The Hyphen, the Mask & the Daughter
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
A STUDY GUIDE by Katy Marriner
© ATOM 2012 A STUDY GUIDE BY KATY MARRINER http://www.metromagazine.com.au ISBN 978-1-74295-267-3 http://www.theeducationshop.com.au Raising the Curtain is a three-part television series celebrating the history of Australian theatre. ANDREW SAW, DIRECTOR ANDREW UPTON Commissioned by Studio, the series tells the story of how Australia has entertained and been entertained. From the entrepreneurial risk-takers that brought the first Australian plays to life, to the struggle to define an Australian voice on the worldwide stage, Raising the Curtain is an in-depth exploration of all that has JULIA PETERS, EXECUTIVE PRODUCER ALINE JACQUES, SERIES PRODUCER made Australian theatre what it is today. students undertaking Drama, English, » NEIL ARMFIELD is a director of Curriculum links History, Media and Theatre Studies. theatre, film and opera. He was appointed an Officer of the Order Studying theatre history and current In completing the tasks, students will of Australia for service to the arts, trends, allows students to engage have demonstrated the ability to: nationally and internationally, as a with theatre culture and develop an - discuss the historical, social and director of theatre, opera and film, appreciation for theatre as an art form. cultural significance of Australian and as a promoter of innovative Raising the Curtain offers students theatre; Australian productions including an opportunity to study: the nature, - observe, experience and write Australian Indigenous drama. diversity and characteristics of theatre about Australian theatre in an » MICHELLE ARROW is a historian, as an art form; how a country’s theatre analytical, critical and reflective writer, teacher and television pre- reflects and shape a sense of na- manner; senter. -
After the Ball David Williamson
David Williamson’s first full-length play, The Coming of Stork, premiered at the La Mama Theatre, Carlton, in 1970 and later became the film Stork, directed by Tim Burstall. The Removalists and Don’s Party followed in 1971, then Jugglers Three (1972), What If You Died Tomorrow? (1973), The Department (1975), A Handful of Friends (1976), The Club (1977) and Travelling North (1979). In 1972 The Removalists won the Australian Writers’ Guild AWGIE Award for best stage play and the best script in any medium and the British production saw Williamson nominated most promising playwright by the London Evening Standard. The 1980s saw his success continue with Celluloid Heroes (1980), The Perfectionist (1982), Sons of Cain (1985), Emerald City (1987) and Top Silk (1989); whilst the 1990s produced Siren (1990), Money and Friends (1991), Brilliant Lies (1993), Sanctuary (1994), Dead White Males (1995), Heretic (1996), Third World Blues (an adaptation of Jugglers Three) and After the Ball (both in 1997), and Corporate Vibes and Face to Face (both in 1999). The Great Man (2000), Up for Grabs, A Conversation, Charitable Intent (all in 2001), Soulmates (2002), Birthrights (2003), Amigos, Flatfoot (both in 2004), Operator and Influence(both 2005) have since followed. Williamson is widely recognised as Australia’s most successful playwright and over the last thirty years his plays have been performed throughout Australia and produced in Britain, United States, Canada and many European countries. A number of his stage works have been adapted for the screen, including The Removalists, Don’s Party, The Club, Travelling North, Emerald City, Sanctuary and Brilliant Lies. -
Writing the Shakespeare Mask: the Novelist's Choices
Writing The Shakespeare Mask: The Novelist’s Choices Newton Frohlich *Corresponding Author: [email protected] Copyright©2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract The authorship of the works of Shakespeare by de Vere is depicted from when he was five to the time of his the glover from Stratford -on-Avon has been considered a tragic death, including his "favored," sexual relationship myth almost from its inception. No less than Charles Dickins, with the queen and his intimate relationship with Emilia Mark Twain, Henry and William James, Ralph Waldo Bassano, who is widely accepted as the "Dark Lady" of Emerson, Herman Melville, Walt Whitman, Royal Shake-speare's Sonnets. (There is no evidence of any Shakespeare Company actors John Gielgud, Derek Jacobi, relationship between the Stratford man and Emilia Bassano.) Jeremy Irons, and Michael York, British Prime Minister In short, while the documentary evidence of de Vere's -- or Benjamin Disraeli, five United States Supreme Court the Stratford man's -- authorship of the works of Shakespeare Justices, and thousands who signed a Declaration of Doubt is missing, the circumstantial evidence of de Vere's About Will circulating the World-Wide Web have attested to authorship is overwhelming. And as United States Supreme their doubts. In response to the request by his publisher, Court Justice John Paul Stevens puts it, "circumstantial author Newton Frohlich, commencing research connected evidence can be as persuasive as documentary evidence with a sequel to his novel about Columbus, came across especially where, as here, there's so much of it. -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608. -
