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09/28/21 TH205: Performing Shakespeare | University of Essex TH205: Performing Shakespeare View Online Barton, J. (2009). Playing Shakespeare. Methuen Drama. Berry, C. (1993). The actor and the text: Vol. Theatre studies (Rev. ed). Virgin. https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth &target=https://app.kortext.com/borrow/93084 Berry, C. (2001). Text in action. Virgin. Brown, J. R. (2011). Studying Shakespeare in performance. Palgrave Macmillan. Davies, O. F. (2007). Performing Shakespeare: [preparation, rehearsal, performance]. Nick Hern Books. Edmondson, P. (2005). Twelfth night: Vol. Shakespeare handbooks. Palgrave Macmillan. Griffiths, T. R. (2007). The tempest: Vol. The Shakespeare handbooks. Palgrave Macmillan. Gurr, A. (2009). The Shakespearean stage, 1574-1642 (4th ed). Cambridge University Press. Hall, P. (2009). Shakespeare’s advice to the players. Oberon Books. Hampton-Reeves, S. (2011). Othello: Vol. The Shakespeare handbooks. Palgrave Macmillan. Loehlin, J. N. (2008). Henry IV: parts I and II: Vol. The Shakespeare handbooks. Palgrave Macmillan. Marowitz, C. (1991). Recycling Shakespeare: Vol. The Dramatic medium. Macmillan Education. Nuttall, A. D. (2007). Shakespeare the thinker. Yale University Press. Shakespeare, W., Bate, J., & Rasmussen, E. (2009). Othello: Vol. The RSC Shakespeare. Macmillan. Shakespeare, W., Bate, J., & Rasmussen, E. (2010). Twelfth night: Vol. The RSC Shakespeare. Palgrave Macmillan. Shakespeare, W., Bate, J., Rasmussen, E., & Royal Shakespeare Company. (2008). The 1/2 09/28/21 TH205: Performing Shakespeare | University of Essex Tempest: Vol. The RSC Shakespeare ([New ed.]). Macmillan. Wells, S., & Stanton, S. (2002a). The Cambridge companion to Shakespeare on stage: Vol. Cambridge companions to literature. Cambridge University Press. Wells, S., & Stanton, S. (2002b). The Cambridge companion to Shakespeare on stage: Vol. Cambridge companions to literature. Cambridge University Press. http://0-gateway.proquest.com.serlib0.essex.ac.uk/openurl?ctx_ver=Z39.88-2003&xri:pqil: res_ver=0.2&res_id=xri:lion&rft_id=xri:lion:contents:companions_toc/CambridgeCompanio nShakesonStag/issues.jsp William Shakespeare, Jonathan Bate, & Eric Rasmussen. (2009). Henry IV, Part I: Vol. The RSC Shakespeare. Macmillan. 2/2.

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Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare.
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Henry V to China: to Beijing, Announce That Paapa Essiedu Will Play the Title Role
MEMBERSSEPTEMBER 2015 ’NEWSFULL MEMBER NEW RSC FULL MEMBERS’ TICKET HOTLINE 01789 403458 BOOK ONLINE OR VISIT EXCLUSIVE MEMBERS’ PAGES AT www.rsc.org.uk/membership TO HE WAS NOT OF AN AGE, BUT FOR ALL TIME! MEMBERS' PRIORITY BOOKING DATES FOR STRATFORD-UPON-AVON AND LONDON BARBICAN FULL MEMBERS' WEB AND TELEPHONE BOOKING OPENS MONDAY 21 SEPTEMBER 2015 ASSOCIATE MEMBERS' WEB AND TELEPHONE BOOKING OPENS MONDAY 5 OCTOBER 2015 PUBLIC BOOKING OPENS MONDAY 19 OCTOBER 2015 GREGORY DORAN – RSC ARTISTIC DIRECTOR 2016 is a remarkable SUMMER 2016 BEYOND STRATFORD year. It is 400 years Simon Godwin (The Two Gentlemen of Verona 2014) From an international perspective, we will tour since the death of will direct Hamlet and we are very excited to Henry IV and Henry V to China: to Beijing, announce that Paapa Essiedu will play the title role. Shanghai and Hong Kong, and then the full cycle William Shakespeare, Paapa played Fenton in our most recent The Merry to the Brooklyn Academy of Music in New York for Wives of Windsor and a stunning Romeo at the Shakespeare’s Birthday. We have a very special our house playwright. Tobacco Factory in Bristol earlier this year. relationship with America and it is fitting to be So we want to There has not been a production of Cymbeline on celebrating with our American supporters next year. the main stage for many years. Working through encourage everybody the canon over the next few years allows us to give to visit us in his home weight and scale to lesser known Shakespeare plays.
