DOCSLIB.ORG

MET OPERA HD 2017-18 Season

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
MET OPERA HD 2017-18 Season MET OPERA HD 2017-18 Season Individual Ticket Prices: $24.00 Adult ONLY AVAILABLE AT THE DOOR Mix & Match Ticket Pass - $144.00 – Choose 8 shows from either The Met Opera, Bolshoi or NT Live, all for the price of 6! On Sale In Advance Now. Limited Number. Doors open 30 minutes prior to show times. NORMA (3hrs4min) new production This new production of Bellini’s masterpiece stars Sondra Radvanovsky as the Druid priestess and Joyce DiDonato as her rival, Adalgisa—a casting coup for bel canto fans. Tenor Joseph Calleja is Pollione, Norma’s unfaithful lover, and Carlo Rizzi conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule. Showtimes: Saturday October 7 9:55AM DIE ZAUBERFLOTE (3hrs9min) Music Director Emeritus James Levine conducts the full-length, German version of Mozart’s magical fable, seen in Julie Taymor’s spectacular production, which captures both the opera’s earthy comedy and its noble mysticism. Showtimes: Saturday October 14 9:55AM THE EXTERMINATING ANGEL (2hrs27min) new production The Met presents the American premiere of Thomas Adès’s The Exterminating Angel, inspired by the classic Luis Buñuel film of the same name. Hailed by the New York Times at its 2016 Salzburg Festival premiere as “inventive and audacious … a major event,” The Exterminating Angel is a surreal fantasy about a dinner party from which the guests can’t escape. Tom Cairns, who wrote the libretto, directs the new production, and Adès conducts his own adventurous new opera. Showtimes: Saturday November 18 9:55 AM TOSCA (2hrs53min) new production Rivaling the splendor of Franco Zeffirelli’s Napoleonic-era sets and costumes, Sir David McVicar’s ravishing new production offers a splendid backdrop for extraordinary singing. Kristine Opolais stars as the title prima donna alongside Vittorio Grigolo and Bryn Terfel. Andris Nelsons conducts. Showtimes: Saturday January 27 9:55 AM L’ELISIR D’AMORE (2hrs39min) Pretty Yende debuts a new role at the Met as the feisty Adina, opposite Matthew Polenzani, who enthralled Met audiences as Nemorino in 2013 with his ravishing “Una furtiva lagrima.” Bartlett Sher’s production is charming, with deft comedic timing, but also emotionally revealing. Domingo Hindoyan conducts. Showtimes: Saturday February 10 9:00 AM ** LA BOHEME (2hrs55min) The world’s most popular opera returns in Franco Zeffirelli’s classic production starring a cast of young stars, including Sonya Yoncheva as the fragile Mimì and Michael Fabiano as the poet Rodolfo. Marco Armiliato conducts. Showtimes: Saturday February 24 9:30 AM ** SEMIRAMIDE (4hrs2min) This masterpiece of dazzling vocal fireworks makes a rare Met appearance—its first in nearly 25 years—with Maurizio Benini on the podium. The all-star bel canto cast features Angela Meade in the title role of the murderous Queen of Babylon, who squares off in breathtaking duets with Arsace, a trouser role sung by Elizabeth DeShong. Javier Camarena, Ildar Abdrazakov, and Ryan Speedo Green complete the stellar cast. Showtimes: Saturday March 10 9:55 AM COSI FAN TUTTE (3hrs31min) new production A winning cast comes together for Phelim McDermott’s clever vision of Mozart’s comedy about the sexes, set in a carnival- esque environment inspired by 1950s Coney Island. Manipulating the action are the Don Alfonso of Christopher Maltman and the Despina of Tony Award–winner Kelli O’Hara, with Amanda Majeski, Serena Malfi, Ben Bliss, and Adam Plachetka as the pairs of young lovers who test each other’s faithfulness. David Robertson conducts. Showtimes: Saturday March 31 9:55 AM LUISA MILLER (3hrs38min) James Levine and Plácido Domingo add yet another chapter to their legendary Met collaboration with this rarely performed Verdi gem, a heart-wrenching tragedy of fatherly love. Sonya Yoncheva sings the title role opposite Piotr Beczała in the first Met performances of the opera in more than ten years. Showtimes: Saturday April 14 9:30 AM ** CENDRILLON (2hrs47min) new production For the first time ever, Massenet’s sumptuous take on the Cinderella story comes to the Met. Joyce DiDonato stars in the title role, with mezzo-soprano Alice Coote in the trouser role of Prince Charming, Kathleen Kim as the Fairy Godmother, and Stephanie Blythe as the imperious Madame de la Haltière. Bertrand de Billy conducts Laurent Pelly’s imaginative storybook production. Showtimes: Saturday April 28 9:55 AM Want to be the first to know what’s coming? Join our email list by emailing [email protected] BOLSHOI BALLET HD 2017-18 Season Individual Ticket Prices: $24.00 Adult $12.00 child under 12yrs ONLY AVAILABLE AT THE DOOR. Mix & Match Ticket Pass - $144.00 – Choose 8 shows from either the The Met Opera, Bolshoi or NT Live all for the price of 6! On Sale In Advance Now. Doors open 30min prior to show times. ROMEO & JUILET Bolshoi Ballet (2hrs30min) Showtimes: Sunday January 21 9:55AM In Verona, Romeo and Juliet fall madly in love while their respective families, the Montagues and the Capulets, are caught in a bitter rivalry ending in heart-wrenching tragedy… Alexei Ratmansky, former artistic director of the Bolshoi Ballet, stages the company’s premiere of his production with dramatic urgency and a fresh re-telling of Shakespeare’s beloved classic. His brilliant and detailed adaptiation set to Prokofiev’s romantic and cinematic score, reignites the story of literature’s most celebrated star-crossed lovers like no other classical ballet choreographer today. FLAMES OF PARIS Bolshoi Ballet (2hrs15min) Showtimes: Sunday March 4 9:55AM In the era of the French Revolution, Jeanne and her brother Jérôme leave Marseille for Paris in support the revolutionary effort that is taking over the capital. While fighting for freedom, they both encounter love along the way… Very few ballets can properly depict the Bolshoi’s overflowing energy and fiery passion as can Alexei Ratmansky’s captivating revival of Vasily Vainonen’s The Flames of Paris. With powerful virtuosity and some of the most stunning pas de deux, the Bolshoi Ballet displays an exuberance almost too enormous for the Moscow stage. COPPELIA Bolshoi Ballet (2hrs45min) Showtimes: Sunday June 10 9:55am Swanhilda notices her fianceé Franz is infatuated with the beautiful Coppélia who sits reading on her balcony each day. Nearly breaking up the two sweethearts, Coppélia is not what she seems and Swanhilda decides to teach Franz a lesson… The Bolshoi’s unique version of Coppélia exhibits a fascinating reconstruction of the original 19th century choreography of this ebullient comedy involving a feisty heroine, a boyish fianceé with a wandering eye, and an old dollmaker. The company’s stunning corps de ballet shines in the divertissements and famous “dance of the hours,” and its principals abound in youthful energy and irresistible humor in this effervescent production. Stay tuned for more exciting content. Want to be the first to know what’s coming? Join our email list by emailing [email protected] NT LIVE HD 2017-18 Season Individual Ticket Prices: $24.00 Adult $12.00 child under 12yrs ONLY AVAILABLE AT THE DOOR. Mix & Match Ticket Pass - $144.00 – Choose 8 shows from either the The Met Opera, Bolshoi or NT Live all for the price of 6! On Sale In Advance Now. Doors open 30min prior to show times. PETER PAN (2hrs49min) Showtimes: Thursday October 19 7:00 PM All children, except one, grow up… When Peter Pan, leader of the Lost Boys, loses his shadow, headstrong Wendy helps him to reattach it. In return, she is invited to Neverland, where Tinker Bell the fairy, Tiger Lily and the vengeful Captain Hook await. A riot of magic, music and make-believe ensues. A delight for children and adults alike, Sally Cookson (NT Live: Jane Eyre) directs this wondrously inventive production, a co-production with Bristol Old Vic theatre. YOUNG MARX (3hrs40min) Showtimes: Thursday December 7 7:00 PM Rory Kinnear (The Threepenny Opera, Penny Dreadful, Othello) is Marx and Oliver Chris (Twelfth Night, Green Wing) is Engels, in this new comedy written by Richard Bean and Clive Coleman. 