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MISALLIANCE : Know-The-Show Guide
The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide Misalliance by George Bernard Shaw Know-the-Show Audience Guide researched and written by the Education Department of The Shakespeare Theatre of New Jersey Artwork: Scott McKowen The Shakespeare Theatre of New Jersey MISALLIANCE: Know-the-Show Guide In This Guide – MISALLIANCE: From the Director ............................................................................................. 2 – About George Bernard Shaw ..................................................................................................... 3 – MISALLIANCE: A Short Synopsis ............................................................................................... 4 – What is a Shavian Play? ............................................................................................................ 5 – Who’s Who in MISALLIANCE? .................................................................................................. 6 – Shaw on — .............................................................................................................................. 7 – Commentary and Criticism ....................................................................................................... 8 – In This Production .................................................................................................................... 9 – Explore Online ...................................................................................................................... 10 – Shaw: Selected -
2017-Richard-3-Learning-Resources
LEARNING RESOURCES SYNOPSIS 2 QUICK FACTS 3 PERFORMANCE HISTORY 4 SOURCES AND SHAKESPEARE SHAPING HISTORY 5 HISTORY OF WOMEN PLAYING MALE ROLES IN SHAKESPEARE 6 CHARACTERS 8 THEMES 12 FROM THE DIRECTOR 17 DESIGN 18 OTHER RESOURCES 21 ACTIVITIES 23 EXERCISE ONE 23 EXERCISE TWO 24 EXERCISE THREE 25 EXERCISE FOUR 26 LEARNING RESOURCES RICHARD 3 © Bell Shakespeare 2017, unless otherwise indicated. Provided all acknowledgements are retained, this material may be used, Page 1 of 26 reproduced and communicated free of charge for non-commercial educational purposes within Australian and overseas schools RICHARD 3 SYNOPSIS England is enjoying a period of peace after a long civil war between the royal families of York and Lancaster, in which the Yorks were victorious and Henry VI was murdered (by Richard). King Edward IV is newly declared King, but his youngest brother, Richard (Gloucester) is resentful of Edward’s power and the general happiness of the state. Driven by ruthless ambition and embittered by his own deformity, he initiates a secret plot to take the throne by eradicating anyone who stands in his path. Richard has King Edward suspect their brother Clarence of treason and he is brought to the Tower by Brackenbury. Richard convinces Clarence that Edward’s wife, Queen Elizabeth, and her brother Rivers, are responsible for this slander and Hastings’ earlier imprisonment. Richard swears sympathy and allegiance to Clarence, but later has him murdered. Richard then interrupts the funeral procession of Henry VI to woo Lady Anne (previously betrothed to Henry VI’s deceased son, again killed by Richard). He falsely professes his love for her as the cause of his wrong doings, and despite her deep hatred for Richard, she is won and agrees to marry him. -
"'A Complicated and Unpleasant Investigation': the Arden Shakespeare 1899-1924" by Gabriel Egan This Paper Arises From
Egan, Gabriel. 2007d. "'''A complicated and unpleasant investigation': The Arden Shakespeare 1899-1924': A paper delivered on 12 July at the conference 'Open the Book, Open the Mind: The 2007 meeting of the Society for History of Authorship, Reading, and Publishing (SHARP)' at the University of Minnesota, Minneapolis, 11-15 July." "'A complicated and unpleasant investigation': The Arden Shakespeare 1899-1924" by Gabriel Egan This paper arises from a survey of Shakespeare play editions in the twentieth century. I'm particularly interested in what those who made editions thought they were doing, how confident they felt about their work, how they thought readers would respond to the textual problems that arise in editing old plays, and how editors' assumptions about their readers were manifested in the editions that they produced. My published title in the programme covers the whole century of editions, but I'm going largely to confine my remarks to just one editorial project. For those of you who like to see the big picture first, however, I can offer a brief overview of just one of those variables I mentioned: editorial confidence [SLIDE]. I see it going like this, from a low at the start of the twentieth-century, through to a peak in the 1970s, and back to a low now. From the detailed history behind this pattern, I have room on this chart to pull just a few keys moments. [SLIDE] First, A. W. Pollard's book Shakespeare Folios and Quartos (1909) distinguished the good from the bad quartos and gave editors reasons to suppose that the good ones are textually close to Shakespeare's own papers. -