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Some Thoughts Surrounding 2016Production of the Tempest
CORE Metadata, citation and similar papers at core.ac.uk Provided by DSpace at Waseda University Some thoughts surrounding 2016 production of The Tempest UMEMIYA Yu The following note shows the result of an on going research on the play by William Shakespeare: The Tempest. The 2016 production at the Royal Shakespeare Company (RSC), one of the leading theatre companies in England, demonstrated another innovative version of the play on their main stage in Stratford-upon-Avon, followed by its tour down to Barbican theatre in London in 2017. It did not include an extraordinary interpretation or unique casting pattern but demonstrated the extended development of technology available on stage. This note introduces the feature and the reception of the production in the latter half, with a brief summary of the play and a survey of the performance history of The Tempest in the first half. The story of The Tempest Compared to other plays by Shakespeare, The Tempest is a rare example that follows the classical idea of three unities of time, place and action, deriving from 1 Aristotle, then prescribed by Philip Sydney in Renaissance England . The similar 2 structure has already practiced in The Comedy of Errors in 1594 , but while this early comedy is often described as a simple farce, The Tempest contains various complications in terms of plots and theatrical possibilities. The story of The Tempest opens with a storm at sea, conjured by the magic of Prospero, the main character of the play. He is manipulating the tempest from the 一二七nearby island where he lives with his daughter, Miranda, and shares the land with two other fantastic creatures, Ariel and Caliban.
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VII Shakespeare
VII Shakespeare GABRIEL EGAN, PETER J. SMITH, ELINOR PARSONS, CHLOE WEI-JOU LIN, DANIEL CADMAN, ARUN CHETA, GAVIN SCHWARTZ-LEEPER, JOHANN GREGORY, SHEILAGH ILONA O'BRIEN AND LOUISE GEDDES This chapter has four sections: 1. Editions and Textual Studies; 2. Shakespeare in the Theatre; 3. Shakespeare on Screen; 4. Criticism. Section 1 is by Gabriel Egan; section 2 is by Peter J. Smith; section 3 is by Elinor Parsons; section 4(a) is by Chloe Wei-Jou Lin; section 4(b) is by Daniel Cadman; section 4(c) is by Arun Cheta; section 4(d) is by Gavin Schwartz-Leeper; section 4(e) is by Johann Gregory; section 4(f) is by Sheilagh Ilona O'Brien; section 4(g) is by Louise Geddes. 1. Editions and Textual Studies One major critical edition of Shakespeare appeared this year: Peter Holland's Corio/anus for the Arden Shakespeare Third Series. Holland starts with 'A Note on the Text' (pp. xxiii-xxvii) that explains the process of modernization and how the collation notes work, and does so very well. Next Holland prints another note apologizing for but not explaining-beyond 'pressures of space'-his 44,000-word introduction to the play having 'no single substantial section devoted to the play itself and its major concerns, no chronologically ordered narrative of Corio/anus' performance history, no extensive surveying of the history and current state of critical analysis ... [and not] a single footnote' (p. xxxviii). After a preamble, the introduction itself (pp. 1-141) begins in medias res with Corio/anus in the 1930s, giving an account of William Poel's production in 1931 and one by Comedie-Frarn;:aise in 1933-4 and other reinterpretations by T.S.
