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The History of the Harlequinade
THE HISTORY OF THE HAR LE Q U I N AD E BY MAURIC E SAND AV LONDON : MARTI N S ECKE R NUMBER FIVE JOHN STREET ADELPHI C ONTENTS PAGE INTRODUCTION HARLEQUIN POLICHINELLE THE CAPTAIN COLUMBINE PIERROT LELIO RUZZANTE L IST OF IL L USTRAT IONS HARLEQUIN F ACI NG PAGE HAR LEQUIN POLICHINELLE THE CAPTAIN LELIO RUZZANTE THE HISTORY OF THE H A R LE Q U I N A D E INTRODUCTION THE mi comic actor first me , or rather the first , was he who leapt upon a bench or table to delight the assembly by his Im singing , his dancing or his relation of an amusing story . rovisa ion p t prompted all such early attempts . Some of these primitive comedians assemble in Icaria under di Susarion the rection of , who gives a form and a sequence to bufiooneries il hs their , and they set out to tra their boot and chariots through the cities of Greece (800 h un They represent a slave wit shaven head, a dr kard un rubic d of face, brutalised by libations , an obese glutton , e who tumbles incessantly . Soon comic poets , such as Magn s , a Tim ocreon e Ach eus and , conceive for them p rformances cordaces m mingled with comic dances (termed ) and panto imes . a h 61 Thespis , born in Icari , sets up a t eatre , assigns r es to his e mimes , dresses them grotesquely, parad s them in chariots , wi h their faces smeared t dregs or soot, and sets about m wi presenting little dramas and comedies ingled th music . -
Theatrical Activities in Late Sixteenthcentury Italian
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Central Archive at the University of Reading Amateurs meet professionals: theatrical activities in late sixteenth-century Italian Academies Book or Report Section Accepted Version Sampson, L. (2015) Amateurs meet professionals: theatrical activities in late sixteenth-century Italian Academies. In: Earle, T. F. and Fouto, C. (eds.) The Reinvention of Theatre in Sixteenth-Century Europe: Traditions, Texts and Performance. Legenda, Oxford, pp. 187-218. ISBN 9781907975769 (In Press) Available at http://centaur.reading.ac.uk/39333/ It is advisable to refer to the publisher's version if you intend to cite from the work. Publisher: Legenda All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading's research outputs online CHAPTER 9 Amateurs Meet Professionals: Theatrical Activities in LateSixteenth-Century Italian Academies Lisa Sampson University of Reading Lo studio è necessario per saper, occorrendo, trattare di tutte le materie non solo in comedia, ma nelle Academie: poiché pure vi sono Academie illustrissime che, per testimonio che i comedianti che fan[n]o l’arte loro come si conviene non sono indegni d’essere ammessi nelle loro adunanze, hanno accresciuto il numero -
It Would, to Put It Mildly, Be Nice to Know More About the Backstage Oper- Ations of a Playing Company Like the Chamberlain’S Men Or the Admiral’S in the Later 1590S
Early Theatre 10.1 (2007) ANDREW GURR The Work of Elizabethan Plotters, and 2 The Seven Deadly Sins It would, to put it mildly, be nice to know more about the backstage oper- ations of a playing company like the Chamberlain’s Men or the Admiral’s in the later 1590s. About the company that Shakespeare joined in 1594 we are unlikely ever to know much more than the few hard facts now current can tell us. But given Henslowe’s Diary with its intricate records of the day-by- day operations of Edward Alleyn and his company, there is better reason to hope for some clarification of the extraordinary processes that helped fifteen or more players to put six different plays on stage every week and to run a repertory consisting of more than thirty plays each year. Regrettably little about that uniquely high-speed process has come out so far, and this study of the backstage book-keeper and stage management will not take it very much further. But, as the chronic optimists say, every little helps. The Admiral’s company must have had several helpers for the staging of their plays besides the costumiers, to whom the Henslowe papers note pay- ments, and the property men. The difficulties of reading the Diary start there. Were the backstage workers employed by Henslowe himself as owner of the playhouse the company rented, or were they members of the company, hired and paid by the sharers? None of the stage hands is named in the accounts, though there are some bonds signed by hired men who were players. -
