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Shakespeare Oxford Fellowship Conference
Shakespeare Oxford Fellowship Conference Oakland Marriott City Center Hotel October 11–14, 2018 Table of Contents Schedule of Events ....................................................... 2 Biographies/Titles/Abstracts .............................. 6 —In order of presentation Dark Lady Essays .......................................................23 Dark Lady Sonnets ....................................................29 Page 1 SOF Conference—Schedule of Events THURSDAY: October 11, 2018 10:00—1:00 Conference Registration 1:00—1:15 Welcome, Introductions and Orientation. 1:15—2:00 Wally Hurst: Blame It on the Bard: Why the Author ‘Shakespeare’ is Responsible for World War I and World War II. 2:00—2:45 David Rains Wallace: Shakespeare, Beowulf, and Wilderness. 2:45—3:15 Coffee/Tea Break 3:15—4:00 Theresa Lauricella: “I Took Thee for thy Better”: The Prestige of Polonius. 4:00—4:45 Robert Detobel (Read by Don Rubin): The Soul of Nero. 4:45—5:30 Steven Sabel: Not to Modernize: Why the ‘translating’ of the Bard’s texts to modern language corrupts performance of the works and further conceals the true author. 5:30—7:00 Hosted Wine and Cheese reception. FRIDAY: October 12, 2018 8:30—9:15 Julie Bianchi: Twins Separated at Birth? A Cultural and Genealogical Investigation of Two Identities Set in Stone. 9:15—9:30 John Hamill: Shakespeare Oxford Fellowship Research Grants Report 9:30—10:15 Michael Delahoyde and Coleen Moriarty: De Veres di Venezia 10:15—10:45 Coffee/Tea Break 10:45—12:30 Panel: An Oxfordian Timeline for Dating Shakespeare’s Plays: Ramon Jiménez, Katherine Chiljan, and Kevin Gilvary 12:30—1:30 Lunch (on own). 1:30—2:15 W. -
Shakespeare Wrote Shakespeare
OPEN FORUM The Pages of The Oxfordian are open to all sides of the Authorship Question Shakespeare Wrote Shakespeare David Kathman or the vast majority of Shake- speare scholars, there is no ‘au- thorship question’; they agree that F the works of William Shake- speare were written by William Shake- speare of Stratford-upon-Avon (allow- ing for some collaboration), and tend to ignore or dismiss anyone who claims oth- erwise. In the following pages I will try to explain, from the perspective of a Shake- speare scholar, why the Stratford Shakespeare’s authorship is so generally ac- cepted by historians, and why those historians do not take seriously the various attempts to deny that attribution. I realize from experience that this explanation is not likely to convince many committed antistratfordians, but at the very least I hope to correct some misconceptions about what Shakespeare scholars actually believe. For the purposes of argument, we can distinguish among three main strands of William Shakespeare’s biography, which I will call Stratford Shakespeare, Actor Shakespeare, and Author Shakespeare. Stratford Shakespeare was baptized in Stratford-upon-Avon in 1564, married Anne Hathaway in 1582, had three children with her, bought New Place in 1597 and various other properties in and around Stratford over the following decade, and was buried in there in 1616. Actor Shakespeare was a member of the Lord Chamberlain’s/King’s Men, the leading acting company in London from 1594 on, and an original sharer in the Globe and Blackfriars playhouses. Author Shakespeare signed the dedications of Venus and Adonis (1593) and The Rape of Lucrece (1594), and over the next twenty years was named on title 13 THE OXFORDIAN Volume XI 2009 Kathman pages as the author of numerous plays and poems, and was praised by such crit- ics as Francis Meres and Gabriel Harvey. -
Shakespeare and London Programme
andShakespeare London A FREE EXHIBITION at London Metropolitan Archives from 28 May to 26 September 2013, including, at advertised times, THE SHAKESPEARE DEED A property deed signed by Mr. William Shakespeare, one of only six known examples of his signature. Also featuring documents from his lifetime along with maps, photographs, prints and models which explore his relationship with the great metropolis of LONDONHighlights will include the great panoramas of London by Hollar and Visscher, a wall of portraits of Mr Shakespeare, Mr. David Garrick’s signature, 16th century maps of the metropolis, 19th century playbills, a 1951 wooden model of The Globe Theatre and ephemera, performance recording and a gown from Shakespeare’s Globe. andShakespeare London In 1613 William Shakespeare purchased a property in Blackfriars, close to the Blackfriars Theatre and just across the river from the Globe Theatre. These were the venues used by