DOCSLIB.ORG

RESTORING WOMEN to EARLY MODERN THEATRE HISTORY PEDAGOGY and PRACTICE by JESSICA KIM ROGERS a DISSERTA

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
RESTORING WOMEN to EARLY MODERN THEATRE HISTORY PEDAGOGY and PRACTICE by JESSICA KIM ROGERS a DISSERTA “SISTERS OF THE PEN”: RESTORING WOMEN TO EARLY MODERN THEATRE HISTORY PEDAGOGY AND PRACTICE by JESSICA KIM ROGERS A DISSERTATION Presented to the Department of Theatre Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2019 DISSERTATION APPROVAL PAGE Student: Jessica Kim Rogers Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theatre Arts by: Dr. Michael Malek Najjar Chairperson Dr. John Schmor Core Member Dr. Theresa May Core Member Dr. Dianne Dugaw Institutional Representative and Dr. Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2019 ii © 2019 Jessica Kim Rogers iii DISSERTATION ABSTRACT Jessica Kim Rogers Doctor of Philosophy Department of Theatre Arts December 2019 Title: “Sisters of the Pen”: Restoring Women to Early Modern Theatre History Pedagogy and Practice This dissertation looks at current theatre historiography in terms of pedagogy and performance practices on the topic of early modern (seventeenth century) female dramatists, via select dramatic works of Elizabeth Cary, Viscountess Falkland; Margaret Cavendish, Duchess of Newcastle; and Aphra Behn. As early modern feminists, Cary, Cavendish, Behn, writing in different eras of the seventeenth century, each impacted theatre historiography by providing their unique perspectives on the roles of women in their times. Each of these women have a substantial history of literary study extending back decades; however, current practices in the areas of theatre history and theatre production minimize or dismiss the dramatic contributions of these women, generally for reasons pertaining to gender, and as such, there has been considerable oversight in the theatrical field as a result. Additionally, this study looks at the social contexts of the seventeenth century and later as a means of addressing issues pertaining to early modern female authorship and why these women have been so neglected as dramatists according to genre. Furthermore, it identifies and examines some of the feminisms evident in their dramatic works, and how said feminisms can contribute to current discourse on theatre history pedagogy and performance. The objective of this study is to reiterate the necessity of revising current theatre pedagogical and performance canons to include these women iv as a means of further understanding their individual milieus by recontextualizing their work as part of, rather than separate from, theatre historiography and practice. In doing so, the hope is to continue advocacy for the importance of a more inclusive feminist theatre historiography and, subsequently the need for revisions to the dramatic canons. This dissertation includes previously published material. v CURRICULUM VITAE NAME OF AUTHOR: Jessica Kim Rogers GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene University of Nebraska at Omaha, Omaha Connecticut College, New London DEGREES AWARDED: Doctor of Philosophy, Theatre Arts, 2019, University of Oregon Master of Arts, Arts Management, 2018, University of Oregon Master of Arts, English Literature, 2014, University of Nebraska at Omaha Graduate Certificate, Advanced Writing, 2013, University of Nebraska at Omaha Master of Arts, Theatre, 2011, University of Nebraska at Omaha Bachelor of Arts, English Literature, 1999, Connecticut College AREAS OF SPECIAL INTEREST: Restoration Comedy Diversity, Equity, and Inclusion in the Arts Commedia dell’Arte Feminism Theatre of the Oppressed Devising Dramatic Literature Arts Management PROFESSIONAL EXPERIENCE: Stagehand, IATSE, 2005 - Present Adjunct Instructor – English, Metropolitan Community College, 2013 - 2014 Courses: Fundamentals of College Writing, Composition I, Composition II Adjunct Instructor – Humanities, Omaha School of Massage of Herzing University, 2012 – 2014 Courses: Critical Thinking, Principles of Communication, Composition I, Speech, Customer Service vi Adjunct Instructor – Theatre & English, Iowa Western Community College, 2011 – 2013 Courses: Stagecraft, Scenic Painting, Basic Writing, Composition I, Stage & TV Lighting, Theatre History I, Intro to Theatre Directing/Dramaturgy Emperor of the Moon, Director, University of Oregon, 2017 Wonder If, Wonder Why, Devising Project Scribe, Dir. Dr. John Schmor, University of Oregon, 2016 The Comedy of Errors, Dramaturge, Dir. Joseph Gilg, University of Oregon, 2015 Shelterskelter XVIII, Director, Shelterbelt Theatre, 2013 Fanboy, by Jeremy Johnson Meet