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Tackling Challenging Issues in Shakespeare for Young Audiences
Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Harelik, M.A. Graduate Program in Theatre The Ohio State University 2016 Dissertation Committee: Professor Lesley Ferris, Adviser Professor Jennifer Schlueter Professor Shilarna Stokes Professor Robin Post Copyright by Elizabeth Harelik 2016 Abstract Shakespeare’s plays are often a staple of the secondary school curriculum, and, more and more, theatre artists and educators are introducing young people to his works through performance. While these performances offer an engaging way for students to access these complex texts, they also often bring up topics and themes that might be challenging to discuss with young people. To give just a few examples, The Taming of the Shrew contains blatant sexism and gender violence; The Merchant of Venice features a multitude of anti-Semitic slurs; Othello shows characters displaying overtly racist attitudes towards its title character; and Henry V has several scenes of wartime violence. These themes are important, timely, and crucial to discuss with young people, but how can directors, actors, and teachers use Shakespeare’s work as a springboard to begin these conversations? In this research project, I explore twenty-first century productions of the four plays mentioned above. All of the productions studied were done in the United States by professional or university companies, either for young audiences or with young people as performers. I look at the various ways that practitioners have adapted these plays, from abridgments that retain basic plot points but reduce running time, to versions incorporating significant audience participation, to reimaginings created by or with student performers. -
Extraordinary Entertainment in an Exceptional Setting
Extraordinary Entertainment in an Exceptional Setting Charles Fee Bob Taylor Producing Artistic Director Executive Director By William Shakespeare Directed by Charles Fee Created by Larry Gallagher Directed by Victoria Bussert July 6–August 26, 2018 | Sand Harbor | L akeTahoeShakespeare.com | 1.800.74.SHOWS Enriching lives, inspiring new possibilities. At U.S. Bank, we believe art enriches and inspires our community. That’s why we support the visual and performing arts organizations that push our creativity and passion to new levels. When we test the limits of possible, we fi nd more ways to shine. usbank.com/communitypossible U.S. Bank is proud to support the Lake Tahoe Shakespeare Festival. Incline Village Branch 923 Tahoe Blvd. Incline Village, NV 775.831.4780 ©2017 U.S. Bank. Member FDIC. 171120c 8.17 “World’s Most Ethical Companies” and “Ethisphere” names and marks are registered trademarks of Ethisphere LLC. 2018 Board of Directors Patricia Engels, Chair Michael Chamberlain, Vice Chair Atam Lalchandani, Treasurer Mary Ann Peoples, Secretary Wayne Cameron Scott Crawford Katharine Elek Amanda Flangas John Iannucci Vicki Kahn Charles Fee Bob Taylor Nancy Kennedy Producing Artistic Director Executive Director Roberta Klein David Loury Vicki McGowen Dear Friends, Judy Prutzman Welcome to the 46th season of Lake Tahoe Shakespeare Festival, Nevada’s largest professional, non-profit Julie Rauchle theater and provider of educational outreach programming! Forty-six years of Shakespeare at Lake Tahoe D.G. Menchetti, Director Emeritus is a remarkable achievement made possible by the visionary founders and leaders of this company, upon whose shoulders we all stand, and supported by the extraordinary generosity of this community, our board Allen Misher, Director Emeritus of directors, staff, volunteers, and the many artists who have created hundreds of evenings of astonishing Warren Trepp, Honorary Founder entertainment under the stars. -
A Midsummer Night's Dream
SUPPORT FOR THE 2021 SEASON OF THE TOM PATTERSON THEATRE IS GENEROUSLY PROVIDED BY PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY THE HARKINS & MANNING FAMILIES IN MEMORY OF SUSAN & JIM HARKINS LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
Is the Principal Sponsor of Team Shakespeare. Measure for Measure Rendering: Costume Designer Virgil C
