Teachers' Conference
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
Selected Contemporary Allusions
Appendix A Selected Contemporary Allusions 1. Robert Greene, Groats- Worth of Witte ( 1592). Quoted and discussed above, pp. 1-6, 53-4. See also Appendix B. 2. Henry Chettle, Kind-Harts Dreame (1592; SR 8 Dec. 1592), from the Epistle, 'To the Gentlemen Readers'. Discussed pp. 7, 21. he that offendes being forst, is more excusable than the wilfull faultie ... lie shew reason for my present writing, and after proceed to sue for pardon. About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groats worth of wit, in which a letter written to diuers play-makers, is offensiuely by one or two of them taken, and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindred the bitter inueying against schollers, it hath been very well knowne, and how in that I dealt I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other (i.e. Shakespeare], whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory, as if the originall fault had beene my fault, because my selfe haue seene his demeanor no !esse ciuill than he exelent in the qualitie he professes: Besides, diuers of worship haue reported, his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art. -
Further Reading
Further reading Which edition if Shakespeare should I buy? This is not usually a problem as most often you will be told which par ticular edition of an individual play you should use. If you are free to choose your edition, you will obviously want to ensure that it is both reliable and as helpful as possible. The following series all have good notes, sound critical introductions, and are fully annotated: the Arden Shakespeare (a new, revised series will start appearing in 1995), the New Cambridge Shakespeare, the New O'fford Shakespeare (being published in paperback by World's Classics), and the New Penguin Shakespeare. In addition, you will find it useful to have a copy of Shakespeare's com plete works both for further reading and for reference. The standard Complete Works is that edited by Peter Alexander for Collins (we have taken our quotations from this); the Oxford edition of the Complete Works edited by Gary Taylor and Stanley Wells has many non-standard features; the Riverside Shakespeare (edited by G.B. Evans) has useful intro ductions to the plays. What critical books should I read? If you have read the play you have been set to study, but cannot see what it is about, what you need is a book that gives you an idea of the significance of the play. An introductory volume in this respect is Mar guerite Alexander's An Introduction to Shakespeare and his Contemporaries (1979). Similarly Philip Edwards's Shakespeare: A Writer's Progress (1986) will provide some starting-points, as will Richard Dutton's William Sha kespeare: A Literary Lifo (1989). -
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. -
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 -
TEACHING SHAKESPEARE 12 Summer 2017 TEACHING SHAKESPEARE in HANOI
ISSUE 12 FIRST EVER ðSUMMERð ISSUE POLICY • PEDAGOGY • PRACTICE Summer 2017 ISSN 2049-3568 (Print) • ISSN 2049-3576 (Online) TAILOR TEACHING TO ASD STUDENTS WITH SUSIE FLINTHAM AND CHARLOTTE ROBERTS TALK BACK TO OTHELLO WITH AMY SMITH, HER STUDENTS AND JUVENILE OFFENDERS TOUR THE FOLGER SHAKESPEARE LIBRARY PROMPT BOOKS WITH ADAM MATTHEW Find this magazine and more at the BSA Education Network’s webpage www.britishshakespeare.ws/education/ NOTICEBOARD Photograph © Claudio Divizia / Shutterstock.com © Photograph THE BSA CONFERENCE The BSA is proud to announce the locations, institutional partners and themes of its next three conferences: • SHAKESPEARE STUDIES TODAY 14–17 June 2018, Queen’s University, Belfast • SHAKESPEARE: RACE AND NATION July 2019, Swansea University • SHAKESPEARE IN ACTION July 2020, University of Surrey The BSA conference is the largest regular Shakespeare conference in the United Kingdom, bringing together researchers, teachers, and theatre practitioners from all SHARE YOUR VIEWS over the world to share the latest work on Shakespeare With Teaching Shakespeare now firmly in double figures, and his contemporaries. From 2018, the BSA conference we thought this would be a good time to check in with our will become an annual event, having previously been held readers and ask for your views on and experiences with us. every two years. The BSA is delighted that high demand A ten-question survey which should take no more than ten has enabled us to increase the frequency of this, our minutes of your time to answer, to help us serve the BSA flagship event. BSA conferences include a wide range community even better, can be found at: of sessions and events, including academic lectures by www.surveymonkey.co.uk/r/JRDLVHL internationally renowned Shakespeare critics, talks by celebrated practitioners and practical workshops. -
