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John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire. -
The Beaux Stratagem Adil M
International Journal of English Literature and Social Sciences, 5(2) Mar-Apr 2020 | Available online: https://ijels.com/ The other Foot in George Farquhar’s: The Beaux Stratagem Adil M. Jamil Amman Arab University, Amman. Jordan. Abstract— This article is designed to highlight the innovation of George Farquhar in his play The Beaux Stratagem, and to illuminate the factors behind its everlasting appeal to audiences since its first performance in 1707 and after. The play still retains a magnificent appeal to all audiences for centuries, and remains alluring and fascinating to even the 21st Century audiences. Its magnitude lies in the sure-fire comic devices and witty characters as well in the profound insight adjoined the comic situations and events. As a transitional playwright, Farquhar has one foot in the declining traditions of the Comedy of Manners, and the other foot in the growing vogue of Sentimental Comedy, employing some character types of the old tradition with innovative alteration, together with introducing prototypes of the coming sentimental types. To keep pace with the shift in tone, he modifies the purpose of his play to suit the specifications of critics, moralists and theatre goers. With its innovative particulars, it sets an early premise for the approaching changes in the dramatic conventions and trends of the 18th Century comedies. More crucially, it forms a gateway to move into the world of sentimentalism, or a bridge between the two. Keywords— George Farquhar, The Beaux Stratagem, Comedy of Manners, Sentimental Comedy, Innovation of English Comedy. I. INTRODUCTION Aimwell dies unexpectedly, and his younger poor brother Farquhar’ play The Beaux Stratagem, has been a huge Aimwell inherits the title and estate of his deceased brother success since its first performance in 1707 on the Theatre and happily marries Dorinda. -
The Future Francis Beaumont
3340 Early Theatre 20.2 (2017), 201–222 http://dx.doi.org/10.12745/et.20.2.3340 Eoin Price The Future Francis Beaumont This essay attends to Beaumont’s recent performance and reception history, docu- menting a range of academic and popular responses to demonstrate the challenges and affordances of engaging with Beaumont’s plays. The first section examines sev- eral twenty-first century performances of Beaumont plays, focusing especially on the Globe’s stimulating production of The Knight of the Burning Pestle. The second sec- tion considers how Beaumont was both acknowledged and ignored in 2016, the year of his 400th anniversary. The final section suggests some avenues for further research into the performance of Beaumont’s plays. In 1613, illness caused one of the greatest writers of the age to retire from play- wrighting, paving the way for his principal collaborator, John Fletcher, to become the main dramatist for the King’s Men, the company for whom he had writ- ten some of his most popular plays. Three years later, the London literary scene mourned his death. Tributes continued for decades and he was ultimately hon- oured with the posthumous publication of a handsome folio of his works. This is the familiar story of William Shakespeare. It is also the unfamiliar story of Francis Beaumont. The comparison of the two authors’ deaths I have just offered entails a degree of contrivance. Beaumont seemingly retired because he was incapacitated by a stroke, but Shakespeare’s reasons for retiring, and indeed, the nature of his retire- ment, are much less clear. -
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). -
First Folio Teacher Curriculum Guide the Beaux’ Stratagem
First Folio Teacher Curriculum Guide The Beaux’ Stratagem by George Farquhar adapted by Thornton Wilder and Ken Ludwig directed by Michael Kahn November 7— December 31, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s productionproduction of An EnemyofThe ofBeaux’ the PeopleStratagemby Henrikby George Ibsen! Farquhar, adapted by A Brief History of the Audience……………………..1 Thornton Wilder and Ken Ludwig! Each season, the Shakespeare Theatre Company Eachpresents season, five theplays Shakespeare by William Theatre Shakespeare Company and About the Playwright otherpresents classicfive plays playwrights. by William ShakespeareThe goal andof all Farquhar’s Biography………………………………….