DOCSLIB.ORG

THE SOCIETY for THEATRE RESEARCH President: Professor EDWARD ]

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE SOCIETY for THEATRE RESEARCH President: Professor EDWARD ] ~~ !Jf-~~ ~-~ ;;J> v~ 7~/ Jr. .;: :.v. ~- 9 - . R c;:. THE SOCIETY FOR CULTURAL RELATIONS BETWEEN THE PEOPLES OF THE BRITISH S C COMMONWEALTH AND THE U.S.S. R. THE THEATRE SECTION FJ-: Exhibition on the iistory of President: DAME EDITH EVANS SHAKESPEAREAI~ PRODUCTIONS IN ENGU11"D Vice-Presidents: Or ganieed under +he joint e.usp i.ce s John Burrell Sir Lewis CaHon of Valerie Hobson The Arts Council of Great Britain and t:1e S,O.R. Joseph Macleod Committee: Peggy Ashcroft The Society for Cultural Relations witl1 t:1e USSR Lawrance Collingwood Fran kll n Dy all and The Arts Council of Great Britain have entrusted Beatrix Lehmann rre with the preparation and arrangement of an Michael MacOwan Ex:1ibition designed. to illustra.te the history of Miles Malleson Herbert Marshall SHAKESPEAREAN PRODUCTION IN ENGLA.lfil, I am non Mary Merrall collecting the necessary material, as Tl1e Arts Council Stephen Potter propose to tour the .Exl1ibition in Engla.nd...'1..t tke ~ Michael Redgrave Llewellyn Rees begiHning of' 1947. ·lf· In April 1948 it will represent 1 Ninette de Valois th is country s c ontr i but ion to the ~Annual Geoffrey Whitworth Shakespearean Conference of the All-Russian Theatre Society in Moscow; and whe n the collection returns to Supporters : England it will become the peruanent possession of Arthur Askey The Arts Council, and will be available for exhibition Sir Kenneth Sarnes Ivor Brown purposes, etc. C. B. Cochran Neville Coghill I am anxious therefore, to acquire on behalf of Fay Compton Robert Donat t;1ese two Societies, a representative collection of Elizabeth Frank photographs of our best modern Eng l i.ah Shakespearean Ronald Frankau work, that will indicate as fully and as effectively Andre Van Geyseghem John Gielgud as possible the various trends, experiments, and Tyrone Guth~le ach i.eve merrt a . Walter Hudd Alick Johnstone Deborah Kerr Full acknonledgeruents will be made to all owne r a Roger Livesey of copyr t ght,s , and the ~Jrints paid for at the usual Laurence Olivier rates, unless in any particular instances indiv·iduals W. Maqueen Pope Alfred Reynolds shoul.d w i.sh to be associated 'Jit:1 t:1e collection as Ralph Richardson donors. W~1ere it ie not practicable for owners to George H. Rylands have pr Lrrt a made, I ehoul.d greatly appreciate the loan Dame Sybil Thorndike Tommy Trinder of negatives or of prints for re-p>otographing. This Dame Irene Vanbrugh work would be oa rr Le d out by ivJessrs R. B.Fleaing &, Co., Donald Wolfit Technical Phot.ogre phe r s , 1160 are compl e t e Ly accustomed Diana Wynyard to hand l i.ng valuable ma te r ia L, Jr;,, ~ ~ ~ J/Au~ fa u:;:- ~ ~£:~ . ............ 1111111 - - .. THE SOCIETY FOR THEATRE RESEARCH President: Professor EDWARD ]. DENT Chairman : MURIEL ST. CLARE BYRNE Hon. Treasurer r BASIL FRANCIS, I 15 KENILWORTH COURT, LONDON, S.W,15 Hon. Secretaries: SYBIL ROSENFELD and BERTRAM SHUTTLEWORTH, 7 ASHBURNHAM MANSIONS, LONDON, S.W.10 February 1952. '.'7ILLIA.H POEL CENTENARY COMMITTEE Dear Mr. Watkins, To commemorate his centenary which falls in July 1952 the Society for Theatre Research is arranging a programme of "Homage to v.rilliam Poel". As Sir Lewis Casson has recently said, "there is hardly a single production of Shakespeare in this country today that does not in some measure show his influence"; and we consider t:r..at the centenary is a proper occasion for revivifying older memories and passing on to younger generations the first-hand exper i ence of some of the p/clyers who were