Footlighters Does Cymbeline the Hanover Rainbow Alliance
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
19Tf? Annual Colorado Shakespeare 5®Stii>A(
19tf? Annual Colorado Shakespeare 5®stii>a( The Comedy of Errors • The Tempest • King John DEPARTMENT OF THEATRE AND DANCE c n L n u a n o s rxjkesn«ciK« University of Colorado® Boulder, Colorado 80309 |Zc?sti'waL Summer 1976 Dear Lover of Shakespeare’s Works: Those who truly love Shakespeare in the theatre will be pleased to learn about the CSh A n nual, a scholarly journal devoted to the art of producing Shakespeare for contemporary audi ences. Eighteen years of experience performing all the Shakespeare plays in the Mary Rip- pon Theatre leave us with a vivid realization of the extent to which the full appreciation of Shakespeare’s content and craftsmanship is dependent on relating to his work in the context for which it was written—the artistic transaction of theatrical production. A significant part of Shakespeare’s greatness has been his capacity to speak meaningfully and movingly to successive generations and diverse cultures. On whatever pedestals we would put him, we must certainly maintain a place for him in our contemporary theatres. His work calls for actors and scenic artists, stages and audiences. It also warrants the attention of those whose scholarship can reflect their practice of his own theatrical art and their sharing of his commitment to make scripts come alive in the theatre. To stimulate such at tention and to make available to others the fruits of such attention—these are the goals of the CSF Annual. The A nnual will grow out of each Colorado Shakespeare Festival. Its basic format will consist of three sections. -
Some Rare and Unpublished Ancient British Coins
AN ACCOUNT OF SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS, COMMUNICATED TO THE NUMISMATIC SOCIETY OF LONDON BY JOHN EVANS, F.S.A., F.G.S., HON. SEC. NUM.SOC. LONDON: 1860. 1·~~~ ANCIENT BRITISH COi NS. AN ACCOUNT or SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS, COMMUNICATED TO THE NUMISMATIC SOCIETY OF LONDON BY JOHN EVANS, F.S. .A., F.G.S., BON. SBC. NUM. SOC. LONDON: 1860. Stack Annex !:>01.5346 SOME RARE AND UNPUBLISHED ANCIENT BRITISH COINS. Read before the Numismatic Society, Jan. 26th, 1860.] r HAVE again the satisfaction of presenting to the Society a plate of ancient British coins, most ofof them hithetto un- published, and all of the highest degree of rarity. Unlike the last miscellaneous plate of these coins that I , drew, which consisted entirely of uninscrihed coins, these areall i11scribed, and comprise Specimens of the coinage of Cuno beline, Taseiovanus, Dubnovellaunus, and the Iceni, beside others of rather more doubtful attribution. l need not, however, make any prefatory remarks conceming them, hut will at once proceed to the description of the various coins, and the considerations which arc suggested by thei1· several types and inscriptions. T'he first three are of Cunobeline. No. 1. Obv. - CA-MVon either side of an ear of bearded corn, as usual on the gold coins of Cunobeline, hut rather more widely spread. The stalk terminating in an ornament shaped like Gothic trefoil. Rev.-CVNO beneath a horse, galloping, to the left; ahove, an ornament, in shape like the Prince of Wales' plume, resting on a reversed crescent. -
Shakespeare on Travel in As You Like It and Othello
Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 4 2020 Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers Capital University, [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Summers, David (2020) "Knowing the World: Shakespeare on Travel in As You Like It and Othello," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 4. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers, Capital University etting to know the world through personal travel, particularly by means of the “semester abroad,” seems to G me to be one of the least controversial planks in the Humanities professors’ manifesto. However, reading Shakespeare with an eye toward determining his attitude toward travel creates a disjuncture between our conviction that travel generally, and studying abroad in particular, is an enriching experience, and Shakespeare’s tendency to hold the benefits of travel suspect. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL B