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Making Shakespeare Their ‘Buddy’
ISSN 2040‐2228 Vol. 4 No. 1 April 2013 Drama Research: international journal of drama in education Article 2 Making Shakespeare their ‘buddy’. Brian Lighthill National Drama Publications www.dramaresearch.co.uk [email protected] www.nationaldrama.org.uk Drama Research Vol. 4 No. 1 April 2013 Making Shakespare their ‘buddy’. (Should Shakespeare studies have a place in the curriculum – or is it just a load of Bardolatry?) ____________________________________________________________________ Brian Lighthill Abstract This article is based on a paper presented by Dr. Brian Lighthill at the RSC Worlds Together symposium, Tate Modern, London. October 7th, 2012 and is a brief summation of four years of observations and action research in one Warwickshire secondary school (2006‐10). The research project explored whether Shakespeare studies should have an ongoing place in the curriculum? In this article I map out the arguments for and against Shakespeare study then describe the modus operandi of the research process. A debate follows on how to make Shakespeare relevant for young learners – if the students are to own Shakespeare’s production can the issues in the fictional stories be made relevant to their real life world? I then summarize the research methodology and case study analysis and, at some length, discuss the discoveries made from many in‐depth interviews and questionnaires with seven randomly selected students, their parents and teachers over four years. Finally I explore the way forward for Shakespeare studies. This paper interrogates two questions: ‘Have Shakespeare’s plays any relevance to the lives of young people today – or is it just a load of Bardolatry?’ And, to miss‐quote Monty Pythons The Life of Brian, What have Shakespeare studies done for us? Article 2 Making Shakespeare their ‘buddy’ 2 Drama Research Vol.
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The Shakespeare Apocrypha and Canonical Expansion in the Marketplace
The Shakespeare Apocrypha and Canonical Expansion in the Marketplace Peter Kirwan 1 n March 2010, Brean Hammond’s new edition of Lewis Theobald’s Double Falsehood was added to the ongoing third series of the Arden Shakespeare, prompting a barrage of criticism in the academic press I 1 and the popular media. Responses to the play, which may or may not con- tain the “ghost”2 of Shakespeare and Fletcher’s Cardenio, have dealt with two issues: the question of whether Double Falsehood is or is not a forgery;3 and if the latter, the question of how much of it is by Shakespeare. This second question as a criterion for canonical inclusion is my starting point for this paper, as scholars and critics have struggled to define clearly the boundar- ies of, and qualifications for, canonicity. James Naughtie, in a BBC radio interview with Hammond to mark the edition’s launch, suggested that a new attribution would only be of interest if he had “a big hand, not just was one of the people helping to throw something together for a Friday night.”4 Naughtie’s comment points us toward an important, unqualified aspect of the canonical problem—how big does a contribution by Shakespeare need to be to qualify as “Shakespeare”? The act of inclusion in an editedComplete Works popularly enacts the “canonization” of a work, fixing an attribution in print and commodifying it within a saleable context. To a very real extent, “Shakespeare” is defined as what can be sold as Shakespearean. Yet while canonization operates at its most fundamental as a selection/exclusion binary, collaboration compli- cates the issue.