originally concerned in his productions. At a preliminary meeting with representatives of the Society members of the theatrical profession and other friends agreed to join with the Society in forming an organising committee. In the belief that you will like to be associated with tribute Ia211e Edi th Evans and the Centenary Committee hope you will allow us to include your name in our list of distinguished patrons, as your support would be greatly valued. Patrons ate not asked for financial assistance, but help in making the project Jmown to othere who might be interested would be much appreciated. L brief report of the proposals discussed at the preliminary meeting is enclosed. (Signed on behalf of ])a.me Edith.Evans and ~ne Centenary Committee) f.t. -1lll~- ~ ( Chairma.n, Society for Theatre- Research) Ronald Ua tkins Esq. , Elmfii£(1, Harrow'on the Hill. ·" WILLI.Al"'\i POEL CErJTEN.ARY C O~;J:;.'.I~1TEE -- .. ~---------~-~~~--- ------- -- - -- . - - ~ - Chairnan Dame Edith Evans - - --- - --- - ------ - - --- Sir Kenneth Bdrnes Lady Keeble Dr. F.SoBoas S.R • .Littlewooa Martin Browne Ernest Milton ·:k.M. St. Clare Byrne Nugent lJonck Sir Lewis Casson Esm0' J?ercy *Professor EoJ.Dent iSybil Rosenfela ·~Basil Francis :XBertr312 Shuttleworth Allan Gomme ~Richard Southern .±Phyllis H~rtnoll ·Robert Speaight ·XProf.(essor J. Es aae a Dame Sybil Thorndike "sir B~rry Jackson ~Gwynneth Thurburn . ' (0(, Representatives of the Society.) ------- ....... --~ ·---- --------- --- -- ---··- --- Re :e._o_I t o_2'"'__])_! _~~-imin ar;r_ _!:~e-~~-ngi , J:L _~E'..1?..!_U_3._r_y_l_9. 5_§_ ._ During the first fortnicht in July we hope to vresent a matinee performance, o rgant s e d by I:Ir" Robert Atkins, in which scenes from some of Poel's outst3nGing productions will be revived under the direction of actors and actresses who originally t ook pa r t in t hem, The programme will also inc1ude an 3.pprecio.tion of Poel's work by a distinguished sp eake r , I.!:rn .::\.-:~1,:ins hopes to secure a theatre or ha I I which will give pl J.tform-staGe conditions. Its capacity 2ust be sufficient to provide for the audience that may reasonably be expected to attend a performance of this kincl, and must further enable us to make a number of cheap seats available for students from colleges and drama.tic schools • .Among the plc:i.ys under consider9.tion o.re : Hamlet (1st quarto), Fratricide Bunislled, Ev e r yman , Sejanus;-- Edward 111, Trail tis--ai1cf(fre-s-:s:CcE.:t~--co-r1oTan_u_s - -- - - Mr.-J.\J-ugeri"'f-l!Y6iic)k_---h-3s-··or-:f'Efr7"8-cf--to-iir-cfrfo_-c-c_·sG..'i1_c iT1 group of his Norwich Pls.yers in 311 o x t r ao t fro~·,1 Z"..'-:._e_ry~~mi: he possesses many of Pool 'S o:rie;,in--'l c o s t ume s :1nd some of the sc cne ry , Mr. Hobert Atkins 110.s of:lcrcd to pr o duc e the Countess scenes from EauJrd III. A list of scenGs and their producers w i l I be ser:i1;---:f0---s-upp.ortcrs '.ls soon a s the c omp Lo t o pr ogr amme is ar r angc.d . -:-.-:-:-:- ' 28, ST. J OHN's Woo D .,.,1ERRACE N.W.8. ' P:R.IMROSE 0967 • ~---- TU 7, .L. z , 1r THE s6cIETY FOR THEATRE RESEARCH Presidmr : Professor EDWARD J. DENT Chairman : MURIEL ST. CLARE BYRNE Hon. Treasurer r BASIL FRANCIS, 115 KENILWORTH COURT, LONDON, S.W.15 Hon. Secretaries: SYBIL ROSENFELD and BERTRAM SHUTTLEWORTH, 7 ASHBURNHAM MANSIONS, LONDON, S.W.10 1iarch, 19 52 William Poel Cent enar;y Coramittee I am so grateful for your kindness in consenting to beco~e one of our patrous, and I want to thank you on behalf of the Centenary Committee for the encouragement you have given us by your interest and support. ) ----< _,,/.e__.c..--- -- .._____...._-"\' g~ 28, ST. JOHN'S WOOD TERRACE, N.W.8. PRIMROSE 0967 • .
