Nell Gwynn Education Pack
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Restoration Verse Satires on Nell Gwyn As Life-Writing
This is a postprint! The Version of Record of this manuscript has been published and is available in Life Writing 13.4 (Taylor & Francis, 2016): 449-64. http://www.tandfonline.com/DOI: 10.1080/14484528.2015.1073715. ‘Rais’d from a Dunghill, to a King’s Embrace’: Restoration Verse Satires on Nell Gwyn as Life-Writing Dr. Julia Novak University of Salzburg Hertha Firnberg Research Fellow (FWF) Department of English and American Studies University of Salzburg Erzabt-Klotzstraße 1 5020 Salzburg AUSTRIA Tel. +43(0)699 81761689 Email: [email protected] This work was supported by the Austrian Science Fund (FWF) under Grant T 589-G23. Abstract Nell Gwyn (1650-1687), one of the very early theatre actresses on the Restoration stage and long-term mistress to King Charles II, has today become a popular cultural icon, revered for her wit and good-naturedness. The image of Gwyn that emerges from Restoration satires, by contrast, is considerably more critical of the king’s actress-mistress. It is this image, arising from satiric references to and verse lives of Nell Gwyn, which forms the focus of this paper. Creating an image – a ‘likeness’ – of the subject is often cited as one of the chief purposes of biography. From the perspective of biography studies, this paper will probe to what extent Restoration verse satire can be read as life-writing and where it can be situated in the context of other 17th-century life-writing forms. It will examine which aspects of Gwyn’s life and character the satires address and what these choices reveal about the purposes of satire as a form of biographical storytelling. -
WRAP Theses Crowther 2017.Pdf
A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman. -
Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on Twelfth Night 2017 with Alex LaGrand who worked on King Lear 2016 with Zack Powell who worked on Henry IV Part II 2015 with John Ahlin who worked on Macbeth 2000 with Jerry Hands who worked on Much Ado About Nothing 1984 with Derek Jacobi who worked on Othello 1964 with Laurence Olivier who worked on Romeo and Juliet 1935 with Edith Evans who worked on The Merry Wives of Windsor 1918 with Ellen Terry who worked on The Winter’s Tale 1856 with Charles Kean who worked on Richard III 1776 with David Garrick who worked on Hamlet 1747 with Charles Macklin who worked on Henry IV 1738 with Colley Cibber who worked on Julius Caesar 1707 with Thomas Betterton who worked on Hamlet 1661 with William Davenant who worked on Henry VIII 1637 with John Lowin who worked on Henry VIII 1613 with John Heminges who worked on Hamlet 1603 with William Shakespeare. -
Information to Users
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 WOMEN PLAYWRIGHTS DURING THE STRUGGLE FOR CONTROL OF THE LONDON THEATRE, 1695-1710 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Jay Edw ard Oney, B.A., M.A. -
D. M. Rosenberg MILTON, DRYDEN, and the IDEOLOGY of GENRE
D. M. Rosenberg MILTON, DRYDEN, AND THE IDEOLOGY OF GENRE Samson Agonistes was Milton's creative response to the political and social forces that shaped the values of the Restoration theatre. These forces included the domination of Crown and Court, the ideological predilections and beliefs of the courtier playwrights and their coterie audience, and prevalent literary taste and stage practices. The rhymed heroic play, especially as it was developed by John Dryden, poet laureate and royal historiographer, most clearly exemplifies the varied social and theatrical elements that constitute the ethos and ideology of early Restoration drama. •*- Samson Agonistes as a poetic drama resembles the Restoration heroic play, particularly with regard to heroic themes and neoclassical canons of style. More significantly, however, Milton uses the heroic play as a genre to dissent from its conventions and shared norms. Samson Agonistes, in other words, relates to the heroic play by antagonism and reformation.