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2014-15 Wooden O.Indd
67 The Filial Dagger: The Case of Hal and Henry IV in 1 & 2 Henry IV and The Famovs Victories Kristin M. S. Bezio University of Richmond nglish culture and politics in the last decade of the sixteenth century were both patriarchal and patrilineal, in spite of— E or, perhaps, in part, because of—the so-called bastard queen sitting on the throne. The prevailing political questions of the day concerned Elizabeth’s successor and the fate of the nation that, so many believed, hung precariously in the balance. Questions of legality, legitimacy, and fitness formed the crux of these debates, but almost all claimants attempted to justify their right by tracing their bloodlines back to either Henry VII or Edward III, the respective patriarchs of the Tudor dynasty and the houses of York and Lancaster.1 These debates hinged on the 1543 Third Act of Succession, in which Henry VIII stipulated that the heirs of his younger sister Mary (the Grey line) should take precedence over the heirs of his elder sister Margaret (the Stuart line). After Elizabeth suffered a dangerous bout with fever in 1593, these discussions intensified.2 By 1595, when Richard II, the first play in Shakespeare’s Henriad, initially appeared on stage, the conversation had spread out from the Court, appearing in public discourse, both in pamphlet and on stage. In December of 1595, the Queen’s Men were replaying an anonymous play entitled The Famous Victories of Journal of the Wooden O. Vol 14-15, 67-83 © Southern Utah University Press ISSN: 1539-5758 68 Kristin M. -
Hamlet (Arden Shakespeare: Third Series)
Hamlet (Arden Shakespeare: Third Series) PDF This self-contained, free-standing volume gives readers the Second Quarto text. In his illustrated introduction to the play’s historical, cultural, and performance contexts, Neil Taylor presents a thorough survey of critical approaches to the play.  He addresses the challenges faced in reading, editing, or acting a play with the depth of content and tradition that Hamlet possesses. He also establishes the historical and cultural context in which the play was written and explains the arguments about the merits and deficiencies of the First and Second Quarto and the First Folio. Taylor points to the many novelists, both men and women, whose work refers to or bears commonalities with Hamlet, to suggest an ongoing to need to resolve "the continuing mystery of Hamlet" in print and on stage.  An appendix contains the additional passages found only in the 1623 text, and other appendices on the editorial process, the traditions regarding the act division at 3.4/4.1, casting, and music are also included. Table of ContentsList of illustrationsGeneral editors’ prefacePrefaceINTRODUCTION The challenges of Hamlet   The challenge of acting Hamlet   The challenge of editing Hamlet   The challenge to the greatness of Hamlet: Hamlet versus Lear Hamlet in our time   The soliloquies and the modernity of Hamlet   Hamlet and Freud   Reading against the Hamlet traditionHamlet in Shakespeare’s time   Hamlet at the turn of the century   The challenge of dating Hamlet    -
Royal Shakespeare Company Returns to London's Roundhouse.Pdf
Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter. -
0844 800 1110
www.rsc.org.uk 0844 800 1110 The RSC Ensemble is generously supported by THE GATSBY CHARITABLE FOUNDATION TICKETS and THE KOVNER FOUNDATION from Charles Aitken Joseph Arkley Adam Burton David Carr Brian Doherty Darrell D’Silva This is where the company’s work really begins to cook. By the time we return to Stratford in 2010 these actors will have been working together for over a year, and equipped to bring you a rich repertoire of eight Shakespeare productions as well as our new dramatisation of Morte D’Arthur, directed by Gregory Doran. As last year’s work grows and deepens with the investment of time, so new productions arrive from our exciting new Noma Dumezweni Dyfan Dwyfor Associate Directors David Farr and Rupert Goold, who open the Phillip Edgerley Christine