DOCSLIB.ORG

A Key Stage 2 History Curriculum Resource

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Key Stage 2 History Curriculum Resource A Key Stage 2 History Curriculum Resource © Shakespeare Schools Foundation 2017 All rights reserved. Copyright of this curriculum resource rests with Shakespeare Schools Foundation. Any hiring, lending, redistribution, modification or copying (other than copying for the exclusive use of the school or institution which has purchased the resource) is strictly prohibited How to use this scheme of work Our schemes of work are made by teachers, for teachers and are designed to be exciting, immersive, thorough and easy to use. They are matched to the requirements of the National Curriculum. Send feedback to [email protected] This scheme consists of: • A scheme overview • Individual single page lesson plans with details of teaching input, Learning Objectives, Success Criteria, National Curriculum links and required resources. This is the essential overview of each lesson and forms the basis of your teaching • Teaching and learning activities to accompany each lesson plan. These provide further details of lesson activities • Resources to accompany each lesson plan. Each lesson is fully resourced, to save you as much time as possible • A scheme PowerPoint, including child friendly learning objectives The following symbols are used periodically in this planning: Dig Deeper! Suggestions for how you might develop an idea further, beyond the scope of the lesson Ideas that may need to be adapted for your learners or areas of extra teacher preparation prior to the lesson (e.g. internet sites to be accessed before the lesson) Orange font A resource needed from the scheme’s resource pack, where you will find all resources arranged in lesson plan order Jade font A hyperlink, either to an area of our website or to an external link. External links are selected and reviewed on their individual educational merits at the time our schemes are published, but we are not responsible for their content as we do not produce, maintain or update them, and have no authority to change them. Some external links may offer commercial products and/or services. The inclusion of a hyperlink should not be understood to be an endorsement by Shakespeare Schools Foundation of that website, the site's owners or their products and services © Shakespeare Schools Foundation 2017 KS2 History of Shakespeare’s theatre Page 1 Scheme overview Lesson Sequence Summary of lesson activities Key Learning Objectives Key Assessment Opportunities 1. Comparing images of • Children create a piece of art in response to a • To describe features of a historical setting • 8 panel topic illustration old and modern London – stimulus including social, cultural and technological sheet A timeline • Children identify similarities and differences aspects • Similarities/Differences between two depictions of a historical setting • To identify similarities and differences in the grid • Creative writing based on a historical novel same setting over a period of time • Timeline stimulus • Descriptive writing • Timeline creation 2. Introducing • Children use cue scripts to practise being a • To describe, analyse and empathise with the • Drama observations Shakespearean theatre – Shakespearean actor life and experiences of adults and children in • Non-chronological reports Becoming an actor • Children use role cards and drama to recreate past societies • Advertisements apprentice the life of an apprentice actor • Children create a non-chronological report or an advertisement for a child actor 3. Investigating • Children analyse two portraits of Elizabeth I • To construct an understanding of the past and • Class discussion portraiture – Thinking • Children analyse a portrait of a Shakespearean figures from historical settings using primary • Portrait analysis sheets about archaic and actor. How does this compare with the portrait of sources modern promotional Elizabeth? • To understand that history is interpretive, images depending on the perspective of different figures • To analyse portraiture and deduce information from the analysis • To make links about portraiture across time periods 4. Child actors – • Children create a fact file on actor Nathan Field • To explain the role of children in historical • Mind map about the life of Treatment of children • Children create a ‘Wanted’ poster for Nathaniel entertainment Nathan Field across time periods – The Giles • To describe and analyse the dangers facing • A written interrogation of UN Convention on the • Children research the rights given to children children in Shakespeare’s time the Nathan Field portrait Rights of the Child under the UN Convention on the Rights of a Child • To make links across time periods, thinking • A Nathaniel Giles ‘Wanted’ and compare this to the rights (if any) of children about the relative protection available to poster in Shakespeare’s time children now and in Shakespeare’s time © Shakespeare Schools Foundation 2017 KS2 History of Shakespeare’s theatre Page 2 Scheme overview Lesson Sequence Summary of lesson activities Key Learning Objectives Key Assessment Opportunities 5 Threats to • Children investigate the question, “Who goes to • To identify, describe and explain threats to the • Plague research Shakespeare’s theatre – the theatre?” cultural