The Kings Men (formerly the Lord Chamberlain’s Men) the performance group to which he belonged throughout most of his career. The counterpart deed he signed during the sale is one of the treasures we care for in the City of London’s collections and is on public display for the first time at London Metropolitan Archives. Celebrating the 400th anniversary of the document, this exhibition explores Shakespeare’s relationship with London through images, documents and maps drawn from the archives. From records created during his lifetime to contemporary performances of his plays, these documents follow the development of his work by dramatists and the ways in which the ‘bardologists’ have kept William Shakespeare alive in the fabric of the city through the centuries. -
Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. -
Education Pack
Education Pack 1 Contents Introduction ..................................................................................................................... 3 Section 1: Shakespeare and the Original Twelfth Night ..................................................... 4 William Shakespeare 1564 - 1616 ...................................................................................... 5 Elizabethan and Jacobean Theatre ..................................................................................... 6 Section 2: The Watermill’s Production of Twelfth Night .................................................. 10 A Brief Synopsis .............................................................................................................. 11 Character Map ................................................................................................................ 13 1920s and Twelfth Night.................................................................................................. 14 Meet the Cast ................................................................................................................. 16 Actor’s Blog .................................................................................................................... 20 Two Shows, One Set ........................................................................................................ 24 Rehearsal Diary ............................................................................................................... 26 Rehearsal Reports .......................................................................................................... -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
A Noise Within Study Guide Shakespeare Supplement
A Noise Within Study Guide Shakespeare Supplement California’s Home for the Classics California’s Home for the Classics California’s Home for the Classics Table of Contents Dating Shakespeare’s Plays 3 Life in Shakespeare’s England 4 Elizabethan Theatre 8 Working in Elizabethan England 14 This Sceptered Isle 16 One Big Happy Family Tree 20 Sir John Falstaff and Tavern Culture 21 Battle of the Henries 24 Playing Nine Men’s Morris 30 FUNDING FOR A NOISE WITHIN’S EDUCATIONAL PROGRAMS IS PROVIDED IN paRT BY: The Ahmanson Foundation, Alliance for the Advancement of Arts Education, Supervisor Michael D. Antonovich, Employees Community Fund of Boeing California, The Capital Group Companies, Citigroup Foundation, Disney Worldwide Outreach, Doukas Family Foundation, Ellingsen Family Foundation, The Herb Alpert Foundation, The Green Foundation, Kiwanis Club of Glendale, Lockheed Federal Credit Union, Los Angeles County Arts Commission, B.C. McCabe Foundation, Metropolitan Associates, National Endowment for the Arts, The Kenneth T. and Eileen L. Norris Foundation, The Steinmetz Foundation, Dwight Stuart Youth Foundation, Waterman Foundation, Zeigler Family Foundation. 2 A Noise Within Study Guide Shakespeare Supplement Dating Shakespeare’s Plays Establishing an exact date for the Plays of Shakespeare. She theorized that authorship of Shakespeare’s plays is a very Shakespeare (a “stupid, ignorant, third- difficult task. It is impossible to pin down rate play actor”) could not have written the exact order, because there are no the plays attributed to him. The Victorians records giving details of the first production. were suspicious that a middle-class actor Many of the plays were performed years could ever be England’s greatest poet as before they were first published. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
The National Archives Req 2/706 1 ______