is the principal sponsor of Team Shakespeare. measure for measure rendering: Costume Designer Virgil C. Johnson rendering: Costume Designer Virgil teacher handbook Barbara Gaines Criss Henderson Table of Contents Artistic Director Executive Director Preface . .1 Art That Lives . .2 Bard’s Bio . .2 The First Folio . .3 Shakespeare’s England . .4 The Renaissance Theater . .5 Chicago Shakespeare Theater is Chicago's professional theater Courtyard-style Theater . .6 dedicated to the works of William Shakespeare. Founded as Timelines . .8 Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style William Shakespeare’s Measure for Measure courtyard theater, 500 seats on three levels wrap around a deep Dramatis Personae . .10 thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a flexible 180- The Story . .10 seat black box studio theater, a Teacher Resource Center, and a Act-by-Act Synopsis . .11 Shakespeare specialty bookstall. Something Borrowed, Something New . .12 In its first 17 seasons, the Theater has produced nearly the entire What’s in a Genre? . .14 Shakespeare canon: All’s Well That Ends Well, Antony and 1604 and All That . .14 Cleopatra, As You Like It, The Comedy of Errors, Cymbeline, To Have and To Hold? . .15 Hamlet, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and Playnotes:The Dark God and his Dark Angel . .16 3, Julius Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Playnotes: Between the Lines . .17 Measure for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, What the Critics Say . -
A Travelling Tale: Shakespeare on the Italian Stage Considers the Transposition from Page to Stage of Some of Shakespeare’S Plays in Italy
Maria Coduri A Travelling Tale: Shakespeare on the Italian Stage Thesis submitted for the Degree of MPhil January 2013 Departments of Italian and English School of European Languages, Culture and Society University College London University of London 1 DECLARATION I, Maria Coduri, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis considers the transposition from page to stage of some of Shakespeare’s plays in Italy. In particular it concentrates on different approaches to Shakespeare’s texts and different ways to transform them into theatrical action. The first chapter has an introductory function, and lays the groundwork for subsequent discussion. It illustrates the encounter between the work of the English playwright and the Italian people through an overall view of the reception of Shakespeare in Italy from the first mention of his name in 1667 to Francesco De Sanctis’s critical writings in the mid- nineteenth century. The following chapters discuss how Shakespeare’s plays have been adapted for the stage by some prominent Italian actors and directors. The focus is on three periods of the history of Italian theatre. The Great Actors of the mid-nineteenth century offered stagings of Shakespeare’s plays that focused on the main character, thus depriving them of anything that did not enhance the role of the lead actor. The generation of the directors, that flourished in Italy in the mid-twentieth century, advocated a philological reading of the playtexts, after they had been so severely altered by the generation of the actors. -
Julius Caesar
PRESENTED BY William Shakespeare's JULIUS CAESAR SHAKESPEARE THEATRE COMPANY Dear Friend, "i thank you for your pains and courtesy". Table of Contents I hope you will enjoy one of Julius Caesar, act 2, scene 2 Letter from Michael Kahn 3 Shakespeare’s most politically Out of the Past charged pieces, uniquely suited by Akiva Fox 4 to Washington, D.C., audiences. Synopsis 7 Julius Caesar reaches into the ThE 2011 ShakESPEaRE ThEaTRE ComPaNY About the Playwright 9 heart of Roman history to explore not only the consequences of Title Page 11 FREE FoR all iS PRESENTED BY conspiracy but also the complications of political Cast 12 ambition. David Muse’s original 2008 production Cast Biographies 13 was called “majestic” by the Washington Times and hailed as “electrifying” by DC Theatre Review. Direction and Design Biographies 21 I am pleased to make this wonderful production available to the Washington community for free, Shakespeare: with the generous support of sponsors like Target Caesar of Playwrights? 26 and donors like the Friends of Free For All. Shakespeare Theatre Company There could be no greater gift on the eve of this Board of Trustees 6 anniversary season than to celebrate its opening Shakespeare Theatre with you—friends new and old. I hope you will Company 24 return during the 2011-2012 Season to experience some of the exciting events we have in store. This Friends of Free For All 28 Ad Space season is sure to bring many memorable moments For the Shakespeare to STC stages, from the classic works of Regnard, Theatre Company 30 O’Neill and Goldoni to Shakespeare’s Much Ado Staff 32 About Nothing, The Two Gentlemen of Verona Happenings 33 and The Merry Wives of Windsor. -
Registered Charity No. 212481 © Royal Shakespeare Company ABOUT THIS PACK
