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The Influence of Seneca on 1934) Pp. 33-54; Philip Edwards, Thomas Kyd
Notes CHAPTER ONE. COMMON ELEMENTS I. For Senecan influence, see John W. Cunliffe, The Influence of Seneca on Elizabethan Tragedy (London: Macmillan, 1893); F. L. Lucas, Seneca and Elizabethan Tragedy (Cambridge: Cambridge University Press, 1922); T. S. Eliot, 'Shakespeare and the Stoicism of Seneca', in Elizabethan Essays (London: Faber, 1934) pp. 33-54; Philip Edwards, Thomas Kyd and Early Elizabethan Tragedy, Writers and their Work Series (London: Longmans, 1966) pp. 10-11. The importance of Senecan influence has been denied by Howard Baker in Induction to Tragedy: A Study in Development ofForm in •Gorboduc', 'The Spanish Tragedy' and 'Titus Andronicus' (Baton Rouge: Louisiana State University Press, 1939), and by George Hunter in 'Seneca and the Elizabethans: A Case Study in "Influence"', ShS, XX (1967) 17-26. 2. Sir Philip Sidney, An Apology for Poetry, ed. Geoffrey Shepherd (London: Nelson, 1965) p. 118. 3. John Foxe, Actes and Monuments (London, 1583). For a pictorial anthology of 'sundrye kindes ofTormentes' (including blinding), see pp. 794f. at the end ofvol. 1. A chained copy of this immensely popular work was made available in every cathedral, and regular public readings were prescribed by Church ordinance. 4. This meaning has not been recorded by the OED. For examples, see Chapman, Hero and Leander, Ill. 59-64,146; Middleton and Rowley, The Changeling, I.i.l91; Hamlet, v.ii.289-90. 5. Romeo and Juliet, II.vi.9-15; Othello, I.iii.341-2, u.i.219-20. 6. On the Greek attitude to change, see J. B. Bury, The Idea ofProgress (London: Macmillan, 1932) pp. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
Oregon Shakespeare Festival Production History = 1990S 1991
Oregon Shakespeare Festival Production History = 1990s 1991 saw the retirement of Jerry Turner, and the appointment of Henry Woronicz as the third Artistic Director in the Festivals 56 year history. The year also saw our first signed production, The Merchant of Venice. The Allen Pavilion of the Elizabethan Theatre was completed in 1992, providing improved acoustics, sight-lines and technical capabilities. The Festival’s operation in Portland became an independent theatre company — Portland Center Stage — on July 1, 1994. In 1995 Henry Woronicz announces his resignation and Libby Appel is named the new Artistic Director of the Festival. The Festival completes the canon for the third time in 1997, again with “Timon of Athens.” The Festival’s production of Lillian Garrett-Groag’s The Magic Fire plays at the Kennedy Center in Washington DC from November 10 through December 6, 1998, and is selected by Time Magazine as one of the year’s Ten Best Plays. In this decade the Festival produced these World Premieres, including adaptations: 1990 - Peer Gynt,1993 - Cymbeline, 1995 - Emma’s Child, 1996 - Moliere Plays Paris, 1996 – The Darker Face of the Earth, 1997 - The Magic Fire, 1998 - Measure for Measure, 1999 - Rosmersholm,1999 - The Good Person of Szechuan Year Production Director Playwright Theatre 1990 Aristocrats Killian, Philip Friel, Brian Angus Bowmer Theatre 1990 At Long Last Leo Boyd, Kirk Stein, Mark Black Swan 1990 The Comedy of Errors Ramirez, Tom Shakespeare, William Elizabethan Theatre 1990 God's Country Kevin, Michael Dietz, Steven Angus Bowmer Theatre 1990 Henry V Edmondson, James Shakespeare, William Elizabethan Theatre 1990 The House of Blue Leaves McCallum, Sandy Guare, John Angus Bowmer Theatre 1990 The Merry Wives of Windsor Patton, Pat Shakespeare, William Angus Bowmer Theatre 1990 Peer Gynt Turner, Jerry Ibsen, Henrik Angus Bowmer Theatre 1990 The Second Man Woronicz, Henry Behrman, S.N. -
FRONT9 2.CHP:Corel VENTURA
