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Eric Schabla (262) 327 – 5232; [email protected]; Hair/Eyes Brown; 6’3’’; 190lbs THEATRE A Midsummer Night’s Dream Demetrius Chicago Shakespeare Theatre Joe Dowling SS! Romeo and Juliet Mercutio/Peter (u/s)* Chicago Shakespeare Theatre Marti Lyons Cyrano de Bergerac Valvert/Cadet Guthrie Theater Joe Haj The Events Mr. Sinclair/Choir Guthrie Theatre Ramin Gray Earthquakes In London Robert Crannock Guthrie Theater (Dowling Studio) Bruce Roach As You Like It Silvius Utah Shakespeare Festival Robynn Rodriguez A Midsummer Night’s Dream Flute/Peaseblossom Utah Shakespeare Festival Kirsten Brandt The Tavern Tom Allen Utah Shakespeare Festival Joseph Hanreddy As You Like It Silvius (u/s Charles*) American Players Theatre James Bohnen Measure for Measure Elbow/Abhorson American Players Theatre Risa Brainin Born Yesterday Bellhop/Barber American Players Theatre Brenda DeVita Knives in Hens (reading) Gilbert Horn American Players Theatre Brenda DeVita Beau Brummel (reading) Prince of Wales American Players Theatre James Ridge London Wall (reading) Hec Hammond American Players Theatre Leia Squillace Death of a Salesman Stanley American Players Theatre Kenneth Albers The Comedy of Errors Balthasar American Players Theatre David Frank King Lear 2nd Knight/Ensemble American Players Theatre Bill Brown Indecent (upcoming) Avram the Ingenue Milwaukee Chamber Theatre Brent Hazelton The Thanksgiving Play Jaxton Milwaukee Chamber Theatre Laura Gordon Henry V Henry V Door County Shakespeare Matt Daniels The Merry Wives of Windsor Host of the Garter Door County Shakespeare Marcy Kearns A Christmas Carol Bob Cratchit Children’s Theater of Madison James Ridge Twelfth Night Malvolio Back Room Shakespeare Project N/A As You Like It Touchstone Shakespeare’s Globe Ed. Colin Hurley The Comedy of Errors Antipholus of Syracuse Kansas Repertory Theatre Peter Zazzali The Boys From Syracuse Antipholus of Syracuse Kansas Repertory Theatre John Staniunas The Chosen Reuven Malter In Tandem Theatre Chris Flieller I Henry IV Ensemble Milwaukee Shakespeare Stephen Fried Twelfth Night Valentine Optimist Theatre Laura Gordon Double Falsehood (reading) Gerald, et al. goats & monkeys Laura Gordon *u/s Role(s) performed TRAINING University of Minnesota/Guthrie Theater B.F.A. Actor Training Program Acting: Ken Washington, Bruce Roach, Steve Cardamone Voice/Speech: Lucinda Holshue, D’Arcy Smith Movement: Marcela Lorca, Annie Enneking Singing (baritone-bass): Andrew Cooke Semester in London: Shakespeare’s Globe, LISPA, CAPA Masterclasses/Workshops: Roy Hart (vocal range), Barbara Houseman (voice), Patrick Tucker (Folio) Chicago Shakespeare Theatre, First Folio class: Larry Yando MISCELLANEOUS/SPECIAL SKILLS Dialects/Accents: RP, Cockney, Irish, Scots, Russian, Southern American, Brooklyn Stage Combat Experience: Unarmed (DAI certified), rapier (DAI certified), broadsword, dagger, quarterstaff Other: Published playwright and poet, horse handling and riding, farriery, recurve archery, djembe and Jazz drums, skateboarding, academic writing, beard growth .