life of a historical setting • Report on the threats to the The Plague and the • Children research the Plague • To understand that history is interpretive, theatre Puritans • Children find out why Puritans objected to depending on the perspective of different • Letter to Countess Shakespeare’s theatre, focussing on Countess figures Elizabeth Elizabeth Russell 6 The Globe Theatre – • Children use historical fiction to investigate the • To describe social and cultural diversity in • Writing in role as Past and present Globe Theatre in Shakespeare’s time Britain Groundlings • Children investigate and write about the • To explain and evaluate significant historical • A newspaper report on the destruction of the Globe by fire events destruction of the Globe • Children find out about Sam Wanamaker’s new • I SPY sheets Globe Theatre 7 The indoor playhouse – • Children use pictorial evidence and a • To identify examples of historical theatrical • I SPY sheets Early filmed Shakespeare fictionalised account to find out about the entertainment and special effects • Freeze framing activity indoor playhouse • To examine change and continuity in theatrical • Silent movie effect • Children investigate early special effects and entertainment and special effects comparison sheets analyse early filmed Shakespeare productions • To analyse different entertainment experiences available to a historical audience 8 Shakespeare’s Royal • Children categorise plays as comedy, history or • To describe theatrical genres and categorise • Author letters Patrons – Shakespeare’s tragedy historically significant literature within genres • Book reviews Legacy • Children learn about Shakespeare and Elizabeth • To identify historically significant people and • Research on Elizabeth I • Children learn about Shakespeare and James I events within and across historical situations • A flyer for James I • Children write a letter to Shakespeare about his • A ‘thank you’ letter to continuing legacy Shakespeare © Shakespeare Schools Foundation 2017 KS2 History of Shakespeare’s theatre Page 3 Specific Links To National Curriculum – Key Stage 2 – The World Around Us Lesson Sequence Interdependence Place Movement and energy Change over time Permeating the entire scheme of • The effect and legacy of • How our culture has been • The lives of William work Shakespeare’s theatre shaped by the theatre of Shakespeare, Nathan Field, Shakespeare’s London Elizabeth I and James I. How the cultural life of the theatre has developed and changed over time • Origins and traditions of our cultural life 1 Comparing images of old and • Technological change • Comparing one place modern London – A timeline over time (Comparing (London’s bankside area) old and modern London) over two distinct time periods 2 Introducing Shakespearean • How life as an actor differs theatre – Becoming an actor now from Shakespeare’s apprentice time 3 Investigating portraiture – • The voyages of • Portraiture as an aspect of Thinking about archaic and modern discovery during the Elizabethan life (and promotional images reign of Elizabeth I different interpretations of the past) 4 Child actors – Treatment of • Changes in the treatment of children across time periods – The children over time with a UN Convention on the Rights of the focus on the UN Convention Child on the Rights of the child © Shakespeare Schools Foundation 2017 KS2 History of Shakespeare’s theatre Page 4 Lesson Sequence Interdependence Place Movement and energy Change over time 5 Threats to Shakespeare’s theatre • Reasons for and the • Distinctive features of – The Plague and the Puritans effect of the Plague Shakespeare’s time – • The effect of the Puritan including the Puritan movement on cultural movement life 6 The Globe Theatre – Past and • • The Globe and early • The ‘life’ of the Globe present indoor theatres and their theatre – in its various influence on the incarnations from development of our Shakespeare’s times to cultural life modern times 7 The indoor playhouse – Early • Technological change filmed Shakespeare over time (thinking about theatrical effects, early cinematic effects and today’s technology) 8 Shakespeare’s Royal Patrons – • See ‘Permeating the • See ‘Permeating the • See ‘Permeating the entire Shakespeare’s Legacy entire scheme of work’ entire scheme of work’ scheme
Load more

Recommended publications
  • Simon Smith Music's Mobility
    University of Birmingham The many performance spaces for music at Jacobean indoor playhouses Smith, Simon DOI: 10.1017/9781316488768.003 License: Other (please specify with Rights Statement) Document Version Peer reviewed version Citation for published version (Harvard): Smith, S 2017, The many performance spaces for music at Jacobean indoor playhouses. in D Lindley & B Barclay (eds), Shakespeare, Music and Performance. Cambridge University Press, Cambridge, pp. 29-41. https://doi.org/10.1017/9781316488768.003 Link to publication on Research at Birmingham portal Publisher Rights Statement: This material has been published in revised form in Shakespeare, Music and Performance edited by Bill Barclay, David Lindley https://doi.org/10.1017/9781316488768.003. This version is free to view and download for private research and study only. Not for re- distribution or re-use. © Cambridge University Press. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain.
