Renaissance and Reformation, 1998
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Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Macbeth Informational Text: the Real Story
Name ________________________________________ Period _______ Macbeth Informational Text: The Real Story It is interesting to note that Shakespeare‘s play Macbeth was based loosely on true stories about real people. In fact, it is believed that Shakespeare wrote the play for King James I and VI, who was king of both England and Scotland at the time. Allegedly using the Chronicles of England, Scotland, and Ireland (1587) by Raphael Holinshed as his source of information, Shakespeare set out to create a realistic fictional drama based on a true story. The real King Duncan I (Donnchad mac Crínáin), nicknamed ―the sick‖ was the King of Scotland (called Alba) from 1034 to 1040. He was the grandson of Malcolm II, who was killed in battle in 1034. Duncan had two sons, Malcolm III, and Donald III. According to records, Duncan was young and weak and was seen as a terrible and ineffective leader. His ascension to the throne at age 17 caused turmoil in the family, as the kingship was to have alternated between the two branches of the royal line. Many believed his cousin, Macbeth (Mac Bethad mac Findlaích), should have had claim to the throne through his mother. This caused strife in the family, which would continue for hundreds of years. After Duncan was killed in battle by Macbeth in 1040, Macbeth took the throne and became King of Scotland. Macbeth reigned successfully for 17 years, and he was said to be a powerful and strong leader. However, Duncan‘s son Malcolm wanted revenge against Macbeth, and felt that he should have inherited the throne after his father‘s death. -
Scotland: Bruce 286
Scotland: Bruce 286 Scotland: Bruce Robert the Bruce “Robert I (1274 – 1329) the Bruce holds an honored place in Scottish history as the king (1306 – 1329) who resisted the English and freed Scotland from their rule. He hailed from the Bruce family, one of several who vied for the Scottish throne in the 1200s. His grandfather, also named Robert the Bruce, had been an unsuccessful claimant to the Scottish throne in 1290. Robert I Bruce became earl of Carrick in 1292 at the age of 18, later becoming lord of Annandale and of the Bruce territories in England when his father died in 1304. “In 1296, Robert pledged his loyalty to King Edward I of England, but the following year he joined the struggle for national independence. He fought at his father’s side when the latter tried to depose the Scottish king, John Baliol. Baliol’s fall opened the way for fierce political infighting. In 1306, Robert quarreled with and eventually murdered the Scottish patriot John Comyn, Lord of Badenoch, in their struggle for leadership. Robert claimed the throne and traveled to Scone where he was crowned king on March 27, 1306, in open defiance of King Edward. “A few months later the English defeated Robert’s forces at Methven. Robert fled to the west, taking refuge on the island of Rathlin off the coast of Ireland. Edward then confiscated Bruce property, punished Robert’s followers, and executed his three brothers. A legend has Robert learning courage and perseverance from a determined spider he watched during his exile. “Robert returned to Scotland in 1307 and won a victory at Loudon Hill. -
Family Tree Maker
Ancestors of Ulysses Simpson Grant Generation No. 1 1. President Ulysses Simpson Grant, born 27 Apr 1822 in Point Pleasant, Clermont Co., OH; died 23 Jul 1885 in Mount McGregor, Saratoga Co., NY. He was the son of 2. Jesse Root Grant and 3. Hannah Simpson. He married (1) Julia Boggs Dent 22 Aug 1848. She was born 26 Jan 1826 in White Haven Plantation, St. Louis Co. MO, and died 14 Dec 1902 in Washington, D. C.. She was the daughter of "Colonel" Frederick Fayette Dent and Ellen Bray Wrenshall. Generation No. 2 2. Jesse Root Grant, born 23 Jan 1794 in Greensburg, Westmoreland Co., PA; died 29 Jan 1873 in Covington, Campbell Co., KY. He was the son of 4. Noah Grant III and 5. Rachel Kelley. He married 3. Hannah Simpson 24 Jun 1821 in The Simpson family home. 3. Hannah Simpson, born 23 Nov 1798 in Horsham, Philadelphia Co., PA; died 11 May 1883 in Jersey City, Coventry Co., NJ. She was the daughter of 6. John Simpson, Jr. and 7. Rebecca Weir. Children of Jesse Grant and Hannah Simpson are: 1 i. President Ulysses Simpson Grant, born 27 Apr 1822 in Point Pleasant, Clermont Co., OH; died 23 Jul 1885 in Mount McGregor, Saratoga Co., NY; married Julia Boggs Dent 22 Aug 1848. ii. Samuel Simpson Grant iii. Orville Grant iv. Clara Grant v. Virginia "Nellie" Grant vi. Mary Frances Grant Generation No. 3 4. Noah Grant III, born 20 Jun 1748; died 14 Feb 1819 in Maysville, Mason Co., KY. He was the son of 8. -
