The Winter's Tale by William Shakespeare
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Theatricality and Historiography in Shakespeare's Richard
H ISTRIONIC H ISTORY: Theatricality and Historiography in Shakespeare’s Richard III By David Hasberg Zirak-Schmidt This article focuses on Shakespeare’s history drama Richard III, and investigates the ambiguous intersections between early modern historiography and aesthetics expressed in the play’s use of theatrical and metatheatrical language. I examine how Shakespeare sought to address and question contemporary, ideologically charged representations of history with an analysis of the characters of Richard and Richmond, and the overarching theme of theatrical performance. By employing this strategy, it was possible for Shakespeare to represent the controversial character of Richard undogmatically while intervening in and questioning contemporary discussions of historical verisimilitude. Historians have long acknowledged the importance of the early modern history play in the development of popular historical consciousness.1 This is particularly true of England, where the history play achieved great commercial and artistic success throughout the 1590s. The Shakespearean history play has attracted by far the most attention from cultural and literary historians, and is often seen as the archetype of the genre. The tragedie of kinge RICHARD the THIRD with the death of the Duke of CLARENCE, or simply Richard III, is probably one of the most frequently performed of Shakespeare’s history plays. The play dramatizes the usurpation and short- lived reign of the infamous, hunchbacked Richard III – the last of the Plantagenet kings, who had ruled England since 1154 – his ultimate downfall, and the rise of Richmond, the future king Henry VII and founder of the Tudor dynasty. To the Elizabethan public, there was no monarch in recent history with such a dark reputation as Richard III: usurpation, tyranny, fratricide, and even incest were among his many alleged crimes, and a legacy of cunning dissimulation and cynical Machiavellianism had clung to him since his early biographers’ descriptions of him. -
The Tragedies: V. 2 Pdf, Epub, Ebook
THE TRAGEDIES: V. 2 PDF, EPUB, EBOOK William Shakespeare,Tony Tanner | 770 pages | 07 Oct 1993 | Everyman | 9781857151640 | English | London, United Kingdom The Tragedies: v. 2 PDF Book Many people try to keep them apart, and several lose their lives. Often there are passages or characters that have the job of lightening the mood comic relief , but the overall tone of the piece is quite serious. The scant evidence makes explaining these differences largely conjectural. The play was next published in the First Folio in Distributed Presses. Officer involved with Breonna Taylor shooting says it was 'not a race thing'. Share Flipboard Email. Theater Expert. In tragedy, the focus is on the mind and inner struggle of the protagonist. Ab Urbe Condita c. The 10 Shakespeare plays generally classified as tragedy are as follows:. University of Chicago Press. Retrieved 6 January President Kennedy's sister, Rosemary Kennedy , had part of her brain removed in in a relatively new procedure known as a prefrontal lobotomy. The inclusion of comic scenes is another difference between Aristotle and Shakespearean tragedies. That is exactly what happens in Antony and Cleopatra, so we have something very different from a Greek tragedy. Boston: Houghton Mifflin Company, , An Aristotelian Tragedy In his Poetics Aristotle outlines tragedy as follows: The protagonist is someone of high estate; a prince or a king. From the minute Bolingbroke comes into power, he destroys the faithful supporters of Richard such as Bushy, Green and the Earl of Wiltshire. Shakespearean Tragedy: Shakespearean tragedy has replaced the chorus with a comic scene. The Roman tragedies— Julius Caesar , Antony and Cleopatra and Coriolanus —are also based on historical figures , but because their source stories were foreign and ancient they are almost always classified as tragedies rather than histories. -
Writing the Shakespeare Mask: the Novelist's Choices
Writing The Shakespeare Mask: The Novelist’s Choices Newton Frohlich *Corresponding Author: [email protected] Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The authorship of the works of Shakespeare by de Vere is depicted from when he was five to the time of his the glover from Stratford -on-Avon has been considered a tragic death, including his "favored," sexual relationship myth almost from its inception. No less than Charles Dickins, with the queen and his intimate relationship with Emilia Mark Twain, Henry and William James, Ralph Waldo Bassano, who is widely accepted as the "Dark Lady" of Emerson, Herman Melville, Walt Whitman, Royal Shake-speare's Sonnets. (There is no evidence of any Shakespeare Company actors John Gielgud, Derek Jacobi, relationship between the Stratford man and Emilia Bassano.) Jeremy Irons, and Michael York, British Prime Minister In short, while the documentary evidence of de Vere's -- or Benjamin Disraeli, five United States Supreme Court the Stratford man's -- authorship of the works of Shakespeare Justices, and thousands who signed a Declaration of Doubt is missing, the circumstantial evidence of de Vere's About Will circulating the World-Wide Web have attested to authorship is overwhelming. And as United States Supreme their doubts. In response to the request by his publisher, Court Justice John Paul Stevens puts it, "circumstantial author Newton Frohlich, commencing research connected evidence can be as persuasive as documentary evidence with a sequel to his novel about Columbus, came across especially where, as here, there's so much of it. -