^ This study will compare the characteristic qualities of two kinds of poetic drama, analysing their common and distinctive modes in order to under stand better Milton1s work in his dissenting, antagonistic relation to the ideology of the Restoration theatre. This comparison affords a perspective on the serious drama of the early Restoration. Further, by setting these plays together, one can define their meaning more closely than is possible in isola tion. Finally, comparison is a method that clarifies the ways in which Samson Agonistes was unique in its own time. In his preface to Samson Agonistes, published eleven years after the return of Charles II and the re-opening of the London theatres, Milton declared that his play "never was intended for the stage." This in itself is a significant part of the meaning of Samson Agonistes in the context of Restoration culture. -
Actes Des Congrès De La Société Française Shakespeare
Actes des congrès de la Société française Shakespeare 39 | 2021 Shakespeare et les acteurs Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking Tiffany Stern Electronic version URL: https://journals.openedition.org/shakespeare/5904 DOI: 10.4000/shakespeare.5904 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Tiffany Stern, “Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking”, Actes des congrès de la Société française Shakespeare [Online], 39 | 2021, Online since 19 May 2021, connection on 23 August 2021. URL: http://journals.openedition.org/shakespeare/5904 ; DOI: https://doi.org/ 10.4000/shakespeare.5904 This text was automatically generated on 23 August 2021. © SFS Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking 1 Performing Genre: Tragic Curtains, Tragic Walking and Tragic Speaking Tiffany Stern 1 In his New World of English Words, Edward Phillips characterises a “Tragedian” as “a writer of […] a sort of Dramatick Poetry […] representing murthers, sad and mournfull actions.”1 He may be picking up on Florio’s New World of Words which had defined a “comedian” as, no surprise, a “writer of comedies.”2 Both seem, now, self-evident as definitions. But Shakespeare, who was, according to these classifications, both a tragedian and a comedian, used those same words in a different sense. When Rosencrantz lets Hamlet know that “the Tragedians of the City” (Hamlet, TLN 1375) have arrived, or when Cleopatra worries that “The quicke Comedians / Extemporally will -
Mthaniel Lee «S Ri7al Queens
MTHANIEL LEE «S RI7AL QUEENS: A STUDY OF DRAMATIC TASTE AND TECHNIQUE IN THE RESTORATION DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State U niversity By NANCY ELOISE LE^S, A.B., M.A. The Ohio State U niversity 1957 Approved by: Department of English TABLE OF CONTENTS Chapter Page I INTRODUCTION.......... ......................................................................... 1 II ALEXANDI-R AS H E R O ................................................................... 13 III Tr^ RIVAL QUEENS AS T R A G E D Y .......................................... kS n Ç E RIVAL QUEENS ON THE BOARDS............................................ 86 V n&&^IIC]3FLm#K% OF THE RIVAL QUEENS . 128 BIBLIOGRAPHY......................................................................... 158 XI CHAPTER I INTRODUCTION In the annals of English drama, the period of the Restoration is labeled chiefly as the age of the comedy of manners, the witty, sophis ticated, amoral society comedy written primarily for the pleasure of the audience of nobility and gentry that attended the theatres duiring the reign of Charles II. Critical studies devoted to this genre have been numerous; the plays of Etherege, t^cherley, and Congreve, as w ell as those of their lesser contemporaries in this field, have been examined in d ivid u ally and c o lle c tiv e ly by scholars of several genera tions. Aesthetically, such attention seems justified. Restoration plays which have survived their age are, for the most part, ccmedies. Dryden’s All for Love is the only notable exception. The serious drama of the Restoration is just as representative of the age, notwithstanding its limitations as lasting literature; indeed, Allardyce Nicoll calls heroic tragedy "that most characteristic of all the Restoration theatrical species."^ Thus it cannot be ignored in any 1. -
