DOCSLIB.ORG

Q & a with Hank Whittemore

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Q & a with Hank Whittemore Fall 2012 Shakespeare Matters page 1 11:4 “Let me not to the marriage of true minds admit impediments...” Fall 2012 Q & A with Hank Whittemore: The Southampton Controversy [Editor’s note: Probably the most controversial issue among Oxfordians is the “PT” theory – did Oxford and Queen Elizabeth have a child together? One of its most passionate advocates is Hank Whittemore, whose 2005 book, The Monument, and his 2010 book, Shakespeare’s Son and His Sonnets, explain his case SF trustee and longtme member Kathryn Sharpe in favor of the theory. The principal purpose of this Q & A is to and Dr. Don Rubin, York University Professor explore some collateral issues raised by the PT theory that, to us, Emeritus of Theatre History, share a comic mo- had not been fully explored.] ment at the Pasadena Conference. Shakespeare Matters: Do you think Oxford and the Queen knew that their son was being raised as the Third Earl of Southampton? Hank Whittemore: I’m not sure if Oxford would have known Huntington Library Tour a High until late 1581, after the eight-year-old Southampton had en- tered Cecil House in London. (If he had been born in May 1574, Point of the 8th Annual Joint of course, he would have turned eight in May 1582.) I think the Queen knew. For sure Burghley knew. I believe a deal had been Conference in Pasadena made between Oxford and Burghley: Oxford would return to his wife Anne Cecil, daughter of Burghley; in return, Southampton by Howard Schumann would be brought to London as a royal ward in Burghley’s cus- tody. Both events occurred virtually at the same time. (The second n exhibit at the Huntington Library of rare books that earl of Southampton was arrested and interrogated in 1581 and focus on Edward de Vere and the authorship question was died in October after his release from the Tower. It looks like he Athe opening event of the 8th annual Joint Conference of was driven to his early death at age thirty-six.) the Shakespeare Oxford Society and the Shakespeare Fellowship. It was one of the high points of the event that took place at the SM: When do you think Southampton himself learned his true Courtyard Pasadena Old Town by Marriott in Pasadena, California, identity? from October 18 to 21. The side trip to the Huntington allowed HW: I believe that Oxford, in his masque that was the origin of conference participants to view books from the vast collection of A Midsummer Night’s Dream in 1581, urged the Queen through one of the most highly regarded research libraries in the world. Oberon: “I do but but beg a little changeling boy to be my hench- Of those displayed, fifteen books were dedicated to Oxford, com- man.” Although Oxford had been banished from the Court, he was prising about half of the known total of twenty-eight books that back in Burghley’s good graces and would have had the chance were dedicated to him. Among the items available for viewing to spend time with the boy Southampton, perhaps putting him were The Primaleon by Humphrey Llwyd, a Welsh cartographer, in plays performed at Blackfriars and the court. Exactly when author, and Member of Parliament. The book, thought to have and how he would have made Southampton aware of his true influencedThe Tempest, was translated into English by Anthony identity is difficult to hypothesize, but it would seem that part Munday and dedicated by him to Oxford. Another work by Llwyd of the deal with Burghley was that Southampton and Elizabeth (Continued on page 24) (Continued on page 9) page 2 Shakespeare Matters Fall 2012 Letters To the Editors: 6. Completing and launching Noth- the Lone Star Shakespeare Roundtable, ing is Truer than Truth as a second and the other established authorship First, I'd like to thank John Shahan wave of the educational/general and Oxfordian organizations. It would for organizing the SAC dinner at the 8th market campaign. I really believe be great to get some feedback on these Annual Shakespeare Authorship Confer- this is important to focus on. ideas and then perhaps we we can create ence. Lots of good ideas were proposed. a committee as a starting point. Again, To me, one of the most important was 7. Compile a continuing list of pub- thank you all for your commitment. Mark Mendizza's idea of a strategic ap- lic figures who are crossing over proach and a unified PR campaign that and changing the Authorship zeit- Best, we could roll out over the next three geist: Christopher Plummer, Joyce years, beginning with our response to Carol Oates, Vanessa Redgrave. Cheryl Eagan-Donovan the book Shakespeare Beyond Doubt, NOTHING IS TRUER THAN TRUTH and culminating in an event like the SAC 8. Increasing the overall number Controversy Films debate John envisions, timed to coincide of public events devoted entirely or [email protected] with the April 2016 Shakespeare celebra- partially