The Tudor Usurpers
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6. the Tudors and Jacobethan England
6. The Tudors and Jacobethan England History Literature Click here for a Tudor timeline. The royal website includes a history of the Tudor Monarchs [and those prior and post this period]. Art This site will guide you to short articles on the Kings and Queens of the Tudor Music Dynasty. Another general guide to Tudor times can be found here. Architecture Click here for a fuller account of Elizabeth. One of the principle events of the reign of Elizabeth was the defeat of the Spanish Armada (here's the BBC Armada site). Elizabeth's famous (and short) speech before the battle can be found here. England's power grew mightily in this period, which is reflected in the lives and achievements of contemporary 'heroes' such as Sir Francis Drake, fearless fighter against the Spanish who circumnavigated the globe, and Sir Walter Raleigh (nowadays pronounced Rawley), one of those who established the first British colonies across the Atlantic (and who spelt his name in over 40 different ways...). Raleigh is generally 'credited' with the commercial introduction of tobacco into England .about 1778, and possibly of the potato. On a lighter note, information on Elizabethan costume is available here (including such items as farthingales and bumrolls). Literature Drama and the theatre The Elizabethan age is the golden age of English drama, for which the establishment of permanent theatres is not least responsible. As performances left the inn-yards and noble houses for permanent sites in London, the demand for drama increased enormously. While some of the smaller theatres were indoors, it is the purpose-built round/square/polygonal buildings such as The Theatre (the first, built in 1576), the Curtain (late 1570s?), the Rose (1587), the Swan (1595), the Fortune (1600) and of course the Globe (1599) that are most characteristic of the period. -
Seven Ladies Macbeth
Seven Ladies Macbeth by Michael Bettencourt 67 Highwood Terrace #2, Weehawken NJ 07086 201-770-0770 • 347-564-9998 • [email protected] http://www.m-bettencourt.com Copyright © by Michael Bettencourt Offered under the Creative Commons Attribution-Share Alike License http://creativecommons.org/licenses/by-sa/3.0/ DESCRIPTION What came before Lady Macbeth became Lady Macbeth? CHARACTERS • GRUOCH (later, Lady Macbeth) • ELFRIDA (mother of Lady Macbeth)/DUNCAN/GENTLEWOMAN • SOLDIER/GILLACOMGAIN (first husband)/MACBETH’s SQUIRE/DOCTOR/MACDUFF • MACBETH • NURSE/BISHOP/SINT (can be played by a male or female) • CHORUS OF CROWS/GRUOCH’S ATTENDANTS/THE 3 WITCHES CHORUS will wear half-masks made to look like crows. There is nothing but interpretation. * * * * * Scene 1: First Lady Blackness. In the blackness, the sound of ELFRIDA, the queen, in carnal delight and distress—a rising wail halfway between pleasure and lamentation, with a final crescendo halfway between pleasure and a snarl. As this happens, a light up on young GRUOCH. When ELFRIDA is finished, a light up on ELFRIDA slipping on a simple rough cotton caftan. They sit apart, at some distance. They hold each other’s gaze, then GRUOCH looks away. ELFRIDA: Gruoch? We named you Gruoch—I don’t know why. I don’t think you can change it. The name sounds like it crawled out of the throats of crows. Would you like me to remember for you how your world began? Well? Not that you have many memories— GRUOCH: I heard—it—them—the screams—your screams—they—shook me—as I— SEVEN LADIES MACBETH • Page 1 GRUOCH makes a sliding motion with her hand: slipping out of the womb. -
Lady Macbeth, the Ill-Fated Queen
LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from -
Macbeth and Lady Macbeth Page 14 What Is It to Be a Man? Page 15
MACBETH Introduction WILLIAM SHAKESPEARE The activities in this pack are inspired by the rehearsal room process and have been created around Michael Boyd's 2011 production of Macbeth. The activities can work in a classroom (or hall or studio space), either as stand-alone practical approaches to the text or as supporting activities for students seeing the production They have been designed with KS3 and KS4 students in mind, but can be adapted for other age groups. More activities on Macbeth are available in The RSC Shakespeare Toolkit for Teachers, available online in the RSC Shop These symbols are used CONTENTS throughout the pack: Macbeth's ambition Page 2 Making a start Page 3 READ - contextual notes from the rehearsal room Malcolm – The young king Page 6 Banquo's ambition for his son Page 9 ACTIVITY – Get on your feet for a classroom activity Fleance flash forward Page 11 Macduff and his family Page 12 WATCH - video Macbeth and Lady Macbeth Page 14 What is it to be a man? Page 15 ABOUT RSC EDUCATION We want children and young people to enjoy the challenge of Shakespeare and achieve more as a result of connecting with his work. Central to our education work is our manifesto for Shakespeare in schools; Stand up for Shakespeare. We know that children and young people can experience Shakespeare in ways that excite, engage and inspire them. We believe that young people get the most out of Shakespeare when they: Do Shakespeare on their feet – exploring the plays actively as actors do See it Live – participate as members of a live audience Start it Earlier – work on the plays from a younger age As an organisation, the RSC has four values. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
