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Identity, Desire, and Theater in As You Like It and Macbeth
S. Chatas “ALL THE WORLD’S A STAGE” Identity, Desire, and Theater in As You Like It and Macbeth by Sophie H. Chatas Christopher Pye, Advisor A thesis submitted in partial fulfillment of the requirement for the Degree of Bachelor of Arts with Honors in English WILLIAMS COLLEGE Williamstown, Massachusetts April 19th, 2016 S. Chatas TABLE OF CONTENTS Introduction: The World on the Stage………………………………………………...1 I. “If I were a woman”: Losing Boundaries in As You Like It………………………..6 II. “Unsex me here”: Redefining Self in Macbeth…...………………………………25 Conclusion: Theater and the World...………………………………………………..50 Bibliography...………………………………………………………………….……52 S. Chatas ACKNOWLEDGEMENTS I owe a great deal of thanks to Professor Chris Pye, without whom this thesis likely would not have been possible and unquestionably would not have been as rewarding. I am immensely grateful for his thoughtful feedback, valuable guidance, and unending support, as well as his willingness to both challenge and encourage me at every turn. I would also like to thank my friends for letting me ramble to them about Shakespeare and for always believing in me, even—and especially—when I doubted myself. And finally, to my parents and brother, who inspire me and whose support means more to me than I can express: thank you for everything. S. Chatas INTRODUCTION: THE WORLD ON THE STAGE The Renaissance was a time marked by a fascination with subjectivity and inner life. Public laws and social norms were intimately linked to the personal, interior sphere and conceptions of self. Primogeniture weighed on relationships between brothers and between fathers and sons;1 official and unwritten rules requiring clothing to align with class and gender pervaded individual choices and understandings of gender (and reflected the lack of scientific understanding of sexual difference);2 there were even laws that regulated public lamentation.3 Of course, the exchange between these external social structures and rules and the inner world did not flow in only one direction. -
Member Association AFTRA / AEA / SAG Hassan El-Amin Height
Member Association A.F.T.R.A. / A.E.A. / SAG Hassan El-Amin Height: 6’ Weight: 212lb Theatres Roles Directors Resident Ensemble Players August: Osage County Bill Fordham Jackson Gay Murder on the Orient Express Samuel Ratchett Sanford Robbins The Crucible Thomas Putnam Ben Barnes Lettice and Lovage Mr. Bardolph Steve Tague Woman in Mind Andy Jackson Gay Minor Fantastical Kingdom Bernard Mark Lamos Inherit the Wind Rev. Brown Sanford Robbins Fences Troy Maxson Cameron Knight The MountainTop Martin Luther King Jr. Walter Dallas From the Author Of Dax Jade King Carroll A Flea in her Ear Dr. Finache Mark Lamos Twelfth Night Antonio Maria Aitken God of Carnage Michael Novak Kate Buckley Clybourne Park Albert/Kevin Lee E. Ernst The Bells Jim Theresa Rebeck The Elephant Man Dr. Carr Gomm Sanford Robbins Dallas Theatre Center Christmas Carol Jacob Marley Joe Ferrell In the Beginning God / Ensemble Kevin Moriarty It’s a Bird, It’s a Plane, It’s Superman! Perry White Kevin Moriarty Death of a Salesman Uncle Ben Amanda Dehnert Henry IV Northumberland Kevin Moriarty God of Carnage Michael Joe Ferrell King Lear Earl of Kent Kevin Moriarty The Odd Couple Roy Kevin Moriarty Fly (2013) Pirate Jeffery Seller A Raisin in the Sun Bobo Tre Garrett Clybourne Park Albert/Kevin Joel Ferrell Sherlock Holmes King of Bohemia Kevin Moriarty Les Misérables Priest Liesl Tommy Driving Miss Daisy Hoke Colburn Joel Ferrell The Kennedy Center August Wilson 20TH Century Fences Gabriel Kenny Leon Two Trains Running Hambone Isreal Hicks Jitney Booster Gordon Davidson The -
Maria Conchita Alonso, Jami Gertz, Jenny O'hara, Harriet
MARIA CONCHITA ALONSO, JAMI GERTZ, JENNY O’HARA, HARRIET SANSOM HARRIS AND CHRISTINE LAHTI JOIN CAST OF LOVE, LOSS AND WHAT I WORE Fifth Cast will Perform Nora Ephron and Delia Ephron’s Fashion-Focused Hit Through September 26 LOS ANGELES, August 25, 2010 — Nora Ephron and Delia Ephron’s Love, Loss, and What I Wore attracts a whole new cast of actresses as it continues its Los Angeles run in the Audrey Skirball Kenis Theater at the Geffen Playhouse through the month of September. The new cast includes Jenny O’Hara, who is known for her Broadway roles in The Odd Couple and Promises, Promises and was most recently seen on the big screen in M. Night Shyamalan’s Devil, as the narrator Gingy; Oscar and Emmy Award winner Christine Lahti, best known in the theater world for her collaboration with Wendy Wasserstein in The Heidi Chronicles; Broadway vet Harriet Sansom Harris, who won a Tony Award for her role in Thoroughly Modern Millie; Jami Gertz, who is well-recognized for her film work in Twister and The Lost Boys as well as a recent stint on HBO’s Entourage; and Maria Conchita Alonso best known for television work on Desperate Housewives. Love, Loss and What I Wore, an intimate collection of stories covering some of life’s most poignant moments and their corresponding wardrobe, is directed by Jenny Sullivan. The evening of vignettes, which is based on the best-selling book of the same name by Ilene Beckerman as well as personal reminiscences from the Ephrons and their friends, features a rotating cast of five actresses who share tales to which every woman can relate. -