Introduction This Thesis Discusses the Theatrical Presentation of Translated
Introduction This thesis discusses the theatrical presentation of translated texts of Australian plays in Japan. I have produced and published Japanese translations of Australian plays since the beginning of the 1990s. Especially since 1995, when my translation of John Romeril's The Floating World was produced, I have collaborated with theatre companies and directors.1 My purpose was to change and to enlarge the partial (misrepresentations of Australia in Japan by introducing Australian theatre to Japan. In order to achieve this purpose, as well as undertaking translations of Australian plays, I have written and published a book on the history of Australian film in Japanese. When I started translating Australian plays, most Japanese people did not even know that theatre and film existed in Australia. When they saw Australian plays and films for the first time, they would certainly have been surprised. So, why did many Japanese never dream that culture and arts existed in Australia? In order to answer this question, in the first half of the Introduction, I will clarify how Japan has regarded Australia by investigating the characteristics of representations of Australia in Japan. When my translations have been presented by theatre companies, I have often found responses from the Japanese audiences which I had never expected when I translated the plays. That was probably because the presentation of translated texts of Australian plays has multifaceted significance. This not only reflects the cultural context of 'translated plays' as a genre, but in some cases, also reflects other elements specific to Japanese life and society. In the latter half of the Introduction, I will further explain the reason why the presentation of translated texts of Australian plays has such a multifaceted significance in Japan. -
Top Left-Hand Corner
Department of English ”Art Made Tongue-tied By Authority”? The Shakespeare Authorship Question Lars Lindholm Bachelor Degree Project Literature VT 2012 Supervisor: Marion Helfer Wajngot Abstract The essay presents the scholarly controversy over the correct attribution of the works by “Shakespeare”. The main alternative author is Edward de Vere, 17th earl of Oxford. 16th century conventions allowed noblemen to write poetry or drama only for private circulation. To appear in print, such works had to be anonymous or under pseudonym. Overtly writing for public theatre, a profitable business, would have been a degrading conduct. Oxford‟s contemporary fame as an author is little matched by known works. Great gaps in relevant sources indicate that documents concerning not only his person and authorship but also the life of Shakspere from Stratford, the alleged author, have been deliberately eliminated in order to transfer the authorship, for which the political authority of the Elizabethan and Jacobean autocratic society had motive and resources enough. A restored identity would imply radical redating of plays and poems. To what extent literature is autobiographical, or was in that age, and whether restoring a lost identity from written works is legitimate at all, are basic issues of the debate, always implying tradition without real proof versus circumstantial evidence. As such arguments are incompatible, both sides have incessantly missed their targets. The historical conditions for the sequence of events that created the fiction, and its main steps, are related. Oxford will be in focus, since most old and new evidence for making a case has reference to him. The views of the two parties on different points are presented by continual quoting from representative recent works by Shakespeare scholars, where the often scornful tone of the debate still echoes. -
The Shakespeare Controversy
