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A Dull Soldier and a Keen Guest: Stumbling Through the Falstaffiad One Drink at a Time
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time Emma Givens Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Dramatic Literature, Criticism and Theory Commons, and the Theatre History Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4826 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Emma Givens 2017 All rights reserved A Dull Soldier and a Keen Guest: Stumbling Through The Falstaffiad One Drink at a Time A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. Emma Pedersen Givens Director: Noreen C. Barnes, Ph.D. Director of Graduate Studies Department of Theatre Virginia Commonwealth University Richmond, Virginia March, 2017 ii Acknowledgement Theatre is a collaborative art, and so, apparently, is thesis writing. First and foremost, I would like to thank my grandmother, Carol Pedersen, or as I like to call her, the world’s greatest research assistant. Without her vast knowledge of everything Shakespeare, I would have floundered much longer. Thank you to my mother and grad-school classmate, Boomie Pedersen, for her unending support, my friend, Casey Polczynski, for being a great cheerleader, my roommate, Amanda Long for not saying anything about all the books littered about our house and my partner in theatre for listening to me talk nonstop about Shakespeare over fishboards. -
87 Hemingway, S. B. (Ed.), Henry IV, Part 1 (New Variorum Shake
87 Texts Hemingway, S. B. (ed.), Henry IV, Part 1 (New Variorum Shake speare, Philadelphia and London, 1936). Shaaber, Matthias A. (ed.), Henry IV, Part 2 (New Variorum Shakespeare, Philadelphia and London, 1940). Humphreys, A. R. (ed.), Henry IV, Part 1 (Arden Shakespeare, London, 1960). Humphreys, A. R. (ed.), Henry IV, Part 2 (Arden Shakespeare, London, 1966). Davison, P. H. (ed.), Henry IV, Part 1 (New Penguin Shakespeare, Harmondsworth, 1968). Davison, P. H. (ed.), Henry IV, Part 2 (New Penguin Shakespeare, Harmondsworth, 1977). Mack, Maynard (ed.), Henry IV, Part 1 (Signet Shakespeare, New York, 1965, 1987). Holland, Norman L. (ed.), Henry IV, Part 2 (Signet Shakespeare, New York, 1965). Bevington, David (ed.), Henry IV, Part 1 (Oxford Shakespeare, Oxford, 1987). Melchiori, Giorgio (ed.), Henry IV, Part 2 (Oxford Shakespeare, Oxford, 1989). The New Variorum Shakespeare editions are monumental works of scholarship for reference only. All the remaining editions cater for students' needs with critical introductions, notes, sources and so on. Long established with footnotes that are easily used, the Arden edition has always been very popular. The Signet and Penguin editions have made their mark and are quite economical. The recent Oxford editions have excellent illustrations and are strong on stage history. 88 Bibliographies, Guides and Surveys Bergeron, David M., and De Sousa, Geraldo U., Shakespeare: A Study and Research Guide (Lawrence, Kansas, 1987). Berry, Edward, 'Twentieth-century Shakespeare criticism: the his tories' in Stanley Wells (ed.), The Cambridge Companion to Shakespeare Studies (Cambridge, 1986). Burden, Dennis H., 'Shakespeare's History Plays: 1952-1983', Shakespeare Survey 38, 1985, pp. 1-18. -
King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice -
UNPACKING the MERRY WIVES Robert Brazil K
UNPACKING THE MERRY WIVES Robert Brazil k HAKESPEARE’S play, The Merry Wives of Windsor, is filled with fascinating enig- mas. This comedy, set in the environs of Windsor Castle, weaves together a street level story of love, lust, greed, competition and humiliation with a commentary on society that, while it spoke directly to the concerns of its contemporary late six- teenth-century audience, abounds with references that are extremely suggestive today to students and researchers of the Oxfordian theory. Because Merry Wives was first printed in 1602, most standard commentators on Shakespeare consider it to be a mid- career play, written while the author was at the height of his powers, roughly simultaneous with Hamlet. Yet everything about the play, including the sensibility, the crude style, and the too-old contemporary allusions, suggests that it was an earlier work, its topical references and concerns those of the 1580s, with some 1590s references added to a later revival, to become an interesting anachronistic revival by 1602. The central ideas and plot elements in Merry Wives involve the high stakes wooing of young Anne Page by three suitors, the farcical woo- ing of Mrs. Ford by three other suitors, the complex humiliations of Falstaff, Master Ford, Slender, Doctor Caius and others, and Master Ford’s fear that he will be cuckolded. As the play begins, Shallow, Slender and Hugh Evans are walking into the village in front of Page’s house. Shallow states that he won’t change his mind, he is going to make a Star Chamber affair out of Falstaff’s offense, introducing a subplot that has little apparent rele- vance to the main plot, but which is filled with accurate descriptions of county lawsuits and disputes and the archaic Latin-based bureaucracy associated with the process. -
The Life of King Henry the Fifth Study Guide
The Life of King Henry the The Dukes of Gloucester and Fifth Bedford: The Study Guide King’s brothers. Compiled by Laura Cole, Duke of Exeter: Director of Education and Training Uncle to the [email protected] King. for The Atlanta Shakespeare Company Duke of York: at The New American Shakespeare Cousin to the King. Tavern Earl’s of Salisbury, Westmoreland and 499 Peachtree Street, NE Warwick: Advisors to the King. Atlanta, GA 30308 Phone: 404-874-5299 The Archbishop of Canterbury and the Bishop of Ely: They know the Salic Law very well! www.shakespearetavern.com The Earl of Cambridge, Sir Thomas Grey and Lord Scroop: English traitors, they take gold Original Practice and Playing from France to kill the King, but are discovered. Scroop is a childhood friend of Henry’s. Shakespeare Gower, Fluellen, Macmorris and Jamy: Captains in the King’s army, English, Welsh, The Shakespeare Tavern on Peachtree Street Irish and Scottish. is an Original Practice Playhouse. Original Practice is the active exploration and Bates, Court, Williams: Soldiers in the King’s implementation of Elizabethan stagecraft army. and acting techniques. Nym, Pistol, Bardolph: English soldiers and friends of the now-dead Falstaff, as well as For the Atlanta Shakespeare Company drinking companions of Henry, when he was (ASC) at The New American Shakespeare Prince Hal. A boy also accompanies the men. Tavern, this means every ASC production features hand-made period costumes, live Hostess of the Boar’s Head Tavern: Nee’ actor-generated sound effects, and live Quickly, now married to Pistol. period music performed on period Charles IV of France: The King of France. -
Merry Wives (Edited 2019)
!1 The Marry Wives of Windsor ACT I SCENE I. Windsor. Before PAGE's house. BLOCK I Enter SHALLOW, SLENDER, and SIR HUGH EVANS SHALLOW Sir Hugh, persuade me not; I will make a Star-chamber matter of it: if he were twenty Sir John Falstaffs, he shall not abuse Robert Shallow, esquire. SIR HUGH EVANS If Sir John Falstaff have committed disparagements unto you, I am of the church, and will be glad to do my benevolence to make atonements and compremises between you. SHALLOW Ha! o' my life, if I were young again, the sword should end it. SIR HUGH EVANS It is petter that friends is the sword, and end it: and there is also another device in my prain, there is Anne Page, which is daughter to Master Thomas Page, which is pretty virginity. SLENDER Mistress Anne Page? She has brown hair, and speaks small like a woman. SIR HUGH EVANS It is that fery person for all the orld, and seven hundred pounds of moneys, is hers, when she is seventeen years old: it were a goot motion if we leave our pribbles and prabbles, and desire a marriage between Master Abraham and Mistress Anne Page. SLENDER Did her grandsire leave her seven hundred pound? SIR HUGH EVANS Ay, and her father is make her a petter penny. SHALLOW I know the young gentlewoman; she has good gifts. SIR HUGH EVANS Seven hundred pounds and possibilities is goot gifts. Enter PAGE SHALLOW Well, let us see honest Master Page. PAGE I am glad to see your worships well. -
Shakespeare's
