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Problem Children: Troping Early Modern
PROBLEM CHILDREN: TROPING EARLY MODERN REPRODUCTION AND DEVELOPMENT By Bethany Packard Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2010 Nashville, Tennessee Approved Professor Leah S. Marcus Professor Kathryn Schwarz Professor Lynn Enterline Professor Katherine Crawford Professor Carol Chillington Rutter Copyright © 2010 by Bethany Packard All Rights Reserved ii To Mary Frances iii ACKNOWLEDGEMENTS This work would not have been possible without generous financial support from multiple sources. The 2009 – 2010 Scholar Award from the Philanthropic Educational Organization has enabled me to focus on writing during my final year of graduate school. A Mellon Visiting Research Fellowship in Renaissance and Early Modern Studies at the University of Warwick for the summer of 2009 provided the opportunity to write and research while also engaging a new campus and new colleagues. Two Folger Institute seminars have served as bookends for the conception and completion of this dissertation project, and I thank fellow participants and leaders of these seminars, and the always-helpful librarians and staff at the Folger Shakespeare Library. The Vanderbilt University Graduate School has enabled international research through a Dissertation Enhancement Grant for Spring 2009 and a College of Arts and Sciences Summer Research Award for 2008. I would like to thank all those I have had the pleasure to work with over the course of this project. Each member of my Dissertation Committee has provided invaluable insights into my dissertation writing process and into the profession itself. I would especially like to thank Professor Leah Marcus, the chair of my committee, both for all she has taught me and for her support and guidance as I worked to find my own voice. -
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. -
Haggerty Will Not Seek Another Term by Janet Armantrout Alameda County Supervisor Haggerty Has a Long List of Still Have Reserves." Completed
Thursday, JUNE 13, 2019 VOLUME LVI, NUMBER 24 Your Local News Source Since 1963 SERVING DUBLIN, LIVERMORE, PLEASANTON, SUNOL County Supervisor Haggerty Will Not Seek Another Term By Janet Armantrout Alameda County Supervisor Haggerty has a long list of still have reserves." completed. Scott Haggerty has announced accomplishments, with financial During the recent recession, Other accomplishments in- that he will not seek re-election stability a particular source of no county employee lost his or clude instituting a fracking ban See Inside Section A in 2020. pride. Alameda County has earned her job. for the county, expanding Bed & Section A is filled with After 23 years in office, he the county triple A ratings from all He points to the Bankhead Breakfast opportunities in South information about arts, declared, "I'm tired. The job has of the rating agencies. The reserve Theater as another project he is Livermore, and establishing a people, entertainment and really taken a toll. I need to get policy that he helped to put in proud of. Haggerty obtained $23 microbrewery ordinance. special events. There are healthy." place contains over $100 million. million from the Altamont and The ag barn at the fairgrounds, education stories, a variety He added that for the past year, He noted, "We paid $200 million Vasco landfills to make it a reality. Stanley Blvd. improvements, HOT of features, and the arts he had been thinking about not drawing down our Other Post- He made sure that the BART lanes on 580 and 680, and a ballot and entertainment and running. Employment Benefits (OPEB) and to Warm Springs extension was measure that raised over $8 billion bulletin board. -
ANNUAL REPORT and ACCOUNTS the Courtyard Theatre Southern Lane Stratford-Upon-Avon Warwickshire CV37 6BH
www.rsc.org.uk +44 1789 294810 Fax: +44 1789 296655 Tel: 6BH CV37 Warwickshire Stratford-upon-Avon Southern Lane Theatre The Courtyard Company Shakespeare Royal ANNUAL REPORT AND ACCOUNTS 2006 2007 2006 2007 131st REPORT CHAIRMAN’S REPORT 03 OF THE BOARD To be submitted to the Annual ARTISTIC DIRECTOR’S REPORT 04 General Meeting of the Governors convened for Friday 14 December EXECUTIVE DIRECTOR’S REPORT 07 2007. To the Governors of the Royal Shakespeare Company, Stratford-upon-Avon, notice is ACHIEVEMENTS 08 – 09 hereby given that the Annual General Meeting of the Governors will be held in The Courtyard VOICES 10 – 33 Theatre, Stratford-upon-Avon on Friday 14 December 2007 FINANCIAL REVIEW OF THE YEAR 34 – 37 commencing at 2.00pm, to