguised devil, exploiting the tragic flaw of the protagonist, who wishes the damnation of his enemy. Fortinbras, who comes from the north like King James and renounces revenge, is rewarded with the kingdom after the avengers, Hamlet and Laertes, kill each other and virtually the entire Danish court is wiped out through Hamlet’s quest of total revenge, pursuing both body and soul. The aesthetic identity of Hamlet is also examined. In addition to the mainly philological and historical analysis of the text, the play, some adaptations and the critical reception, theoretical concerns are also included. -
Literature and Film: Midterm Study Guide
Literature and Film: Midterm Study Guide On the midterm, you will answer two essay questions: one on Hamlet and one on “Ball of Fat,” “Last Stage to Lordsburg,” and “Stagecoach.” For each essay question, you choose two of the three works to analyze. You may bring a list of characters for each work to the midterm. Your essay must be clear, organized and reasonably correct grammatically. You should refer specifically to the written texts and movies (but do not retell the story). You may consult your list of characters but not the books or your notes. Possible questions on Hamlet: 1. Shakespeare, Olivier, and Almereyda interpret the relationships of characters differently. Choose one of the following relationships; discuss how two of these three (Shakespeare, Olivier, Almereyda) present that relationship. a. Hamlet and Ophelia b. Hamlet and Gertrude c. Gertrude and Claudius d. Ophelia, Laertes, and Polonius e. Hamlet and Horatio 2. Shakespeare, Olivier, and Almereyda present the characters differently. Choose one of the following characters; discuss how two of these three (Shakespeare, Olivier, Almereyda) characterize that individual. a. Hamlet b. Claudius c. The Ghost d. Ophelia e. Gertrude. 3. Discuss at least three differences between Olivier’s Hamlet and Almereyda’s Hamlet and the significance of those differences, that is, how they affect characterization, theme, etc. 4. In what ways does Olivier’s shooting in black and white and Almereyda in color affect their films? 5. Discuss the importance of setting, costuming, and/or lighting in Olivier’s Hamlet and Ametreyda’s Hamlet. 6. Almereyda transforms Shakespeare’s Kingdom of Denmark into the Denmark Corporation.