Tournament of Shakespeareances Comedy Genre Polonius Genre SWEET 16 ELITE 8 FINAL 4 FINAL FINAL 4 ELITE 8 SWEET 16 1

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Tournament of Shakespeareances Comedy Genre Polonius Genre SWEET 16 ELITE 8 FINAL 4 FINAL FINAL 4 ELITE 8 SWEET 16 1. Midsummer Night’s Dream (28) 1. Merchant of Venice (12) 1. Midsummer Night’s Dream 1. Merchant of Venice 10. All’s Well That Ends Well (5) 9. Two Noble Kinsmen (4) 1. Midsummer Night’s Dream 1. Merchant of Venice 4. Much Ado About Nothing (15) 4. Winter’s Tale (9) 4. Much Ado About Nothing 4. Winter’s Tale 5. Taming of the Shrew (14) 5. Troilus & Cressida (4) 1. Midsummer Night’s Dream 6. Cymbeline 3. Comedy of Errors (18) 3. Measure for Measure (10) 3. Comedy of Errors 6. Cymbeline 6. As You Like It (13) 6. Cymbeline (6) 3. Comedy of Errors 6. Cymbeline 2. Twelfth Night (21) 2. Two Gentlemen of Verona (11) 7. The Tempest 7. Timon of Athens 7. The Tempest (12) 7. Timon of Athens (4) 1. Midsummer Night’s Dream Comedy Play-In Polonius Play-In 7. The Tempest (12) 7. Timon of Athens (4) A 7. The Tempest 7. Timon of Athens A 8. Merry Wives of Windsor (9) 8. Pericles (4) 9. Love’s Labour’s Lost (8) 9. Two Noble Kinsmen (4) B 10. All’s Well That Ends Well CHAMPION 9. Two Noble Kinsmen B 10. All’s Well That Ends Well (5) 10. Venus & Adonis (1) 1. Midsummer Night’s Dream Tragedy Genre History Genre 1. Romeo & Juliet (22) 1. Richard III (14) 1. Romeo & Juliet 1. Richard III 2. Hamlet 9. Titus Andronicus (5) 9. Henry VI Part Three (4) 4. King Lear 1. Richard III 4. King Lear (13) 4. Henry IV Part Two (8) 4. King Lear 5. Richard II 5. Othello (11) 5. Richard II (4) 2. Hamlet 1. Richard III 3. Macbeth (14) 3. Henry IV Part One (9) 6.Julius Caesar 3. Henry IV Part One 6.Julius Caesar (11) 6. King John (4) 2. Hamlet 2. Henry V 2. Hamlet (20) 2. Henry V (9) 2. Hamlet 2. Henry V 7. Antony & Cleopatra (9) 8. Henry VI Part Two (4) Tragedy Play-In History Play-In 7. Antony & Cleopatra (9) 7. Henry VI Part One (4) A 7. Antony & Cleopatra 8. Henry VI Part Two A 8. Coriolanus (7) 8. Henry VI Part Two (4) 9. Titus Andronicus (5) 9. Henry VI Part Three (4) B 9. Titus Andronicus 9. Henry VI Part Three B 10. Rape of Lucrece (1) 10. Henry VIII (2).

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Shakespeare's
Shakespeare’s Henry IV: s m a r t The Shadow of Succession SHARING MASTERWORKS OF ART April 2007 These study materials are produced for use with the AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Classic Players production of Henry IV: The Shadow of Succession. The historical period The Shadow of Succession takes into account is 1402 to 1413. The plot focuses on the Prince of Wales’ preparation An Introduction to to assume the solemn responsibilities of kingship even while Henry IV regards his unruly son’s prospects for succession as disastrous. The Shadow of When the action of the play begins, the prince, also known as Hal, finds himself straddling two worlds: the cold, aristocratic world of his Succession father’s court, which he prefers to avoid, and the disreputable world of Falstaff, which offers him amusement and camaraderie. Like the plays from which it was adapted, The Shadow of Succession offers audiences a rich theatrical experience based on Shakespeare’s While Henry IV regards Falstaff with his circle of common laborers broad vision of characters, events and language. The play incorporates a and petty criminals as worthless, Hal observes as much human failure masterful blend of history and comedy, of heroism and horseplay, of the in the palace, where politics reign supreme, as in the Boar’s Head serious and the farcical. Tavern. Introduction, from page 1 Like Hotspur, Falstaff lacks the self-control necessary to be a produc- tive member of society. After surviving at Shrewsbury, he continues to Grieved over his son’s absence from court at a time of political turmoil, squander his time in childish pleasures.
