Timon of Athens at Seattle Shakespeare Company Encore
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Timon of Athens: the Iconography of False Friendship
Western Michigan University ScholarWorks at WMU English Faculty Publications English Summer 1980 Timon of Athens: The Iconography of False Friendship Clifford Davidson Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/english_pubs Part of the English Language and Literature Commons WMU ScholarWorks Citation Davidson, Clifford, "Timon of Athens: The Iconography of False Friendship" (1980). English Faculty Publications. 12. https://scholarworks.wmich.edu/english_pubs/12 This Article is brought to you for free and open access by the English at ScholarWorks at WMU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Timonof Athens. The Iconographyof False Friendship By CLIFFORD DAVIDSON THE REALIZATION THAT iconographic tableaux appear at central points in the drama of Shakespeare no longer seems to involve a radical critical perspective. Thus a recent study is able to show convincingly that the playwright presented audiences with a Hamlet who upon his first appear- ance on stage illustrated what the Renaissance would certainly have recognized as the melancholic contemplative personality.' As I have noted in a previous article, the hero of Macbeth when he sees the bloody dagger before him is in fact perceiving the image which most clearly denotes tragedy itself; in the emblem books, the dagger is indeed the symbol of tragedy,2 which will be Macbeth's fate if he pursues his bloody course of action. Such tableaux, it must be admitted, are often central to the meaning and the action of the plays. -
Inside This Issue... of the Theatre, Are Part of What Makes Summer Shows 1-3 Having a Professional Theatre in Our Alumni News 4 Community Such a Good Idea
Issue No. 94 Summer 2014 MESSAGE FROM THE ARTISTIC DIRECTOR The Funniest Backstage Farce! JUN 12–29, 2014 Solvang Festival Theater There are few things in life more enjoyable than Solvang Festival Theater SUN MON TUE WED THU FRI SAT being of service to people JUN 12 13 14 PREVIEW PREVIEW OPENING through our work. To 8pm 8pm 8pm fully invest ourselves in a 15 16 17 18 19 20 21 8pm 8pm 8pm 8pm 8pm purpose whose outcome 22 23 24 25 26 27 28 is for the edification, 8pm 8pm 8pm 8pm 8pm 29 enlightenment, or simple enjoyment of 8pm others, is surely an investment which Show Advisory: A comedy appropriate for consistently delivers the most gratifying children 12 and older due to the more returns. What we celebrate during this adult storyline and sexual innuendo. golden anniversary season is more than Generously sponsored by the making of theatre, we celebrate a Dr. Esteban Fuertes & Alan Foster, Dene & Emily Hurlbert, fifty year relationship of service through By Michael Frayn Royce & Ann Foxworthy Lewellen art to the communities of the Central Coast and beyond. We celebrate being The dizziest, funniest, backstage Michael Frayn wrote the comedy in and Broadway. At press time, there your theatre company. The conversations farce ever written, Noises Off careens 1982 after watching – from the wings were no fewer than 36 productions of inspired and relationships supported by us through the roller coaster lives of – a performance of Chinamen, a farce Noises Off playing in the United States coming to the reflective surface of the a hapless troupe of provincial actors that he had written for Lynn Redgrave. -
About the Cast
