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Criminal Types in Shakespeare August Goll
Journal of Criminal Law and Criminology Volume 30 Article 4 Issue 1 May-June Summer 1939 Criminal Types in Shakespeare August Goll Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation August Goll, Criminal Types in Shakespeare, 30 Am. Inst. Crim. L. & Criminology 22 (1939-1940) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. CRIMINAL TYPES IN SHAKESPEARE JUDGE AUGUST GOLL Translated from the Danish by Julius Moritzen, 4003 Foster Ave., Brooklyn, N. Y. This is the third and concluding portion of Mr. Moritzen's translation. The first portion was published in No. 4 of this volume, November-December, 1938; the second in No. 5, January-February, 1939.-[Ed.] RICHARD III Herbert Spencer in his book on righteousness and justice de- clares their aim to be that state of society where each member, without relinquishing his individual liberty of action, nevertheless tolerates the bonds that the rights of others demand of him. In other words, the principle of mutual respect for the rights of others underlies the social formula to which he subscribes. The criminal denies by his acts this ideal. But none of the criminals so far discussed are directly opposed to the fundamentals of this ideal state when judged by their actions. -
How Has Your Understanding of Ambition and Identity Been Informed by Exploring the Connections Between Richard III and Looking for Richard?
How has your understanding of ambition and identity been informed by exploring the connections between Richard III and Looking for Richard? Ambition and identity are two contextually transcendent facets of the human condition. This becomes apparent through the comparison of Shakespeare’s King Richard III (RIII) and Al Pacino’s “Looking For Richard” (LFR) as both texts explore the dynamics of ego, villainy, self-identity and representation of gender, yet are structurally, technically and contextually unalike. RIII is an English play from the late sixteenth century written for the stage, whereas LFR takes the form of an American docudrama which reshapes these core values of RIII in a modern setting. My understanding of RIII is also supported by Dr. Ian Frederick Moulton’s paper “‘A Monster Great Deformed’: The Unruly Masculinity of RIII.” One aspect of identity employed by Richard to achieve his ambitions is gender identity. Richard’s own masculinity is exhibited as he indulges in a hubristic soliloquy after ‘winning’ Lady Anne: “Was ever woman in this humour wooed? Was ever woman in this humour won?” Anaphora and rhetorical questioning emphasises Richard’s growing ego and hypermasculine disregard of women. Richard further displays his masculine identity by feigning feminine vulnerability – using gender identity and the personification of ‘beauty’ as a means of manipulation: “Nay, do not pause, for I did kill King Henry, but ‘twas thy beauty that provokèd me.” Moulton expands on this, “By offering Anne his sword, [Richard] stages a calculated (and illusory) gender reversal”. In LFR, director Al Pacino deliberately selects specific scenes from RIII to assess the relevance of Shakespeare in twenty first century America. -
Bulletin N U M B E R 2 9 7 November/December 1995
Registered Charity No: 272098 ISSN 0585-9980 SURREY ARCHAEOLOGICAL SOCIETY CASTLE ARCH, GUILDFORD GU1 3SX Guildford 32454 Bulletin N u m b e r 2 9 7 November/December 1995 COUNCIL NEWS SAS Annual General Meeting. A Reminder! 3rd December 1995 at Brooklands Museum. (See Bulletin 295 for details) South Park Medieval Moated Site An Artist's Impression The Moated Site as it may have appeared ca 1350 AD The moat and adjacent area of woodland was donated in 1991 to the Surrey Archaeological Society by Mrs D M Fedoruk, the owner of South Park Farm, so that the site could be researched, partly restored and opened to the public. As members will have read in previous issues of the Bulletin a dedicated band of volunteers' led by Greta Turner, cleared the site and restored the moat, whjch was formally opened in 1994 (see Bulletin 284). The stewardship of this site represents an exciting venture and challenge for the Society. It is intended to be a focus for long term archaeological and documentary research of the site itself and its influence on and relationship to the surrounding area. The moat, which is a scheduled ancient monument in recognition of its archaeological importance, will be of particular interest to schools as it illustrates aspects of archaeology and man's use of the landscape. A teaching pack has been prepared to interpret the archaeology and natural history of the site, copies of which are available from the Society at Castle Arch, price £4.60 including postage and packing. History The identity of this medieval homestead is obscure. -
