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Fall 2005 Shakespeare Matters Page 1
Fall 2005 Shakespeare Matters page 1 5:1 "Let me not to the marriage of true minds admit impediments..." Fall 2005 Falstaff in the Low Countries By Robert Detobel n his book Monstrous Adversary1 Prof. Alan Nelson has Oxford boast of his par ticipation in the battle of Bommel dur- Iing his visit to the Low Countries in the summer 1574. Nelson’s statement, my article shows, results from a double error. First he has failed to note the basic difference which existed between a battle and a siege in the Low Countries since 1573; second, and more James Newcomb, Fellowship member and Oregon Shakespeare Festival leading man, importantly, Nelson did not perceive (per- with Mark Anderson (right), winner of the 2005 Oxfordian of the Year Award. Newcomb haps because he did not want to) that Oxford’s stars this OSF season as a wickedly energetic Richard III. tale about his great feats was a Baron Münchhausen’s tall tale and was clearly so intended. More properly spoken it was a OSF, SF, and SOS Join Forces in “Falstaffiade, ” as will appear in the second part in which we observe the similarities between Oxford’s tale and Falstaff’s tales. Historic Conference (Continued on page 4) By Howard Schumann he first ever jointly sponsored conference of The Shakespeare Fellowship and The Shakespeare Oxford Society was a “breakthrough” and an important step in piercing the “bastion of orthodoxy” regarding the Shakespeare Tauthorship issue, according to James Newcomb, the Oregon ShakespeareFestival (OSF) actor who portrayed the villainous King Richard in the OSF’s magnificent production of Richard III. -
January 2020 Bulletin
Bulletin The Forty-Eighth Annual Meeting of the Shakespeare Association of America will be held at the Hyatt Regency Convention Center in Denver from 15 to 18 April 2020. 2020 Wednesday, 15 April January 4:00 p.m. Registration. 5:00 p.m. Town Hall Business Meeting for all SAA Members. Contents 7:00 p.m. Moon-Crossed reading with Kendra Leonard. Letter from the Executive Director.......2 7:30 p.m. Film: All Is True. Meeting Schedule....................................3 Thursday, 16 April Conference Registration.......................10 8:00 a.m. Registration and Book Exhibits; Ombuds Training. Denver Information..............................10 10:00 a.m. 19 Seminars and Workshops; Digital Exhibits. 12:00 noon Practicum: “Articles in Progress.” SAA Policy Statements........................11 1:30 p.m. Panel Session: “Shakespeare and Intellectual History.” SAA Acknowledgments.......................12 3:30 p.m. 15 Seminar and Workshops; Performanc Practicums: “Early Modern Dance for Terrified Beginners” and “Pop-up Richard III.” Deadlines 6:00 p.m. Annual Reception. 2 January Friday, 17 April 8:00 a.m. Registration and Book Exhibits; Professionalization Session: “First Book: Logistics of Conference Registration opens. Publishing”; Forum on Administration; Graduate Student Breakfast. Hotel Registration opens. 9:00 a.m. Panel Sessions: “Shakespeare in the North American West” and “Shakespeare, Race, and Voting for SAA Officers opens. Adaptation.” 11:00 a.m. 20 Seminars and Workshops; Digital Exhibits. 15 February 1:30 p.m. Annual Luncheon. Voting for SAA Officers closes. 3:30 p.m. Panel Session: “Walking the Talk: Embodied Pedagogies of Social Justice.” Program Proposals for 2021 due. 7:30 p.m. -
A Sentimental Journey Through France and Italy Laurence Sterne
A Sentimental Journey through France and Italy Laurence Sterne The Harvard Classics Shelf of Fiction, Vol. III, Part 1. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents Biographical Note Criticisms and Interpretations I. By Sir Walter Scott II. By Edmond Scherer III. By Professor Saintsbury List of Characters 1. Prologue 2. Calais 3. The Monk. Calais 4. The Monk. Calais 5. The Monk. Calais 6. The Desobligeant. Calais 7. Preface. In the Desobligeant 8. Calais 9. In the Street. Calais 10. The Remise Door. Calais 11. The Remise Door. Calais 12. The Snuff-Box. Calais 13. The Remise Door. Calais 14. In the Street. Calais 15. The Remise. Calais 16. The Remise. Door. Calais 17. The Remise. Calais 18. In the Street. Calais 19. Montriul 20. Montriul 21. Montriul 22. Montriul 23. A Fragment 24. Montriul 25. The Bidet 26. Nampont. The Dead Ass 27. Nampont. The Postilion 28. Amiens 29. The Letter. Amiens 30. The Letter 31. Paris 32. The Wig. Paris 33. The Pulse. Paris 34. The Husband. Paris 35. The Gloves. Paris 36. The Translation. Paris 37. The Dwarf. Paris 38. The Rose. Paris 39. The Fille De Chambre. Paris 40. The Passport. Paris 41. The Passport. The Hotel at Paris 42. The Captive. Paris 43. The Starling. Road to Versailles 44. The Address. Versailles 45. Le Patisser. Versailles 46. The Sword. Rennes 47. The Passport. Versailles 48. The Passport. Versailles 49. The Passport. Versailles 50. The Passport. Versailles 51. Character. Versailles 52. The Temptation. Paris 53. The Conquest 54. The Mystery. -
Les Misérables and Seven Other Plays
The Festival in 2012 Dream the Dream with Les Misérables and seven other plays Your complimentary guide to the Festival and southern Utah NewClick This on most Year. ads to go to the website. Summer/Fall 2012 • Thirty-Third Edition • Cedar City, Utah Contents Part of an Extraordinary, Part of an Extraordinary, Brilliant Humanity 5 Great theatre awareness for all of us Brilliant Humanity Festival Showcases Challenging Rewarding Season 6 Fifty-first season features eight exciting plays. By Bruce C. Lee Titus Andronicus 8 Not long ago I had an interesting experience that I believe, for me, put some Rhyme and meter offer deep and profound clues to play’s meaning. perspective on some of the events whirling around me (and perhaps you) lately I spent Mary Stuart 11 Friedrich Schiller’s not-quite-history play. three days attending the annual design meetings at the Utah Shakespeare Festival The The Merry Wives of Windsor 14 meetings are an exciting and eye-opening series of discussions among the design teams In a class by themselves. of this year’s Festival plays Directors, designers, and master craftsmen meet to explore Scapin 19 Modern adaptation is serious comedy. ideas about how best to present Mary Stuart, Scapin, To Kill a Mockingbird, and the other To Kill a Mockingbird 22 upcoming plays It was engaging, fascinating, and exhilarating Atticus Finch: a hero beyond the pages. Then, in the evenings, I went home and watched the television news, mostly Les Misérables 25 A revolutionary musical for the people. centered around the upcoming national elections It made me cringe to realize how Stones in His Pockets 29 tragically unaware many of us are about humanity and the world and issues around us The things we carry. -
Ell 1E5 570 ' CS 20 5 4,96;
. MC0111117 VESUI17 Ell 1E5 570 ' CS 20 5 4,96; AUTHOR McLean, Ardrew M. TITLE . ,A,Shakespeare: Annotated BibliographiesendAeaiaGuide 1 47 for Teachers. .. INSTIT.UTION. NIttional Council of T.eachers of English, Urbana, ..Ill. .PUB DATE- 80 , NOTE. 282p. AVAILABLe FROM Nationkl Coun dil of Teachers,of Englishc 1111 anyon pa., Urbana, II 61.801 (Stock No. 43776, $8.50 member, . , $9.50 nor-memberl' , EDRS PRICE i MF011PC12 Plus Postage. DESCRIPTORS Annotated Biblioal7aphies: *Audiovisual Aids;'*Dramt; +English Irstruction: Higher Education; 4 *InstrUctioiral Materials: Literary Criticism; Literature: SecondaryPd uc a t i on . IDENTIFIERS *Shakespeare (Williaml 1 ABSTRACT The purpose of this annotated b'iblibigraphy,is to identify. resou'rces fjor the variety of approaches tliat teachers of courses in Shakespeare might use. Entries in the first part of the book lear with teaching Shakespeare. in secondary schools and in college, teaching Shakespeare as- ..nerf crmance,- and teaching , Shakespeare with other authora. Entries in the second part deal with criticism of Shakespearear films. Discussions of the filming of Shakespeare and of teachi1g Shakespeare on, film are followed by discu'ssions 'of 26 fgature films and the,n by entries dealing with Shakespearean perforrances on televiqion: The third 'pax't of the book constituAsa glade to avAilable media resources for tlip classroom. Ittries are arranged in three categories: Shakespeare's life'and' iimes, Shakespeare's theater, and Shakespeare 's plam. Each category, lists film strips, films, audi o-ca ssette tapes, and transparencies. The.geteral format of these entries gives the title, .number of parts, .grade level, number of frames .nr running time; whether color or bie ack and white, producer, year' of .prOduction, distributor, ut,itles of parts',4brief description of cOntent, and reviews.A direCtory of producers, distributors, ard rental sources is .alst provided in the 10 book.(FL)- 4 to P . -