Joan of Arc in History and in Shaw Department of Enclish
Joan of Arc in history and in Shaw Item Type text; Thesis-Reproduction (electronic) Authors Covey, Jewyl Monica, 1925- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 30/09/2021 14:04:43 Link to Item http://hdl.handle.net/10150/551296 JOAN OF ARC IN HISTORY AND IN SHAW by Jewyl Covey A Thesis Submitted to the Faculty of the DEPARTMENT OF ENCLISH In Partial Fulfillment of the Requirements For the Degree of . ^ MASTER OF ARTS In the Graduate College UNIVERSITY OF ARIZONA 1957 3 flu to -too S'? 3fi 5 od &Ovd n s i 1 3 STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from ttiis thesis are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quota tion from or reproduction of this manuscript in whole or in part may be granted by the head of the major department or the Dean of the Graduate College when in their judgment the proposed use of the material is in the interests of scholar ship. In all other instances, however, permission must be obtained from the author. -
'The New (Old) Play': Q1 Hamlet and the Texts Around
‘THE NEW (OLD) PLAY’: Q1 HAMLET AND THE TEXTS AROUND PERFORMANCE, 1980-2015 Scott Shepherd Royal Holloway, University of London PhD Thesis TABLE OF CONTENTS DECLARATION OF ACADEMIC INTEGRITY ................................................................4 ABSTRACT .............................................................................................................................5 ACKNOWLEDGEMENTS ....................................................................................................7 A NOTE ON TEXTS AND ABBREVIATIONS ....................................................................9 CHAPTER ONE WHAT WE TALK ABOUT WHEN WE TALK ABOUT HAMLET ................................11 Approaching the Archive .............................................................................................16 The First Quarto from 1825 to 1980: A Pre-History ....................................................23 The Origins of Q1: A Survey of Scholarship .................................................................35 Summary of the Argument and Outline of the Thesis ....................................................44 CHAPTER TWO: 1980-1989 THE MOST VALUABLE OF ALL SCHOLARLY ACTIVITIES ....................................50 RSC 1980: Reviewing Authenticity ...............................................................................58 Orange Tree 1985: Absolute Fidelity? .........................................................................66 RSC 1989: Common Sense, I Suppose ..........................................................................72 -
VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S. -
HEARTBREAK HOUSE by George Bernard Shaw Directed by John Going
2006—2007 SEASON HEARTBREAK HOUSE by George Bernard Shaw Directed by John Going CONTENTS 2 The 411 3 A/S/L & HTH 4 FYI 5 RBTL 6IRL 7 F2F 8 SWDYT? STUDY GUIDES ARE SUPPORTED BY A GENEROUS GRANT FROM CITIGROUP MISSOURI ARTS COUNCIL MIHYAP: TOP TEN WAYS TO STAY CONNECTED AT THE REP At The Rep, we know that life moves fast— 10. TBA Ushers will seat your school or class as a group, okay, really fast. so even if you are dying to mingle with the group from the But we also know all girls school that just walked in the door, stick with your that some things friends until you have been shown your section in the are worth slowing down for. We believe that live theatre is theatre. one of those pit stops worth making and are excited that 9. SITD The house lights will dim immediately before the you are going to stop by for a show. To help you get the performance begins and then go dark. Fight off that oh-so- most bang for your buck, we have put together immature urge to whisper, giggle like a grade schooler, or WU? @ THE REP—an IM guide that will give you yell at this time and during any other blackouts in the show. everything you need to know to get at the top of your 8. SED Before the performance begins, turn off all cell theatergoing game—fast. You’ll find character descriptions phones, pagers, beepers and watch alarms. If you need to (A/S/L), a plot summary (FYI), biographical information text, talk, or dial back during intermission, please make sure on the playwright (F2F), historical context (B4U), and to click off before the show resumes. -