consider the report of the Board and the Statement of Financial SUMMARY ACCOUNTS 38 – 41 Activities and the Balance Sheet of the Corporation at 31 March 2007, to elect the Board for the SUPPORTING OUR WORK 42 – 43 ensuing year, and to transact such business as may be trans- AUDIENCE REACH 44 – 45 acted at the Annual General Meetings of the Royal Shakespeare Company. YEAR IN PERFORMANCE 46 – 51 By order of the Board ACTING COMPANIES 52 – 55 Vikki Heywood Secretary to the Governors THE COMPANY 56 – 57 CORPORATE GOVERNANCE 58 ASSOCIATES/ADVISORS 59 CONSTITUTION 60 Right: Kneehigh Theatre perform Cymbeline photo: xxxxxxxxxxxxx Harriet Walter plays Cleopatra This has been a glorious year, which brought together the epic and the personal in ways we never anticipated when we set out to stage every one of Shakespeare’s plays, sonnets and long poems between April 2006 and April 2007. -
Hybridity in John Wyver's Bbc Shakespeare
TESIS DOCTORAL 2016-2017 HYBRIDITY IN JOHN WYVER’S BBC SHAKESPEARE FILMS: A STUDY OF GREGORY DORAN’S MACBETH (2001), HAMLET (2009) AND JULIUS CAESAR (2012) AND RUPERT GOOLD’S MACBETH (2010) Autor: Víctor Huertas Martín PROGRAMA DE DOCTORADO EN FILOLOGÍA. ESTUDIOS LINGÜÍSTICOS Y LITERARIOS: TEORÍA Y APLICACIONES DIRECTORA: MARTA CEREZO MORENO 1 ACKNOWLEDGEMENTS I wish to thank John Wyver, whose contribution to the development of TV theatre has been the main inspiration for this doctoral dissertation. His generosity has been outstanding for having granted me two interviews where many clarifications and useful answers were offered to carry out this research. My heartiest acknowledgements belong to Dr. Marta Cerezo Moreno for her great supervising task, enthusiasm, optimism and energy; for her rigor at correction together with all the methodological and theoretical suggestions she has been making over these last three years. My acknowledgements should be extended to the teachers at the English Studies Department and other Humanities Departments at the UNED. Over a series of seminars, I have had the chance to meet some of them and their advice and contributions have been highly beneficial for my work. Also, I need to thank my partner Olga Escobar Feito for her unconditional support, for her kind words, her frequent smiles and her infinite patience over three years of coexistence with a frequently absent-minded PhD student buried in books and paper. It only remains to dedicate this work to my family, friends, colleagues and students. February 17, 2017 2 Table of Contents 0. INTRODUCTION .............................................................................................................7 0.1. Research Statement ........................................................................................................... 8 0.2. -
Front Matter
Cambridge University Press 978-0-521-19054-1 - Thomas Middleton in Context Edited by Suzanne Gossett Frontmatter More information THOMAS MIDDLETON IN CONTEXT The redefinition of the Thomas Middleton canon has led to an explosion of interest in this quintessential Jacobean. Middleton’s best-known plays, such as Women Beware Women and The Changeling, are now staged, filmed, and rewritten for modern audi- ences. But Middleton also wrote religious poetry, satires, historical allegory, prose, and less familiar plays; he collaborated frequently, even with Shakespeare. His works are rooted in his historical and cultural environment, from the growth of religious Arminianism and the Overbury scandal to the fall of the boys’ companies. Here, experts in literature, theatre, history, law, and religion analyze the complex contexts of Middleton’s works, clarifying debates over his religious and political affiliations. Divided into sections presenting new inter- pretations of the world in which Middleton wrote – as Londoner, citizen, dramatist, and early modern man – and concluding with a section on performance history, the essays cover the full range of his works, from the frequently performed to the newest attributions. SUZANNE GOSSETT is Professor of English at Loyola University Chicago. She has edited Middleton’s A Fair Quarrel for the Oxford Middleton, Shakespeare and Wilkins’s Pericles for the Arden Shakespeare, and Beaumont and Fletcher’s Philaster for Arden Early Modern Drama. She is a general editor of Arden Early Modern Drama and, with Gordon -
MEDICI BROCHURE WB Nov 09
