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William Shakespeare (1564- 1616) He Was an English Poet and Playwright of the Elizabethan Period
William Shakespeare (1564- 1616) He was an English poet and playwright of the Elizabethan period. He is widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". He was born and raised in Stratford-upon-Avon. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part owner of a playing company called the Lord Chamberlain's Men. After the plagues of 1592–3, Shakespeare's plays were performed by his own company at The Theatre and the Curtain north of the Thames. When the company found themselves in dispute with their landlord, they pulled The Theatre down and used the timbers to construct the Globe Theatre, the first playhouse built by actors for actors, on the south bank of the Thames. 1610 portrait The Globe theatre opened in After the death of Queen Elizabeth in 1603, the company was awarded a 1599. royal patent by the new king, James I, and changed its name to the King's Men. Acting was considered dishonourable for women and women did not appear on the stage in England until the seventeenth century. In Shakespeare's plays, the roles of women were often played by young boys. His works consist of about 38 plays, 154 sonnets and several other poems. He produced most of his known work between 1589 and 1613. His early plays were mainly comedies and histories. He then wrote mainly tragedies until about 1608. -
The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
Le Marchand De Venise » Et « Le Marchand De Venise De Shakespeare À Auschwitz » Marie-Christiane Hellot
Document généré le 29 sept. 2021 19:34 Jeu Revue de théâtre De Shakespeare à Auschwitz « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz » Marie-Christiane Hellot « Roberto Zucco » Numéro 69, 1993 URI : https://id.erudit.org/iderudit/29188ac Aller au sommaire du numéro Éditeur(s) Cahiers de théâtre Jeu inc. ISSN 0382-0335 (imprimé) 1923-2578 (numérique) Découvrir la revue Citer ce compte rendu Hellot, M.-C. (1993). Compte rendu de [De Shakespeare à Auschwitz : « Le Marchand de Venise » et « Le Marchand de Venise de Shakespeare à Auschwitz »]. Jeu, (69), 168–176. Tous droits réservés © Cahiers de théâtre Jeu inc., 1993 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ De Shakespeare à Auschwitz «Le Marchand de Venise «Le Marchand de Venise» de Shakespeare à Auschwitz» Texte de William Shakespeare; traduction de Michelle Allen. Texte de William Shakespeare, Elie Wiesel et Tibor Egervari; Mise en scène : Daniel Roussel, assisté de Roxanne Henty; traduction de Shakespeare : François-Victor Hugo. Mise décor : Guy Neveu; costumes : Mérédith Caron; éclairages : en scène : Tibor Egervari; décor et éclairages ; Margaret Michel Beaulieu; musique : Christian Thomas. -
DOSSIER PÉDAGOGIQUE Dossier Proposé Dans Le Cadre Du Dispositif Lycéens À L’Opéra, Financé Par La Région Rhône-Alpes
14/15 LE MARCHAND DE VENISE REYNALDO HAHN DOSSIER PÉDAGOGIQUE Dossier proposé dans le cadre du dispositif Lycéens à l’Opéra, financé par la Région Rhône-Alpes. Dossier réalisé sous la direction d'Oumama Rayan Coordination Clarisse Giroud Rédaction des textes Jonathan Parisi CONTACT Mise en page et suivi de fabrication Aurélie Souillet Clarisse Giroud Document disponible en téléchargement sur Chargée de la médiation et de l'action culturelle www.operatheatredesaintetienne.fr 04 77 47 83 34 / [email protected] LE MARCHAND DE VENISE REYNALDO HAHN OPÉRA EN 3 ACTES ET 5 TABLEAUX LIVRET DE MIGUEL ZAMACOÏS D’APRÈS LA COMÉDIE DE SHAKESPEARE CRÉÉ À L’OPÉRA DE PARIS LE 25 MARS 1935 DIRECTION MUSICALE FRANCK VILLARD MISE EN SCÈNE, DÉCORS ET LUMIÈRES ARNAUD BERNARD ASSISTANT MISE EN SCÈNE GIANNI SANTUCCI ASSISTANT DÉCORS VIRGILE KOERING COSTUMES CARLA RICOTTI LUMIÈRES PATRICK MÉEUS CHEF DE chœur LAURENT TOUCHE CHEF DE CHANT CYRIL GOUJON ANTONIO FRÉDÉRIC GONCALVÈS SHYLOCK PIERRE-YVES PRUVOT BASSANIO GUILLAUME ANDRIEUX PORTIA GABRIELLE PHILIPONET GRATIANO FRANÇOIS ROUGIER LORENZO PHILIPPE TALBOT TUBAL HARRY PEETERS NÉRISSA ISABELLE DRUET JESSICA MAGALI ARNAULT-STANCZAK ANTONIO FRÉDÉRIC GONCALVÈS LA VOIX, LE PRINCE D’ARAGON, SALARINO VINCENT DELHOUME LE PRINCE DU MAROC, LE DOGE FRÉDÉRIC CATON L'AUDIENCIER, UN SERVITEUR FRÉDÉRIK PRÉVAULT LE GRAND DE VENISE ZOLTAN CSEKÖ UN SERVITEUR FRANÇOIS BESCOBO ORCHESTRE SYMPHONIQUE SAINT-ÉTIENNE LOIRE Chœur LYRIQUE SAINT-ÉTIENNE LOIRE GRAND THÉÂTRE MASSENET UNE HEURE AVANT CHAQUE REPRÉSENTATION, MERCREDI 27 MAI : 20H PROPOS D'AVANT SPECTACLE PAR JONATHAN VENDREDI 29 MAI : 20H PARISI, MUSICOLOGUE. DIMANCHE 31 MAI : 15H GRATUIT SUR PRÉSENTATION DE VOTRE BILLET. -
