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Rycroft, E. (2017)
Rycroft, E. (2017). Place on the late medieval and early modern stage: The case of Ane Satyre of the Thrie Estaitis. Shakespeare Bulletin, 35(2), 247-266. https://doi.org/10.1353/shb.2017.0016 Peer reviewed version Link to published version (if available): 10.1353/shb.2017.0016 Link to publication record in Explore Bristol Research PDF-document This is the final published version of the article (version of record). It first appeared online via Johns Hopkins University at https://muse.jhu.edu/article/662744. Please refer to any applicable terms of use of the publisher. University of Bristol - Explore Bristol Research General rights This document is made available in accordance with publisher policies. Please cite only the published version using the reference above. Full terms of use are available: http://www.bristol.ac.uk/red/research-policy/pure/user-guides/ebr-terms/ Place on the Late Medieval and Early Modern Stage: The Case of Ane Satyre of the Thrie Estaitis ELEANOR RYCROFT University of Bristol Place and space theory has now been applied widely throughout early modern studies to unlock such diverse areas as embodiment, cultural geography, poetry, performance, and politics. Its theoretical application across the disciplines of history, history of art, theater studies, English literature, and geography demonstrates the interdisciplinary potential of the “spatial turn.”1 At the heart of place and space theory—evident from its genesis in the works of Gaston Bachelard and Yi-Fu Tuan through to its most recent concern with placelessness in the digital age—is an assumption that space is an empty container, while place is a locale. -
The New Cambridge Shakespeare
Cambridge University Press 978-0-521-82544-3 - The Merchant of Venice Edited by M. M. Mahood Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE MERCHAnt OF VENICE The Merchant of Venice has been performed more often than any other comedy by Shakespeare. Molly Mahood pays special attention to the expectations of the play’s first audience, and to our modern experience of seeing and hearing the play. In a substantial new addition to the Introduction, Charles Edelman focuses on the play’s sex- ual politics and recent scholarship devoted to the position of Jews in Shakespeare’s time. He surveys the international scope and diversity of theatrical interpretations of The Merchant in the 1980s and 1990s and their different ways of tackling the troubling figure of Shylock. © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82544-3 - The Merchant of Venice Edited by M. M. Mahood Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE All’s Well That Ends Well, edited by Russell Fraser Antony and Cleopatra, edited by David Bevington As You Like It, edited by Michael Hattaway The Comedy of Errors, edited by T. -
The Tragedy of Hamlet
THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf. -
The Relationship of the Dramatic Works of John Lyly to Later Elizabethan Comedies
Durham E-Theses The relationship of the dramatic works of John Lyly to later Elizabethan comedies Gilbert, Christopher G. How to cite: Gilbert, Christopher G. (1965) The relationship of the dramatic works of John Lyly to later Elizabethan comedies, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9816/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 THE RELATIONSHIP OP THE DRAMATIC WORKS OP JOHN LYLY TO LATER ELIZABETHAN COMEDIES A Thesis Submitted in candidature for the degree of Master of Arts of the University of Durham by Christopher G. Gilbert 1965 The copyright of this thesis rests with the author. No quotation from it should be published without his prior written consent and information derived from it should be acknowledged. DECLARATION I declare this work is the result of my independent investigation. -
Representations of Spain in Early Modern English Drama
Saugata Bhaduri Polycolonial Angst: Representations of Spain in Early Modern English Drama One of the important questions that this conference1 requires us to explore is how Spain was represented in early modern English theatre, and to examine such representation especially against the backdrop of the emergence of these two nations as arguably the most important players in the unfolding game of global imperialism. This is precisely what this article proposes to do: to take up representative English plays of the period belonging to the Anglo-Spanish War (1585–1604) which do mention Spain, analyse what the nature of their treat- ment of Spain is and hypothesise as to what may have been the reasons behind such a treatment.2 Given that England and Spain were at bitter war during these twenty years, and given furthermore that these two nations were the most prominent rivals in the global carving of the colonial pie that had already begun during this period, the commonsensical expectation from such plays, about the way Spain would be represented in them, should be