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The Third Part of King Henry the Sixth. Edited by H.C. Hart
THE ARDEN SHAKESPEARE GENERAL : W. EDITOR J. CRAIG 1899-1906: R. H. CASE, 1909 THE THIRD PART OF KING HENRY THE SIXTH THE WORKS OF SHAKESPEARE THE THIRD PART OF KING HENRY THE SIXTH EDITED BY H. C. HART I METHUEN k Co., Ltd. 36 ESSEX STREET W.C. LONDON uuPR First Published in igio FEB 11955 ry r.F T 957820 CONTENTS PAGE Introduction vii The Third Part of King Henry the Sixth . i — INTRODUCTION [It is greatly to be regretted that owing to the lamented death of the Editor, the three Parts of Henry VI. had not the advan- tage of being printed under his own supervision. But his work has been preserved with all the fidelity permitted by its comparatively rough though otherwise complete condition. In preparing the plays for the press, I have confined my correc- tions to matters of fact, and where I differed from the Editor in matters of opinion, I did not feel justified in altering his words. While I have emended or ascertained the accuracy of nearly every quotation and reference, a very few remain which must be taken on his authority. In the third part I have had the great advantage of advice and help from the General Editor, Professor R. H. Case. C. K. Pooler] The text of j Henry VI. is from the Folio 1623. As was the case with Part II., it receives a few slight emendations from the Quarto (Q i, of which it is an expanded form) known as The True Tragedy (and forming the second part of The Whole Contention) which was first printed in 1595 with this title : The true tragedie of Richard Duke Yorke, and | of the death good King Henrie the Sixt, with the zuholc of | \ contentio?i hetweene the two Houses Lancaster and Yorke, \ | as it was sundrie times acted by the Right Honoura- ble | | the Earle of brooke his seruants.
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HENRY VI, Part 1 by William Shakespeare
HENRY VI, part 1 by William Shakespeare THE AUTHOR William Shakespeare (1564-1616) was born into the family of a prosperous tradesman in Stratford-upon-Avon, England. While in his mid-teens, he was forced to leave school because his family fell into a period of poverty, so that he had only a rudimentary education. In 1582, he married Anne Hathaway, eight years his senior and already three months pregnant. The marriage produced three children in three years, but in 1585, Shakespeare left Stratford to go to London to seek his fortune in the big city. In London, he embarked upon a career on the stage, becoming a popular actor by the early fifteen nineties. In 1591, he penned his first play, Love’s Labour’s Lost. His early plays were comedies, and show nothing of the depth that characterized his later works. His plots were borrowed from a variety of sources, both ancient and contemporary. During his career, he wrote 37 plays, three narrative poems, and 154 sonnets. His writing brought him fame and popularity, but he continued to act as well as write (critics love to speculate about which of the characters in his plays would have been played by the author). He eventually became a shareholder in the Lord Chamberlain’s Men (later the King’s Men when James I ascended the throne). Most of his plays were performed at local theaters like the Rose, the Globe, and the indoor Blackfriars. When the Globe burned to the ground in 1613 (a cannon misfired during a performance of Henry VIII), Shakespeare retired, and died in Stratford three years later on his fifty-second birthday.
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Richard III, 1
Sara B.T. Thiel, Richard III, 1 Shakespeare Project of Chicago Introduction to Richard III, January 2020 Good evening everyone and thank you all so much for joining us. Today I’ll talk a little bit about the history of Shakespeare’s play and its place in his canon, then I’ll discuss the history in the play and what’s happened in the Wars of the Roses up to now. Finally, I’ll point out a couple of things for you to watch and listen for in today’s performance. Shakespeare’s Richard III was probably completed and performed between 1592 and 1594. While it’s sometimes difficult to date Shakespeare’s canonical chronology, most scholars agree that Richard III was written and performed after Shakespeare wrote his first historical trilogy: Henry VI, parts 1, 2, and 3. Shakespeare’s Henry VI plays were popular among London audiences so it’s easy to see why Shakespeare would then turn to Richard III as his subject. Today, movie studios create seQuels to continually capitalize on the popularity of a franchise; Shakespeare and his colleagues often did the same. The Henry VI trilogy follows England’s Wars of the Roses, wherein two rival branches of the House of Plantagenet—the Lancasters and the Yorks—fought for control over England’s throne. These took place through many sporadic episodes between 1455 and 1487. While Shakespeare condenses and rearranges time in his re-tellings of English history, the events of Richard III take place in the late 15th century—roughly between 1471, after the Battle of Tewksbury (which end the events of Henry VI, part 3) and 1485, the Battle of Bosworth Field, which ends this play.