THE NATIONAL ARCHIVES REQ 2/706 1 ________________________________________________________________________ SUMMARY The documents below are the pleadings, interrogatories, depositions and orders in a lawsuit initiated on 28 January 1632 in the Court of Requests by Cuthbert Burbage (1564/5-1636), Richard Robinson (d.1648?), Winifred Robinson (d.1642), William Heminges (1602?-1649x53), John Lowin (1576?-1653) and Joseph Taylor (1586?-1652) against Sir Mathew Brend (1600-1659) for performance of a covenant signed by Sir Mathew Brend in his minority granting the surviving shareholders a further lease of the ground on which the Globe was built for fifteen years, to commence immediately after the expiry of the old lease for thirty-one years which had been granted by his father, Nicholas Brend (d.1601), by indenture dated 21 February 1599, to Cuthbert Burbage, Richard Burbage (1568-1619), William Shakespeare (1564-1616) of Stratford upon Avon, Augustine Phillips (d.1605), Thomas Pope (d.1603), John Heminges (1566?- 1630) and William Kempe. The lawsuit was finally settled in court on 18 November 1634 by agreement of the parties that Sir Mathew Brend would grant a further lease of nine years at a rent of £40 per year. However the new lease had not been signed at the date of an order made by the then Lord Chamberlain, Philip Herbert (1584-1650), 1st Earl of Pembroke and Montgomery, on 12 July 1635 (see TNA LC 5/133, pp. 44-51), and had still not been signed when Cuthbert Burbage died on 15 September 1636. The final extant decree in the case is dated 28 November 1637. -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
Period 8 1605-1623.2.Fassungdoc
(8) Period 1605-1616 Time Event Edward de Vere, 17th Earl William Shakespeare of of Oxford Stratford 1605 Publication of the play Eastward Ho! , a coproduction of Ben Jonson, George Chapman, and John Marston. The play contains many allusions to plays of Shakespeare’s (Hamlet, Merchant of Venice, Richard III, The Tempest ). May 4: In his will Augustine Phillips bequeaths to him and two others November 1605: Gunpowder Plot: 30 shillings in gold. Catholic conspirators try to blow up Parliament. July 24: Acquires from Ralph Huband an interest in a lease of tithes. (1) 1606 May 3: The Jesuit Henry Garnet is hanged for his alleged implication in the Gunpowder Plot. 1607 1608 August 9: The in-door theatre in Blackfriars leased by the Burbage brothers. December 1608: Sues John Addenbrooke for 6 pounds and 4 shillings. 1609 January 28: ! Troilus and Cressida is entered in the Stationers’ Register. May 20: The Sonnets are entered in the Stationers’ Register and published as : “Shake-speares Sonnets... By Our Ever-Living Poet”. 1610 February 8: Robert Keysar, a goldsmith and theater manager, sues “Richard Burbage, Cuthbert Burbage, John Heminges, Henrye Condell and others” for the interest he pretends to have in the Blackfriars Theater. (4) 1611 Sues along with others one Mister Carew and others for the payment of an interest in tithes. His name is added to a list of petitioners for the repair of the highways. 1612 May 11, June 19: Witness in the suit of Stephen Belott against his father-in-law Christopher Mountjoy at the Court of Requests, London. -
Masaryk University Faculty of Education Department of English Language and Literature
MASARYK UNIVERSITY FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Renaissance theatre in England and its comparison with the theatre in the Czech Lands in the Renaissance period Bachelor Thesis Brno 2016 Supervisor: Author: Mgr. Lucie Podroužková, Ph.D. Lucie Pupalová Prohlášení Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. Brno, 25. března 2016 …….………………… Lucie Pupalová Acknowledgement In the first place, I would like to thank my supervisor Mgr. Lucie Podroužková, Ph.D. for her valued help, patience and kind advice. Secondly, I would like to thank my parents as well as my dear classmates and friends for motivation and support, namely Magdalena Kyzlinková and Kateřina Zadinová. Abstract This Bachelor thesis focuses on the development of theatre in the period of Renaissance in England and in the Czech Lands as well as on their comparison. The thesis is divided into four main chapters. The first chapter briefly describes the theatre development in Europe prior to the Renaissance period. The following two chapters outline the theatre development of Renaissance theatre in both compared countries. The last chapter provides a comparison of these two theatre developments and seeks for similarities and differences between them. Key words theatre, drama, Renaissance, development, history, England, Czech Lands Anotace Tato bakalářská práce se zabývá vývojem renesančního divadla v Anglii a v Českých zemích a jejich porovnáním.