of unambiguous Hispanophobia. There were several contextual reasons to occasion widespread Hispanophobia in the period. While Henry VIII’s marriage to Catherine of Aragon (1509) and its subsequent annulment (1533) had already sufficiently complicated Anglo-Hispanic relations, and their daughter Queen Mary I’s marriage to Philip II of Spain (1554) and his subsequent becoming the King of England and Ireland further aggravated the 1 The conference referred to here is the International Conference on Theatre Cultures within Globalizing Empires: Looking at Early Modern England and Spain, organised by the ERC Project “Early Modern European Drama and the Cultural Net (DramaNet),” at the Freie Universität, Ber- lin, November 15–16, 2012, where the preliminary version of this article was presented. -
Download Thesis
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Telltale women the dramaturgy of female characters in Shakespeare's history plays Bachrach, Hailey Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Bachrach 1 TELLTALE WOMEN The Dramaturgy of Female Characters in Shakespeare’s History Plays By Hailey Bachrach Submitted to King’s College London English Department in partial fulfilment of the requirements for the degree of Doctor of Philosophy 30 September 2020 Bachrach 2 Abstract ..................................................................................................................................... -
Michael West
Theater of Enigma in Shakespeare’s England Michael West Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Michael West All rights reserved ABSTRACT Theater of Enigma in Shakespeare’s England Michael West Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma. -
Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E
Clemson University TigerPrints All Theses Theses 5-2018 Edward II: Negotiations of Credit in the Early Modern Public Sphere Jane E. Kuebler Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Kuebler, Jane E., "Edward II: Negotiations of Credit in the Early Modern Public Sphere" (2018). All Theses. 2856. https://tigerprints.clemson.edu/all_theses/2856 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. Edward II: Negotiations of Credit in the Early Modern Public Sphere A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Jane E. Kuebler May 2018 Accepted by: Dr. Elizabeth Rivlin, Committee Chair Dr. William Stockton Dr. Andrew Lemons ABSTRACT This paper addresses the role that Christopher Marlowe’s Edward II plays in the establishing and expanding of an early modern public sphere. By examining the ways that power is earned, and wielded in the play, Marlowe demonstrates an economy of cultural credit that operates in both the financial and the socio/political spheres of public life in early modern England. Marlowe applies the logic of that economy beyond the realm of the common people and subjects the historical monarch to the same parameters of judgement that flourished in society, drawing parallels with the currently reigning Elizabeth I, and opening up a discourse that reexamines the markers of credit, power and birth-ordered hierarchies. -
EDITING for PERFORMANCE: DR JOHNSON and the STAGE I Want
Editing for performance... 75 EDITING FOR PERFORMANCE: DR JOHNSON AND THE STAGE Peter Holland Notre Dame University I want to begin by quoting one of Dr Johnson’s notes on Hamlet, a passage that, though entirely characteristic, may be less than familiar to many. Johnson is commenting on the punctuation of a passage and is concerned about a sequence of dashes towards the end of the play: To a literary friend of mine I am indebted for the following very acute observation: “Throughout this play,” says he, “there is nothing more beautiful than these dashes; by their gradual elongation, they distinctly mark the balbuciation and the increasing difficulty of utterance observable in a dying man.” To which let me add, that, although dashes are in frequent use with our tragic poets, yet they are seldom introduced with so good an effect as in the present instance. (qtd. in Wells 1: 69) Johnson’s reliance on others—and their cloaked identity—is something we are used to. So too Johnson’s yearning here both to generalize about tragic practice and to praise the particular local effect in Shakespeare can be paralleled frequently elsewhere. There is that precision that is Ilha do Desterro Florianópolis nº 49 p.075-098 jul./dez. 2005 76 Peter Holland also apparent in Johnson’s note on Ophelia’s reference to “a rope of onions”, a phrase that Pope had suggested emending to “a robe of onions”: Rope is, undoubtedly, the true reading. A rope of onions is a certain number of onions, which, for the convenience of portability, are, by the market-women, suspended from a rope: not, as the Oxford editor ingeniously, but improperly, supposes, in a bunch at the end, but by a perpendicular arrangement. -
Acting Resume