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Durham Research Online
Durham Research Online Deposited in DRO: 28 October 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Gray, Patrick and Samely, Maurice (2019) 'Shakespeare and Henri Lefebvre's 'Right to the City' : subjective alienation and mob violence in Coriolanus, Julius Caesar, and 2 Henry VI.', Textual practice., 33 (1). pp. 73-98. Further information on publisher's website: https://doi.org/10.1080/0950236X.2017.1310755 Publisher's copyright statement: This is an Accepted Manuscript of an article published by Taylor Francis Group in Textual Practice on 12 April 2017 available online at: http://www.tandfonline.com/10.1080/0950236X.2017.1310755 Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 1 Shakespeare and Henri Lefebvre’s ‘Right to the City’: Subjective Alienation and Mob Violence in Coriolanus, Julius Caesar, and 2 Henry VI Patrick Gray, Durham University Maurice Samely, University of Sussex Abstract: In his treatise The Right to the City, published in Paris just before the student riots of 1968, Henri Lefebvre claims that inhabitants have a ‘right to the city’ which supersedes the rights of property owners and advocates ‘re-appropriation’ of the city, resulting in ‘collective ownership and management of space’.
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Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605.
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Shakespeare's Henriad As Political Philosophy by Leon Harold Craig
Digital Commons @ Assumption University Political Science Department Faculty Works Political Science Department 2017 Review of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig Bernard J. Dobski Assumption College, [email protected] Follow this and additional works at: https://digitalcommons.assumption.edu/political-science-faculty Part of the Philosophy Commons, and the Political Science Commons Recommended Citation Dobski, Bernard J. "Rev. of The Philosopher's English King: Shakespeare's Henriad as Political Philosophy by Leon Harold Craig." Interpretation: A Journal of Political Philosophy vol. 43 no. 2 (Winter 2017): pp. 341-345. This Book Review is brought to you for free and open access by the Political Science Department at Digital Commons @ Assumption University. It has been accepted for inclusion in Political Science Department Faculty Works by an authorized administrator of Digital Commons @ Assumption University. For more information, please contact [email protected]. Book Review: The Philosopher’s English King 341 Leon Harold Craig, The Philosopher’s English King: Shakespeare’s Henriad as Political Philosophy. Rochester: Boydell & Brewer, 2015, 296 pp., $95.00 (hardcover). Bernard J. Dobski Assumption College [email protected] Harold Bloom famously declared that Shakespeare “invented” us. Such a claim is hardly hyperbolic: Shakespeare’s plays are perennially performed in parks and theaters across the Western world, and his poetry continues to inform the television, cinema, and literature that shape our culture. It is thus no surprise that scholars and academics find in Shakespeare’s creative legacy a treasure worth plundering, publishing nearly one hundred books per year on the Bard.
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The Hollow Crown: the Wars of the Roses
STRICTLY EMBARGOED UNTIL 3 MAY 2016 The Hollow Crown: The Wars of the Roses Henry VI Part I, Henry VI Part II and Richard III Following 2012's critically acclaimed BAFTA winning first series, The Hollow Crown: The Wars of the Roses is the concluding part of an ambitious and thrilling cycle of Shakespeare's Histories filmed for BBC Two, comprising Henry VI Part I & II, and Richard III, and featuring the very best of British on-screen talent. A Neal Street Co-Production with Carnival / NBC Universal and Thirteen for BBC STRICTLY EMBARGOED UNTIL 3 MAY 2016 Synopses Henry VI Part I Henry V is dead, and against the backdrop of Wars in France the English nobles are beginning to quarrel. News of defeat at Orleans reaches the Duke of Gloucester, the Lord Protector, and other nobles in England. Henry VI, still an infant, is proclaimed King. Seventeen years later the rivalries at Court have intensified; Gloucester and the Bishop of Winchester argue openly in front of the King. Rouen falls to the French but Plantagenet, recently restored as the Duke of York, Exeter and Talbot pledge to recapture the city from the Dauphin. Battle commences and the French, led by Joan of Arc, defeat the English. Valiant Talbot and his son John are killed. Warwick and Somerset arrive after the battle to join forces with the survivors and retake Rouen. Somerset woos Margaret of Anjou as a potential bride for Henry VI. Plantagenet takes Joan of Arc prisoner and she is burnt at the stake. Gloucester protests but still Margaret is introduced as Henry's queen.
