The State of the Art
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Performing Othello in South Africa Natasha Distiller
Authentic Protest, Authentic Shakespeare, Authentic Africans: Performing Othello in South Africa Natasha Distiller ugh Quarshie famously declared Othello a play that black actors Hshould avoid: “If a black actor plays Othello does he not risk making racial stereotypes seem legitimate… namely that black men… are over- emotional, excitable and unstable?”1 Ben Okri, referencing the reception of Shakespeare’s tragedy by critics and audiences,2 said that if Othello were not originally a play about race (as indeed it was not in the modern sense of the term), its history has made it one.3 By now, Othello both invokes and confounds modern notions of race and racial difference, speaking powerfully to the long history of misogyny it has facilitated.4 The play also points to the ways in which race and gender are imbricated in one another and co-depend.5 The meaning of Desdemona’s whiteness and femininity depend on each other, as do Othello’s blackness and masculinity. As Celia Daileader has pointed out, Desdemona’s punishment for being an unruly woman is symbolized by and through Othello’s racial identity.6 One might say that Othello both is and is not about race and racial difference, a play that invokes a relation between gender and the range of human cultures, religions, civic belongings, and/or appearances that we now encode as “race.” Whichever ideological frame one chooses to read through (an early modern construction of Moorishness, a postmodern antiracism, a feminist awareness of domestic violence, a combination of these, or any of the other possible lenses one could apply), to understand the play one must recognize the ways it explores the experience of difference as emotionally fraught at best, potentially dangerous at worst. -
Demarcating Dramaturgy
Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement. -
March 2016 Conversation
SAVORING THE CLASSICAL TRADITION IN DRAMA ENGAGING PRESENTATIONS BY THE SHAKESPEARE GUILD IN COLLABORATION WIT H THE NATIONAL ARTS CLUB THE WNDC IN WASHINGTON THE ENGLISH-SPEAKING UNION DIANA OWEN ♦ Tuesday, February 23 As we commemorate SHAKESPEARE 400, a global celebration of the poet’s life and legacy, the GUILD is delighted to co-host a WOMAN’S NATIONAL DEMOCRATIC CLUB gathering with DIANA OWEN, who heads the SHAKESPEARE BIRTHPLACE TRUST in Stratford-upon-Avon. The TRUST presides over such treasures as Mary Arden’s House, WITTEMORE HOUSE Anne Hathaway’s Cottage, and the home in which the play- 1526 New Hampshire Avenue wright was born. It also preserves the site of New Place, the Washington mansion Shakespeare purchased in 1597, and in all prob- LUNCH 12:30. PROGRAM 1:00 ability the setting in which he died in 1616. A later owner Luncheon & Program, $30 demolished it, but the TRUST is now unearthing the struc- Program Only , $10 ture’s foundations and adding a new museum to the beautiful garden that has long delighted visitors. As she describes this exciting project, Ms. Owen will also talk about dozens of anniversary festivities, among them an April 23 BBC gala that will feature such stars as Dame Judi Dench and Sir Ian McKellen. PEGGY O’BRIEN ♦ Wednesday, February 24 Shifting to the FOLGER SHAKESPEARE LIBRARY, an American institution that is marking SHAKESPEARE 400 with a national tour of First Folios, we’re pleased to welcome PEGGY O’BRIEN, who established the Library’s globally acclaimed outreach initiatives to teachers and NATIONAL ARTS CLUB students in the 1980s and published a widely circulated 15 Gramercy Park South Shakespeare Set Free series with Simon and Schuster. -
Christmas Quiz 2018
T H E S H A K E S P E A R E B I R T H P L A C E T R U S T CHRISTMAS QUIZ 2018 Email your answers to [email protected] by 2nd January 2019 Or return this quiz to: Development, The Shakespeare Birthplace Trust, Stratford upon Avon, CV37 6QW Entry is by suggested donation of £5 with a chance to win a £50 voucher to spend in the gift shops. Send your cheque to this address or make your donation online: shakespeare.org.uk/donate Winners will be notified after 2nd January 2019. Answers will be sent to all those who enter after 2nd January 2019. 1. Which of the following phrases 6. Within the area during a sixty year was not coined by Shakespeare? period, Shakespeare was one in only a. Cat got your tongue? how many men to marry before age b. Wild-goose chase twenty? c. Break the ice a. Three 2. Which of Shakespeare's children b. Five inherited the most when he died? c. Eight a. Susanna 7. Which of Shakespeare’s b. Judith contemporaries wrote the introduction c. Hamnet to the first folio? 3. Why was Shakespeare’s father a. Thomas Kyd John Shakespeare granted a coat of b. Christopher Marlowe arms? c. Ben Jonson a. John had gained favour from 8. Shakespeare was the _____ child many in higher ranks due to his born to his parents. excellent craftsmanship of a. First gloves b. Third b. Due to the military service of c. -