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Rycroft, E. (2017)
Rycroft, E. (2017). Place on the late medieval and early modern stage: The case of Ane Satyre of the Thrie Estaitis. Shakespeare Bulletin, 35(2), 247-266. https://doi.org/10.1353/shb.2017.0016 Peer reviewed version Link to published version (if available): 10.1353/shb.2017.0016 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Johns Hopkins University at https://muse.jhu.edu/article/662744. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Place on the Late Medieval and Early Modern Stage: The Case of Ane Satyre of the Thrie Estaitis ELEANOR RYCROFT University of Bristol Place and space theory has now been applied widely throughout early modern studies to unlock such diverse areas as embodiment, cultural geography, poetry, performance, and politics. Its theoretical application across the disciplines of history, history of art, theater studies, English literature, and geography demonstrates the interdisciplinary potential of the “spatial turn.”1 At the heart of place and space theory—evident from its genesis in the works of Gaston Bachelard and Yi-Fu Tuan through to its most recent concern with placelessness in the digital age—is an assumption that space is an empty container, while place is a locale.
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Annual Review. 2018
Annual Review. 2018 Shakespeare’s Globe OUR CAUSE We celebrate Shakespeare’s transformative impact on the world by conducting a radical 4 Chief Executive’s Welcome theatrical experiment. 6 Theatre Inspired and informed by the unique historic 6 The Globe playing conditions of two beautiful iconic 14 The Sam Wanamaker Playhouse theatres, our diverse programme of work harnesses the power of performance, 20 Beyond the Globe cultivates intellectual curiosity and excites 21 Learning for all learning to make Shakespeare accessible 25 Widening access for all. 26 Exhibition & Tour ‘And let us… on your imaginary 27 Behind the scenes forces work’ 28 How we made it Henry V, Prologue 29 How we spent it #Globe2018 30 Looking forward 020 7401 9919 32 Learning for all shakespearesglobe.com 34 Financial Stability 34 Project Prospero 36 Thanks, thanks and ever thanks 38 Staff 41 Trustees and Globe Councillors 42 Cast members and Creatives 2018 The Shakespeare Globe Trust. Registered in England and Wales No. 1152238. Registered charity No. 266916. 2 3 Welcome to this year’s Shakespeare’s Globe review, celebrating a few of the highlights from spring 2018 to spring 2019. Our cause is to celebrate and interrogate Shakespeare’s transformative impact on the world, while our two theatres allow us to experience the architectural playing conditions under which Shakespeare’s plays were originally performed. 2018 was a year of artistic leadership change and further strategic development. Our 2017 review looked forward to a new era of artistic endeavour on Bankside, one closely integrated with our other activities, but creatively distinct; historically aware, but radically contemporary.
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Elizabeth Erb Resume 2020 Website
Elizabeth Erb AEA [email protected] www.elizabetherb.com Height: 5’6” Weight: 110lbs Eyes: Blue Hair: Brown _________________________________________________________________________________________ NEW YORK/REGIONAL Richard III Young Elizabeth Shakespeare Theatre Company, D.C. David Muse One Man, Two Guvnors Pauline Chautauqua Theater Company Andrew Borba A Midsummer Night’s Dream Helena Chautauqua Theater Company Sarah Elizabeth Wansley The Christians Choir Chautauqua Theater Company Taibi Magar Measure for Measure Provost u/s (Performed) Santa Cruz Shakespeare Tyne Rafaeli The Two Gentlemen of Verona Sylvia u/s, Ensemble Santa Cruz Shakespeare Art Manke Candide (Devised Adaptation) Pangloss Santa Cruz Shakespeare Kate Jopson Pride and Prejudice Jane u/s Hangar Theatre Suzanne Agins Death Comes to Us All, Mary Agnes Vivien Hangar Theatre Christopher Núñez Peter Pan Nana, Tinkerbell Hangar Theatre Jake Beckhard Ajax Chorus Hangar Theatre Jake Beckhard Julius Caesar Portia u/s Great River Shakespeare Festival Jim Edmondson Coriolanus Coriolanus Great River Shakespeare Festival Bryan Hunt Earthquakes in London Mrs. Andrews Guthrie Theater Bruce Roach In Loving a Memory Dr. Rob Firebone Theatre, NYC Bryan Hunt Macbeth Weird Sister, Lady Macduff Public Theater of Minnesota Mark Hauck Henry VIII Katherine of Aragon RADA Nick Hutchinson As You Like It Rosalind Shakespeare's Globe Edu. Colin Hurley Romeo and Juliet Nurse U. of MN/Guthrie Theater Doug Scholz-Carlson The Cherry Orchard Charlotta Ivanovna U. of MN/Guthrie Theater Risa Brainin