CreATed bY: NicholAs MeYer ANd FrANk SpoTNiTz DirecTed bY: Sergio MiMicA-GezzAN PEOPLE FEAR KINGS KINGS FEAR POPES POPES FEAR THE MEDICI Format 8 x 50’ Genre Murder Mystery Political Thriller Created by Nicholas Meyer Frank Spotnitz Directed by Sergio Mimica-Gezzan Executive Producers Frank Spotnitz Luca & Matilde Bernabei Locations Florence: Renaissance real locations Tuscan countryside Rome Shooting September 2015 Delivery September 2016 Production Company Lux Vide SPA Big Light Productions Ltd International Distribution Wild Bunch TV FloreNce, 1429 Giovanni de’ Medici, thanks to a contract stipulated with the Papacy twenty years before, has transformed his family bank into an unprecedented economic force. But then, Giovanni is mysteriously murdered, and his sons, Cosimo and Lorenzo, are forced to face a range of enemies plotting to oust the Medici fom power. First in line is Rinaldo Albizzi, head of the faction of nobles, who stands opposed not only to the rise of the middle class, favored by the Medici, but also to Cosimo’s vision for the city, including his patronage of magnificent works of art and architecture by such great artists as Donatello and Brunelleschi. Also in the Medici family keeping the peace is not an easy task. Lorenzo and Cosimo are nearly opposite in temperament, and Cosimo’s marriage to Contessina de Bardi – formed as a political alliance but then matured into a formidable partnership – will be severely strained during his exile in Venice. It is there that Cosimo takes up with Maddalena, a beautiful slave who becomes his mistress and the mother of his illegitimate son. In the meantime, the mystery of who killed Giovanni continues to lurk behind the scenes, and a new arch- enemy appears on the horizon in the person of the rival THE banker Pazzi. -
The Royal National Theatre Annual Report and Financial Statements 2008
The Royal National Theatre Annual Report and Financial Statements 2008 – 2009 The Royal National Theatre Upper Ground, South Bank, London SE1 9PX + 44 (0)20 7452 3333 www.nationaltheatre.org.uk Company registration number 749504 Registered charity number 224223 Registered in England The Royal National Theatre is a company limited by guarantee and a registered charity. It was established in 1963 for the advancement of education and, in particular, to procure and increase the appreciation and understanding of the dramatic art in all its forms as a memorial to William Shakespeare. These objects are set out in the governing document, which is its Memorandum and Articles of Association, and have been developed into a set of aims and objectives as described on page 4. Public Benefit Statement In developing the objectives for the year, and in planning activities, the Trustees have considered the Charity Commission’s general guidance on public benefit including the guidance on public benefit and fee charging. The repertoire is planned so that across a full year it will cover a wide range of theatre, appealing to a broad audience. Particular regard is given to ticket- pricing, affordability, access and audience development, both through the Travelex £10 season and more generally in the provision of £10 tickets for all performances. Careful consideration is given to the accessibility of the National to those on low incomes, through concessions, free exhibitions, foyer music and performances of Watch This Space. Geographical reach is achieved through touring and in the development of NT Live. The NT also seeks to develop new audiences and deepen engagement through NT Discover and other activities both on-site and over the website. -
A Performance History of Sir Thomas More
A PERFORMANCE HISTORY OF SIR THOMAS MORE by Kathleen M. Bradley A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Department of English The University of Birmingham May 2009 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. ABSTRACT This thesis examines the history of Sir Thomas More in performance through an engagement, by correspondence and personal interview, with those theatrical practitioners most closely involved with the production of the play text as a theatrical event. This is allied to a close examination of those records of performance that remain accessible to the scholar. The relationship between the roles of the modern editor as an authorial collaborator and the modern director as a textual editor also informs the author’s approach to the subject. The limitations inherent in any records closely concerned with the production of an essentially ephemeral theatrical event are assessed in relation to the necessary subjectivity of critical responses to unique performances. To Mike – with all my love, always. ACKNOWLEDGEMENTS My warmest thanks are due to Dr John Jowett, my supervisor and initial inspiration for this thesis.