The Winter's Tale February 9–April 11 Edu
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
2019 Seminar Abstracts: the King's Men and Their Playwrights
1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74). -
Mucedorus and the Birth of Merlin at the Los Angeles Globe
368 SHAKESPEARE QUARTERLY with the attitudes of the other male characters in the production. The tribunes, Sicinius and Junius Brutus, were urban hustlers who confidently sported fashionable walking sticks, d la 1890s, when it seemed apparent that Marcius had lost his bid for power against them. In the final scene the envelope containing the terms for peace between Rome and the Volsces was refused and silently returned to the briefcase in which it was delivered. War would continue, as would the irrational forces that shape such conflicts, with or without proud and unresponsive leaders like Marcius. His life was given a wider perspective in this final, silent moment with the envelope, a perspective in which neither his guilt nor Downloaded from https://academic.oup.com/sq/article/41/3/368/5085016 by guest on 29 September 2021 our affection really figured. Peace is finally out of Marcius's hands, carried instead by the unseen and unspoken forces that have controlled people and events throughout history. Mucedorus and The Birth of Merlin at the Los Angeles Globe JOSEPH H. STODDER The plan of Globe Playhouse producers R. Thad Taylor and Jay Uhley to perform the fifteen most noteworthy of the apocryphal plays is continuing, but they are being offered at a slower pace than had originally been intended. After a promising beginning (Sir Thomas More in 1984, then seven plays between July 1985 and March 19871), the Globe was confronted by the restrictions imposed by the new Actors' Equity Association rules. The Los Angeles Theatre Plan of October 1988 removed the equity waiver (a release permitting low-budget houses to function without paying directors, actors, and crews) under which small theatres such as the Globe had been operating. -
Shakespeare Apocrypha” Peter Kirwan
The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C. -
Webster and the Running Footman
Early Theatre 13.1 (2010) David Carnegie Running over the Stage: Webster and the Running Footman Although the frequent stage direction ‘passing over the stage’ has provoked much discussion as to its precise meaning,1 ‘running over the stage’ has attracted much less attention. Indeed, the famous Elizabethan theatrical clown Will Kemp achieved more fame by morris dancing than by running, though in his case heightened by being from London to Norwich.2 In early modern English drama there are, nevertheless, many kinds of running called for in stage directions. Alan Dessen and Leslie Thomson’s Dictionary of Stage Directions in English Drama, 1580–1642 lists roughly 260 examples under the headwords ‘running’, ‘hastily, in haste’, and others, divided into four categories.3 1. ‘enter/exit running/in haste’; this is the largest group, and includes examples such as ‘Enter in haste … a footman’ (Middleton, A Mad World My Masters 2.1.6.2–6.3), ‘Enter Bullithrumble, the shepherd, running in haste’ (? Greene, Selimus sc. 10; line 1877), ‘Enter Segasto running, and Amadine after him, being pursued with a bear’ (Anon., Mucedorus B1r), and presumably ‘Enter Juliet somewhat fast, and embraceth Romeo’ (Shake- speare, Romeo and Juliet 2.5.15.1). 2. ‘runs in/away/out/off ’; a typical example is ‘Lion roars. Thisbe … runs off’ (Shakespeare, A Midsummer Night’s Dream 5.1.253.1). 3. ‘runs at someone or is run through with a sword’; examples include ‘He draws his rapier, offers to run at Piero; but Maria holds his arm and stays him’ (Marston, Antonio’s Revenge 1.2 [Q 1.4].375–6), and ‘Flamineo runs Marcello through’ (Webster, The White Devil 5.2.14). -
Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series
