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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. -
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. -
Danielle De Niese Performs a Valentine's Day
Shropshire Cover February 2019.qxp_Shropshire Cover 21/01/2019 16:41 Page 1 KEVIN CLIFTON ROCKS IT! Your FREE essential entertainment guide for the Midlands INTERVIEW INSIDE... SHROPSHIRE WHAT’S ON FEBRUARY 2019 ON FEBRUARY WHAT’S SHROPSHIRE Shropshire ISSUE 398 FEBRUARY 2019 ’ WhatFILM I COMEDY I THEATRE I GIGS I VISUAL ARTS I EVENTSs I FOOD On shropshirewhatson.co.uk PART OF WHAT’S ON MEDIA GROUP GROUP MEDIA ON WHAT’S OF PART inside: Yourthe 16-pagelist week by week listings guide A BRAVE FACE Vamos’ full-mask production tackles post-traumatic stress TWITTER: @WHATSONSHROPS TWITTER: SILJE NERGAARD bestselling jazz artist at Henry Tudor House FACEBOOK: @WHATSONSHROPSHIRE OUT OF THIS WORLD explore the night sky at Enginuity’s pop-up planetarium SHROPSHIREWHATSON.CO.UK BRB Beauty And The Beast Full Feb 2019.qxp_Layout 1 21/01/2019 17:26 Page 1 Contents February Wolves/Shrops/Staffs.qxp_Layout 1 21/01/2019 12:50 Page 2 February 2019 Contents It’s A Hard Knock Life - Annie The Musical returns to Wolverhampton Grand Theatre... page 24 Kevin Clifton Jasmin Vardimon Cooking up a storm the list rocking it at Stoke-on-Trent’s dance company explore the ‘bostin’ fittle’ aplenty at the Your 16-page Regent Theatre feminine symbol of Medusa Black Country Living Museum week-by-week listings guide feature page 8 page 33 page 49 page 51 inside: 4. First Word 11. Food 15. Music 20. Comedy 24. Theatre 35. Film 38. Visual Arts 43. Events @whatsonwolves @whatsonstaffs @whatsonshrops Wolverhampton What’s On Magazine Staffordshire What’s On Magazine Shropshire -
The Absence of America on the Early Modern Stage by Gavin R. Hollis A
The Absence of America on the Early Modern Stage by Gavin R. Hollis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2008 Doctoral Committee: Professor Valerie J. Traub, Chair Professor Michael C. Schoenfeldt Associate Professor Susan M. Juster Associate Professor Susan Scott Parrish © Gavin Hollis 2008 To my parents ii Acknowledgements In an episode of The Simpsons, Marge urges Bart not to make fun of graduate students because “they’ve just made a terrible life choice.” This may be true, but one of the many advantages of this “life choice” is that I have met, been inspired by, and become firm friends with an array of people on both sides of the pond. The first debt I owe is to my advisors at the University of Michigan, who have seen this project through its many stages of confusion and incoherence. Mike Schoenfeldt, Scotti Parrish, and Sue Juster have been supportive, critical, rigorous, inventive, and excellent company. My biggest debt of gratitude is owed however to Valerie Traub, the chair of my dissertation committee, whose influence on this project and has been, and I hope will continue to be, immense. I’m also indebted to faculty at Trinity Hall, Cambridge and at The Shakespeare Institute who have shaped me as a scholar before I made it these shores. I am especially grateful to Peter Holland, who, it is no exaggeration to say, taught me how to read Shakespeare. Thank you also to John Jowett, Drew Milne, and John Lennard. -
Descriptive Video Service Supplement: 2020
Descriptive Video Service Supplement: 2020 Large Print Edition: Published May 2020 library.sd.gov/BTB Braille and Talking Book Library Descriptive Video Service The Braille and Talking Book Library is pleased to offer the DVD/Blu-ray collection to our patrons. Borrow great blockbuster videos from the South Dakota Braille and Talking Book Library! These videos are especially for the enjoyment of people who are blind or visually impaired. The videos carefully describe the visual elements of a movie—action, characters, locations, costumes, and sets—without interfering with the video dialogue or sound effects. Borrowers must be registered and active patrons in good standing with the Braille and Talking Book Library. All borrowers must complete a Descriptive Video Registration Form. Patrons may borrow two descriptive video