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Timon of Athens: the Iconography of False Friendship
Western Michigan University ScholarWorks at WMU English Faculty Publications English Summer 1980 Timon of Athens: The Iconography of False Friendship Clifford Davidson Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/english_pubs Part of the English Language and Literature Commons WMU ScholarWorks Citation Davidson, Clifford, "Timon of Athens: The Iconography of False Friendship" (1980). English Faculty Publications. 12. https://scholarworks.wmich.edu/english_pubs/12 This Article is brought to you for free and open access by the English at ScholarWorks at WMU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Timonof Athens. The Iconographyof False Friendship By CLIFFORD DAVIDSON THE REALIZATION THAT iconographic tableaux appear at central points in the drama of Shakespeare no longer seems to involve a radical critical perspective. Thus a recent study is able to show convincingly that the playwright presented audiences with a Hamlet who upon his first appear- ance on stage illustrated what the Renaissance would certainly have recognized as the melancholic contemplative personality.' As I have noted in a previous article, the hero of Macbeth when he sees the bloody dagger before him is in fact perceiving the image which most clearly denotes tragedy itself; in the emblem books, the dagger is indeed the symbol of tragedy,2 which will be Macbeth's fate if he pursues his bloody course of action. Such tableaux, it must be admitted, are often central to the meaning and the action of the plays. -
STUDY GUIDE TOOLS for TEACHERS Sponsored By
2014 STUDY GUIDE TOOLS FOR TEACHERS sponsored by Tom McCamus, Seana McKenna Support for the 2014 season of the Tom Patterson Theatre is generously provided by Richard Rooney & Laura Dinner Production support is generously provided by Karon Bales & Charles Beall Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Cast of Characters ...................................................................................................... 6 Plot Synopsis ............................................................................................................... 7 Sources and Origins .................................................................................................... 8 Stratford Festival Production History ......................................................................... 9 The Production Artistic Team and Cast ............................................................................................... 10 Lesson Plans and Activities Creating Atmosphere .......................................................................................... 11 Mad World, Mad Kings, Mad Composition! ........................................................ 14 Discussion Topics .............................................................................................. -
Welcome to Picasso at the Lapin Agile! We're Thrilled to Kick Off 2017 With
FEBRUARY 2017 WELCOME JIM COX elcome to Picasso at the Lapin Agile! We’re thrilled to kick off 2017 with this funny, fascinating, and endlessly W surprising play. As we begin a new year, we also celebrate the phenomenal successes of 2016. Last year, the Globe broke box office records with hits like Meteor Shower (another Steve Martin comedy) and our acclaimed productions of October Sky and Sense and Sensibility. It was also an outstanding year for philanthropy. Individual donors gave generously to support our mission, and the Globe reaped the benefit of major foundation and government support. Our Arts Engagement Department successfully launched a slate of new programs funded in part by The James Irvine Foundation’s New California Arts Fund, and the National Endowment for the Arts awarded the Globe a major grant to support new play development. In every way, 2016 was a banner year for The Old Globe. We couldn’t imagine a better way to start 2017 than Picasso at the Lapin Agile. Not only does the production mark the welcome return of writer Steve Martin to the Globe, it pairs him with his longtime collaborator—and our Erna Finci Viterbi Artistic Director—Barry Edelstein. Here, Barry shepherds an all-star cast featuring returning Globe favorites alongside talented performers making their Globe debuts. 2016 will be a tough act to top, but this show bodes well for another banner year of great theatre in Balboa Park. We hope to see you often at the Globe in the coming year! MISSION STATEMENT The mission of The Old Globe is to preserve, strengthen, and advance American theatre by: creating theatrical experiences of the highest professional standards; producing and presenting works of exceptional merit, designed to reach current and future audiences; ensuring diversity and balance in programming; providing an environment for the growth and education of theatre professionals, audiences, and the community at large. -
