The Shakespeare Beyond Borders Alliance Launch Event 9-11 June Participant Biographies and Profile Links
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Henry Neville and the Shakespeare Code Free
FREE HENRY NEVILLE AND THE SHAKESPEARE CODE PDF Brenda James | 380 pages | 30 Apr 2008 | Music for Strings | 9781905424054 | English | Bognor Regis, United Kingdom [PDF] secrets of the sonnets shakespeare s code eBook Uh-oh, it looks like your Internet Explorer Henry Neville and the Shakespeare Code out of date. For a better shopping experience, please upgrade now. Javascript is not enabled in your browser. Enabling JavaScript in your browser will allow you to experience all the features of our site. Learn how to enable JavaScript on your Henry Neville and the Shakespeare Code. Home 1 Books 2. Henry Neville and the Shakespeare Code to Wishlist. Sign in to Purchase Instantly. Members save with free shipping everyday! See details. Overview Sir Henry Neville - the true author of Shakespeare's works - the discovery that Henry Neville and the Shakespeare Code a sensation in the literary world. Shakespeare historian, Brenda James, always felt that the dedication to the sonnets may have contained a code - but for what purpose? How could it be cracked? When her research led to a little-known code breaking technique, she did not suspect that this would reveal a year old secret - the name of the real author. This book outlines James' investigation and previously unpublished material: code breaking, the discovery of forgotten documents and years of detailed research and analysis. Her journey unravels the mysteries behind the sonnets and explains some of the most obscure references in the plays. Find out why Sir Henry's authorship remained undiscovered for almost four centuries. Product Details. Related Searches. This coloring book is for the beginner and experienced colorist of any age and includes 25 designs Henry Neville and the Shakespeare Code from simple to complex. -
Shakespeare for Freedom Ewan Fernie Index More Information
Cambridge University Press 978-1-107-13085-2 — Shakespeare for Freedom Ewan Fernie Index More Information Index Actresses’ Franchise League, 140 Booth, John Wilkes, 51, 220, 224–7, 272 Adorno, Theodor, 52, 244, 255, 258, 264, 272 Booth, Junius Brutus, 224 AFL. See Actresses’ Franchise League Bordieu, Pierre, 166 Akenside, Mark, 152 Boswell, James, 47, 143–6, 274 Alexander Shakespeare. See Robben Island Boyce, Frank Cottrell, 17 Shakespeare Boyle, Danny, 16 alter ego, as a term, 4, 86 Bradlaugh, Charles, 139 Althusser, Louis, 165 Bradley, A. C., 52, 66, 167, 173, 177, 184, 185–6, Archenholz, Johann Wilhelm von, 148, 195 193, 204 arts, 8–10 Bradley, F. H., 167 Astor Place, 51, 220, 222, 223, 227, 241 Bradshaw, Graham, 205 Austria Bramwich, John, 131 Habsburgs, 27–8, 159 Branagh, Kenneth, 10–11, 180 Brandes, Georg, 203, 234, 235, 237, 239 Banks, George Linnaeus, 137 Bridges, Robert, 221 bardolatry, 48, 127, 160, 218, 239, 271 Brixton Barker, Francis, 168 race riots, 12, 13 Barker, Harley Granville, 140 Brooke, Arthur, 81, 93 Barker, Howard, 78–9, 173, 178, 185 Brown, John Russell, 51 Bate, Jonathan, 1, 17–19, 20, 40, 74, 221, 231, Brunel, Isambard Kingdom, 10–11 260, 261 Buber, Martin, 207 Bates, Jennifer Ann, 193, 194 Buchanan, George, 127 Belinsky, Vissarion, 158 Budapest, 24, 45, 46, 161 Belsey, Catherine, 168, 174 National Széchényi Library, 24, 29 Benjamin, Walter, 49–50 Burkhardt, Jacob, 167 Berlioz, Hector, 157 Burney, Fanny Beutler, Ernst, 151 Evelina, 114–15 Birmingham Butler, Judith, 169 Birmingham Freethinkers, 139 Edgbaston, 28 -
Download This Volume In
