DOCSLIB.ORG

{Download PDF} Oxford School Shakespeare: Coriolanus Ebook

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
{Download PDF} Oxford School Shakespeare: Coriolanus Ebook OXFORD SCHOOL SHAKESPEARE: CORIOLANUS PDF, EPUB, EBOOK William Shakespeare | 208 pages | 01 Dec 2013 | Oxford University Press | 9780198390374 | English | Oxford, United Kingdom Oxford School Shakespeare: Coriolanus PDF Book As the next-to-last tragedy that Shakespeare composed, it follows on the heels of Othello, King Lear, Macbeth, and Antony and Cleopatra, all of which Shakespeare probably composed between and Download Media Audio This podcast is suitable for school and college students. Published April 25th by Bloomsbury Arden Shakespeare. Embed HELP. People: Emma Smith. Error rating book. Welcome back. The introduction to this new edition considers Shakespeare's adaptation of his historical material Plutarch's Lives in relation to the social and political conditions in London and Stratford at the time of the play's composition, also offering new evidence that it was written in Oxford School Shakespeare: Hamlet. Meine Mediathek Hilfe Erweiterte Buchsuche. Paul Jesson Narrated by ,. Book 8. Professor Parker examines the play's history and particularly its staging at the Blackfriars theatre, where it was probably the first of Shakespeare's plays to be presented and for which it may have been written. Philip Brockbank. Book 3. Book 4. Book 2. Refresh and try again. Standing Orders Available. Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part owner of the Globe Theater. In the British theatrical traditional, the play has been less often revived than most of the other tragedies apart from Titus Andronicus , although certain actors have made its title role their own. Oxford School Shakespeare: Julius Caesar. Coriolanus No Fear Shakespeare. Norths Plutarch and Other Sources. Those not familiar with the quirks of the Shakespeare authorship question may not know how offensive to some the above statement is. Coriolanus Folger Shakespeare Library. Michael Dobson describes the political context in which Shakespeare wrote Coriolanus, and how the play has resonated with later generations of playwrights, directors and actors. Mowat ,. Oxford School Shakespeare: Coriolanus Writer Jonathan Bate Editor ,. Book Description Condition: New. Loading Video Public and critical success quickly followed, and Shakespeare eventually became the most popular playwright in England and part owner of the Globe Theater. In this it echoed the work of one of the few major actor-managers ever to make Caius Martius his signature role, John Philip Kemble — Reviews 'Stanley Wells' OUP Complete Works of Shakespeare is now eight years old and has spawned a new Oxford Shakespeare which appears now in splendidly affordable volumes in that nonpareil of libraries of good reading The World's Classics. Hibbard, G. Im Buch. Praise for the Oxford School Shakespeare "Handy initial synopses and very fine marginal vocabulary notes. Marjorie Yates Narrated by. Standing Orders Available. This edition includes illustrations, preliminary notes, reading lists including websites and classroom notes. Home Series Oxford School Shakespeare. Inhalt Norths Plutarch and Other Sources. Oxford School Shakespeare: Measure for Measure. Showing of This pattern was even more marked in Germany, where the Nazis hailed the play as a hymn to strong leadership and as a result the occupying powers banned it after their downfall until Paul Werstine. Academic Skip to main content. Packed wi The play has been adopted by the political Left and Right with equal gusto at various points in history and has been played both as a pro-fascist and pro-communist piece, depending upon the director's inclinations. Error rating book. Oxford School Shakespeare: Coriolanus Reviews Praise for the Oxford School Shakespeare "Handy initial synopses and very fine marginal vocabulary notes. By using this website you agree with our cookie policy which you can review or amend at any time. But, that said, point taken that it is at the very least curious that the author of these plays sets 36 out of 37 of his canonical plays inside a royal or aristocratic court. Hibbard, G. Published February 26th by Cambridge University Press. A thorough commentary pays special attention to the needs of actors and directors. Oxford School Shakespeare: Henry V. New Quantity available: 1. Seller Rating:. Add to Basket. Now we're talking. Oxford School Shakespeare: King Lear. Popular Posts. Books Authors Illustrators Series. During this time, we have made some of our learning resources freely accessible. Please contact our Customer Service Team if you have any questions. The Tempest was written before The action, then, is semi-historical, set in the aftermath of the fall of Tarquin, the last king of Rome who is referred to in the text several times , and focuses on the struggle between the plebeians and patricians during Rome's transition from monarchy to republic. More in this Series Showing of Penguin, Softcover. That's