The Beaufort Family
FRIENDS OF WOKING PALACE The Beaufort Family The Beauforts were the children of John of Gaunt and his mistress, Katherine Swynford. Although the children were born whilst John was married to Constance, Queen of Castile, the line was legitimised by Papal Bull and Act of Parliament and became the House of Tudor in 1485 when Henry VII defeated Richard III at the Battle of Bosworth Field. The connection of the Beauforts with Woking house began when John Beaufort married Margaret Holland the sister and coheir of the childless Edmund Holland, Earl of Kent. John Beaufort, (c1371-16 March 1409/10) illegitimate son of John of Gaunt and Katherine Swynford created Earl of Somerset 9 February 1396/7 and Marquess of Dorset and Marquess of Somerset 29 September 1397, married before 28 September 1397, Margaret Holland, daughter, Thomas, Earl of Kent John died 16 March 1409/10 in the hospital of St Catherine by the Tower of London and was buried in St Michael's chapel in Canterbury Cathedral. His widow married secondly Thomas, Duke of Clarence (1387-1421) see later. TCP John, Duke of Somerset son of above died 27 May 1444 married Margaret Beauchamp of Bletso in or about 1442, widow of Sir Oliver St John, sister and heir of John, Lord Beauchamp, created Earl of Kendal and Duke of Somerset 28 August 1443. After the death of John, Duke of Somerset, his wife married Leo Welles who was slain at Towton 29 March 1461. She died at a great age shortly before 3 June 1482. The only child and heir of this marriage was Lady Margaret Beaufort born 31 May 1443. -
King Richard Iii/Looking for Richard
ENGLISH: KING RICHARD III/LOOKING FOR RICHARD Wherefore art thou Richard? There is no doubt that William Shakespeare’s King Richard III is relevant to twentieth century society; however, with changing contexts and values, its accessibility has been somewhat hindered. So, how do we solve this? Maise Smith explores this classic play in a contemporary environment. In his latest film, notable actor and director Al Pacino embarks on a quest in search of Richard, made famous as the Machiavellian of literary genius William Shakespeare’s King Richard III. Don’t know it? Read on. Looking for Richard follows Pacino as he questions the misunderstanding and disinterest surrounding Shakespeare’s collective work, and attempts to find contemporary meaning within King Richard III. It combines the general public’s opinion; experts conversing on Shakespeare’s context, meaning and use of techniques; and a filmic enactment of the original play. To understand the connections between the two texts, we must first look into Pacino’s purpose for creating a contemporary insight into such a classic play. The voxpops entwined throughout the movie depict the views of the American public, the overwhelming majority of whom possess a negative and ignorant perspective on his accessibility, and therefore relevance. Pacino takes it upon himself to counter this; to make Shakespeare accessible, and therefore relevant, aptly adopting the more prevalent medium of film to reflect his ideas. So, the question now evolves from “what are the connections between King Richard III and Looking for Richard?” to “what are the connections between King Richard III and the average, contemporary American viewer?” Answering the second aspect of the question invites a discussion of Pacino’s filmic choices. -
Public Image and Political Influence of Princess Charlotte and Queen Adelaide
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2003 Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide Eileen Robin Hintz College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the European History Commons, and the Women's Studies Commons Recommended Citation Hintz, Eileen Robin, "Reform, Radicalism, and Royalty: Public Image and Political Influence of Princess Charlotte and Queen Adelaide" (2003). Dissertations, Theses, and Masters Projects. Paper 1539626412. https://dx.doi.org/doi:10.21220/s2-ehge-1b89 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. REFORM, RADICALISM, AND ROYALTY: Public Image and Political Influence of Princess Charlotte and Queen Adelaide A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Eileen Hintz 2003 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Eileen Hintz Approved by the Committee, December 2003 _ ___ James McCord Chandos Brown ff — Gilbert McArthur TABLE OF CONTENTS Page ACKNOWLEDGEMENTS iv LIST OF ILLUSTRATIONS v ABSTRACT vi INTRODUCTION 2 CHAPTER I. THE DEATH OF PRINCESS CHARLOTTE [NOVEMBER 1817] 6 CHAPTER II. -
Equerries to The.Duke of Gloucester, ' :...\ , 'Edmund Currey, Esq