Load more

Recommended publications
  • Dear Colleagues, It Is with Great Pleasure
    Dear Colleagues, It is with great pleasure that the University of Chicago Press presents its Fall 2009 seasonal catalog of Distributed Books for your review. Here you will find upcoming titles from such distributed client presses as Reaktion, Seagull, British Library, The Bodleian Library, Center for American Places, KWS, The National Journal Group, and many more all conveniently searchable by subject. You can also access additional information for each book by clicking on its title. Please do not hesitate to contact us if you are interested in having a closer look at any of these books. And many thanks for your consideration! Mark Heineke Carrie Adams Promotions Director Publicity Manager University of Chicago Press University of Chicago Press 1427 E. 60th Street 1427 E. 60th Street Chicago IL 60637 Chicago IL 60637 [email protected] [email protected] DISTRIBUTED BOOKS Reaktion Books 105 Seagull Books 119 Architects Research Foundation 134 British Library 135 Planners Press, American Planning Association 141 National Journal Group 142 Bodleian Library, University of Oxford 144 Dana Press 147 American Meteorological Society 148 Center for American Places at Columbia College Chicago 149 Prickly Paradigm Press 153 Mildred Lane Kemper Art Museum, Washington University 154 Verlag Scheidegger and Spiess 155 Swan Isle Press 158 The Karolinum Press, Charles University Prague 159 Smart Museum of Art 160 KWS Publishers 161 Chicago Department of Cultural Affairs 165 Intellect Books 166 Brigham Young University 170 University of Alaska Press 170 University of Chicago Center in Paris 175 Amsterdam University Press 176 University of Exeter Press 184 Campus Verlag 188 Liverpool University Press 191 University of Wales Press 198 University of Scranton Press 206 Eburon Publishers, Delft 209 Fondazione Rossini 210 MELS VAN DRIEL Manhood The Rise and Fall of the Penis Translated by Paul Vincent The ancient Greeks paraded enormous sculptural replicas in annual celebration.
    [Show full text]
  • The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford
    Talking Pictures TV www.talkingpicturestv.co.uk Highlights for week beginning SKY 328 | FREEVIEW 81 Mon 21st September 2020 FREESAT 306 | VIRGIN 445 The Importance of Being Earnest on Talking Pictures TV Stars: Michael Redgrave, Michael Denison, Edith Evans, Joan Greenwood, Dorothy Tutin, Margaret Rutherford. Directed by Anthony Asquith in 1952. Algernon discovers that his friend Ernest has a fictional brother and poses as the brother. Film adaptation of the 1895 Oscar Wilde play. Prepare to join in with Edith Evans as she makes her immortal delivery of the legendary words: “A handbag?” Airs: Monday Sunday 27th September 7:10pm. Monday 21st September 8:35am Wednesday 23rd September 8:45am Spring Meeting (1941) Trouble Brewing (1939) Comedy. Directors: Norman Lee, Comedy. Director: Anthony Kimmins. Walter C. Mycroft. Stars: George Formby, Stars: Enid Stamp-Taylor, Googie Withers & Gus McNaughton. Michael Wilding, Basil Sydney, George wins a lot of money at Sarah Churchill, Nova Pilbeam, the races, but he’s paid with Margaret Rutherford. An adventuress counterfeit money. and her son seek financial and romantic success in an Irish manor. Wednesday 23rd September 11:50am Monday 21st September 6:55pm 80,000 Suspects (1963) Mr Denning Drives North (1951) Drama. Director: Val Guest. Crime. Director: Anthony Kimmins. Stars: Claire Bloom, Richard Johnson Stars: John Mills, Phyllis Calvert and and Yolande Donlan. A doctor’s Eileen Moore. A British aircraft engineer already shaky marriage is tested accidentally kills his daughter’s when he has to contend with a boyfriend and tries to it cover up... smallpox epidemic. Tuesday 22nd September 12:15pm Wednesday 23rd September The Holly and the Ivy (1952) 6:50pm Drama.