ABSTRACT ANDERSON, JENNIFER. Author's Choice
ABSTRACT ANDERSON, JENNIFER. Author’s Choice: The Relevance of Author as Casting Director on the Restoration Stage. (Under the direction of Dr. John Morillo.) During the Restoration playwrights were often able to act as directors when their works reached the stage. Playwrights were also very public about their intentions within their plays: the attitudes they wished the audience to take and the emotions they hoped their works to instill. As a result, we are able to examine the author/director’s choice of cast and determine how those choices were intended to directly affect interpretation. With the loss of a play’s original cast, much of the author’s intent was lost. John Dryden wrote his story of Antony and Cleopatra, All For Love, as a tragedy, with the intent of evoking the pity of the audience. His choice of cast for the play’s premiere in 1677 reflects this intent. Though the play was still highly popular in 1718, the changing cast had counteracted the intended pity. In 1696, Sir John Vanbrugh wrote The Relapse in response to Colley Cibber’s move toward sentimental comedy in Love’s Last Shift. Vanbrugh’s play immediately met criticism from moralists, and by the time of its performance in 1716 the changing cast indicated the first shift of many that took the play from a reaction against sentimental comedy to a specimen of the same. Dryden’s most extravagant heroic drama, The Conquest of Granada, used the personalities of its original cast to add depth to the play. By the play’s final production in 1709, the new cast was unable to sustain the claims and characterizations necessary to the genre. -
Suggested Reading List
UNIVERSITY OF TENNESSEE AT CHATTANOOGA DEPARTMENT OF THEATRE & SPEECH SUGGESTED READING LIST PLAYS GREEK DRAMA • THE ORESTEIA Aeschylus • MEDEA Euripides • OEDIPUS THE KING Sophocles • ANTIGONE Sophocles • LYSISTRATA Aristophanes • THE MENAECHMI Plautus • THE BROTHERS Terence MEDIEVAL DRAMA • THE SECOND SHEPHERD’S PLAY Anonymous (Wakefield Cycle) • EVERYMAN Anonymous • DULCITIUS Hrosvitha ITALIAN RENAISSANCE • LA MANDRAGOLA (a. k. a. THE MANDRAKE) Niccolò Machiavelli ENGLISH RENAISSANCE • VOLPONE Ben Jonson • THE SPANISH TRAGEDY Thomas Kyd • DOCTOR FAUSTUS Christopher Marlowe • KING LEAR William Shakespeare • HAMLET William Shakespeare • MACBETH William Shakespeare • OTHELLO William Shakespeare • AS YOU LIKE IT William Shakespeare • A MIDSUMMER NIGHT’S DREAM William Shakespeare • TWELFTH NIGHT William Shakespeare • THE TAMING OF THE SHREW William Shakespeare • JULIUS CAESAR William Shakespeare • HENRY IV PART ONE William Shakespeare • RICHARD III William Shakespeare • HENRY V William Shakespeare • THE DUCHESS OF MALFI John Webster FRENCH RENAISSANCE • TARTUFFE Molière • THE MISANTHROPE Molière • PHÈDRE Jean Racine SPANISH GOLDEN AGE • LIFE IS A DREAM Pedro Calderón de la Barca ENGLISH RESTORATION & 18th CENTURY • THE ROVER Aphra Behn • THE BUSY BODY Suzanna Centlivre • SHE STOOPS TO CONQUER Oliver Goldsmith • SCHOOL FOR SCANDAL Richard Sheridan • THE COUNTRY WIFE William Wycherly GERMAN, FRENCH AND ITALIAN 18TH CENTURY • THE MARRIAGE OF FIGARO Pierre Beaumarchais • FAUST PART I Johann Wolfgang Goethe • THE SERVANT OF TWO MASTERS Carlo -
The Stage History of Epicoene, Or the Silent Woman