Sally, by Rhea Dowhower The Crucible, Dramaturge, Dir. Moira Mangiamelli, Iowa Western Community College, 2012 Stage Management Stage Management Workshops, University of Oregon, 2017 Wood Music, Site Coordinator, Dir. Elena Aroz, Great Plains Theatre Conference, 2014 Civilizing Lusby, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2014 South Omaha Tapestry, Dir. Scott Working, Great Plains Theatre Conference, 2013 Young Negress Stepping Out of the River at Dawn, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2013 Clybourne Park, Dir. M. Michele Phillips, SNAP! Productions, 2013 At the Vanishing Point, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2012 A Walk in the Woods, Dir. D. Scott Glasser, Great Plains Theatre Conference, 2011 Design/Technical University of Oregon (Theoretical) Hedda Gabler, Set Design, 2016 Skutt Catholic High School, Dir. Mark J. Schnitzler Dracula, Set Design, 2015 A Midsummer Night’s Dream, Adaptation, 2015 Big Fish, Design Consultant, 2014 Metamorphoses (Zimmerman), Set Design, 2014 Laura, Set Design, 2013 Arabian Nights, Set Design, 2012 Oedipus Rex, Set Design, 2010 University of Nebraska Omaha (Theoretical) The Tempest, Set Design, 2011 vii Antigone, Set Design, 2010 Arsenic and Old Lace, Set Design, 2010 Production Coordinator (film), 2001 Maniacs: Field of Screams, 2009 Assistant Technical Director, The Nebraska Theatre Caravan, 2006 Assistant Technical Director, The Omaha Theatre Company, 2004 – 2006 Scene Shop Apprentice, The Walnut Street Theatre, 1999 - 2000 Performance Madame Ho, Madam Ho, Dir. Elena Aroz, Great Plains Theatre Conference, 2013 Christmas Eve, Avenue Q, Dir. Daena Schweiger, SNAP! Productions, 2012 Gertrude, 12 Ophelias, Dir. Dr. Cindy Melby-Phaneuf, University of Nebraska Omaha, 2011 Jackie/Poppa Woody, Heteronormativity, Dir. Julia Hinson, Great Plains Theatre Conference, 2010 GRANTS, AWARDS, AND HONORS: Howard L. Ramey Endowment for Theatre Arts, University of Oregon, 2019 SDC Foundation Observership, Stage Directors and Choreographers, 2017 – 2018 Howard L. Ramey Endowment for Theatre Arts, University of Oregon, 2017 A&AA Student Travel Assistance Scholarship, University of Oregon, 2017 Theatre Arts Alumni Scholarship, University of Oregon, 2015 – 2018 Graduate Teaching Fellowship, University of Oregon, 2014 – 2019 Research and Creative Activity Grant, University of Nebraska Omaha, 2011 PUBLICATIONS: Rogers, JK. “Betrayal/Not Falling: A Story in Footnotes.” The Citron Review (Fall 2019). Rogers, JK. “Mistakes I Have Made.” Nebraska's Emerging Writers: An Anthology, Z Press, 2018. Rogers, JK. “Sentimentalism and the Stage: Reading and the American Identity in Royall Tyler’s The Contrast.” Etudes 3.1 (2018). viii Rogers, JK. “Acquired Taste.” The 13th Floor Magazine (Spring 2015). Rogers, JK. “American Oz.” NonBinary Review (December 2014). Rogers, JK. “Comfortable Landscapes.” ConnotationPress.com (April 2014). Rogers, JK. “Between.” The Briar Cliff Review 26 (2014), 20 – 21. ix ACKNOWLEDGMENTS I wish to express my deepest and most sincere appreciation to Dr. Michael Malek Najjar and Dr. Dianne Dugaw for their assistance in the preparation and execution of this document, and to my entire committee for their unwavering support throughout this project. I would also like to acknowledge the Huntington Library in San Marino, CA as an exceptional repository of seventeenth century archival material, without access to which much of my research would not have been possible. In addition, special thanks are due to friends Kathleen Lawler Husted and Michelle “Mickey” Yeadon for their willingness to supply research aid and information in spite of great distances. Finally, I want to acknowledge the amazing contributions to this project made by the cast and crew of my 2017 University Theatre production of Aphra Behn’s farce, The Emperor of the Moon. They have provided more information and inspiration to this project than I can ever repay. This project was supported in part by scholarships funded through the University of Oregon Theatre Arts Department, the Howard L. Ramey Endowment for Theatre Arts, and the Arts Administration Master’s Degree Program. x To Tara and Marlowe for their excellent supervision and To my parents for never telling me that a degree in theatre is “useless” xi TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................... 1 Notes to Introduction ...................................................................................... 21 II. THE OTHER 51%: RESTORING WOMEN TO THEATRE HISTORIOGRAPHY AND PEDAGOGY .......................................................................................................