Eisenhower Theater
COVER All’s Well That Ends Well 2010 | 2011 season SHAKESPEARE THEATRE COMPANY COMinG SOOn TO Sidney HarMan Hall november 26, 2010–January 9, 2011 This rousing musical springs to life on stage during the holiday season, poking fun at optimism and following Candide on his quest for true love with songs like “Make Our Garden Grow” and “Glitter and Be Gay.” Candide The 20th-century classic, based on Voltaire’s music by Leonard Bernstein satire, will be reinvigorated in a new book adapted from Voltaire by Hugh Wheeler adaptation by director Mary Zimmerman, lyrics by Richard Wilbur matching her inventive, visually stunning additional lyrics by Stephen Sondheim, John Latouche, style with Bernstein’s ravishing score. Lillian Hellman, Dorothy Parker and Leonard Bernstein directed and newly adapted from Voltaire Zimmerman’s previous STC production by Mary Zimmerman of Pericles brought forth “an evening of bewitching ingenuity and bountiful surprise” (The Washington Post). Following the successful collaboration of King Lear in 2009, this farcical tale is a co-production with Chicago’s Goodman Theatre. “The best of all possible worlds...” Get your tickets today! Call 202.547.1122 or visit ShakespeareTheatre.org Groups of 10+, 202.547.1122, option 6 Photo of Geoff Packard by Brian Warling. design/direction: Kelly rickert. Table of Contents Feature Pilgrim's Progress by Akiva Fox 4 Program Synopsis 7 About the Playwright 9 Title Page 11 Cast 13 Cast Biographies 14 Direction and Design 18 Shakespeare Theatre Company Upcoming Events 21 Shakespeare Theatre Company 22 For the Shakespeare 24 Theatre Company Board of Trustees 26 Affiliated Artists 26 Staff 28 Special Thanks/Volunteers 30 Individual Donors 32 Three Ways to Give 40 Happenings at the Harman 41 Corporate Donors 43 Foundation/Government Support 44 Season Guide/Acting for Business 45 Professionals In Rehearsal 47 Audience Services 48 Cover photo of Miriam Silverman and Tony roach by Scott Suchman. -
Pan's Labyrinth
Southey, 2016 Pan’s Labyrinth: A Critical Analysis by Safia Southey Table of Contents: Eyes and Obedience………………………………………………………….…….… 2 Stories, Fantasy and Reality……………………………………………………….…. 8 Hamlet Connections…………………………………………………………..……….14 Cinematography and Sound…………………………………………………….……..19 Good vs. Evil……………………………………………………………….……….…26 Folklore and Religion………………………………………………………….….…...31 Time………………………………………………………………………….…….…..41 Femininity…………………………………………………………………….…….….45 Appendix…………………………………………………………………….…….…...51 Works Cited……………………………………………………………………..….….79 1 Southey, 2016 Eyes and Obedience Guillermo del Toro’s Pan’s Labyrinth is an exploration into the life of a young girl, Ofelia. Ripped from her home and forced into the world of her stepfather, Captain Vidal and the Spanish Civil War, she hides herself away in her books and fairytales. When she is told by a Faun that she is the Princess of the Underworld, she immediately leaps at the chance to prove that she’s not mortal in order to distract herself from the patriarchal and violent world around her. Every character in the film must decide what part they play in her story, whether they will obey their superiors or create their own path, whether they will see beyond their instructions or blindly follow orders. Symbolism of eyes and sight appear everywhere, posing as a theme to guide the audience through the story and raise questions about what it really means to see. In Pan’s Labyrinth, only those who are able to open their eyes and not blind themselves with rage and make decisions beyond what they are expressly instructed to do are able to succeed. The film begins with a fantastical story about a Princess who lives in the Underworld realm who dreams of joining the human world. -
Created Shakespeare Columbus’ Landfall, Comet Halley Apparitions, Peary’S fictional Crocker Land