Brief Chronicles Vol. I (2009) 277 Book Reviews !e Shakespeare Controversy 2nd Edition By Warren Hope and Kim Holston Je!erson: NC, McFarland, 2009 Reviewed by R. "omas Hunter knew I liked this book from its !rst words. “For too long” Delia Bacon has been misunderstood and misrepresented as has her symbolic function for Shakespeare I authorship studies: “an unworldly pursuit of truth that produces gifts for a world that is indi"erent or hostile to them.” Anyone who has labored in the vineyards of authorship study knows how well that statement expresses their experience. #e second accomplishment of authors Warren Hope and Kim Holston in the early pages of !e Shakespeare Controversy is to help untangle the web of Ms. Bacon’s seminal work, which !rst articulated the authorship issue and gave birth to subsequent generations of research, reading, and speculation, !e Philosophy of the Plays of Shakespeare Unfolded. #us, from its very beginning, the authors of this recently revised history of the Shakespeare authorship controversy provide an engaging and a very necessary primer into the history of the controversy and its progression toward Edward De Vere, the 17th Earl of Oxford as the true author of Shakespeare’s works. It is at the same time more complete, more reasonable, and more readable than anything Stratfordian Professor Samuel Shoenbaum, who tended toward hysteria whenever he addressed authorship literature, ever provided in his histories of Shakespearean biography. Indeed in their introduction, the authors remark on how histories of authorship produced by the traditional camp have all been a$icted with “a dreary sameness…[that] there is no Shakespeare authorship question, really, only a gabble of cranks who think there is. -
Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question
University of Miami Law Review Volume 57 Number 2 Article 4 1-1-2003 Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Thomas Regnier Follow this and additional works at: https://repository.law.miami.edu/umlr Recommended Citation Thomas Regnier, Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question, 57 U. Miami L. Rev. 377 (2003) Available at: https://repository.law.miami.edu/umlr/vol57/iss2/4 This Article is brought to you for free and open access by the Journals at University of Miami School of Law Institutional Repository. It has been accepted for inclusion in University of Miami Law Review by an authorized editor of University of Miami School of Law Institutional Repository. For more information, please contact [email protected]. COMMENT Could Shakespeare Think Like a Lawyer? How Inheritance Law Issues in Hamlet May Shed Light on the Authorship Question Shakespeare couldn't have written Shakespeare's works, for the reason that the man who wrote them was limitlessly familiar with the laws, and the law-courts, and law-proceedings, and lawyer-talk, and lawyer-ways-and if Shakespeare was possessed of the infinitely- divided star-dust that constituted this vast wealth, how did he get it, and where, and when? . [A] man can't handle glibly and easily and comfortably and successfully the argot of a trade at which he has not personally served. He will make mistakes; he will not, and can- not, get the trade-phrasings precisely and exactly right; and the moment he departs, by even a shade, from a common trade-form, the reader who has served that trade will know the writer hasn't. -
Culture and Customs of Australia
Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Culture and Customs of Australia Culture and Customs of Australia LAURIE CLANCY GREENWOOD PRESS Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Clancy, Laurie, 1942– Culture and customs of Australia / Laurie Clancy. p. cm. Includes bibliographical references and index. ISBN 0–313–32169–8 (alk. paper) 1. Australia—Social life and customs. I. Title. DU107.C545 2004 306'.0994 —dc22 2003027515 British Library Cataloguing in Publication Data is available. Copyright © 2004 by Laurie Clancy All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 2003027515 ISBN: 0–313–32169–8 First published in 2004 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. www.greenwood.com Printed in the United States of America The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48–1984). 10 9 8 7 6 5 4 3 2 1 To Neelam Contents Preface ix Acknowledgments xiii Chronology xv 1 The Land, People, and History 1 2 Thought and Religion 31 3 Marriage, Gender, and Children 51 4 Holidays and Leisure Activities 65 5 Cuisine and Fashion 85 6 Literature 95 7 The Media and Cinema 121 8 The Performing Arts 137 9 Painting 151 10 Architecture 171 Bibliography 185 Index 189 Preface most americans have heard of Australia, but very few could say much about it. -
Interview with David Williamson