An Introduction to Shakespeare, by 1
An Introduction to Shakespeare, by 1 An Introduction to Shakespeare, by H. N. MacCracken and F. E. Pierce and W. H. Durham This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.net Title: An Introduction to Shakespeare Author: H. N. MacCracken F. E. Pierce W. H. Durham Release Date: January 16, 2010 [EBook #30982] Language: English Character set encoding: ISO-8859-1 An Introduction to Shakespeare, by 2 *** START OF THIS PROJECT GUTENBERG EBOOK AN INTRODUCTION TO SHAKESPEARE *** Produced by Al Haines [Frontispiece: TITLE-PAGE OF THE FIRST FOLIO, 1628 The first collected edition of Shakespeare's Plays (From the copy in the New York Public Library)] AN INTRODUCTION TO SHAKESPEARE BY H. N. MacCRACKEN, PH.D. F. E. PIERCE, PH.D. AND W. H. DURHAM, PH.D. OF THE DEPARTMENT OF ENGLISH LITERATURE IN THE SHEFFIELD SCIENTIFIC SCHOOL OF YALE UNIVERSITY New York THE MACMILLAN COMPANY 1925 All rights reserved PRINTED IN THE UNITED STATES OF AMERICA An Introduction to Shakespeare, by 3 COPYRIGHT, 1910, By THE MACMILLAN COMPANY. Set up and electrotyped. Published September, 1910. Reprinted April, December, 1911; September, 1912; July, 1913; July, 1914; December, 1915; November, 1916; May, 1918; July, 1919; November, 1920; September, 1921; June, 1923; January, 1925. Norwood Press J. S. Cushing Co.--Berwick & Smith Co. Norwood, Mass., U.S.A. {v} PREFACE The advances made in Shakespearean scholarship within the last half-dozen years seem to justify the writing of another manual for school and college use. -
Lauren Keating Directing Resume November 2015
Lauren Keating 553 Lorimer St, Apt 2 | Brooklyn, NY 11211 Director [email protected] | 646.404.4404 www.Lauren-Keating.com Directing The Art of Gaman by Dipika Guha The Lark LULU by Frank Wedekind Drama League/Dixon Place Kristmas with the Kilroys: A Live Radio Show Naked Angels The Antony & Cleopatra Project by Tarell McCraney & Company The McCarter Theatre Conservatory How to be Alone by Rachel Kauder Nalebuff Dixon Place Comedie of Errors by William Shakespeare The New Lions/NYC Parks & Recreation Dept. The World’s Fair Plays by Wendy McLeod, Deen and Caridad Svich Queens Theater in the Park Architecture of Becoming by The WP Lab The Women’s Project/NY City Center The Harmonious Pimps of Harmony's Last Show by Daniel Hartley, Adam Lerman Ars Nova Al's Business Cards by Josh Koenigsberg At Play/The Old Vic This is How We Do It by Winter Miller New Ohio EARTHA by Francesca Choy-Kee The Walker Theater Charlotte’s Web, by Joseph Robinette The Hangar Theatre The Confidence Man by Paul Cohen Woodshed Collective The Ride by Crystal Skillman The Prospect Theater If by Erin Moughon 3LD/The Old Vic Broke: The Monday to Friday Plays by Laura Jacqmin Ars Nova Measure for Measure by William Shakespeare The New Lions/The Sage Theater Great Evenings by David Greenstein Cooper Union Monuments by Diane DiPrima Peculiar Works Project Directing – Workshops Matachanna by Rhiana Yazzie Oregon Shakespeare Festival/The Public Theater/The Inge Center Fly By Night by Will Connelly, Michael Mitnick & Kim Rosenstock Ars Nova Camdenside by Sarah Burgess Studio42 -
Stratford Festival 2021 Season Guide
STUDIO THEATRE Three Tall Women FESTIVAL THE THEATRE CANOPY R + J CABARETS Why We Tell the Story 2021 You Can’t Stop the Beat Play On! Freedom Finally There’s Sun TOM PATTERSON SEASON THEATRE CANOPY A Midsummer Night’s Dream The Rez Sisters I Am William GUIDE Serving Elizabeth JULY – OCTOBER stratfordfestival.ca 1.800.567.1600 | 519.273.1600 1 1 800 567 1600 | 519 273 1600 STRATFORDFESTIVAL.CA 2 But far from placing limitations on our creativity, the need to work within the parameters required of us – with shorter performances, smaller casts (no more than eight actors WORLDS WITHOUT WALLS per show) and physical distancing on stage – has stimulated our artists to new Two young people are in love. They’re next-door neighbours, but their families don’t get feats of imagination as they devise novel on. So they’re not allowed to meet: all they can do is whisper sweet nothings to each modes of performance. Our 2021 playbill other through a small gap in the garden wall between them. Eventually, they plan to run o encompasses Shakespeare, music, modern together – but on the night of their elopement, a terrible accident of fate impels them both classics and new work, presented in ways to take their own lives. you’ve never seen at Stratford before. Sound familiar? It’s the story of Pyramus and Thisbe, as told by the ancient Roman poet And it’s not only the pandemic that Ovid, one of Shakespeare’s favourite authors. Most of us know it from the comical play- has opened us up to new ideas and within-the-play in A Midsummer Night’s Dream – but it’s also essentially the same story experiences. -