The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More Information
Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information The Cambridge Companion to Harold Pinter The Cambridge Companion to Harold Pinter provides an introduction to one of the world’s leading and most controversial writers, whose output in many genres and roles continues to grow. Harold Pinter has written for the theatre, radio, television and screen, in addition to being a highly successful director and actor. This volume examines the wide range of Pinter’s work (including his recent play Celebration). The first section of essays places his writing within the critical and theatrical context of his time, and its reception worldwide. The Companion moves on to explore issues of performance, with essays by practi- tioners and writers. The third section addresses wider themes, including Pinter as celebrity, the playwright and his critics, and the political dimensions of his work. The volume offers photographs from key productions, a chronology and bibliography. © Cambridge University Press www.cambridge.org Cambridge University Press 0521651239 - The Cambridge Companion to Harold Pinter Edited by Peter Raby Frontmatter More information CAMBRIDGE COMPANIONS TO LITERATURE The Cambridge Companion to Greek Tragedy The Cambridge Companion to the French edited by P. E. Easterling Novel: from 1800 to the Present The Cambridge Companion to Old English edited by Timothy Unwin Literature The Cambridge Companion to Modernism edited by Malcolm Godden and Michael edited by Michael Levenson Lapidge The Cambridge Companion to Australian The Cambridge Companion to Medieval Literature Romance edited by Elizabeth Webby edited by Roberta L. Kreuger The Cambridge Companion to American The Cambridge Companion to Medieval Women Playwrights English Theatre edited by Brenda Murphy edited by Richard Beadle The Cambridge Companion to Modern British The Cambridge Companion to English Women Playwrights Renaissance Drama edited by Elaine Aston and Janelle Reinelt edited by A. -
The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter
Ben Ferber The Hothouse and Dynamic Equilibrium in the Works of Harold Pinter I have no doubt that history will recognize Harold Pinter as one of the most influential dramatists of all time, a perennial inspiration for the way we look at modern theater. If other playwrights use characters and plots to put life under a microscope for audiences, Pinter hands them a kaleidoscope and says, “Have at it.” He crafts multifaceted plays that speak to the depth of his reality and teases and threatens his audience with dangerous truths. In No Man’s Land, Pinter has Hirst attack Spooner, who may or may not be his old friend: “This is outrageous! Who are you? What are you doing in my house?”1 Hirst then launches into a monologue beginning: “I might even show you my photograph album. You might even see a face in it which might remind you of your own, of what you once were.”2 Pinter never fully resolves Spooner’s identity, but the mens’ actions towards each other are perfectly clear: with exacting language and wit, Pinter has constructed a magnificent struggle between the two for power and identity. In 1958, early in his career, Pinter wrote The Hothouse, an incredibly funny play based on a traumatic personal experience as a lab rat at London’s Maudsley Hospital, proudly founded as a modern psychiatric institution, rather than an asylum. The story of The Hothouse, set in a mental hospital of some sort, is centered around the death of one patient, “6457,” and the unexplained pregnancy of another, “6459.” Details around both incidents are very murky, but varying amounts of culpability for both seem to fall on the institution’s leader, Roote, and his second-in- command, Gibbs. -