Plays to Read for Furman Theatre Arts Majors
1 PLAYS TO READ FOR FURMAN THEATRE ARTS MAJORS Aeschylus Agamemnon Greek 458 BCE Euripides Medea Greek 431 BCE Sophocles Oedipus Rex Greek 429 BCE Aristophanes Lysistrata Greek 411 BCE Terence The Brothers Roman 160 BCE Kan-ami Matsukaze Japanese c 1300 anonymous Everyman Medieval 1495 Wakefield master The Second Shepherds' Play Medieval c 1500 Shakespeare, William Hamlet Elizabethan 1599 Shakespeare, William Twelfth Night Elizabethan 1601 Marlowe, Christopher Doctor Faustus Jacobean 1604 Jonson, Ben Volpone Jacobean 1606 Webster, John The Duchess of Malfi Jacobean 1612 Calderon, Pedro Life is a Dream Spanish Golden Age 1635 Moliere Tartuffe French Neoclassicism 1664 Wycherley, William The Country Wife Restoration 1675 Racine, Jean Baptiste Phedra French Neoclassicism 1677 Centlivre, Susanna A Bold Stroke for a Wife English 18th century 1717 Goldoni, Carlo The Servant of Two Masters Italian 18th century 1753 Gogol, Nikolai The Inspector General Russian 1842 Ibsen, Henrik A Doll's House Modern 1879 Strindberg, August Miss Julie Modern 1888 Shaw, George Bernard Mrs. Warren's Profession Modern Irish 1893 Wilde, Oscar The Importance of Being Earnest Modern Irish 1895 Chekhov, Anton The Cherry Orchard Russian 1904 Pirandello, Luigi Six Characters in Search of an Author Italian 20th century 1921 Wilder, Thorton Our Town Modern 1938 Brecht, Bertolt Mother Courage and Her Children Epic Theatre 1939 Rodgers, Richard & Oscar Hammerstein Oklahoma! Musical 1943 Sartre, Jean-Paul No Exit Anti-realism 1944 Williams, Tennessee The Glass Menagerie Modern -
As You Like It
As You Like It A Shakespeare In The Ruins Study Guide Edited by Pamela Lockman Intro This production marks Shakespeare In The Ruins‟ inaugural foray into the Forest of Lagimodiere-Gaboury, and no play could be more fitting than the wonderful and timeless comedy, As You Like It. The play is about transformations, and you, too, will be transformed as you leave the modern world of classrooms and class-work to follow the actors from scene to scene in Promenade style through the Forest in near-by St. Boniface. In this Guide you‟ll find a timeline of Shakespeare‟s life, sources for the play, background information for the play and the time in which it was written, as well as a detailed and lively synopsis which incorporates relevant sections of the text, including some of the most important and best known speeches. With these pieces, even those students and teachers who don‟t have access to copies of the play will be able to read ahead and enjoy the performance fully. Finally you will find a number of activities to be adapted for your students‟ grade level, and a number of resources for further exploration. Thanks to Kenneth Clark (River East Collegiate) for all the writing he did for this Guide, and thanks to Janet Bowler (Van Walleghem School) for her inspiring work with Shakespeare and his plays in her grade three classes. “Be of good cheer, youth…” “I pray thee…be merry.” ~ Pamela Lockman for Shakespeare In The Ruins 2 SIR Study Guide: As You Like It Time Line of Shakespeare’s Life 1564 William Shakespeare is born to Mary and John Shakespeare. -
As You Like It
A TEACHER’S GUIDE TO THE SIGNET CLASSIC EDITION OF WILLIAM SHAKESPEARE’S AS YOU LIKE IT By JEANNE M. McGLINN, Ph.D., AND JAMES E. McGLINN, Ed.D. SERIES EDITORS: W. GEIGER ELLIS, ED.D., UNIVERSITY OF GEORGIA, EMERITUS and ARTHEA J. S. REED, PH.D., UNIVERSITY OF NORTH CAROLINA, RETIRED A Teacher’s Guide to the Signet Classic Edition of William Shakespeare’s As You Like It 2 INTRODUCTION Shakespeare seems to be everywhere these days. Romeo and Juliet and Midsummer Night's Dream, starring contemporary movie stars, have been box office hits. The film Shakespeare in Love, depicting how the playwright's experiences inspired him to write Romeo and Juliet, won multiple Oscars at the 1999 Academy Awards. These popular films have made the plays more accessible to students by exposing them to Elizabethan language and the action that brings the words to life. So teachers can expect a certain amount of positive interest among students when they begin to read a Shakespearean play. As You Like It, although not well known by students, will certainly delight and build on students' positive expectations. As You Like It, like Twelfth Night and A Midsummer Night's Dream, is one of Shakespeare's "marriage" comedies in which love's complications end in recognition of the true identity of the lovers and celebration in marriage. This is a pattern still followed in today's romantic comedies. This play can lead to discussions of the nature of true love versus romantic love. Other themes, which spin off from the duality between the real and unreal, include appearance versus reality, nature ver- sus fortune, and court life of sophisticated manners contrasted with the natural life. -