ABOUT THE CAST BURTON CURTIS (Watchman) has performed as Pierrot in Stephen Wadsworth’s productions of Molière’s Don Juan (McCarter Theatre, Shakespeare Theatre Company, The Old Globe, and Seattle Rep). He also portrayed Dumas in Wadsworth’s productions of Marivaux’s Triumph of Love (Long Wharf Theatre, Missouri Rep, and Seattle Rep). Burton originated the role of Eddie Wicket in the west coast premiere of Louis Broom’s Texarkana Waltz (Circle X Theatre Co., L.A. and the Empty Space Theatre, Seattle). He also created the dual roles of Brother Mills and Heathcliff in Wuthering! Heights! The! Musical! and performed in The Complete History of America (Abridged) (Empty Space and Actors Theatre of Louisville). Other roles include Tom in The Glass Menagerie (Tacoma Actors Guild) and Freddy in Noises Off (Village Theatre, Issaquah). He played the title role in Jillian Armenante’s production of Camille and Little Mary in a “gender blind” production of The Women (Annex Theatre, Seattle). Film credits include Crocodile Tears, Money Buys Happiness, and Great Uncle Jimmy as well as Gus Van Sant’s Even Cowgirls Get the Blues. Burton is also a director and choreographer and has received awards for his work on the stage from the Seattle Post Intelligencer and Seattle Weekly. He was listed by Backstage West among “100 Actors We Love.” He received his BFA in theater from Baylor University and now resides in Seattle. Burton is delighted to be making his Getty debut and is thrilled to be joining Mr. Wadsworth in yet another exciting project. NICHOLAS HORMANN (Chorus Leader) has worked in the American theater for thirty-five years, beginning on Broadway with the New Phoenix Repertory Company. -
Part 2 Lucas Hnath
MARCH 2019 A DOLL'S HOUSE PART 2 BY DIRECTED BY LUCAS HNATH BRADEN ABRAHAM MARCH 15 - APRIL 28, 2019 2018/19 SEASON A THOUSAND SPLENDID SUNS | A PEOPLE’S HISTORY | IN THE HEIGHTS | LAST OF THE BOYS THE WOMAN IN BLACK | A DOLL’S HOUSE, PART 2 | NINA SIMONE: FOUR WOMEN | TINY BEAUTIFUL THINGS March 2019 Volume 15, No. 5 MARCH 2019 Paul Heppner President Mike Hathaway Contents Senior Vice President Feature Kajsa Puckett 3 Sensory-Friendly Vice President, Sales & Marketing Performances Genay Genereux Accounting & Office Manager 9 Empowerment through Teen Activism Production Susan Peterson 12 A Man of the People: Vice President, Production Edwin Lindo and Jennifer Sugden Estelita’s Library Assistant Production Manager Intermission Brain Transmission Ana Alvira, Stevie VanBronkhorst Production Artists and Graphic Designers 15 Test yourself with our trivia quiz! Sales Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives Encore Stages is an Encore Arts Devin Bannon, Brieanna Hansen, Amelia Heppner, Ann Manning Program that features stories about Seattle Area Account Executives our local arts community alongside information about performances. Carol Yip Sales Coordinator Encore Arts Programs are publications of Encore Media Group. We also publish Marketing specialty publications, including the Shaun Swick Official Seattle Pride Guide and the Senior Designer & Digital Lead SIFF Guide and Catalog. Learn more Ciara Caya at encoremediagroup.com Marketing Coordinator Encore Media Group Encore Stages features the 425 North 85th Street following organizations: Seattle, WA 98103 p 800.308.2898 | 206.443.0445 f 206.443.1246 [email protected] www.encoremediagroup.com Encore Arts Programs and Encore Stages are published monthly by Encore Media Group to serve musical and theatrical events in the Puget Sound and San Francisco Bay Areas. -
Discourses of Femininity in Thomas Shadwell's Adaptation of Timon Of
Outskirts Vol. 38, 2018, 1-17 “What gay, vain, pratting thing is this”: Discourses of femininity in Thomas Shadwell’s adaptation of Timon of Athens Melissa Merchant During the Restoration era (1660 to 1700), the plays of Shakespeare were routinely adapted in order to make them fit for the new stages and society in which they were being produced. Representations ‘femininity’ and ‘woman’ were re-negotiated following a tumultuous period in English history and the evidence of this can be seen in the Shakespearean adaptations. Theatrical depictions of women within the plays produced during this time drew on everyday discourses of femininity and were influenced by the new presence of professional actresses on the London stages. In a time before widespread literacy and access to multiple media platforms, the theatre served a didactic function as a site which could present “useful and instructive representations of human life" (as ordered by Charles II in his Letters Patent to the theatre companies in 1662). This paper argues that, on the stage, Restoration women were afforded three roles: gay, ideal or fallen. Each of these are evident within Thomas Shadwell’s adaptation of Timon of Athens. Introduction “Women are of two sorts,” claimed Bishop Aylmer during the reign of Queen Elizabeth I, some were “wiser, better learned, discreeter, and more constant than a number of men” and the other “worse sort of them” were: Fond, foolish, wanton, flibbergibs, tattlers, triflers, wavering, witless, without council, feeble, careless, rash, proud, dainty, tale-bearers, eavesdroppers, rumour-raisers, evil-tongued, worse-minded, and in every way doltified with the dregs of the devil’s dunghill (Stretton 2005, 52). -
Olivia's Household John W. Draper PMLA, Vol. 49, No. 3. (Sep., 1934)
Olivia's Household John W. Draper PMLA, Vol. 49, No. 3. (Sep., 1934), pp. 797-806. Stable URL: http://links.jstor.org/sici?sici=0030-8129%28193409%2949%3A3%3C797%3AOH%3E2.0.CO%3B2-Z PMLA is currently published by Modern Language Association. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/mla.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Sat Feb 9 20:31:37 2008 XLIII OLIVIA'S HOUSEHOLD P Shakespeare's plays, as is generally admitted, are incomparably I greater than their sources, their greatness must inhere mainly in his changes and additions. -
Article (Published Version)
Article 'Our Other Shakespeare'? Thomas Middleton and the Canon ERNE, Lukas Christian Reference ERNE, Lukas Christian. 'Our Other Shakespeare'? Thomas Middleton and the Canon. Modern Philology, 2010, vol. 107, no. 3, p. 493-505 Available at: http://archive-ouverte.unige.ch/unige:14484 Disclaimer: layout of this document may differ from the published version. 1 / 1 492 MODERN PHILOLOGY absorbs and reinterprets a vast array of Renaissance cultural systems. "Our other Shakespeare": Thomas Middleton What is outside and what is inside, the corporeal world and the mental and the Canon one, are "similar"; they are vivified and governed by the divine spirit in Walker's that emanates from the Sun, "the body of the anima mundi" LUKAS ERNE correct interpretation. 51 Campanella's philosopher has a sacred role, in that by fathoming the mysterious dynamics of the real through scien- University of Geneva tific research, he performs a religious ritual that celebrates God's infi- nite wisdom. To T. S. Eliot, Middleton was the author of "six or seven great plays." 1 It turns out that he is more than that. The dramatic canon as defined by the Oxford Middleton—under the general editorship of Gary Taylor and John Lavagnino, leading a team of seventy-five contributors—con- sists of eighteen sole-authored plays, ten extant collaborative plays, and two adaptations of plays written by someone else. The thirty plays, writ ten for at least seven different companies, cover the full generic range of early modern drama: eight tragedies, fourteen comedies, two English history plays, and six tragicomedies. These figures invite comparison with Shakespeare: ten tragedies, thirteen comedies, ten or (if we count Edward III) eleven histories, and five tragicomedies or romances (if we add Pericles and < Two Noble Kinsmen to those in the First Folio). -
Shakespeare Seminar
Shakespeare Seminar Deutsche Shakespeare-Gesellschaft Ausgabe 8 (2010) Shakespeare and the City: The Negotiation of Urban Spaces in Shakespeare’s Plays www.shakespeare-gesellschaft.de/publikationen/seminar/ausgabe2010 Shakespeare Seminar 8 (2010) EDITORS The Shakespeare Seminar is published under the auspices of the Deutsche Shakespeare-Gesellschaft, Weimar, and edited by: Dr Christina Wald, Universität Augsburg, Fachbereich Anglistik und Amerikanistik, Universitätsstr. 