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Not-Shakespeare and the Shakespearean Ghost Peter Kirwan a Book with the Title the Oxford Handbook of Shakespeare and Performanc
Not-Shakespeare and the Shakespearean Ghost Peter Kirwan A book with the title The Oxford Handbook of Shakespeare and Performance sets up implicit exclusions from its cover page, in a word with complex and overlapping associations: ‘Shakespeare’. This is not a volume about the performances undertaken by an individual called Shakespeare, but performances of the writing performances of William Shakespeare, his dramatic (and perhaps poetic) works. Even at this most basic level, the term ‘Shakespeare’ is complex: a quarter to a third of the plays to which Shakespeare contributed contain the writing of other dramatists, and, as anyone who has been involved in creating theatre knows, the words of a playtext make up only one part of the whole play/performance of which the written texts are only one type of record. Shakespeare is shorthand for a body of work associated with Shakespeare, an industry spanning four centuries of reworking, rewriting, and reperforming this body, as the other essays in this book make clear. The instability of ‘Shakespeare and/in performance’ is already implicit in the seemingly infinite number of collaborative forms which the coupling of those terms makes possible, but this essay seeks to address a broader question: the performance of the wider early modern drama as Shakespearean performance. The overwhelming focus on Shakespeare over his contemporaries in criticism, production, and teaching around the world has led to a situation in which the ‘Shakespearean’ often stands for much more than Shakespeare. Even in surveying academic book titles, the selling power of Shakespeare’s name makes it synecdochic of a playing company (The Shakespeare Company), the theatre industry of his time (The Shakespearean Stage), his place of work (Shakespeare’s London), and the art of the early modern stage (The Shakespearean Drama).
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THE CASE for the FOLIO Jonathan Bate
THE CASE FOR THE FOLIO Jonathan Bate ‘The First Folio remains, as a matter of fact, the text nearest to Shakespeare’s stage, to Shakespeare’s ownership, to Shakespeare’s authority’ (Charlotte Porter and Helen Clarke, preface to their Pembroke Edition, 1903) © Jonathan Bate 2007 THIS ESSAY OFFERS A MORE DETAILED ACCOUNT OF THE EDITORIAL PROBLEM IN SHAKESPEARE THAN THAT PROVIDED ON pp. l-lvii/50-57 OF THE GENERAL INTRODUCTION TO THE RSC SHAKESPEARE: COMPLETE WORKS THE QUARTOS The original manuscripts of Shakespeare’s works do not survive: the sole extant composition in his hand is a single scene from Sir Thomas More, a multi-authored play that cannot really be described as ‘his’. Shakespeare only survives because his works were printed. In his lifetime there appeared the following works (all spellings of titles modernized here, numbering inserted for convenience only, sequence of publication within same year not readily established). They were nearly all printed in the compact and relatively low- priced format, which may be thought of as the equivalent of the modern paperback, known as quarto (the term is derived from the fact that each sheet of paper that came off the press was folded to make four leaves): 1] Venus and Adonis (1593) – poem. 2] Lucrece (1594) – poem. 3] The most lamentable Roman tragedy of Titus Andronicus, as it was played by the right honourable the Earl of Derby, Earl of Pembroke and Earl of Sussex their servants (1594) – without the fly-killing scene that appears in the 1623 First Folio. 4] The first part of the contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey, and the banishment and death of the Duke of Suffolk, and the tragical end of the proud Cardinal of Winchester, with the notable rebellion of Jack Cade, and the Duke of York’s first claim unto the crown (1594) – a variant version of the play that in the 1623 First Folio was called The Second Part of Henry the Sixth.
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Shakespeare and the Impact of Editing
Shakespeare and the Impact of Editing Gabriel Egan As readers, almost all of us first encounter Shakespeare in a modem printed edition of his works rather than something resembling the forms in which his first readers encountered him. The conventions of spelling in Shakespeare's time present a barrier that modern editors feel obliged to remove. It is hard enough to understand what Caesar means when he says 'What touches us ourself shall be last served' {fuUus Caesar, 3.1.8) without having to read it in the original spelling and punctuation as 'What touchesvs our felfe, shallbe last fem'd'.^ The old-fashioned long s, the appearance of u where we would expect v and vice versa, the abbreviation of preterite verb endings {'d), and the use of punctuation to show pauses for breathing rather than to mark off gram matical clauses - if indeed that is why a comma here obtrudes between a verb and its subject - convey nothing we really need to know. These features merely distance Shakespeare's writing from modern readers. Agreat part of the labour of modern editors, and indeed the one thing that they almost all agree they should be doing, is modemising the letter-forms, spelling and punctuation of Shakespeare's works. When asked by non-specialists just what editors of Shakespeare do, these activ ities come readily to mind as benefactions likely to be granted approval by all but those purists who delight in alienation from the author. But once we get beyond these merely superficial activities, the need for editors of Shakespeare becomes rather more difficult to explain.
