Macbeth Voodoo
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Shakespeare in America Performance, Scholarship, and Teaching
SHAKESPEARE IN AMERICA PERFORMANCE, SCHOLARSHIP, AND TEACHING Michael MULLIN Univcrsity of lllinois Shakcspeare. One namc with instant recognition in our world today, Shakespeare may be as close as we can come to a cultural universal in this multi-cthnic, polyglot, global village. My thesis for today is a simple one: If one is to study and teach English or American literature, one must know Shakespeare because Shakespeare has been and continues to be cen tral to Engtish-language culture and education in North America. First Jet us review sorne facts, which I have sct down in the handouts. The breadth and depth of Shakespearean activity in America is simply staggering. l. Performance Theatre More than 38 Shakespeare festivals playing during the summer months bring live Shakespeare to audiences easily numbering 1 million annually. Throughout the year Broadway and many community and university thea tres continue to find Shakespeare a boxoffice bonanza. Television The BBC Shakespeare on Television 1980-87 drew audiences estimatcd at 3-5% of the American viewing audience, or something likc 10 million people for an average broadcast. Commercial television and film makers continue to invest in new Shakespeare productions, thc most recent being the acclaimed Henry V starring Kenneth Branagh. 49 2. Scholarship Publications Shakespeare Quarterly, Shakespeare Studies, and The Shakespeare Newsletter -to name only the three best known of severa! American publi cations- have paid circulations of 2,000 to 3,500. Each year two dozen or more books on various aspects of Shakespeare and Shakespeare criticism are published in the United States. Professional societies The Shakespeare Association of America draws 500 scholars to its annual meetings; its membership includes twice that number. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne Mcclelland University of Mississippi
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2017 Macbeth in Film: Directorial Choices and Their Impact on the Audience Kellie Suzanne McClelland University of Mississippi. Sally McDonnell Barksdale Honors College Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Part of the English Language and Literature Commons Recommended Citation McClelland, Kellie Suzanne, "Macbeth in Film: Directorial Choices and Their mpI act on the Audience" (2017). Honors Theses. 534. https://egrove.olemiss.edu/hon_thesis/534 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. MACBETH IN FILM: DIRECTORIAL CHOICES AND THEIR IMPACT ON THE AUDIENCE by Kellie Suzanne McClelland A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2017 Approved by ____________________________________ Adviser: Professor Ivo Kamps ____________________________________ Reader: Senior Lecturer Peter Wirth ____________________________________ Reader: Professor Karen Raber © 2017 Kellie Suzanne McClelland ALL RIGHTS RESERVED ii To Dr. Ben McClelland for believing in me and encouraging me and supporting me on this, his Retirement Year, as well as every other time of my life. Thanks for it all. I love you, Daddy. iii ACKNOWLEDGEMENTS First and foremost, I owe my family, friends, and Him from whom all blessings flow my deepest gratitude for providing comfort and encouragement throughout this arduous journey that has become my thesis. -
Lady Macbeth, the Ill-Fated Queen
LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI BY 2015 Andrea Lynn Garritano ANDREA LYNN GARRITANO Submitted to the graduate degree program in Music and the Graduate Faculty of The University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Musical Arts. ________________________________ Chairperson, Dr. Roberta Freund Schwartz ________________________________ Prof. Joyce Castle ________________________________ Dr. John Stephens ________________________________ Dr. Kip Haaheim ________________________________ Dr. Martin Bergee Date Defended: December 19, 2014 ii The Dissertation Committee for ANDREA LYNN GARRITANO Certifies that this is the approved version of the following dissertation: LADY MACBETH, THE ILL-FATED QUEEN: EXPLORING SHAKESPEAREAN THEMES OF AMBITION, SEXUALITY, WITCHCRAFT, PATRILINEAGE, AND MATRICIDE IN VOCAL SETTINGS OF VERDI, SHOSTAKOVICH, AND PASATIERI ______________________________ Chairperson, Dr. Roberta Freund Schwartz Date approved: January 31, 2015 iii Abstract This exploration of three vocal portrayals of Shakespeare’s Lady Macbeth investigates the transference of themes associated with the character is intended as a study guide for the singer preparing these roles. The earliest version of the character occurs in the setting of Verdi’s Macbeth, the second is the archetypical setting of Lady Macbeth found in the character Katerina Ismailova from -
William Shakespeare As a Psychologist: a Study of the Supernatural Agency in Macbeth
© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.org (ISSN-2349-5162) William Shakespeare As A Psychologist: A Study of The Supernatural Agency in Macbeth Written By: - Prithvi Raj, Lecturer in English, Govt. Sr. Sec. School, Gurera Distt Bhiwani (Haryana) Macbeth: The Tragedy of Macbeth is a play by William Shakespeare. It is the tragedy about a regicide and its aftermath. It is Shakespeare's shortest tragedy. The first act opens in thunder and lightning with the three witches. They decide that their next meeting shall be with Macbeth. The three Witches appear to greet them with prophecies. Both Macbeth and Banquo are surprised and horrified to see them. The first witch hails Macbeth as "Thane of Glamis,” the second as "Thane of Cawdor,” and the third proclaims that he shall "be King hereafter.” Instantly, Ross, a messenger of the King, arrives and informs Macbeth about his new title: Thane of Cawdor. The first prophecy has thus fulfilled. It gives thought to Macbeth for getting position of king. Macbeth writes to his wife and informs about three witches with prophecies. Coincidently Duncan decides to spend one night in the Macbeth's castle. Lady Macbeth makes a plan to murder the king. Since, she wants to secure the throne of the king for her husband, Macbeth. Although, Macbeth does not like to murder the king, however Lady Macbeth agrees him for this cruelty. On the night of the king's visit, Macbeth kills Duncan. The audiences do not see the misdeed of murder. In accordance with her plan, “Lady Macbeth frames ………..Thane of Fife, arrives.”[1] In a feigned fit of anger, Macbeth also murders the guards before they can protest their innocence. -
The American Century Theater Presents Voodoo Macbeth Written by William Shakespeare and Adapted by Orson Welles Directed by Kathleen Akerley
Theater you can afford to see— plays you can’t afford to miss! NEWS for immediate release February 2013 Contact Emily Morrison, 703-998-4555 (TACT office), 323-363-4404 (c) E-mail [email protected] And [email protected] Press photos Http://www.AmericAncentury.org/pHotos/voodoo/ The American Century Theater presents Voodoo Macbeth Written by WilliAm SHAkespeAre And Adapted by Orson Welles Directed by KAtHleen Akerley The AmericAn Century THeater will present Orson Welles’ AdAptAtion of SHAkespeare’s Macbeth, tHe sensationAl Voodoo Macbeth, MarcH 22 – April 13 at Gunston THeAtre II in Arlington. The FederAl TheAtre Project’s production of Voodoo Macbeth in 1936 is legendAry for its cast of AfricAn-AmericAn Actors. A mArginAlized group Heretofore seen in primArily dancing And singing roles, tHe plAy cHAllenged Audiences to Acknowledge And AppreciAte tHeir cleAr tAlent And Ability. Set in Haiti, Shakespeare’s tHemes of witcHcraft and the occult were replAced by the islAnd’s prActices of voodoo. Evoking Orson Welles’ reimAgining of Macbeth creAted a unique cHAllenge for THe AmericAn Century TheAter, which HAs mounted versions of Welles’ iconic stAge productions throughout its seventeen-year History witH notable success. No fewer tHan five TACT productions Have been inspired by Welles’ concepts And direction, including tHe Helen HAyes nominAted Moby Dick Rehearsed and tHe agitprop lAbor musicAl, The Cradle Will Rock. Artistic Director Jack MArsHAll explAins: “Unlike tHe otHer Welles shows, Voodoo Macbeth cAnnot be true to his vision if we stick closely to his stAging and casting ideas. Welles believed tHAt tHeAter sHould be exciting, surprising, And original. -
Sensory Witchcraft in Shakespeare's <I>Antony and Cleopatra</I>
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Dissertations, Theses, and Student Research: Department of English English, Department of Spring 4-20-2020 "You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth Hannah Kanninen University of Nebraska - Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/englishdiss Part of the Literature in English, British Isles Commons Kanninen, Hannah, ""You Have Witchcraft in Your Lips": Sensory Witchcraft in Shakespeare's Antony and Cleopatra and Macbeth" (2020). Dissertations, Theses, and Student Research: Department of English. 162. https://digitalcommons.unl.edu/englishdiss/162 This Article is brought to you for free and open access by the English, Department of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Dissertations, Theses, and Student Research: Department of English by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH by Hannah Kanninen A THESIS Presented to the Faculty of The Graduate College at the University of Nebraska In Partial Fulfillment of Requirements For the Degree of Master of Arts Major: English Under the Supervision of Professor Julia Schleck Lincoln, Nebraska May, 2020 “YOU HAVE WITCHCRAFT IN YOUR LIPS”: SENSORY WITCHCRAFT IN SHAKESPEARE’S ANTONY AND CLEOPATRA AND MACBETH Hannah Kanninen, M.A. University of Nebraska, 2020 Advisor: Julia Schleck Scholarship on witches and witchcraft within Shakespeare’s plays has been a popular subject for many scholars. But one of Shakespeare’s most famous characters has not yet been integrated into this scholarship: Cleopatra from Antony and Cleopatra. -