unfortunate. His career bridged the reigns of Elizabeth I ruled and James I ruled ; he was a favorite of both monarchs. Yet it also contains extraordinarily intimate scenes between Coriolanus and both his mother, who ultimately proves "most mortal" to her own son, and his enemy Aufidius, whose "rapt heart" is happier to see Coriolanus than his own wife. The material oozes personal involvement beyond the mere study of history or the mere eavesdropping in taverns--a favorite avenue of genius for Statfordians. Subscribe to: Post Comments Atom. Mowat ,. Skip to Content Skip to Navigation. Next section Full Book Quiz. Professor Parker examines the play's history and particularly its staging at the Blackfriars theatre, where it was probably the first of Shakespeare's plays to be presented and for which it may have been written. William Shakespeare. Coriolanus New Penguin Shakespeare S. Here's an excerpt from a BBC production: The snippet above comes from Act 3, Scene 1 , in which the title character, a celebrated Roman war hero, scuttles a plan by the Roman Senate to provide some relief-- in the form of food handouts to a starving populace -- in a time of financial crisis. The introduction to this new edition considers Shakespeare's adaptation of his historical material Plutarch's Lives in relation to the social and political conditions in London and Stratford at the time of the play's composition, also offering new evidence that it was written in Subscribe iTunes U Audio. Do be advised that shipments may be delayed due to extra safety precautions implemented at our centers and delays with local shipping carriers. Every new week only seems to bring new ways for him to display his unrivaled cynicism and to further debase the political process. Featured Book. Want to Read saving…. Jonathan Crewe Editor ,. Sort by title original date published date published avg rating num ratings format. Book 4. Search Start Search. View book. Error rating book. The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. The New Penguin Shakespeare offers a complete edition of the plays and poems. Oxford School Shakespeare: Coriolanus Read Online Oxford School Shakespeare is an acclaimed edition especially designed for students, with accessible on-page notes and explanatory illustrations, clear background information, and rigorous but accessible scholarly credentials. Book Oxford School Shakespeare: The Tempest. Professor Parker examines the play's history and particularly its staging at the Blackfriars theatre, where it was probably the first of Shakespeare's plays to be presented and for which it may have been written. But, in , highlighting the Elizabethan parallels wouldn't be nearly as fun or fascinating as it would be to bring out the modern-day parallels, and let the audience judge for themselves. Published February 26th by Cambridge University Press. Do be advised that shipments may be delayed due to extra safety precautions implemented at our centers and delays with local shipping carriers. Published March 11th by Bloomsbury Arden Shakespeare. And not only uneducated in a school sense but uneducated in a noble sense. More information about this seller Contact this seller. During this time, we have made some of our learning resources freely accessible. Reuben Arthur Brower Editor. Featured Books. One of Shakespeare's darker and more disturbing plays. Set in Ancient Rome, it remains a gripping psychological study of the relationship between personality and politics. Features Full accessible notes ideal for students Additional information and reading lists A range of illustrations, both decorative and explanatory A school edition that is both accessible and academically rigorous Part of the acclaimed Oxford Schools Shakespeare series. Because it when he was 19, Edward de Vere took refuge from the court to hole himself up in an inn in the town of Windsor to recover from an illness. A rallying cry from hungry Warwickshire labourers to other rural workers during the Midland Revolt of Books Authors Illustrators Series. In , he married an older woman, Anne Hathaway, and had three children with her. Published April 25th by Bloomsbury Arden Shakespeare. Convert currency. Hibbard Editor. Likely the most influential writer in all of English literature and certainly the most important playwright of the English Renaissance, William Shakespeare was born in in the town of Stratford-upon-Avon in Warwickshire, England. As one of the play's nameless lords observes of Coriolanus's downfall, "His own impatience takes He is currently researching the role of the Shakespeare canon in the emergence of national theatre institutions worldwide. British Library website satisfaction survey Take part in our web survey! Coriolanus calls the Roman populace "common fools" and "the mutable, rank-scented many. Although the limited appeal of its characters, as well as the limited scope of the play as a whole, have prevented Coriolanus from becoming a universal favorite, the play's political messages have provided a lasting source of debate.