View Publication
Vol. XIX THE • VP.START • CROW• Editor J ames Andreas Clemso11 U11iversity Fou11di11g Editor William Bennett The University of Tennessee at Martin Associate Editors Michael Cohen Murray State U11iversity Herbert Coursen University of Maine, Augusta Charles Frey The U11 iversity of Washington Marjorie Garber Harvard U11iversity Juana Green Clemson University Walter Haden The U11 iversity of Tennessee at Marti11 Chris Hassel Va11derbilt University Maurice Hunt Baylor U11iversity Richard Levin The U11iversity of California, Davis John McDaniel Middle Te11nessee State University Peter Pauls The Un iversity of Wimzipeg Jeanne Roberts America11 U11 iversity Business Managers Martha Andreas and Charlotte Holt Clemson U11iversity Productio11 Editors Tharon Howard, William Wentworth, and Allen Swords Clemson University Account Managers Pearl Parker and Judy Payne Copyright 1999 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XIX About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. -T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opinions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diversity of approaches and opinions which we hope will stimulate interest and inspire new scholarship. Subscription Information Two issues-$14 Institutions and Libraries, same rate as individuals-$14 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double spaced typed pages, including notes. -
In Russia and the Former Soviet Union 21 August - 1 October 09
A celebration of theatre in Russia and the former Soviet Union 21 August - 1 October 09 select YOUR OWN seat online www.rsc.org.uk (NO BOOKING FEE) RSC TICKET HOTLINE 0844 800 1110 (NO BOOKING FEE, CALLS FROM BT LANDLINE COST 5P PER MINUTE) NEXT This September, the RSC launches a four year celebration and exploration of theatre in Russia and The former soviet union. We begin with the premiere of two new RSC commissioned plays from Russia and Ukraine, performed by the RSC Ensemble. The Grain Store and The Drunks capture the voices of an exciting new generation of post-Soviet playwrights. We will end with a major Russian contribution to our 2012 Olympic celebration. Magnum/Thomas Dworzak Russia is reasserting itself as a major influence in world politics and culture through its In Revolutions, we are beginning a new chapter in the RSC’s historic relationship rich natural resources and rediscovery of nationalism. For over a century, Russian theatre with this daunting, great, paradoxical nation. Join us to explore the breadth of Russian has had a profound influence on theatre in the West and particularly that of the RSC. culture through a dynamic series of events. Hear talks and debates with leading After Shakespeare, Chekhov is the most performed playwright in the world and Russian cultural commentators and practitioners, listen to readings of work from new and work has always featured heavily in the RSC’s repertoire. Stanislavsky began and is established Russian dramatists, see the latest in visual arts and experience still at the heart of Western film and theatre practice. -
Abbreviations Titles of Shakespeare's Plays Are Abbreviated As in the SQ
Notes Abbreviations Titles of Shakespeare's plays are abbreviated as in the SQ Annotated World Bibliography, except that the name Lear is given in its full form. Periodicals are referred to by standard or perspi- cuous abbreviations, but the following may be noted: Cahiers: Cahiers elisabethains ES: English Studies SS: Shakespeare Survey SSt: Shakespeare Studies SAS stands for Straiford-upon-Avon Studies; and Sources for Geoffrey Bullough, Narrative and Dramatic Sources of Shakespeare, I-VIII (1957-75). Modern editions of Shakespeare's plays are referred to as follows: Arden: The Arden Shakespeare, new series inaugurated in 1951. Cam.: The New Shakespeare edited by Sir Arthur Quiller- Couch and John Dover Wilson. New Cam.: The New Cambridge Shakespeare inaugurated in 1984. Oxf.: The Oxford Shakespeare inaugurated in 1982. INTRODUCTION I. William Web be, A Discourse of English Poetrie ( 1586), quoted from G. Gregory Smith (ed.), Elizabethan Critical Essays, vol. I (1904) p.249. See also E. K. Chambers, The Mediaeval Stage, vol. II (1903) p.209. 