KING JOHN by William Shakespeare
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Visit Chicago Area Independent Schools This Fall!
CHICAGO SHAKESPEARE THEATER Chicago Shakespeare Theater salutes Welcome THE PRODUCERS’ GUILD for its tremendous work on Family Gala 2015. DEAR FRIENDS, Who doesn’t love Disney’s The Little Mermaid? It’s one of our favorite stories from the fairy tale canon, and we are so excited to share it with you today. JOIN IN THE FUN— Contact Christopher Pazdernik at Our director Rachel Rockwell has worked for almost a year with a team of ADVOCATE FOR AND SUPPORT [email protected] designers, artists and artisans to create this magical world. In our intimate CHICAGO SHAKESPEARE! or call 312.667.4949 for details. theater, the story comes to life all around you! The Little Mermaid is one of many plays Chicago Shakespeare will produce this season. In just one year, we stage as many as nineteen different productions here on Navy Pier, on tour to schools and neighborhood parks—and all around the world. Our Theater is not only home to work by Shakespeare. We are forever inspired by this famous playwright to create new plays and musicals, and import DARE international theater artists to share their stories with Chicago audiences. We hope you enjoy your journey “under the sea” today, and that you’ll be back soon for more! For a family-friendly introduction to the Bard this summer, we Photo by Lindsey Best © 2015 Blue Man Productions, LLC. Photo by Lindsey Best © 2015 Blue Man Productions, TO LIVE invite you to come see Shakespeare’s Greatest Hits—on tour across the city, IN FULL free for all, through Chicago Shakespeare in the Parks. -
Tyler Jeffrey Smith Agent Brooke Shoemaker, Manager SAG-AFTRA 312-587-1155 312-620-0456 Height: 5’10’’ Weight: 160Lbs Hair: Brown Eyes: Brown
Grossman & Jack Talent Principato Young Entertainment Tyler Jeffrey Smith Agent Brooke Shoemaker, Manager SAG-AFTRA 312-587-1155 312-620-0456 Height: 5’10’’ Weight: 160lbs Hair: Brown Eyes: Brown TELEVISION/FILM/WEB Shameless Phil Milkovich/Co-Star Showtime Exquisite Corpse Sketch Comedy TV Pilot + * Principal Claymore Productions Family Heirloom TV Pilot * Randall/Principal Small Blankets Productions Goodnight Jeffrey Short Film++ * Jeffrey/Principal Dir. Tyler Smith Gamiconocron Pete/Principal Dir. Brad Riddell Reversal Short Film * Young Frank/Principal Dir. Michael Lippert Wrong Place TV Pilot * Ludwig/Supporting Claymore Productions Chicagoan Short Film Brian/Principal Dir. Lee Madsen McDonald’s Non-Air Demo Burger Guy/Principal Cap Gun Collective Comcast Commercial Principal Renegade Productions The Three Guy Detectives Tyler/Principal Digital Funtown Mister Word Wizard (Pilot with Richie Havens) Chris/Principal Playgroundz Productions + Winner of NYTVF Best Actor Award ++ Nominated for Best Actor at Best of Midwest Awards *Official Film Festival(s) Selection THEATER Izzy Icarus Fell Off the World Izzy Kennedy Center Alice National Tour Robin, Streetperson, Kooli-Koolbob, Jaz (u/s) Kennedy Center A Rabbit’s Tale Wiseman (Puppeteer) Jay Pritzker Pavilion, Symphony Center The Hairy Ape Paddy Hangar Theatre (NY) Beauty and the Beast Zimri Hangar Theatre Summer of ‘42 Oscy, Benjie (u/s) Round House Theatre (DC) The Crucible Rev. John Hale Kay Theatre, (UMD) Taming of the Shrew Gremio Kay Theatre Scapin Signor Geronte Kogod Theatre (UMD) -
Killing Shakespeare's Children: the Cases of Richard III and King John Joseph Campana
Campana, J. (2007). Killing Shakespeare’s Children: The Cases of Richard III and King John. Shakespeare, 3(1), 18–39. doi:10.1080/17450910701252271 Killing Shakespeare's Children: The Cases of Richard III and King John Joseph Campana This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles. Keywords: Children; childhood; seduction; sexuality; affect; temporality; Richard III; King John If it is fair to say that Shakespeare included in his plays more child roles than did his contemporaries (Ann Blake counts thirty; Mark Heberle counts thirty-nine), it is also fair to say Shakespeare provided a wide range of parts for those children: from pivotal roles in royal succession to trace presences as enigmatic markers of symbolic equations never perhaps to be solved. -
King John Take Place in the Thirteenth Century, Well Before Shakespeare’S Other English History Plays
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play ACT 1 Scene 1 ACT 2 Scene 1 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 Scene 3 ACT 5 Scene 4 Scene 5 Scene 6 Scene 7 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
Theater Events: Mooney Does 'Shakespeare on Demand' in 'Breakneck Hamlet'