titles at a time. Patrons may not check out another descriptive video title until the currently checked out title is returned to the library. The loan period is 2 weeks. There will be no renewals. Videos may be requested in the same way you request books: in person, by telephone, by email or by mail. There is no limit to the number of requests patrons may place on file for future loan. The first available descriptive video on a borrower's request list will be sent automatically each time a title is returned. Descriptive video titles should be mailed back to the Braille and Talking Book Library after viewing by turning over the mailing card so the Library's address is facing up. Videos may be mailed free of charge. "Free Matter for the Blind" is printed on each container's mailing card. -
SAVU, LAURA E., Ph.D. Postmortem Postmodernists: Authorship and Cultural Revisionism in Late Twentieth-Century Narrative. (2006) Directed by Dr
SAVU, LAURA E., Ph.D. Postmortem Postmodernists: Authorship and Cultural Revisionism in Late Twentieth-Century Narrative. (2006) Directed by Dr. Keith Cushman. 331 pp The past three decades have witnessed an explosion of narratives in which the literary greats are brought back to life, reanimated and bodied forth in new textual bodies. In the works herein examined—Penelope Fitzgerald’s The Blue Flower, Peter Ackroyd’s The Last Testament of Oscar Wilde and Chatterton, Peter Carey’s Jack Maggs, Michael Cunningham’s The Hours, Colm Toíbín’s The Master, and Geoff Dyer’s Out of Sheer Rage: Wrestling with D.H. Lawrence—the obsession with biography spills over into fiction, the past blends with the present, history with imagination. Thus they articulate, reflect on, and can be read through postmodern concerns about language and representation, authorship and creativity, narrative and history, rewriting and the posthumous. As I argue, late twentieth-century fiction “postmodernizes” romantic and modern authors not only to understand them better, but also to understand itself in relation to a past (literary tradition, aesthetic paradigms, cultural formations, etc.) that has not really passed. More specifically, these works project a postmodern understanding of the author as a historically and culturally contingent subjectivity constructed along the lines of gender, sexual orientation, class, and nationality. The immediate implications of my argument are twofold, and they emerge as the common threads linking the chapters that make up this study. First, to make a case for the return of the author into the contemporary literary space is to acknowledge that the postmodern, its antihumanist bias notwithstanding, does not discount the human. -
Summer 2012 Greenstage Program
go see a play www.GreenStage.org 24th Season of FREE SHAKESPEARE in the ParK directed by Marc “Mok” Moser HENRY FREE VIII theatre! directed by Teresa Thuman JULY 13 – AUGUST 18 Seattle | Lynnwood | Redmond Fall City | Bainbridge Island | Burien SPONSORS MEDIA SPONSOR Seattle Office of 2012 SEASON FREE CONCERTS Thursdays at Noon REDMOND CITY HALL LAWN July 19 Talavya July 26 Mark DuFresne Aug 2 Clinton Fearon & Boogie Brown Band Aug 9 Sambatuque Aug 16 Carlos Cascante y su Tumbao w/ Free Dance Lesson! Aug 23 Kafana Republik Redmond.gov/ARTS (425) 556-2300 Redmond Parks & Recreation Department & Redmond Arts Commission page 2 2012 SEASON Welcome to 2012 Shakespeare in the Park! A note from the Artistic Director You are here, our cast is complete. Welcome. It is through the continued grace of others that we are still here: authors and artists who create these productions When I started thinking of these two plays as a pair, The and YOU – if not for you we would not be. Please take a Taming of the Shrew and HenryVIII, I was unsure how moment and look around you, at this beautiful park and people would respond to the pairing. There are many community of souls that have come together to create this preconceptions of Henry VIII, perhaps more of the man moment – this singular moment that we share. himself than the play; and Shrew has no shortage of preconception attached to it either. The more these plays It is your grace that supports us and we are humbled by it. tumbled about my consciousness the more they seemed to Thank you. -