Load more

Recommended publications
  • A Strange Loop
    A Strange Loop / Who we are Our vision We believe in theater as the most human and immediate medium to tell the stories of our time, and affirm the primacy and centrality of the playwright to the form. Our writers We support each playwright’s full creative development and nurture their unique voice, resulting in a heterogeneous mix of as many styles as there are artists. Our productions We share the stories of today by the writers of tomorrow. These intrepid, diverse artists develop plays and musicals that are relevant, intelligent, and boundary-pushing. Our plays reflect the world around us through stories that can only be told on stage. Our audience Much like our work, the 60,000 people who join us each year are curious and adventurous. Playwrights is committed to engaging and developing audiences to sustain the future of American theater. That’s why we offer affordably priced tickets to every performance to young people and others, and provide engaging content — both onsite and online — to delight and inspire new play lovers in NYC, around the country, and throughout the world. Our process We meet the individual needs of each writer in order to develop their work further. Our New Works Lab produces readings and workshops to cultivate our artists’ new projects. Through our robust commissioning program and open script submission policy, we identify and cultivate the most exciting American talent and help bring their unique vision to life. Our downtown programs …reflect and deepen our mission in numerous ways, including the innovative curriculum at our Theater School, mutually beneficial collaborations with our Resident Companies, and welcoming myriad arts and education not-for-profits that operate their programs in our studios.
    [Show full text]
  • Between Winter/Spring 2018
    BETWEEN WINTER/SPRING 2018 the Lions NEWS and UPDATES for the St. Pius X Catholic High School Community... 60 Years of ST. PIUS X Catholic IDENTITY Pius MISSION Current NEWS This magazine is produced by the St. Pius X Catholic High School Office of Advancement. Chad Barwick President Steve Spellman Principal Jenn Sedlack Director of Advancement Mary Vallés Jones Associate Director of Advancement Records & Events Karoline Rumps Brennan ’82 Director of Alumni Relations Deanna Jones-Puig ’01 Communications Manager Kyle Snipes Communications Coordinator Mary O’Brien Beyer ’82 Advancement Coordinator St. Pius X, an archdiocesan high school, provides a college preparatory education for the formation of the mind, body, and spirit of each student in accordance with the teachings of the Catholic Church. We would like to extend a special thank you to Billy Howard Photography, Cady Studios, Carol Pajer, and the numerous students, parents, faculty, and staff who submitted photos used in this publication. Contents Letter from the President 04 Letter from the Principal 05 A Look Back: 60 Years of St. Pius X 06 Lions and Legacies Gala 08 Faculty Feature 09 A Legacy of Catholic Identity at St. Pius X 10 From the Office of Advancement 12 St. Pius X News 14 Senior Advocates for Diabetes Research 17 Fine Arts at St. Pius X 18 Parent Organizations Make a Difference 20 Writing Center Offers Peer to Peer Tutoring 22 NHS Welcomes New Inductees 23 Athletics at St. Pius X 24 Spotlight on the Pius Community 26 Living the Pius Mission 28 Homecoming-Reunion Weekend 2017 32 Lion Lines 34 Student Connects Through Social Media 38 In Memoriam 39 03 From the President Dear Golden Lion Families, We have been blessed this year with great students and incredibly supportive families striving to lighting, building locker rooms, bathrooms, strengthen our Pius mission.