Shail, Robert, British Film Directors
BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter. -
Original Writer Title Genre Running Time Year Director/Writer Actor
Original Running Title Genre Year Director/Writer Actor/Actress Keywords Writer Time Katharine Hepburn, Alcoholism, Drama, Tony Richardson; Edward Albee A Delicate Balance 133 min 1973 Paul Scofield, Loss, Play Edward Albee Lee Remick Family Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. I Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 54 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. II Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. III Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 53 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. IV Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 50 min 1995 Austen, Andrew Crispin Bonham-Carter, Vol. V Romance Classic, Davies Jennifer Ehle Strong Female Lead, Inheritance Georgian, Eighteenth Century, Simon Langton; Jane Colin Firth, Pride and Prejudice Drama, Romance, Jane Austen 52 min 1995 Austen, -
Sir Peter Hall
Sir Peter Hall St Catharine’s first heard of Peter Hall in 1948, when his Perse School referee noted that: “He plays the usual games, is a School Prefect, . Corporal in the A.T.C. [and] is particularly interested in Music, Art and Dramatics.” This clearly did the trick with then Senior Tutor Tom Henn, who asked him to perform a Petruchio speech he’d learned and offered him a place, after his compulsory National Service. Two years later, the now Sergeant Hall wrote from the British Army on the Rhine requesting that Henn intercede with the Army to arrange his early release from the Service, and he duly came up. By his own account, in Making an Exhibition of Myself (1993): “I loved Tom Henn because he was eccentric and emotional. He was a military man with a poet’s soul, [who] could easily reduce himself to tears by intoning great verse . in an environment that was more like a country gentleman’s study than a Cambridge don’s.” Academically, Peter was schizophrenic: “I secretly attended Leavis’s lectures; but since I was directly supervised by Tom Henn, it was rather like a devout Catholic finding his day-to-day inspiration from the sermons of Luther.” He was, he tells us, “lucky enough to have rooms in the roof of the central court of St Catharine’s, looking out towards King’s Parade” – my rooms, I wonder? – although “I had been an invisible member of St Catharine’s, . spending all my time in theatre circles. My attic in the roof of that lovely quadrangle had been largely uninhabited. -
Who Needs Parables?
Who Needs Parables? JANET SUZMAN THE TANNER LECTURES ON HUMAN VALUES Delivered at Oxford University May 3 and 4, 1995 JANET SUZMAN was trained at LAMDA and is an honorary associate artist of the Royal Shakespeare Company. Her work there has included The Wars of the Roses, As You Like It, The Taming of the Shrew, Much Ado About Noth- ing, Love’s Labour’s Lost, The Merchant of Venice, The Relapse, and in 1980, John Barton’s The Greeks. She has been awarded honorary degrees by the Universities of War- wick and Leicester, and by the Open University. In addi- tion to her work with the RSC, she has also appeared in Hello and Goodbye and Three Sisters, both of which won Evening Standard Awards, Hedda Gabler, Andromache, and The Sisters Rosensweig. Her television credits include Macbeth, Twelfth Night, Mountbatten, and Inspector Morse. She was nominated for an Academy Award in 1971 for her performance in Nicholas and Alexandra; other film credits include A Dry White Season and Fellini’s E La Nave Va. She has directed productions at Market Theatre and Channel Four television, the Edinburgh Festival, Chel- sea Centre, RSC, and Theatre Clwyd. LECTURE I. OTHELLO IN SOUTH AFRICA For as many years as my memory goes back, I have had two vultures sitting on my shoulders. Heavy, filthy weights, their wrinkled necks craning to spy out the carrion my country was pro- viding for their vile attention. Guilt, I suppose you’d call the one, and the other, perhaps, sorrow. They’ve flown away now, headed towards some other misguided country where the pickings will be tragically lush, but how can I help feeling light-hearted now that they’ve quit their old posts? You will understand, then, that it is strange, but wonderful, to be standing here thankfully disburdened now, to remind you, as I have to remind myself, of what South Africa once used to be. -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
Newsletter Incorporating Occasional Papers and Reviews SHAKESPEARE SOCIETY of SOUTHERN AFRICA