Arte Actress Revolutionized the Early Modern Italian Stage
How the COMMEDIA DELL’ARTE Actress Revolutionized the Early Modern Italian Stage Rosalind Kerr Summary: The first actresses who joined the previously all-male the commedia dell’Arte in the 1560s are credited with making it a commercial and artistic success. This article explores the evidence to document their multi-faceted contribution and influence on the birth of early modern European theatre. My article will use Tommaso Garzoni’s prophetic observations about certain early actresses to frame an inquiry into how their novel female presence changed the nature of theatrical representation to create a new more “realistic” medium. It will interpret the documents to reveal how they achieved celebrity status through the great personal appeal and technical mastery they exhibited. It was through this winning combination that they were empowered to create unforgettable female characters who became part of the western dramatic canon. In addition to showing how successfully the Italian actresses challenged masculine privilege in their famous transvestite performances, I will show how their iconic influence travelled not only across the continent but also to England, even though actresses remained excluded from the professional stage there. Inevitably their presence on the western stage provided examples of female characters negotiating their sex/gender identities and thus modeled such behaviours for women in the larger society. Tommaso Garzoni in his giant compendium, La piazza universale di tutte le professioni del mondo (1585), noted that a few outstanding actresses were the saving grace in lifting this dubious profession from its buffoonish roots to a respectable art form.1 The praise he lavished on four female performers: Isabella Andreini, Vincenza Armani, Lidia da Bagnacavallo, and Vittoria Piissimi singles out their great beauty and eloquence to explain how they captivated their audiences. -
The Contingent Gender Identity of Shakespeare's Page-Boy
Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 "When Thou Art A Man": The onC tingent Gender Identity of Shakespeare's Page-Boy Heron Kennedy Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Recommended Citation Kennedy, Heron, ""When Thou Art A Man": The onC tingent Gender Identity of Shakespeare's Page-Boy" (2016). Honors Projects Overview. 125. https://digitalcommons.ric.edu/honors_projects/125 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. “WHEN THOU ART A MAN”: THE CONTINGENT GENDER IDENTITY OF SHAKESPEARE’S PAGE-BOY By Heron Kennedy An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Arts and Sciences Faculty of Arts and Sciences Rhode Island College 2016 “WHEN THOU ART A MAN”: THE CONTINGENT GENDER IDENTITY OF SHAKESPEARE’S PAGE-BOY An Undergraduate Honors Project Presented By Heron Kennedy To The Department of English Approved: ___________________________________ _______________ Project Advisor Date ___________________________________ _______________ Honors Committee Chair Date ___________________________________ _______________ Department Chair Date Kennedy 1 Part 1. An Introduction to Early Modern Sex and Gender At the level of biology, the early modern conception of sexual difference was, in many ways, much more fluid and less rigidly compartmentalized than our contemporary constructs. Galen’s second-century one-sex theory of male and female anatomy was commonly accepted by not only the general public, but also physicians and scientists, until the end of the sixteenth century (Schiebinger 76). -
Studying the Child Actors of the Children of the Chapel Through Marlowe’S Dido, Queen of Carthage
Studying the Child Actors of the Children of the Chapel through Marlowe’s Dido, Queen of Carthage By Claudia Ludwig Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in English December, 2015 Nashville, Tennessee Approved: Leah Marcus, Ph.D. Mark Wollaeger, Ph.D. Marlowe’s Dido, Queen of Carthage (1594), based upon the events of Virgil’s Aeneid (19 BC), tells the story of the love affair between Dido, the Queen of Carthage, and Aeneas, a Trojan hero and the founder of Rome. The play details their unofficial marriage and Dido’s descent into madness when Aeneas chooses to pursue his destiny by sailing to Italy rather than remaining in Carthage with her. The play takes