A Fresh ScienceHistory Journal: CostFree to Major Libraries Vol.18 Marlowe 450 2014 Tel 4108891414 [email protected] DIO — The InternationalDIOJournal of Scientific History. Deeply funded. Mail costs fully covered. No page charges. Offprints free. • Since 1991 inception, has gone without fee to leading scholars & libraries. • Contributors include world authorities in their respective fields, experts at, e.g., Johns Hopkins University, Cal Tech, Cambridge University, University of London. • Publisher & journal cited (1996 May 9) in New York Times p.1 analysis of his discov ery of data exploding Richard Byrd's 1926 North Pole fraud. [DIO vol.4.] Full report copublished by University of Cambridge (2000) and DIO [vol.10], triggering History DIO Channel 2000&2001 recognition of Amundsen's double polepriority. New photographic proof ending Mt.McKinley fake [DIO vol.7]: cited basis of 1998/11/26 New York Times Science Applied to the Arts p.1 announcement. Nature 2000/11/16 cover article pyramidorientation theory: DIO correctedrecomputed, Nature 2001/8/16. Vindicating DR longtime Neptuneaffair charges of planettheft and filetheft: Scientific American 2004 December credits DIO [vols.29]. DIOopposites mentality explored: NYTimes Science 2009/9/8 [nytimes.com/tierneylab]. • Journal is published primarily for universities' and scientific institutions' collections; among subscribers by request are libraries at: US Naval Observatory, Cal Tech, Cornell, Johns Hopkins, Oxford & Cambridge, Royal Astronomical Society, British Museum, Royal Observatory (Scotland), the Russian State Library, the International Centre for Theoretical Physics (Trieste), and the universities of Chicago, Toronto, London, Munich, Gottingen,¨ Marlowe Copenhagen, Stockholm, Tartu, Amsterdam, Liege,` Ljubljana, Bologna, Canterbury (NZ). -
“Prince Tudor” Dilemma: Hip Thesis, Hypothesis, Or Old Wives' Tale?
THE “PRINCE TUDOR” DILEMMA: Hip Thesis, Hypothesis, or Old Wives’ Tale? Christopher Paul ❦ There was an old woman who lived in a shoe, She had so many children she didn’t know what to do, So she gave them some broth without any bread, Whipped them all soundly and sent them to bed. English Nursery Rhyme ITHIN the study of the Shakespeare authorship question there has long been an argument known as the “Tudor Rose,” or more recently, the “Prince Tudor” theory (“PT” for short). The debate between the Stratfor- dians and the Oxfordians couldn’t be any more abrasive than that between those who advocate PT and those who see it as a deviation which does nothing to resolve the question of whether or not the seventeenth Earl of Oxford wrote the Shakespeare canon. The basic version of PT holds that Edward de Vere was the Queen’s para- mour, or secret husband, and that Henry Wriothesley, third Earl of Southampton, was their illegitimate son, making de Vere the sub rosa King of England (no pun intended) and Wriothesley heir to the throne. This, they hold, “explains” the Sonnets, why de Vere hid his authorship of the Shakespeare canon, and other matters. Sir Francis Bacon was the first candidate for the authorship of the Shakespeare canon. He was also the first to be “explained” by the PT theory, as formally presented in 1910 by Baconian Alfred Dodd.1 In this original version, Bacon was the Queen’s son by Robert Dudley, the Earl of Leicester, to whom she was secretly married. -
From Shakespeare to the Good Wife: Wendall & Wootton Hit Melbourne for Industry Talks Also Featuring David Field & Cezary Skubiszewski
FROM SHAKESPEARE TO THE GOOD WIFE: WENDALL & WOOTTON HIT MELBOURNE FOR INDUSTRY TALKS ALSO FEATURING DAVID FIELD & CEZARY SKUBISZEWSKI Do Laurence Olivier, The Good Wife, Shakespeare and Alien Invasions have anything in common? Punters attending the Wendall Thomas Talks Scripts and Adrian Wootton Talks Shakespeare series will find out! Organised by the Melbourne International Film Festival (MIFF) Industry Programs Unit, which stages film financing event MIFF 37ºSouth Market and the Accelerator emerging director workshop, the Wendall Thomas Talks Scripts and Adrian Wootton Talks Shakespeare series are ticketed events open to the general public – be they film or media students, aspiring or existing screen practitioners, film aficionados or Just the plain curious. MIFF Accelerator Master-classes: Additionally, MIFF Accelerator presents several ticketed sessions, including an Acting Masterclass with David Field (Chopper, The Rover, and MIFF 2016’s Centrepiece Gala Down Under), Editing with Simon Njoo (editor of The Babadook and MIFF 2016’s Premiere Fund-supported Bad Girl), Production Design with Ben Morieson (Oddball and MIFF 2016’s MIFF Premiere Fund-supported Opening Night film The Death & Life of Otto Bloom), Cinematography with Andrew Commis (The Daughter, The Rocket and MIFF 2016’s Spear), and Composing with Cezary Skubiszewski (Sapphires, Red Dog and MIFF 2016’s Premiere Fund-supported Monsieur Mayonnaise). More details at http://miffindustry.com/ticketed-events16 Adrian Wootton Talks Shakespeare: Former British Film Institute and London Film Festival Director Adrian Wootton returns exclusively to Melbourne for another series of his acclaimed Illustrated Film Talks, focusing this year on the rich screen legacy of most filmed author ever - William Shakespeare, who died 400 years ago and whose works have inspired hundreds of screen productions. -
This Side Idolatry Ben Jonson, “Fine Grand” and the Droeshout Engraving
This Side Idolatry Ben Jonson, “Fine Grand” and the Droeshout Engraving In November 1623 Mr. William Shakespeares Comedies, Histories & Tragedies, commonly referred to as the First Folio, was published. The locations “Swan of Avon” and “Stratford Moniment” noted in two separate introductory poems presented the public with the impression that a man from Stratford-Upon-Avon named William Shakspere and the great writer William Shake-speare were one and the same. This notion has endured in spite of the fact that there are no contemporary references that support the theory that the Stratford Man was a writer, nor any proof explaining where, when, or how he would have acquired the vast amount of knowledge that is apparent in the canon. It is the absence of these important pieces of evidence that has led some lovers of Shake-speare’s works to question the traditionally held claim that William Shakspere of Stratford-Upon-Avon was, in fact, the author Shake-speare. In 1920, J. Thomas Looney recognized Edward de Vere, the 17th Earl of Oxford, as the most likely candidate to be the True Author of the Shake-speare canon. Since the Man from Stratford was connected to the theatersi it would not take a great leap of faith to believe he was the similarly named author of some plays performed by these theatre companies. For those who choose to accept this explanation and look no further (particularly at the tremendous amount of education and expansive realm of knowledge that the True Author exhibits in the works), William Shakspere of Stratford-Upon-Avon has become the ultimate self- made man; a genius born in a provincial town who went to London and somehow proceeded to outwit and out-write the talented, educated poets and playwrights of the Elizabethan literary scene. -
Forget Hamlet an Upside-Down Rewriting of Shakespeare’S Hamlet
Forget Hamlet An Upside-Down Rewriting of Shakespeare’s Hamlet By Jawad Al-Asadi Translated from the Arabic by Margaret Litvin © 2006 Margaret Litvin Forget Hamlet - 1 Translator’s Introduction Playwright and director Jawad al-Asadi was born in 1947 in the Shi‘a holy city of Karbala, Iraq. He graduated from Baghdad’s Theatre Academy in 1974 and fled the country in 1976, beginning a 27-year exile from Ba‘thist Iraq. He earned a PhD in theatre in Bulgaria and has continued to work in Eastern Europe, Syria, Lebanon, the United Arab Emirates, and elsewhere. His creativity, ironic sensibility, and tireless devotion to his craft have made him one of the most influential directors in the Arab world today. He has won numerous honors, including the 2004 Prince Claus Award. He has written seven original plays, including the one presented here. First staged in Cairo in 1994 under the title Ophelia’s Window, the play was retitled for publication in 2000. The new title, “Forget Hamlet,” confronts the audience with a paradoxical demand. In the same breath as it reminds us of the figure of Hamlet, it asks us to forget him. Al-Asadi exploits this doubleness for dramatic irony: the audience is made to recall a previous, more impressive version of Hamlet while it watches the hapless non-protagonist on stage. Even the play’s characters feel the contrast. At one point al-Asadi’s Horatio accuses his friend: “You are not the Hamlet I know and have lived with.” Hamlet responds with infuriating blankness: “Well, maybe I should change my name.” Who is this Hamlet we are meant to forget? Let me briefly sketch the tradition of Arab Hamlet rewritings to which al-Asadi’s play responds and contributes.