Galloping Onto the Throne: Queen Elizabeth I and the Symbolism of the Horse
Heidegger 1 Galloping onto the Throne: Queen Elizabeth I and the Symbolism of the Horse University of California, San Diego, Department of History, Undergraduate Honors Thesis By: Hannah von Heidegger Advisor: Ulrike Strasser, Ph.D. April 2019 Heidegger 2 Introduction As she prepared for the impending attack of the Spanish Armada, Queen Elizabeth I of England purportedly proclaimed proudly while on horseback to her troops, “I know I have the body but of a weak and feeble woman; but I have the heart and stomach of a king, and of a king of England too.”1 This line superbly captures the two identities that Elizabeth had to balance as a queen in the early modern period: the limitations imposed by her sex and her position as the leader of England. Viewed through the lens of stereotypical gender expectations in the early modern period, these two roles appear incompatible. Yet, Elizabeth I successfully managed the unique path of a female monarch with no male counterpart. Elizabeth was Queen of England from the 17th of November 1558, when her half-sister Queen Mary passed away, until her own death from sickness on March 24th, 1603, making her one of England’s longest reigning monarchs. She deliberately avoided several marriages, including high-profile unions with Philip II of Spain, King Eric of Sweden, and the Archduke Charles of Austria. Elizabeth’s position in her early years as ruler was uncertain due to several factors: a strong backlash to the rise of female rulers at the time; her cousin Mary Queen of Scots’ Catholic hereditary claim; and her being labeled a bastard by her father, Henry VIII. -
Henry V Play Guide
Henry V photo: Charles Gorrill by William Shakespeare Theatre Pro Rata November 5-20, 2016 Performing at The Crane Theater 2303 Kennedy St NE, Minneapolis The play Henry V is part of a series of eight plays that covers a critical time in English history: from the reign of Richard II to the death of Richard III and the ascension to the throne of Henry Tudor (Henry VII), the grandfather of Queen Elizabeth. The first four play sequence, Henry VI, parts 1, 2, and 3, and Richard III (1589- 94) were great hits when first produced, and were certainly part of the impetus for the second four play sequence chronicling the “back story” of the first (Richard II, Henry IV, parts 1 and 2, and Henry V). The first source to mention Shakespeare, Greene’s Groats-worth of Wit, was published in 1592, and parodies a line from Henry VI, part 3. Shakespeare based his work on history written by Raphael Holinshed (who drew on earlier work by Edward Hall); but these histories were those of the victors, so not all the information was accurate. Later historians have corrected information from Hall and Holinshed that was often as much mythology as history. Critical facts about Henry V that are reflected in the play: Born: summer 1386; died 31 August 1422 Ascended to the throne: 20 March 1413 Victory at Agincourt: 25 October 1415 He was the first king of England to grow up speaking and writing fluently in English; previous kings spoke either French or Saxon. The play was originally written/produced in 1599, and played at the court of King James 1 on January 7, 1605. -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608. -
King Lear and Its Afterlife
SHAKESPEARE SURVEY AN ANNUAL SURVEY OF SHAKESPEARE STUDIES AND PRODUCTION 55 King Lear and its Afterlife EDITED BY PETER HOLLAND published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb2 2ru,UK 40 West 20th Street, New York, ny 10011-4211, USA 477 Williamstown Road, Port Melbourne, vic 3207, Australia Ruiz de Alarcon´ 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface Bembo 10/12 pt System LATEX 2ε [TB] A catalogue record for this book is available from the British Library isbn 0 521 81587 8 hardback Shakespeare Survey was first published in 1948. Its first eighteen volumes were edited by Allardyce Nicoll. Kenneth Muir edited volumes 19 to 33. Stanley Wells edited volumes 34 to 52. CONTENTS List of Illustrations page ix Kiernan Ryan King Lear: A Retrospect, 1980–2000 1 Richard Knowles How Shakespeare Knew King Leir 12 William O. Scott Contracts of Love and Affection: Lear, Old Age, and Kingship 36 Andrew Gurr Headgear as a Paralinguistic Signifier in King Lear 43 Drew Milne What becomes of the broken-hearted: King Lear and the Dissociation of Sensibility 53 John J. -
Child Actors, Royalist Publicity, and the Space of the Nation in the Queen’S Men’S True Tragedy of Richard the Third