Shakespeare’s Henry IV: s m a r t The Shadow of Succession SHARING MASTERWORKS OF ART April 2007 These study materials are produced for use with the AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Classic Players production of Henry IV: The Shadow of Succession. The historical period The Shadow of Succession takes into account is 1402 to 1413. The plot focuses on the Prince of Wales’ preparation An Introduction to to assume the solemn responsibilities of kingship even while Henry IV regards his unruly son’s prospects for succession as disastrous. The Shadow of When the action of the play begins, the prince, also known as Hal, finds himself straddling two worlds: the cold, aristocratic world of his Succession father’s court, which he prefers to avoid, and the disreputable world of Falstaff, which offers him amusement and camaraderie. Like the plays from which it was adapted, The Shadow of Succession offers audiences a rich theatrical experience based on Shakespeare’s While Henry IV regards Falstaff with his circle of common laborers broad vision of characters, events and language. The play incorporates a and petty criminals as worthless, Hal observes as much human failure masterful blend of history and comedy, of heroism and horseplay, of the in the palace, where politics reign supreme, as in the Boar’s Head serious and the farcical. Tavern. Introduction, from page 1 Like Hotspur, Falstaff lacks the self-control necessary to be a produc- tive member of society. After surviving at Shrewsbury, he continues to Grieved over his son’s absence from court at a time of political turmoil, squander his time in childish pleasures. -
Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind
Connotations Vol. 7.2 (1997/98) Old England, Nostalgia, and the "Warwickshire" of Shakespeare's Mind MAURICE HUNT "He was wont to go to his native country once a year," the seventeenth- century biographer John Aubrey pronounced concerning the playwright Shakespeare's relationship with his native place, the Midlands town Stratford-upon-Avon.1 No one can gauge the accuracy of the gossipy Aubrey's anecdotes; but considered in light of the Elizabethan difficulty of negotiating the nearly one-hundred miles between Shakespeare's rural home and the largest city in Renaissance Europe, Aubrey's claim may very well be true. Russell Fraser has memorably taken us hand-in-hand with Shakespeare on an imaginative, late-sixteenth-century journey from the Stratford home over the muddy, sometimes flooded, highwayman- threatened roads that Shakespeare probably took to Newgate.2 This trip one-way took at least four days, even if the traveller normally walking occasionally hired horses between inns. But, as Fraser comments, "at three pence a mile this [probably] wasn't an option available to young Shakespeare."3 In any case, walking was how players travelled on their provincial tours. The joumeymost likely took Shakespeare initially east through Compton Wynyates to Banbury, past "stone farmhouses, grayish brown ... dark against the fields,,4-poor pelting villages-through Buckinghamshire and the hamlet of Grendon Underwood. John Aubrey, getting his Shakespeare plays wrong, proclaimed that "the humour of the constable in A Midsummer Night's Dream, he happened to take at Grendon in Bucks ... which is the road from London to Stratford, and there was living that constable about 1642, when I first came to Oxford: Mr. -
Shakespeare's Henry V and the Alexandrian Allusion
Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 6-1986 Shakespeare's Henry V and the Alexandrian Allusion Winona Howe Follow this and additional works at: https://scholarsrepository.llu.edu/etd Part of the Classical Literature and Philology Commons, European History Commons, and the Literature in English, British Isles Commons Recommended Citation Howe, Winona, "Shakespeare's Henry V and the Alexandrian Allusion" (1986). Loma Linda University Electronic Theses, Dissertations & Projects. 1042. https://scholarsrepository.llu.edu/etd/1042 This Thesis is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. Abstract SHAKESPEARE'S HENRY V AND THE ALEXANDRIAN ALLUSION by Winona Howe The character of Henry V (in Shakespeare's play of the same name) has been a matter of debate among critics, some of whom accept the historical view of Henry as an extraordinarily able and heroic king, while others view him as an extremely unattractive personality, a spiritual hypocrite, and a conqueror of unmitigated cruelty. Cited as supporting evidence for this unflattering portrait is a passage in Act IV which consists of a conversation between two characters, Gower and Fluellen. In this conversation, Henry is compared to Alexander the Great or "the Pig" as Fluellen terms him. Two critics, Ronald Berman and Robert Merrix, have published studies of this passage; a close examination of the allusion, however, reveals serious flaws in the theories of both scholars. -