1850, and Europe’s most feared terrorist is hiding in Dean Street, Soho. Broke, restless and horny, the thirty- two-year-old revolutionary is a frothing combination of intellectual brilliance, invective, satiric wit, and child- like emotional illiteracy. Creditors, spies, rival revolutionary factions and prospective seducers of his beautiful wife all circle like vultures. His writing blocked, his marriage dying, his friend Engels in despair at his wasted genius, his only hope is a job on the railway. But there’s still no one in the capital who can show you a better night on the piss than Karl Heinrich Marx. FOLLIES (3hrs30min) Showtimes: Thursday January 25 7:00 PM New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, it’s directed by Dominic Cooke (The Comedy of Errors). Winner of Academy, Tony, Grammy and Olivier awards. Stay tuned for more exciting content. Want to be the first to know what’s coming? Join our email list by emailing [email protected] .
Load more

Recommended publications
  • Cinematic Hamlet Arose from Two Convictions
    INTRODUCTION Cinematic Hamlet arose from two convictions. The first was a belief, confirmed by the responses of hundreds of university students with whom I have studied the films, that theHamlet s of Lau- rence Olivier, Franco Zeffirelli, Kenneth Branagh, and Michael Almereyda are remarkably success- ful films.1 Numerous filmHamlet s have been made using Shakespeare’s language, but only the four included in this book represent for me out- standing successes. One might admire the fine acting of Nicol Williamson in Tony Richard- son’s 1969 production, or the creative use of ex- treme close-ups of Ian McKellen in Peter Wood’s Hallmark Hall of Fame television production of 1 Introduction 1971, but only four English-language films have thoroughly transformed Shakespeare’s theatrical text into truly effective moving pictures. All four succeed as popularizing treatments accessible to what Olivier’s collabora- tor Alan Dent called “un-Shakespeare-minded audiences.”2 They succeed as highly intelligent and original interpretations of the play capable of delight- ing any audience. Most of all, they are innovative and eloquent translations from the Elizabethan dramatic to the modern cinematic medium. It is clear that these directors have approached adapting Hamlet much as actors have long approached playing the title role, as the ultimate challenge that allows, as Almereyda observes, one’s “reflexes as a film-maker” to be “tested, battered and bettered.”3 An essential factor in the success of the films after Olivier’s is the chal- lenge of tradition. The three films that followed the groundbreaking 1948 version are what a scholar of film remakes labels “true remakes”: works that pay respectful tribute to their predecessors while laboring to surpass them.4 As each has acknowledged explicitly and as my analyses demonstrate, the three later filmmakers self-consciously defined their places in a vigorously evolving tradition of Hamlet films.
    [Show full text]
  • Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar
    Journal of Religion & Film Volume 3 Issue 2 October 1999 Article 2 October 1999 Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Mark Goodacre University of Birmingham, [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Goodacre, Mark (1999) "Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar," Journal of Religion & Film: Vol. 3 : Iss. 2 , Article 2. Available at: https://digitalcommons.unomaha.edu/jrf/vol3/iss2/2 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Do You Think You're What They Say You Are? Reflections on Jesus Christ Superstar Abstract Jesus Christ Superstar (dir. Norman Jewison, 1973) is a hybrid which, though influenced yb Jesus films, also transcends them. Its rock opera format and its focus on Holy Week make it congenial to the adaptation of the Gospels and its characterization of a plausible, non-stereotypical Jesus capable of change sets it apart from the traditional films and aligns it with The Last Temptation of Christ and Jesus of Montreal. It uses its depiction of Jesus as a means not of reverence but of interrogation, asking him questions by placing him in a context full of overtones of the culture of the early 1970s, English-speaking West, attempting to understand him by converting him into a pop-idol, with adoring groupies among whom Jesus struggles, out of context, in an alien culture that ultimately crushes him, crucifies him and leaves him behind.