    [Show full text]
  • Iwas Lucky to Be in London in May and Catch
    The Scream REBECCA NEMSER I was lucky to be in London in May and catch Fram , Tony Harrison’s latest play,* in its short but spectacu - lar run at the Olivier Theatre at London’s National Theatre. The play, all in rhyming verse, begins in Westminster Abbey, with moonlight shining through the stained glass of the great Rose Window, casting a reflection of Aeschylus on the cold stone floor. In walks the ghost of Gilbert Murray (Jeff Rawle), rising up from his grave and carrying a tragic mask. Murray, the early-twentieth-century Oxford professor and classicist, was also a humanitarian, deeply involved in the League of Nations and the United Nations and co-founder of Oxfam. But since his death fifty years ago, his once-admired verse translations of Aeschylus and Euripides have been scorned, and the world he tried to save has been ravaged by even more unimaginable horrors. So instead of decomposing in his urn, he has spent his afterlife composing this play. He calls up the spirit of Sybil Thorndike (Sian Thomas, as splendid as the character she plays), the actress who tri - umphed on the London stage as Clytemnestra, Hecuba, and Medea in Murray’s once wildly popular versions, and whisks her off to the Olivier stalls of the National Theatre—for Fram is not just a play within a play, but a theater within a theater. Most of all, it is a poem about poetry. The hero of the play is Fridtjof Nansen (Jasper Britton), Murray’s long-ago friend (and admirer of his translations)— the dashing Norwegian scientist, artist, and Arctic explorer *Tony Harrison, Fram .
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • Frank Grace – Interview Transcript
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frank Grace – interview transcript Interviewer: Clare Brewer 8 December 2008 Theatre goer. Anna Lucasta; Windsor Rep; The Gioconda Smile; September Tide; The Second Mrs Tanqueray; Oklahoma; Annie Get your Gun; Shakespeare; The Old Vic; Peter Brook; Olivier; Amateur Theatre; Woolford; Look back In Anger; Encore; Theatre Cruelty; Roots; Tis Pity She’s a Whore; A View From the Bridge; Censorship; Theatre Clubs; The Bald Prima Donna; Oh What a Lovely War; Arthur Miller. This transcript has been edited by the interviewee and thus differs in places from the recording. CB: How did you first become interested in theatre? FG: I suppose through [act]ing at school, but in terms of any serious theatre going I suppose it goes back to the late 1940’s... interestingly enough, when I re-looked at the [programmes] that I have got, the first play that I saw [in] the West End was most unusual for the late 1940’s, it was a play called Anna Lucasta,an American play; what was unusual for the 1940s was that it was an all black cast. CB: Really… FG: And it was about a prostitute and my parents took me [laughs] and I think they must have been slightly worried because I was fourteen at the time and it was one of my first experiences. But that was not typical of the first sort of phase of my theatre-going between that moment in 1949 and about 1951 I suppose and [after where] something dramatic begins to happen, I think.
