A Noise Within Study Guide Shakespeare Supplement
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Shakespeare Oxford Fellowship Conference
Shakespeare Oxford Fellowship Conference Oakland Marriott City Center Hotel October 11–14, 2018 Table of Contents Schedule of Events ....................................................... 2 Biographies/Titles/Abstracts .............................. 6 —In order of presentation Dark Lady Essays .......................................................23 Dark Lady Sonnets ....................................................29 Page 1 SOF Conference—Schedule of Events THURSDAY: October 11, 2018 10:00—1:00 Conference Registration 1:00—1:15 Welcome, Introductions and Orientation. 1:15—2:00 Wally Hurst: Blame It on the Bard: Why the Author ‘Shakespeare’ is Responsible for World War I and World War II. 2:00—2:45 David Rains Wallace: Shakespeare, Beowulf, and Wilderness. 2:45—3:15 Coffee/Tea Break 3:15—4:00 Theresa Lauricella: “I Took Thee for thy Better”: The Prestige of Polonius. 4:00—4:45 Robert Detobel (Read by Don Rubin): The Soul of Nero. 4:45—5:30 Steven Sabel: Not to Modernize: Why the ‘translating’ of the Bard’s texts to modern language corrupts performance of the works and further conceals the true author. 5:30—7:00 Hosted Wine and Cheese reception. FRIDAY: October 12, 2018 8:30—9:15 Julie Bianchi: Twins Separated at Birth? A Cultural and Genealogical Investigation of Two Identities Set in Stone. 9:15—9:30 John Hamill: Shakespeare Oxford Fellowship Research Grants Report 9:30—10:15 Michael Delahoyde and Coleen Moriarty: De Veres di Venezia 10:15—10:45 Coffee/Tea Break 10:45—12:30 Panel: An Oxfordian Timeline for Dating Shakespeare’s Plays: Ramon Jiménez, Katherine Chiljan, and Kevin Gilvary 12:30—1:30 Lunch (on own). 1:30—2:15 W. -
Shakespeare's Lost Playhouse
Shakespeare’s Lost Playhouse The playhouse at Newington Butts has long remained on the fringes of histories of Shakespeare’s career and of the golden age of the theatre with which his name is associated. A mile outside London, and relatively disused by the time Shakespeare began his career in the theatre, this playhouse has been easy to forget. Yet for eleven days in June, 1594, it was home to the two companies that would come to dominate the London theatres. Thanks to the ledgers of theatre entrepreneur Philip Henslowe, we have a record of this short venture. Shakespeare’s Lost Playhouse is an exploration of a brief moment in time when the focus of the theatrical world in England was on this small playhouse. To write this history, Laurie Johnson draws on archival studies, archaeology, en- vironmental studies, geography, social, political, and cultural studies, as well as methods developed within literary and theatre history to expand the scope of our understanding of the theatres, the rise of the playing business, and the formations of the playing companies. Laurie Johnson is Associate Professor of English and cultural studies at the University of Southern Queensland, current President of the Australian and New Zealand Shakespeare Association, and editorial board member with the journal Shakespeare. His publications include The Tain of Hamlet (2013), and the edited collections Embodied Cognition and Shakespeare’s Theatre: The Early Modern Body-Mind (with John Sutton and Evelyn Tribble, Routledge, 2014) and Rapt in Secret Studies: Emerging Shakespeares (with Darryl Chalk, 2010). Routledge Studies in Shakespeare For a full list of titles in this series, please visit www.routledge.com. -
Actes Des Congrès De La Société Française Shakespeare, 30
Actes des congrès de la Société française Shakespeare 30 | 2013 Shakespeare et la mémoire Actes du congrès organisé par la Société Française Shakespeare les 22, 23 et 24 mars 2012 Christophe Hausermann (dir.) Édition électronique URL : http://journals.openedition.org/shakespeare/1900 DOI : 10.4000/shakespeare.1900 ISSN : 2271-6424 Éditeur Société Française Shakespeare Édition imprimée Date de publication : 1 avril 2013 ISBN : 2-9521475-9-0 Référence électronique Christophe Hausermann (dir.), Actes des congrès de la Société française Shakespeare, 30 | 2013, « Shakespeare et la mémoire » [En ligne], mis en ligne le 13 avril 2013, consulté le 22 septembre 2020. URL : http://journals.openedition.org/shakespeare/1900 ; DOI : https://doi.org/10.4000/shakespeare. 1900 Ce document a été généré automatiquement le 22 septembre 2020. © SFS 1 SOMMAIRE Avant-Propos Gisèle Venet et Christophe Hausermann Christophe Hausermann (éd.) Foreword Gisèle Venet et Christophe Hausermann Christophe Hausermann (éd.) La mémoire et l’oubli dans les œuvres de Shakespeare Henri Suhamy Christophe Hausermann (éd.) Shakespeare and the fortunes of war and memory Andrew Hiscock Christophe Hausermann (éd.) Les enjeux de la mémoire dans The Conspiracy and Tragedy of Byron de George Chapman (1608) Gilles Bertheau Christophe Hausermann (éd.) The Memory of Hesione: Intertextuality and Social Amnesia in Troilus and Cressida Atsuhiko Hirota Christophe Hausermann (éd.) « The safe memorie of dead men » : réécriture nostalgique de l’héroïsme dans l’Angleterre de la première modernité -
3D Computer Modelling the Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606)
3D Computer Modelling The Rose Playhouse Phase I (1587- 1591) and Phase II (1591-1606) *** Research Document Compiled by Dr Roger Clegg Computer Model created by Dr Eric Tatham, Mixed Reality Ltd. 1 BLANK PAGE 2 Contents Acknowledgements…………………………………………………………………….………………….………………6-7 Foreword…………………………………………………………………………………………………………….9-10 1. Introduction……………………..………...……………………………………………………….............………....11-15 2. The plot of land 2.1 The plot………………………………………………..………………………….………….……….……..…17-19 2.2 Sewer and boundary ditches……………………………………………….……………….………….19-23 3. The Rose playhouse, Phase I (1587-1591) 3.1 Bridges and main entrance……………………..……………………………………,.……………….25-26 3.2 Exterior decoration 3.2.1 The sign of the Rose…………………………………………………………………………27-28 3.2.2 Timber frame…………………………………………………..………………………………28-31 3.3. Walls…………………………………………………………………………………………………………….32-33 3.3.1 Outer walls………………………………………………………….…………………………..34-36 3.3.2 Windows……………………………………………………………..…………...……………..37-38 3.3.3 Inner walls………………………………………………………………………………………39-40 3.4 Timber superstructure…………………………………………….……….…………….…….………..40-42 3.4.1 The Galleries………………………………………………..…………………….……………42-47 3.4.2 Jutties……………………………………………………………...….…………………………..48-50 3.5 The yard………………………………………………………………………………………….…………….50-51 3.5.1 Relative heights………………………………………………...……………...……………..51-57 3.5.2. Main entrance to the playhouse……………………………………………………….58-61 3.6. ‘Ingressus’, or entrance into the lower gallery…………………………..……….……………62-65 3.7 Stairways……………………………………………………………………………………………………....66-71 -
2. the Curtain (Built 1577): the Only Possible View Is
TIIE DATE OF THE PLAY +5 44 oRrcrN oF r HENRy vr. gives us no details of value for our purposes. We do not hear ably based largely on the Visscher view but cannot be denied some of the Curtain after 1627.64 measure of independent authority as containing some important 3. The Bear Garden (built 1583) : The Norden map details not included in the Visscher or any other known view, and (1593) clearly lacks indication of any superstructure. The back- which displays the Second Globe, the Swan, the Hope, and an ground of the Delaram portrait (1599-1605) clearly shows a otherwise unknown fourth house apparently on or near the site long gabled structure projecting above the wall, though whether (6) of the Rose; and Hollar's View of London oI 7647, showing on the southeast or the northwest side of the theatre yard it is, only the Second Globe and the Hope. on account of the point of view, difrcult to say. The Hondius The so-called "Ryther" map of 1630-40; tho inset on the title- map o{ 1610 is somewhat puzzling. The external lines of the page of Baker's Chronicle (1643), based on Hondius' map or its building seem to be continued far above the double cross lines original; Hollar's(?) Itieza of London published in Howell's that one would naturally take to mark the thatched roof, the Londino'polis (1657), based on Visscher through Merian; and the details between are vague, and the uppermost line is apparently Faithorne map of 1658 are, for our purposes, of very secondary somewhat dentated. -
From Sidney to Heywood: the Social Status of Commercial Theatre in Early Modern London
From Sidney to Heywood: the social status of commercial theatre in early modern London Romola Nuttall (King’s College London, UK) The Literary London Journal, Volume 14 Number 1 (Spring 2017) Abstract Thomas Heywood’s Apology for Actors (written c. 1608, published 1612) is one of the only stand-alone, printed deFences of the proFessional theatre to emerge from the early modern period. Even more significantly, it is ‘the only contemporary complete text we have – by an early modern actor about early modern actors’ (Griffith 191). This is rather surprising considering how famous playwrights and drama of that period have become, but it is revealing of attitudes towards the profession and the stage at the turn of the sixteenth century. Religious concerns Formed a central part of the heated public debate which contested the social value oF proFessional drama during the early modern era. Claims against the literary status of work produced for the commercial stage were also frequently levelled against the theatre from within the establishment, a prominent example being Sir Philip Sidney’s Defence of Poesie (written c. 1579, published 1595). Considering Heywood’s Apology in relation to Sidney’s Defence, and thinking particularly about the ways these treatises appropriate the classical idea oF mimesis and the consequent social value of literature, gives fresh insight into the changing status of drama in Shakespeare’s lifetime and how attitudes towards commercial theatre developed between the 1570s and 1610s. The following article explores these ideas within the framework of the London in which Heywood and his acting company lived and worked. -
The Dramaturgy of Thomas Heywood 1594-1613 Carson, R
The dramaturgy of Thomas Heywood 1594-1613 Carson, R. Neil The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without the prior written consent of the author For additional information about this publication click this link. http://qmro.qmul.ac.uk/jspui/handle/123456789/1390 Information about this research object was correct at the time of download; we occasionally make corrections to records, please therefore check the published record when citing. For more information contact [email protected] THE DRAMATURGYOF THOMAS HEYWOOD 1594-1613 THESIS SUBMITTED FOR THE DEGREE OF DOCTOR JANUARY, 1974 OF PHILOSOPHY IN THE R. NEIL CARSON UNIVERSITY OF LONDON WESTFIELD COLLEGE I)IN 1 ABSTRACT This dissertation is an attempt to describe the characteristics of Thomas Heywood's dramatic style. The study is divided into three parts. The first deals with the playwright's theatrical career and discusses how his practical experience as actor and sharer might have affected his technique as a dramatic writer. The second part defines the scope of the investigation and contains the bulk of the analysis of Heywood's plays. My approach to the mechanics of playwriting is both practical and theoretical. I have attempted to come to an understanding of the technicalities of Heywood's craftsmanship by studying the changes he made in Sir Thomas Moore and in the sources he used for his plays. At the same time, I have tried to comprehend the aesthetic framework within which he worked by referring to the critical ideas of the period and especially to opinions expressed by Heywood him- self in An Apology for Actors and elsewhere. -
DON't DOZE the ROSE the Fight to Savethe 1587 Rosetheatre Rageson the Thames
• ARCHITECTURE • ARCHITECTURE T ARCHITEKTUR DON'T DOZE THE ROSE The fight to savethe 1587 RoseTheatre rageson the Thames BY IAIN MACKINTOSH t 6 am on an unusually warm May seen on the plan and in the photographs . gently denied any revolutionary motive A morning, 15 May, a crowd of 3,000 Actors, architects, and archaeologists and entreated the developer to call off the linked arms to prevent three huge trucks had been encouraging crowds all night on lorries , at least for a few hours of talk. It pouring sand over the recently excavated the loudspeakers . A key player then and was then agreed that two archaeologists Rose Theatre . The Rose had been built by now was Simon Hughes, the Liberal and two building contractors would Philip Henslowe in 1587, enlarged in 1592 Democratic Member of Parliament for provide a token presence on the site if the and closed in 1602. It was the first of the Southwark , where lies the Rose . Their demonstrators returned to the public Bankside playhouses . All of Marlowe 's vigil had started a week earlier . We were highway . The lorries left. Round One to plays were performed here for the first told to keep off the public highway as that People Power . time and the young Shakespeare probably would be an offence , and instead to stand Before noon the speaker of the House acted on its stage himself as well as having on developer 's land on the narrow strip of Commons agreed to a private notice his early plays, including Corio/anus and which surrounded the excavation some 3.6 question . -
Selected Contemporary Allusions
Appendix A Selected Contemporary Allusions 1. Robert Greene, Groats- Worth of Witte ( 1592). Quoted and discussed above, pp. 1-6, 53-4. See also Appendix B. 2. Henry Chettle, Kind-Harts Dreame (1592; SR 8 Dec. 1592), from the Epistle, 'To the Gentlemen Readers'. Discussed pp. 7, 21. he that offendes being forst, is more excusable than the wilfull faultie ... lie shew reason for my present writing, and after proceed to sue for pardon. About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groats worth of wit, in which a letter written to diuers play-makers, is offensiuely by one or two of them taken, and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindred the bitter inueying against schollers, it hath been very well knowne, and how in that I dealt I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other (i.e. Shakespeare], whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory, as if the originall fault had beene my fault, because my selfe haue seene his demeanor no !esse ciuill than he exelent in the qualitie he professes: Besides, diuers of worship haue reported, his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art. -
"A Sharers' Repertory." Rethinking Theatrical
Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions. -
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William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4 -
Masaryk University Faculty of Education Department of English Language and Literature
MASARYK UNIVERSITY FACULTY OF EDUCATION DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Renaissance theatre in England and its comparison with the theatre in the Czech Lands in the Renaissance period Bachelor Thesis Brno 2016 Supervisor: Author: Mgr. Lucie Podroužková, Ph.D. Lucie Pupalová Prohlášení Prohlašuji, že jsem bakalářskou práci vypracovala samostatně, s využitím pouze citovaných literárních pramenů, dalších informací a zdrojů v souladu s Disciplinárním řádem pro studenty Pedagogické fakulty Masarykovy univerzity a se zákonem č. 121/2000 Sb., o právu autorském, o právech souvisejících s právem autorským a o změně některých zákonů (autorský zákon), ve znění pozdějších předpisů. Brno, 25. března 2016 …….………………… Lucie Pupalová Acknowledgement In the first place, I would like to thank my supervisor Mgr. Lucie Podroužková, Ph.D. for her valued help, patience and kind advice. Secondly, I would like to thank my parents as well as my dear classmates and friends for motivation and support, namely Magdalena Kyzlinková and Kateřina Zadinová. Abstract This Bachelor thesis focuses on the development of theatre in the period of Renaissance in England and in the Czech Lands as well as on their comparison. The thesis is divided into four main chapters. The first chapter briefly describes the theatre development in Europe prior to the Renaissance period. The following two chapters outline the theatre development of Renaissance theatre in both compared countries. The last chapter provides a comparison of these two theatre developments and seeks for similarities and differences between them. Key words theatre, drama, Renaissance, development, history, England, Czech Lands Anotace Tato bakalářská práce se zabývá vývojem renesančního divadla v Anglii a v Českých zemích a jejich porovnáním.