    [Show full text]
  • Mary in Film
    PONT~CALFACULTYOFTHEOLOGY "MARIANUM" INTERNATIONAL MARIAN RESEARCH INSTITUTE (UNIVERSITY OF DAYTON) MARY IN FILM AN ANALYSIS OF CINEMATIC PRESENTATIONS OF THE VIRGIN MARY FROM 1897- 1999: A THEOLOGICAL APPRAISAL OF A SOCIO-CULTURAL REALITY A thesis submitted to The International Marian Research Institute In Partial Fulfillment of the Requirements for the degree Licentiate of Sacred Theology (with Specialization in Mariology) By: Michael P. Durley Director: Rev. Johann G. Roten, S.M. IMRI Dayton, Ohio (USA) 45469-1390 2000 Table of Contents I) Purpose and Method 4-7 ll) Review of Literature on 'Mary in Film'- Stlltus Quaestionis 8-25 lli) Catholic Teaching on the Instruments of Social Communication Overview 26-28 Vigilanti Cura (1936) 29-32 Miranda Prorsus (1957) 33-35 Inter Miri.fica (1963) 36-40 Communio et Progressio (1971) 41-48 Aetatis Novae (1992) 49-52 Summary 53-54 IV) General Review of Trends in Film History and Mary's Place Therein Introduction 55-56 Actuality Films (1895-1915) 57 Early 'Life of Christ' films (1898-1929) 58-61 Melodramas (1910-1930) 62-64 Fantasy Epics and the Golden Age ofHollywood (1930-1950) 65-67 Realistic Movements (1946-1959) 68-70 Various 'New Waves' (1959-1990) 71-75 Religious and Marian Revival (1985-Present) 76-78 V) Thematic Survey of Mary in Films Classification Criteria 79-84 Lectures 85-92 Filmographies of Marian Lectures Catechetical 93-94 Apparitions 95 Miscellaneous 96 Documentaries 97-106 Filmographies of Marian Documentaries Marian Art 107-108 Apparitions 109-112 Miscellaneous 113-115 Dramas
    [Show full text]
  • Ronald Davis Oral History Collection on the Performing Arts
    Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability.
    [Show full text]
  • FINAL SALUTE Each Year We Note the Passing of Influential Creators, Performers, and Institutions
    FINAL SALUTE Each year we note the passing of influential creators, performers, and institutions. These passings occurred between SoonerCon 28 and the original date for SoonerCon 29. American actress and singer Peggy Lipton passed away May 11, 2019. Her best-known acting role was as undercover cop Julie Barnes on The Mod Squad, 1968-1973. She won a new generation of fans when she ran the Double R Diner as Norma Jennings, in Twin Peaks. Doris Day was a big-band singer, TV and film actress, and talk-show host. She won several awards for comedy and popularity. She was also an activist for animal welfare, lending her star power to several organizations bearing her name. She died May 13, 2019. Domestic cat Tardar Sauce was better known as the meme she unwittingly founded: Grumpy Cat. Dwarfism contributed to her scowling face, which graced ads for Friskies and General Mills Honey Nut Cheerios. The frowning feline cashed in her lives on May 14, 2019. The career of the inspired Tim Conway began in 1962 and lasted through TV, movies, voice-overs, and video games. Among his noted appearances were the goofy Dorf; four years on McHale ‘s Navy; eleven years on The Carol Burnett Show; several solo TV shows; and as Barnacle Boy, 1999-2012, on SpongeBob SquarePants. Conway took his final bow on May 14, 2019. Born in China, I.M. Pei moved to America in 1935 and in 1948 became a professional architect. He designed the John F. Kennedy Library, which took until 1979 to complete. In 1962 he was selected by OKC’s Urban Renewal Authority to redesign our downtown.