dailyherald.com http://www.dailyherald.com/article/20150529/entlife/150528711/ Theater events: Mooney does 'Shakespeare on demand' in 'Breakneck Hamlet' Barbara Vitello Writer/director Tim Mooney stars in "Breakneck Hamlet" at Clockwise Theatre in Waukegan. COURTESY OF DALE JESSEN/CLOCKWISE THEATRE Fast-paced 'Hamlet' Clockwise Theatre presents the world premiere of "Breakneck Hamlet," writer/actor Tim Mooney's accelerated version of William Shakespeare's longest plays. Having introduced the melancholy Dane in Act 1, Mooney takes audience requests for the Bard's most famous speeches in the second act, which he dubs "Shakespeare on demand." Opens at 8 p.m. Friday, May 29, at 221 N. Genesee St., Waukegan. $20. (847) 775-1500 or clockwisetheatre.org. Standup showcase Standup comedians including Jordan Holmes and Peter Daniel perform as part of Comedy Shrine's monthly showcase of its favorite Midwest comedians. 8 p.m. Friday and Saturday, May 29-30, at 4034 Fox Valley Center Drive, Aurora. $20. (630) 585-0300 or comedyshrine.com. Playing his songs Theo Ubique Cabaret Theatre salutes the late composer Marvin Hamlisch as part of its summer showcase. "A Marvin Hamlisch Songbook" features standards like "The Way We Were" along with tunes from the musicals "A Chorus Line," "Sweet Smell of Success" and "They're Playing Our Song." Aaron Benham serves as musical director and arranger. Previews begin at 7:30 p.m. Thursday, June 4, at No Exit Cafe, 6970 N. Glenwood Ave., Chicago. The show opens June 6. $20-$34. (800) 595-4849 or theo-u.org. Other theater events • Lifeline Theatre, 6912 N. -
Understanding Shakespeare's King John and Magna Carta in the Light
Bilgi [2018 Yaz], 20 [1]: 241-259 Understanding Shakespeare’s King John and 1 Magna Carta in the Light of New Historicism Kenan Yerli2 Abstract: Being one of the history plays of William Shakespeare, The Life and Death of King John tells the life and important polit- ical matters of King John (1166-1216). In this play, Shakespeare basically relates the political issues of King John to Queen Eliza- beth I. Political matters such as the threat of invasion by a foreign country, divine right of kings; papal excommunication and legit- imacy discussions constitute the main themes of the play. How- ever, Shakespeare does not mention a word of Magna Carta throughout the play. In this regard, it is critical to figure out and explain the reason why Shakespeare did not mention Magna Car- ta in his The Life and Death of King John, owing to the im- portance of Magna Carta in the history of England. In this respect, the analysis of The Life and Death of King John in the light of new historicism helps us to understand both how Shakespeare re- lated the periods of Queen Elizabeth and King John; and the rea- son why Shakespeare did not mention Magna Carta in his play. Keywords: Shakespeare, New Historicism, Magna Carta, Eliza- bethan Drama. 1. This article has been derived from the doctoral dissertation entitled Political Propaganda in Shakespeare’s History Plays. 2. Sakarya University, School of Foreign Languages. 242 ▪ Kenan Yerli Being one of the most important playwrights of all times, William Shakespeare wrote and staged great number of plays about English history. -
NOT SHAKESPEARE Bardolatry and Burlesque in the Nineteenth Century
NOT SHAKESPEARE Bardolatry and Burlesque in the Nineteenth Century RICHARD W. SCHOCH School of English and Drama Queen Mary, University of London PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CBRU,UK West th Street, New York, NY -,USA Williamstown Road, Port Melbourne, VIC , Australia Ruiz de Alarco´n , Madrid, Spain Dock House, The Waterfront, Cape Town , South Africa http://www.cambridge.org C Richard W. Schoch This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville no. /. pt. System LATEX ε [TB] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication data Schoch, Richard W. Not Shakespeare: bardolatry and burlesque in the nineteenth century / Richard W. Schoch. p. cm. Includes bibliographical references and index. ISBN . Shakespeare, William, – – Parodies, imitations, etc. – History and criticism . Shakespeare, William, – – Adaptations – History and criticism . Shakespeare, William, – – Appreciation – Great Britain. Popular culture – Great Britain – History – th century. English drama – th century – History and criticism. Theatre – Great Britain – History – th century. English drama (Comedy) – History and criticism. Burlesques. I. Title. PR.A S 0. –dc ISBN hardback Contents List of illustrations page viii Acknowledgments x Note on texts xiii Introduction ‘New Readings for Unconventional Tragedians’ ‘Vile beyond endurance’: the language of burlesque Shakespeare’s surrogates Shakespeare in Bohemia Politics ‘burlesquified’ Bibliography Index vii List of illustrations Thomas Blanchard as Guildenstern in a provincial production of Hamlet, c. -
Contemporary Improvisational Theater in Poland and the United States
ACTA UNIVERSITATIS LODZIENSIS FOLIA LITTERARIA POLONICA 2(40) 2017 http://dx.doi.org/10.18778/1505-9057.40.05 Magdalena Szuster* “Alchemy and smoke in a bottle” – contemporary improvisational theater in Poland and the United States Part 1: (Re)defining Improvised Theater – the American and Polish Perspectives What Does Impro(v) Mean Anyway? The origins of improvisation are indistinct, and for most part untraceable. An academic endeavor to establish its beginnings would go unrewarded, as there is no one distinct inventor1 of improvisation. This technique, or method, had been used as means of expression in art long before Spolin or Johnstone, and far away from Chicago or London. The Atellan farce (1 BC), secular entertainers and court jesters in China (10 BC), or the frenzied improvisations in Ancient Greece (600 BC) had preceded