Kunapipi Volume 1 Issue 2 Article 18 1979 Interview with David Williamson David Williamson Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Williamson, David, Interview with David Williamson, Kunapipi, 1(2), 1979. Available at:https://ro.uow.edu.au/kunapipi/vol1/iss2/18 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Interview with David Williamson Abstract David Williamson was guest professor at Aarhus University in the Spring term of 1978. The interviewers were post-graduate students and members of staff. You have spoken of an 'Australian uniqueness'. What do you think this is, and what has it meant for your writing? This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol1/iss2/18 David Williamson INTERVIEW David Williamson was guest professor at Aarhus University in the Spring term of 1978. The interviewers were post-graduate stu dents and members of staff. You have spoken of an 'Australian uniqueness'. What do you think this is, and what has it meant for your writing? Well, Australia is a relatively new country and was first founded dubiously, if you could use that word, because it was originally a convict dumping ground. Then there was a gold rush in the 1850s in which every greedy person came flocking across to find gold and so we've had an obsession with material gain and money ever since, I think. I'm joking, there are a lot of really good things about Australia but it is a strange country in a lot of ways and I didn't realize it was until I started travelling abroad seeing other countries in action. -
'Fhe Shakespeare :7Vewsletter
'fhe Shakespeare :7Vewsletter Vo 1.35:no.4 "L et me study so, to know the thing I am fo rbid to know" Winter 2000 Shakespeare's Society opens its library, "Bad Law" establishes an EndowlTIent A journey through Two long-standing goals becon1e realities the history of through the generosity of our supporters the argUl1'lents notiler major step has been taken in the Shakespeare Oxford Society's By MarkAndreAlexander Aadvancement of Oxfordian author n Shakespeare, IN FA CT (1994), Irvin ship research. Leigh Matus attempts to dispose of any With several significant grantsand do notions that Shakespeare had a fo rmal nations already received this year, we have legalI education and used legal terms accu been able to take major steps within the past several months in fulfillmentof several long rately: standing goals of the Society: a permanent Shakespeare Oxford Society Endowment The question of his legal knowledge has Fund has been established, and the Society been most recently [sic] tackled by O. Hood has rented (in Malden, MA) space to house Phillips, aj urist, legal scholar and educator, in its library, archives and office. The library Shakespeare and the Lawyers. In the chapter, consists of book collections donated to the "Did Shakespeare have a Legal Training?" he Society over the years, with the gathered and summarized the varying opin CheJyle Sims, one of the Directors of the centerpiece being the Victor Crichton ions that have been handed down. The most Gertrude C. Ford Foundation, addressed Collection. reliable assessment oftheplay wright' s knowl For many years it had been a goal ofthe the Conference at the Saturday luncheon, edge of law, in his opinion, is that of P. -
Summer 2000 Page 3
'the Shakeseeare ]Vewsletter Vo1.36:no.2 "Let me study so, to know the thing I am forbid to knoyv" SlUnmer 2000 An emerging The not ...too- hidden l(ey "crypto-Catholic" to Minerva Britanna theory challenges The Latin phrase ({by the mind 7' Stratfordians shall be seen" may mean just that By Peter W. Dickson By Roger Stritmatter till unbeknownst to many Oxfordians, the Stratfordians are increasingly per Na mes are divine notes, and plexed as to how to salvage the incum divine notes do 1I0tifiejilfure even ts; bent Bard in the face ofthe growing popular so that evellts consequently must ity of the thesis that he was a secret Roman lurk ill names, which only can be Catholic, at least prior to his arrival in Lon plyed into by this mysteIJI ... don, and perhaps to the end of his life, William Camden; "Anagrams" consistent with Richard Davies observation in Remaills ConcerningBritannia in the 1670s, that "he dyed a papist." The mere willingness to explore the evi inerva Britanna, the 1612 dence fo r the Shakspere family's religious emblem book written and orientation was strongly discouraged or sup M·llustrated by Henry pressed for centuries for one simple and Peacham, has long been consid quite powerfulreason: the works of Shake The title page to Hemy Peacham's Minerva Britanna ered the most sophisticated exem speare had become-along with the King (1612) has become one of the more intriguing-and plar of the emblem book tradition James'VersionoftheBible-amajorcultural controversial-artifacts in the authorship mystely. everpublished in England.