    [Show full text]
  • American Heritage Center
    UNIVERSITY OF WYOMING AMERICAN HERITAGE CENTER GUIDE TO ENTERTAINMENT INDUSTRY RESOURCES Child actress Mary Jane Irving with Bessie Barriscale and Ben Alexander in the 1918 silent film Heart of Rachel. Mary Jane Irving papers, American Heritage Center. Compiled by D. Claudia Thompson and Shaun A. Hayes 2009 PREFACE When the University of Wyoming began collecting the papers of national entertainment figures in the 1970s, it was one of only a handful of repositories actively engaged in the field. Business and industry, science, family history, even print literature were all recognized as legitimate fields of study while prejudice remained against mere entertainment as a source of scholarship. There are two arguments to be made against this narrow vision. In the first place, entertainment is very much an industry. It employs thousands. It requires vast capital expenditure, and it lives or dies on profit. In the second place, popular culture is more universal than any other field. Each individual’s experience is unique, but one common thread running throughout humanity is the desire to be taken out of ourselves, to share with our neighbors some story of humor or adventure. This is the basis for entertainment. The Entertainment Industry collections at the American Heritage Center focus on the twentieth century. During the twentieth century, entertainment in the United States changed radically due to advances in communications technology. The development of radio made it possible for the first time for people on both coasts to listen to a performance simultaneously. The delivery of entertainment thus became immensely cheaper and, at the same time, the fame of individual performers grew.
    [Show full text]
  • Media Release Glenn Close to Receive Zurich Film Festival's
    Media Release Glenn Close to receive Zurich Film Festival’s Golden Icon Award and present THE WIFE alongside Jonathan Pryce, Annie Starke and director Björn Runge Zurich, August 10, 2017 Glenn Close will receive the Golden Icon Award at this year’s Festival, which takes place from September 28 to October 8, 2017. The Golden Icon Award is the Festival’s most prestigious symbol of recognition, in appreciation of the lifetime achievements of an actor or actress. Glenn Close will be honored with the award on Sunday October 1. Ms Close will also present her latest film, THE WIFE with her co-stars Jonathan Pryce and Annie Starke and director Björn Runge. THE WIFE Behind any great man, there’s always a greater woman … and you’re about to meet her. It is crucial you get to know this woman – many of us already do and don't even realise it. Joan Castleman (Glenn Close): a highly intelligent and still-striking beauty - the perfect alpha wife. Forty years spent sacrificing her own talent, dreams and ambitions to fan the flames of her charismatic husband Joe (Jonathan Pryce) and his skyrocketing literary career. Ignoring his infidelities and excuses because of his "art" with grace and humour. Their fateful pact has built a marriage upon uneven compromises. And Joan’s reached her breaking point. On the eve of Joe’s Nobel Prize for Literature, the crown jewel in a spectacular body of work, Joan's coup de grace is to confront the biggest sacrifice of her life and secret of his career.
    [Show full text]
  • Conversation with Franco Zeffirelli by Giorgio Tabanelli
    Conversation with Franco Zeffirelli By Giorgio Tabanelli When a great twentieth-century Italian poet – Giuseppe Ungaretti – turned eighty he jokingly said to his friends that he was four times twenty years old. In reality the unit of measure with which one prepared to calculate the length of time lived was not a strange notion; it was merely the only known unit of ratio as to real poets and real artists is granted the special grace of eternal youth and sacred immortality. This is what happens with Franco Zeffirelli in the act of paying him homage: acknowledging that youth never extinguished nor placated and a genius that goes beyond mortal time. Many ask why in Italy fate, or destiny, or in any case an inscrutable superior will, has entrusted Florentines and Tuscans over the centuries with a particular mission, that of holding high the flag of human genius, of presenting it and testifying it to men through forms of art and human expression. And perhaps there are many who wonder why such an enviable gift is given by fortune to few chosen men whose personality and character sometimes seem to contradict, whether in a veiled or spectacular manner, the high task assigned to them. But as Zeffirelli himself reminds us in the long conversation he wanted to grant us, it is a system of natural defence able to protect the personality of artists from a world that seems to be straying more and more from true ideals and humane dimensions. In other words, the high skill of artists is to draw men back to their humanity, to their sense of responsibility and to remind them that without love and without passion for life the world would be nothing but an arid sandglass and a sad quagmire devoid of hope and meaning.