…3 Educationother classic Department playwrights. Programs The is to goaldeepen of all Biographies of the Adapters…... ……………………4 Educationunderstanding, Department appreciation Programs and connectionis to deepen to The End of an Era—Restoration Comedy……..5 understanding,classic theatre appreciationin learners and ofconnection all ages. to One On the Adaptation………………………………………….8 approachclassic theatre is thein publicationlearners ofFirst of all Folio:ages. One Writing and Rewriting—The Road to approachTeacher Curriculum is the publication Guides. ofFirst Folio: Teacher Adaptation……………………………………………………..10 Curriculum Guides. For the 2006•07 season, the Education DepartmentFor the 2006•07will publish season,First Folio:the TeacherEducation About the Play CurriculumDepartment Guides willfor publishour Firstproductions -
Shadows and the Substance of Shakespearean Drama
Shadows and the Substance of Shakespearean Drama by Janine Harper A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of English University of Toronto © Copyright by Janine Harper 2018 Shadows and the Substance of Shakespearean Drama Janine Harper Doctor of Philosophy Department of English University of Toronto 2018 Abstract England in the late sixteenth and early seventeenth centuries was the stage for explorations of the physics of light and its representation in art. Although much critical attention has been paid to this interest in light, there has not yet been sufficient attention to the concurrent fascination with its absence as epitomized by shadows. I argue in this dissertation that the phenomenon of the shadow existed as a powerful trope for artistic and literary expression in the period; I conceive of the Renaissance shadow not, however, just as a figure of negativity or privation, but also as one of doubling and of excess in English usage. My study identifies three prominent and interconnected senses of shadows that are of special importance to Renaissance dramatists such as Shakespeare, Francis Beaumont and John Fletcher, Richard Brome, and John Webster. I investigate debates surrounding the nature of the “shades” of ghosts, familiars, and other supernatural phenomena as they are discussed by natural scientists and demonologists, and as they are staged in Hamlet, Macbeth, and The Late Lancashire Witches. The problems of imitation, subordination, and spectrality that haunt these plays also figure in staged relations of social “shadowing” that obtain between speakers and mediators in Measure for Measure and The Merchant of ii iii Venice, and between masters and servants in The Tempest and The Duchess of Malfi. -
DIE TEXTVARIANTEN VON BEAUMONT UND FLETCHERS „PHILASTER, OR LOVE LIES -BLEEDING" Etc., NEBST EINER ZUSAMMENSTELLUNG DEE AUSGABEN UND LITTERATUR IHRER WERKE
DIE TEXTVARIANTEN VON BEAUMONT UND FLETCHERS „PHILASTER, OR LOVE LIES -BLEEDING" etc., NEBST EINER ZUSAMMENSTELLUNG DEE AUSGABEN UND LITTERATUR IHRER WERKE. m. BONDUCA. Dyce, Fleay und Boyle halten Fletcher für den alleinigen Verfasser dieser tragödie, über deren inhalt und quellen ich bereits früher einmal in den „Englischen Studien" , l berichtet habe. Nach Weber ist das stück ein gemeinschaft- liches produkt Beaumonts und Fletchers, und Darley lässt die frage der Verfasserschaft unentschieden. Entstanden ist es noch vor 1619, dem todesjahre des schauspielere Burbadge1, welcher eine der rollen des dramas, vermutlich die des Cara- tach, gespielt hat.2 Der erste druck findet sich in der folioausgabe von 1647 (A) ohne personen-Verzeichnis, der zweite mit einem solchen in der folio von 1679 (B) und der dritte ist eine quartaus- gabe vom jähre 1718, welche Dyce nicht erwähnt. Dieselbe schliesst sich eng an B an und ist betitelt: 1 „' Richard Burbadge Player was buried the XVI«i of Marche [1618 —19 — his place of residence having been] Holly well St.' I copy this entry literatim from the Register of Burials belonging to St. Leonard's Church Shoreditch." (D). 2 Vergl. Folio 1679: The principal actors were — Richard Burbadge. William Ostler. Henry Condel. John Lowin. William Egglestone. John Vnderwood. Nicholas Toolie. Richard Robinson. Brought to you by | New York University Bobst Library Technical Services Authenticated Download Date | 5/29/15 10:51 AM 422 BENNO LEONHARDT, Bondvca. A Tragedy. Written by Mr. Francis Beau- mont and Mr. John Fletcher. London, Printed for J. T. And sold by J. Brown at the Black Swan without Temple- Bar. -
From the Romans to the Normans on the English Renaissance Stage
From the Romans to the Normans on the English Renaissance Stage Lisa Hopkins EARLY DRAMA, ART, AND MUSIC From the Romans to the Normans on the English Renaissance Stage EARLY DRAMA, ART, AND MUSIC Series Editors David Bevington University of Chicago Robert Clark Kansas State University Jesse Hurlbut Brigham Young University Alexandra Johnston University of Toronto Veronique B. Plesch Colby College ME Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences From the Romans to the Normans on the English Renaissance Stage by Lisa Hopkins Early Drama, Art, and Music MedievaL InsTITUTE PUBLICATIOns Western Michigan University Kalamazoo Copyright © 2017 by the Board of Trustees of Western Michigan University Library of Congress Cataloging-in-Publication Data are available from the Library of Congress. ISBN: 9781580442794 eISBN: 9781580442800 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in, or introduced into a retrieval system, or trans- mitted, in any form, or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Every effort has been made to obtain permission to use all copyrighted illustrations reproduced in this book. Nonetheless, whosoever believes to have rights to this material is advised to contact the publisher. Chapter 6 Valiant Welshwomen: When Britain Came Back N The MYTH OF the essential continuity of the island’s inhabitants, Ino nation loomed larger than the Welsh, to the extent that they might be referred to simply as “the British,” as in R. -
SS Library Anthologies
Titles An Anthology of Greek Drama: First Series (Edited by C.A. Robinson Jr.) Aeschylus: Agamemnon Sophocles: Oedipus the King, Antigone Euripides: Medea, Hippolytus Aristophones: Lysistrata An Anthology of Greek Drama: Second Series (Edited by C.A. Robinson Jr.) Aeschylus: Prometheus Bound, Choephoroe, Eumenides Sophocles: Philoctetes, Oedipus at Colonus Euripes: The Trojan Women, The Bacchae Aristophanes: The Clouds, The Frogs Greek Drama (Edited by Moses Hadas) Aeschylus: Agamemnon, Summary of Choephoroe, Eumenides Sophocles: Antigone, Oedipus the King, Summary of Oedipus at Colonus, Philoctetes Euripides: Medea, Hippolytus, The Trojan War Aristophanes: The Frogs Greek Tragedies, Volume I (Edited by Grene & Lattimore) Aeschylus: Agamemnon, Prometheus Bound Sophocles: Oedipus the King, Antigone Euripides: Hippolytus Classical Comedy, Greek and Roman (Edited by Robert W. Corrigan) Aristophones: Lysistrata, The Birds Menander: The Grouch Plautus: The Menaechmi, Mostellaria Terence: The Self-Tormentor Masters of Ancient Comedy (Edited by Lionel Casson) Aristophenes: The Acharnians Mendander: The Grouch, The Woman of Sarnos, The Arbitration, She Who Was Shorn Plautus: The Haunted House, The Rope Terence: Phormio, The Brothers Farces, Italian Style (Edited by Bari Rolfe) The Phantom Father Dr Arlecchino or the Imaginary Autopsee The Dumb Wife The Kind Father in Spite of Himself The Lovers of Bologna Commedia Dell'Arte (Edited by Bari Rolfe) 20 Lazzi 35 Scenes The Lovers of Verona Drama of the English Renaissance (Edited by M.L. Wine) Christopher Marlowe: Doctor Faustus Thomas Dekker: The Shoemaker's Holiday, A Pleasant Comedy of the Gentle Craft Ben Jonson: Volpone or The Foe Francis Beaumont: The Knight of the Burning Pestle Ben Jonson: The Masque of Blackness Francis Beaumont & John Fletcher: Philaster John Webster: The Duchess of Malfi Thomas Middleton & William Rowley: The Changeling John Ford: The Broken Heart Four English Tragedies (Edited by J.M. -
Politics of English Drama, 1603-1660
Staging Republic and Empire: Politics of English Drama, 1603-1660 by Judy Hyo Jung Park This thesis/dissertation document has been electronically approved by the following individuals: Cohen,Walter Isaac (Chairperson) Kalas,Rayna M (Minor Member) Lorenz,Philip A (Minor Member) Brown,Laura Schaefer (Minor Member) Murray,Timothy Conway (Minor Member) STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Judy Hyo Jung Park August 2010 © 2010 Judy Hyo Jung Park STAGING REPUBLIC AND EMPIRE: POLITICS OF ENGLISH DRAMA, 1603-1660 Judy Hyo Jung Park, Ph.D. Cornell University 2010 This study argues that the classical legal concepts of dominium and imperium, ownership and rule, illuminate the political tensions of seventeenth century English drama. The concept of imperium was central to seventeenth century debates over the terms of international commerce, setting important precedents for the development of modern international law. Geopolitical disputes over dominium and imperium shadow the developing conflict between republican, monarchical, and imperial models