10, D-86159 Augsburg ([email protected]) Dr Felix Sprang, Universität Hamburg, Institut für Anglistik und Amerikanistik, Von-Melle-Park 6, D-20146 Hamburg ([email protected]) PUBLICATIONS FREQUENCY Shakespeare Seminar Online is a free annual online journal. It documents papers presented at the Academic Seminar panel of the spring conferences of the Deutsche Shakespeare-Gesellschaft. It is intended as a publication platform especially for the younger generation of scholars. You can find the current call for papers on our website. INTERNATIONAL STANDARD SERIAL NUMBER ISSN 1612-8362 © Copyright 2010 Deutsche Shakespeare-Gesellschaft e.V. CONTENTS Introduction by Christina Wald and Felix Sprang ............................................................................... 2 Timon’s Athens and the Wilderness of Philosophy by Galena Hashhozheva ................................................................................................. 3 Shakespeare at the Fringe: Playing the Metropolis by Yvonne Zips ............................................................................................................. -
Editorial Treatment of the Shakespeare Apocrypha
Egan, Gabriel. 2004j. 'Editorial Treatment of the Shakespeare Apocrypha, 1664-1737': A Paper Delivered at the Conference 'Leviathan to Licensing Act (The Long Restoration, 1650-1737): Theatre, Print and Their Contexts' at Loughborough University, 15-16 September Editorial treatment of the Shakespeare apocrypha, 1664-1737 by Gabriel Egan The third edition (F3) of the collected plays of Shakespeare appeared in 1663, and to its second issue the following year was added a particularly disreputable group of plays comprised Pericles, The London Prodigal, Sir John Oldcastle, A Yorkshire Tragedy, Thomas Lord Cromwell, The Puritan, and Locrine. Of these, only Pericles remains in the accepted Shakespeare canon, the edges of which are imprecisely defined. (At the moment it is unclear whether Edward 3 is in or out.) The landmark event for defining the Shakespeare canon was the publication of the 1623 First Folio (F1), with which, as Stanley Wells and Gary Taylor put it, "the substantive history of Shakespeare's dramatic texts virtually comes to an end" (Wells et al. 1987, 52). Only one more genuine Shakespeare play was first printed after 1623: The Two Noble Kinsmen, which appeared in a quarto of 1634 whose title-page attributed it to Shakespeare and Fletcher, "Gent[lemen]" (Fletcher & Shakespeare 1634, A1r). Perhaps inclusion in F1 should not be an important criterion for us and we should put more weight on such facts as Pericles's appearing in quarto in 1609 with a titlepage that claimed it was by William Shakespeare. But the same can be said for other plays that got added to the Folio in 1663: The London Prodigal, Sir John Oldcastle, and A Yorkshire Tragedy were printed in early quartos that named their author as William Shakespeare and the other three in quartos that named "W.S". -
Book-It Repertory Theatre Encore Arts Seattle
SEPTEMBER 2016 SEPT 7–OCT 2, 2016 By William Shakespeare | Directed by Sheila Daniels 2016 SUMMER 2016 FALL 2016–2017 2017 SPRING WOODEN O TOUR INDOOR SEASON TOUR Hamlet Romeo and Juliet The Winter’s Tale Romeo and Juliet Love’s Labour’s Lost Medea The Taming of Bring Down the House, Parts 1 & 2 the Shrew A Midsummer Night’s Dream ES016 covers.indd 2 8/24/16 4:30 PM September 2016 Volume 13, No. 1 Paul Heppner Publisher SEPTEMBER 2016 Susan Peterson Design & Production Director Ana Alvira, Robin Kessler, Shaun Swick, Stevie VanBronkhorst Production Artists and Graphic Design Contents Mike Hathaway 3 Dialogue Sales Director Encore Stages in Brieanna Bright, Joey Chapman, Ann Manning, Rob Scott conversation with Seattle Area Account Executives Teen Tix Marilyn Kallins, Terri Reed San Francisco/Bay Area Account Executives 7 Intermission Brain A WORLD PREMIERE Sara Keats Stages Editor Transmission STAGING OF THE NOVEL Jonathan Shipley Test yourself with our BY RUTH OZEKI Stages Editor; Associate Online Editor trivia quiz SEPT 14 – OCT 9, 2016 Ad Services Coordinator Carol Yip TICKETS ON SALE NOW Sales Coordinator Encore Stages is a publication of Encore Media Group. We also publish Leah Baltus Encore Arts Programs, the monthly BOOK-IT.ORG Editor-in-Chief arts & culture magazine City Arts, and Paul Heppner custom publications, including the Publisher Official Seattle Pride Guide and the Dan Paulus Art Director SIFF Guide and Catalog. EAP 1_6 V template.indd 1 8/10/16 1:44 PM Jonathan Zwickel Senior Editor Gemma Wilson Associate Editor Encore -