Henry IV, Part 2, Continues the Story of Henry IV, Part I
Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play Induction Scene 1 ACT 1 Scene 2 Scene 3 Scene 1 Scene 2 ACT 2 Scene 3 Scene 4 Scene 1 ACT 3 Scene 2 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 ACT 5 Scene 3 Scene 4 Scene 5 Epilogue From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them. -
By William Shakespeare HENRY V 'I Think the King Is but a Man'
stf-theatre.org.uk HENRY V by William Shakespeare ‘I think the king is but a man’ Design & illustration by Future Kings HENRY V stf-theatre.org.uk 2018 1 stf-theatre.org.uk CONTENTS THE CHARACTERS PAGE 3 HENRY V SCENE-BY-SCENESCENE BY SCENE PAGE 7 DIRECTOR’S NOTEDIRECTOR’S NOTE PAGE13 HENRY V - FAMILY TREE PAGE15 DESIGN PAGE16 PERFORMANCE PAGE18 SOME QUESTIONS FOR DISCUSSION PAGE 21 HENRY V 2 stf-theatre.org.uk The characters THE CHORUS The Chorus: introduces the play and guides us through the story. She moves the scenes from place to place or jumps over time. She also asks the audience to imagine some of the things which simple theatre can’t show. THE ENGLISH COURT King Henry: the young, recently crowned king of England. As a young prince he lived a wild life getting drunk with Sir John Falstaff and his companions and when the play begins he is still struggling to come to terms with his new role. He is intelligent, articulate and passionate and during the play he learns how difficult it is to take responsibility as a leader. He does not always make the right decisions but wins through a combination of determination, openness and luck. Exeter: a loyal advisor to the king. She is with Henry in battle but is also a trusted envoy to the French court and present at the final peace negotiations. York: is Henry’s cousin. He is loyal and impetuous and his death at Agincourt moves Henry to tears. Cambridge: a close friend of the king, who plots with the French to assassinate Henry. -
1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University
Illinois State University ISU ReD: Research and eData Illinois Shakespeare Festival Fine Arts Summer 1989 1989 Illinois Shakespeare Festival Program School of Theatre and Dance Illinois State University Follow this and additional works at: https://ir.library.illinoisstate.edu/isf Part of the Theatre and Performance Studies Commons Recommended Citation School of Theatre and Dance, "1989 Illinois Shakespeare Festival Program" (1989). Illinois Shakespeare Festival. 8. https://ir.library.illinoisstate.edu/isf/8 This Book is brought to you for free and open access by the Fine Arts at ISU ReD: Research and eData. It has been accepted for inclusion in Illinois Shakespeare Festival by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. The 1989 Illinois Shakespeare I Illinois State University Illinois Shakespeare Festival Dear friends and patrons, Welcome to the twelfth annual Illinois Shakespeare Festival. In honor of his great contributions to the Festival, we dedicate this season to the memory of Douglas Harris, our friend, colleague and teacher. Douglas died in a plane crash in the fall of 1988 after having directed an immensely successful production of Richard III last summer. His contributions and inspiration will be missed by many of us, staff and audience alike. We look forward to the opportunity to share this season's wonderful plays, including our first non-Shakespeare play. For 1989 and 1990 we intend to experiment with performing classical Illinois State University plays in addition to Shakespeare that are suited to our acting company and to our theatre space. Office of the President We are excited about the experiment and will STATE OF ILLINOIS look forward to your responses.