    [Show full text]
  • Queering the Shakespeare Film: Gender Trouble, Gay Spectatorship and Male Homoeroticism
    Guy Patricia, Anthony. "INDEX." Queering the Shakespeare Film: Gender Trouble, Gay Spectatorship and Male Homoeroticism. London: Bloomsbury Arden Shakespeare, 2017. 259– 292. Bloomsbury Collections. Web. 1 Oct. 2021. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 14:06 UTC. Copyright © Anthony Guy Patricia 2017. 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. INDEX a word and a blow (William all-male (sauna) xxiv, 74–5, 87, Shakespeare’s Romeo + 97, 185, 196–7, 200–1, Juliet) 115 219 abnormal/ity 8, 45, 202 Amazon/ian/s 3, 6, 32, 225 Achilles 117 n.25 active 58, 60, 63, 66 America/n xiv–xv, xvii, xxi, 1, adaptation/s xx–xxi, xxvii, 2, 73, 90, 190, 192, 197, 4, 9, 25, 30, 37, 43, 54, 201, 206, 214, 215, 221 56, 68, 82, 84–5, 90, n.8, 222 n.2, 230 n.10, 109, 138, 174, 182, 190, 237 n.33, 245 n.39, 230 n.5, 237 n.29, 253 246 n.1, 247, 249, Adelman, Janet 140, 240 n.9, 250 249 anachronism 68, 115, 186 Adler, Renata 55, 216, 232 anal penetration 63 n.39, 249 anality 30, 63, 66–7, 244 n.12, adult/child eroticism 29–30 256 adulterous 28 anal-retentive 186 adultery 188, 209–10 anatomizes 199 Adventures of Priscilla, Queen Ancient Assyria 50 of the Desert, The (Film, Anderegg, Michael 190 dir. Stephan Elliot, 1994) androgynous 161 110 Anger, Kenneth 226 n.36 affection/s/ate 36, 56, 70–1, 81, Anglophone xxii, 28, 219 113, 142, 144, 148, 151, anthropomorphic 21 165, 171,
    [Show full text]
  • Intersectionality in Jane Eyre and Its Adaptations Laurel Loh University of Arkansas, Fayetteville
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UARK University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2015 Intersectionality in Jane Eyre and its Adaptations Laurel Loh University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Film Studies Commons, Literature in English, British Isles Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Loh, Laurel, "Intersectionality in Jane Eyre and its Adaptations" (2015). Theses and Dissertations. 1105. http://scholarworks.uark.edu/etd/1105 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Intersectionality in Jane Eyre and Its Adaptations Intersectionality in Jane Eyre and Its Adaptations A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in English by Laurel Loh University of Arkansas Bachelor of Science in International Business, 2002 May 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________________ Dr. Lissette Lopez Szwydky Thesis Director __________________________ __________________________ Dr. Vivian Davis Dr. Sean Dempsey Committee Member Committee Member Abstract During the almost 170 years since Jane Eyre was published, there have been numerous adaptations in many different mediums and genres, such as plays, films, musicals, graphic novels, spin-off novels, and parodies. The novel has been read in many different critical traditions: liberal humanist, historicist, feminist, and postcolonial approaches dealing with topics such as the problem of female authorship and consciousness.
