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Our Workshops
OUR WORKSHOPS Workshops at The Kit: Christopher Marlowe And His World ACTIVITY PROSPECTUS MENU OF WORKSHOP SESSIONS Category B Workshops at The Kit: Christopher Marlowe And His World You can choose two of the following sessions as your workshops. You will be asked Marlowe's Epitaph: Marlowe's Demons: to select one workshop from Category A and one from Category B in advance of We are delighted to offer this new tailored learning experience for young people Creative Writing Workshop Creative Arts Workshop your visit. in the unique setting of The Marlowe Kit which provides exciting ways to learn Suitable for KS1-5. Subjects: Suitable for KS2-4. Subjects: Art/ about Canterbury’s rich literary heritage. English/Drama/History Design Tech/Drama/History/ Category A Explore Christopher Marlowe's English/Maths/PSHE Workshops At The Kit: Christopher A half-day experience: poetry in this fun and informal Create your own infernal being Marlowe And His World is an • An interactive and theatrical Villains And Anti-Heroes: The Ancient Art Of Slapstick: creative writing workshop. in this practical mask-making innovative programme of cross- presentation, which introduces workshop. curricular activities for primary Text And Performance Workshop Performance Workshop students to Christopher Marlowe, his and secondary schools, to engage, Suitable for KS2-5. Suitable for Upper level KS1 (year Put Yourself In My Shoes: work and the world he lived in, all of educate and inspire both students and Subjects: English/Drama/History 2). Subjects: Drama/History Creative Writing Workshop Paper Theatre Kit: which inspired his writing. Engage with a selection of Enjoy slipping, tripping and teachers. -
Christopher Marlowe and the Golden Age of England
The Marlowe Society Christopher Marlowe and the Research Journal - Volume 05 - 2008 Golden Age of England Online Research Journal Article Michael J. Kelly Christopher Marlowe and the Golden Age of England Poet, spy and playwright, Christopher Marlowe was the embodiment of the Elizabethan Golden Age. Marlowe’s work was the product of his ‘Erasmian,’ or Christian humanist, education, the state of affairs in England and his own ability and readiness to satirize the world around him. Marlowe and his fellow contemporaries were a testament to the development of English drama, its pinnacle at the end of the English Renaissance and its eventual decline and suppression at the outbreak of the English Civil War. Their work is historically important because it illustrates, in addition to the development of English theatre, the dramatic political and social events of the time through the public medium of the playhouse. Specifically, the development of the theatre helps explain key features of the English Renaissance such as the creation of English self-identity, adoption of humanistic ideal, the advancement of English over Latin, the role of religion, the intellectual development of a people and parliament and their gradual alienation from the monarchy, the ultimate assertion of parliamentary power, and Civil War. Furthermore, the development of commercial playwriting, acting, stage management and private investment in theatres, an aspect of life today taken for granted, began during this Golden Age in English drama. The history of English playwriting and performance stretches back to at least the ninth century trope ‘Alle Luia’ sung at Easter masses. However, post-classical Christian ritual performance itself probably developed from the ritualistic repetitions of the Empirical Roman Senate.1 This tradition, established in the Church at some point during the early formation of Roman successor states, likely spread to England from Spain, via Ireland, through missionaries. -
Title Page Table of Contents Preface to the 1994
Christopher Marlowe (1564-1607) A Biography g Louis Ule A Hearthstone Book Carlton Press Corp. * New York Acknowledgments g JJermission to reproduce the illustrations (following page lr 290) in this biography was granted as follows: for pages I from the Revels Accounts by the Public Record Office; tor the title page from the L593 edition of Edznard II by the \-ictoria and Albert Museum; for the Cambridge portrait of Christopher Marlowe by the Master and Fellows bf Corpus Christi College, Cambridge; for the Massacre at Paris fragment s- the Folger Shakespeare Library, Washington, DC; for the Hampton Court portrait by The Royal Collectiory St. james Palace, London; for the Venice portrait by the Picture Gallery and Museum of the Royal Shakespeare Theatre; for the title paggs of Sir Philip Sidney's Acradia and his Apology for Poetry bv the Henry E. Huntington Library and Museum; for Man- tegna's ludith and Holofernes, by the National Gallery of Art, \Vashington, DC; for letters of Hugh Sanford by Walter J. G. Verco, M.V.O., Chester Herald of Arms, College of Arms; for Sir William Dugdale's 1634 pen-and-ink sketch of the Shake- speare monument by Sir William Dugdale, Bart. Merevale Hall, Atherstone, Warwickshire; for MS. Cotton Julius C. III i. 280" (handwriting presumed to be that of William Cotton) by the British Library; for altered copy of the Baines note, BL Harley MS 6853 ff307-:308, by the British Library. Contents Preface to the 1994Private Printing ix Introduction xi 1. Origins and Background 1 2. The King's School, Canterbury 11 J. -
Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. 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. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Twelfth Night First Folio
1 TWELFTH NIGHT CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and principles contained in classic texts and to discover the Who’s Who in Twelfth Night 4 connection between classic theatre and our modern William Shakespeare 5 perceptions. We hope that this Curriculum Guide will prove useful to you while preparing to attend Twelfth Night. Elizabethan England 6 Shakespeare’s Genres 7 This curriculum guide provides information and activities to Shakespeare’s Language 8 help students form a personal connection to the play before attending the production. It contains material about the Topsy-Turvy, or The Feast of 12 playwright, their world and their works. Also included are Epiphany approaches to explore the play in the classroom before and The Heroine’s Journey 14 after the performance. What You Will: A Note on Gender 15 We encourage you to photocopy these articles and activities Diversity and use them as supplemental material to the text. Theatre Design 17 Classroom Activity: Design a Set 18 Enjoy the show! Discussion & Essay Questions 19 Resource List 20 The First Folio Curriculum Guide for the 2017-2018 Theatre Etiquette 21 Season was developed by the Shakespeare Theatre Company Education Department: Founding Sponsors Miles Gilburne and Nina Zolt Director of Education Samantha Wyer Bello Presenting Sponsors Beech Street Foundation Associate Director of Education Dat Ngo Suzanne and Glenn Youngkin Audience Enrichment Manager Hannah Hessel Ratner Leadership Support Community Engagement Manager Jared Shortmeier D.C. -
Bisexuality and Transvestitism in William Shakespeare's Twelfth Night
Articulāte Volume 2 Article 5 1997 Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght Julie Driscoll Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Driscoll, Julie (1997) "Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght," Articulāte: Vol. 2 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol2/iss1/5 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Julie Driscoll 25 or in the Renaissance, this was the role of Viola in Twelfth Night. duties. Her flourishing remarks and declaration of devotion to her BLSEXUALITY AM) TRANSVESTITLSM IN WILLIAM SHAKESPEARE'S The acceptance of such a practice has worked its way into society, imply a definite sexual attraction. However, she shares the same proving to be another perspective one can apply toward interpreta- Twi:um NIGHT attitude toward Orsino, suggesting that she would be a better woman tions of Twelfth Night. The way in which these devices affect the fit for him, as she has already devoted her service as an attendant. actions of characters is relevant in examining their intentions, de- Viola displays the same tone of love toward both Orsino and Olivia JULIE DRISCOLL '97 ceptions, and sexual desires throughout the play. and adorns each with varying compliments, exhibiting bisexual be- Historically, bisexuality has been written out of literature, and havior. possibly out of the Shakespeare canon. -
Proposed Core Literature Titles Twelfth Night, Or, What You Will
Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will Author: William Shakespeare First Published: 2002 Lexile Level: 1140 Proposed Grade Level: 8 California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: Original Copyright: 1600 Grade Level Span: 9-12 Genre: Drama Classification: Classic Topic: English-Language Arts/General Discipline: English Language Arts/Vocabulary; Visual and Performing Arts Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother. -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
Tamburlaine the Great: Triumph of the Will