Macbeth in World Cinema: Selected Film and Tv Adaptations
International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol. 3, Issue 1, Mar 2013, 179-188 © TJPRC Pvt. Ltd. MACBETH IN WORLD CINEMA: SELECTED FILM AND TV ADAPTATIONS RITU MOHAN 1 & MAHESH KUMAR ARORA 2 1Ph.D. Scholar, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India 2Associate Professor, Department of Management and Humanities, Sant Longowal Institute of Engineering and Technology, Longowal, Punjab, India ABSTRACT In the rich history of Shakespearean translation/transcreation/appropriation in world, Macbeth occupies an important place. Macbeth has found a long and productive life on Celluloid. The themes of this Bard’s play work in almost any genre, in any decade of any generation, and will continue to find their home on stage, in film, literature, and beyond. Macbeth can well be said to be one of Shakespeare’s most performed play and has enchanted theatre personalities and film makers. Much like other Shakespearean works, it holds within itself the most valuable quality of timelessness and volatility because of which the play can be reproduced in any regional background and also in any period of time. More than the localization of plot and character, it is in the cinematic visualization of Shakespeare’s imagery that a creative coalescence of the Shakespearean, along with the ‘local’ occurs. The present paper seeks to offer some notable (it is too difficult to document and discuss all) adaptations of Macbeth . The focus would be to provide introductory information- name of the film, country, language, year of release, the director, star-cast and the critical reception of the adaptation among audiences. -
Macbeth for Kids Study Guide
Sacramento Theatre Company Study Guide The Macbeth For Kids From the book by Lois Burdett and Christine Coburn Based on William Shakespeare's Macbeth Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus. -
King James's Daemonologie: the Evolution of the Concept Of
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea King James’s Daemonologie: the evolution of the concept of witchcraft in Scotland Relatore Laureando Prof. Alessandra Petrina Stefano Melta n° matr.1038982 / LMLCC Anno Accademico 2018 / 2019 1 Table of Contents FOREWORD ...................................................................................................................... 5 CHAPTER I: The Scottish social and political situation in the second half of the sixteenth century............................................................................................................................... 13 I.I. A social geography of the Reformation in Scotland .......................................... 13 I.II. Witchcraft as an enemy of the State ................................................................... 17 I.III. The shaping of the new Kirk and the concept of authority ................................ 21 CHAPTER II: Biographical background .......................................................................... 25 II.I The political situation in the 70s and 80s ........................................................... 28 II.II Marriage and witches ......................................................................................... 35 CHAPTER III: The books behind Daemonologie ............................................................ 41 CHAPTER IV: Daemonologie -
Furious: Myth, Gender, and the Origins of Lady Macbeth
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Furious: Myth, Gender, and the Origins of Lady Macbeth Emma King The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3431 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] FURIOUS: MYTH, GENDER, AND THE ORIGINS OF LADY MACBETH by EMMA KING A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 ii © 2019 EMMA KING All Rights Reserved iii Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date Tanya Pollard Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Furious: Myth, Gender, and the Origins of Lady Macbeth by Emma King This thesis attempts to understand the fabulously complex and poisonously unsettling Lady Macbeth as a product of classical reception and intertextuality in early modern England. Whence comes her “undaunted mettle” (1.7.73)? Why is she, like the regicide she helps commit, such a “bloody piece of work” (2.3.108)? How does her ability to be “bloody, bold, and resolute” (4.1.81), as Macbeth is commanded to be, reflect canonical literary ideas, early modern or otherwise, regarding women, gender, and violence? Approaching texts in the literary canon as the result of transformation and reception, this research analyzes the ways in which Lady Macbeth’s gender, motivations, and words can be understood as inherently intertextual. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
The Tragedy of Macbeth William Shakespeare 1564–1616
3HAKESPEARean DrAMA The TRAGedy of Macbeth Drama by William ShakESPEARE READING 2B COMPARe and CONTRAST the similarities and VIDEO TRAILER KEYWORD: HML12-346A DIFFERENCes in classical plaYs with their modern day noVel, plaY, or film versions. 4 EVALUAte how THE STRUCTURe and elements of drAMA -EET the AUTHOR CHANGe in the wORKs of British DRAMAtists across literARy periods. William ShakESPEARe 1564–1616 In 1592—the first time William TOAST of the TOwn In 1594, Shakespeare Shakespeare was recognized as an actor, joined the Lord Chamberlain’s Men, the poet, and playwright—rival dramatist most prestigious theater company in Robert Greene referred to him as an England. A measure of their success was DId You know? “upstart crow.” Greene was probably that the theater company frequently jealous. Audiences had already begun to performed before Queen Elizabeth I and William ShakESPEARe . notice the young Shakespeare’s promise. her court. In 1599, they were also able to • is oFten rEFERRed To as Of course, they couldn’t have foreseen purchase and rebuild a theater across the “the Bard”—an ancienT Celtic term for a poet that in time he would be considered the Thames called the Globe. greatest writer in the English language. who composed songs The company’s domination of the ABOUT heroes. Stage-Struck Shakespeare probably London theater scene continued • INTRODUCed more than arrived in London and began his career after Elizabeth’s Scottish cousin 1,700 new wORds inTo in the late 1580s. He left his wife, Anne James succeeded her in 1603. James the English languagE. Hathaway, and their three children behind became the patron, or chief sponsor, • has had his work in Stratford. -
Printed: 2020/05/13 16:49 Page 1 /Users/Giovanni/Documents/Gen/Hannah20120513.Rtf "Cenl Enda Two Distinct Territories Are Mentioned
/Users/giovanni/Documents/Gen/Hannah20120513.rtf Hanna, Hannah, Hannay, A'Hannay, aHannay, Hannagh, d'Annethe, O’Hannaidh, O'Hannaith, Ó hAnnaidh, O'hEighnigh, O'hEanaigh, O'hEanna [and connected families, Park/Parks/Parker, Patterson, Oulrey, Ford, McKinley, Scott, Vance, Davidson, Streeter, Lyle, Snodgrass, Boyd, Craighill/Craghill, Gill, Smith, Stewart, McKie] - - - - - - - - https://en.wikipedia.org/wiki/List_of_Irish_clans https://en.wikipedia.org/wiki/List_of_Irish_clans_in_Ulster#Cen.C3.A9l_Eanna http://www.enotes.com/topic/List_of_Irish_clans clan name (tuath): Cinel Eanna, progenitor: Eanna (Enda), the sixth son of Conall Gulban [there's some confusion because the 3rd son of Niall had the same name... or almost the same name], septs (finte): Hanna, Hainey, Haney, Heaney (O'hEighnigh) (Ó hAnnaidh), location: Kings of Magh Ith, Tir Eanna and Fanad in present day County Donegal. Cineal (kinship): Cenél Conaill - - clan name (tuath): Ui Meith Macha alias Ui-Meith Tire prognitor: Imar mac Muircertaich mac Duibdarac mac Scannlain mac Indrachtaich mac Gairbid mac Ainbeith mac Mailbrigti mac Duibinnracht mac Taidg mac Innreachtaich mac Muiredaich mac Mailimuchair mac Scannlain mac Fingin mac Aedha mac Fiachrach mac Fiachrach mac Eogain mac Briuin mac Muiredaic Meith (a quo H. Meith) mac Imcadha mac Colla Da Crich mac Eachach Doimlen hereditary chief: Ó hInnreachtaigh (O'Hanratty) septs (finte): Ó hAinfeith (HANVEY, HANNAY, HANNEY), Ó Mael Brigdhe (MULREADY, MULBREEDY, MULBRIDE, MULREEDY, MURREADY, MULREDDY), Ó Gairbith (GARVEY), Ó hUarghuis