of the English state from the Stuart monarchy to the post-revolutionary English republic. In the drama of the early to mid-seventeenth century, we can trace the emergence of designs for an imperial English state well before the Restoration and the eighteenth century. Moving from the reign of James I to the Protectorate under Oliver Cromwell, this study reevaluates the genres of tragicomedy, closet drama, topical drama, and operatic masques, analyzing Francis Beaumont and John Fletcher’s Philaster and A King and No King, Elizabeth Cary’s The Tragedy of Mariam, Philip Massinger and John Fletcher’s The Tragedy of Sir John van Olden Barnavelt, and William Davenant’s The Siege of Rhodes. -
Backstage & Rehearsal 2. 18Th Century Theatre
BBNAN 13500 Angol-amerikai irodalmi szeminárium BACKSTAGE & REHEARSAL 2. 18TH CENTURY THEATRE – SEEN FROM THE 21ST CENTURY tentative schedule – subject to change Reuss Gabriella, PhD [email protected] Class: Tuesday 8:30-10:00, Room ? Building Z - or online, in Microsoft Teams, Zoom Office hour: Thursday 12:30 @ Building Z, office behind the IEAS secretary’s one – or, any time on Messenger by prior arrangement the first convict colony in Australia, 1789. A cast of convicts and a homesick lieutenant with a leading lady who may be about to be hanged before the first night rehearse the first play ever to be staged Down Under: it is hardly known today, but was one of the most popular plays of the 18th century – second only to Hamlet… Theatre Royal, Drury Lane, London, 1773. The crowd is getting restless. The leading man's unconscious but the show must go on! Purpose: read and stage dramas, experience how the dramatic texts “behave” on stage, practice close reading and criticism, become acquainted a bit with both British history and British theatre history Final Test: it will consist of two parts: Part A) reading comprehension/interpretive task, Part B) questions concerning lexical items Personal reflections are needed for each play and are due on the day of discussion. (see schedule) You must come prepared (even if you skipped the previous class) and be ready for class discussions /activities Marking scheme: 0- 59 1 60- 67 2 68- 76 3 77- 84 4 85-100 5 personal reflections (4 occasions) 40% final test (24 November) 40% active participation in class discussions (9 occasions) 40% 1 week class topic to do Introduction to the (Covid-19 version of the) course: aims, tools and requirements; schedule, readings, apps & programs: Teams, Zoom (Messenger?), deadlines, team tasks and kahoots, online etiquette Testing remote teaching: play kahoot online? Favourites – Why do we read? (if we do…?) 1. -
Study Guide Edited by Sam Maynard Production Photography by Johan Persson Production Supporter: the Ruddock Foundation for the Arts 1 Contents
Written by Sophie Watkiss Study Guide Edited by Sam Maynard Production photography by Johan Persson Production Supporter: The Ruddock Foundation for the Arts 1 Contents Section 1 Creative team, cast and characters Section 2 The play’s historical context Warfare and recruiting in eighteenth century England Farquhar as recruiting officer Sex and money The Restoration theatre and its influence on the Donmar’s production of THE RECRUITING OFFICER The Restoration playhouse as an inspiration for the design for THE RECRUITING OFFICER Chandeliers and candlelight The music The costumes Section 3 The rehearsal process Notes from inside the rehearsal room, written by Hannah Price, Resident Assistant Director (RAD) A Monday morning movement session with Jack Murphy, week three of rehearsal. An interview with Mark Gatiss (Brazen) and Rachael Stirling (Melinda) Section 4 Practical work 2 section 1 Section 1 Creative team, cast and characters GEORGE FARQUHAR, AUTHOR (1677-1707) Farquhar was born in Londonderry, Ireland, in 1677. There is some speculation that he served in the Battle of the Boyne in 1690 when he was only thirteen. Farquhar entered Trinity College, Dublin in 1694, but left without a degree in 1696 to become an actor. He gave up the stage after accidentally stabbing a fellow actor during a performance of Dryden’s Indian Emperor. He moved to London and began writing comedies, including Love and a Bottle which premiered successfully at Drury Lane in 1698. He subsequently wrote The Constant Couple (1699) and its sequel Sir Henry Wildair (1701), The Inconstant (1699, based on John Fletcher’s The Wild Goose Chase) and The Twin Rivals (1702), the last of his plays to be produced at Drury Lane.