place between Mount Olympus – where Juno, the queen of the gods, and Venus, the goddess of love, are orchestrating all the events of the play, and earth where the humans must deal with the consequences of their manipulation by gods. Dido is a difficult play to categorize into a genre, because even though at times it seems like a comedy, the play ends as a tragedy with the suicide of Dido along with several other characters, and the cursing of Aeneas, a verbal assault that prophesizes the Punic Wars, three brutal wars fought between the people of Carthage and the people of Rome, the ancestors of Dido and Aeneas. Marlowe’s Dido was originally performed by the Children of the Chapel, an early modern children’s company in which each of the characters, whether an adult or a child, was portrayed by a boy.1 While it may seem as though the plot of the Dido revolves around the affairs of adult characters, Marlowe also offers a metatheatrical critique of the children’s companies by portraying the power dynamics of the adult managers and the boy actors in these companies through the interactions between adult and child characters in Dido. -
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. -
Business Meetings
The Renaissance Society of America Annual Meeting Montreal, Canada 24–26 March 2011 PROGRAM AND ABSTRACT BOOK Archives of the City of Montreal. BM7, S2, D27, P001 (Canadienne, Canadien). Courtesy of the City of Montreal. Printed in Canada Contents In order to coordinate the online and the printed versions of the program, the indexes in this book refer to five-digit panel numbers, and not to page numbers. Panels on Thursday have panel numbers beginning with the number 2; those on Friday have panel numbers beginning with the number 3; and those on Saturday have panel numbers beginning with the number 4. Panel numbers run consecutively: panel 40203 is followed by panel 40204, for example. (Occasionally a number is skipped; in such cases, a panel room does not have a scheduled panel in that time slot.) The black tabs on each page of the full program are an additional navigational aid: they provide the date and time for the panels. Page numbers have been supplied in order to help you find the different parts of the program book: the special events, program summary, full program with abstracts, indexes, and room charts. RSA Executive Board.......................................................................5 Acknowledgments.............................................................................6 Book Exhibition and Registration .....................................................9 Business Meetings...........................................................................10 Plenaries, Awards, and Special Events ............................................11 -
A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese
Issues in Review 159 An Icon for a New Woman: A Previously Unidentified Portrait of Isabella Andreini by Paolo Veronese A recent conference in Naples allowed me to visit a superb exhibition at the Museo Nazionale di Capodimonte where, in the great gallery of the Palace, a series of masterpieces demonstrated the art of Italian Renaissance portrait- ure.1 Almost at the end of this fascinating sequence, I came across a portrait whose originality of concept and intriguingly presented female sitter inspired me with a keen interest to understand how such a portrait came to be com- posed. By Paolo Veronese, and owned by the Thyssen-Bornemisza Museum in Madrid, the portrait is now considered one of the last, if not the last, of this great painter’s rare female portraits (Plate 5).2 It portrays a beautiful young woman in three-quarter length, slightly turned to her right, and leaning in a graceful but vigorous attitude against the dark background drape. In perfect contrast, she remains fully lit, and the light seems to play on her, breathing on the blue and white silk of her skilfully painted gown and undergown, and caressing the bright skin of her beautiful and noble face, only a small part of which, on the side to which she is slightly turned, fades into the half-light. As Hendy notes, ‘no exaggerated curve or trace of mannerism in the drawing spoils the vital rhythm and balance of the pose, and there is not a superfluous touch of paint to detract from the spontaneity of the effect’.3 The woman’s absorbed expression is characterized by her pensive gaze, which eludes the viewer’s eyes, and by her smooth, wide forehead, left completely uncovered and discreetly framed by golden curly hair, following the shape of her head so closely that it gives the impression of a short haircut.4 The relative simpli- city of her dress accords with an apparent lack of jewellery, or other signs of social identification, or indeed any specific feminine adornment that might identify her as a married woman, unmarried girl, or daughter of a particular social group. -