THE SJAGE BISTORT OP EFICOEBB, OR Ttffi SIIBNT WOMAH A Thesis Presented to the Faculty of The Rice Institute in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Department of English by Rita Claire Gay May 1940 TABLE OF CONTENTS Pref sc® 1 Chapter I The Jacobean Period .......... 5 Chapter II The Restoration * ...... 52 Chapter III The Eighteenth Century ........ 77 Conclusion 89 Notes ' . 91 Bibliography 106 Of all Ben Jonson's plays Knicoene. or The Silent Woman has held the stage longest. From the time that Dryden selected it as the "pattern of a perfect play," and preferred it before all other plays, as he did its author "in judgment before all other poets," students of the theatre have accorded it an important place 1 in the history of comedy* Coleridge left his opinion that "this is to sy feelings the most entertaining of Old Ben’s comedies, and, more than any other, would admit of being brought out anew, if under the management of a judicious and stage-understanding 2 playwright." And three hundred years after its initial repre¬ sentation Aurelia Henry writes in the preface to her edition of the plays . .its intrigue is the finest Jenson ever contrived; it contains some of the most inimitable of his comic characters, and at least one of the best situations any comedy affords; it reflects with due subordination to plot the manners of its age • . * it is of perennially comic force, infinite in wit, and pervaded by a spirit more nearly gay than any other work of Its author. -
Annual Review. 2017 Shakespeare’S Globe OUR CAUSE We Celebrate Shakespeare’S Transformative Impact on the World by Conducting a Radical Theatrical Experiment
Annual Review. 2017 Shakespeare’s Globe OUR CAUSE We celebrate Shakespeare’s transformative impact on the world by conducting a radical theatrical experiment. 4 Chief Executive’s Welcome Inspired and informed by the unique 6 Theatre historic playing conditions of two 6 Wonder Noir beautiful iconic theatres, our diverse programme of work harnesses the 11 The Summer of Love power of performance, cultivates 16 The Winter Selection intellectual curiosity and excites learning to make Shakespeare 19 Beyond the Globe accessible for all. 21 Inspiring young – and not so young – people ‘And let us… on your imaginary 23 Learning for all forces work’ Henry V, Prologue 29 Widening access #Globe2018 30 Exhibition & Tour 020 7401 9919 31 Behind the scenes shakespearesglobe.com 32 How we made it 33 How we spent it 35 Looking forward 36 Learning for all 38 Project Prospero 40 Thanks, thanks and ever thanks 40 Supporters 42 Staff 45 Trustees and Globe Councillors 46 Cast members and Creatives 2017 The Shakespeare Globe Trust. Registered in England and Wales No. 1152238. Registered charity No. 266916. 2 3 2017 marked 20 years since the royal opening of the Globe. We marked that anniversary with a special Reconstructing the Globe exhibition, but we also celebrated it by simply doing what we do every year: which is to offer year-round, whether on the stage, or in the exhibition, or as part of an education programme, the best possible experience of Shakespeare and the theatre of his time. Over 923,000 visited the Globe site this year, including a record 138,000 students (of all ages), while Emma Rice’s last Globe season achieved an overall capacity of 92% – or a share of approximately 11% of London’s play-going audience. -
Shakespeare in Production Othello
Cambridge University Press 0521834589 - Othello Edited by Julie Hankey Frontmatter More information SHAKESPEARE IN PRODUCTION OTHELLO This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and inter- preted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the pro- cess, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focused attention, both as the forbidden object of desire within a racial framework and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film and in the adaptations which set out to interrogate Shakespeare’s text. julie hankey is a freelance writer and one of the General Editors of the ‘Shakespeare in Production’ series. She contributed the theatre-historical editions of Richard III and Othello, before the series was adopted by Cam- bridge University Press, and has also contributed articles to Shakespeare Quarterly and New Theatre Quarterly. © Cambridge University Press www.cambridge.org Cambridge University Press 0521834589 - Othello Edited by Julie Hankey Frontmatter More information SHAKESPEARE IN PRODUCTION series editors: j. s. bratton and julie hankey This series offers students and researchers the fullest possible stage his- tories of individual Shakespearean texts.