Love's Labour's Lost
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The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. -
Conversations with Bill Kristol
Conversations with Bill Kristol Guest: Paul Cantor Professor of English, University of Virginia Taped March 15, 2021 Table of Contents I. Comedy and Skepticism (0:15 – 13:05) II: Shakespeare's Comedy (13:05– 46:32) III: Love and Friendship (46:32 – 1:23:40) I. Comedy and Skepticism (0:15 – 13:05) KRISTOL: Hi, welcome back to CONVERSATIONS. I'm Bill Kristol, very pleased to be joined again by my friend Paul Cantor, Professor of Literature at the University of Virginia. He has been a guest on many conversations ranging in topics from Shakespeare to popular culture, to fiction, to Westerns in movies and novels. But today, we're going to talk about Shakespeare and comedy. Before we get into that, I should say that you can watch a whole series of lectures by Paul, excellent lectures on Shakespeare, at the Shakespeare and Politics page of Great Thinkers, www.thegreatthinkers.org. So, go to www.thegreatthinkers.org, click on Shakespeare and politics, and you'll get a very well curated page with Paul's lectures and actually, the earlier conversations we've had on Shakespeare, et cetera. But enough of the promotion, let's get to the topic, so Paul, thanks for being with me. CANTOR: Pleasure being here. I know it's virtual. KRISTOL: Yeah. I know, next time. Next time in — CANTOR: Yeah, I think so. KRISTOL: Next time in reality, but. So, Shakespeare and comedy. So you wanted to talk about comedy? With most people interested in Shakespeare, the tragedies come to mind first, and they're more serious and heavy and weighty and all that. -
Twelfth Night and Shakespearian Comedy Milton Crane Shakespeare
Twelfth Night and Shakespearian Comedy Milton Crane Shakespeare Quarterly, Vol. 6, No. 1. (Winter, 1955), pp. 1-8. Stable URL: http://links.jstor.org/sici?sici=0037-3222%28195524%296%3A1%3C1%3ATNASC%3E2.0.CO%3B2-N Shakespeare Quarterly is currently published by Folger Shakespeare Library. 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/folger.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 20:36:43 2008 Twelfth Night and Shakespearian Comedy MILTON CRANE HEN Dr. -
Romeo Juliet
The Connell Guide to Shakespeare’s Romeo and Juliet by Simon Palfrey Contents Introduction 4 What’s in a name? 69 A summary of the plot 8 How does Juliet speak her love? 75 What is the play about? 10 How does Shakespeare handle time in Romeo and Juliet? 80 How does Romeo and Juliet differ from Shakespeare’s comedies? 12 Why is Juliet so young? 91 Why is Romeo introduced to us How does Shakespeare show Juliet’s indirectly? 24 “erotic longing”? 100 What do we make of Romeo’s first Is there a moral in this play? 106 appearance? 28 NOTES How is Juliet introduced? 31 The characters 7 How Shakespeare changed his source 17 Why is Mercutio so important? 37 Benvolio 26 The critics on Romeo 22 How does Mercutio prepare us for Six key quotes from the play 53 The balcony scene 58 Juliet? 47 Ten facts about Romeo and Juliet 64 Cuts, censorings and performance versions 72 Why is Romeo’s first glimpse of Juliet so The Friar 86 important? 51 Four ways critics have seen the tragedy 98 How exceptional are the lovers? 108 What is it that makes the balcony scene A short chronology 116 so memorable? 55 Bibliography 120 Introduction: the world’s into: but the nature of their love is also born profoundly from it. greatest love story? In the first acts of the play, much of the energy and vitality comes from Romeo’s friend, Mercutio. Romeo and Juliet is routinely called “the world’s He is the most vehemently anti-romantic figure greatest love story”, as though it is all about imaginable. -
A Study of the British Library Manuscripts of the Roman De Troie by Benoit De Sainte-Maure: Redaction, Decoration, and Reception
A Study of the British Library Manuscripts of the Roman de Troie by Benoit de Sainte-Maure: Redaction, Decoration, and Reception Sian Prosser Doctor of Philosophy University of Sheffield Department of French January 2010 IMAGING SERVICES NORTH Boston Spa/ Wetherby West Yorkshire/ LS23 7BQ www.bl.uk THIS THESIS CONTAINS A CD IMAGING SERVICES NORTH Boston Spa, Wetherby West Yorkshire, LS23 7BQ www.bl.uk PAGE NUMBERING AS ORIGINAL Summary Recent studies of the Roman de Troie have highlighted the need for more research on the extant manuscripts, because of the unreliable nature of the critical edition and the importance of the text to scholars of twelfth -century literature. This study seeks to contribute to knowledge of one of the most popular versions of the Troy legend in medieval France by describing and analysing two little-known manuscripts of the text. London, British Library, Additional 30863 (L2) presents an abridged version of the poem that provides insights into the reception of the poem in the early thirteenth century. London, British Library, Harley 4482 (L 1) contains a series of decorated initials which exhibit a higher than suspected level of engagement with the text on the part of the manuscript's makers. Part I of the thesis concentrates on L2, beginning in chapter 1 with a codicological and palaeographical description, and a discussion of its likely provenance. Chapter 2 develops the codicological analysis, looking at specific evidence of scribal editing and comparing the manuscript with its closest relative to see which abridgments are unique to L2. It concludes with case studies that illustrate the scribe's abridgement techniques via the presentation of the principal female characters. -