Trabajo de Fin de Máster en Estudios Literarios y Culturales Ingleses y su Proyección Social Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series Autor: Mario Giménez Yuste Tutora: Dra. Marta Cerezo Moreno Facultad de Filología UNED Convocatoria general: junio 2019 Curso: 2018-19 Modes of Adaptation and Appropriation in the Hogarth Shakespeare Series Contents 1. Introduction ..................................................................................................................... 2 2. Theoretical Framework .................................................................................................. 4 2.1. Adaptation and Appropriation ................................................................................... 4 3. The Hogarth Series .................................................................................................... 14 3.1. Critical Reception ..................................................................................................... 14 3.2. A Brief Consideration of the Seven Novels ............................................................... 16 3.3. Selection Criteria ...................................................................................................... 20 4. The Chosen Novels ........................................................................................................ 21 4.1. Dunbar ...................................................................................................................... 21 4.1.1. Critical Reception ............................................................................................. -
Moving Through Time and Race: Othello and the Tempest Adapted for New Millennials
Master’s Degree programme in European, American and Postcolonial Language and Literature Second Cycle (D.M. 270/2004) Final Thesis Moving through Time and Race: Othello and The Tempest adapted for New Millennials Supervisor Ch. Prof. Laura Tosi Assistant supervisor Ch. Prof. Shaul Bassi Graduand Beatrice Boccardo Matriculation Number 987897 Academic Year 2017 / 2018 1 Contents INTRODUCTION…………………………………………………………………….3 CHAPTER 1. What is lost and gained in adaptation: Shakespeare and popular culture….7 1.1 Introducing Shakespeare to young adults………………………………………...7 1.1.1 Adapting for the young: some preliminary considerations on canonicity…………7 1.1.2 The strategies of Shakespearean adaptations……………………………………..12 1.1.3 Adopting and adapting Shakespeare for millennials: the role of Young Adult literature………………………………………………………………………………...18 1.2 Rewording Shakespeare: fanfiction as an act of re-creation of performing readers…………………………………………………………………………………27 1.2.1 Fantasies and fanfictions…………………………………………………………27 1.2.2 Shakespeare and his “Bardies”…………………………………………………...31 1.3 Educational applications and implications of adapting Shakespeare…………37 1.3.1 Shakespeare enters the classroom: adaptation as a didactic approach…………...37 1.3.2 The challenges of teaching and learning Shakespeare in the New Millennium….41 CHAPTER 2. Unsettled selves and multidimensional others in Tracy Chevalier’s New Boy, Grace Tiffany’s Ariel and Jacqueline Carey’s Miranda and Caliban……….48 2.1 Reforming and “reformatting” Othello and Caliban: the politics of equality..48 2.1.1 The black man’s burden: Othello’s and Caliban’s political bodies………………48 2.1.2 Plays and playgrounds: the “outcast” in Chevalier’s New Boy…………………..59 2.1.3 Adolescence and monstrosity: Tiffany’s and Carey’s Calibans………………….76 2.2 Adults’ weakness and cruelty in New Boy and Miranda and Caliban………….89 2.3 Feminist tempests: unruly Mirandas and Ariels………………………………..99 2 CHAPTER 3. -
The Winters Tale: the Oxford Shakespeare PDF Book
THE WINTERS TALE: THE OXFORD SHAKESPEARE PDF, EPUB, EBOOK William Shakespeare,Stephen Orgel | 304 pages | 01 Sep 2008 | Oxford University Press | 9780199535910 | English | Oxford, United Kingdom The Winters Tale: The Oxford Shakespeare PDF Book Accept all Manage Cookies Cookie Preferences We use cookies and similar tools, including those used by approved third parties collectively, "cookies" for the purposes described below. Hermione swoons upon the news of Mamilius' death, and is rushed from the room. You can learn more about our use of cookies here. OED Online 2nd ed. From Wikipedia, the free encyclopedia. Anthony and Cleopatra William Shakespeare. Leontes is shown a seeming statue of Hermione, so lifelike that one might imagine it breathes. The sight of his wife's form makes Leontes distraught, but then, to everyone's amazement, the statue shows signs of vitality; it is Hermione, restored to life. The Winter's Tale is one of Shakespeare's final plays. The plot was based on a work of prose fiction called Pandosto by Robert Greene. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more. Four Major Plays Henrik Ibsen. Camillo — An honest Sicilian nobleman. He wishes to take pity on the child, but is chased away in one of Shakespeare's most famous stage directions: "Exit, pursued by a bear. As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. -