Timon of Athens by William Shakespeare
Timon of Athens By William Shakespeare A Shakespeare in the Ruins Study Guide April 2018 Contents Introduction Notes on the Life of Timon of Athens by William Shakespeare Dramatis Personæ Timon of Athens Synopsis Anticipation and Reaction Guides Reading the Play Aloud Additional Activities Introduction When you first heard that Shakespeare In The Ruins was doing Timon of Athens this year, what did you think? To be honest, my first thought was ―Hmmmmmmm… I‘ve never even read that one. I‘ve seen the title listed with his other works, but I have no idea what it‘s about.‖ And then I read it. And then I read it again. It‘s an odd little play. Different from all of the other Shakespeare plays that we‘re so familiar with. But like all of those better known works, this one is about being human and some of the experiences that we might encounter along our life journeys. The play begins with the Poet and Painter philosophising about – what else? – life and art. Soon Timon and Flavius appear, speaking of Timon‘s financial status. From there we meet an assortment of characters including a merchant, friends, and flatterers. Timon‘s journey, according to Artistic Director Michelle Boulet, begins with excessive naivete that is later replaced by misanthropy and cynicism. The play, according to most Shakespeare resources, is classified as a Tragedy, so we know it will not end well for our title character. But, as always, there are lessons to be learned by the characters and by the audience. Students and teachers will enjoy discussing some of the play‘s essential questions about friendship, money, and what it means to be human. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Journal of Arts & Humanities
Journal of Arts & Humanities Volume 08, Issue 07, 2019: 28-34 Article Received: 05-06-2019 Accepted: 17-06-2019 Available Online: 21-06-2019 ISSN: 2167-9045 (Print), 2167-9053 (Online) DOI: http://dx.doi.org/10.18533/journal.v8i7.1672 Tactics of Power in Measure for Measure Min Jiao1 ABSTRACT In Shakespeare’s Measure for Measure, sexuality is of primary concern, which predicts characters’ behaviors, and drives the narrative progression. The play seems to be inquiring into the central question as to whether power, in particular, state power, can keep a tight rein of sexuality. This article explores into the functions of sexuality in the narrative, and the play’s self-contradictory conclusions about female and male sexuality. It argues that the play’s self-contradictory conclusion about male sexuality and female sexuality manifests the operation of different discourses on sexuality, with the first one predominantly a quasi-scientific discourse, and the latter one, still a medieval conception of sexuality grounded on religious discourse. The difference, however, manifests the transition from a medieval ideology to a nascent capitalism ideology in the discourse of sexuality. Keywords: Measure for Measure, Power, Sexuality, Ideology. This is an open access article under Creative Commons Attribution 4.0 License. Recent interpretations of Measure for Measure usually centers around the power tactics in relation to female’s economic status and identity. Lyndal Roper has argued that “as the Reformation was domesticated—as it closed convents and -
Hospitality in Shakespeare