    [Show full text]
  • Introduction
    Notes Introduction 1. Ben Jonson, ‘Epitaph on S. P. a Child of Q. El. Chappel’, in Ben Jonson, ed. C. H. Herford, Percy Simpson and Evelyn Simpson, 11 vols (Oxford: Clarendon Press, 1925–52), VIII (1947), p. 77, ll. 1–5. Further references are given in the text. 2. For example, Michael Shapiro, Children of the Revels: The Boy Companies of Shakespeare’s Time and their Plays (New York: Columbia University Press, 1977), p. 104; Glynne Wickham, Herbert Berry and William Ingram, eds, English Professional Theatre, 1530–1660 (Cambridge: Cambridge University Press, 2000), p. 268. 3. See Claire Busse, ‘Pretty Fictions and Little Stories’, in Childhood and Children’s Books in Early Modern Europe, 1550–1800, ed. Andrea Immel and Michael Witmore (London: Routledge, 2006), pp. 75–102 (p. 75). 4. See David Kathman, ‘How Old Were Shakespeare’s Boy Actors?’, Shakespeare Survey, 58 (2005), 220–46 (p. 223). 5. See Philippe Ariès, Centuries of Childhood (New York: Vintage, 1962), pp. 36–7. 6. For ease of reference I will generally refer to ‘the Children of the Queen’s Revels’, but I will use the title appropriate to a particular historical moment when discussing a specific event. 7. See Shapiro, Children of the Revels, p. 104; Shen Lin, “How Old were the Children of Paul’s?”, Theatre Notebook, 45 (1991), 121–31. 8. See Linda Austern, ‘Thomas Ravenscroft: Musical Chronicler of an Elizabethan Theatre Company’, Journal of American Musicological Society, 38 (1985), 238–63; W. Reavley Gair, ‘Chorister-Actors at Paul’s’, Notes and Queries, 25 (1978), 440–1; Lin, p.
    [Show full text]
  • A Greatly Exaggerated Demise: the Remaking of the Children of Paul's As the Duke of York's
    Early Theatre 9.1 Brandon Centerwall A Greatly Exaggerated Demise: The Remaking of the Children of Paul’s as the Duke of York’s Men (1608) The Children of Paul’s acting company came to a bad end … or did it? The current narrative, as developed by Reavley Gair in The Children of Paul’s (1982), holds that the troupe made its fatal error when in 1608 it staged the satiric comedy The Puritan, thereby bringing down upon themselves the wrath of the puritan community: ‘it was … a very serious miscalculation, a blunder that was to prove largely responsible for the theatre company’s demise’.1 Staging The Puritan certainly brought down the wrath of puritan divine William Crashaw. Taking specific exception to The Puritan for its lampoon of those faithful such as lived in the nearby parishes of St Antlings and St Mary Overys, on 14 February 1608 Crashaw fulminated against the Children of Paul’s in a sermon delivered from the outdoor pulpit Paul’s Cross, just a stone’s throw away from Paul’s playhouse:2 [The Children of Paul’s] be children of Babylon that will not bee healed: nay, they grow worse and worse, for now they bring religion and holy things vpon the stage: no maruel though the worthiest and mightiest men escape not, when God himselfe is so abused. Two hypocrites must be brought foorth; and how shall they be described but by these names, Nicolas S. Antlings, Simon S. Maryoueries? …. Are they thus incurable? then happie hee that puts to his hand to pull downe this tower of Babel, this daughter of confusion, happie he that helpes to heale this wound in our State: but most happie that Magistrate, who, like zealous Phinehes, takes some iust vengeance on that publike dishonour laid vpon our Churches.