Shakespeare on Travel in As You Like It and Othello
Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 4 2020 Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers Capital University, [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Summers, David (2020) "Knowing the World: Shakespeare on Travel in As You Like It and Othello," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 4. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers, Capital University etting to know the world through personal travel, particularly by means of the “semester abroad,” seems to G me to be one of the least controversial planks in the Humanities professors’ manifesto. However, reading Shakespeare with an eye toward determining his attitude toward travel creates a disjuncture between our conviction that travel generally, and studying abroad in particular, is an enriching experience, and Shakespeare’s tendency to hold the benefits of travel suspect. -
As You Like It
Proudly Presents As You Like It by William Shakespeare (Rosalind in the Forest, by Sir John Everett Millais) The Life of William Shakespeare William Shakespeare was born in April of 1564. There is no specific date of birth because at that time the only date of importance was the date of baptism, though infants often were baptized when they were three days old. Shakespeare's baptismal date was April 26, 1564. Shakespeare was born in the village of Stratford- upon-Avon in Warwickshire. At the time of his birth, the village had a population of 1500 people, and only 200 houses. Shakespeare's father, John Shakespeare, came from a family of yeomen, and he gained many prestigious positions in the community. Shakespeare's mother, Mary Arden, came from an ancient family of landed gentry. The whole family was Anglican. The family's financial situation was well off. Not much information is known about Shakespeare's youth, although undoubtedly he was educated in the local school, where he studied Latin and Greek, among other subjects, during a school day that often lasted from dawn to dusk. Shakespeare's first exposure to the theater probably occurred when he was young. As a child his father probably took him to see plays when traveling troupes of actors came to town, although that was not often. Shakespeare was married to Anne Hathaway in 1582, when he was 18; she was 26, eight years his senior. The exact wedding date is uncertain, but the marriage certificate was issued on November 27,1582. Anne was the daughter of a respected yeoman farmer. -
Announcing a VIEW from the BRIDGE
FOR IMMEDIATE RELEASE, PLEASE “One of the most powerful productions of a Miller play I have ever seen. By the end you feel both emotionally drained and unexpectedly elated — the classic hallmark of a great production.” - The Daily Telegraph “To say visionary director Ivo van Hove’s production is the best show in the West End is like saying Stonehenge is the current best rock arrangement in Wiltshire; it almost feels silly to compare this pure, primal, colossal thing with anything else on the West End. A guileless granite pillar of muscle and instinct, Mark Strong’s stupendous Eddie is a force of nature.” - Time Out “Intense and adventurous. One of the great theatrical productions of the decade.” -The London Times DIRECT FROM TWO SOLD-OUT ENGAGEMENTS IN LONDON YOUNG VIC’S OLIVIER AWARD-WINNING PRODUCTION OF ARTHUR MILLER’S “A VIEW FROM THE BRIDGE” Directed by IVO VAN HOVE STARRING MARK STRONG, NICOLA WALKER, PHOEBE FOX, EMUN ELLIOTT, MICHAEL GOULD IS COMING TO BROADWAY THIS FALL PREVIEWS BEGIN WEDNESDAY EVENING, OCTOBER 21 OPENING NIGHT IS THURSDAY, NOVEMBER 12 AT THE LYCEUM THEATRE Direct from two completely sold-out engagements in London, producers Scott Rudin and Lincoln Center Theater will bring the Young Vic’s critically-acclaimed production of Arthur Miller’s A VIEW FROM THE BRIDGE to Broadway this fall. The production, which swept the 2015 Olivier Awards — winning for Best Revival, Best Director, and Best Actor (Mark Strong) —will begin previews Wednesday evening, October 21 and open on Thursday, November 12 at the Lyceum Theatre, 149 West 45 Street. -
QUILTER: Folk Song Arrangements • Complete Part-Songs for Women's
QUILTER: Folk Song Arrangements • Complete Part-Songs for Women’s Voices 8.557495 The Arnold Book of Old Songs – English Songs Come love be all my joy. [1] Drink to me only Thou alone art my delight. Text: Ben Jonson (1573–1637) Come love be my heart of gold And who but my Lady Greensleeves. Drink to me only with thine eyes, And I will pledge with mine; Oh who is sweet as she is sweet Or leave a kiss within the cup Above all things that mortals prize: And I’ll not ask for wine. I’d lay a kingdom at her feet The thirst that from the soul doth rise Nor seek a richer merchandise. Doth ask a drink divine; But might I of Jove’s nectar sup, Come love be all my joy I would not change for thine. Thou alone art my delight, Come love be my heart of gold, I sent thee late a rosy wreath, And who but my Lady Greensleeves. Not so much honouring thee, As giving it a hope that there Oh who is rare as she is rare It could not withered be. And who is such a charming maid. But thou thereon didst only breathe The lute shall tell her my despair And sent’st it back to me; And fill with song the myrtle shade. Since when it grows, and smells, I swear, Not of itself but thee. Come love be all my joy Thou alone art my delight, [2] Over the mountains Come love be my heart of gold, Text: From Percy’s Reliques, And who but my Lady Greensleeves. -
By Yasmina Reza Translated by Christopher Hampton Principal Funders Welcome Regional Funding
season of By Yasmina Reza Translated by ChRisTopheR hampTon principAL funders welcome regional funding In 2000 Auckland Theatre her ability to drill down through entertainment and provocation. core funders Premier partners Company presented Yasmina the sophisticated veneer of Metro Magazine stood out from Reza’s first internationally her middle class characters to the start and we’re delighted successful play, ART. The reveal to us the pain, the anger, to have them on board as a winner of multiple awards in the fear or the disinterest they Premier Partner for the first France, Britain and the USA, spend their time disguising. time this year. ART was translated into 30 Like Chekhov, she is a Thanks to my sterling design languages and is estimated compassionate satirist, allowing team Rachael Walker and Nik to have grossed $US300 million us to see her characters Janiurek — and to our Senior at box offices around the world. strengths and weaknesses Stage Manager Fern Christie major supporters GOD OF CARNAGE, Reza’s through a comic lens. “I’m and our Trainee Assistant latest play looks set to press interested in the banal, Director Pip Smith for their the same buttons. Theatre unguarded moments and the support and contribution to the companies around the world hairline fractures in a character process. are scrambling to present this that let the light through,” said play. What’s the attraction? Reza in a recent New Yorker Enjoy! Proud to be NZ’s Most Official caterers of Certainly the small cast and interview. Awarded Winery and Auckland Theatre Sponsor of Auckland Company the single set makes it very It's been a great pleasure to Theatre Company attractive to managements realise this production of in these straightened times. -
Death of the Author by Steven Drukman (Page 3)
presents Death of the Author By Steven Drukman (page 3) and God of Carnage By Yasmina Reza Translated by Christopher Hampton (page 5) Streaming April 22-25, 2021 Death of the Author By Steven Drukman Directed by Colleen Kelly Assistant Direction by Denise Stewart Costume Coordination by Jenny McNee Technical Direction by Casey Horton Production Stage Management by Kathleen Mueller DEATH OF THE AUTHOR was originally produced by Geffen Playhouse (Randall Arney, Artistic Director; Ken Novice, Managing Director; Behnaz Ataee, General Manager; Regina Miller, Chief Development Officer). DEATH OF THE AUTHOR is presented by special arrangement with Dramatists Play Service, Inc., New York. Streaming April 22, 9pm; April 23, 7pm; April 24, 9pm; April 25, 2pm ©2021. This Video recording was produced by special arrangement with Dramatists Play Service and Steven Drukman. All rights reserved. This performance is authorized for non-commercial use only. By accepting this license, you agree not to authorize or permit the Video to be recorded, copied, distributed, broadcast, telecast or otherwise exploited, in whole or in part, in any media now known or hereafter developed. WARNING: Federal law provides severe civil and criminal penalties for the unauthorized reproduction, distribution or exhibition of copyrighted motion pictures, Audio & Videotapes or Audio & Videodiscs. Criminal copyright infringement is investigated by the FBI and may constitute a felony with a maximum penalty of up to five years in prison and/or a $250,000.00 fine. CAST OF CHARACTERS Jeff .............................................................................................Jack Clifford Bradley .................................................................................James Stringer Jr J. Trumbull Sykes ........................................................................Brian Willis Sarah ................................................................................. Cortney Lowinski Setting: One of the finest universities in the US.