- 1 - Registered charity no. 212481 © Royal Shakespeare Company ABOUT THIS PACK This pack supports the RSC’s 2015 production of Henry V, directed by RSC Artistic Director Gregory Doran, which opened on 12 September at the Royal Shakespeare Theatre in Stratford-upon- Avon. The activities provided are specifically designed to support KS3-4 students, whether they are attending the performance in Stratford, viewing the schools’ broadcast, or studying the play in school. ABOUT YOUNG SHAKESPEARE NATION Over six years, the RSC is staging the 36 plays that make up the First Folio of Shakespeare’s work. RSC Education invites you to join us on this inspirational journey in an initiative called Young Shakespeare Nation. Whether you want to teach a new play or teach in a new way, Young Shakespeare Nation can give you the tools and resources you need. Find inspiration online with images, video’s, more teacher packs and resources at www.rsc.org.uk/education Participate in our schools’ broadcast series, continuing with Henry V on 19 November 2015 Explore a new text or a new way of teaching through our CPD programme Try one of our range of courses for teachers and students in Stratford-upon-Avon. Find out more at www.rsc.org.uk/education These symbols are used throughout the pack: CONTENTS READ Notes from the production, About this Pack Page 2 background info or extracts Imagining the Story Page 3 ACTIVITY Two Kingdoms Page 5 A practical or open space activity Leadership in War Page 7 WRITE Band of Brothers Page 9 A classroom writing or discussion activity A Royal Meeting Page 10 Resources Page 12 LINKS Useful web addresses and research tasks - 2 - Registered charity no. -
Poetry Anthology
education GRADES 9—12 Reads BROOKLYN READS POETRY ANTHOLOGY Brooklyn Brooklyn Reads: Poetry Anthology Poems from students at the following high schools: HS Global Citizenship Dr. Susan S. McKinney Secondary Michelle Rochon, Principal School of the Arts Elizabeth Hiskey, Teacher Paula Holmes, Principal Joanne Marciano, Teacher Brooklyn High School of the Arts Margaret Lacey Berman, Principal Brooklyn Bridge Academy Janique Cambridge, Teacher Max Jean Paul, Principal Kimberly Laboy, Assistant Principal Acorn Community High School: Erika Bogdany, Teacher Andrea Piper, I.A. Principal Ben Honoroff, Assistant Principal Academy of Hospitality and Tourism Shana Bryce, Teacher Marcia Wiltshire, Teacher Adam Breier, Principal Metropolitan Corporate Academy Lennel George, Principal Brooklyn School for Collaborative Studies Persephone DaCosta, Teacher Alyce Barr, Principal Stephen Simons, Teacher George Westinghouse High School Edward R. Murrow High School Janine Kieran, Principal Allen Barge, Principal Michael Clark, Teacher Sarah Covers, Teacher John Jones, Teacher LIFE Academy HS for Film and Music Lisa Ferraiola, Principal Clara Barton High School William Patterson, Teacher Richard A. Forman, Principal Ellen Brody-Kirmss, Teacher Preface Dear Friends, We’re thrilled to present this 2013 Brooklyn Reads Poetry Anthology, containing student work from the twenty high-school classes that participated in this year’s program. Now in its ninth year, Brooklyn Reads is BAM’s free, highly successful literacy and arts project in reading, writing, and per- forming poetry. In an eleven-week residency with nationally recognized spoken word performers and professional teaching artists, these students were challenged to give voice to their ideas, feelings, and daily existence through their study of this literary art form. -
'Re-Writing' Shakespeare in Africa: Creating Musical Relevance for A
'Re-writing' Shakespeare in Africa: Creating musical relevance for a contemporary South African audience; with special reference to Geoffrey Hyland's production of Twelfth.Night, or What You Will, staged at Maynardville Open-Air Theatre in 2006 Robert Jeffery : Student number JFFROB003 A dissertation submitted in fullfilment of the requirements for the award of the degree of Master of Music Faculty of the Humanities University of Cape Town 2009 The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town ii 111 ABSTRACT This thesis explores the use of current music genres in a postcolonial, and more specifically South African, theatrical context to replace the lost value of audience's musical recognition that was an integral part of performances of Shakespeare's, and other playwrights', plays in Elizabethan England. It makes special reference to a performance of William Shakespeare's Twelfth Night, or What You Will (1601) which took place at Cape Town's Maynardville Open-Air Theatre in 2006 in celebration of the 50th anniversary of Shakespeare at Maynardville. The thesis is accompanied by a copy of the CD of the production's music performed by The lllyrian Players, the ensemble who performed the music live for the duration of the show's run. -
Brick Lane Patchwork