Newsletter incorporating Occasional Papers and Reviews SHAKESPEARE SOCIETY OF SOUTHERN AFRICA http://www.ru.ac.za/shakespeare DECEMBER 2012 Index Administration and Shakespeare Birthday Lecture Publications 2 Tuesday 17 April 19:30 Shakespeare Feature Page 3 Eden Grove: Blue Lecture Theatre Reports: Rhodes University Shakespeare Society of Southern Africa Guest Lecturer: Newsletter incorporating Occasional Papers and Mr George Niven Reviews 4 From the President 4 Shakespeare in Southern Africa 5 SSoSA Branches 6 Triennial Congress 11 Occasional Papers and Reviews: Archaeologists find Shakespeare’s Curtain Theatre 14 It seems Shakespeare fancied a prostitute 15 Complete or not complete works Topic: From ‘Agincourt to Mangaung: 16 Henry V and the Uses of History’ The Portrait of Mr W.H. 18 Presented by Journal Contents Vol. 24 The Shakespeare Society of South Africa 19 (See ‘Grahamstown Branch Report’ pages seven to eight) Shakespeare Society of Southern Africa (A project of The Grahamstown Foundation) Head Office: c/o Institute for the Study of English in Africa (ISEA) Rhodes University, P O Box 94, Grahamstown, 6140, Rep. South Africa html://www.ru.ac.za/shakespeare Administration and Publications Professor Laurence Wright, Dr Chris Thurman, editor of Director of ISEA, Founder Shakespeare in Southern Africa. Member of SSoSA, Past He holds degrees from Rhodes, President of SSoSA. In 2001 was London and Cape Town, and appointed Honorary Life lectures at the University of the President of SSoSA, successor to Witwatersrand. His doctorate is the late Emeritus Professor Guy on Guy Butler. Butler. (See ‘Biography’, on page three for further reading). Laurence Wright Chris Thurman Mr Warren Snowball , Ms Hildé Slinger, former President of SSoSA from 2010. -
Cleopatra I Am Fire and Air 1St Edition Pdf, Epub, Ebook
CLEOPATRA I AM FIRE AND AIR 1ST EDITION PDF, EPUB, EBOOK Harold Bloom | 9781501164163 | | | | | Cleopatra I Am Fire and Air 1st edition PDF Book Just a moment while we sign you in to your Goodreads account. However, I don't think he sold me on this play being a tragicomedy. I love Cleopatra. From Wikipedia, the free encyclopedia. Thank you. Award-winning writer and beloved professor Harold Bloom investigates Macbeth's interiority and unthinkable actions with razor-sharp insight, agility, and compassion. Aug 06, Robert Stevenson rated it liked it. Since the publication of his first book in , Bloom has written more than forty books of literary criticism, several books discussing religion, and one novel. In Alexandria , Cleopatra I was called the Syrian. As an aging, tenacious Elizabeth I clung to power, a talented playwright probed the social causes, the psychological roots, and the twisted consequences of tyranny. Write a review See all reviews Write a review. Will will fulfil the treasure of thy love, Ay, fill it full with wills, and my will one. Audible Premium Plus. I was surprised in Chapter 15 by the look at the role of the Clown in the play. Cleopatra identifies herself with the Nile and with the earth of Egypt. That book was the last surviving manuscript of an ancient Roman philosophical epic by Lucretius—a beautiful poem containing the most dangerous ideas: that the universe functioned without the aid of gods, that religious fear was damaging to human life, and that matter was made up of very small particles. Laodice 1. -
Matt Wolf Meets a Hollywood Superstar
August 1997 Issue 11 £2.50 Matt Wolf meets a Hollywood Superstar The thinking man's actor Prolific, precocious, provocative Making his mark Also in this issue... 08 9771364763009 i EDITOR'S LETTER n the very first imre of Applause , Matt Wolf wrote a piece in which he com/Jared the 'softne ss' of London's theatre critics to their more bmtal New York cmm ter/Jam. As CI gro up (or 'scathe ', if yo u like ) of critics , our tolerance ratio, Wolf maintained, WdS felr highe r than Broadway's bwchers who, at the risk of reducing the number of Brnw:ltuF siln us, m any seas on, to single figure s, would blast to oblivion the equivalent of the maJ1\ h<' luw-par /nodlfctions that find their way into the Wes t End. Well, if the last re i< mrdlths are an),thing to go by, London's reviewers wmrld a/Jpear to hal'e taken \CU/,;"5oh'C'T!'llt/ons to heart. The majority of them gave the thumbs down to Terrence ,'vfc.'\'alh s mmrd-lvinninf,; Mas[er C lass, Neil Simon's The Goodbye Girl, and to the 10hn Dem p,c\-I)ana Rowe musical The Fi x - all American in ori?;in, incidentally. Marlene also hl1d 11 rOI/!;h ride from some of the more disceminf,; reviewers bw, ~mlike the first two, it has manl1!;.;:,j 0 hong in on the strength of Sian Phillips' marve llous central performance. Blood has also recentl)' bee n drawn from Always, whose critical reception was the jO/tnwlistic eqHit>aient of Rese n'Olr Dogs.