Entwisle season with King Lear and Romeo and Juliet. Later, our new Artistic Associate Kathryn Hunter plays her first Shakespearean title role with the RSC in my production of Antony and Cleopatra, and we follow the success of our Young People’s The Comedy of Errors with a Hamlet conceived and directed by our award winning playwright in residence, Tarell Alvin McCraney. I hope that you will come and see our work as we continue to explore just how potent a long term community of wonderfully talented artists can be. Michael Boyd Artistic Director Geoffrey Freshwater James Gale Mariah Gale Gruffudd Glyn Paul Hamilton Greg Hicks James Howard Kathryn Hunter Kelly Hunter Ansu Kabia Tunji Kasim Richard Katz Debbie Korley John Mackay Forbes Masson Sandy Neilson Jonjo O’Neill Dharmesh Patel Peter Peverley Patrick Romer David Rubin Sophie Russell Oliver Ryan Simone Saunders Peter Shorey Clarence Smith Katy Stephens James Traherne Sam Troughton James Tucker Larrington Walker Kirsty Woodward Hannah Young Samantha Young TOPPLED BY PRIDE AND STRIPPED OF ALL STATUS, King Lear heads into the wilderness with a fool and a madman for company. -
Impact Case Study (Ref3b) Institution: King’S College London
Impact case study (REF3b) Institution: King’s College London Unit of Assessment: 29 English Language and Literature Title of case study: From page to stage: editing two Shakespeare plays for use in the theatre. 1. Summary of the impact (indicative maximum 100 words) Academics at King’s have long been involved in the editing of Shakespeare. Their editions have benefited school students and teachers, general readers, and theatre practitioners. Here we describe the impact which two King’s-edited plays have had on theatrical performances and cultural life. Both were published in the Arden Shakespeare series, the general editorship of which has been located at King’s for nearly 30 years. Hamlet and King Henry the Eighth, edited by Ann Thompson (co-editor, with Neil Taylor) and Gordon McMullan respectively, were used in major theatrical productions by the RSC in 2009 and Shakespeare’s Globe in 2010. Impact is demonstrable in sales figures, directors’ statements, viewing figures, and in related media appearances by Thompson and McMullan. 2. Underpinning research (indicative maximum 500 words) King’s English Department has longstanding strengths in textual editing, especially in the editing of Shakespeare. Ann Thompson (appointed Professor in 1999) is one of the four General Editors of the Arden Shakespeare third series. Gordon McMullan (appointed Lecturer in 1995, Professor in 2007) is one of two General Textual Editors of the forthcoming third edition of the Norton Shakespeare; he is also a General Editor of the Arden Early Modern Drama series. Their aims as editors are twofold: first, to produce widely-useable high-quality texts that will introduce the non- specialist to the latest research findings; and second, to have a direct influence on the way theatre professionals research, rehearse and prepare for performance. -
I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company. -
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). -
The Polyxena Pattern
J. Weiner / PsyArt 20 (2016) 104–115 The Polyxena Pattern Jeffrey Weiner UC Davis Abstract The title of this article is based on Seneca's description of the sacrifice of Polyxena in "The Trojan Women." The fear, desire, and transcendence that the sacrificed maiden elicits in the audience put the feminine at the center of an experience of fear and wonder that characterizes Shakespearean romance. This paper explores the paradoxical, early modern concept of "amazement" in relation to traumatic wounding and gender. Focusing on Shakespeare's late romances, especially Cymbeline and The Winter's Tale, I link the experience of terror to a traumatizing "evil queen" archetype. This fantasy inspires a sense of amazement as terror and results in the punishment of another archetypal character, the sacrificed maiden. When the female figure returns as the redeeming maiden at the end of