the 16th century commedia dell’arte2 the Italian improvised per- formance based on scenarios and/or sketches. The renaissance of improvisation in the 20th century was largely brought about by experimental artists who used it as means of expression, communication and representation. As a tool, a vessel or foundation improvisation existed in theater (both formal and popular), painting, poetry and music. It was an important substance, and an interesting addition to avant-garde art. The early avant-garde theater welcomed improvisation as a means in the pro- cess of developing plays and productions, or as a component of actor training, yet an independent improvisational format was yet to be devised. In the mid-twentieth * Dr, University of Łódź, Faculty of Philology, Department of American Literature and Cul- ture, 91-404 Łódź, ul. -
Four Riveting Stars | the Theater Loop - News from Americ
Toneelgroep Amsterdam: Four riveting stars | The Theater Loop - News from Americ ... Page 1 of 4 Search Go nmlkji chicagotribune.com nmlkj Web enhanced by The Theater Loop RSS CLASSIFIED Cars Jobs ABOUT THIS BLOG Real estate News. Criticism. Gossip. The shows not to be missed — Apartments and the shows to avoid at all costs. • About Tribune theater critic Chris Jones Local stores & deals Dating Pets Items for sale « 'Xanadu' tickets for $44. Happy now? | Main Place an ad Originally posted: February 26, 2009 SHOPPING Toneelgroep Amsterdam: Four riveting TRAFFIC WEATHER stars NEWS Local It's R-rated, video-infused, performed in Dutch, lasts three throbbing hours and ten Nation/World throbbing minutes and mediates on matters tragic. If you have a problem with any of Politics that quintet of particular qualities, stay away from the Toneelgroep Amsterdam's D.C. bureau astounding version of Eugene O'Neill's "Mourning Becomes Electra" and save a seat for someone who'll appreciate a revelatory and superbly performed show that, sadly, is Religion Education in Chicago only through Saturday night. Death notices NOW on the THEATER PAGE on CT.COM News obituaries Ivo van Hove, the director of Toneelgroep, is only just now developing the kind of Columnists stateside reputation that comes close to matching his talents: this contemporary 'OUR TOWN' AT LOOKINGGLASS: Ensemble members from David Special reports version of "Mourning Becomes Electra" is making its American premiere at the Schwimmer to Laura Eason to Joey Photos/Multimedia Goodman Theatre's O'Neill Festival . When and if it gets to New York, a gut-wrenching Dutch actress named Halina Reijn, who plays the Electra-esqe Lavinia, will blow those Slotnick reunite to stage the Thornton Corrections Wilder classic. -
Produced in Association with Nate Gardner and Karen Davidov
Produced in association with Nate Gardner and Karen Davidov Creative Team Andy Hobgood, Lyricist, Playwright, Director Andrew Hobgood is a founder and Artistic Director of The New Colony. He co-created the 2006 FringeNYC Best Musical, 58!, and co-wrote and directed Love is Dead: A NecRomantic Musical Comedy which won the 2008 FringeNYC award for Outstand- ing Music and Lyrics and three After Dark awards. His recent directing projects are the three-time Jeff Nominated production of Torch Song Trilogy and The New Colony’s productions of Amelia Earhart Jungle Princess and the critical and box office hit FRAT. He and The New Colony were featured at Collaboraction’s Sketchbook 9 with their play A Domestic Disturbance at Little Fat Charlie’s Seventh Birthday Party and col- laborated with Victory Gardens Theater on their late night show Literally Sexy. Julie B. Nichols, Composer Julie studied jazz improvisation and composition at the University of Iowa, Iowa City. Since then, she has toured all over the world, performing with such esteemed compa- nies as the Second City National Touring Company as its music director. The job en- tailed live improvisation as well as composing music, much of which is still used on tour today. She has also performed at and composed for renowned Chicago theaters Improv Olympic, GayCo, the Apollo Theater and the Annoyance Theater. In addition, she regu- larly writes music for independent video projects, commercials and corporate videos. Julie composed the scores and served as musical director for two acclaimed original musicals that were pro- duced by the Annoyance Theater: Stop That Show and Love is Dead: A Necromantic Musical Comedy. -
Redalyc.THE REAL THING? ADAPTATIONS, TRANSFORMATIONS and BURLESQUES of SHAKESPEARE, HISTORIC and POST-MODERN
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Draudt, Manfred THE REAL THING? ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 289-314 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687015 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative The real thing? Adaptations, transformations... 289 THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND BURLESQUES OF SHAKESPEARE, HISTORIC AND POST-MODERN Manfred Draudt University of Austria The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays. These currents of change motivated playwrights and managers to “improve on” Shakespeare by rewriting and staging his plays in accordance with the spirit of the new times.