to Authorship. I'm think- tions. ing of a campaign to get gain some Mark has graciously offered to assist space even in orthodox Shakespeare in the development of a strategic plan. Festivals. We've tried to come up with a prelimi- nary set of outcomes toward which we 9. Creating the guerilla marketing can all work in concert to achieve. Here campaign that was talked about at are some suggested goals with measures our Beckman Brainstorm. toward which the whole movement could work: We defer to the existing leader- ship of the Shakespeare Fellowship, the 1. Increase dramatically the num- Shakespeare Oxford Society, the Shake- ber of signers to Declaration by cre- speare Authorship Roundtable, the SAC, ating well coordinated campaign to do so. Shakespeare Matters Subscriptions to Shakespeare Matters are Published quarterly by the $50 per year ($25 for online issues only). Family or institution subscriptions are $75 per year. 2. Increase the number of accred- The Shakespeare Fellowship Patrons of the Fellowship are $100 and up. ited college/high school courses Please address correspondence to: Please send subscription requests to: devoted to authorship. Packaging Editorial Offices: curriculum. Distributing. P.O. Box 66083 The Shakespeare Fellowship Auburndale, MA, 02466 P.O. Box 66083 3. Increase the worldwide media Auburndale, MA, 02466 Editor: coverage of authorship in general Alex McNeil The purpose of the Shakespeare Fellowship by creating, sharing and working a is to promote public awareness and acceptance Design Editor: of the authorship of the Shakespeare Canon by media list of responsive journalists/ Edward de Vere, 17th Earl of Oxford (1550-1604), curators/bloggers. Roger Stritmatter and further to encourage a high level of schol- arly research and publication into all aspects of Contributing Editors: Shakespeare studies, and also into the history and 4. Increase the web presence in Mark Anderson, Lynne Kositsky, Howard culture of the Elizabethan era. general of the authorship issue by Schumann, The Society was founded and incorporated making sure all existing sites are Dr. Felicia Londre, in 2001 in the State of Massachusetts and is William Boyle, Richard Whalen. chartered under the membership corporation laws connected and actively expanding. of that state. It is a recognized 501(c)(3) nonprofit Phone (Auburndale, MD): (617) 244-9825 (Fed ID 04-3578550). email: [email protected] Dues, grants and contributions are tax-de- 5. Increasing the number screen- All contents copyright ©2012 ings/sales of Last Will. & Testament ductible to the extent allowed by law. by encouraging all stakeholders to Shakespeare Matters welcomes articles, essays, commentary, book reviews, letters and news items. contact their local schools. Maybe Contributions should be reasonably concise and, when appropriate, validated by peer review. The views expressed incentivising. by contributors do not necessarily reflect those of the Fellowship as a literary and educational organization. Fall 2012 Shakespeare Matters page 3 From the President Reinventing Ourselves by Tom Regnier ’d like to thank the Shakespeare Fellow- Last Will. & Testament, by Lisa Wilson in fact, has responded to a challenge from ship for the trust it has shown in me and Laura Wilson Matthias, a thoroughly John Shahan of the Shakespeare Author- Iby asking me to serve as its president professional product that will continue ship Coalition to prove, beyond doubt, for the coming year. I intend to prove wor- to keep the Oxfordian thesis alive in the that the man from Stratford wrote the thy of that trust. I wish to commend and public’s mind. As if that weren’t enough, plays. The SBT plans to publish a book thank Earl Showerman for the wonderful Cheryl Eagan-Donovan will follow up with next year called Shakespeare Beyond job he has done as president for the last Doubt. I expect that Oxfordian and other three years. It is an honor to follow in his anti-Stratfordian groups will have a great footsteps. The Board of Trustees has also We had so many outstand- deal to say in response to show that there welcomed three able new members very is considerable room for doubt. recently: Michael Morse, Don Rubin, and ing presentations at our Please be sure to renew your mem- William Ray. Along with our other trust- Pasadena conference in bership with the Shakespeare Fellowship ees, Earl Showerman (who remains on when you get your renewal notice around the Board), Bonner Miller Cutting, Alex October that singling out the beginning of the year. That way, you’ll McNeil, Ben August, and Kathryn Sharpe, be assured of staying informed on all the we hope to keep moving the Fellowship any particular ones for latest books, films, and other news on the forward during the next year.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Redating Pericles: a Re-Examination of Shakespeare’S
    REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608.