Sederi 29 2019 IN MEMORIAM MARÍA LUISA DAÑOBEITIA FERNÁNDEZ EDITOR Ana Sáez-Hidalgo MANAGING EDITOR Francisco-José Borge López REVIEW EDITOR María José Mora PRODUCTION EDITORS Sara Medina Calzada Tamara Pérez Fernández Marta Revilla Rivas We are grateful to our collaborators for SEDERI 29: Leticia Álvarez Recio (U. Sevilla, SP) Adriana Bebiano (U. Coimbra, PT) Todd Butler (Washington State U., US) Rui Carvalho (U. Porto, PT) Joan Curbet (U. Autònoma de Barcelona, SP) Anne Valérie Dulac (Sorbonne U., FR) Elizabeth Evenden (U. Oxford, UK) Manuel Gómez Lara (U. Seville, SP) Andrew Hadfield (U. Sussex, UK) Peter C. Herman (San Diego State U., US) Ton Hoensalars (U. Utrecth, NL) Douglas Lanier (U. New Hampshire, US) Zenón Luis Martínez (U. Huelva, SP) Willy Maley (U. Glasgow, UK) Irena R. Makaryk (U. Ottawa, CA) Jaqueline Pearson (U. Manchester, UK) Remedios Perni (U. Alicante, SP) Ángel Luis Pujante (U. Murcia, SP) Miguel Ramalhete Gomes (U. Lisboa, PT) Katherine Romack (U. West Florida, US) Mary Beth Rose (U. Illinois at Chicago, US) Jonathan Sell (U. Alcalá de Henares, SP) Alison Shell (U. College London, UK) Erin Sullivan (Shakespeare Institute, U. Birmingham, UK) Sonia Villegas (U. Huelva, SP) Lisa Walters (Liverpool Hope U., UK) J. Christopher Warner (Le Moyne College, US) Martin Wiggins (Shakespeare Institute, U. Birmingham, UK) R. F. Yeager (U. West Florida, US) Andrew Zurcher (U. Cambridge, UK) Sederi 29 (2019) Table of contents María Luisa Dañobeitia Fernández. In memoriam By Jesús López-Peláez Casellas ....................................................................... 5–8 Articles Manel Bellmunt-Serrano Leskov’s rewriting of Lady Macbeth and the processes of adaptation and appropriation .......................................................................................................... -
Royal Shakespeare Company Returns to London's Roundhouse.Pdf
Royal Shakespeare Company returns to London’s Roundhouse from November 2010 with 10 week season • One company of 44 actors playing 228 roles • Six full-scale Shakespeare productions • Two Young People’s Shakespeares – innovative, distilled productions adapted for young people • Education projects across London and at the Roundhouse • One specially constructed 750-seat thrust stage auditorium – bringing audiences closer to the action – in one iconic venue Following its hugely successful, Olivier award-winning Histories Season in 2008, the RSC returns to London’s Roundhouse in November 2010 to present a ten-week repertoire of eight plays by Shakespeare – six full-scale productions and two specially adapted for children and families. This is the first chance London audiences will have to see the RSC’s current 44-strong ensemble, who have been working together in Stratford-upon-Avon since January 2009. The RSC Ensemble is generously supported by The Gatsby Charitable Foundation and The Kovner Foundation. The season opens with Rupert Goold’s production of Romeo and Juliet and runs in repertoire to 5 February next year, with Michael Boyd’s production of Antony and Cleopatra; The Winter’s Tale directed by David Farr; Julius Caesar directed by Lucy Bailey; As You Like It, directed by Michael Boyd; and David Farr’s King Lear (see end of release for production details at a glance). All six productions have been developed throughout their time in the repertoire and are revised and re-rehearsed with each revival in Stratford, Newcastle, London and finally for next year’s residency in New York. The season also includes the RSC’s two recent Young People’s Shakespeare (YPS) productions created especially for children and families, and inspired by the Stand Up For Shakespeare campaign which calls for more children and young people to See Shakespeare Live, Start Shakespeare Earlier and Do Shakespeare on their Feet – Hamlet, directed by Tarell Alvin McCraney, and The Comedy of Errors (in association with Told by an Idiot), directed by Paul Hunter. -