144 Issues in Review The Red Bull Repertory in Print, 1605–60 With remarkable consistency throughout the early modern period, Red Bull playgoers are characterized as unlettered, ignorant, or possessed of a crass literary sensibility. Interestingly, though, they are also imagined as avid readers: Webster’s well-known depiction, following the failure at the Red Bull of his The White Devil, declares that ‘most of the people that come to that Play-house, resemble those ignorant asses (who visiting Stationers shoppes their use is not to inquire for good bookes, but new bookes).’1 Webster’s association of Red Bull spectators with book-buyers suggests that the persistent representations of the low literacy of this audience may obscure the extent to which the famously spectacle-driven Red Bull repertory intersects with early modern print culture. The number of Red Bull plays that were published with an explicit theatrical attribution, and more importantly the similarities in design and typography between them and plays belonging to the more elite indoor repertories, would seem to bear this out. As reading material, the Red Bull plays indicate that a seemingly ‘low’ or popular theatrical repertory is not sufficient evidence of the social or educational make-up of its audience. It is crucial at the outset to confront the publication figures that have led scholars to assume that a Red Bull attribution on the title page of a play quarto did not have any meaningful currency in early modern print culture: of the roughly 400 editions of plays published -
Bedlam, Charity, and Renaissance Drama: Reconfiguring the Relationship Between Institutions in History
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 1997 Bedlam, Charity, and Renaissance Drama: Reconfiguring the Relationship between Institutions in History Kenneth S. Jackson Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the English Language and Literature Commons Recommended Citation Jackson, Kenneth S., "Bedlam, Charity, and Renaissance Drama: Reconfiguring the Relationship between Institutions in History" (1997). Dissertations. 3668. https://ecommons.luc.edu/luc_diss/3668 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1997 Kenneth S. Jackson LOYOLA UNIVERSITY OF CHICAGO BEDLAM, CHARITY, AND RENAISSANCE DRAMA: RECONFIGURING THE RELATIONSHIP BETWEEN INSTITUTIONS IN HISTORY A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY OF ARTS DEPARTMENT OF ENGLISH BY KENNETH S. JACKSON CHICAGO, ILLINOIS JANUARY 1997 Copywright by Kenneth S. Jackson, 1997 All rights reserved. ACKNOWLEDGEMENTS I am tremendously grateful to the Knocs of St. Larry's -- Carolyn, Lynn, Mick, Krug, Stinger, and Dupe -- for teaching me Protestant charity in a Catholic place, and to Rita and Athena for teaching me Catholic charity in a Protestant place. Above all else, this is for Pauline for knowing and understanding the pain involved in any charitable work. CONTENTS ACKNOWLEDGEMENTS . iv Chapter 1. BEDLAM, PROTESTANT CITIZEN CHARITY, AND THE DRAMA . -
Reading List
MAJOR FIELD EXAM IN DRAMA Student: ___________________________ Supervisor: ___________________________ Anticipated Exam Date: ___________________________ A candidate’s list should contain no fewer than 100 plays and no more than 120. This list should be representative insofar as it: (a) samples from all major periods of Western drama; (b) includes all important generic traditions, such as comedy, tragedy, masque; and (c) represents the voices of women and people of colour. The list is generally meant to be canonical – to include texts foundational to the field’s understanding of Western drama and theatre – even as it may include more obscure works. The following guidelines are offered to help students meet these challenges and to build appropriate lists in consultation with supervisors. No later than two months before sitting the exam, the student should submit his or her individualized list for approval by the Graduate Study Committee. The list should be submitted alongside the default list below, annotated to make clear how the student has met the requirements here outlined. SUGGESTED PLAYS BY PERIOD/NATION: GUIDANCE: Graeco-Roman: Minimum: 8 Aeschylus: Agamemnon, Libation Bearers, Eumenides, Seven Against Thebes including at least one from each Aristophanes: Lysistrata, The Clouds, The Wasps, The Assemblywomen playwright. Choices might be governed Euripides: The Bacchae, Hippolytus, Medea, The Trojan Women by lines of influence: Menaechmi paired to Sophocles: Antigone, Electra, Oedipus at Colonus, Oedipus Rex, Philoctetes Shakespeare’s adaptation, e.g.; The Pot of Plautus: The Pot of Gold, Menaechmi Gold to Molière’s; Phaedra to Racine’s, Seneca: Phaedra etc. Mediaeval: Minimum: 5 Everyman including at least one example of a Mankind miracle play and a morality play as well Digby Mary Magdalene, Killing of the Children as at least one piece of the Wakefield Croxton Play of the Sacrament mystery cycle. -
Why Was Edward De Vere Defamed on Stage—And His Death Unnoticed?