[ 2900 ] Equerries to the.Duke of Gloucester, ' :...\ , 'Edmund Currey, Esq. Lieut. Col. Samuel Higgins. ,/, Equerries to the Duke of Cambridge, •... Colonel Keat, Major-General Sir James Lyon, K. C'. B. Equerries to the Duke of Sussex, Henry Fredericlc Stephenson, Esq. "Major Perkins Magra. Equerries to the Duke of Cumberland, ' .- Colonel Charles Wade Thornton, Lieutenant-General Henry Wynyard, General Vyse> Equerries to the Duke of Kent, Captain Conran, Lieutenant-Colonel Sir Henry W. Carr, K. C. B. Major-General Sir George Anson, K. C. B. Lieutenant-General Wetherall. Equerry to the Duke of York, Charles Culling Smith, Esq. • " Equerries to the Prince Regent, ... Charles Quentin, Esq. Major-General Sir Richard Hussey Vivian, K. C. B. Sir William Cougreve, Bart. Clerk-Marshal and First Equerry to the Prince Regent, Lieutcnant-General F. T. Hammond. Quarter-Master-General, Adjutant-General, Maj. Gen. Sir J. Willoughby Gordon, Bart. K. C. B. Lieu] . Sir Harry Calvert, Bart. G. C. 15. Equerries to the King. Lieutenant-General William Wynyard. Lieutenant-General Sir Brent Spencer, G. C. B. General Cartvvright. General Gwyn. Clerk-Marshal and First Equerry. General Robert Manners. Gentlemen Ushers of the Privy Chamber to His Majesty, John Hale, Esq. Sir Robert Chester, Knt. .T. Hatton, Esq. W. Masten, Esq. Officers of the Duehy of Cornwall, viz. Solicitor General, William Harrison, Esq. Auditor, Receiver-General, Sir William Kn.ighton, Bart. • The Right Honourable Lord William Gordon. Lord Warden of the Stannaries, <'. The Earl of Yarmouth. Grooms of the Bedchamber to His Majesty, Admiral Sir George Campbell, K. C.B. Lieut.-Col. the Hon. Henry King. -
RICHARD III by William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High Sparks of Honor in Thee Have I Seen
RICHARD III By William Shakespeare Directed by Ian Gallanar February 10 – March 5, 2017 Thank You High sparks of honor in thee have I seen. - Richard II Sponsors Funders Mayor Catherine E. Pugh & the City of Baltimore This production has been funded by Mayor Catherine E. Pugh and the Baltimore Office of Promotion and The Arts The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org Media Partners 2 RICHARD III Richard’s Revival A Note from the Founding Artistic Director Richard III is a remarkable play. The history in it is not very good. Shakespeare compresses events at will. The idea of who the protagonist and antago- Ian Gallanar. Photo by Theatre nists are in this play might not match the historical record. Consultants Collaborative Inc. The play is not as deeply moving or profound as King Lear or Hamlet. Instead, what makes this play great are Shakespeare’s craftsmanship and innovation. Richard, Duke of Gloucester is one of the greatest anti-heroes in the theater. Shakespeare prac- tically invents for the stage the notion that our main fi gure can be villainous and yet, somehow, likable. Why? Because he’s entertaining, he’s funny, he’s wicked, and he speaks to us directly. The anti-hero is a creation that has stood the test of time. My favorite period of Shake- speare in performance is the era in which troupes of actors toured the California gold rush towns. Their productions were deeply important to these guys in the middle of nowhere trying to strike it rich. -
The Tragedy of King Richard III by William Shakespeare
1 Shakespeare – live The Tragedy of King Richard III by William Shakespeare Historical background The real-life Richard III was born in1485. He was Edward IV’s brother and Richard, Duke of York’s third son. Upon Edward’s death in 1483 he imprisoned his nephews in the Tower of London, announced that they had died there and proclaimed himself King of England. In 1485 Richard III was killed during the Battle of Bosworth Field, at the hand of Henry Tudor (Earl of 5 Richmond) who was later to become Henry VII. In the period after his death Richard was often portrayed negatively, attacked or defamed in literary and historical accounts, particularly Thomas More’s ‘History of Richard III’, which was also a source for Shakespeare’s play. Later historians have attempted to clear his name to some degree, notably Horace Walpole in his 10 ‘Historic Doubts on the Life and Death of Richard III’. However, Richard III remains one of the most controversial figures in English history. The play The Tragedy of King Richard III is considered a historical tragedy. After Hamlet, it is Shakespeare’s second longest drama and yet it is one of his most often performed plays. There are at least half a dozen film versions of the play, in which some of the stage’s best actors have played major roles. 15 The drama unfolds in five acts, beginning with the exposition and the complication of the plot within the first two acts. Typically, the climax comes at the end of Act III. The dénouement and the finale follow in the remaining two acts. -