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The English Eden: Nationhood and Kingship in Shakespeare and Spenser
The English Eden: Nationhood and Kingship in Shakespeare and Spenser by David Lukens May, 2014 Director of Thesis: Dr. Thomas Herron Major Department: English Abstract: Throughout the Renaissance in England are works that glorify the nation under a strong nationalistic message. Spenser, with The Faerie Queene, presents a chivalric romance that follows the adventures of several knights who seek to complete tasks for the titular queen Gloriana. It is through multiple levels of allegory that these knights and the enemies they overcome become embodiments of the English nation triumphing over foreign and Catholic nations. It is not just this political lens, but also the blending of religious parallels that elevates these English heroes like Redcrosse and Prince Arthur into Christ-figures, primarily in the context of Christ as a righteous warrior and conqueror. Shakespeare, while not as extensive in the use of allegory as Spenser, also delves into similar ideas concerning the presentation of a strong and united England. However, he also emphasizes the king's role in creating and maintaining a strong nation, with the kings being associated with Christ. Alongside this comparison to Christ is also the recurring conceit that compares the nation to a garden, England as an Eden; such a nation requires a proper gardener, a strong king, to maintain it. By reading in a Spenserian mode, the similarities (and the differences) become apparent in understanding the ideas, praise, and critique for a strong monarch that in turn allows for a strong nation in Shakespeare’s English history plays. Though the focus of this thesis will primarily be on the Henriad plays, the inclusion of Spenser provides a contemporary with which to compare and contrast ideas that are shared between both authors.
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The Oxford Shakespeare Pdf Free Download
HENRY V: THE OXFORD SHAKESPEARE PDF, EPUB, EBOOK William Shakespeare,Gary Taylor | 352 pages | 01 Aug 2008 | Oxford University Press | 9780199536511 | English | Oxford, United Kingdom Henry V: The Oxford Shakespeare PDF Book The book uses t Academic Skip to main content. Thank you for shopping at our store. Overview The introduction includes an examination of the Quarto and texts, and of the relationship between them; a critical discussion of the play's historical and literary sources; an examination of conflicting critical attitudes to the play, and of its fluctuating theatrical fortunes; and a demonstration of the range and variety of Shakespeare's characterization. Tillyard supports the idea of the Tudor myth , which considers England's 15th century to be a dark time of lawlessness and warfare, that after many battles eventually led to a golden age of the Tudor Period. Oxford World's Classics Series. Description About the Author s Description Henry V , the climax of Shakespeare's sequence of English history plays, is an inspiring, often comic celebration of a young warrior- king. The French suffered 10, casualties; the English, fewer than Keywords: Shakespeare , Henry V , warfare , ordinances , Renaissance , war , medieval laws , nations. More Shakespeare's Henry V has traditionally been acclaimed for its impressive depiction of the psychological and political impact of warfare, and it remains one of the most widely-discussed plays in the canon. All Rights Reserved. The conductor was Sir Neville Marriner. If you have any queries, please contact us via ebay. Shakespeare Survey , volume 38, Cambridge University Press The Star Ledger. Shakespeare's Money Robert Bearman.
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Henry VI, Part 3
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Scene 1 Scene 2 ACT 1 Scene 3 Scene 4 Scene 1 Scene 2 Scene 3 ACT 2 Scene 4 Scene 5 Scene 6 Scene 1 ACT 3 Scene 2 Scene 3 Scene 1 Scene 2 Scene 3 Scene 4 ACT 4 Scene 5 Scene 6 Scene 7 Scene 8 Scene 1 Scene 2 Scene 3 ACT 5 Scene 4 Scene 5 Scene 6 Scene 7 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.
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Standard Abbreviations of Shakespeare Titles
Standard Abbreviations of Shakespearean Titles According to the MLA Handbook, students should abbreviate titles of works and parts of works to avoid awkward or repetitive parenthetical in their papers. The MLA Handbook's suggestion to write out the full title the first time you mention the play, but then use abbreviations thereafter: "It is usually best to introduce an abbreviation in parentheses immediately after the first use of the full title in the text: 'In All's Well That Ends Well (AWW), Shakespeare develops the character of . .'" Below is a list of standard, traditional abbreviations for Shakespeare's work that you should use in citations. Shakespearean scholars will know and recognize them when you use them in your papers. See the MLA Handbook, 8th edition, section 1.6.4, pp. 100-01, for further information. Ado Much Ado about Nothing MND A Midsummer Night's Ant. Antony and Cleopatra Dream AWW All's Well that Ends Well MV The Merchant of Venice AYL As You Like It Oth. Othello Cor. Coriolanus Per. Pericles Cym. Cymbeline PhT The Phoenix and the Err. The Comedy of Errors Turtle F1 First Folio ed. (1623) PP The Passionate Pilgrim F2 Second Folio ed. (1632) Q Quarto ed. Ham. Hamlet R2 Richard II 1H4 Henry IV, Part 1 R3 Richard III 2H4 Henry IV, Part 2 Rom. Romeo and Juliet H5 Henry V Shr. The Taming of the Shrew 1H6 Henry VI, Part 1 Son. Sonnets 2H6 Henry VI, Part 2 TGV Two Gentlemen of 3H6 Henry VI, Part 3 Verona H8 Henry VIII Tim.
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