Download Version of Record (PDF / 142Kb)
Open Research Online The Open University’s repository of research publications and other research outputs Book reviews: Performance and Literature in the commedia dell’arte (Robert Henke); Music and Women of the commedia dell’arte in the Late Sixteenth Century (Anne MacNeil); Das Spiel mit Gattungen bei Isabella Canali Andreini: Band 1, zum Verhältnis von Improvisation und Schriftkultur in der Commedia dell’arte, Band II, Lettere (1607) (Britta Brandt); La Mirtilla: a pastoral (Isabella Andreini); Improvisation in the Arts of the Middle Ages and Renaissance (Timothy J. McGee); Theater am Hof und für das Volk. Beiträge zur vergleichenden Theater und Kulturgeschichte. Festschrift für Otto G Schindler zum 60. Geburtstag (Brigitte Marschall) Journal Item How to cite: Katritzky, M. A. (2004). Book reviews: Performance and Literature in the commedia dell’arte (Robert Henke); Music and Women of the commedia dell’arte in the Late Sixteenth Century (Anne MacNeil); Das Spiel mit Gattungen bei Isabella Canali Andreini: Band 1, zum Verhältnis von Improvisation und Schriftkultur in der Commedia dell’arte, Band II, Lettere (1607) (Britta Brandt); La Mirtilla: a pastoral (Isabella Andreini); Improvisation in the Arts of the Middle Ages and Renaissance (Timothy J. McGee); Theater am Hof und für das Volk. Beiträge zur vergleichenden Theater und Kulturgeschichte. Festschrift für Otto G Schindler zum 60. Geburtstag (Brigitte Marschall). Theatre Research International, 29(1) pp. 78–81. For guidance on citations see FAQs. c 2004 Cambridge University Press Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.1017/S0307883303211275 Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. -
Pamela Allen Brown Professor, English University of Connecticut, Stamford
Pamela Allen Brown Professor, English University of Connecticut, Stamford One University Place Stamford, Conn. 06901-2315 (718) 852-3134 [email protected] EDUCATION Ph.D. English and Comparative Literature (with distinction). Columbia University, 1998. M.A. English and Comparative Literature. Columbia University, 1991. B.A. Smith College, 1978. Certificate in Italian studies. Cultura Italiana, Bologna. 2013. DISSERTATION “Better a Shrew than a Sheep: Jest and Gender in Early Modern England.” 1998. Professor Jean E. Howard, sponsor. PROFESSIONAL HISTORY May 2019 - present. Professor, UConn Department of English. 5/04 - 5/19. Associate Professor, UConn Department of English. 8/98 - 5/04 Assistant Professor, UConn Department of English. Courses at Stamford: Introductory and Advanced Shakespeare; Performing Shakeseare on Stage and Film; Drama; Modern Drama; Advanced Drama; Renaissance Literature; Medieval Literature; Introduction to Classical and Medieval Literature; Introduction to Poetry; Comedy and Society; Popular Literature; Women, Drama, and Film; Creative Writing I and II. Special topics: 'Censored, Banned, Burned,' 'Black Playwrights: Staging Race,' ‘Mothers as/versus Monsters,’ ‘Mind's Eye: the Visual in Literature,’ ‘All About Eve: Women, Fiction, Film,' ‘The Monstrous Imagination,’ ‘Blogging/Culture.’ Taught at Storrs: PhD seminar in Early Modern Women Writers; MA-level Shakespeare seminar. Taught in London: Contemporary British Drama; ‘Outside In: Postwar Immigration and Black British Literature.' RESEARCH INTERESTS Early modern popular culture, gender, and performance; Shakespeare; non-Shakespearean drama, Renaissance actresses; comparative drama; poetry; popular culture and festivity; transnational circulation of theater between Italy and England; early modern women writers; commedia dell’arte; orality, print, and writing; Renaissance monsters and marvels; jesting, fools, and folly PUBLICATIONS: BOOKS [Co-editor and co-author.] As You Like It: Texts and Contexts, ed. -
So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It.