SOLILOQUIES and the EVOLUTION of CHARACTER in RICHARD III and HAMLET by AMANDA JEANNETTE SEELY a Thesis Submitted to the Honors
Soliloquies and the Evolution of Character in Richard III and Hamlet Item Type text; Electronic Thesis Authors Seely, Amanda Jeannette Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 21:03:20 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/244795 SOLILOQUIES AND THE EVOLUTION OF CHARACTER IN RICHARD III AND HAMLET By AMANDA JEANNETTE SEELY A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelor's Degree With Honors in English THE UNIVERSITY OF ARIZONA MAY 2012 Peter Medine Department of English STATEMENT BY AUTHOR This thesis has been submitted in partial fulfillment of requirements for a degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Signed (J.ffut The University of Arizona Electronic Theses and Dissertations Reproduction and Distribution Rights Form Name (Last, First, Middle) Degree title (eg BA, BS, BSE, BSB, BFA): Honors area (eg Molecular and Cellular Biology, English, Studio Art): Date thesis submitted to Honors College: Title of Honors thesis: :The University of I hereby grant to the University of Arizona Library the nonexclusive Arizona Library Release worldwide right to reproduce and distribute my dissertation or thesis and abstract (herein, the "licensed materials"), in whole or in part, in any and all media of distribution and in any format in existence now or developed in the future. -
1 Fifteenth-Century Kingship and the Reign of Henry VI
Cambridge University Press 978-0-521-55746-7 - Lancastrians to Tudors: England, 1450-1509 Andrew Pickering Excerpt More information Fifteenth-century kingship 1 and the reign of Henry VI Focus questions ◆ How was England governed in the mid-fifteenth century? ◆ How strong was the monarchy before the reign of Henry VI? ◆ What factors undermined Henry VI’s rule before 1455? ◆ Why was Henry VI usurped by Edward, earl of March, in 1461? Significant dates 1421 Henry VI is born. 1422 Henry V dies, Henry VI becomes king. 1437 Henry VI’s minority ends. 1444 The Truce of Tours is made with France. Henry VI is betrothed to Margaret of Anjou. 1445 Henry VI marries Margaret of Anjou. 1450 Normandy is lost to the French. Suffolk is murdered and Cade’s rebellion breaks out. 1452 February to March the duke of York’s first insurrection begins. 1453 Henry VI becomes insane. Henry VI’s son and heir, Edward, prince of Wales, is born. 1454 November York’s first protectorate begins. 1455 Henry VI recovers and York’s protectorate ends. May The First Battle of St Albans takes place. November York’s second protectorate begins. 1459 September The Battle of Blore Heath takes place. York flees to Ireland. 1460 July The Battle of Northampton takes place. December York is killed at the Battle of Wakefield. 1461 February The Battle of Mortimer’s Cross takes place. Queen Margaret defeats the Yorkists at the Second Battle of St Albans. Edward IV usurps the throne. March Edward IV defeats the Lancastrians at the Battle of Towton. -
The Howard and De Vere Women in the Late Fifteenth Century
Victims of Attainder: The Howard and de Vere Women in the Late Fifteenth Century Anne Crawford. Public Record Office Most English estates and businesses in the later Middle Ages would have been run less efficiently with.ollt the active cooperation of the master's lady. Many proved quite capable of running the entire enterprise when deprived either temporarily or pennanently of their husbands. As the other papers in this collection have indicated, many medieval women were as competent and as determined as their twentieth century counterparts. Yet there was one essential difference. The independent legal rights of a medieval wife were nonexistent and only as a widow was a woman able to exercise some control over her property and her future. While her husband was alive the two were regarded as one being in law. For most women thi s was merely academic, but the wife of a man convicted of treason might, at worst, find herself left with little more than her life and the gown she stood up in. The full rigours of the law were usually modified, but the degree of modification often depended on the amount of influence a wife or widow could bring to bear. It was arbitrary and could never be wholly relied upon. This paper is intended to illustrate the basic weakness of a woman's position if the male members of her family were charged with treason. To salvage as much of the family property as she could, she needed to influence the king in her favour and to do that she really needed the support of a politically powerful man.