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Press Release
PRESS RELEASE 19 SEPTEMBER Shakespeare’s Globe is delighted to announce casting for the Winter Season 2018, its plans for a year-long cycle of history plays from February 2019, and Globe Associates, to include Sean Holmes, who is to become Associate Artistic Director. Michelle Terry, Artistic Director, said: “As the UK approaches its exit of the EU, our theatre will present a cycle of history plays, providing a unique opportunity to rediscover how Shakespeare perceived ‘this blessed plot, this earth, this realm, this England’. Richard II in this year’s Winter Season begins a year-long exploration of what our sceptered isle looks like now, presenting a journey through history via Henry IV, Henry V, Henry VI, and Richard III. I am so proud to announce my core team of Associate Artists who will help guide and deliver on the season, as well as support the development and continuing exploration of The Globe Ensemble. The Ensemble allows us to truly explore the DNA of Shakespeare’s plays, all of which were written bespoke for a company of players and made for the architecture of our unique play houses. Most of the artists have worked with us in some capacity this season and I am so excited to welcome Sean Holmes to the Globe family. Sean’s unprecedented experience on Secret Theatre will provide invaluable insight into a process and a practice that is so important to me and to the work that we are experimenting with at Shakespeare’s Globe.” Sean Holmes said: “Michelle’s vision for the Globe is exciting, inclusive and bold - focused on the centrality of ensemble and the honest and open relationship between actors and audience that it engenders.
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Performing Shakespeare in the Original Pronunciation Final Submission2.Docx
Performing Shakespeare in the Original Pronunciation David Barrett A submission presented in partial fulfilment of the requirements of the University of South Wales for the degree of Doctor of Philosophy December 2013 1 Contents: Abstract 4 Acknowledgements 6 Chapter 1 Introduction 7 Chapter 2 Original Pronunciation in Context 2.1 Historically Informed Performance 15 2.2 The Shakespearean Voice 90 2.3 Accented Shakespeare 104 Chapter 3 3.1 Shakespearean Original Pronunciation in Performance in the Twentieth and Twenty-First Centuries 123 3.2 Macbeth at the Mermaid Theatre 181 Chapter 4 The Linguistic Context, Phonological Research and Reference 193 Chapter 5 5.1 Transcription Policy 225 5.2 A Comparison of Transcription Styles 276 Chapter 6 Testing the Transcription Policy/ Developing a Method through Workshopping 290 Chapter 7 Conclusion 388 Works Cited 416 2 Textual Note: Unless stated otherwise, all Shakespearean quotes are from: Clark, W.G. and Wright, W.A. (1865) The Works of William Shakespeare (Globe Edition), Cambridge and London: Macmillan. Available at: http://www.opensourceshakespeare.org/views/plays/plays.php (accessed 12.09.210) Macbeth: The complete works of William Shakespeare [electronic resource] Created by Jeremy Hylton; Operated by The Tech., Cambridge, Massachusetts (From Grady Ward’s Moby Shakespeare). Available at: http://shakespeare.mit.edu/macbeth/index.html (accessed 10.08.2011) The Romeo and Juliet Transcription: based on the First Folio (1623) from the Electronic Text Center, University of Virginia Library. Available at: http://web.archive.org/web/20080504221015/http://etext.lib.virginia.e du/toc/modeng/public/ShaRJF.html (accessed 24.06.2010) I share the view of Stephen Orgel, who views the acting text, prepared for performance, as the “authentic text” (2002, 237).