Why Was Edward de Vere Defamed on Stage—and His Death Unnoticed? by Katherine Chiljan dward de Vere, 17th Earl of Oxford, died on June 24, 1604. To our knowledge, there was neither public recognition of his death nor Enotice made in personal letters or diaries. His funeral, if one oc- curred, went unremarked. Putting aside his greatness as the poet-playwright “William Shakespeare,” his pen name, Oxford was one of the most senior nobles in the land and the Lord Great Chamberlain of England. During his life, numerous authors dedicated 27 books on diverse subjects to Oxford; of these authors, seven were still alive at the time of his death,1 including John Lyly and Anthony Munday, his former secretaries who were also dramatists. Moreover, despite the various scandals that touched him, Oxford remained an important courtier throughout his life: Queen Elizabeth granted him a £1,000 annuity in 1586 for no stated reason—an extraordinary gesture for the frugal monarch—and King James continued this annuity after he ascend- ed the throne in 1603. Why, then, the silence after Oxford had died? Could the answer be because he was a poet and playwright? Although such activity was considered a déclassé or even fantastical hobby for a nobleman, recognition after death would have been socially acceptable. For example, the courtier poet Sir Philip Sidney (d. 1586) had no creative works published in his lifetime, but his pastoral novel, Arcadia, was published four years after his death, with Sidney’s full name on the title page. Three years after that, Sidney’s sister, the Countess of Pembroke, published her own version of it. -
7. “'Outlandish Love': Marriage and Immigration in City Comedies
7. “‘Outlandish Love’: Marriage and Immigration in City Comedies.” Literature Compass 6 (2009): 16-32. http://dx.doi.org/10.1111/j.1741-4113.2009.00663.x During my first year at Tulane, I worked on bringing this article to print. It is about two city comedies in which immigrants figure prominently. The central argument of the article is that while one may find elements of stereotyping in these plays, the stereotypes are often expressed as suspect ideas used to cover-up contentions of class and status. Literature Compass is an online journal with multiple sections devoted to particular periods and specializations. The Renaissance and Shakespeare sections have published articles by senior scholars like Theodore Leinwand (U. of Maryland), Willy Maley (U. of Glasgow), Leah Marcus (Vanderbilt U.), Arthur F. Marotti (Wayne SU), Carla Mazzio (SUNY Buffalo), Jerome McGann (U. of Virginia), Gail Kern Paster (Director of the Folger Shakespeare Library), Richard Strier (U. of Chicago), and Mihoko Suzuki (U. of Miami). As an online journal, Literature Compass tracks the number of times each article has been accessed. By August 17, 2010, my article had been accessed more than 1,200 times. Literature Compass 6 (2009): 1–17, 10.1111/j.1741-4113.2009.00663.x ‘Outlandish Love’: Marriage and Immigration in City Comedies Scott Oldenburg* Tulane University Abstract This article questions the orthodox reading of early English city comedies that such plays exhibit intense national or proto-national fervor, especially articulated in terms of anti-alien sentiment. A close examination of The Dutch Courtesan and Englishmen for My Money shows that English playgo- ers were keen to see their cosmopolitan city staged. -
THE DOMESTIC DRAMA of THOMAS DEKKER, 1599-1621 By
CHALLENGING THE HOMILETIC TRADITION: THE DOMESTIC DRAMA OF THOMAS DEKKER, 1599-1621 By VIVIANA COMENSOLI B.A.(Hons.), Simon Fraser University, 1975 M.A., Simon Fraser University, 1979 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Department of English) We accept, this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA December 1984 (js) Viviana Comensoli, 1984 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 DE-6 (3/81) ABSTRACT The dissertation reappraises Thomas Dekker's dramatic achievement through an examination of his contribution to the development of Elizabethan-Jacobean domestic drama. Dekker's alterations and modifications of two essential features of early English domestic drama—the homiletic pattern of sin, punishment, and repentance, which the genre inherited from the morality tradition, and the glorification of the cult of domesticity—attest to a complex moral and dramatic vision which critics have generally ignored. In Patient Grissil, his earliest extant domestic play, which portrays ambivalently the vicissitudes of marital and family life, Dekker combines an allegorical superstructure with a realistic setting. -
The Private Theaters in Crisis: Strategies at Blackfriars and Paul’S, 1606–07