Load more

Recommended publications
  • Theater and Neighborhood in Shakespeare's
    ENGLISH 8720: Theater and Neighborhood in Shakespeare’s London Spring Semester 2013 Professor Christopher Highley Classroom: Scott Lab N0044 Class time: Fri 11:10-2:05 Office: Denney 558; 292-1833 Office Hours: Wed 10-2 and by appointment [email protected] Class Description: This class will examine the different theatrical neighborhoods of Early Modern London in which the plays of Shakespeare and his contemporaries were performed. We will pay special attention to three neighborhoods: Southwark, on the south-bank of the River Thames, was home to the Globe, the Rose, and several other ampitheaters; Blackfriars, an ex-monastic Liberty inside the walls of the City, was home to indoor theaters; and Clerkenwell, northwest of the City, was the location of the Fortune and Red Bull playhouses. When and for what reasons was playing first attracted to these areas? What political, economic, demographic, and social conditions allowed playing to survive here? What local neighborhood pressures shaped the identity and fortunes of these venues? Did the location of a playhouse determine the composition of its audience and thus the kinds of plays performed? Did playwrights build awareness of the playhouse neighborhood into their plays? We will read representative plays from each of the theaters we study (for exxmple, Jonson's The Alchemist, and Beaumont’s Knight of the Burning Pestle for the Blackfriars), but we will also devote much of our attention to the social and theatrical documents that reveal how theaters functioned within specific neighborhoods. We will look at the documents of royal, metropolitan, and ecclesiastical authorities, along with petitions of neighborhood residents, contemporary accounts of playgoing, and anti-theatrical tracts.
    [Show full text]
  • Witches Before Flying
    International Journal of Literature and Arts 2014; 2(5): 155-172 Published online September 20, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140205.14 ISSN: 2331-0553 (Print); ISSN: 2331-057X (Online) Witches before flying Shokhan Rasool Ahmed English Department, University of Sulaimani, Sulaimani/Kurdistan- Iraq Email address: [email protected] To cite this article: Shokhan Rasool Ahmed. Witches before Flying. International Journal of Literature and Arts. Vol. 2, No. 5, 2014, pp. 155-172. doi: 10.11648/j.ijla.20140205.14 Abstract: This paper examines Shakespeare’s Macbeth (1606), and The Late Lancashire Witches (1634) by Thomas Heywood and Richard Brome, and considers in detail the witch scenes in both plays and their stage directions during their entrances and exits. The witches in the Jacobean Macbeth of the First Folio, do not explicitly fly in the stage directions. However, they do in the Restoration Macbeth, namely in Davenant’s second Quarto (1674). The question to be raised here is: what evidence is there in the pre-Restoration Macbeth that the witches flew? In order to explore this, we must consider what performance spaces were used for Macbeth in the Jacobean period. Shakespeare’s Macbeth, and Heywood and Brome’s The Late Lancashire Witches form an interesting comparison since they were both revised by other writers. The Late Lancashire Witches has not received as much scholarly attention as the other witch plays discussed here. Therefore, as a comparative study, this paper will also discuss the joint authorship of Heywood and Brome in The Late Lancashire Witches and the stage directions of the witch scenes.
    [Show full text]
  • The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
    ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays.