    [Show full text]
  • Shakespeare in Production
    Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION THE MERCHANT OF VENICE For over four hundred years, in every country where Shakespeare’s plays have been performed, The Merchant of Venice has aroused controversy and excitement. This edition is the first to offer a comprehensive account of the Merchant in performance. Charles Edelman’s introduction challenges many of the myths and preconceptions associated with the play, and shows how historical events and cultural attitudes have shaped actors’ interpretations and audi- ence responses. The commentary, printed alongside the text, describes how different actors, directors and designers have approached each character and episode on stage, film and television, from the first performances in the s down to the present day. The extraordinary variety of The Merchant of Venice in production, from England to the United States, from Germany to Israel, from Canada to Aus- tralia to China, presented here in a clear and original way, will give every reader new and different insights into one of Shakespeare’s most powerful but troubling plays. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-77338-6 — The Merchant of Venice William Shakespeare , Edited by Charles Edelman Frontmatter More Information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial introduction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evi- dence for the overview presented in the introduction, making the volume a flexible tool for further research.
    [Show full text]
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]
  • Theatre Archive Project: Interview with Peter Bartlett
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Peter Bartlett – interview transcript Interviewers: Kate Harris and Ewan Jeffrey 20 October 2005 Actor. Auditions; BBC drama; George Bernard Shaw; Charlie Chaplin; Edith Evans; Equity; John Gielgud; learning parts; Look Back in Anger; RADA; Michael Redgrave; touring (Germany); touring (UK); Orson Welles. EJ: Could you tell me how you first got into theatre, your first experiences with theatre? PB: I did my two years in the Royal Navy, and then I went to the Royal Academy of Dramatic Art, I won a scholarship… EJ: That was RADA? PB: Yes, well, Sir Kenneth Barnes never let us call it anything but ‘the R-A-D-A’. He wouldn’t allow that other word and I won’t ever use it. His sister Irene Vanbrugh would come to the academy occasionally and talk about life in the theatre, and she was so feminine, absolutely lovely. She had long gloves on and carefully took them off, and she taught us how to laugh. While I was at the academy, HM Tennent’s, the leading London management, rang up and said, ‘Will you send us your youngest-looking actor’, and I was the youngest-looking and was taken down to the Piccadilly Theatre where I met Michael Redgrave, who was about to play Macbeth, and I read to him a bit of Fleance and the Third Apparition, ‘Oh that’s fine,’ he said. I was thrilled to meet a film star and my first job was playing the Third Apparition in Macbeth, and he turned to Ena Bowel on the first day of rehearsal and said, ‘He left the academy yesterday’.
    [Show full text]
  • Sir Hugh Casson Interviewed by Cathy Courtney: Full Transcript of the Interview
    IN PARTNERSHIP WITH NATIONAL LIFE STORIES LEADERS OF NATIONAL LIFE Sir Hugh Casson Interviewed by Cathy Courtney C408/16 This transcript is copyright of the British Library Board. Please refer to the Oral History curators at the British Library prior to any publication or broadcast from this document. Oral History The British Library 96 Euston Road NW1 2DB 020 7412 7404 [email protected] IMPORTANT Every effort is made to ensure the accuracy of this transcript, however no transcript is an exact translation of the spoken word, and this document is intended to be a guide to the original recording, not replace it. Should you find any errors please inform the Oral History curators ([email protected]) British Library Sound Archive National Life Stories Interview Summary Sheet Title Page Ref no: C408/16/01-24 Playback no: F1084 – F1093; F1156 – F1161; F1878 – F1881; F2837 – F2838; F6797 Collection title: Leaders of National Life Interviewee’s surname: Casson Title: Mr Interviewee’s forename: Hugh Sex: Male Occupation: Architect Date and place of birth: 1910 - 1999 Mother’s occupation: Father’s occupation: Dates of recording: 1990.02.13, 1990.02.16, 1990.02.19, 1990.03.13, 1990.04.19, 1990.05.11, 1990.05.22, 1990.08.28, 1990.07.31, 1990.08.07, 1991.05.22, 1991.06.03, 1991.06.18, 1991.07.13 Location of interview: Interviewer's home, National Sound Archive and Interviewee's home Name of interviewer: Cathy Courtney Type of recorder: Marantz CP430 Type of tape: TDK 60 Mono or stereo: Stereo Speed: N/A Noise reduction: Dolby B Original or copy: Original Additional material: Copyright/Clearance: Interviewer’s comments: Sir Hugh Casson C408/016/F1084-A Page 1 F1084 Side A First interview with Hugh Casson - February 13th, 1990.