Background Notes William Shakespeare’S the English Renaissance
BACKGROUND NOTES WILLIAM SHAKESPEARE’S THE ENGLISH RENAISSANCE A. General Background 1. 1485-1660 2. Renaissance began in Italy 1. Shift away from medieval focus on religion and moved toward a focus on life here on earth 2. Growth of cities and towns; focus on international trade , not manor farms and villages 3. Focus on art, literature, nature and human impulses GENERAL BACKGROUND CONTINUED 4. Looked back on “pagan,”Greek and Roman texts and philosophies to base their achievements on 5. Emphasis on the individual and full development of human potential GENERAL BACKGROUND CONTINUED 3. Renaissance in England 1. Began in 1485 , after the War of the Roses 2. Henry VIII and Tudor family took the English throne B. THE ELIZABETHAN ERA 1. Queen Elizabeth the daughter of Henry VIII and Anne Boleyn 2. During her reign the Renaissance came into full swing. England enjoyed unprecedented prosperity and prestige 3. Greatest accomplishment-defeated Spanish Armada II. WILLIAM SHAKESPEARE A. Very little is known about his life 1. Born around April 26, 1564 in Stratford-Upon-Avon; died 1616 2. Did not go to university. This causes some of the debate over authorship of his works. 3. Married Anne Hathaway and had three children B. LITERARY ACCOMPLISHMENTS 1. Member of the Lord Chamberlain’s Men (later The King’s Men) 2. Queen Elizabeth herself came to see his plays 3. Early masterpieces include Richard III, Comedy of Errors, The Taming of the Shrew, Romeo and Juliet 4. Success allowed him to become part owner of Globe Theatre III. BACKGROUND ON MACBETH • A. -
Chicago Shakespeare Theater Is Chicago’S Professional Theater Dedicated Timeline 12 to the Works of William Shakespeare
TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 3 The First Folio 4 Shakespeare’s England 4 The English Renaissance Theater 6 Barbara Gaines Criss Henderson Courtyard-style Theater 8 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 9 Chicago Shakespeare Theater is Chicago’s professional theater dedicated Timeline 12 to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. Shakespeare’s “Macbeth” In its Elizabethan-style courtyard theater, 500 seats on three levels wrap around a deep thrust stage—with only nine rows separating the farthest Dramatis Personae 14 seat from the stage. Chicago Shakespeare also features a flexible 180-seat The Story 15 black box studio theater, a Teacher Resource Center, and a Shakespeare Act-by-Act Synopsis 15 specialty bookstall. Something Borrowed, Something New: Shakespeare’s Sources 17 Now in its twenty-eighth season, the Theater has produced nearly the entire 1606 and All That 18 Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, Shakespeare, Tragedy and Us 20 As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry IV A Scholar’s Perspective: Hereafter 21 Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius What the Critics Say 23 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Why Teach Macbeth? 34 for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, A Play Comes to Life Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, A Look Back at Macbeth in Performance 38 The Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, Dueling Macbeths Erupt in Riots! 42 The Two Gentlemen of Verona, The Two Noble Kinsmen, and The A Conversation with the Director 43 Winter’s Tale. -
Macbeth Macbeth (2015) Is an Adaptation of William Shakespeare’S Story of a Good and Potentially Great Man Brought Low by Ambition
© ATOM 2015 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN: 978-1-74295-615-2 http://www.theeducationshop.com.au Macbeth Macbeth (2015) is an adaptation of William Shakespeare’s story of a good and potentially great man brought low by ambition. Directed by Justin Kurzel, from a screenplay by Jacob Koskoff, Todd Louiso and Michael Lesslie, Macbeth stars Michael Fassbender as Macbeth and Marion Cotillard as Lady Macbeth. The film premiered in official competition at Cannes 2015. Justin Kurzel Curriculum links DIRECTOR Macbeth is suitable viewing • analyse the representa- Justin Kurzel’s background as one of Australia’s best for students in Years 10 – 12. tion of ideas and atti- theatrical designers informs his strong visual storytell- It can be used as a resource tudes in Shakespeare’s ing as a director. in English, Literature and and Kurzel’s Macbeth to Media. consider how the texts Kurzel’s VCA graduating short, Blue Tongue, was represent the world and screened in over 13 international films festivals In English, Literature and human experience; including International Critic’s Week at the Cannes Media students are expected • develop the ability to Film Festival, New York Film Festival and won Best to discuss the meaning write analytic responses Short at Melbourne International Film Festival. His derived from texts, the to Kurzel’s Macbeth; first feature film Snowtown, produced by Warp Films relationship between texts, • hone their oral commu- Australia premiered at Adelaide Film Festival in 2011, the contexts in which texts nication skills through winning the Audience Award. Kurzel was awarded are produced and read, discussion of and debate Best Director at the AACTA Awards. -