The Comedies on Film1
The Comedies on Film1 MICHAEL HATTAWAY Compared with screen versions of the tragedies and histories, there have been few distinguished films based on the comedies. Max Reinhardt’s A Midsummer Night’s Dream (1935) may be the only film in this genre to be acclaimed for its pioneering cinematography,2 and Franco Zeffirelli’s The Taming of the Shrew (1967), Kenneth Branagh’s Much Ado About Nothing (1993) 3, and Michael Radford’s The Merchant of Venice (2004) are the only three to have achieved popular (if not necessarily critical) success: the first for its use of actors (Richard Burton and Elizabeth Taylor) who were the co-supremes of their age, the second for cameo performances by photogenic stars, high spirits, and picturesque settings,4 and the third for fine cinematography and superb performances from Jeremy Irons and Al Pacino. Shakespeare’s comedies create relationships with their theatre audiences for which very few directors have managed to find cinematic equivalents, and it is not surprising that some of the comedies (The Comedy of Errors, The Merry Wives of Windsor, and The Two Gentlemen of Verona) have not been filmed in sound and in English for the cinema (although a couple have been the basis of adaptations). The problem plays or ‘dark comedies’ been have not been filmed for the cinema: presumably their sexual politics and toughness of analysis have never been thought likely to appeal to mass audiences, while The Taming of the Shrew, open as it is to both the idealisation and subjugation of women, has received a lot of attention, including versions from D.W. -
Hamlet - Spring Tour Study Guide
Kentucky Shakespeare Presents Hamlet - Spring Tour Study Guide Grades 6th - 12th Hear it. See it. Do it! Kentucky Shakespeare 323 West Broadway, Suite 401 Louisville, KY 40202 Dear Educator, Office 502-574-9900 Thank you for choosing Kentucky Shakespeare to enrich Fax 502-566-9200 your students’ lives with Art Education! We know that [email protected] the arts are essential to a child’s educational experience www.kyshakespeare.com Table of Contents and development. It is our object to keep the arts alive and thriving in our schools and communities. This comprehensive Study Guide includes essential •Synopsis………………………….…Page 3 background information on the Bard and his life, his written works, pre/post performance activities, and a list •William Shakespeare................Page 4 of applicable Academic Standards that are met with this performance. •Shakespeare’s Plays..................Page 5 While giving additional arts related experiences, these •Theatre Vocabulary...................Page 6 teacher-led activities are intended to broaden students’ understanding of the play as well as how Shakespeare can •Plot...........................................……Page 7 relate to our own lives. We hope that you and your students enjoy this 90 minute performance •Director’sHamlet............ Questions.................Page 8 Please contact us with any questions or need for further •About ...................Page 10 assistance. Thank you for supporting the Commonwealth’s largest in-school arts provider and the United States’ oldest, •Characters.....................................Page -
Trumbull, Connecticut SHAKESPEARE Grade 12 English Department 2017
TRUMBULL PUBLIC SCHOOLS Trumbull, Connecticut SHAKESPEARE Grade 12 English Department 2017 (Last revision date: 2000) Curriculum Writing Team Jessica Spillane English Department Chairperson, Trumbull High School Matthew Bracksieck English Teacher, Trumbull High School Jonathan S. Budd, Ph.D., Assistant Superintendent of Curriculum, Instruction, & Assessments Shakespeare Property of Trumbull Public Schools Shakespeare Grade 12 Table of Contents Core Values & Beliefs ............................................................................................... 2 Introduction & Philosophy ......................................................................................... 2 Course Goals ............................................................................................................... 3 Course Enduring Understandings ............................................................................... 6 Course Essential Questions ......................................................................................... 7 Course Knowledge & Skills........................................................................................ 7 Course Syllabus ......................................................................................................... 8 Unit 1: Introduction to Shakespeare – The Person and the Plays .............................. 10 Unit 2: The History Plays .......................................................................................... 14 Unit 3: The Comedy Plays ........................................................................................ -