CHARLES FUSSELL: CYMBELINE CHARLES FUSSELL b. 1938 CYMBELINE: DRAMA AFTER SHAKESPEARE (1984, rev. 1996) CYMBELINE [1] I. Prelude 4:03 [2] II. Duet: Imogen and Posthumus 3:26 [3] III. Interlude 1:39 [4] IV. Aria: Iachimo 1:10 [5] V. Imogen 3:39 [6] VI. Scene with Arias: Iachimo 10:19 [7] VII. Interlude 2:14 [8] VIII. Scene: Cloten 1:21 [9] IX. Song: Cloten 3:22 [10] X. Recitative and Arioso: Imogen and Belarius 3:04 ALIANA DE LA GUARDIA soprano [11] XI. Duet, Dirge: Guiderius and Arviragus 3:58 MATTHEW DiBATTISTA tenor [12] XII. Battle with Victory March 4:05 DAVID SALSBERY FRY narrator [13] XIII. Scene: Ghosts (Mother and Sicilius) and Jupiter 5:17 [14] XIV. Duet: Imogen and Posthumus 3:07 BOSTON MODERN ORCHESTRA PROJECT [15] XV. Finale: Soothsayer and Cymbeline 4:14 Gil Rose, conductor TOTAL 55:02 COMMENT By Charles Fussell The idea of a musical depiction of this work came as a result of seeing the Hartford Stage productions of Shakespeare. Their Cymbeline, directed by Mark Lamos (who later moved to opera), ended with an unforgettable scene between Imogen and her husband: “Why did you throw your wedded lady from you? Think that you are upon a rock and throw me again.” His reply, “Hang there like fruit, my soul, till the tree die.” This exchange touched me deeply and really convinced me to try some music for the songs that appear in the play as well as this beautiful expression of love. I noticed the familiar “Hark, hark the lark” was sung by the frightful Cloten. -
CN May 37-44.Indd
In focus CHRIS RUDD Same king in two places? Or two kings with the same name? ID the same Celtic king rule in East Anglia and the West Midlands? If so, when did he go west and why? Or were there two kings with the same name, ruling at roughly the same time? If so, why did they inscribe their names in the same way? Who copied whom? And who was Arviragus? Was he the same person as Antedrigus? Was he the second Dson of Cunobelinus? Or was the chronicler Geoff rey of Monmouth fi bbing? I can’t answer all these questions. But I can tell you a bit about the controversial coin which is causing them to be asked again. In 1994/95 Terry Howard, a professional musician, went On the obverse there is a branched symbol sprouting from metal detecting and found an exceedingly rare gold coin near a ringed pellet, which I interpret as a druidic “Tree of Life” South Cerney, Gloucestershire, not far from where he also symbol growing out of the sun. Turn it upside down and it found an enamelled “horse brass” of regal quality. He reported looks like a stylised skull and rib cage—a symbol of mortality. his fi nds to the Corinium Museum in Cirencester. Terry’s coin, On the reverse we see a stylised and somewhat disjointed which is coming up for auction in May this year, is a gold stater horse with three tails, not unlike the Uffi ngton White Horse that was struck in the late Iron Age by Anted, a king of the carved out of a chalk hillside over 2,500 years ago (only around Dobunni tribe in the West Midlands, some time around AD 18 miles from where this coin was found). -
Shakespeare's Cymbeline and the Mystical
International Journal of Transpersonal Studies Volume 32 | Issue 2 Article 13 7-1-2013 Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sofia University Follow this and additional works at: https://digitalcommons.ciis.edu/ijts-transpersonalstudies Part of the Philosophy Commons, Psychology Commons, Religion Commons, and the Sociology Commons Recommended Citation Schavrien, J. (2013). Schavrien, J. (2013). Shakespeare’s Cymbeline and the mystical particular: Redemption, then and now, for a disassembled world. International Journal of Transpersonal Studies, 32(2), 122–140.. International Journal of Transpersonal Studies, 32 (2). http://dx.doi.org/10.24972/ijts.2013.32.2.122 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Special Topic Article is brought to you for free and open access by the Journals and Newsletters at Digital Commons @ CIIS. It has been accepted for inclusion in International Journal of Transpersonal Studies by an authorized administrator of Digital Commons @ CIIS. For more information, please contact [email protected]. Shakespeare’s Cymbeline and the Mystical Particular: Redemption, Then and Now, for a Disassembled World Judy Schavrien Sophia University Palo Alto, CA, USA Cymbeline reflected Shakespeare’s late-in-life aspirations for a world redeemed. Those in baroque England, past the first burgeoning of Renaissance vision, were nevertheless making a literal New World abroad. Likewise, Shakespeare arrived at a vision both post-innocent and post-tragic. As they compared to tragic heroes, he down-sized the late play characters; still, he granted them a gentler end. -