RICE UNIVERSITY Tamburlalne the Great: Triumph of the Will by Joseph A. English A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ART Thesis Director's signature: May, 1967 Abstract Tamburlaine the Great: Triumph of the Will Joseph A. English The Renaissance interest in ontology expresses itself through its astrological, mythological, and cos¬ mological views of the world. This concern for under¬ standing the precise nature and function of the indi¬ vidual is thus particularly important in the drama of the era, which frequently focused on the problem of the individual—the problem of examing and understanding his precise nature as well as his precise role in the ordered world of the Renaissance, This thesis examines the ontological concerns of the Renaissance in general and of Tamburlalne the Great in particular in an at¬ tempt to demonstrate how radically at odds are the worlds, values, and premises of Part I and Part II. Chapter One examines the Renaissance concern for ontology as it is expressed in astrology and mythology. The Renaissance emphasis on self-knowledge and on the proper balance of will and understanding is also examined as another manifestation of its ontological concern, Ovid's concept of metamorphosis is similarly discussed. Chapter Two studies the intellectual environ¬ ment of Christopher Marlowe. By training and tempera¬ ment Marlowe was interested in the individual and in the potentialities and limitations of man’s being. His drama¬ tic works are filled with mythological allusions and as¬ trological references which reflect his ontological a¬ wareness. Chapter Three examines Tamburlaine’s ontological motivation In Part I. -
Twelfth Night (C
Twelfth Night (c. 1602) Contextual information Quotes from Twelfth Night The earliest reference to Twelfth Night is in the diary of a law student, John Manningham. He saw the play performed on 2 February 1602 in Middle Temple Hall, in the legal Inns of Court in London at the Christian feast of Candelmas. The candle- lit hall in winter might have highlighted the play’s themes of darkness and illumination. View a photograph of Middle Temple Hall, the location for the first recorded performance of Twelfth Night The play’s title refers to a Christian festival twelve days after Christmas on January 5– 6. Before Henry VIII’s reforms to the English church, ‘twelfth night’ was celebrated with a period of carnival. Social hierarchies were temporarily re-arranged to become ‘topsy-turvy’ and a ‘Lord of Misrule’ was appointed. This 1559 painting by Pieter Bruegel the Elder represents the opposing forces of View The Fight between Carnival and Lent Carnival and Lent – raucous excess and religious restraint – which some see reflected in Twelfth Night. John Manningham compared Twelfth Night to other plays involving confusion between twins, including Shakespeare’s Comedy of Errors and an Italian drama called Gl’ Ingannati (1531) or ‘The Deceived’. In both Twelfth Night and Gl’Ingannati the twins are boy/girl pairs. But on the Italian stage, women were played by female actors, while in Shakespeare’s England they were played by men. Shakespeare had twins, Hamnet and Judith, born in 1585. Hamnet died in 1596, five years before Twelfth Night was first performed. Explore Gl’Ingannati, an Italian play about twins and mistaken identity The British Library | www.bl.uk/shakespeare 1 In his Symposium, the ancient Greek philosopher Plato, includes a fable explaining the origins of love, gender and sexuality: Humans were originally two joined creatures, but we grew overconfident, and Zeus punished us by splitting us down the middle. -
TWELFTH NIGHT Or What You Will by William Shakespeare
TWELFTH NIGHT or What You Will by William Shakespeare adapted by Ezra Flam CHARACTERS: VIOLA, twin sister of Sebastian (disguises as Cesario) SEBASTIAN, twin brother of Viola ORSINO, Duke of Illyria VALENTINE, attendant to Orsino CURIO, attendant to Orsino ATTENDANTS TO ORSINO OLIVIA, a Countess SIR TOBY BELCH, uncle of Olivia SIR ANDREW AGUECHEEK, friend of Sir Toby MARIA, attendant to Olivia. MALVOLIO, steward to Olivia. FABIAN, servant to Olivia ATTENDANTS TO OLIVIA FESTE, a Clown ANTONIA, a sailor SEA CAPTAIN PRIEST FIRST OFFICER SECOND OFFICER SERVANT MUSICIANS SETTING: A city in Illyria, and the wharf near it. Belmont High School Rehearsal Draft 9/16/14 ACT I, SCENE I: DUKE ORSINO’S PALACE MUSICIANS play. Enter DUKE ORSINO, CURIO, ATTENDANTS DUKE ORSINO If music be the food of love, play on— Give me excess of it, that, surfeiting, the appetite may sicken, and so die. That strain again! It had a dying fall. O, it came o’er my ear like the sweet sound that breathes upon a bank of violets, stealing and giving odor! MUSICIANS play Enough! No more. ‘Tis not so sweet now as it was before. CURIO Will you go hunt, my lord? DUKE ORSINO What, Curio? CURIO The hart. DUKE ORSINO Why, so I do, the noblest that I have. O, when mine eyes did see Olivia first methought she purged the air of pestilence! That instant was I turned into a hart and my desires, like fell and cruel hounds, e’er since pursue me— Enter VALENTINE How now! What news from her? VALENTINE So please my lord, I might not be admitted, but from her handmaid do return this answer: the element itself, till seven years’ heat, shall not behold her face at ample view 1 but, like a cloistress, she will veiléd walk, and water once a day her chamber round with eye-offending brine.