0844 800 1110
www.rsc.org.uk 0844 800 1110 The RSC Ensemble is generously supported by THE GATSBY CHARITABLE FOUNDATION TICKETS and THE KOVNER FOUNDATION from Charles Aitken Joseph Arkley Adam Burton David Carr Brian Doherty Darrell D’Silva This is where the company’s work really begins to cook. By the time we return to Stratford in 2010 these actors will have been working together for over a year, and equipped to bring you a rich repertoire of eight Shakespeare productions as well as our new dramatisation of Morte D’Arthur, directed by Gregory Doran. As last year’s work grows and deepens with the investment of time, so new productions arrive from our exciting new Noma Dumezweni Dyfan Dwyfor Associate Directors David Farr and Rupert Goold, who open the Phillip Edgerley Christine Entwisle season with King Lear and Romeo and Juliet. Later, our new Artistic Associate Kathryn Hunter plays her first Shakespearean title role with the RSC in my production of Antony and Cleopatra, and we follow the success of our Young People’s The Comedy of Errors with a Hamlet conceived and directed by our award winning playwright in residence, Tarell Alvin McCraney. I hope that you will come and see our work as we continue to explore just how potent a long term community of wonderfully talented artists can be. Michael Boyd Artistic Director Geoffrey Freshwater James Gale Mariah Gale Gruffudd Glyn Paul Hamilton Greg Hicks James Howard Kathryn Hunter Kelly Hunter Ansu Kabia Tunji Kasim Richard Katz Debbie Korley John Mackay Forbes Masson Sandy Neilson Jonjo O’Neill Dharmesh Patel Peter Peverley Patrick Romer David Rubin Sophie Russell Oliver Ryan Simone Saunders Peter Shorey Clarence Smith Katy Stephens James Traherne Sam Troughton James Tucker Larrington Walker Kirsty Woodward Hannah Young Samantha Young TOPPLED BY PRIDE AND STRIPPED OF ALL STATUS, King Lear heads into the wilderness with a fool and a madman for company. -
I Can't Recall As Exciting a Revival Sincezeffirelli Stunned Us with His
Royal Shakespeare Company The Courtyard Theatre Southern Lane Stratford-upon-Avon Warwickshire CV37 6BB Tel: +44 1789 296655 Fax: +44 1789 294810 www.rsc.org.uk ★★★★★ Zeffirelli stunned us with his verismo in1960 uswithhisverismo stunned Zeffirelli since arevival asexciting recall I can’t The Guardian on Romeo andJuliet 2009/2010 134th report Chairman’s report 3 of the Board Artistic Director’s report 4 To be submitted to the Annual Executive Director’s report 7 General Meeting of the Governors convened for Friday 10 September 2010. To the Governors of the Voices 8 – 27 Royal Shakespeare Company, Stratford-upon-Avon, notice is hereby given that the Annual Review of the decade 28 – 31 General Meeting of the Governors will be held in The Courtyard Transforming our Theatres 32 – 35 Theatre, Stratford-upon-Avon on Friday 10 September 2010 commencing at 4.00pm, to Finance Director’s report 36 – 41 consider the report of the Board and the Statement of Financial Activities and the Balance Sheet Summary accounts 42 – 43 of the Corporation at 31 March 2010, to elect the Board for the Supporting our work 44 – 45 ensuing year, and to transact such business as may be transacted at the Annual General Meetings of Year in performance 46 – 49 the Royal Shakespeare Company. By order of the Board Acting companies 50 – 51 The Company 52 – 53 Vikki Heywood Secretary to the Governors Corporate Governance 54 Associate Artists/Advisors 55 Constitution 57 Front cover: Sam Troughton and Mariah Gale in Romeo and Juliet Making prop chairs at our workshops in Stratford-upon-Avon Photo: Ellie Kurttz Great work • Extending reach • Strong business performance • Long term investment in our home • Inspiring our audiences • first Shakespearean rank Shakespearean first Hicks tobeanactorinthe Greg Proves Chairman’s Report A belief in the power of collaboration has always been at the heart of the Royal Shakespeare Company. -