Hamlet and Saint Joan
FOR IMMEDIATE RELEASE Contact: Ami Bennitt 617.797.8267, [email protected] ARTSEMERSON WELCOMES BEDLAM’S HAMLET AND SAINT JOAN IN REPERTORY | MARCH 7-25, 2018 EMERSON CUTLER MAJESTIC THEATRE, BOSTON ------------ ON-STAGE SEATS JUST ADDED -- TICKETS ON SALE NOW ------------ The Press Performance for Hamlet is Thursday, March 8, 2018 at 7:30pm The Press Performance for Saint Joan is Saturday, March 10, at 2:00pm email [email protected] for tickets, more information, images, and select interviews [Boston, MA—February 2, 2018] ArtsEmerson, Boston’s leading presenter of contemporary world theatre, proudly welcomes New York’s Bedlam for Hamlet and Saint Joan in repertory. The two productions feature a brand new cast of 4 actors, playing a total of 49 characters for two riveting, stripped down, stagings, both directed by Bedlam founder Eric Tucker. The productions run three weeks, March 7 through 25, 2018 at the Emerson Cutler Majestic Theatre, located at 219 Tremont Street in Downtown Boston. Tickets range from $20-80, and may be purchased online at www.ArtsEmerson.org, by phone at 617.824.8400, or in person at the box office. Student, senior and group discounts are available. Bedlam’s Hamlet. About Hamlet Prince Hamlet is depressed. Having been summoned home to Denmark to attend his father’s funeral, he is shocked to find his mother already remarried — to his father’s brother, Claudius. Worse still, Claudius has had himself crowned king despite the fact that Hamlet is heir to the throne. No wonder Hamlet suspects foul play. Bedlam brings their unique performance style to Shakespeare’s greatest play — arguably the greatest play in the English language — and four actors perform all 25 roles! Click here to 1 view the video trailer: https://youtu.be/A-sDIBflIFI. -
July 11, 2021 15Th Sunday in Ordinary Time
July 11, 2021 15th Sunday in Ordinary Time Welcome to St. Joan of Arc Church Parish Staff: Very Rev. Joseph L. Newton, JCL Pastor Ext. 1118 [email protected] Molly Ellsworth Business Manager Ext 1110 [email protected] Janet Andriole Principal Ext. 1114 [email protected] Robyn Baker Early Learning Director [email protected] Audrey Brown Bookkeeper [email protected] Joseph Burrows Director of Music Ext. 1121 [email protected] Martha Horvath Parish Secretary Ext. 1112 [email protected] Kyle Murphy Pastoral Associate Ext. 1124 [email protected] Melinda Rivelli Pastoral Associate Ext. 1116 [email protected] SJOA Website www.sjoa.org Mass Schedule Monday, Tuesday , Thursday 8:00 AM Wednesday & Friday 5:30 PM Saturday 5:30 PM Sunday 8:30 & 10:30 AM, 5:30 PM SJOA Parish Office SJOA School Office SJOA Early Learning Center AYS Office 4217 North Central Avenue 500 East 42nd Street 4186 Broadway St 500 East 42nd Street Indianapolis, IN 46205-1896 Indianapolis, IN 46205-1897 Indianapolis, IN 46205-2733 Indianapolis, IN 46205-1897 P: 317.283.5508 P: 317.283.1518 P: 317.644.2700 P: 317.283.6710 F: 317-283-5511 F: 317-931-3380 F: 317.931.3380 Introduction from Fr. Newton Greetings in the Lord! As we prepare to celebrate our Centennial next week, it is an honor and a privilege to be named your new Pastor. Ever since my first assignment at Saint Luke’s in 2008, the parish of Saint Joan of Arc has always had special meaning to me. As the mother Church of the North Deanery, and the daughter Church of the Cathedral of Saints Peter and Paul, as well as being the most beautiful Church in the city, Saint Joan of Arc and the history of the Archdiocese are entwined. -
Theater Bernard Shaw John Bull's Other London's Alan Strachman, TRS Caedmon 4 VG+ Island Mermaid Dir