King James's Daemonologie: the Evolution of the Concept Of
Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari Corso di Laurea Magistrale in Lingue Moderne per la Comunicazione e la Cooperazione Internazionale Classe LM-38 Tesi di Laurea King James’s Daemonologie: the evolution of the concept of witchcraft in Scotland Relatore Laureando Prof. Alessandra Petrina Stefano Melta n° matr.1038982 / LMLCC Anno Accademico 2018 / 2019 1 Table of Contents FOREWORD ...................................................................................................................... 5 CHAPTER I: The Scottish social and political situation in the second half of the sixteenth century............................................................................................................................... 13 I.I. A social geography of the Reformation in Scotland .......................................... 13 I.II. Witchcraft as an enemy of the State ................................................................... 17 I.III. The shaping of the new Kirk and the concept of authority ................................ 21 CHAPTER II: Biographical background .......................................................................... 25 II.I The political situation in the 70s and 80s ........................................................... 28 II.II Marriage and witches ......................................................................................... 35 CHAPTER III: The books behind Daemonologie ............................................................ 41 CHAPTER IV: Daemonologie -
(Mtyp) Manitoba Theatre for Young People
Running head: (MTYP) MANITOBA THEATRE FOR YOUNG PEOPLE An Inquiry into the History of the Manitoba Theatre for Young People: Its Role and Impact on Education in Manitoba Joy Beauchamp A Thesis Submitted to the Faculty of Graduate Studies In Partial Fulfillment of the Requirements for the Degree of Master of Education Department of Curriculum, Teaching and Leaming University of Manitoba December 2004 @ Copyright by Joy Beauchamp 2004 THE UM\iERSITY OF MA,NITOBA FACULTY OF GRÄDUATE STUDMS COPYRIGHT PERMISSION PAGE An Inquiry into the History of the Manitoba Theatre for Young Peoplel Its Role and Impact on Education in Manitoba BY Joy Beauchamp A ThesisÆracticum submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfiIlment of the requirements of the degree of MASTER OF EDUCATION JOY BEAUCIIÄMP @2004 Permission has been granted to the Library ofThe University of Manitoba to lend or sell copies of this thesis/practicum, to the National Library of Canada to microfilm this thesis and to lend or sell copies of the film, and to University Microfìlm Inc, to publish an âbstract 0f this thesis/practicum. The author reserves other publication rights, and neither this thesis/practicum nor extensive extracts from it may be printed or otherwise reproduced \v¡thout the author's Ìyritten permission, Table of Contents List ofTables .......... vii Acknowledgnents ...... .........viii Abstract ........ ix Chapter 1: lntroduction and Overview ..........1 Setting the Context .........1 Purpose ofthe Study . 3 A Historical Inquiry Approach . ..........3 Delimitations ............4 Definitions .......6 Chapter 2: The Literature Review ... ..........8 Manitoba's 'Young' Theatre . .......13 The Changing View of the Child and Development in Children's Theatre . -
|||GET||| Macbeth the Witchs Tale 1St Edition
MACBETH THE WITCHS TALE 1ST EDITION DOWNLOAD FREE Dan Castell | 9781532027512 | | | | | Psychology in Everyday Life Some holy angel Fly to the court of England and unfold His message ere he come, that Macbeth The Witchs Tale 1st edition swift blessing May soon return to this our suffering country Under a hand accursed! Enter the three Witches First Witch Thrice the brinded cat hath mew'd. Rather than speaking in an iambic metre, with alternating unstressed and stressed syllables, the Witches speak in a trochaic metre, with stressed syllables followed by unstressed. A specialist in literary theory and pedagogy, she has written widely on the teaching of English Literature, curricular reform and the nature of disciplinary knowledge. New York: Washington Square Press, The witches hail Macbeth as Thane of Glamis a title he already holds by inheritanceThane of Cawdor, and king "hereafter. Many critics saw this as a clear parallel to Macbeth's murders at the urging of the Three Witches within the film. What's the boy Malcolm? Download as PDF Printable version. The King and the nobles arrive and Macbeth is emboldened to carry out the murder Mi si affaccia un pugnal? A herald announces the arrival of the Queen Duet: Vi trovo alfin! Second Witch Paddock calls. Do we but find the tyrant's power to-night, Let us be beaten, if we cannot fight. The Witches next appear in what is generally accepted to be a non-Shakespearean scene, [ citation Macbeth The Witchs Tale 1st edition ] 3. Old Man 'Tis said Macbeth The Witchs Tale 1st edition eat each other.