192 Issues in Review 21 Pietro Aretino, La Talanta, in Giovanna Rabitti, Carmine Boccia, and Enrico Gara- velli (eds), Teatro, Vol. 2 (Il Marescalco, Lo Ipocrito, Talanta) (Roma, 2010): 417 (my translation). 22 Castiglione, The Book of the Courtier, 66. 23 Ibid, 369. 24 For an interesting speculation on the action of Marescalco and the carnivalesque aspect of this ducal manipulation, see Deanna Shemek, ‘Aretino’s Marescalco: Mar- riage Woes and the Duke of Mantua’, Renaissance Studies 16.3 (2002), 366–80. 25 Di Maria, The Italian Tragedy in the Renaissance. Di Maria devotes an interesting and significant discussion to the specific role of sound in the theatre and one work that he examines in detail is Aretino’s tragedy, Orazio. ‘What makes thou upon a stage?’: Child Actors, Royalist Publicity, and the Space of the Nation in the Queen’s Men’s True Tragedy of Richard the Third At the opening of one of their signature histories, The True Tragedy of Richard the Third, the Queen’s Men go out of their way to reassure their audience that what follows will not be a pretentious, inscrutable art play. Yes, a shield- bearing ghost has just crossed the stage crying out for revenge in Senecan Latin,1 and yes, a pair of precocious boys in allegorical women’s clothing now claim our attention.2 Children of some elitist chapel, perhaps? Students from some privileged school? These were tropes that were current not only in London, but also in venues along the Queen’s Men’s provincial touring routes where local nobility patronized choirboys as well as adult compan- ies, and schools taught public speaking through play-making. -
ANNUAL REPORT and ACCOUNTS the Courtyard Theatre Southern Lane Stratford-Upon-Avon Warwickshire CV37 6BH
www.rsc.org.uk +44 1789 294810 Fax: +44 1789 296655 Tel: 6BH CV37 Warwickshire Stratford-upon-Avon Southern Lane Theatre The Courtyard Company Shakespeare Royal ANNUAL REPORT AND ACCOUNTS 2006 2007 2006 2007 131st REPORT CHAIRMAN’S REPORT 03 OF THE BOARD To be submitted to the Annual ARTISTIC DIRECTOR’S REPORT 04 General Meeting of the Governors convened for Friday 14 December EXECUTIVE DIRECTOR’S REPORT 07 2007. To the Governors of the Royal Shakespeare Company, Stratford-upon-Avon, notice is ACHIEVEMENTS 08 – 09 hereby given that the Annual General Meeting of the Governors will be held in The Courtyard VOICES 10 – 33 Theatre, Stratford-upon-Avon on Friday 14 December 2007 FINANCIAL REVIEW OF THE YEAR 34 – 37 commencing at 2.00pm, to consider the report of the Board and the Statement of Financial SUMMARY ACCOUNTS 38 – 41 Activities and the Balance Sheet of the Corporation at 31 March 2007, to elect the Board for the SUPPORTING OUR WORK 42 – 43 ensuing year, and to transact such business as may be trans- AUDIENCE REACH 44 – 45 acted at the Annual General Meetings of the Royal Shakespeare Company. YEAR IN PERFORMANCE 46 – 51 By order of the Board ACTING COMPANIES 52 – 55 Vikki Heywood Secretary to the Governors THE COMPANY 56 – 57 CORPORATE GOVERNANCE 58 ASSOCIATES/ADVISORS 59 CONSTITUTION 60 Right: Kneehigh Theatre perform Cymbeline photo: xxxxxxxxxxxxx Harriet Walter plays Cleopatra This has been a glorious year, which brought together the epic and the personal in ways we never anticipated when we set out to stage every one of Shakespeare’s plays, sonnets and long poems between April 2006 and April 2007. -
Top Left-Hand Corner
Department of English ”Art Made Tongue-tied By Authority”? The Shakespeare Authorship Question Lars Lindholm Bachelor Degree Project Literature VT 2012 Supervisor: Marion Helfer Wajngot Abstract The essay presents the scholarly controversy over the correct attribution of the works by “Shakespeare”. The main alternative author is Edward de Vere, 17th earl of Oxford. 16th century conventions allowed noblemen to write poetry or drama only for private circulation. To appear in print, such works had to be anonymous or under pseudonym. Overtly writing for public theatre, a profitable business, would have been a degrading conduct. Oxford‟s contemporary fame as an author is little matched by known works. Great gaps in relevant sources indicate that documents concerning not only his person and authorship but also the life of Shakspere from Stratford, the alleged author, have been deliberately eliminated in order to transfer the authorship, for which the political authority of the Elizabethan and Jacobean autocratic society had motive and resources enough. A restored identity would imply radical redating of plays and poems. To what extent literature is autobiographical, or was in that age, and whether restoring a lost identity from written works is legitimate at all, are basic issues of the debate, always implying tradition without real proof versus circumstantial evidence. As such arguments are incompatible, both sides have incessantly missed their targets. The historical conditions for the sequence of events that created the fiction, and its main steps, are related. Oxford will be in focus, since most old and new evidence for making a case has reference to him. The views of the two parties on different points are presented by continual quoting from representative recent works by Shakespeare scholars, where the often scornful tone of the debate still echoes. -
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 in PERFORMANCE Some Screen Productions
SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory