3448 Shakespeare Comedies
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Education Pack
Education Pack 1 Contents Introduction ..................................................................................................................... 3 Section 1: Shakespeare and the Original Twelfth Night ..................................................... 4 William Shakespeare 1564 - 1616 ...................................................................................... 5 Elizabethan and Jacobean Theatre ..................................................................................... 6 Section 2: The Watermill’s Production of Twelfth Night .................................................. 10 A Brief Synopsis .............................................................................................................. 11 Character Map ................................................................................................................ 13 1920s and Twelfth Night.................................................................................................. 14 Meet the Cast ................................................................................................................. 16 Actor’s Blog .................................................................................................................... 20 Two Shows, One Set ........................................................................................................ 24 Rehearsal Diary ............................................................................................................... 26 Rehearsal Reports .......................................................................................................... -
A Distinctive BBC
A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks. -
09-25-2019 Macbeth.Indd
GIUSEPPE VERDI macbeth conductor Opera in four acts Marco Armiliato Libretto by Francesco Maria Piave production Adrian Noble and Andrea Maffei, based on the play by William Shakespeare set and costume designer Mark Thompson Wednesday, September 25, 2019 lighting designer 8:00–11:10 PM Jean Kalman choreographer Sue Lefton First time this season The production of Macbeth was made possible by a generous gift from Mr. and Mrs. Paul M. Montrone Additional funding was received from Mr. and Mrs. William R. Miller; Hermione Foundation, Laura Sloate, Trustee; and The Gilbert S. Kahn & John J. Noffo Kahn Endowment Fund Revival a gift of Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2019–20 SEASON The 106th Metropolitan Opera performance of GIUSEPPE VERDI’S macbeth conductor Marco Armiliato in order of appearance macbeth fle ance Plácido Domingo Misha Grossman banquo a murderer Ildar Abdrazakov Richard Bernstein l ady macbeth apparitions Anna Netrebko a warrior Christopher Job l ady-in-waiting Sarah Cambidge DEBUT a bloody child Meigui Zhang** a servant DEBUT Bradley Garvin a crowned child duncan Karen Chia-Ling Ho Raymond Renault DEBUT a her ald malcolm Yohan Yi Giuseppe Filianoti This performance is being broadcast a doctor macduff live on Metropolitan Harold Wilson Matthew Polenzani Opera Radio on SiriusXM channel 75. Wednesday, September 25, 2019, 8:00–11:10PM MARTY SOHL / MET OPERA A scene from Chorus Master Donald Palumbo Verdi’s Macbeth Assistants to the Set Designer Colin Falconer and Alex Lowde Assistant to the Costume Designer Mitchell Bloom Musical Preparation John Keenan, Yelena Kurdina, Bradley Moore*, and Jonathan C. -
Shakespeare in the Music Library (PDF)
If music be the food of love: Shakespeare in the Music Library An exhibit in commemoration of the 400th anniversary of the death of William Shakespeare Curated and written by John Bewley, Ph.D. Associate Librarian Music Library University at Buffalo April 2016-June 2016 Music provides a kaleidoscopic array of perspectives through which scholars can view the works and influences of William Shakespeare. While many people are familiar with the most famous uses of Shakespeare in music in such works as Tchaikovsky’s Romeo and Juliet Overture-Fantasy, Verdi’s Shakespeare operas (Falstaff, Macbeth, and Otello), Mendelssohn’s incidental music for A Midsummer Night’s Dream, and Prokofiev’s Romeo and Juliet ballet, this exhibit will highlight some of the most significant topics related to the intersections of Shakespeare and music with some lesser-known examples from the holdings of the Music Library. The use of music in Shakespeare’s plays Music plays a significant role in Shakespeare’s plays through three guises: music performed as part of the play, references in the text to song titles, and the use of words with musical connotations. Shakespeare’s use of performed music in his plays was so extensive that only The Comedy of Errors is without music. One of the remarkable aspects of Shakespeare’s use of music is how integral it is to the dramatic structure in the plays. Some of the music serves as a direct part of the action, such as fanfares associated with processions or to mark royal entrances. In other instances Shakespeare used music as an agent for an action, such as when a lullaby is sung to put a character to sleep. -
Shakespeare, Madness, and Music
45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed -
12Night-Script.Pdf
twelfth Night Script Playing Shakespeare with Deutsche Bank 2016 2016.playingshakespeare.org ACT 1 SCENE 1 ACT 1 SCENE 1 Music is playing. Enter Duke Orsino, Curio, and other Lords. Orsino If music be the food of love, play on. Give me excess of it, that surfeiting, 2 that: so that The appetite may sicken and so die. 2 surfeiting: over-indulging That strain again, it had a dying fall. 3 appetite: hunger for it 4 That strain again: play that part O, it came o’er my ear like the sweet sound 5 again That breathes upon a bank of violets, 4 dying fall: falling rhythm Stealing and giving odour. Enough! No more! ’Tis not so sweet now as it was before. [Music stops.] O spirit of love, how quick and fresh art thou 9 quick: lively That, notwithstanding thy capacity, 10 9 fresh: vigorous Receiveth as the sea. Naught enters there, 10–11 notwithstanding thy … sea: whatever your size, can hold any Of what validity and pitch soe’er, amount But falls into abatement and low price 11 Naught: nothing Even in a minute. So full of shapes is fancy 12 Of what validity … soe’er: That it alone is high fantastical. 15 whatever its value or quality 13 falls into … price: loses value Curio Will you go hunt, my lord? 14 shapes: images 14 fancy: love Orsino What, Curio? 14 is high fantastical: stretches imagination the most Curio The hart. 18 hart: male deer [a pun on ‘heart’] Orsino Why so I do, the noblest that I have. -
The Music of Gender in Shakespeare's
“HERE I AM … YET CANNOT HOLD THIS VISIBLE SHAPE”: THE MUSIC OF GENDER IN SHAKESPEARE’S TWELFTH NIGHT by Marcus Cheng Chye Tan THE ELUSIVE NATURE OF TWELFTH NIGHT Taken as Shakespeare’s farewell to romantic comedy and written around the same time as Hamlet, Twelfth Night presents a high comedy of elusive complexity that preempts the problem plays. Contesting a “universal consent [that] the very height of gay comedy is attained in Twelfth Night,”1 modern critics note that Twelfth Night possesses “darker” features of the problem plays but, as C. L. Barber suggests in Shakespeare’s Festive Comedy, the play manages to restore the festive through its comic resolution,2 affirming what Jonathan Dollimore terms “the telos of harmonic integration.”3 Elements of “dark tragedy” constantly complicate the “sunny iden- tity of spirit.”4 The gulling of Malvolio is often seen by modern sensibilities as an excessively cruel prank passing into the domain of sadism. The latter’s ignored plea for help while locked in the dark room, exacerbated by Feste’s cruel taunting, becomes a comic joke that proves excessive for the audience.5 In addition, Orsino’s unsettling “murderous” rage and Viola’s swooning acceptance of a love death cause the play to “walk the edge of violence”6 till the arrival of Sebas- tian in Act V. Malvolio’s unresolved vow of vengeance (V.i.376),7 sworn after the union of the lovers, threatens a newly established har- mony, prompting the audience to speculate on his possible return, which could turn comedy into tragedy. -
Positive Affect in Renaissance Literature SAA 2015 Abstracts Roya
Seminar 27: Positive Affect in Renaissance Literature SAA 2015 Abstracts Roya Biggie City University of New York, Graduate Center [email protected] “A touch more rare”: Acute Sensation and Numbness in Cymbeline This paper considers Robert Burton’s The Anatomy of Melancholy alongside Innogen’s sensual experience of love in Cymbeline. As Burton describes the effects of love on the senses, he suggests two seemingly contradictory experiences. At times, love heightens sensual awareness while, at others, the lover experiences numbness or a dulling of the senses. Though Burton tends to warn his readers against the dangerous effects of lovesickness, he is playfully ambivalent throughout the text. Love, he argues, is an illness; yet, it is also one that enlivens the body. I argue that Innogen takes pleasure in a bodily experience of love that embraces acute sensual awareness and numbness simultaneously. She attempts to recreate this cotemporaneous acuteness and numbness first through her servant, Pisanio, and, somewhat later, as she imagines her reunion with Posthumus. Although this paper is in its very early stages, I attempt to shed light on the complicated phenomological experience of love as understood by early moderns. Piers Brown Kenyon College “Hadst thou sway'd as kings should do”: Affect, Influence and Authority In my paper, I will consider 'sway' as a form of afect, with special emphasis on its appearance in Shakespeare's Henriad and his Roman tragedies. Tis is part of a longer project on 'Shakespeare's Moving Language', in which I am investigating the relationship between motion and emotion. I start from the observation that Shakespeare uses the language of moving in two diferent ways in his plays: it refers primarily to the arousal of the passions ('Are you not moved?'), and only occasionally is used to describe abstract spatial motion. -
A Study of German, French, and English Vocal Settings of Ophelia from Shakespeare's Hamlet
A STUDY OF GERMAN, FRENCH, AND ENGLISH VOCAL SETTINGS OF OPHELIA FROM SHAKESPEARE’S HAMLET BY Yi-Yeon Park Submitted to the faculty of the Jacobs School of Music in partial fulfillment Of the requirements for the degree Doctor of Music, Indiana University May, 2013 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Teresa Kubiak, Chairperson and Research Director Andreas Poulimenos Patricia Wise Frank Samarotto ii Table of Contents LIST OF ILLUSTRATIONS….………………………………………………………….v INTRODUCTION ………………………………………………………………………..1 CHAPTER I. Historical Background of Hamlet …………………………………………3 1. Elizabethan Era of England ……………………………………………….3 2. William Shakespeare (1564-1616) and His Plays ………………………...4 3. The Tragedy of Hamlet, Prince of Denmark ……………………………...8 CHAPTER II. Characterization of Ophelia and its Popularization as the Source of Vocal Works….....................................................................................................13 1. Characterization of Ophelia in the Play………………………………….13 2. Popularization as the Source of Vocal Works from the 19th century……16 1) Romanticism and Shakespeare …………………………………...16 2) Interpretation of Ophelia’s Songs in the Play …………………….19 CHAPTER III. Study of the Text of Ophelia’s Songs…………………..………………24 1. How should I your true love know from another one? ………………….26 2. Tomorrow is St. Valentine’s day. ……………………………………….28 3. They bore him bare-faced on the bier …………………………………...29 4. For bonny sweet Robin is all my joy ……………………………………30 5. And will he not come again? ……………………………………………30 6. The description of Ophelia’s death ………………………………….…..31 iii CHAPTER IV. Study of German, French, and English vocal settings ……………….…33 1. German Settings …………………………………………………………33 1) Woran erkenn’ich deinen Freund and Sie senkten ihn kalten Grund hinab by Johann Rudolf Zumsteeg ……………………………34 2) Fünf Ophelia Lieder by Johannes Brahms ……………………..36 3) Drei Lieder der Ophelia by Richard Strauss ……………………46 2. -
Macbeth by Lawrance Collingwood, Paul Mcintyre, and Luke Styles
‘Tomorrow, and tomorrow, and tomorrow’: A comparison of three operatic adaptations of Macbeth by Lawrance Collingwood, Paul McIntyre, and Luke Styles Ian Parr Submitted in fulfilment for the degree of MA by Research School of Music, Humanities, and Media University of Huddersfield 4 June 2018 Abstract Giuseppe Verdi’s opera Macbeth (1865), based on Shakespeare’s play of the same name, is considered one of the prime nineteenth century adaptations of a Shakespeare text. With its high degree of fidelity to the source text, as well as the rich and intense score that exemplifies his musical language, Verdi’s Macbeth set a benchmark of what a ‘successful’ operatic adaptation of Macbeth might look like. The degree of success of later adaptations of Macbeth is often compared – fairly or unfairly – retrospectively with Verdi’s Macbeth. This thesis is an investigation into three post-Verdi adaptations of Shakespeare’s Macbeth by Lawrance Collingwood, Paul McIntyre, and Luke Styles, aiming to show how each composer has adapted the story of Macbeth for the musical-dramatic stage, and how they have utilised the twentieth century resources available to them, thus setting them apart from Verdi’s opera. Through analysis of some aspects of the operas, three perspectives on adapting Macbeth into opera will be explored, with further discussion of the composers’ individual approaches to text-setting that show how such approaches give the story new meaning. [- 2 -] I would like to thank the Royal College of Music for pointing me in the right direction for uncovering more of Lawrance Collingwood’s history; The Heritage Quay Archives at the University of Huddersfield for their help with accessing the score for Collingwood’s opera; and The University of Leeds for allowing me to view Richard Leveridge’s music for William Davenant’s Macbeth. -
Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet
SCORING FOR THE SPECTER: DUALITIES IN THE MUSIC OF THE GHOST SCENE IN FOUR FILM ADAPTATIONS OF HAMLET John T. Dunn, B.M. Thesis Prepared for the Degree of MASTER OF MUSIC UNIVERSITY OF NORTH TEXAS August 2002 APPROVED: Mark McKnight, Major Professor Margaret Notley, Minor Professor Timothy Jackson, Minor Professor Graham Phipps, Dean of Graduate Studies, College of Music C. Neal Tate, Dean of the Robert B. Toulouse School of Graduate Studies Dunn, John, Scoring for the Specter: Dualities in the Music of the Ghost Scene in Four Film Adaptations of Hamlet. Master of Music, August 2002, 123 pages, 10 figures, 72 works consulted. This document’s purpose is to analyze dualities found in different films of Shakespeare’s Hamlet. Each director’s version brings different ideas to the play. By analyzing each version and focusing on the Ghost Scene, comparisons of the scene’s symbolism are made among the musical scores. The beginning chapters provide a history of film, film music, the play, and events up to the ghost scene. After these chapters come analyses of the scene itself. Each version uses different parts of the play for its own purposes, but there are many commonalities between them. The score for each version of the Ghost Scene is analyzed independently of the others. This work will contribute to film music research and Shakespeare studies. Copyright 2002 By John Timothy Dunn ii ACKNOWLEDGEMENTS I would like to thank Jessica Avelis, Jonathan Chance, Kevin Neal, and Sara Puryear in their assistance in the completion of this document. I could not have accomplished this if not for them. -
Feste and Twelfth Night
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 Playing the Fool: Feste and Twelfth iN ght Brooklyn D. Robinson Scripps College Recommended Citation Robinson, Brooklyn D., "Playing the Fool: Feste and Twelfth iN ght" (2016). Scripps Senior Theses. Paper 865. http://scholarship.claremont.edu/scripps_theses/865 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. PLAYING THE FOOL: FESTE AND TWELFTH NIGHT by BROOKLYN ROBINSON SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS ARTHUR HOROWITZ GLENN SIMSHAW CAROLYN RATTERAY THOMAS LEBHART APRIL 22nd 2016 “Fools and fooling complicate perceptions, disrupt meaning, confound and compound perspective.” Robert H. Bell, Shakespeare’s Great Stage of Fools 1 | P a g e TABLE OF CONTENTS Acknowledgments ……………………………………………... 3 Introduction ……………………………………………………. 4 Chapter 1: A History of the Fool ……………………………. 8 Chapter 2: Feste and Viola …………………………………… 15 Chapter 3: Feste and the Rest …………………………………. 22 Chapter 4: The Function of the Fool …………………………... 31 Chapter 5: Playing the Fool …………………………………… 35 List of Works Cited ……………………………………………. 38 2 | P a g e ACKNOWLEDGMENTS I would like to thank my readers and everyone who supported me through this process. Thank you, Art, for the opportunity to be Feste in your production. You have guided and encouraged me on my journey as a developing theatre artist and I am forever grateful. Professor Simshaw, you have been an invaluable resource for this work and I so enjoyed our conversations about Shakespeare.