Shakespeare's romances, she allows the male spectator to approach the terror and desire that the feminine inspire in him by providing him with an escape into fantasy. Keywords Early modern, theory of the soul, amazement, terror, romance, transformation To cite as Weiner, J., 2016, ‘The Polyxena Pattern’, PsyArt 20, pp. 104–115. In Shakespeare’s Pericles, Cymbeline, and The Winter’s Tale the men succumb to their fantasies of feminine threat and allure. If we think of Shakespeare’s plays chronologically, this is not surprising given the sharpening polarization of female characters in his late tragedies, which directly precede the romances: the malevolent sisters and the misunderstood, sacrificed daughter in King Lear; maligned Desdemona, who in Othello’s mind flutters between irresistible goodness and repugnant evil; the polar opposite wives, Lady Macbeth and Lady Macduff; and, of course, the seductive, but debauched temptress Cleopatra and the self-sacrificing, chaste Octavia. -
VII Shakespeare
VII Shakespeare BRETT GREATLEY-HIRSCH, PETER J. SMITH, ELISABETTA TARANTINO, DOMENICO LOVASCIO, SHIRLEY BELL, CHRISTIAN GRIFFITHS, KATE WILKINSON, SHEILAGH ILONA O’BRIEN, AND LOUISE POWELL This chapter has three sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Criticism. Section 1 is by Brett Greatley- Hirsch; section 2 is by Peter J. Smith; section 3(a) is by Elisabetta Tarantino; section 3(b) is by Domenico Lovascio; section 3(c) is by Shirley Bell; section 3(d) is by Christian Griffiths; section 3(e) is by Kate Wilkinson; section 3(f) is by Sheilagh Ilona O’Brien; section 3(g) is by Louise Powell. 1. Editions and Textual Studies Readers will, I hope, forgive the relative brevity and narrow scope of this section as a necessary consequence of accepting the YWES brief three-quarters into the year. To avoid piecemeal, superficial treatment of the full range of this year’s offerings in Shakespearean textual studies, I limit my focus to a more manageable section of scholarship: studies in authorship attribution and the apocrypha. My discussion thus excludes a great deal of interesting and important work across a field whose vibrancy and rapid evolution is reflected by the range of topics brought together in Margaret Jane Kidnie and Sonia Massai’s Shakespeare and Textual Studies (CUP). My capacity as interim caretaker of this section similarly does not allow me to give the third edition of The Norton Shakespeare (Norton) and three impressive monographs — Laura Estill’s Dramatic Extracts in Seventeenth-Century English Manuscripts (UDelP), Judith Milhous and Robert D. -
PARTICIPATION and COOPERATION in ARTS EDUCATION « ELTE TERMÉSZETTUDOMÁNYI KAR BUDAPEST in Focus: Drama and Theatre Education
| | » PARTICIPATION AND COOPERATION IN ARTS EDUCATION « ELTE TERMÉSZETTUDOMÁNYI KAR BUDAPEST in focus: Drama and Theatre Education BOOK OF PROCEEDINGS SCIENTIFIC PROGRAMME COMMITTEE Gábor BODNÁR, ELTE University, Faculty of Humanities, Music Department Andrea KÁRPÁTI, MTA-ELTE Visual Culture Research Group and Corvinus University of Budapest Katalin KISMARTONY, ELTE University, Faculty of Primary and Early Childhood Education, Department of Classroom Music Virág KISS, ELTE Bárczi Gusztáv Faculty of Special Needs Education, Eszterházy Károly University Nedda KOLOSAI, ELTE University, Faculty of Primary and Early Childhood Education, Department of Education Géza Máté NOVÁK, ELTE Bárczi Gusztáv Faculty of Special Needs Education, Conference Chair László TRENCSÉNYI, ELTE University, Faculty of Education and Psychology, Institute of Education ORGANISING COMMITTEE Tibor DARVAI, ELTE Bárczi Gusztáv Faculty of Special Needs Education Tímea JUHÁSZ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Virág KISS, ELTE Bárczi Gusztáv Faculty of Special Needs Education EDITOR Mária LOSONCZ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Patrick MULLOWNEY, ELTE Bárczi Gusztáv Faculty of Special Needs Education Géza Máté NOVÁK Krausz Éva PÓTHNÉ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Katalin SÁNDOR, ELTE Bárczi Gusztáv Faculty of Special Needs Education REVIEWERS Gyula SZAFFNER, ELTE Bárczi Gusztáv Faculty of Special Needs Education Gábor BODNÁR Katalin TAMÁS, ELTE Bárczi Gusztáv Faculty of Special Needs Education Emil GAUL -