    [Show full text]
  • Shakespeare and Southwark
    Shakespeare and Southwark Autor(en): Nelson, Alan H. Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 31 (2015) PDF erstellt am: 09.10.2021 Persistenter Link: http://doi.org/10.5169/seals-583894 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Shakespeare and Southwark Alan H. Nelson
    [Show full text]
  • The Repertory of Prince Charles's
    Early Theatre 9.2 David Nicol The Repertory of Prince Charles’s (I) Company, 1608–1625 In recent years, studies by Rosalyn L. Knutson, Scott McMillin and Sally-Beth MacLean, Mary Bly and Andrew Gurr have demonstrated that reading the repertories of individual playing companies with the plays grouped together can yield fresh insights into the companies, their plays, and the general theatre history of the period concerned.1 The first stage in such a study is determining the plays that belonged to a given company at any given time, and although much of this work was carried out in the early to mid-twentieth century by E.K. Chambers and G.E. Bentley, and has been carried forward since by others (most recently by those named above), new discoveries can still be made. In the course of an ongoing study of the actor-playwright William Rowley, I have found evidence that may expand the known repertory of one of the companies he acted for: Prince Charles’s Men, a Jacobean playing company that operated between 1608 and 1625. At present, twenty-six plays have been listed as belonging to this company, of which only eight have survived. However, fifteen more plays, eight of which are extant, may tentatively be added to the company’s repertory if the available evidence is looked at in a new light. In this article I outline the history of Prince Charles’s Men, and supply the evidence for possible additions to its repertory. The company The history of the company normally known as Prince Charles’s Men2 can be divided into four periods.3 The first period (1608–c1614), covers the early years of the company, which was formed in 1608, and by 1613 was probably performing at the Curtain in Shoreditch.
    [Show full text]
  • “Here Lay My Hope”: Attribution, Collaboration
    “HERE LAY MY HOPE”: ATTRIBUTION, COLLABORATION, AND THE AUTHORSHIP OF THE THIRD ADDITION TO THE SPANISH TRAGEDY Keegan Cooper Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University October 2016 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________________ Dr. Terri Bourus, Chair ______________________________________ Dr. Jonathan Eller ______________________________________ Dr. April Witt ii Dedication For Mom, who first introduced me to Shakespeare and inspired me to imagine and create. For Char, Beeg, and Pops. Without your company and counsel, this thesis might not have been completed. iii Acknowledgements A huge thank you to my thesis committee: Dr. Jonathan Eller and Dr. April Witt. Your feedback in and out of class has been vital these past few years. And I cannot thank my mentors enough: my thesis chair, Dr. Terri Bourus, and Dr. Gary Taylor. Without your support and guidance over the past three years, I would not have been able to finish my educational career as successfully as I have. (And thanks for employing me too!) iv Table of Contents Introduction 1 Part 1: Backstory 3 Part 2: Control Tests 19 First Segment 25 Second Segment 42 Part 3: Conclusion 50 Bibliography 52 Curriculum Vitae v Introduction The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement.