Cymbeline Cymbeline Is King of Britain; His First Wife Died, and He Married Posthumus Has Returned with the Invading Armies, but Disguises a Wicked Queen
Cymbeline Cymbeline is King of Britain; his first wife died, and he married Posthumus has returned with the invading armies, but disguises a wicked queen. Imogen, Cymbeline’s daughter is in love with himself as a Briton with the hope of dying in battle against the in- Posthumus, but her stepmother wants Imogen to marry Cloten, the vaders. However, with the aid of Posthumus, Belarius, and the two queen’s son. When Imogen balks and secretly marries Posthumus, brothers, the Britons win a glorious battle. Posthumus is later cap- the king has him banished. Before his departure, Posthumus gives tured and thrown into prison, mistaken for a Roman. There he has Imogen a bracelet, and she gives him a ring. Posthumus arrives a strange prophetic vision. Likewise, Iachimo, Lucius, and Imogen in Rome, where he brags of his wife’s beauty and fidelity. When (Fidele) are captured and brought to Cymbeline. The Queen, her Iachimo questions this, he and Posthumus propose a wager that condition worsening, confesses her evil doings on her deathbed Iachimo can’t seduce Imogen. Iachimo hastens to Britain, where before expiring. In the ensuing confessions that follow, Iachimo he is rebuffed several times by Imogen. Meanwhile, the malicious confesses to stealing the bracelet and lying, Posthumus reveals his stepmother has arranged for her physician to create a poison for own identity, Pisanio admits his part in helping Imogen escape, Pisanio, a servant and friend of Posthumus. The physician, dis- Belarius admits to kidnapping the two boys, and Posthumus and trustful of the wicked queen, prepares instead a type of sleeping Imogen are reunited and allowed to stay married. -
1 King Lear, the Taming of the Shrew, a Midsummer Night's Dream, and Cymbeline, Presented by the Oregon Shakespeare Festival, Fe
King Lear, The Taming of the Shrew, A Midsummer Night's Dream, and Cymbeline, presented by the Oregon Shakespeare Festival, February-November 2013. Geoff Ridden Southern Oregon University [email protected] King Lear. Director: Bill Rauch. With Jack Willis/Michael Winters (King Lear), Daisuke Tsuji (Fool), Sofia Jean Gomez (Cordelia), and Armando Durán (Kent). The Taming of the Shrew. Director: David Ivers. With Ted Deasy (Petruchio), Neil Geisslinger (Kate), John Tufts (Tranio), and Wayne T. Carr (Lucentio). Cymbeline. Director: Bill Rauch. With Daniel José Molina (Posthumus), Dawn-Lyen Gardner (Imogen), and Kenajuan Bentley (Iachimo). A Midsummer Night's Dream. Director: Christopher Liam Moore. With Gina Daniels (Puck), and Brent Hinkley (Bottom). This was the 78th season of the Oregon Shakespeare Festival, and four of its eleven productions were Shakespeare plays: two were staged indoors (King Lear and The Taming of the Shrew) and two outdoors on the Elizabethan Stage/Allen Pavilion. This was the first season in which plays were performed indoors across the full season, and so both The Taming of the Shrew and King Lear had large numbers of performances. Nevertheless, according to the Mail Tribune, the non-Shakespeare plays drew larger audiences than Shakespeare this season: the plays staged outdoors fared especially poorly, and this is explained in part by the fact that four outdoor performances had to be cancelled because of 1 smoke in the valley, resulting in a loss of ticket income of around $200,000.1 King Lear King Lear was staged in the Thomas Theatre (previously the New Theatre), the smallest of the OSF theatres, and ran from February to November. -
Feb. 6—May 12, 2017