Airs Et Mélodies
LIVINE MERTENS Airs et mélodies MENU Tracklist p.4 Français p.10 English p.18 Nederlands p.26 Deustch p.36 LIVINE MERTENS Mezzo-soprano (Anvers, 1898 – Bruxelles, 1968) Airs et mélodies BOÏELDIEU François-Adrien (1775-1834) 1 « D’ici voyez ce beau domaine », Couplets de Jenny, dans La dame blanche (I, 5), 3’02 chœurs et orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RF29–WLB128) [ULB] THOMAS Ambroise (1811-1896) 2 « Connais-tu le pays ? », Cantabile de Mignon (I), 4’20 orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RFX30–LBX73) [KBR : Becko V/8/2b Mus] MASSENET Jules (1842-1912) 3 « Va ! laisse couler mes larmes », air de Charlotte dans Werther (III, 2), 2’28 avec accompagnement de piano (Edison 89259–F374) [KBR : Becko V/57/13 Mus] BIZET Georges (1838-1875) 4 « L’amour est un oiseau rebelle », Habanera de Carmen (I, 5), 2’43 avec accompagnement de piano (Edison 89257–F373) [KBR : Becko V/57/11a Mus] 5 « Près des remparts de Séville », Séguedille de Carmen (I, 10), 1’51 avec accompagnement de piano (Edison 89258–F373) [KBR : Becko V/57/11b Mus] GOUNOD Charles (1818-1893) 6 « Que fais-tu, blanche tourterelle », Chanson de Stéphano, dans Roméo et Juliette (III, 2e tableau) 2’44 avec accompagnement de piano (Edison 89260–F374) [ULB] 7 « Depuis hier je cherche en vain mon maître » – « Que fais-tu, blanche tourterelle », Chanson de Stéphano, dans Roméo et Juliette (III, 2e tableau), 4’09 orchestre du Théâtre royal de la Monnaie, dir. Maurice Bastin (Columbia RFX30–LBX74) [KBR: Becko V/8/2a MUS] OFFENBACH Jacques (1819-1880) 8 « Voici le sabre de mon père », Couplets de La grande duchesse de Gérolstein (I, 13), 3’12 chœurs et orchestre du Théâtre royal de la Monnaie, dir. -
The Sigma Tau Delta Review
The Sigma Tau Delta Review Journal of Critical Writing Sigma Tau Delta International English Honor Society Volume 11, 2014 Editor of Publications: Karlyn Crowley Associate Editors: Rachel Gintner Kacie Grossmeier Anna Miller Production Editor: Rachel Gintner St. Norbert College De Pere, Wisconsin Honor Members of Sigma Tau Delta Chris Abani Katja Esson Erin McGraw Kim Addonizio Mari Evans Marion Montgomery Edward Albee Anne Fadiman Kyoko Mori Julia Alvarez Philip José Farmer Scott Morris Rudolfo A. Anaya Robert Flynn Azar Nafisi Saul Bellow Shelby Foote Howard Nemerov John Berendt H.E. Francis Naomi Shihab Nye Robert Bly Alexandra Fuller Sharon Olds Vance Bourjaily Neil Gaiman Walter J. Ong, S.J. Cleanth Brooks Charles Ghigna Suzan-Lori Parks Gwendolyn Brooks Nikki Giovanni Laurence Perrine Lorene Cary Donald Hall Michael Perry Judith Ortiz Cofer Robert Hass David Rakoff Henri Cole Frank Herbert Henry Regnery Billy Collins Peter Hessler Richard Rodriguez Pat Conroy Andrew Hudgins Kay Ryan Bernard Cooper William Bradford Huie Mark Salzman Judith Crist E. Nelson James Sir Stephen Spender Jim Daniels X.J. Kennedy William Stafford James Dickey Jamaica Kincaid Lucien Stryk Mark Doty Ted Kooser Amy Tan Ellen Douglas Ursula K. Le Guin Sarah Vowell Richard Eberhart Li-Young Lee Eudora Welty Timothy Egan Valerie Martin Jessamyn West Dave Eggers David McCullough Jacqueline Woodson Delta Award Recipients Richard Cloyed Elizabeth Holtze Elva Bell McLin Sue Yost Beth DeMeo Elaine Hughes Isabel Sparks Bob Halli E. Nelson James Kevin Stemmler Copyright © 2014 by Sigma Tau Delta All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Sigma Tau Delta, Inc., the International English Honor Society, William C. -
TIMES, BETRAYAL and a KIND of ALASKA PEREIRA, Luís Alberto