    [Show full text]
  • Playhouses and Players
    1 R. A. FOAKES Playhouses and players When we look back at a distant historical period, it is easy to succumb to two temptations; the first is to see a sudden, sharp break with the past taking place at some date such as the coming to the throne of Elizabeth I (1558), or James I (1603), as though a transformation in all aspects of society happened in those instants. The second is to telescope the passage of decades of change into a single, homogenized period like ‘the age of Elizabeth’, as though forty- five years could be focused in a single, unchanging image. In our own lives we are continually alert to shifts and changes that make what happened or was in vogue ten years, five years, or even one year ago seem curiously old-fashioned and different now. Perhaps it has always been so, even when change was slower technologically. The period from 1558 to the end of the reign of Charles I saw the passage of eighty-four years, during which the theatre was transformed, and the drama startlingly expanded and diversified. It is perhaps unfortunate that the great standard works on the theatres and drama in this period should be entitled The Elizabethan Stage and The Jacobean and Caroline Stage.1 Yet any account of the period needs to begin with the recognition that there were many different stages as playhouses became more sophisticated, and that perhaps the only constant feature of the theatres up to 1642 was that all parts were normally played by men and boys; the professional companies in London had no actresses in them until after the restoration of the monarchy in 1660.
    [Show full text]
  • Censorship, Collaboration, and the Construction of Authorship in Early
    Censorship, Collaboration, and the Construction of Authorship in Early Modern Theatre Gabriella Edelstein A thesis submitted to fulfil requirements for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences The University of Sydney 2019 I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and its sources have been acknowledged. This thesis has not been submitted for any degree or other purposes. Gabriella Edelstein Abstract This thesis argues that censorship is central to early modern authorial self-construction and that the regulation of drama should be part of an understanding of dramatic collaboration. Over the last twenty years, literary scholarship has paid increasing attention to the collaborative processes involved in early modern theatrical production. Despite this interest, there has yet to be an account of how dramatic censorship operates as part of the collaborative model, or how censorship affected authorship. This thesis explores the relationship between authorship and political authority, so as to reconsider who is an author and why. By engaging with textual and literary analysis, this thesis reveals how plays were shaped by a culture of collaborative censorship. I have chosen four collaboratively written and censored plays so as to consider the relationship between writing and regulation. From this starting point, I examine the ways that authorship is constructed both within plays and outside of them in early modern as well as our own contemporary culture. I begin with a survey of censorship and collaboration criticism in my Introduction and offer a way of reading early modern drama through collaborative censorship.
    [Show full text]
  • This Essay Is Not for Wider Distribution. Thank You. The
    This essay is not for wider distribution. Thank you. The Dearth of the Author Eoin Price ([email protected]) (@eoin_price) 1613 was an annus horribilis for the King’s Men. On June 29, the Globe burned down during a production of Shakespeare and Fletcher’s Henry VIII. By the end of the year, one half of that play’s collaborative team had retired. While the King’s Men rebuilt the Globe, replacing Shakespeare – a writer, a sharer, an actor – was a tougher task. It was a task made harder by the untimely retirement of the stroke-stricken Francis Beaumont, Fletcher’s younger but more senior collaborative partner.1 Beaumont was by this point a big draw for the King’s Men. Having moved from the boy companies, he and Fletcher co-wrote Philaster (1609), A King and No King (1611) and The Maid’s Tragedy (1611) for the King’s Men. Each was apparently a significant success and remained in the company’s repertory for decades.2 These losses surely represented bad news for the King’s Men, but Fletcher may have felt more ambivalent: the dual retirements of Shakespeare and Beaumont afforded him the opportunity to hold a more prominent position within the King’s Men. If there was such a thing as an immediate successor to Shakespeare, then it was Fletcher who best fit the bill. Unlike most writers of his generation, who moved from company to company in a bid to earn a living as a playwright, Fletcher wrote almost exclusively for the King’s Men from 1613.