    [Show full text]
  • More Recent Publications in Oxfordian Studies the Secret Love Story in Shakespeare's Sonnets, by Helen Heightsman
    More Recent Publications in Oxfordian Studies Helen Heightsman Gordon. The Secret Love Story in Shakespeare’s Sonnets. Xlibris Corp., 2005. 158p. Oxford’s Letters: The Letters of Edward de Vere, 17th Earl of Oxford. CD set. Read by Derek Jacobi. Narr. Joan Walker. London: Absolute Audio, 2006. AA003. William Farina. De Vere as Shakespeare: An Oxfordian Reading of the Canon. Jefferson, NC: McFarland & Co., Inc., 2006. 271p. Michael Delahoyde Washington State University In the previous issue of the Rocky Mountain Review, I discussed three key recent works emerging from the fast-growing conviction that Edward de Vere, 17th Earl of Oxford, wrote what became the “Shake-speare” canon: the collection of articles published as Great Oxford (2004); Mark Anderson’s biographical “Shakespeare” By Another Name (2005); and Hank Whittemore’s colossus on Shakespeare’s sonnets, The Monument (2005). Here, a look at three more publications brings us up to date in this obviously active area of Oxfordian studies. Helen Heightsman Gordon has decades of professional experience in teaching, editing, publishing, and educational administration. She has published five textbooks in addition to other books, journal articles, poetry, and a trademarked word game. I mention this because of the unusual circumstance that the book under scrutiny here is self-published. It should be taken as an excellent sign that I did not make this realization until I had read enough of the work to decide that I wanted to review (and, hence, somewhat publicize) this book. In The Secret Love Story in Shakespeare’s Sonnets, Gordon intelligently and humanely explicates well over five dozen of the poems, providing the sonnets themselves, thorough and straightforward paraphrases, and concise but never hasty discussions.
    [Show full text]
  • Top Left-Hand Corner
    Department of English ”Art Made Tongue-tied By Authority”? The Shakespeare Authorship Question Lars Lindholm Bachelor Degree Project Literature VT 2012 Supervisor: Marion Helfer Wajngot Abstract The essay presents the scholarly controversy over the correct attribution of the works by “Shakespeare”. The main alternative author is Edward de Vere, 17th earl of Oxford. 16th century conventions allowed noblemen to write poetry or drama only for private circulation. To appear in print, such works had to be anonymous or under pseudonym. Overtly writing for public theatre, a profitable business, would have been a degrading conduct. Oxford‟s contemporary fame as an author is little matched by known works. Great gaps in relevant sources indicate that documents concerning not only his person and authorship but also the life of Shakspere from Stratford, the alleged author, have been deliberately eliminated in order to transfer the authorship, for which the political authority of the Elizabethan and Jacobean autocratic society had motive and resources enough. A restored identity would imply radical redating of plays and poems. To what extent literature is autobiographical, or was in that age, and whether restoring a lost identity from written works is legitimate at all, are basic issues of the debate, always implying tradition without real proof versus circumstantial evidence. As such arguments are incompatible, both sides have incessantly missed their targets. The historical conditions for the sequence of events that created the fiction, and its main steps, are related. Oxford will be in focus, since most old and new evidence for making a case has reference to him. The views of the two parties on different points are presented by continual quoting from representative recent works by Shakespeare scholars, where the often scornful tone of the debate still echoes.
