Isabel Vives, William Shakespeare's Mystery, the Theories About His
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“Powerful Arms and Fertile Soil”
“Powerful Arms and Fertile Soil” English Identity and the Law of Arms in Early Modern England Claire Renée Kennedy A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in History and Philosophy of Science University of Sydney 2017 ACKNOWLEDGEMENTS My greatest thanks and appreciation to Ofer Gal, who supervised my PhD with constant interest, insightfulness and support. This thesis owes so much to his helpful conversation and encouraging supervision and guidance. I have benefitted immensely from the suggestions and criticisms of my examiners, John Sutton, Nick Wilding, and Anthony Grafton, to whom I owe a particular debt. Grafton’s suggestion during the very early stages of my candidature that the quarrel between William Camden and Ralph Brooke might provide a promising avenue for research provided much inspiration for the larger project. I am greatly indebted to the staff in the Unit for History and Philosophy of Science: in particular, Hans Pols for his unwavering support and encouragement; Daniela Helbig, for providing some much-needed motivation during the home-stretch; and Debbie Castle, for her encouraging and reassuring presence. I have benefitted immensely from conversations with friends, in and outside the Unit for HPS. This includes, (but is not limited to): Megan Baumhammer, Sahar Tavakoli, Ian Lawson, Nick Bozic, Gemma Lucy Smart, Georg Repnikov, Anson Fehross, Caitrin Donovan, Stefan Gawronski, Angus Cornwell, Brenda Rosales and Carrie Hardie. My particular thanks to Kathryn Ticehurst and Laura Sumrall, for their willingness to read drafts, to listen, and to help me clarify my thoughts and ideas. My thanks also to the Centre for Editing Lives and Letters, University College London, and the History of Science Program, Princeton University, where I benefitted from spending time as a visiting research student. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated 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. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Summer 2007 Shakespeare Matters Page
Summer 2007 Shakespeare Matters page 6:4 “Let me not to the marriage of true minds admit impediments...” Summer 2007 11th Annual Shake- speare Authorship Shakespeare—Who Studies Conference Convenes held the Pen? By Bonner Miller Cutting and Earl Showerman Insights Meets Research By Alan Stott oncordia Uni- versity hosted The man of letters is, in truth, ever writing his own biogra- Cits11th an- phy. — Anthony Trollope (1815–82). nual Shakespeare Authorship Studies The marvel of Shakespeare’s genius is that in his secular mir- Conference from ror the divine light also shines. April 12 to 15th, an — John Middleton Murry. occasion marked by many seminal very theatregoer and every reader can perceive the authentic papers, the launch voice, can sense the spirit, in and behind the work of the of the first graduate- Eworld’s leading dramatic poet, known as “William Shake- level programs in speare.” The First Folio (1623) of his collected plays, however, authorship studies, was only published years after his death. Of the actor, one Wil- and the signing of liam Shakespere (1564–1616) — the name never spelt as in the the “Declaration of First Folio — very little is known. Apparently neither manuscript Reasonable Doubt nor letter is extant. The many enigmas surrounding the whole about the Identity phenomenon comprise “the authorship question.” The identity of William Shake- of the Bard, according to Emerson (1803–1882), is “the first of speare.” While this all literary problems.” John Michell1 surveys the candidates with report will attempt a commendable fairness, outlining the history of the search for to summarize the the man who held the pen. -
John Heminges's Tap-House at the Globe the Theatre Profession Has A
Untitled Document John Heminges's Tap-house at the Globe The theatre profession has a long association with catering and victualling. Richard Tarlton, the leading English comic actor of the late sixteenth century, ran a tavern in Gracechurch Street and an eating house in Paternoster Row (Nungezer 1929, 354); and W. J. Lawrence found a picture of Tarlton serving food to four merchants in his establishment (Lawrence 1937, 17-38). John Heminges, actor-manager in Shakespeare's company, appears to have continued the tradition by selling alcohol at a low-class establishment directly attached to the Globe playhouse. Known as a tap-house or ale-house, this kind of shop differed from the more prestigious inns and taverns in selling only beer and ale (no wine) and offering