    [Show full text]
  • Dd Shrewstudyguide.Pdf
    HOFSTRA UNIVERSITY DEPARTMENT OF DRAMA AND DANCE THE TAMING OF THE SHREW William Shakespeare STUDY GUIDE Written and compiled by James J. Kolb, Professor of Drama HOFSTRA/DRAMA 1997 A Study Guide to Hofstra University’s Department of Drama and Dance Production of The Taming of the Shrew by William Shakespeare March 1997 Table of Contents The New Cambridge Shakespeare version of The Taming of the Shrew, edited by Ann Thompson, is the text used in the About Shakespeare 2 current production. It is published in paperback by Cambridge University Press, 40 West 20th Street, New York, Title Page of the First Folio Edition New York 10011-4211 of Shakespeare’s Plays 2 ISBN # 0 521 29388 X ($10.95) Shakespeare’s Coat of Arms 3 Shakespeare’s Plays 3 Shakespeare’s Theatre 4 HOFSTRA/DRAMA Department of Drama and Dance Summary of the Story 5 Hofstra University (516) 463-5444 The Sources of the Story 5 The Date of Composition and Special Problems With the Text of The Taming of the Shrew As Related to The Taming of a Shrew 6 A Few Critical Comments 7 The cover engraving is taken from James Edmund Harting’s About the Play on Stage 10 The Birds of Shakespeare (1871). It depicts hawks in training being carried to the field in “the cadge,” carried by “the Notable Lines 15 cadger.” See page 8 of the Study Guide for some additional comments about falconry. About the Play in Other Forms 16 The idea and format of this study guide is by Peter Sander.
    [Show full text]
  • Shakespeare, Madness, and Music
    45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • Ell 1E5 570 ' CS 20 5 4,96;
    . MC0111117 VESUI17 Ell 1E5 570 ' CS 20 5 4,96; AUTHOR McLean, Ardrew M. TITLE . ,A,Shakespeare: Annotated BibliographiesendAeaiaGuide 1 47 for Teachers. .. INSTIT.UTION. NIttional Council of T.eachers of English, Urbana, ..Ill. .PUB DATE- 80 , NOTE. 282p. AVAILABLe FROM Nationkl Coun dil of Teachers,of Englishc 1111 anyon pa., Urbana, II 61.801 (Stock No. 43776, $8.50 member, . , $9.50 nor-memberl' , EDRS PRICE i MF011PC12 Plus Postage. DESCRIPTORS Annotated Biblioal7aphies: *Audiovisual Aids;'*Dramt; +English Irstruction: Higher Education; 4 *InstrUctioiral Materials: Literary Criticism; Literature: SecondaryPd uc a t i on . IDENTIFIERS *Shakespeare (Williaml 1 ABSTRACT The purpose of this annotated b'iblibigraphy,is to identify. resou'rces fjor the variety of approaches tliat teachers of courses in Shakespeare might use. Entries in the first part of the book lear with teaching Shakespeare. in secondary schools and in college, teaching Shakespeare as- ..nerf crmance,- and teaching , Shakespeare with other authora. Entries in the second part deal with criticism of Shakespearear films. Discussions of the filming of Shakespeare and of teachi1g Shakespeare on, film are followed by discu'ssions 'of 26 fgature films and the,n by entries dealing with Shakespearean perforrances on televiqion: The third 'pax't of the book constituAsa glade to avAilable media resources for tlip classroom. Ittries are arranged in three categories: Shakespeare's life'and' iimes, Shakespeare's theater, and Shakespeare 's plam. Each category, lists film strips, films, audi o-ca ssette tapes, and transparencies. The.geteral format of these entries gives the title, .number of parts, .grade level, number of frames .nr running time; whether color or bie ack and white, producer, year' of .prOduction, distributor, ut,itles of parts',4brief description of cOntent, and reviews.A direCtory of producers, distributors, ard rental sources is .alst provided in the 10 book.(FL)- 4 to P .
    [Show full text]