2. Margeson, The Origins of English Tragedy (1967) pp. 82, 72. See also Clifford Leech, Shakespeare's Tragedies (1965) p.27. It has to be emphasised that 'tragedy' did not necessarily mean drama. 216 Notes to pp. 2 -7 217 3. See also Emrys Jones, The Origins of Shakespeare (1977) pp. 51-7. 4. Dessen, Shakespeare and the Late Moral Plays (1986) pp. 134-5. 5. See T. W. Baldwin, Shakspere's Five-Act Structure (1947, 1963), chs. I-XVI; and Smidt, Unconformities in Shakespeare's Early Comedies (1986) pp. 4-7. 6. See M. -
Penguin Classics
PENGUIN CLASSICS A Complete Annotated Listing www.penguinclassics.com PUBLISHER’S NOTE For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world, providing readers with a library of the best works from around the world, throughout history, and across genres and disciplines. We focus on bringing together the best of the past and the future, using cutting-edge design and production as well as embracing the digital age to create unforgettable editions of treasured literature. Penguin Classics is timeless and trend-setting. Whether you love our signature black- spine series, our Penguin Classics Deluxe Editions, or our eBooks, we bring the writer to the reader in every format available. With this catalog—which provides complete, annotated descriptions of all books currently in our Classics series, as well as those in the Pelican Shakespeare series—we celebrate our entire list and the illustrious history behind it and continue to uphold our established standards of excellence with exciting new releases. From acclaimed new translations of Herodotus and the I Ching to the existential horrors of contemporary master Thomas Ligotti, from a trove of rediscovered fairytales translated for the first time in The Turnip Princess to the ethically ambiguous military exploits of Jean Lartéguy’s The Centurions, there are classics here to educate, provoke, entertain, and enlighten readers of all interests and inclinations. We hope this catalog will inspire you to pick up that book you’ve always been meaning to read, or one you may not have heard of before. To receive more information about Penguin Classics or to sign up for a newsletter, please visit our Classics Web site at www.penguinclassics.com. -
The Arden Shakespeare
THE ARDEN SHAKESPEARE SHAKESPEARE IN OUR TIME 2016 The Arden Shakespeare has long set the gold standard in annotated, scholarly editions of Shakespeare’s plays. We now also offer a broad range of critical studies for students and scholars, providing fresh insight into the work and world of Shakespeare and his contemporaries. The Arden Shakespeare provides support for students and teachers throughout higher education. The Arden Shakespeare is an imprint of Bloomsbury www.bloomsbury.com/arden A Word from the Publisher We are marking Shakespeare's 400th anniversary year with some innovative publishing: On Shakespeare's Sonnets celebrates Shakespeare the poet, with 30 leading poets writing a new poem in response to a sonnet, while Shakespeare in Our Time showcases the current and future shape of Shakespeare studies with a wealth of essays from leading international scholars. The beautifully illustrated Shakespeare and the Stuff of Life illuminates the world in which Shakespeare lived and wrote while Shakespeare's Creative Legacies explores his work's influence on a variety of creative arts, with personal reflections from theatre makers, artists and writers giving a unique voice to Shakespeare's enduring impact. Margaret Bartley, Publisher [email protected] @ardenpublisher211-280_ 2/14/07 1:03 PM Page 233 What makes an Arden different? Each Arden play edition includes the most comprehensive introduction available on the market. Introductions are illustrated and offer the most in-depth survey of historical, performance and cultural contexts, as well as critical approaches to the play. Together with a clear and authoritative text, plus detailed notes and commentary, this is the finest edition of Shakespeare you can find.