only the most basic food and accommodation (Clark 1983, 5). Presumably at the Globe most customers were expected to take their drinks into the playhouse. The hard evidence for Heminges's tap-house is incomplete and fragmented. Augustine Phillips, a King's man, died in May 1605 and his widow Anne married John Witter. Phillips's will designated Heminges as executor in the event of Anne's remarriage (Honigmann & Brock 1992, 74) and in this capacity Heminges leased the couple an interest in the Globe (Chambers 1923, 418; Wallace 1910, 319). When the Globe had to be rebuilt after the fire of 1613, the Witters could not afford their share and the ensuing case ("Witter versus Heminges and Condell" in the Court of Requests 1619-20) left valuable evidence about the organization of the playhouse syndicate. -
Killing Shakespeare's Children: the Cases of Richard III and King John Joseph Campana
Campana, J. (2007). Killing Shakespeare’s Children: The Cases of Richard III and King John. Shakespeare, 3(1), 18–39. doi:10.1080/17450910701252271 Killing Shakespeare's Children: The Cases of Richard III and King John Joseph Campana This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles. Keywords: Children; childhood; seduction; sexuality; affect; temporality; Richard III; King John If it is fair to say that Shakespeare included in his plays more child roles than did his contemporaries (Ann Blake counts thirty; Mark Heberle counts thirty-nine), it is also fair to say Shakespeare provided a wide range of parts for those children: from pivotal roles in royal succession to trace presences as enigmatic markers of symbolic equations never perhaps to be solved. -
Historical Thread
W EAVING ON A HISTORICAL THREAD: William Camden’s Elizabethan documentaries By Geoffrey Eatough Lord Burghley, chief advisor of Queen Elizabeth I, gave William Camden access to a wide range of official documents and ordered him to take the basic elements in the reign of Elizabeth and weave them together on a historical thread. Camden gained access to a vaster range of documents than those offered by Burghley and made himself the authority on the reign. He admired Elizabeth enormously, but his history is far from uncritical. This paper reviews Camden’s conception of history as seen in his address to the reader. It then looks at the primordia of the reign, the social and religious context and the queen’s unmarried state, and also her involvement in the downfall of Mary Queen of Scots and the clumsy attempt by her and the English establishment to shift the blame for Mary’s death on to secretary William Davison. Her control weakened. In an age of expansion and dramatic overseas developments leadership necessarily devolved on to others, even to foreigners such as the persistent Dutch, and new men, such as Drake, who were not entirely answerable to the old order. Camden was an outstanding writer of Latin. His Latin as a vehicle of these modern events is a major concern of this paper. Camden’s England was very much part of Europe, and only survived as an independent nation by making the right diplomatic and military choices. It was a country of four million, with the population concentrated in the south and especially south east, compared with a French population of sixteen million and a Spanish one of eight million. -
The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries
The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries by Luke Prodromou his essay is a response to the fascinating collection of articles on the Shakespeare Authorship Question that appeared in the Winter 2019 Tissue of the journal Critical Stages (critical-stages.org/18/). Read together, those articles not only confirm that there really is a case for rea- sonable doubt about the Stratford man as the author of the works; they also suggest that pursuing this question can actually be an effective critical tool for a better understanding of those works. As a graduate of the Shakespeare Institute, Birmingham, I have often won- dered, from a scholarly point of view, why the eddies under Clopton Bridge in Stratford have seemed to arouse more curiosity as evidence linking the man from Stratford to the plays and poems of “Shakespeare” than do the growing number of details of a historical or cultural nature, which seem to me more enlightening. Scrutinizing Shakespearean texts for evidence of the author’s possible links to glove-making has consumed more scholarly energy than the abundant indications that our elusive author seems to have actually known Italy and Italian culture at first-hand and Elizabethan court life with an insider’s confidence. Even Stratfordian scholars have noticed that “the extent and loudness of the documentary silence are startling” (Worden, 2006: 24). Indeed, the chal- lenge of teasing out an explanation for this startling silence has been left to non-Stratfordians like Diana Price (see her volume, excerpted in CS 18, THE OXFORDIAN Volume 21 2019 13 The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries Shakespeare’s Unorthodox Biography, 2012). -