    [Show full text]
  • Create.Canterbury.Ac.Uk
    Canterbury Christ Church University’s repository of research outputs http://create.canterbury.ac.uk Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. Orman, S. (2014) Nathan Field's theatre of excess: youth culture and bodily excess on the early modern stage. Ph.D. thesis, Canterbury Christ Church University. Contact: [email protected] NATHAN FIELD’S THEATRE OF EXCESS: YOUTH CULTURE AND BODILY EXCESS ON THE EARLY MODERN STAGE (1600-1613) Steve Orman Canterbury Christ Church University Thesis submitted for the Degree of Doctor of Philosophy 2014 2 Contents List of Abbreviations – p3. List of Illustrations – p4. Acknowledgements – p5. Abstract – p7. Introduction – Nathan Field, Youth Culture, Bodily Excess. – p8. Chapter One - “Reward goes backwards”: Youth Culture, Sexual Violence, and the Failure of Humanism in Bussy D’Ambois. – p49. Chapter Two - “I will piss at thy shop posts, and throw / rotten eggs at thy sign”: Youth Culture and Drunken Excess in Eastward Ho. – p81. Chapter Three - “Youth is drunke with pleasure, and therefore dead to all goodnesse”: Lust and Humoral Youthful Bodies in The Faithful Shepherdess.
    [Show full text]
  • The Actor As Playwright in Early Modern Drama
    Swarthmore College Works English Literature Faculty Works English Literature 2003 The Actor As Playwright In Early Modern Drama Nora Johnson Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit Part of the English Language and Literature Commons Let us know how access to these works benefits ouy Recommended Citation Nora Johnson. (2003). "The Actor As Playwright In Early Modern Drama". The Actor As Playwright In Early Modern Drama. https://works.swarthmore.edu/fac-english-lit/63 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. Introduction: playing author When Robert Armin, the comic actor for the Chamberlain’s Men after Will Kemp, wrote Quips upon Questions in 1600, he turned collaborative theatrical work into a printed commodity. In what appears to be a kind of transcript of the improvised jesting he did on stage, Armin advertised both his individual wit and his dependence upon audiences. His stage routines, the text suggests, typically began with questions that were posed by others, likely including members of the audience. The poems he invented in response to those questions contain dialogue, what the title page calls “changes upon interrogatories,” either multiple parts spoken by Armin himself or exchanges with people in the crowd.' Publishing all of these under a stage name, “Clonnico de Curtanio Snuffe,” or “Snuff the Clown at the Curtain Theater,” Armin thus makes himself up as a writer out of the voices of others, positioning himself not as the origin of the text - the questions come from other people — but as its last word, the one who delivers the witty quip as the closing line of the exchange.
    [Show full text]
  • The Life, Career and Acting Qualities of an Elizabethan Player Bachelor’S Thesis Diploma
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Kristýna Obermajerová Richard Burbage: The Life, Career and Acting Qualities of an Elizabethan Player Bachelor’s Thesis Diploma Supervisor: Mgr. Pavel Drábek, Ph. D. 2009 1 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 I would like to thank Mgr. Pavel Drábek, Ph.D. for his immense dedication and valuable advice. I would also like to thank Ms. Karen Senior for her kind help in the search for the primary and secondary sources. 3 Table of Contents 1 Introduction……………………………………………………………………..…..5 2 Richard Burbage: the Son, Brother, Husband, Father and Grandfather…..……..….8 3 Richard Burbage: the Businessman …………………………………………….....15 3.1 Social Standing of Early Modern Players…………………..………………15 3.2 The Family Inheritance and Richard‘s Involvement in It…………...….….16 3.3 The New System of Housekeepers………………………………….……...19 3.4 Richard Burbage and His Financial Matters………………………….….…20 3.5 Richard Burbage: the Painter…………………………………………….…23 4 Acting in the Early Modern Period……………………….…………….…………26 4.1 Availability of Sources………………………………………….……….…26 4.2 Acting and Rhetorical Terminology…………………………….………….26 4.3 Influences of Rhetoric on Acting………………….……………….…...….28 4.4 Excellent Acting…………………………………………………….……...37 4.5 Popularity of Early Modern Players………...…………..…….……....……38 5 Richard Burbage: the Player…………………………………………………….…42
    [Show full text]