Hospitality in Shakespeare: The Case of The Merchant of Venice , Troilus and Cressida and Timon of Athens Sophie Emma Battell A thesis submitted for the degree of Doctor of Philosophy School of English, Communication and Philosophy Cardiff University 2017 Summary This thesis analyses hospitality in three of Shakespeare’s plays: The Merchant of Venice (c. 1596-7), Troilus and Cressida ( c. 1601-2) and Timon of Athens (c. 1606-7). It draws on ideas from Derrida and other recent theorists to argue that Shakespeare treats hospitality as the site of urgent ethical inquiry. Far more than a mechanical part of the stage business that brings characters on and off the performance space and into contact with one another, hospitality is allied to the darker visions of these troubling plays. Hospitality is a means by which Shakespeare confronts ideas about death and mourning, betrayal, and the problem of time and transience, encouraging us to reconsider what it means to be truly welcoming. That the three plays studied are not traditionally linked is important. The intention is not to shape the plays into a new group, but rather to demonstrate that Shakespeare’s staging of hospitality is far - reaching in its openness. Again, while the thesis is informed by Der rida’s writings, its approach is through close readings of the texts. Throughout, the thesis is careful not to prioritise big moments of spectacle over more subtle explorations of the subject. Thus, the chapter on The Merchant of Venice explores the sounds that fill the play and its concern with our senses. -
The Divine Comedy Inferno • Purgatory • Paradise • a Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno
Dante The Divine Comedy Inferno • Purgatory • Paradise • A Life of Dante POETRY Read by Heathcote Williams with John Shrapnel Inferno 1 Canto I 7:43 2 Canto II 7:27 3 Canto III 7:45 4 Canto IV 8:02 5 Canto V 8:16 6 Canto VI 6:55 7 Canto VII 7:44 8 Canto VIII 7:28 9 Canto IX 7:34 10 Canto X 7:29 11 Canto XI 5:51 12 Canto XII 7:03 13 Canto XIII 7:21 14 Canto XIV 7:50 15 Canto XV 5:58 16 Canto XVI 7:39 2 17 Canto XVII 6:30 18 Canto XVIII 7:36 19 Canto XIX 6:35 20 Canto XX 6:29 21 Canto XXI 6:18 22 Canto XXII 7:11 23 Canto XXIII 8:00 24 Canto XXIV 7:45 25 Canto XXV 7:17 26 Canto XXVI 7:36 27 Canto XXVII 6:21 28 Canto XXVIII 7:43 29 Canto XXIX 7:10 30 Canto XXX 7:57 31 Canto XXXI 7:55 32 Canto XXXII 6:35 33 Canto XXXIII 8:34 34 Canto XXXIV 8:30 Time: 4:10:30 3 Purgatory 35 Canto I 8:16 36 Canto II 8:01 37 Canto III 8:24 38 Canto IV 8:45 39 Canto V 8:23 40 Canto VI 9:01 41 Canto VII 7:35 42 Canto VIII 8:11 43 Canto IX 9:00 44 Canto X 8:20 45 Canto XI 8:14 46 Canto XII 7:54 47 Canto XIII 9:07 48 Canto XIV 8:05 49 Canto XV 8:31 50 Canto XVI 8:11 4 51 Canto XVII 8:13 52 Canto XVIII 7:53 53 Canto XIX 8:17 54 Canto XX 8:28 55 Canto XXI 8:11 56 Canto XXII 8:12 57 Canto XXIII 7:44 58 Canto XXIV 8:55 59 Canto XXV 8:06 60 Canto XXVI 8:28 61 Canto XXVII 8:09 62 Canto XXVIII 7:47 63 Canto XXIX 7:20 64 Canto XXX 7:55 65 Canto XXXI 7:58 66 Canto XXXII 8:32 67 Canto XXXIII 8:59 Time: 4:33:28 5 Paradise 68 Canto I 8:42 69 Canto II 8:36 70 Canto III 6:38 71 Canto IV 7:48 72 Canto V 7:47 73 Canto VI 7:44 74 Canto VII 8:12 75 Canto VIII 7:41 76 Canto IX 7:48 -
2020 Visitors Guide a Storied Past, a Glorious Future: a Season to Celebrate the Elixir of Power
2020 VISITORS GUIDE A STORIED PAST, A GLORIOUS FUTURE: A SEASON TO CELEBRATE THE ELIXIR OF POWER Irresistible – that’s the only way to describe the variety, quality and excitement that make up the Stratford Festival’s 2020 season. First, there is our stunning new Tom Patterson Theatre, with ravishingly beautiful public spaces and gardens. Its halls, bars and café will be filled throughout the season with music, comedy nights, panel discussions and outstanding speakers to make our Festival even more festive. In the wake of an election in Canada, and in anticipation of one in the U.S., our season explores the theme of Power. Recent years have seen a growing acceptance of the naked use of power. Brute force is in vogue on the world stage, from international trade to immigration and the arms race – and, closer to home, in elections, in the workplace and even in social media engagements. Through comedy, tragedy, song, dance and farce, the plays and musicals of our 2020 season explore the dynamics of power in society, politics, art, gender and family life. In our new Tom Patterson Theatre, we present the two plays that launched the Stratford adventure in 1953: All’s Well That Ends Well and Richard III. The new venue is also home to a new musical, Here’s What It Takes; a new movement-based creation, Frankenstein Revived; and a series of improvisational performances – each one unique and unrepeatable – called An Undiscovered Shakespeare. But the fun isn’t all confined to one theatre. Our historic Festival Theatre showcases two of Shakespeare’s greatest plays, Much Ado About Nothing and Hamlet, as well as Molière’s brilliant satire The Miser and the first major new production in decades of the mischievous musical Chicago.