37Th Annual Meeting in Washington, D.C., 2009
SHAKESPEARE ASSOCIATION OF AMERICA PROGRAM OF THE 37TH ANNUAL MEETING 9-11 APRIL 2009 THE RENAISSANCE HOTEL WASHINGTON, D.C. 55957_SAA_PrgmBk.indd 1 4/1/09 10:12:26 AM The 37th President Annual COPPÉLIA KAHN Brown University Meeting of the Shakespeare Vice-President PAUL YACHNIN Association of McGill University America Immediate Past President PETER HOLLAND Executive Director University of Notre Dame LENA COWEN ORLIN Georgetown University Trustees Memberships Manager REBECCA BUSHNELL DONNA EVEN-KESEF University of Pennsylvania Georgetown University KENT CARTWRIGHT Publications Manager University of Maryland JANICE F. DELANEY Georgetown University LARS ENGLE University of Tulsa Publications Assistant DIANA E. HENDERSON MIMI WIGGINS PERREAULT Massachusetts Institute of Technology Georgetown University HEATHER JAMES University of Southern California VALERIE WAYNE University of Hawai’i 55957_SAA_PrgmBk.indd 2 4/1/09 10:12:27 AM Program Planning Committee Sponsors of the 37th DIANA E. HESONN D R , Chair Annual Meeting Massachusetts Institute of Technology Georgetown University EMILY BARTS E L Rutgers University The Folger Shakespeare Library ELIZAE B T H HANSON Queen’s University University of Maryland IAN MUNRO George Washington University University of California, Irvine University of Virginia Local Hosts George Mason University DEISN E ALN B A E S E George Mason University American University KET N CARTWRIG H T University of Maryland University of Maryland Baltimore County RAP H A E L FAL C O University of Maryland Baltimore County University of Delaware JONATN H A GIL HARRIS George Washington University KATEIN H R E MAUS University of Virginia MAHVID A MEONN American University GAIL KEN R PAST E R Folger Shakespeare Library LOIS POTT E R University of Delaware JASON ROSATTE N B L Georgetown University PEN N SZITTYA Georgetown University 1 55957_SAA_PrgmBk.indd 1 4/1/09 10:12:27 AM 2009 Program Guide Thursday, 9 April 10:00 a.m. -
Decoding Shakespeare: the Bard As
DECODING SHAKESPEARE: THE BARD AS POET OR POLITICIAN? by R.V. Young In recent years the most notable trend in Shakespeare studies has been the investigation of the playwright’s Catholic religious orientation and the exposition of its significance for the interpretation of his plays and poems. This trend may have reached its culmination with the publication in 2004 of Richard Wilson’s Secret Shakespeare: Studies in theatre, religion and resistance and Clare Asquith’s Shadowplay: The Hidden Beliefs and Coded Politics of William Shakespeare in the following year. Both of these books assert unequivocally not only that Shakespeare was reared a Catholic and remained so throughout his life, but also that his Catholic Recusancy shaped his career as a poet and dramatist to such an extent that his works may be read as an encoded account of the tribulations and dissident activities of the English Recusant community under Queen Elizabeth and during early years of King James’s reign. In Asquith’s words, the aim is to overturn Shakespeare’s image as “a writer so outstanding that the politics of his time are irrelevant, even distracting.” “Instead of diminishing Shakespeare’s work,” she maintains, “awareness of the shadowed language deepens it, adding a cutting edge of contemporary reference to the famously universal plays and giving them an often acutely poignant hidden context” (xiv-xv). Writing in a New Historicist mode, Richard Wilson is even more explicit about dismantling the longstanding image of Shakespeare as the Bard of universal human significance: Like the film [Shakespeare in Love], the construction of a 2 Shakespeare in love with Protestant empire serves the ideological function of annexing the plays to the dominant Anglo-Saxon discourses of populism and individualism, and so to globalisation and American hegemony. -