Twelfth Night (C
Twelfth Night (c. 1602) Contextual information Quotes from Twelfth Night The earliest reference to Twelfth Night is in the diary of a law student, John Manningham. He saw the play performed on 2 February 1602 in Middle Temple Hall, in the legal Inns of Court in London at the Christian feast of Candelmas. The candle- lit hall in winter might have highlighted the play’s themes of darkness and illumination. View a photograph of Middle Temple Hall, the location for the first recorded performance of Twelfth Night The play’s title refers to a Christian festival twelve days after Christmas on January 5– 6. Before Henry VIII’s reforms to the English church, ‘twelfth night’ was celebrated with a period of carnival. Social hierarchies were temporarily re-arranged to become ‘topsy-turvy’ and a ‘Lord of Misrule’ was appointed. This 1559 painting by Pieter Bruegel the Elder represents the opposing forces of View The Fight between Carnival and Lent Carnival and Lent – raucous excess and religious restraint – which some see reflected in Twelfth Night. John Manningham compared Twelfth Night to other plays involving confusion between twins, including Shakespeare’s Comedy of Errors and an Italian drama called Gl’ Ingannati (1531) or ‘The Deceived’. In both Twelfth Night and Gl’Ingannati the twins are boy/girl pairs. But on the Italian stage, women were played by female actors, while in Shakespeare’s England they were played by men. Shakespeare had twins, Hamnet and Judith, born in 1585. Hamnet died in 1596, five years before Twelfth Night was first performed. Explore Gl’Ingannati, an Italian play about twins and mistaken identity The British Library | www.bl.uk/shakespeare 1 In his Symposium, the ancient Greek philosopher Plato, includes a fable explaining the origins of love, gender and sexuality: Humans were originally two joined creatures, but we grew overconfident, and Zeus punished us by splitting us down the middle. -
Macbeth Education Pack
Macbeth Education Pack This is London, October 1987, Black Monday. This is the tale of greed, betrayal and murder. This is Macbeth In the city, success is all and ruthless ambition is rewarded. The only problem is, how do you control it before it consumes you and your family? Award-winning theatre company Proteus present a highly physical re-imagining of Shakespeare’s Macbeth as a corporate thriller which explores class and identity, set against the background of the ‘greed is good’ corporate landscape of 1980s Britain. The trailer for the show can be found here: https://youtu.be/zcWMzIXr1pU This Education pack has been developed with Key Stage 3 & 4 students in mind, but the exercises and content can easily be adapted for other age groups. Page 1 of 15 Background to Proteus’ production “The Firm was a bunch of fiefdoms. People in the departments were more concerned with protecting their own business….the best are cut throat, competitive and often neurotic and paranoid” Michael Lewis ‘Liars Poker’ On Thursday 15th October 1987 a great storm hit the South East of England, tearing off roofs and upending trees onto railway lines and roads. The devastation was vast and brutal, but what was to come was far more violent. On that Thursday, whilst the winds blew in England, the Hong King financial markets began to crash. On Friday 16th the London Stock market was closed due to the disruption of the storm, but that was beside the point, none of the traders could reach London from their Surrey homes – the roads and transport links were blocked. -
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. -
Minnesota Opera House
O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Lesson Plans . .12 Synopsis . .31 Giuseppe Verdi – a biography ...............................37 Catalogue of Verdi’s Operas . .39 Background Notes . .41 “That Scottish Play” . .45 History of Opera ........................................49 2013–2014 SEASON History of Minnesota Opera, Repertoire . .60 GIACOMO PUCCINI The Standard Repertory ...................................64 SEPTEMBER 21 –SEPTEMBER 29, 2013 Elements of Opera .......................................65 RICHARD STRAUSS Glossary of Opera Terms ..................................69 NOVEMBER 9 – 17, 2013 Glossary of Musical Terms .................................75 GIUSEPPE VERDI Bibliography, Discography, Videography . .78 JANUARY 25 –FEBRUARY 2, 2014 Acknowledgements . .81 DOMINICK ARGENTO MARCH 1 – 9, 2014 WOLFGANG AMADEUS MOZART APRIL 12 – 27, 2014 FOR SEASON TICKETS, CALL 612.333.6669 mnopera.org 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Teacher’s Guide, which includes Lesson Plans that have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Since opera is first and foremost a theatrical experience, it is strongly encouraged that attendance at a performance of an opera be included. The Minnesota Opera offers Student Final Dress Rehearsals and discounted group rate tickets to regular performances. It is hoped that the Teacher’s Guide will be the first step into exploring opera, and attending will be the next. I hope you enjoy these materials and find them helpful. If I can be of any assistance, please feel free to call or e-mail me any time.