http://dx.doi.org/10.1590/S0104-93132002000100005 MEMORY AS DISCOURSE IN HAROLD PINTER’S OLD LÉVI-STRAUSS, Claude. Tristes Trópicos. Lisboa: Edições 70. 2004. TIMES, BETRAYAL AND A KIND OF ALASKA PEREIRA, Luís Alberto. Drama biográfico – “Hans Staden”. Coprodução luso-brasileira. 1999. Carla Ferreira de Castro RIBEIRO, Darcy. O Povo Brasileiro – a formação e o sentido do Brasil. São Universidade de Évora Portugal Paulo: Companhia das Letras. 2.ª Edição. 1995. [email protected] ROUCH, Jean. “Les Maîtres Fous”. Documentário/filme. 1955. Consultado a 15 de Maio de 2012: Abstract http://www.veoh.com/watch/v14179347tanDtaPa?h1=Jean+Rouch+%3 A+Les+ma%C3%AEtres+fous+-+The+mad+masters This paper aims at developing the topic of identity and the narration of SANTIAGO, Silviano. “Mário, Oswald e Carlos, intérpretes do Brasil”. ALCEU – v.5 – n.10 – Jan./Jun. 2005. P.p. 5 – 17. Consultado a 15 de Maio de the self through the other in Harold Pinter’s plays Old Times, Betrayal and A Kind . In these plays Pinter deploys strategies to convey multiple implications 2012: of Alaska which are based on the power of memory in which the structure of the plays is http://revistaalceu.com.puc-rio.br/media/alceu_n10_santiago.pdf concocted. STADEN, Hans. 1520-ca 1565. Viagem ao Brasil. Rio de Janeiro: Academia Brasileira, 1930. 186 P. Consultado a 15 de Maio de 2012: http://purl.pt/151 Pinter, Language, Silence, Memory, Time STOLLER, Paul. “Artaud, rouch, and The cinema of Cruelty”. 1992. Key words: Visual Anthropology Review. Volume 8, n. º 2. “Every genuinely important step forward is accompanied by a return to the beginning...more precisely to a renewal of the beginning. -
Bernard Lloyd
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Phone: + 44 (0) 20 73360351 Email: [email protected] Bernard Lloyd Location: London Appearance: White Height: 5'9" (175cm) Other: Equity Weight: 12st. 2lb. (77kg) Eye Colour: Brown Playing Age: Over 70 years Hair Colour: Grey Stage 2015, Stage, Arnold, Now Is Not The End, Arcola Theatre, Katie Lewis 2014, Stage, Cardinal Ottaviani, The Last Confession, Trimumph Entertainment / World Tour, Jonathan Church 2011, Stage, Duke of Gloucester, King Lear, West Yorkshire Playhouse, Ian Brown 2007, Stage, Villot, The Last Confession, Theatre Royal Haymarket, David Jones 2006, Stage, Vincent Crummles, Nicholas Nickleby, Chichester Festival Theatre, Jonathan Church & Philip Franks 2006, Stage, Harry Morrison, Bishop of Putney, Pravda, Chichester Festival Theatre & Birmingham Rep, Jonathan Church 2001, Stage, Johnson Over Jordan, West Yorkshire Playhouse, Jude Kelly 2000, Stage, Chas, Still Time, Manchester Royal Exchange, Sarah Frankcom 1998, Stage, Tom Connolly, Give Me Your Answer Do, Lyric Theatre Belfast, Ben Twist 1998, Stage, Chaplain, Mother Courage, Manchester Contact Theatre, Ben Twist 1997, Stage, Quince, A Midsummer Night's Dream, Royal Shakespeare Company, Adrian Noble 1996, Stage, Sir Toby Belch, Twelfth Night, Royal Shakespeare Company, Ian Judge 1995, Stage, Aunt Augusta, Travels With My Aunt, York Theatre Royal, John Doyle 1994, Stage, Don Fernando, Le Cid, Royal National Theatre, Jonathan Kent Stage, Marley's Ghost, A -
A Study of the Diction in the Glass Menagerie Approved
A STUDY OF THE DICTION IN THE GLASS MENAGERIE APPROVED: fcjor Professor 'u" Mino<$ JL r ProfelssoJta# gB** jt«*Lr W& fr 'Sirector of tree Department bit'''English )ean' ooff the Graduate School A STUDY OF THE DICTION IN THS GLASS MENAGERIE THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OP ARTS By Anita Dayao Booth, B, S, Denton, Texas January, 1965 TABLE <F CONTENTS Pag© Chapter I. INTRODUCTION 1 II. A CONSIDERATION OF WILLIAMS* POETIC TECHNIQUE. 9 III. TOM'S DICTION 14 I?. AMANDA*S DICTION .......... 31 V. LAURA'S DICTION. ..... 44 VI. JIM'S DICTION 54 VII. CONCLUSION ....... 61 BIBLIOGRAPHY 71 lii CHaPT'CR I liTHOOUCTIOl Signl Falk r«f«rs to Tennessee Lillians as vtha greatest poet-dramatist to haw appeared on the American scene sine# -ugene ©•Neill,** His plays have been eminently successful and widely acclaimed as the work of h poet and a craftsman• Of all iiilliara®* «&jor playst the one vhjc h stands out as having m&4% his reputation &s poet-dram*tist is The Glass Menagerie. It was his first pUy to b@ produced in the commercial theatre and was k tremendous success. The follow- ing record of performances and awards attests to this remarkable success; It opened in Chicago on Jecember 26, 1944, -<nd was enthusiastic; lly received. It ran in Sew fork City for 561 performances. It won the New York Critics Circle -ward. (1944-45), the fourth annual award of Catholic ftoathlY. and the oidney Howard .Memorial Award of 4-1 $00 given by Playwrights Company,2 It has been widely performed by amateurs &nd sada inoo a successful movie.