    [Show full text]
  • William Shakespeare Passport
    Impossible Conversation™ Passport William Shakespeare 2020/2021 Who was William Shakespeare? William Shakespeare is a famous British playwright, which means he’s someone who wrote plays. Shakespeare is considered to be one of the most talented writers of all time. Shakespeare lived around the late 16th century and early 17th century, and in between the reigns of Queen Elizabeth I and King James I. Both of them saw some of the plays he wrote, which are still performed today. Some of the phrases that Shakespeare wrote have even become part of our everyday language! !2 Top 9 facts William Shakespeare was born in Stratford- upon-Avon in April 1564. Shakespeare’s wife’s name was Anne Hathaway. Shakespeare had three children: Susanna, Hamnet and Judith. Shakespeare worked as actor with the Lord Chamberlain’s Men, later called the King’s Men. Shakespeare wrote 154 sonnets and around 40 plays. One of Shakespeare’s first plays was Henry V. Shakespeare’s plays were performed for both Queen Elizabeth I and King James I James I was the patron of Shakespeare’s theatre group. Shakespeare’s theatre group performed in the Globe Theatre and the Blackfriars Theatre. Some phrases that Shakespeare wrote in his plays are things we still say today. !3 Very little is known about William Shakespeare's childhood. He was born in the English city of Stratford-upon-Avon about 100 miles northwest of London in 1564. William's father was a successful leather merchant who once held the public position of alderman. He was the third of six children including two older sisters and three younger brothers.
    [Show full text]
  • Summer 2013 Summer 2013
    The Pennsylvania Shakespeare Festival Newsletter • Summer 2013 Summer 2013 Oklahoma! June 12 – June 30 The 39 Steps June 19 – July 14 The Importance of Being Earnest July 10 – August 4 Measure for Measure July 18 – August 4 Henry VIII A Wilde Woman: Lady Bracknell Revealed By Peter E. Danelski July 24 – August 4 I put all my genius into my life, “and only my talent into my works. Children’s Shows: Despite this proclamation, Oscar Wilde created a comic masterpiece” with The Beauty and the Beast Importance of Being Earnest—along with a character truly deserving to be called genius. May 31 – August 3 Lady Bracknell, Wilde’s symbol of the rigid Victorian ethic, embodies much of the play’s humor. She delivers some of Wilde’s most dazzling epigrams—“Thirty-five is a very Shakespeare for Kids attractive age. London society is full of women of the very highest birth who have, of their July 24 – August 3 own free choice, remained thirty-five for years.” While the play otherwise features cou- ples—Jack pursues Gwendolyn, Algernon loves Cecily, and the Reverend Chasuble woos Miss Prism—Lady Bracknell stands alone. Mother to Gwendolyn, Lady Bracknell seems the head of her household, only occa- 610.282.WILL sionally referencing her husband Lord Bracknell. She makes no apologies in admitting her pashakespeare.org continues on page 5 Notes from the Producing Artistic Director 2013 SPONSORS PSF is like a teach- ing hospital, providing Season Sponsors Dr. & Mrs. Frank J. Szarko unparalleled internship experiences via direct professional interaction Associate Season Sponsors Linda Lapos & Paul Wirth with industry-leading artists.
    [Show full text]
  • Introduction Andrew Gurr and Farah Karim-Cooper
    Cambridge University Press 978-1-107-04063-2 - Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse Edited by Andrew Gurr and Farah Karim-Cooper Excerpt More information Introduction Andrew Gurr and Farah Karim-Cooper In the winter of 2014, Shakespeare’s Globe moves indoors with an opening season for the indoor Jacobean theatre, aptly named the Sam Wanamaker Playhouse. The title of this book is in part inspired by this endeavour, one that Wanamaker envisioned as part of his own two-playhouse plan when he sought to reconstruct the Globe Theatre; this book will go some way to reflect upon and examine the task of building, as Oliver Jones refers to it in Chapter 3,a‘Jacobean ideal’. This scheme, the completion of a project first envisaged by Sam Wanamaker in the 1980s, is meant to add what the Shakespeare company wanted as early as 1594, a winter playhouse to accompany the outdoor playhouse they already possessed. Sam’s reason for wanting an indoor venue as well as the outdoor Globe was that the Shakespeare company, within three months of its being founded, tried to obtain an indoor playhouse they could use in the winter. In 1596 the Blackfriars was built for them, but sadly the locals blocked them from using it. In the event, their plan did not succeed until 1609, when Shakespeare himself was near the end of his writing career. The new indoor theatre is somewhat based on drawings discovered at Worcester College Oxford in the 1960s and that were once considered to be authored by Inigo Jones.