Timon of Athens by William Shakespeare Produced by the College of the Holy Cross 2002-2003 Season Directed by Edward Isser
Timon of Athens By William Shakespeare Produced by The College of the Holy Cross 2002-2003 Season Directed by Edward Isser A Glorious Mess Ben Jonson, in his famed introductory note to the First Folio, wrote, “I remember, the players have often mentioned it as an honour to Shakespeare that in his writing (whatsoever he penned) he never blotted out line.” A close look at the text of Timon of Athens, however, challenges the notion that Shakespeare’s plays sprang from his consciousness fully composed requiring little or no revision. Timon of Athens, put simply, is a glorious mess. It contains numerous errors, problems, and performative challenges; character names change, certain scenes appear to be little more than outlines, the verse is often jarring and filled with overlong lines, and the text shifts abruptly from prose to verse without apparent reason. Moreover, there is no evidence that the play was ever performed during Shakespeare’s lifetime. A number of critics, reacting to the rough and unfinished quality of the text, have even conjectured that Shakespeare was working on it at the time of his death in 1616 and Thomas Middleton completed the unfinished work. Other critics, denying collaboration, assert the play was composed at some point in1605-6 because of its textual and thematic correspondence to King Lear. The debate over composition and dating will probably never be fully resolved. The Folio text of 1623 was apparently based upon a set of so- called “foul papers,” a preliminary draft submitted to the playhouse by the author prior to production. The problematic nature of the text and the harshness of the story have caused Timon to be generally ignored by scholars, teachers and directors. -
Notes on Timon of Athens: Origins, Analyses and Academic Notes of Same / Sdmace 2013
Notes on Timon of Athens: Origins, Analyses and academic notes of same / sdmace 2013 NOTES TAKEN FROM VARIOUS SOURCES Timon of Athens is a play by William Shakespeare about the fortunes of an Athenian named Timon (and probably influenced by the philosopher of the same name, as well), generally regarded as one of his most obscure and difficult works until recently. Originally grouped with the tragedies, it is generally considered such, but some scholars group it with the problem plays. “Timon of Athens” is believed to have first been performed between 1607 and 1608, whereas the text is believed to have first been printed in 1623 as a part of the First Folio. ORIGIN: Timon of Athens may refer to a historical figure who lived during the era of the Peloponnesian War. Or, more likely, to Timon of Phlius (c. 320 BC – c. 230 BC) who was a Greek skeptic philosopher, a pupil of Pyrrho, and a celebrated writer of satirical poems called Silloi. He was born in Phlius, moved to Megara, and then he returned home and married. He next went to Elis with his wife, and heard Pyrrho, whose tenets he adopted. He also lived on the Hellespont, and taught at Chalcedon, before moving to Athens, where he lived until his death. His writings were said to have been very numerous. He composed poetry, tragedies, satiric dramas, and comedies, of which very little remains. His most famous composition was his Silloi, a satirical account of famous philosophers, living and dead, in hexameter verse. The Silloi has not survived intact, but it is mentioned and quoted by several ancient authors.