Download Worthies & Ternionen, 2Nd Revised, Pdf, 530 KB
The Nine Worthies and other Ternionen A survey of the literature and iconography by Steen Clemmensen 2nd Revised Edition Personalized virtues 2 Variations in iconography 3 Representations of the Nine Worthies and other Ternionen 4 References 7 Variations of arms ascribed to the Ternionen 10 Ordinary of arms 36 © 2017 Steen Clemmensen, Farum, Denmark, www.armorial.dk 1 Personalized virtues The imagery of the Ternionen or three best of each is one of several forms of presentation of knightly virtues and the bases of society. In this case based on the magical number three, as found in arts (The three Graces), constitutions (parliament, executive, judicial), behaviour (faith, hope, and charity), and life (youth, middle age, old age) &c. Though coats-of-arms were assigned to imaginary heroes from the early 13th century (Charlemagne), the first known occurrence of the triad: pagan law – jewish law – christian law, was the French poem Voeux du paon or Vows of the peacock from 1312 by Jean de Longuyon. Law is here including virtues and commendable social behaviour. Longuyon selected nine champions to represent the triads: Hector, Alexander, and Caesar for the pagans; David, Joshua and Judas Maccabeus for the jews; and Charlemagne, Arthur of Britain, and Godfrey of Bouillon for the christians. This theme of the Nine Worthies / Neuf Preux / Neun Helden / Nove Prodi rapidly became a common and enduring theme in Western Europe, being repeated in artworks and literature through England, France, Germany, Spain and Italy. From time to time the worthies were in competition as well as union with other real or fabulous groupings: e.g. -
The Characterisation in Shakespearean Comedies
CHARACTERIZATION IN SHAKESPEAREAN COMEDIES & ITS APPLICATION Curso monográfico Literatura Inglesa “Shakespeare in Performance” Academic Year 2006/2007 By PLANNING TEAM PLANNING TEAM MEMBERS ARE: • Ayala Ruíz, ALBERTO • Ayanoglu, AYSE • Bordas del Prado, ANA ISABEL • Cabrales Morant, RAQUEL • Cantero Laserna, EDUARDO • Carbonell Rico, ALFREDO • Clares Arrimada, ÓSCAR • Onur, IPEK INDEX 0. INTRODUCTION 1. SHAKESPEAREAN COMEDY 1.1 Defining the terms “comedy” and “humour”. 1.2 Comedy conventions. 1.3 Features of the Shakespearean comedy. 1.4 Application. 2. STEREOTYPES IN SHAKESPEAREAN COMEDY 2.1 Stock characters. 2.2 Application. 3. CHARACTERIZATION 3.1 Costumes in Shakespearean plays. 3.1.1 Elizabethan clothing. 3.1.2 Men and women dress in Shakespearean plays. 3.1.2.1 Men’s garments. 3.1.2.2 Women’s garments. 3.1.3 Decoration / Materials. 3.2 Hairstyle and make-up in Shakespearean times and comedies. 3.2.1 Hairstyle in Shakespearean times and comic characters. 3.2.1.1 Men’s hairstyle. 3.2.1.2 Women’s hairstyle. 3.2.2 The importance of make-up in theatre. 3.3 Voice in Shakespearean comedies. 3.3.1 Importance of voice in Shakespearean comedies. 3.3.2 Voice and gender. 3.3.3 Talking to the audience. 3.4 Application. 4. CONCLUSION 5. REFERENCES 6. NOTES ON THE ORAL PRESENTATION 0 – INTRODUCTION The purpose of developing this paper is to witness different aspects of Shakespearean comedies. This paper is divided into three main parts: 1) Shakespearean Comedy (general definition, conventions and characteristics), 2) Stereotypes in Shakespearean comedies, and 3) Characterization (costumes, hairstyle, make-up and voices). -
Spring 2009 PSF Newsletter
The Pennsylvania Shakespeare Festival Newsletter • Spring 2009 Real People, Revolutionary Vision ��� ������� By Thomas Rankin Opening in 1969 and running for three years, 1776 won several Tony Awards, ������������� Ben Franklin was trying to inject some including Best Musical, along with rave perspective into the chaos of Independence reviews: “This is by no means a historical Hall. “First things first,” he told John Adams, tract or a sermon on the birth of this nation. “America. If we don’t secure that, what dif- ��� It is warm with a life of its own; it is funny, it ������ ference will the rest make?” is moving... The songs and lyrics are remark- ���������� Keenly aware of the need to set a prior- ably original,” wrote John Chapman of the by William Shakespeare ity, Franklin calls for the ultimate: indepen- New York Daily News. “1776 reveals the dence for the colonies. dynamic personalities that founded America involved in gripping drama.” This quest, boldly portrayed in the musi- cal 1776, has inspired director Dennis Razze The famous New York Times critic Clive ����������� since he first experienced seeing a production Barnes, a native of England, wrote: “On in the 1970s. the face of it, few historical incidents seem �������������� more unlikely to spawn a Broadway musical by William Shakespeare “The fantastic thing is 1776 takes the than that solemn moment in the history of Founding Fathers, people we deify as being mankind, the signing of the Declaration of greater than mere mortals, and it treats them Independence. Yet 1776...most handsomely � � � as being very human. Adams, Franklin, and demonstrated that people who merely go ‘on � � � Jefferson were certainly extraordinary men, the face of it’ are occasionally outrageously Music & Lyrics but they were real people who had flaws.