    [Show full text]
  • Mistaken Identity? the Soul of the Age a Kingdom for A
    Dear Educator, There’s little debate that William Shakespeare is one of the world’s greatest poets and playwrights. But who is William Shakespeare? The answer to that question is the starting point for Anonymous, TARGE T AUDIENCE AC T IVI T Y 2 Sony Pictures’ exciting new This program is designed for students in English literature, TH E SOUL O F th E AGE historical thriller directed by Roland theater, and British history classes. Emmerich (Independence Day, The This activity introduces students to Edward de Vere, Earl of Day After Tomorrow) and starring PROGRAM OBJEC T IVES Oxford. Students consider the evidence, conduct their own Rhys Ifans and Vanessa Redgrave, research, and either write a position paper or conduct a • To encourage critical thinking by challenging students debate about the issues. You might have them write a which arrives in theaters on to examine the theories about the authorship of soliloquy for de Vere, either defending him and his October 28, 2011. Shakespeare’s works and to formulate their own anonymity, or denying that he is the author. opinions. Anonymous takes us back to a • To strengthen students’ communication skills through Follow-Up Activity: After students have seen time when plays and politics were classroom discussion and debate. Anonymous, explore how the life of a courtier like de intertwined and when uncovered • To engage students in creative writing exercises. Vere is reflected in Shakespeare’s plays. To what extent do characters like Hamlet and Henry V seem to speak from secrets revealed how the works we PROGRAM COM P ONEN T S within the world of royalty? To what extent are they attribute to William Shakespeare portrayed from an outsider’s perspective on that world? may have actually been written by • This one-page teacher’s guide Queen Elizabeth I’s one-time • Three reproducible activity masters • A classroom wall poster AC T IVI T Y 3 favorite, Edward de Vere, the Earl A KINGDOM F OR A ST AGE of Oxford.
    [Show full text]
  • Elizabethan and Jacobean Theatres
    Published on Great Writers Inspire (http://writersinspire.org) Home > Elizabethan and Jacobean Theatres Elizabethan and Jacobean Theatres Elizabethan and Jacobean London contained a myriad of playhouses, indoors and outdoors. What follows is a very brief outline of some of the most famous of those playhouses, arranged alphabetically. ('Hover' mouse pointer over picture to see caption. Click to go to larger version with more information). Blackfriars Theatre The name Blackfriars actually refers to two successive theatres. The 1st theatre was established on the grounds of what was the Blackfriars Dominican monastery in 1576, and until 1584 it housed the children?s company The Children of the Chapel Royal. They worked under the direction of Richard Farrant, Master of Windsor Chapel. After Farrant?s death in 1580, William Hunnis took over direction. In 1583 the theatre was given to John Lyly, who wrote plays for performance in the theatre, and the theatre?s lease expired in 1584. In 1596 James Burbage bought the lease to a different part of the Blackfriars priory with the intention of building an indoor playhouse. Wealthy area residents kicked up a fuss, and the endeavour was forbidden by the Privy Council. In 1599 Burbage leased the playhouse to Nathaniel Giles and his Children of the Chapel, a boys company that performed plays by Middleton, Chapman, Jonson, Marston, Beaumont, and Fletcher. From 1609 the King?s Men, the company of William Shakespeare and the famous actor (and son of James) Richard Burbage, took up residence at Blackfriars, playing to a wealthier and better-behaved audience than at the raucous outdoor Globe.
    [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]
  • Performances During Shakespeare's Lifetime (Wikipedia)
    Performances during Shakespeare's lifetime (Wikipedia) The troupe for which Shakespeare wrote his earliest plays is not known with certainty; the title page of the 1594 edition of Titus Andronicus reveals that it had been acted by three different companies.1After the plagues of 1592–3, Shakespeare's plays were performed by the Lord Chamberlain's Men, a new company of which Shakespeare was a founding member, at The Theatre and the Curtain in Shoreditch, north of the Thames.2 Londoners flocked there to see the first part of Henry IV, Leonard Digges recalling, "Let but Falstaff come, Hal, Poins, the rest ... and you scarce shall have a room".3 When the landlord of the Theatre announced that he would not renew the company's lease, they pulled the playhouse down and used the timbers to construct the Globe Theatre, the first London playhouse built by actors for actors, on the south bank of the Thames at Southwark.4 The Globe opened in autumn 1599, with Julius Caesar one of the first plays staged. Most of Shakespeare's greatest post-1599 plays were written for the Globe, including Hamlet, Othello and King Lear.5 Reconstructed Globe theatre London The Globe, like London's other open-roofed public theatres, employed a thrust-stage, covered by a cloth canopy. A two-storey facade at the rear of the stage hid the tiring house and, through windows near the top of the facade, opportunities for balcony scenes such as the one in Romeo and Juliet. Doors at the bottom of the facade may have been used for discovery scenes like that at the end of The Tempest.
    [Show full text]
  • Hamlet Refugee Week Hamlet
    HAMLET REFUGEE WEEK HAMLET CONTENTS. LIKE IT LIKE AS YOU YOU AS SONNETS 3 Welcome 4 Hamlet Company 8 Synopsis 10 Bringing Hamlet Home by Dr Farah Karim-Cooper 14 Ensemble Voices Contributions from the Globe Ensemble 22 Biographies & Rehearsal Photos GLOBE ON 32 Do You Mark That? by Emma Smith TOUR EMILIA 34 This Wooden ‘O’ GLOBE THE WINTER’S 36 The Globe Today PLAYER TALE 38 Education 42 Guided Tours & Exhibition 44 Food & Drink 45 Shop & Globe Player THE TWO 46 Support Us NOBLE EYAM 48 For Shakespeare’s Globe KINSMEN 51 Our Volunteer Stewards 54 Our Supporters LOVE’S OTHELLO LABOUR’S LOST Shakespeare’s Tales WELCOME. Telling Dear all, Celebrate the joy of storytelling at Shakespeare’s Telling Tales, A huge, huge welcome to Shakespeare’s Globe our lively family festival, now in its third year. and to the start of our 2018 Summer Season. What better way to kick off than with the words ‘Who’s 27 – 29 July 2018 There?’ from our opening play, Hamlet, followed Visit shakespearesglobe.com/tellingtales for news by As You Like It: two plays that we know were about our festival line-up as it’s announced. written specifically for the unique architectural #TellingTales playing conditions of the wooden ‘O’. Where else can you say and hear the words ‘this distracted Globe’ or ‘All the world’s a stage’ and not be immediately aware of the theatre in which you are sitting… or standing? Where else can Hamlet say ‘now I am alone’ and see the whites of the eyes of the 1,500 people that accompany him in that moment? There are, of course, as many understandings and interpretations of Shakespeare as there are people and if Shakespeare is one of our greatest playwrights, wrestling with the human condition in all its guises, then it must also be true that Shakespeare is for all.
    [Show full text]
  • Introduction
    Cambridge University Press 978-0-521-72874-4 - Coriolanus: Updated Edition Edited by Lee Bliss Excerpt More information INTRODUCTION Date, theatre, chronology While there is no early quarto or Stationers’ Register entry before that of 1623 for the First Folio and no record of performance to assist in dating Coriolanus, it is generally agreed to have been written late in Shakespeare’s sequence of Jacobean tragedies. Although their evidence is not decisive, stylistic tests place Coriolanus after King Lear, Macbeth and Antony and Cleopatra (that is, later than 1606),1 and contemporary allusions suggest it was known, at least to some, by late 1609. The 1605 publication of William Camden’s Remaines of a Greater Worke, Concerning Britaine, sets one firm limit, for Menenius’s phrasing in the belly fable (1.1.79–129) is closer to Camden’s version than to that in North’s Plutarch.2 Edmond Malone, who pointed out the Camden parallels in 1790, also noted Ben Jonson’s recollection in Epicoene of a distinctive phrase in Cominius’s speech to the senate.3 Epicoene was possibly performed in late 1609, for after 7 December the plague death-rate seems to have been low enough to have permitted reopening the playhouses, though the authorities might have delayed out of caution;4 certainly it was played in early 1610, when Lady Arabella Stuart complained of a personally offensive allusion, and the Venetian ambassador reports the play’s suppression in a letter dated 8 February 1610.5 Two other apparent references suggest that Coriolanus was well enough known by this date to be worth alluding to.
    [Show full text]