Mask and Persona: Creating the Bard for Bardcom
Persona Studies 2019, vol. 5, no. 2 MASK AND PERSONA: CREATING THE BARD FOR BARDCOM PETER HOLLAND ABSTRACT This article explores a number of perspectives on the creation of very different Shakespeares as personas by first examining the celebration of the 400th anniversary of his death in Stratford-upon-Avon in April 2016 and Shake, Mr Shakespeare, a remarkable Roy Mack 1936 Warner Brothers short. From there it moves on to consider the brief appearance of Shakespeare in the time-travel comedy Blackadder: Back and Forth, in ‘The Shakespeare Code’ episode of Doctor Who and in the off-Broadway musical Something Rotten!, before examining the work of Ben Elton in his screenplay for All Is True and in the seemingly unlikely success of Upstart Crow, the BBC sitcom with Shakespeare as the lead character, which has so far completed three six-episode series and three Christmas specials. The article is concerned with the multiple masks of the sequence of personas that create these Shakespeares, from Shakespeare as perhaps the epitome of the celebrity author to Shakespeare as a sitcom Dad. KEY WORDS Shakespeare, Mask, Celebrity, Comedy, Sitcom, Afterlife WHERE ISS SHAKESPEARE? In Act 2 of Emlyn Williams’ The Corn is Green (1938), a semi-autobiographical narrative of how education saved a bright Welsh boy from the mines and sent him to Oxford University, the end of a class in Miss Moffat’s new school leaves behind on stage Old Tom, “an elderly, distinguished- looking, grey-bearded peasant” (Williams 1995, p. 34), and Miss Ronberry, now one of Miss Moffat’s teachers. -
Meanings CONTINUING PROFESSIONAL DEVELOPMENT
meanings CONTINUING PROFESSIONAL DEVELOPMENT The UQ Node, ARC Centre of Excellence for the History of Emotions, Europe 1100 - 1800 presents an event for Secondary School Teachers in Humanities “ROMEO AND JULIET & SHAKESPEARE AND CREATIVITY” EWAN FERNIE PETER HOLBROOK Shakespeare Institute, University of Birmingham UQ Node, Centre for the History of Emotions Date: Monday, 27 April, 2015 Time: 4:30 pm Location: Room 275, Global Change Institute (Bldg 20), UQ St Lucia campus RSVP: [email protected] (07) 3365-4913 Please register by Friday 20 April Free, All Welcome In an attempt to cast fresh light on Romeo and Juliet, Ewan Fernie will ap- proach this familiar masterpiece from some almost wilfully oblique angles. Why does Shakespeare turn ‘Freetown’ from the mere, meaningless name of a posh villa into a real place and prospect where justice will be done? Who are the male Valentines that are slated to come with Mercutio and Tybalt to Capulet’s momentous ball, and where do they disappear to? How does Mercutio’s furious negativity relate to Romeo and Juliet’s more posi- tive passion? One of the most notable features of Shakespeare’s writing is its sheer va- riety – it has been well said of Shakespeare that his is an “art of contrast”. Following on from Professor Fernie’s presentation, Peter Holbrook will lead a discussion about the range of poetic styles employed in Romeo and Juliet. What is the purpose and effect of such contrast? Does it somehow add up to a distinctive vision of the nature of reality – a “philosophy”, in other words? And how might variety in Shakespeare connect to the description of him offered by the German writer Heinrich Heine (1797- Image: Francesco Hayez, L’ultimo bacio dato a Giulietta da Romeo (1823) 1856): that Shakespeare was “the great heathen”? In the second part of the workshop, Peter Holbrook and Ewan Fernie will PETER HOLBROOK is Director of the UQ Node of the ARC talk about the new Masters program in Shakespeare and Creativity – Centre of Excellence for the History of Emotions. -