    [Show full text]
  • Download Program
    THANK YOU! The Curtain Theatre company presents County of Marin and its Board of Supervisors City of Mill Valley Mill Valley Parks and Recreation Department Fidelity Charitable Gift Fund UBS Mill Valley Market Peet’s Coffee Living History Center for costume support. Church of Our Savior for our rehearsal space. Russell Johnson for our photography and poster design. J. Matt Higuera for our construction. Jeffrey Trotter for our chairs. Mill Valley Library John Lewis, HARD costume shop Masquers Playhouse costumes Donald Pippin’s Pocket Opera and Willa Anderson for the generous loan of props. John Leonard, The Curtain Board and Friends for their work year-round. The Curtain Theatre is named after one of London’s first public theatres. Built near the Curtain Close in Shoreditch, it was described in Shakespeare’s Henry V as the “wooden O.” The Curtain was home to Shakespeare’s company, the Lord Chamber- lain’s Men, until they constructed the Globe in 1599. Like our own Curtain Theatre, the 1577 original featured an open-air stage and conspicuous absence of curtains. YOU CAN SUPPORT THEATRE IN THE PARK TOO! Saturdays, Sundays, and Labor Day Monday The Curtain Theatre is a 501c3 non-profit organization. 2 PM Tax deductable contributions are gratefully accepted. August 28-29, September 4-5-6, 11-12, 18-19 Tax ID number: 51-0584747. 2010 To support the summer park productions visit OLD MILL PARK, MILL VALLEY www.curtaintheatre.org email: [email protected] 2010 Illustrations by Steve Coleman Julius Caesar and, last spring, the Earl of Warwick in St.
    [Show full text]
  • A Shakespearean Theatre Pdf, Epub, Ebook
    A SHAKESPEAREAN THEATRE PDF, EPUB, EBOOK Jacqueline Morley | 48 pages | 03 Mar 2015 | SALARIYA BOOK COMPANY LTD | 9781905638598 | English | Brighton, United Kingdom A Shakespearean Theatre PDF Book Construction The Theatre was constructed in by James Burbage in partnership with his brother-in-law John Brayne on property that had originally been the grounds of the dissolved priory of Halliwell or Holywell. Who wrote this I need to cite this website Reply. Please introduce links to this page from related articles ; try the Find link tool for suggestions. Leave a Reply Want to join the discussion? Senate by August 1. Join 1o,ooos of other Shakespeare fans worldwide for immediate access to our latest content! Scenes and Monologues Theatre Companies. Female roles were thus played by young boys before their voices changed in puberty. A few years later, the Burbages lost their lease on the Theatre site and began construction of a new, larger playhouse, the Globe, just south of the Thames. Foundation of the Globe Towards the end of , problems arose with the property's landlord, one Giles Allen. The fact that both of these shareholders belonged to Shakespeare's company may indicate that the re- organization of the Curtain occurred when the Lord Chamberlain's Men were acting there. Langley had the theatre built almost certainy in From to it became the premiere venue of Shakespeare's Company, the Lord Chamberlain's Men, who had been forced to leave their former playing space at The Theatre after the latter closed in But the court was constituted wherever the monarch happened to be staying.
    [Show full text]
  • Romeo & Juliet
    Romeo & Juliet by William Shakespeare The title page of Romeo & Juliet from the First Folio of Shakespeare’s plays, published in 1623. Handsome bound facsimiles of Romeo & Juliet , published in the Globe Folios series in association with the British Library, are available from the shop, price £9.99. Each volume includes an introduction by the foremost First Folio scholar, Anthony James West. Sources, early Performance and Publication Shakespeare’s principal sources for Romeo & Romeo & Juliet was almost certainly first Juliet were a long narrative poem called The performed by Shakespeare’s company, the Tragicall Historye of Romeus and Juliet by Arthur Chamberlain’s Men, in or around 1596 – a Brooke, first published in 1562 and, to a lesser ‘lyrical’ period of Shakespeare’s writing career degree, the prose romance Rhomeo and Julietta which also includes A Midsummer Night’s Dream, by William Painter. Both sources were based Richard II and many of the Sonnets . No records on a French version of the Italian story Giulietta exist to tell us where it was first seen, but it e Romeo first published in about 1530. Such is likely to have been either the Theatre or the The Curtain Theatre, Shoreditch (to the right), where Italian ‘novelles’ were popular reading in Curtain playhouse in Shoreditch. It has been Romeo & Juliet was probably first performed in or around Shakespeare’s time and Painter’s collection, suggested that Richard Burbage, the company’s 1596. A detail from Abram Booth’s ‘View of London from The Palace of Pleasure , was singled out by the leading man, took the role of Romeo (he would the North’.
    [Show full text]
  • The New Cambridge Companion to Shakespeare Edited by Margreta De Grazia and Stanley Wells Index More Information
    Cambridge University Press 978-0-521-88632-1 - The New Cambridge Companion to Shakespeare Edited by Margreta De Grazia and Stanley Wells Index More information INDEX Note: Page numbers for illustrations are given in italics. Works by Shakespeare appear under title; works by others under author’s name. 4D art: La Tempête 296 , 297 language 83–4 , 86 , 202 , 203 , 208 performance 52 , 333 actor-managers 287 sexuality and gender 221 actors apprentices 45–6 actions and feelings 194–5 Arabic performances 297–8 globalization 287–91 Archer, William 236 performance 233–8 , 248–9 , 287–8 Arden, Mary ( later Shakespeare) xiv , in Shakespeare’s London 45–9 , 61 4 , 5 see also boy actors Arden, Robert 4 , 5 Adams, W. E. 68 ‘Arden Shakespeare’ 69 , 73 , 83 , 255 , 292 , Addison, Joseph 80–1 326 Adelman, Janet Ariosto, Ludovico: Orlando Furioso 92 Hamlet to the Tempest 338 Aristotle 88 , 122 , 128 , 138 Suffocating Mothers: Fantasies of Armin, Robert 46 , 98 Maternal Origin in Shakespeare’s art 339 Plays 338 As You Like It xv , 62 , 114–15 Aesop: Fables 19 categorization 171 Afghanistan 289–90 , 294 characters 46 Age of Kings, An (BBC mini-series) 313 language 17 Akala 280–1 plot devices 109 , 173 Al-Bassam, Sulayman: Richard III – An Arab sexuality and gender 218 , 219 , 223–4 Tragedy 297–8 sources 23 Alexander, Shelton 280 theatre 51 , 52 All is True see Henry VIII Ascham, Roger: The Scholemaster 18 , 20 , Allen, A. J. B. 327 22–3 Allot, Robert: England’s Parnassus 91 Aubrey, John 8 All’s Well That Ends Well xvi , 62 , 84 , audiences 116–17 , 122 , 199 , 213 , 219 audience agency 316–17 Almereyda, Michael: Hamlet 318 , 319–21 , early modern popular culture 271–3 , 274 320 media history 315–17 Amyot, Jacques 20 authors and authorship 1 , 32–4 , 61–2 , 97 , Andrews, John F.: William Shakespeare: His 291–5 , 308 World, His Work, His Infl uence 328 Autran, Paulo 290–1 anti-Stratfordianism 273 Antony and Cleopatra xvi , 62 , 162–3 Bacon, Francis 128 actors 46 Bakhtin, Michaïl 275 characters 163 , 274 Baldwin, T.
    [Show full text]
  • Newsletter Incorporating Occasional Papers and Reviews SHAKESPEARE SOCIETY of SOUTHERN AFRICA
    Newsletter incorporating Occasional Papers and Reviews SHAKESPEARE SOCIETY OF SOUTHERN AFRICA http://www.ru.ac.za/shakespeare DECEMBER 2012 Index Administration and Shakespeare Birthday Lecture Publications 2 Tuesday 17 April 19:30 Shakespeare Feature Page 3 Eden Grove: Blue Lecture Theatre Reports: Rhodes University Shakespeare Society of Southern Africa Guest Lecturer: Newsletter incorporating Occasional Papers and Mr George Niven Reviews 4 From the President 4 Shakespeare in Southern Africa 5 SSoSA Branches 6 Triennial Congress 11 Occasional Papers and Reviews: Archaeologists find Shakespeare’s Curtain Theatre 14 It seems Shakespeare fancied a prostitute 15 Complete or not complete works Topic: From ‘Agincourt to Mangaung: 16 Henry V and the Uses of History’ The Portrait of Mr W.H. 18 Presented by Journal Contents Vol. 24 The Shakespeare Society of South Africa 19 (See ‘Grahamstown Branch Report’ pages seven to eight) Shakespeare Society of Southern Africa (A project of The Grahamstown Foundation) Head Office: c/o Institute for the Study of English in Africa (ISEA) Rhodes University, P O Box 94, Grahamstown, 6140, Rep. South Africa html://www.ru.ac.za/shakespeare Administration and Publications Professor Laurence Wright, Dr Chris Thurman, editor of Director of ISEA, Founder Shakespeare in Southern Africa. Member of SSoSA, Past He holds degrees from Rhodes, President of SSoSA. In 2001 was London and Cape Town, and appointed Honorary Life lectures at the University of the President of SSoSA, successor to Witwatersrand. His doctorate is the late Emeritus Professor Guy on Guy Butler. Butler. (See ‘Biography’, on page three for further reading). Laurence Wright Chris Thurman Mr Warren Snowball , Ms Hildé Slinger, former President of SSoSA from 2010.
    [Show full text]
  • STUDY GUIDE WRITERS Jane Marcher Foundation T Aylor Barfield Y Ale School of Drama, MFA ’16 Production Dramaturg
    2016 STUDY GU IDE YALE REPERTORY THEATRE WILL POWER! 2015–16 IS SUPPORTED BY JAMES BUNDY Artistic Director E sme Usdan VICTORIA NOLAN Allegra Print and Imaging M anaging Director New Alliance Foundation STUDY GUIDE WRITERS Jane Marcher Foundation T AYLOR BARFIELD Y ale School of Drama, MFA ’16 Production Dramaturg L YNDA A.H. PAUL Y ale School of Drama, MFA ’17 Production Dramaturg EDITORS AMY BORATKO Literary Manager RACHEL CARPMAN Literary Associate GRAPHIC desigNER MARGUERITE ELLIOTT Publications Manager SPECIAL THANKS For more information on Yale Repertory Theatre Nancy Herman, Jennifer Kiger, Kay Perdue and Cymbeline, please visit: Meadows, Steven Padla, Catherine Sheehy, Evan Yionoulis Cymbeline cover artwork by Paul Evan Jeffrey. YALEREP.ORG WILLPOWER! welcome to SYNOPSIS Imogen, daughter of Britain’s King Cymbeline, has Imogen finds a cave, which belongs toB elarius and his married Posthumus Leonatus, even though he is not adopted sons Guiderius and Arviragus. Imogen tells of royal blood. (Imogen is the king’s only child; he once them her name is Fidele, and they welcome her as a had two sons, but they were kidnapped long ago.) Upon brother. The next day, “Fidele” feels ill and takes the WILLPOWER! discovering Imogen’s unsanctioned marriage, the king sleeping potion thinking it is medicine. Cloten arrives banishes Posthumus. Before he departs for Italy, the at the cave and gets in a fight with Guiderius, who cuts lovers exchange tokens: she gives him a ring, he gives off his head. Arviragus finds “Fidele” in the cave and As part of Yale Repertory Theatre’s WILL POWER! educational initiative, we are pleased to her a bracelet.
    [Show full text]