Shakespeare and the Modern Novel 1 Leader: Douglas Trevor, University of Michigan ([email protected])
2018 SAA Seminar: Shakespeare and the Modern Novel 1 Leader: Douglas Trevor, University of Michigan ([email protected]) Elena Sandin, University of Leon (Spain) To be born or not to be born: Jan McEwan's Nutshell as a rewriting of Hamlet The aim of my paper is to analyse Jan McEwan's Nutshell, published in September 2016 on the occasion of the fourth centenary of Shakespeare's death, as a modern rewriting of Hamlet. The novel focuses on the love triangle integrated by Claude [Claudius], Gertrude [Trudy] and King Hamlet [John Caircross] and narrates how the lovers plot the murder of the husband from the unusual perspective of a proto-Hamlet In the womb. The reason why McEwan particularly chose to reinterpret this play seems to be related to the themes it develops, since they are akin to the central issues of his narrative. Thus, despite the fact he Is rewriting a Shakespearean work, the author remains faithful to his style and favourite topics. In McEwan's fiction, the function of the family is destructive rather than constructive conditioning the later development of the children, rendering them devoid of the affection needed. Nutshell also depicts his recurrent configuration of female mothers as authoritative and destructive especially for the natural growth of their offspring. Thus, this paper tackles issues related to family in McEwan's Nutshell, such as the destructive role of the mother or the lack of parental affection. Bibliography: de Ia Concha, M. A. (2012). Shakespeare en Ia imaginacion contemporanea. Revlslones y reescrlturas de su obra. Madrid: Editorial UNED. -
Hogarth Shakespeare’ Edition
PRESS RELEASE Shakespeare Forever: Special Launch Event for ‘Hogarth Shakespeare’ Edition • Bertelsmann and Knaus Verlag host book launch at Bertelsmann Unter der Linden 1 in Berlin shortly before the 400th anniversary of the brilliant playwright’s death • Jeanette Winterson (“The Gap of Time”/ “The Winter's Tale”) discusses her novel • Staged readings by Samuel Finzi, Milan Peschel and other well-known actors Berlin, April 14, 2016 – “What attracted me to the Shakespeare project is simply answered: Shakespeare!” This is how Howard Jacobson expresses his enthusiasm, and that alone already testifies to the self-evidence with which Shakespeare is still received, loved and discovered anew, 400 years after his death. The timelessness of his plays has recently been underscored by two reinterpretations of his works under the heading “Shakespeare retold”: “Shylock Is My Name” by Man Booker Prize winner Howard Jacobson, and “The Gap of Time” by the renowned bestselling author Jeanette Winterson. On Thursday evening, Bertelsmann and the Verlagsgruppe Random House imprint Knaus Verlag present the two novels and the Shakespeare project in discussions with the participants and staged readings, to an audience of more than 100 invited guests from the literary and cultural scene. The evening at Bertelsmann Unter der Linden 1 in Berlin revolves around the two novels and the writer Jeanette Winterson, who will speak with presenter Alf Mentzer: about what Shakespeare means to her, about her book and why she agreed to participate in the project. The actors Samuel Finzi, Milan Peschel, Uli Pleßmann, Larissa Fuchs and Stephan Schäfer will bring key passages from both new releases to life on stage, and show how Jacobson and Winterson have succeeded in retelling Shakespeare's plays as contemporary novels. -
1 Medieval and Renaissance Drama Society Newsletter Spring 2018 A
Medieval and Renaissance Drama Society Newsletter Spring 2018 rd a The 53 Congress on Medieval Studies b May 9-13, 2018 MRDS Sponsored Sessions Approaches to Teaching Medieval Drama, Revisited Claire Sponsler: In Memoriam I Session 103, Thursday 3:30, Fetzer 1045 Session 287, Friday 3:30, Fetzer 2016 Organizer: Frank Napolitano, Radford Univ. Organizer: Matthew Evan Davis, McMaster Univ. Presider: Andrew M. Pfrenger, Kent State Univ.