TEACHING SHAKESPEARE 12 Summer 2017 TEACHING SHAKESPEARE in HANOI
ISSUE 12 FIRST EVER ðSUMMERð ISSUE POLICY • PEDAGOGY • PRACTICE Summer 2017 ISSN 2049-3568 (Print) • ISSN 2049-3576 (Online) TAILOR TEACHING TO ASD STUDENTS WITH SUSIE FLINTHAM AND CHARLOTTE ROBERTS TALK BACK TO OTHELLO WITH AMY SMITH, HER STUDENTS AND JUVENILE OFFENDERS TOUR THE FOLGER SHAKESPEARE LIBRARY PROMPT BOOKS WITH ADAM MATTHEW Find this magazine and more at the BSA Education Network’s webpage www.britishshakespeare.ws/education/ NOTICEBOARD Photograph © Claudio Divizia / Shutterstock.com © Photograph THE BSA CONFERENCE The BSA is proud to announce the locations, institutional partners and themes of its next three conferences: • SHAKESPEARE STUDIES TODAY 14–17 June 2018, Queen’s University, Belfast • SHAKESPEARE: RACE AND NATION July 2019, Swansea University • SHAKESPEARE IN ACTION July 2020, University of Surrey The BSA conference is the largest regular Shakespeare conference in the United Kingdom, bringing together researchers, teachers, and theatre practitioners from all SHARE YOUR VIEWS over the world to share the latest work on Shakespeare With Teaching Shakespeare now firmly in double figures, and his contemporaries. From 2018, the BSA conference we thought this would be a good time to check in with our will become an annual event, having previously been held readers and ask for your views on and experiences with us. every two years. The BSA is delighted that high demand A ten-question survey which should take no more than ten has enabled us to increase the frequency of this, our minutes of your time to answer, to help us serve the BSA flagship event. BSA conferences include a wide range community even better, can be found at: of sessions and events, including academic lectures by www.surveymonkey.co.uk/r/JRDLVHL internationally renowned Shakespeare critics, talks by celebrated practitioners and practical workshops. -
Renaissance Drama Professor Maura Tarnoff Fall 2010, Tues, 5:30-8Pm PR 15 Office Hours: MW, 5:30-6:30; 1-5Pm (Manresa Hall) Email: [email protected]
ENGL 631: Renaissance Drama Professor Maura Tarnoff Fall 2010, Tues, 5:30-8pm PR 15 Office hours: MW, 5:30-6:30; 1-5pm (Manresa Hall) Email: [email protected] This survey of early modern English drama will traverse and hopefully challenge the traditional period boundaries of "medieval" and "Renaissance." While we will attend to differences in genre and historical context, we will also seek out points of continuity and comparison as we move from readings of late medieval mystery and morality plays to dramatic works by Shakespeare and his contemporaries. How does the economic language of interiority, emerging from pre-Reformation rituals of penance, serve to connect Everyman (where the soul is an account book to be balanced) with the representation and quantification of selfhood in Christopher Marlowe's Doctor Faustus ? To what extent do the conventions of allegory inform the language of difference (moral, social, national, racial, gendered etc.) in Shakespeare's Hamlet or Philip Massinger’s The Renegado ? We will conclude with a play whose place within early modern dramatic history is currently being contested, namely Double Falsehood , the eighteenth-century alleged revision of a lost play by Shakespeare and John Fletcher based on an episode from Don Quixote . Required Texts: Brean Hammond, ed. Double Falsehood (Arden Shakespeare, 2009) Ben Jonson, The Alchemist and Other Plays (Oxford World’s Classics, 2008) Christopher Marlowe, The Complete Plays (Penguin Classics, 2003) Philip Massinger, The Renegado (Arden 2010) William Shakespeare, Othello (Arden Shakespeare 2001) Requirements: -Regular attendance and participation 10% -Two essays: 5-7 pages and 8-10 pages. The fi8rst essay will focus on applying a particular theoretical approach to a reading of one or more of the dramatic texts covered.