Ledbury Poetry Festival Programme 2019
Ledbury Poetry Residential In partnership with the University of Roehampton Poetry Centre 1–4 July 2019 Hellens Manor, Much Marcle Near Ledbury, Herefordshire, HR8 2LY Ledbury Poetry Festival and the University of David Harsent is a British poet and librettist. He Roehampton Poetry Centre are offering a fully has published twelve volumes of poetry. Legion catered, immersive poetry residential in 2019. won the Forward Prize for best collection 2005; Poetry expresses the self, captures the world, Night (2011) was triple short-listed in the UK and and gives both poet and reader new ways of won the Griffin International Poetry Prize. Fire seeing. Whether you’re a keen novice or working Songs won the 2014 T.S. Eliot Prize. His most on your fifteenth collection, and whatever recent collection, Salt, was described by John your background, award-winning poets Fiona Burnside, writing in the New Statesman, as ‘a Sampson and David Harsent will help you take masterpiece’. Harsent is Professor of Creative your work to a new level, show how the craft of Writing at the University of Roehampton and poetry leads to the art of poetry, help you fashion Chair of the Roehampton Poetry Centre. and edit your poetry with an eye to publishing, Hellens Manor is an ancient family home and give you new skills and ways of going on dating back to the 11th century. The course will to make your future work sing. Four days of take place in the recently refurbished Georgian workshops, one-to-one tutorials and readings Stables which sit in the landscape of lawns, in a friendly, inspiring work atmosphere and the meadow and paddocks. -
Oxford by the Numbers: What Are the Odds That the Earl of Oxford Could Have Written Shakespeare’S Poems and Plays?
OXFORD BY THE NUMBERS: WHAT ARE THE ODDS THAT THE EARL OF OXFORD COULD HAVE WRITTEN SHAKESPEARE’S POEMS AND PLAYS? WARD E.Y. ELLIOTT AND ROBERT J. VALENZA* Alan Nelson and Steven May, the two leading Oxford documents scholars in the world, have shown that, although many documents connect William Shakspere of Stratford to Shakespeare’s poems and plays, no documents make a similar connection for Oxford. The documents, they say, support Shakespeare, not Oxford. Our internal- evidence stylometric tests provide no support for Oxford. In terms of quantifiable stylistic attributes, Oxford’s verse and Shakespeare’s verse are light years apart. The odds that either could have written the other’s work are much lower than the odds of getting hit by lightning. Several of Shakespeare’s stylistic habits did change during his writing lifetime and continued to change years after Oxford’s death. Oxfordian efforts to fix this problem by conjecturally re-dating the plays twelve years earlier have not helped his case. The re-datings are likewise ill- documented or undocumented, and even if they were substantiated, they would only make Oxford’s stylistic mismatches with early Shakespeare more glaring. Some Oxfordians now concede that Oxford differs from Shakespeare but argue that the differences are developmental, like those between a caterpillar and a butterfly. This argument is neither documented nor plausible. It asks us to believe, without supporting evidence, that at age forty-three, Oxford abruptly changed seven to nine of his previously constant writing habits to match those of Shakespeare and then froze all but four habits again into Shakespeare’s likeness for the rest of his writing days. -
Shakespeare Bites Back: Not So Anonymous 1