    [Show full text]
  • What Literature Knows: Forays Into Literary Knowledge Production
    Contributions to English 2 Contributions to English and American Literary Studies 2 and American Literary Studies 2 Antje Kley / Kai Merten (eds.) Antje Kley / Kai Merten (eds.) Kai Merten (eds.) Merten Kai / What Literature Knows This volume sheds light on the nexus between knowledge and literature. Arranged What Literature Knows historically, contributions address both popular and canonical English and Antje Kley US-American writing from the early modern period to the present. They focus on how historically specific texts engage with epistemological questions in relation to Forays into Literary Knowledge Production material and social forms as well as representation. The authors discuss literature as a culturally embedded form of knowledge production in its own right, which deploys narrative and poetic means of exploration to establish an independent and sometimes dissident archive. The worlds that imaginary texts project are shown to open up alternative perspectives to be reckoned with in the academic articulation and public discussion of issues in economics and the sciences, identity formation and wellbeing, legal rationale and political decision-making. What Literature Knows The Editors Antje Kley is professor of American Literary Studies at FAU Erlangen-Nürnberg, Germany. Her research interests focus on aesthetic forms and cultural functions of narrative, both autobiographical and fictional, in changing media environments between the eighteenth century and the present. Kai Merten is professor of British Literature at the University of Erfurt, Germany. His research focuses on contemporary poetry in English, Romantic culture in Britain as well as on questions of mediality in British literature and Postcolonial Studies. He is also the founder of the Erfurt Network on New Materialism.
    [Show full text]
  • Scaramouche and the Commedia Dell'arte
    Scaramouche Sibelius’s horror story Eija Kurki © Finnish National Opera and Ballet archives / Tenhovaara Scaramouche. Ballet in 3 scenes; libr. Paul [!] Knudsen; mus. Sibelius; ch. Emilie Walbom. Prod. 12 May 1922, Royal Dan. B., CopenhaGen. The b. tells of a demonic fiddler who seduces an aristocratic lady; afterwards she sees no alternative to killinG him, but she is so haunted by his melody that she dances herself to death. Sibelius composed this, his only b. score, in 1913. Later versions by Lemanis in Riga (1936), R. HiGhtower for de Cuevas B. (1951), and Irja Koskkinen [!] in Helsinki (1955). This is the description of Sibelius’s Scaramouche, Op. 71, in The Concise Oxford Dictionary of Ballet. Initially, however, Sibelius’s Scaramouche was not a ballet but a pantomime. It was completed in 1913, to a Danish text of the same name by Poul Knudsen, with the subtitle ‘Tragic Pantomime’. The title of the work refers to Italian theatre, to the commedia dell’arte Scaramuccia character. Although the title of the work is Scaramouche, its main character is the female dancing role Blondelaine. After Scaramouche was completed, it was then more or less forgotten until it was published five years later, whereupon plans for a performance were constantly being made until it was eventually premièred in 1922. Performances of Scaramouche have 1 attracted little attention, and also Sibelius’s music has remained unknown. It did not become more widely known until the 1990s, when the first full-length recording of this remarkable composition – lasting more than an hour – appeared. Previous research There is very little previous research on Sibelius’s Scaramouche.
    [Show full text]
  • Raise the Curtain
    JAN-FEB 2016 THEAtlanta OFFICIAL VISITORS GUIDE OF AtLANTA CoNVENTI ON &Now VISITORS BUREAU ATLANTA.NET RAISE THE CURTAIN THE NEW YEAR USHERS IN EXCITING NEW ADDITIONS TO SOME OF AtLANTA’S FAVORITE ATTRACTIONS INCLUDING THE WORLDS OF PUPPETRY MUSEUM AT CENTER FOR PUPPETRY ARTS. B ARGAIN BITES SEE PAGE 24 V ALENTINE’S DAY GIFT GUIDE SEE PAGE 32 SOP RTS CENTRAL SEE PAGE 36 ATLANTA’S MUST-SEA ATTRACTION. In 2015, Georgia Aquarium won the TripAdvisor Travelers’ Choice award as the #1 aquarium in the U.S. Don’t miss this amazing attraction while you’re here in Atlanta. For one low price, you’ll see all the exhibits and shows, and you’ll get a special discount when you book online. Plan your visit today at GeorgiaAquarium.org | 404.581.4000 | Georgia Aquarium is a not-for-profit organization, inspiring awareness and conservation of aquatic animals. F ATLANTA JANUARY-FEBRUARY 2016 O CONTENTS en’s museum DR D CHIL ENE OP E Y R NEWL THE 6 CALENDAR 36 SPORTS OF EVENTS SPORTS CENTRAL 14 Our hottest picks for Start the year with NASCAR, January and February’s basketball and more. what’S new events 38 ARC AROUND 11 INSIDER INFO THE PARK AT our Tips, conventions, discounts Centennial Olympic Park on tickets and visitor anchors a walkable ring of ATTRACTIONS information booth locations. some of the city’s best- It’s all here. known attractions. Think you’ve already seen most of the city’s top visitor 12 NEIGHBORHOODS 39 RESOURCE Explore our neighborhoods GUIDE venues? Update your bucket and find the perfect fit for Attractions, restaurants, list with these new and improved your interests, plus special venues, services and events in each ’hood.