Eric Schabla (262) 327 – 5232; [email protected]; Hair/Eyes Brown; 6’3’’; 190lbs THEATRE A Midsummer Night’s Dream Demetrius Chicago Shakespeare Theatre Joe Dowling SS! Romeo and Juliet Mercutio/Peter (u/s)* Chicago Shakespeare Theatre Marti Lyons Cyrano de Bergerac Valvert/Cadet Guthrie Theater Joe Haj The Events Mr. Sinclair/Choir Guthrie Theatre Ramin Gray Earthquakes In London Robert Crannock Guthrie Theater (Dowling Studio) Bruce Roach As You Like It Silvius Utah Shakespeare Festival Robynn Rodriguez A Midsummer Night’s Dream Flute/Peaseblossom Utah Shakespeare Festival Kirsten Brandt The Tavern Tom Allen Utah Shakespeare Festival Joseph Hanreddy As You Like It Silvius (u/s Charles*) American Players Theatre James Bohnen Measure for Measure Elbow/Abhorson American Players Theatre Risa Brainin Born Yesterday Bellhop/Barber American Players Theatre Brenda DeVita Knives in Hens (reading) Gilbert Horn American Players Theatre Brenda DeVita Beau Brummel (reading) Prince of Wales American Players Theatre James Ridge London Wall (reading) Hec Hammond American Players Theatre Leia Squillace Death of a Salesman Stanley American Players Theatre Kenneth Albers The Comedy of Errors Balthasar American Players Theatre David Frank King Lear 2nd Knight/Ensemble American Players Theatre Bill Brown Indecent (upcoming) Avram the Ingenue Milwaukee Chamber Theatre Brent Hazelton The Thanksgiving Play Jaxton Milwaukee Chamber Theatre Laura Gordon Henry V Henry V Door County Shakespeare Matt Daniels The Merry Wives of Windsor Host of the Garter Door County Shakespeare Marcy Kearns A Christmas Carol Bob Cratchit Children’s Theater of Madison James Ridge Twelfth Night Malvolio Back Room Shakespeare Project N/A As You Like It Touchstone Shakespeare’s Globe Ed. -
Purgatoire Saint Patrice, Short Metrical Chronicle, Fouke Le Fitz Waryn, and King Horn
ROMANCES COPIED BY THE LUDLOW SCRIBE: PURGATOIRE SAINT PATRICE, SHORT METRICAL CHRONICLE, FOUKE LE FITZ WARYN, AND KING HORN A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Catherine A. Rock May 2008 Dissertation written by Catherine A. Rock B. A., University of Akron, 1981 B. A., University of Akron, 1982 B. M., University of Akron, 1982 M. I. B. S., University of South Carolina, 1988 M. A. Kent State University, 1991 M. A. Kent State University, 1998 Ph. D., Kent State University, 2008 Approved by ___________________________________, Chair, Doctoral Dissertation Committee Susanna Fein ___________________________________, Members, Doctoral Dissertation Committee Don-John Dugas ___________________________________ Kristen Figg ___________________________________ David Raybin ___________________________________ Isolde Thyret Accepted by ___________________________________, Chair, Department of English Ronald J. Corthell ___________________________________, Dean, College of Arts and Sciences Jerry Feezel ii TABLE OF CONTENTS ACKNOWLEDGMENTS………………………………………………………………viii Chapter I. Introduction .................................................................................................. 1 Significance of the Topic…………………………………………………..2 Survey of the State of the Field……………………………………………5 Manuscript Studies: 13th-14th C. England………………………...5 Scribal Studies: 13th-14th C. England……………………………13 The Ludlow Scribe of Harley 2253……………………………...19 British Library -
Garrick's Alterations of Shakespeare
Cambridge University Press 978-0-521-88977-3 - Shakespeare and Garrick Vanessa Cunningham Excerpt More information prologue Garrick’s alterations of Shakespeare – a note on texts The great majority of the versions of Shakespeare’s plays made by David Garrick and published during his management of Drury Lane (1747– 1776) are described on their title pages as ‘alterations’, or as having been 1 ‘alter’d for performance’. The two operas (The Fairies, 1755, and The Tempest, 1756) are said to be ‘taken from Shakespear’, while Antony and Cleopatra,publishedin1758 and generally credited jointly to Edward Capell and Garrick (though not attributed to either on the title page), is dis- tinguished from the others by its description as ‘an historical Play, written by William Shakespeare: fitted for the Stage by abridging only’. Despite the fact that Harry William Pedicord and Fredrick Louis Bergmann, modern editors of Garrick’s plays, entitle their two volumes of Shakespeare- 2 derived texts ‘adaptations’, ‘alteration’ is certainly the preferable term for discussion of Garrick’s performance versions of Shakespeare’s plays, since throughout the eighteenth century ‘alter’ was used far more commonly than ‘adapt’. Garrick, according to Pedicord and Bergmann, is believed to have been involved in the altering of some twenty-two plays by Shakespeare over the course of his professional career. In their collected edition they reproduce 3 the dozen that they consider can be authenticated. The present work discusses a selection of alterations that span Garrick’s professional career. Two are from the early years (Macbeth, Romeo and Juliet) and two from the middle period (Florizel and Perdita, Antony and Cleopatra).