Shakespeare Bites Back: Not So Anonymous 1 IN PARTNERSHIP WITH misfit, inc. a by www.bloggingshakespeare.comWWW.BLOGGINGSHAKESPEARE.COM Shakespeare Bites Back: Not So Anonymous “Shakespeare Bites Back: Not So Anonymous” is a free ebook produced by The Shakespeare Birthplace Trust in partnership with Misfit, Inc. It is one of our many online projects, including Blogging Shakespeare, Finding Shakespeare, 60 Minutes with Shakespeare, Happy Birthday Shakespeare as well as many others. Our aim is to connect Shakespeare professionals, lovers and enthusiasts all over the world and to lead the world in democratising Shakespeare in the digital age. The Shakespeare Birthplace Trust is the independent charity charged with the care and promotion of Shake- speare’s physical and intellectual legacy. If you would like to know more or become involved with us then please go to www.shakespeare.org.uk. Dr. Diana Owen Director Shakespeare Birthplace Trust WWW.BLOGGINGSHAKESPEARE.COM Shakespeare TableBites Back: of Contents Not So Anonymous 3 The Evidence for Shakespeare 5 Doubting the Doubters 10 Shakespeare and Co. 11 Who’s in? Who’s out? 12 Infiltrating the Academy 13 Imagining Experience 15 Art Imitating Life 16 Among the Conspirators 18 Duping the Dean 21 The Language of the Doubters This book is free and does not 22 contain affiliate links. Share it with the world under the Sucking Shakespeare’s Blood 26 terms of creative commons attribution 3.0 license. Speaking up for Shakespeare 28 © 2011 Blogging Shakespeare Not at all anonymous 29 baked & frosted by misfit, inc. A Pro-Shakespearian Manifesto 32 Resources 40 WWW.BLOGGINGSHAKESPEARE.COM Shakespeare Bites Back: Not So Anonymous 4 by Rev. -
Shakespeare's Cultural Capital Conversion
Brigham Young University BYU ScholarsArchive Theses and Dissertations 2019-12-01 Shakespeare's Cultural Capital Conversion Christopher S. Hults Brigham Young University Follow this and additional works at: https://scholarsarchive.byu.edu/etd Part of the Arts and Humanities Commons BYU ScholarsArchive Citation Hults, Christopher S., "Shakespeare's Cultural Capital Conversion" (2019). Theses and Dissertations. 7736. https://scholarsarchive.byu.edu/etd/7736 This Thesis is brought to you for free and open access by BYU ScholarsArchive. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Shakespeare’s Cultural Capital Conversion Christopher S. Hults A thesis submitted to the faculty of Brigham Young University in partial fulfillment of the requirements for the degree of Master of Arts Megan Sanborn Jones, Chair Wade Hollingshaus Rodger Sorensen Department Theatre and Media Arts Brigham Young University Copyright © 2019 Christopher S. Hults All Rights Reserved ABSTRACT Shakespeare’s Cultural Capital Conversion Christopher S. Hults Department of Theatre and Media Arts, BYU Master of Arts Shakespeare’s vast cultural capital does not often translate easily to financial capital. Whether those who invest in Shakespeare seek financial, educational, or cultural gain, an understanding of capital conversion as it relates to Shakespeare industries can inform decisions and clarify goals. After clarifying and delineating what we have and know of Shakespeare before 1616 and what has been created by culture regarding him after 1616, we label the latter Shakesaltation, then seek the key to converting his cultural capital to financial capital. -
Highland Public Library Feature Film Master List (Updated January 2021)
Highland Public Library Feature Film Master List (updated January 2021) Title Year Released Rating 1 21 2008 PG13 2 21 Bridges 2020 R 3 33 2016 PG13 4 61 2001 NR 5 71 2014 R 6 300 2007 R 7 1776 2002 PG 8 1917 2019 R 9 2012 2009 PG13 10 10 Cloverfield Lane 2016 PG13 11 10 Years 2012 PG13 12 101 Dalmatians 1961 G 13 11.22.63 2016 NR 14 12 Angry Men 1957 NR 15 12 Strong 2018 R 16 12 Years a Slave 2013 R 17 127 Hours 2010 R 18 13 Hours 2016 R 19 13 Reasons Why: Season One 2017 NR 20 15:17 to Paris 2018 PG13 21 17 Again 2009 PG13 22 2 Guns 2013 R 23 20000 Leagues Under the Sea 2003 G 24 20th Century Women 2016 R 25 21 Jump Street 2012 R 26 22 Jump Street 2014 R 27 27 Dresses 2008 PG13 28 3 Days to Kill 2014 PG13 29 3:10 to Yuma 2007 R 30 30 Minutes or Less 2011 R 31 300 Rise of an Empire 2014 R 32 40 The Temptation of Christ 2020 NR 33 42 The Jackie Robinson Story 2013 PG13 34 45 Years 2015 R 35 47 Meters Down 2017 PG13 36 47 Meters Down: Uncaged 2019 PG13 37 47 Ronin 2013 PG13 38 4th Man Out 2015 NR 39 5 Flights Up 2014 PG13 40 50/50 2011 R 41 500 Days of Summer 2009 PG13 42 7 Days in Entebbe 2018 PG13 43 8 Heads in a Duffel Bag a Mindless Comedy 2000 R 44 8 Mile 2003 R 45 90 Minutes in Heaven 2015 PG13 46 99 Homes 2014 R 47 A.I.