    [Show full text]
  • FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
    FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244.
    [Show full text]
  • Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
    Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles.
    [Show full text]
  • I the POLITICS of DESIRE: ENGLISH WOMEN PLAYWRIGHTS
    THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 by Loring Pfeiffer B. A., Swarthmore College, 2002 M. A., University of Pittsburgh, 2010 Submitted to the Graduate Faculty of The Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2015 i UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Loring Pfeiffer It was defended on May 1, 2015 and approved by Kristina Straub, Professor, English, Carnegie Mellon University John Twyning, Professor, English, and Associate Dean for Undergraduate Studies, Courtney Weikle-Mills, Associate Professor, English Dissertation Advisor: Jennifer Waldron, Associate Professor, English ii Copyright © by Loring Pfeiffer 2015 iii THE POLITICS OF DESIRE: ENGLISH WOMEN PLAYWRIGHTS, PARTISANSHIP, AND THE STAGING OF FEMALE SEXUALITY, 1660-1737 Loring Pfeiffer, PhD University of Pittsburgh, 2015 The Politics of Desire argues that late seventeenth- and early eighteenth-century women playwrights make key interventions into period politics through comedic representations of sexualized female characters. During the Restoration and the early eighteenth century in England, partisan goings-on were repeatedly refracted through the prism of female sexuality. Charles II asserted his right to the throne by hanging portraits of his courtesans at Whitehall, while Whigs avoided blame for the volatility of the early eighteenth-century stock market by foisting fault for financial instability onto female gamblers. The discourses of sexuality and politics were imbricated in the texts of this period; however, scholars have not fully appreciated how female dramatists’ treatment of desiring female characters reflects their partisan investments.
    [Show full text]
  • Contribution of Ben Jonson to Development of the English Renaissance Comedy
    УДК: 821.111.09-22 Џонсон Б. ИД: 195292940 Оригинални научни рад ДОЦ. ДР СЛОБОДАН Д. ЈОВАНОВИЋ1 Факултет за правне и пословне студије „др Лазар Вркатић” Катедра за англистику, Нови Сад CONTRIBUTION OF BEN JONSON TO DEVELOPMENT OF THE ENGLISH RENAISSANCE COMEDY Abstract. Ben Jonson’s Works, published in 1616, included all his comedies written that far, and meant an important precedent which helped to establish drama as lit- erary kind comparable to the rest of literature. Before that date, drama was regarded as un- worthy of the name of literature, and Jonson was the first to give it its new dignity. His comedies written after 1616 were usually published immediately after they were acted. Jonson’s theoretical interests were an expression of his intellectual aristocratism and his realistic temperament. He took pride in being able to create comedies according to the best scientific rules, and felt superior to those who made them by sheer talent. Jonson was the only theoretician among the English Renaissance dramatists, but although he was ready to fight for his rules, his application of them was broad and elastic. In his comedies there are many departures from classical models, often modified by his keen observation of every- day English life. The theory he adhered to was an abstract and rigid kind of realism, which in his practice was transformed by his gift of observation and his moral zeal into a truly realistic and satirical comic vision of life. Key words: comedy, drama, theory, classical models, everyday English life, realism, satire. 1 [email protected] 348 Зборник радова Филозофског факултета XLII (1)/2012 EXCEPTIONAL PERSONALITY, OUTSTANDING CONTRIBUTION Benjamin or Ben Jonson (1573?-1637) was the central literary personality of the first two decades of the XVII century.