    [Show full text]
  • Classic Repertory Company STUDY GUIDE William Shakespeare’S ROMEO and JULIET
    classic repertory company STUDY GUIDE William Shakespeare’s ROMEO AND JULIET Education Outreach Supporters Funded in part by generous individual contributors, the National Endowment for the Arts, Massachusetts Cultural Council, Foundation for MetroWest, Esther B. Kahn Foundation, Fuller Foundation, The Marshall Home Fund, Peter Fuller Car Rentals, Roy A. Hunt Foundation, and Watertown Community Foundation. This program is also supported in part by grants from the Andover Cultural Council, Framingham Cultural Council, Hudson Cultural Council, Hull Cultural Council, Saugus Cultural Council, Waltham Cultural Council, Watertown Cultural Council, and Westford Cultural Council, local agencies which are supported by the Massachusetts Cultural Council, a state agency. NEW REP ADMINISTRATIVE OFFICE 400 TALCOTT AVENUE | BUILDING 131, 3RD FLOOR WATERTOWN, MA 02472 in residence at the artistic director michael j. bobbitt mosesian center for the arts A Timeline of Shakespeare’s Life 1564 Born in Stratford-upon-Avon 1582 Marries Anne Hathaway 1585 Moves to London to pursue theatre career 1592 London closes theatres due to plague 1593 Starts to write sonnets 1594 Publishes first works of poetry 1594 Starts managing, as well as writing for, the Lord Chamberlain’s Men 1596 Romeo and Juliet first performed 1599 Lord Chamberlain’s Men begin performing at the newly built Globe Theater 1603 The Lord Chamberlain’s Men is renamed the King’s Men in honor of the new King James’ patronage 1604 Retires from acting 1613 The Globe Theatre burns down 1614 The Globe Theatre is rebuilt 1616 Dies and is buried at Holy Trinity Church NATIONAL PORTRAIT GALLERY, LONDON PORTRAIT GALLERY, NATIONAL in Stratford-Upon-Avon C.1600 JOHN TAYLOR THE CHANDOS PORTRAIT, adapted from http://absoluteshakespeare.com/trivia/timeline.htm Biography William Shakespeare was born in Stratford-upon-Avon in 1564.
    [Show full text]
  • Sample Pages
    About This Volume Robert C. Evans 7KHSUHVHQWYROXPHLVLQWHQGHGWRSURYLGHDGHOLEHUDWHO\GLYHUVHVHW of responses to Romeo and Juliet, one of Shakespeare’s best-known tragedies. Nevertheless, the essays do share many common interests. Not surprisingly (for instance), the famous “balcony scene” is the VXEMHFWRIPXFKFRPPHQWDU\E\YDULRXVHVVD\LVWV7ZRHVVD\VORRN DW VSHFL¿F VHFWLRQV RI WKDW VFHQH IURP PXOWLSOH SHUVSHFWLYHV ,Q DGGLWLRQWZRHVVD\VH[DPLQH¿OPHGYHUVLRQVRI6KDNHVSHDUH¶VSOD\ while another two other essays examine parodies of his well-known text. Multiple essays are concerned with issues of physical space in the play, and various essays explore issues of LPDJLQDWLRQDUWL¿FH and DUWL¿FLDOLW\LQWKHZRUN6RWKHIROORZLQJYROXPHLVDFROOHFWLRQ employing varied points of view but also sharing many of the same concerns. In the essay that introduces this volume, Bruce Boehrer offers a view of Shakespeare’s play “as essentially an adaptive and living being, one that exists in a kind of ecological tension with its sources as well as with certain shifts in relation to time and space consistent with the development of early modern urban life.” Boehrer views Shakespeare’s text “as a recycled play emerging from a centuries-old VWRU\VHTXHQFHDSOD\WKDWUHYLVHVWKDWVWRU\VHTXHQFHVSHFL¿FDOO\ by changing its relation to the recurring cycles of the traditional church calendar,” so that “it gives voice in the process to a fear that the cycle of human generational renewal will fail. Here,” Boehrer claims, “the play’s relationship to A Midsummer Night’s Dream appears most manifest.” Like many other essays in this volume, this article is keenly interested in topics of intertextuality—of relations between one text and others. But Boehrer also relates Shakespeare’s play to issues of Shakespeare’s life—a OLIHUHYLHZHGEULHÀ\LQDQ ensuing biographical overview that follows Boehrer’s article.
    [Show full text]