T 1913, I ^ * I No Longer A
XCLUSW-t 1913, ^ * I i no longer a • ' *• • *:• i li • r> . DOCTOR WHO Saturdays BBi DOCTOR WHO CONFIDENTIAL Saturdays THE FINAL STRAW "I'd say this is the scariest creature so far," says Ken Hosking (Scarecrow, far left) - and as a veteran monster-performer, he's well placed to know. "But it only takes about 20 minutes to put on, so it's not one of the more complicated costumes." "It's comfortable to wear because it's soft, not rigid, so you can do lots of action in it," adds Ruari Mears (Scarecrow, centre). "But when you start exerting yourself, ventilation becomes an issue. We've been given breathing ^W exercises by the choreographer." S M" %ff"r^. i*j$L "We breathe in for eight •'1 '~^?um-- seconds, breathe out for eight, breathe in for five, breathe out for F£A 'a eight - that sort of thing," adds •a jfl FJ«L ! 1 Hosking, "just generally varying 1 \ your breathing to slow it down •r~~.' . kd x 3 P \ iff/ consciously, so you don't panic " "*f»pr i and hyperventilate. But it's not f" ^' *^*^ as physically arduous as some of the other monsters have been." Maybe Scarecrow Hosking got -V off lightly - "You didn't have to run up that blooming country lane!" // Mears retorts. For exclusive video clips from our Scarecrow photo shoot, visit www.radiotimes.com/ doctor-who-scarecrows - The Doctor is forced ho regenerator Russell T Davies has flagged this two-parter as "a very human... but he different sort of a story", W isn't safe at all" and he isn't wrong. -
PARTICIPATION and COOPERATION in ARTS EDUCATION « ELTE TERMÉSZETTUDOMÁNYI KAR BUDAPEST in Focus: Drama and Theatre Education
| | » PARTICIPATION AND COOPERATION IN ARTS EDUCATION « ELTE TERMÉSZETTUDOMÁNYI KAR BUDAPEST in focus: Drama and Theatre Education BOOK OF PROCEEDINGS SCIENTIFIC PROGRAMME COMMITTEE Gábor BODNÁR, ELTE University, Faculty of Humanities, Music Department Andrea KÁRPÁTI, MTA-ELTE Visual Culture Research Group and Corvinus University of Budapest Katalin KISMARTONY, ELTE University, Faculty of Primary and Early Childhood Education, Department of Classroom Music Virág KISS, ELTE Bárczi Gusztáv Faculty of Special Needs Education, Eszterházy Károly University Nedda KOLOSAI, ELTE University, Faculty of Primary and Early Childhood Education, Department of Education Géza Máté NOVÁK, ELTE Bárczi Gusztáv Faculty of Special Needs Education, Conference Chair László TRENCSÉNYI, ELTE University, Faculty of Education and Psychology, Institute of Education ORGANISING COMMITTEE Tibor DARVAI, ELTE Bárczi Gusztáv Faculty of Special Needs Education Tímea JUHÁSZ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Virág KISS, ELTE Bárczi Gusztáv Faculty of Special Needs Education EDITOR Mária LOSONCZ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Patrick MULLOWNEY, ELTE Bárczi Gusztáv Faculty of Special Needs Education Géza Máté NOVÁK Krausz Éva PÓTHNÉ, ELTE Bárczi Gusztáv Faculty of Special Needs Education Katalin SÁNDOR, ELTE Bárczi Gusztáv Faculty of Special Needs Education REVIEWERS Gyula SZAFFNER, ELTE Bárczi Gusztáv Faculty of Special Needs Education Gábor BODNÁR Katalin TAMÁS, ELTE Bárczi Gusztáv Faculty of Special Needs Education Emil GAUL