    [Show full text]
  • Comic Atmosphere in Selected Comedies of Moliere
    This dissertation has been microfilmed exactly as received 70-6910 WELLS, David John, 1940- COMIC ATMOSPHERE IN SELECTED COMEDIES OF MOLIERE. [Portions of Text in French]. The Ohio State University, Ph.D., 1969 Theater University Microfilms, Inc., Ann Arbor, Michiga COMIC ATMOSPHERE IN SELECTED COMEDIES OF MOLlfcRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David John Wells9 BeA,9 M,A. Th© Ohio State University 1969 Approved by tiki (Adviser Department of Romance Languages ACKNOWLEDGEMENTS 1 v/ish to thank Professor Hugh M. Davidson for his care and patience in the direction of this dissertation, I also thank Professor Eleanor Bulatkin and Professor Charles Carlut for their diligence in reading the manuscript. ii VITA June 9, 1940 .......... Born - Lorain, Ohio 1962 ........ a . B.A. , Baldwin-Wa1lace College, Berea, Ohio 1962-1963 ........ .. o Teacher of French and English, Strongsville H.S. Strongsville, Ohio 1963-1966 „ . e o . Teacher of French and English, Lorain H»S„ Lorain, Ohio 1966 M.A., Western Reserve University, Cleveland, Ohio 1966-1969 . ... ....... Graduate Assistant, Department of Romance Languages, The Ohio State University, Columbus, Ohio Fields of Study Major Fields French literature. Minor Fields Italian literature, iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................... ii VITA ......a.... ....... Hi. INTRODUCTION .............. 1 . CHAPTER I - LE DEPIT AMOUREUX . 21 CHAPTER II - L 11ECOLE DES FEMMES . 57 CHAPTER III - LE TARTUFFE ....... 85 CHAPTER IV - LE MISANTHROPE ...... 119 CHAPTER V - LE BOURGEOIS GENTILHOMME . 153 CHAPTER VI - LES FEMMES SAVANTES .... 183 CONCLUSION ............... 216 BIBLIOGRAPHY ........ .......... 252 iv P9SBSS INTRODUCTION No one would dispute Victor Fourns10s statement ft 1 wToute la coma'die anterieure est venue aboutir a Moliere9n although differences may arise as to the importance of the various pre-Moliere comic traditions in shaping his theater.
    [Show full text]
  • Dr. Harlequin, Script
    DR. HARLEQUIN, Or, THE IMAGINARY AUTOPSY by Marco Luly characters Dottore, doctor in medicine Pantalone, his friend Laura, wife of Dottore Isabella, daughter of Dottore Colombina, servant in the house of Dottore Lelio, son of Pantalone Arlecchino, servant of Lelio Capitano, foreigner soldier Zanni, villain Hand Servant Prompter 0 Pre-Pre-Prologue Everyone ALL: warm-up improve, crossing SR // SL, never leaving Dottore alone. DOTTORE: 5 min. to places. ALL: Thank you five. (Dottore exits. HS. & P. enter ) HAND SERVANT Unbelievable. PROMPTER Ridiculous. HAND SERVANT Preposterous. PROMPTER Impossible. HAND SERVANT Orazio is an imbecile, how does he expect us to buy 11 costumes with a budget of $23 dollars. PROMPTER ( pulling a quarter from his pocket ) $23 and a quarter. HAND SERVANT You found a quarter? PROMPTER Yeah. HAND SERVANT Gimme that. PROMPTER With that little money, we could only rent them. HAND SERVANT Well at lest were set for tonight. PROMPTER What about tomorrow? HAND SERVANT I don’t know. PROMPTER Maybe they can do the show naked, we’ll sell more seats. HAND SERVANT I don’t know about that: have you seen the girls in the show? PROMPTER 11 costumes… HAND SERVANT …and on top of that… S & PROMPTER …A MONKEY! HAND SERVANT Where are we going to find a monkey? PROMPTER Maybe we can get one from ... HAND SERVANT Yeah, … is full of monkeys. PROMPTER Seriously, they raise our tuition, lower our budgets and don’t even have the decency to get us a healthy monkey. DOTTORE: Curtain in 1 min. HAND SERVANT Hey, we forgot the curtain.
    [Show full text]
  • Jane Milling
    ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife.
    [Show full text]