“The guy who wrote Romeo and Juliet”: Shakespeare and Young Adult fiction by Cristina Paravano In one of the first scenes of the film adaptation of Percy Jackson and the Lightning Thief (2010),1 Percy, the demi-god son of Poseidon born from the pen of Rick Riordan, is attending an English class. His teacher, Mrs. Dodds, writes a line from Othello on the blackboard: “I understand a fury in your words, / but not the words” (4.2.33-4). Then she asks her students: “what was Shakespeare trying to convey in this line from Othello?” When Percy looks at the blackboard, what he can see are only jumbled words, owing to his dyslexia. In that very moment, Percy fails to comprehend what Shakespeare wanted to convey but merely notices the furious gaze of his teacher. Later on, when Mrs. Dodds reveals her real identity, he understands what the line means: indeed he can see a fury, when he realizes that his English teacher is actually Alecto, one of three implacable mythological furies sent in disguise to kill him. This episode contributes to enhancing the centrality of Shakespeare in American Young Adult fiction (commonly abbreviated as YA) and the teenagers’ familiarity with the act of reading Shakespeare in class. In the US Shakespeare is a constant fixture, “a mainstay in the curricula of America's schools and colleges, and the value of reading his work is still assumed” (Vaughan and Vaughan 2012: 2); at different stages of their education, teenagers are required to engage not only with the works of the Bard but 1The film is based on the homonymous novel published in 2005, which is the first installment of the pentalogy Percy Jackson and the Olympians. -
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FACULTY OF ENGLISH LANGUAGE AND LITERATURE M.St./M.Phil. English Course Details 2017-18 Further programme information is available in the M.St./M.Phil. Handbook v6 1 | P a g e Contents Introduction To The M.St. In English Literature By Period, English and American and the M.St. in World Literatures in English 4 A-Course: Literature, Contexts and Approaches 4 B-Course: Research Skills 4 C-Course: Special Options 4 Assessment 5 Dissertation 5 Introduction To The M.Phil. In English (Medieval Studies) 6 Second Year Assessment 6 Strand-Specific Course Descriptions 7 M.St. In English, 650-1550 / First Year M.Phil. 7 A-Course (Professor Andy Orchard and Dr Laura Ashe) 7 B-Course: Course in Transcription, Palaeography, Codicology and the History of the Book 16 M.St. In English Literature, 1550-1700 17 A–Course: Literature: Contexts and Approaches, 1550-1700 17 B-Course: Material Texts – Michaelmas Term - 1550-1700 24 Hilary Term B-Course: Early Modern Textual Cultures: Writing, Circulating, Reading 28 M.St. in English Literature, 1700-1830 32 A-Course – 1700-1830 - Michaelmas Term 32 B-Course Material Texts - 1700-1830 - Michaelmas Term 34 B-Course - Textual Cultures 1700-1830 - Hilary Term 36 M.St. in English Literature, 1830-1914 37 A - Course – Michaelmas Term 37 B Course: Material Texts, 1830–1914 - Michaelmas Term 39 B Course: Bibliography, Theories of Text, History of the Book, Manuscript Studies 1830–1914 – Hilary Term 41 M.St. in English Literature, 1900-Present 43 A-Course – Literature, Context and Approaches 43 B Course: 1900-present - Michaelmas Term 48 Hilary Term B-Course 48 M.St. -
Actes Des Congrès De La Société Française Shakespeare, 34 | 2016, “Jeunesses De Shakespeare” [Online], Online Since 29 February 2016, Connection on 08 July 2021
Actes des congrès de la Société française Shakespeare 34 | 2016 Jeunesses de Shakespeare Young Shakespeare Laetitia Sansonetti (dir.) Electronic version URL: https://journals.openedition.org/shakespeare/3626 DOI: 10.4000/shakespeare.3626 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Laetitia Sansonetti (dir.), Actes des congrès de la Société française Shakespeare, 34 | 2016, “Jeunesses de Shakespeare” [Online], Online since 29 February 2016, connection on 08 July 2021. URL: https:// journals.openedition.org/shakespeare/3626; DOI: https://doi.org/10.4000/shakespeare.3626 This text was automatically generated on 8 July 2021. © SFS 1 TABLE OF CONTENTS Avant-propos Laetitia Sansonetti Foreword Laetitia Sansonetti Pièces de jeunesse? Love’s Labour’s Lost and Much Ado About Nothing: An Early Diptych? Sophie Chiari Young Shakespeare/Late Shakespeare: The Case of Pericles Lucy Munro Jeunesse des personnages Enter Shakespeare’s Young Hamlet, 1589 Terri Bourus Learning to be Boys: Reading the Lessons of Shakespeare’s Love’s Labour’s Lost and Marston’s What You Will Edel Lamb « So young, and so untender? » : le don du père à la jeune génération dans Le Roi Lear Anne-Kathrin Marquardt Shakespeare pour la jeunesse, ou l'éternelle jeunesse de Shakespeare “Appertaining to thy young days”: The End of the Academe in Love’s Labour’s Lost and A Curriculum for the Future Daniel Bender “A Classic for the Elders”: Marketing Charles and Mary Lamb in the Nineteenth Century Kate Harvey Shakespeare dans Candy : mais est-ce vraiment