–Salem Presider: Matthew Evan Davis Authentic Pedagogy in the Medieval Drama Classroom Crossdressing on the Medieval Stage: A Transgender and Cameron Hunt McNabb, Southeastern Univ. Transracial Sartorial Masquerade The Umpteenth Annual Secunda Pastorum at a Commuter Jesse Njus, Virginia Commonwealth Univ. Campus, or, My Son, the Stolen Sheep Medieval Drama and the “Myth of Communal Life” in the Betsy Bowden, Rutgers Univ. Twenty-First Century Countering Presentism in a Student-Led Performance of Heather Mitchell-Buck, Hood College Mankind Hamilton and Medieval Drama Boyda J. Johnstone, Fordham Univ. Michelle Markey Butler, Univ. of Maryland Not Scripted: Playing with the Archive Gina Di Salvo, Univ. of Tennessee–Knoxville Staging Politics: Tyranny, Repression, and Unrest in Medieval and Renaissance Drama Society Medieval Plays Executive Council Meeting Session 161, Friday 10:00, Valley 3 Eldridge 309 Friday 11:45 a.m. Organizer: Mario B. Longtin, Western Univ. Fetzer 1030 Presider: Mario B. Longtin Medieval and Renaissance Drama Society Tyrannicide, Liberation, and Proto-Reformation Preaching in Business Meeting the Earliest Extant William Tell Play (ca. 1512) Friday 5:15 Stephen K. Wright, Catholic Univ. of America Fetzer 2016 That Reverant Unutile Moi Play: Herod’s Gibberish Ruth Nisse, Wesleyan Univ. -
Shakespeare Wrote No Characters
University of Missouri, St. Louis IRL @ UMSL Theses UMSL Graduate Works 4-11-2011 Shakespeare Wrote No Characters Alexander Patrick Detmering University of Missouri-St. Louis Follow this and additional works at: https://irl.umsl.edu/thesis Recommended Citation Detmering, Alexander Patrick, "Shakespeare Wrote No Characters" (2011). Theses. 128. https://irl.umsl.edu/thesis/128 This Thesis is brought to you for free and open access by the UMSL Graduate Works at IRL @ UMSL. It has been accepted for inclusion in Theses by an authorized administrator of IRL @ UMSL. For more information, please contact [email protected]. Shakespeare Wrote No Characters Alexander Patrick Detmering B.A., English, University of Missouri – St. Louis, 2009 A Thesis Submitted to The Graduate School at the University of Missouri – St. Louis in partial fulfillment of the requirements for the degree Master of Arts in English with an emphasis in Literature May 2011 Advisory Committee Kurt Schreyer, Ph.D. Sylvia Cook, Ph.D. Deborah Aldrich-Watson, Ph.D. Shakespeare Wrote No Characters Abstract: The purpose of my research was to answer a simple question: “What can be said about Hamlet's character?” When analyzing any Shakespearean play, it is commonplace to begin (and end) with the characters that inhabit it. But is this sort of analysis appropriate for Renaissance plays? Freud's famous interpretation of Hamlet operates in this fashion, determining the meaning of the play through the vehicle of Hamlet's character—specifically, the psychology of Hamlet's character. Such a reading assumes, however, the interiority of character: that fictional characters have mental landscapes, complete with pasts that lead to the present as related in the events of the play. -
Updating Shakespeare's Heroines for Modern Audiences: Feminist Criticism and Womanhood in the Gap of Time, Vinegar Girl, and H
Updating Shakespeare’s Heroines for Modern Audiences : Feminist Criticism and Womanhood in The Gap of Time , Vinegar Girl , and Hag - Seed Renee Drost Supervisor: Dr. Usha Wilbers 1 Abstract In October 2015 the Hogarth Shakespeare project was launched by the publisher Penguin Random House. The series seeks to retell Shakespeare’s classic plays; so far five of the eight commissioned books have been published. Among the published works are: The Gap of Time by Jeanette Winterson, a retelling of The Winter’s Tale ; Vinegar Gi rl by Anne Tyler, a retelling of The Taming of the Shrew ; and last but not least, Hag - Seed by Margaret Atwood, a retelling of The Tempest . This thesis aims to examine in what ways these three texts build a significant representation of womanhood that can be considered feminist , if at all. After examining feminist criticism aimed at the source texts, the representation of women in Shakespeare’s original plays will be compared an d contrasted to the representation of women in the selected Hogarth Shakespeare Series novels. The representation of women will be constructed through three modes of feminist criticism outlined by Carol Thomas Neely. The representation of women in the Hoga rth Shakespeare Series novels are then compared and contrasted to one another . Of the three selected texts, only Vinegar Girl establishes a feminist representation of its female characters. Keywords Margaret Atwood, Anne Tyler, Jeanette Winterson, Shakespeare, The Taming of the Shrew , The Tempest , The Winter’s Tale , The Gap of Time , Hag - Seed , Vinegar Girl , Adapt ation, Intertextuality, Feminist Criticism 2 Acknowledgements I would like to thank my supervisor, Dr.