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Σ 6:1 2020 Awry Crowns: Queenship and Its Discontents Edited by Rosy Colombo Rosy Colombo – Introduction Monica Centanni – The Queen on Stage. Female Figures of Regality in Aeschylus Nadia Fusini – One, Two, Many Medeas Anton Bierl – Phaedra: a Tragic Queen in Turmoil Between Violent Love and Its Chaste Suppression. An Interpretation of Euripides’ Hippolytus in Initiatory Terms Guido Avezzù – The (Frustrated?) Regality of Electra Antonio Ziosi – Wounds and Flames: Dido and Her Sisters Michael Neill – A “Monstruous Empire”: Queenly Power in Anthony and Cleopatra Marisa Sestito – Unveiling Jocasta. The Brave Queen of Dryden and Lee Miscellany Milan Kroulík – “What is expected has not been accomplished”. A Historical Materialist Approach to Attic Tragedy Michael Carroll – Prophetic Deception: The Narrative of the Chariot Race in Sophocles’ Electra Special Section Gherardo Ugolini – “Man is a terrifying miracle”: Sophocles’ Antigone Staged by Massimiliano Civica. An Interview with the Director Paul A. Cantor – Patrick Gray, Shakespeare and the Fall of the Roman Republic: Selfhood, Stoicism and Civil War, Edinburgh: Edinburgh University Press, 2019, pp. 308 Elena Pellone – Jaq Bessell, Shakespeare in Action, London and New York: Bloomsbury (The Arden Shakespeare), 2019, pp. 213 Robert Sawyer – “Fine Young Cannibals”: Review of Eating Shakespeare: Cultural Anthropology as Global Methodology, ed. by Anne Sophie Refskou, Marcel Alvaro de Amorim, and Vinicius Mariano de Carvalho, London and New York: Bloomsbury Publishing, 2019, pp. 301 Barry Allen Spence – Beckett, Decadence, and the Art of Revisioning. Review of Stanley E. Gontarski, Revisioning Beckett: Samuel Beckett’s Decadent Turn, London: Bloomsbury Academic, 2018, pp. 320 Skenè. Journal of Theatre and Drama Studies S K E N È Journal of Theatre and Drama Studies 6:1 2020 Awry Crowns: Queenship and Its Discontents Edited by Rosy Colombo SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù.
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King Edward III Edited by Giorgio Melchiori Frontmatter More Information
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‚Once More Unto the Breach' – Kenneth Branaghs Shakespeare
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The Significance of Geographic Location and Architectural Space in the Indenties of the Royal Shakespeare Company and Shakespeare’S Globe
ON HALLOWED GROUND: THE SIGNIFICANCE OF GEOGRAPHIC LOCATION AND ARCHITECTURAL SPACE IN THE INDENTIES OF THE ROYAL SHAKESPEARE COMPANY AND SHAKESPEARE’S GLOBE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Christina Ritter, M.A. The Ohio State University 2007 Dissertation Committee: Approved by Dr. Thomas Postlewait, Advisor Dr. Lesley Ferris Dr. Richard Dutton __________________________ Advisor Theatre Graduate Program ABSTRACT The Shakespeare Memorial Festival, the Royal Shakespeare Company (RSC) and Shakespeare’s Globe all have shared the unique characteristic of being located in places of significance to the life of William Shakespeare. The Memorial Festival was established in 1879 at Shakespeare’s birthplace of Stratford-upon-Avon, and its successor, the RSC, founded in 1960, is likewise based in the town. The new Globe, an attempted replica of the 1599 Globe, opened officially in 1997 and is located in London Southwark, the neighborhood where the original Globe Theatre stood. Of the hundreds of theatre companies around the world dedicated to Shakespeare’s works, only these institutions derived their identities and missions partly from their connections to historically authentic locations. The Memorial Festival prospered largely due to its tie to Stratford. The RSC and Shakespeare’s Globe have also benefited greatly from their connections to their locations. Nonetheless, they have faced artistic and cultural challenges as they have attempted to define their relationships to their significant sites. ii Both locations, Stratford and Southwark, have been the objects of veneration for many theatre enthusiasts. Tourists—or pilgrims—have traveled long distances to experience Shakespeare’s birthplace and burial place (his tomb is also located in Stratford, in Holy Trinity Church), as well as his workplace on the south bank of the Thames in London.
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