"Popish Tricks" and "A Ruinous Monastery" : Titus Andronicus and the Question of Shakespeare's Catholicism
"Popish Tricks" and "a Ruinous Monastery" : Titus Andronicus and the Question of Shakespeare's catholicism Autor(en): Erne, Lukas Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 13 (2000) PDF erstellt am: 06.10.2021 Persistenter Link: http://doi.org/10.5169/seals-99979 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch "Popish Tricks" and "a Ruinous Monastery": Titus Andronicus and the Question of Shakespeare's Catholicism Lukas Erne The earliest readers of Defoe's Shortest Way with the Dissenters, published anonymously in 1702, believed that its advocacy of the death penalty for dissenting preachers was serious. -
English Home Study
HOME STUDY-ENGLISH Spend approximately 40 minutes per day working through the activities in this booklet. You should try to spend at least 20 minutes per day reading something of your own choice You do not need to print the booklet out but you might want to use paper to record your responses. You should work through the activities in the order they appear in the booklet. Monday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – Shakespeare and his family 3. Check your understanding – Test Yourself Tuesday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – Context – What influenced Shakespeare’s writing. 3. Check your understanding- Brain Dump Wednesday 1. Vocabulary (5 Minutes per day) 2. Extended Response 1: Complete this task to demonstrate your understanding and return to your teacher via email for feedback. Thursday 1. Vocabulary (5 minutes per day) 2. Develop your knowledge – The Globe Theatre 3. Check your understanding – Test Yourself Friday 1. Vocabulary (5 Minutes per day) 2. Extended Response 2: Complete this task to demonstrate your understanding and return to your teacher via email for feedback. Extension Tasks: A few things you may enjoy doing if you have time. HOME STUDY-ENGLISH FOCUS ON VOCABULARY TASK: Use LOOK, COVER, WRITE, CHECK to learn the following definitions. Word Definition bard A poet; in olden times, a performer who told heroic stories to musical accompaniment brawl a noisy quarrel or fight Courtier a person who attends a royal court as a companion or adviser to the king or queen. Globe -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
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William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4 -
Julius Caesar Entire First Folio
First Folio Teacher Curriculum Guide Julius Caesar by William Shakespeare directed by David Muse April 27—July 6, 2008 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production of The Taming of the Shrew by William Shakespeare! A Brief History of the Audience…………………….1 This season, the Shakespeare Theatre Company About the Playwright presents eight plays by William Shakespeare and On William Shakespeare…………………………………3 other classic playwrights. The mission of all Education Department programs is to deepen Elizabethan England……………………………………….4 understanding, appreciation and connection to Shakespeare’s Works……………………………………….5 classic theatre in learners of all ages. One Shakespeare’s Verse and Prose……………………..7 approach is the publication of First Folio Teacher A Timeline of Western World Events…….……...9 Curriculum Guides. About the Play For the 2007-08 season, the Education Synopsis of Julius Caesar…………………….…….…10 Department will publish First Folio Teacher Following the Leader…………………………….…..…11 Curriculum Guides for our productions of The Cast of Characters……..…...………………..…………..13 Taming of the Shrew, Tamburlaine, Argonautika Brutus’ Dilemma………………..……..……………..……15 and Julius Caesar. First Folio Guides provide Friends, Romans, Countrymen … What was it information and activities to help students form like to be a Roman?.....………………………………….16 a personal connection to the play before attending the production at the Shakespeare Classroom Connections Theatre Company. First Folio Guides contain • Before the Performance……………………………18 material about the playwrights, their world and the plays they penned. Also included are (Re)Making History approaches to explore the plays and Mysticism in Julius Caesar productions in the classroom before and after What Will People do for Power? the performance.