The Theatre Bernard Shaw Misalliance London's Alan Strachan, TRS Caedmon 3 VG+ Mermaid dir. 365 Discs Theater Bernard Shaw John Bull's Other London's Alan Strachman, TRS Caedmon 4 VG+ Island Mermaid dir. 346 Discs Theater Bernard Shaw Pygmalion US Production Peter Wood, dir. TRS Caedmon 3 VG/ 354 Discs VG+ Bernard Shaw Major Barbara National Theater Howard Sackler, TRS Caedmon 4 VG+ (London) dir. 319 Discs Bernard Shaw Heartbreak House Niagra-On-The- Val Gielgud, dir. TRS Caedmon 3 VG+ Lake (Canada) 335 Dics Bernard Shaw Saint Joan Cambridge Albert Marre, dir. LOC RCA Victor 3 VG+ Drama Festival 6133 Discs Bernard Shaw Saint Joan The Theater Howard Sackler, TRS Caedmon 3 VG+ Recording dir. 311 Discs Society Eugene Dramatic Readings Amanda Frances Lloyd Richards, OL Columbia 1 VG+ O'Neill From Eugene O'Neill production dir. 5900 Disc Eugene Mourning Becomes The American Michael Kahn, TRS Caedmon 4 VG+ O'Neill Electra Shakespeare dir. 345 Discs Festival Theater Eugene More Stately Center Theater Jose Quintero, dir. TRS Caedmon 3 VG+ O'Neill Mansions Group 331 Discs Eugene Long Day's Journey Edgar Lansbury Arvin Brown, dir. TRS Caedmon 4 VG+ O'Neill Into Night production 350 Discs Eugene The Iceman Cometh The American John TRS Caedmon 5 VG+ O'Neill Film Theater Frankenheimer, 359 Discs dir. Arthur Miller An Enemy Of The The Repertory Jules Irving, dir. TRS Caedmon 3 VG+ People Theater Of 349 Discs Lincoln Center Arthur Miller The Crucible The Repertory Jules Irving, dir. TRS Caedmon 4 VG+ Theater Of 356 Discs Lincoln Center Hal Holbrook Mark Twain Tonight New York Hal Holbrook, dir. -
Shaw Festival's Saint Joan to Be Presented at Chicago Shakespeare
Shaw Festival’s Saint Joan to be Presented at Chicago Shakespeare Theater Media Release #9 Niagara-on-the-Lake, Ontario, April 23, 2007 … The Shaw Festival’s flagship Shaw production, the iconic Saint Joan, directed by Artistic Director Jackie Maxwell, will be presented at the Chicago Shakespeare Theater from January 8-20, 2008. The production began preview performances on Saturday at the Festival Theatre for its regular run as part of The Shaw’s 2007 Season. The production will be presented within the Chicago Shakespeare Theater’s 2007-2008 The World’s Stage Series for a limited two-week run at the Courtyard Theater. Chicago Shakespeare Theater is one of the fastest-growing producing and presenting theater institutions in the United States today. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST has achieved a reputation for consistently high production values and artistic standards. Jackie Maxwell noted: “It has been my strong desire to get the extraordinary work we do here at The Shaw out on the road, making contacts with renowned theatre companies and their communities. The Chicago Shakespeare Theater is a world-class theatre company producing work of the highest quality and with a history of presenting American and international productions of distinction. The Shaw Festival is thrilled to join those ranks, and debut in Chicago, with Saint Joan.” In 1431 Jeanne d’Arc (Tara Rosling) – a young peasant girl who led an army and crowned a king – was burned at the stake as a heretic. Afterwards, in the smouldering ashes, one thing remained untouched – her heart. -
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace Peter Kirwan 1 n March 2010, Brean Hammond’s new edition of Lewis Theobald’s Double Falsehood was added to the ongoing third series of the Arden Shakespeare, prompting a barrage of criticism in the academic press I 1 and the popular media. Responses to the play, which may or may not con- tain the “ghost”2 of Shakespeare and Fletcher’s Cardenio, have dealt with two issues: the question of whether Double Falsehood is or is not a forgery;3 and if the latter, the question of how much of it is by Shakespeare. This second question as a criterion for canonical inclusion is my starting point for this paper, as scholars and critics have struggled to define clearly the boundar- ies of, and qualifications for, canonicity. James Naughtie, in a BBC radio interview with Hammond to mark the edition’s launch, suggested that a new attribution would only be of interest if he had “a big hand, not just was one of the people helping to throw something together for a Friday night.”4 Naughtie’s comment points us toward an important, unqualified aspect of the canonical problem—how big does a contribution by Shakespeare need to be to qualify as “Shakespeare”? The act of inclusion in an editedComplete Works popularly enacts the “canonization” of a work, fixing an attribution in print and commodifying it within a saleable context. To a very real extent, “Shakespeare” is defined as what can be sold as Shakespearean. Yet while canonization operates at its most fundamental as a selection/exclusion binary, collaboration compli- cates the issue.