STUDY GUIDE DIRECTED BY JULIA RODRIGUEZ-ELLIOTT FEB. 6—MAY 12, 2017 Pictured: Geoff Elliott. Photo by Chloe Bates. Study Guides from A Noise Within A rich resource for teachers of English, reading arts, and drama education. Dear Reader, We’re delighted you’re interested in our study guides, designed to provide a full range of information on our plays to teachers of all grade levels. A Noise Within’s study guides include: • General information about the play (characters, synopsis, timeline, and more) • Playwright biography and literary analysis • Historical content of the play • Scholarly articles • Production information (costumes, lights, direction, etc.) • Suggested classroom activities • Related resources (videos, books, etc.) • Discussion themes • Background on verse and prose (for Shakespeare’s plays) Our study guides allow you to review and share information with students to enhance both lesson plans and pupils’ theatrical experience and appreciation. They are designed to let you extrapolate articles and other information that best align with your own curricula and pedagogic goals. More information? It would be our pleasure. We’re here to make your students’ learning experience as rewarding and memorable as it can be! All the best, Alicia Green Pictured: Donnla Hughes, Romeo and Juliet, 2016. PHOTO BY CRAIG SCHWARTZ. DIRECTOR OF EDUCATION TABLE OF Who’s Who: The Actors .............................................4 Who’s Who: The Characters ..........................................5 CONTENTS King Lear Character List .............................................6 -
Encyclopedia of CELTIC MYTHOLOGY and FOLKLORE
the encyclopedia of CELTIC MYTHOLOGY AND FOLKLORE Patricia Monaghan The Encyclopedia of Celtic Mythology and Folklore Copyright © 2004 by Patricia Monaghan All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Monaghan, Patricia. The encyclopedia of Celtic mythology and folklore / Patricia Monaghan. p. cm. Includes bibliographical references and index. ISBN 0-8160-4524-0 (alk. paper) 1. Mythology, Celtic—Encyclopedias. 2. Celts—Folklore—Encyclopedias. 3. Legends—Europe—Encyclopedias. I. Title. BL900.M66 2003 299'.16—dc21 2003044944 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Text design by Erika K. Arroyo Cover design by Cathy Rincon Printed in the United States of America VB Hermitage 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper. CONTENTS 6 INTRODUCTION iv A TO Z ENTRIES 1 BIBLIOGRAPHY 479 INDEX 486 INTRODUCTION 6 Who Were the Celts? tribal names, used by other Europeans as a The terms Celt and Celtic seem familiar today— generic term for the whole people. -
Who Was Caratacus? How a New Discovery Helps to Resolve an Old Controversy
Insight CHRIS RUDD Who Was CarataCus? How a new discovery helps to resolve an old controversy or over 400 years people have been trying to attribute coins to Caratacus—some rightly, others wrongly. In 1581 the antiquarian historian William Camden illustrated a gold stater of Epaticcus (ABC 1343) in his monumental Britannia, misread the legend as CEArITIC and said it was “a coine of that warlike prince, Caratacus”. Another antiquarian, Freverend William Stukeley (1687–1765), copied Camden’s drawing of the Epaticcus stater onto his own plates, but changed the inscription to CArATIC, which better suited Stukeley’s equally mistaken attribution to CArATICVS, as he called the prince. In 1846 a numismatist who should have known better, reverend Beale Poste, republished Stukeley’s stupid error in The coins of Cunobeline and of the ancient Britons. Worse was to follow. In 1862 Poste published engravings of two silver units of Epaticcus (both ABC 1346), misread both inscriptions as KErATI (supposedly a mixture of Greek and Latin letters), declared both coins to be of “Caractacus” and accused his critics of “the grossest misrepresentations”. Three years later John Evans, the father of Ancient British numismatics, delightfully debunked these early attempts to donate the gold and silver coins of Epaticcus to his nephew Caratacus. In his seminal book The coins of the Ancient Britons (1864) Evans said Poste and others “sinned against light” because cartographer John Speed (1542–1629) had previously published a virtually correct reading of the Epaticcus stater legend. He added: “When any coins of Caratacus are discovered, if such an event ever takes place, we may, at all events, expect to find that Roman letters will have been used upon them, as they always are, without exception, on the coins of his father, Cunobeline, and his grandfather, Tasciovanus.” Little did Evans know that some years later he would acquire a silver coin inscribed CARA, probably found near Guildford, Surrey, now in the British Museum (Hobbs BMC 2378, ABC 1376).