ABSTRACT Title of Document: THE PRIVATE THEATERS IN CRISIS: STRATEGIES AT BLACKFRIARS AND PAUL’S, 1606–07 Christopher Bryan Love, Ph.D., 2006 Directed By: Professor Theodore B. Leinwand, Department of English This study addresses the ways in which the managers and principal playwrights at second Paul’s and second Blackfriars approached opportunities in the tumultuous 1606–07 period, when the two troupes were affected by extended plague closures and threatened by the authorities because of the Blackfriars’ performance of offensive satires. I begin by demonstrating that Paul’s and Blackfriars did not neatly conform to the social and literary categories or commercial models typically employed by scholars. Instead, they were collaborative institutions that readily adapted to different circumstances and situations. Their small size, different schedules, and different economics gave them a flexibility generally unavailable to the larger, more thoroughly commercial adult companies. Each chapter explores a strategy used by the companies and their playwrights to negotiate a tumultuous theatrical market. The first chapter discusses the mercenary methods employed by the private children’s theaters. Occasionally, plays or play topics were commissioned by playgoers, and some performances at Paul’s and Blackfriars may even have been “private” in the sense of closed performances for exclusive audiences. In this context, I discuss Francis Beaumont’s The Knight of the Burning Pestle (Blackfriars, 1607), in which Beaumont uses the boorish citizens George and Nell to lay open the private theaters’ mercenary methods and emphasize sophisticated playgoers’ stake in the Blackfriars theater. The second chapter discusses the ways private-theater playwrights used intertextuality to entertain the better sort of playgoers, especially those who might buy quartos of plays. -
London Incorporated: Theater and Institutional Life Christi Spain-Savage, Siena College Jordan Windholz, Shippensburg University
1 2019 Seminar Abstracts: London Incorporated: Theater and Institutional Life Christi Spain-Savage, Siena College Jordan Windholz, Shippensburg University “The Fashion for Turk Plays: Elizabethan Captivity Narratives and the Appeal of the ‘Scourge’” Dr. Carla Baricz Hebrew University of Jerusalem The success of works like Christopher Marlowe’s 1 and 2 Tamburlaine is often attributed to the precedent set by Marlowe’s style, to the charisma and “scenical strutting” of Edward Alleyn, to the visually powerful processional scenes of the Queen’s Men, and to the plays’ exotic settings. However, I argue that in fact what assured the success of such works – both of Tamburlaine and of later ‘Turk plays’ – is that they considered a threat discussed in churches across England, every Sunday, around the collection plate, as parishioners gathered alms on behalf of English sailors and merchants captured in the Mediterranean, as well as on behalf of foreign nationals who came to London and were given permission to raise the ransom payments. In these captivity narratives one finds an explanation not only for the misfortunes associated with imprisonment that such plays document but also for the “scourging” rhetoric that dominates works like 1 and 2 Tamburlaine, a rhetoric that repudiates and inverts the more familiar language of God’s just punishment. In response to published sermons, eyewitness accounts, contemporary historians’ stern warnings, and such alms petitions, Turk plays like those of Marlowe provided a violent fantasy of revenge and redirected divine wrath. “Bethlehem Hospital and the Early Modern Stage: Enforcing the Mad/Sane Binary through Panopticism” Dr. Amanda Di Ponio Huron University College First managed by the Catholic Church of Bethlehem, then the Crown, and finally the City of London, Bethlehem – or Bethlem, or Bedlam as it was commonly referred to – Hospital was committed to the treatment of the ill, the poor, and the traveler from its inception in Bishopsgate Street in London in 1247. -
A 134Th MLA Annual Convention B
Medieval and Renaissance Drama Society Newsletter Fall 2018 a 134 th MLA Annual Convention b January 3-6, 2019 Sessions on Medieval and/or Renaissance Drama 261: Models of Caregiving 12:00 PM–1:15 PM Friday, Jan 4, 2019 (MRDS is not sponsoring any sessions at MLA 2019.) Sheraton Grand - Michigan B 026: Performance Matters Presider: Margaret Boyle, Bowdoin C 12:00 PM–1:15 PM Thursday, Jan 3, 2019 Hyatt Regency - Columbus AB Staging the Maternal: Mother Figures in Cervantes and in the Comedia nueva . Emilie L. Bergmann, U of California, Presiders: Susan M. Nakley, St. Joseph’s C, Brooklyn Campus; Berkeley. Nicole R. Rice, St. John’s U, NY. The Picaresque Women Caregivers of Calderón’s Short Theater. Elena Casey, U of North Carolina, Chapel Hill. Historical Records of Fergus as Amputated Paratexts. Jennie Healing Voices and Communities of Care in Alonso de Castillo Friedrich, U of California, Riverside Solórzano’s Los alivios de Casandra . Victor Sierra Matute, U Performative Subjectivity and the Queerness of Anachronism in of Pennsylvania. The Second Shepherds’ Pageant . Catherine S. Cox, U of Raising the Outliers: Parenthood in Guillén de Castro’s La fuerza Pittsburgh. de la costumbre . Emily Tobey, Miami U, Oxford. ‘Putting on the Jew’: Performing Medieval Jewface. Sylvia Tomasch, Hunter C, City U of New York. Sessions Continued on Page 2 The Costumes of Racial Difference: Medieval Drama, Manuscript Art, and the Vernon’s Marian Lyrics. Miriamne Ara Krummel, U of Dayton. 128: Adaptation as Transaction in Early Modern Spanish Theater Contents 5:15 PM–6:30 PM Thursday, Jan 3, 2019.