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The Cultural Value of Shakespeare in Twenty-First-Century Publicly-Funded Theatre in England
THE CULTURAL VALUE OF SHAKESPEARE IN TWENTY-FIRST-CENTURY PUBLICLY-FUNDED THEATRE IN ENGLAND by EMILY CAROLINE LOUISE LINNEMANN A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute College of Arts and Law The University of Birmingham September 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis argues that in the plural cultural context of the twenty-first century the value of Shakespeare resides in his identity as a free and flexible resource. This adaptable Shakespeare is valuable to theatres because they are dialectical spaces. Free-resource Shakespeare is able to contain a range of different cultural values and theatres provide a space for producers and consumers of culture to negotiate between them. It has been established that tensions of cultural value, for example innovation/tradition or commercial/non-commercial govern the production, dissemination and critique of culture. Building on this idea, this work shows that when tensions are dealt with as negotiations rather than confrontations, new cultural value is generated. It identifies Shakespeare as a site for the debate of value tensions and contends that he can be simultaneously commercial and non-commercial, traditional and innovative.
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RSC Shakespeare Toolkit for Teachers Thanks to a Grant from the Department for Education
IMAGE CREDITS IN ORDER OF APPEARANCE: David Tennant in Richard II by Kwame Lestrade. Shakespeare’s 450th Birthday Fireworks by Lucy Barriball. The cast of As You Like It by Keith Pattison. The cast of Richard II by Kwame Lestrade. Technical rehearsal for Live From Stratford-upon-Avon by Lucy Barriball. Lydia Leonard in Bring Up the Bodies by Keith Pattison. Camille O’Sullivan in The Rape of Lucrece by Keith Pattison. Anjana Vasan talking to students at First Encounter: The Taming of the Shrew tour by Simon Annand. Matilda Write Here Write Now by Manuel Harlan. Sam Swann and Charlotte Mills in Wendy & Peter Pan by Manuel Harlan. Audience member streaming A Midsummer Night’s Dreaming by Kwame Lestrade. The cast of The Empress by Steve Tanner. ROYAL SHAKESPEARE COMPANY Greg Hicks and Joanna Horton in All’s Well That Ends Well WATERSIDE by Ellie Kurttz. Ellie Beaven in STRATFORD-UPON-AVON A Mad World My Masters WARWICKSHIRE by Manuel Harlan. Jo Stone-Fewings in The Winter’s Tale CV37 6BB by Sheila Burnett. egistered Charity No. 212481 Audience members R applauding Candide by Sasha Gusov. Income and Expenditure: Matilda The Musical +44 (0)1789 296655 by Manuel Harlan. The cast of Candide www.rsc.org.uk by Manuel Harlan. EDITORIAL Find us on Facebook Review compiled and www.facebook.com/theRSC edited by Jane Ellis. DESIGN Follow us on Twitter Designed by Graham Rolfe, www.twitter.com/theRSC RSC Visual Communications. We have had a great year, bringing the very best in live theatre to audiences across the world.
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Canonising the Shakespeare Apocrypha: Shakespeare, Middleton and Co-Existent Canons
Canonising the Shakespeare Apocrypha: Shakespeare, Middleton and Co-Existent Canons Abstract The Shakespeare Apocrypha has persisted as a category for plays of dubious authorship since 1908. Despite recent calls for this group to be dissolved, it persists as the “other” of the Shakespeare canon. The definition of the plays as a collectively excluded canon leads to their relative obscurity in print and on stage. Yet recent calls for the adoption of different kinds of dramatic canon present a means of reintegrating canon and apocrypha. The new Middleton Collected Works offers a model for “co-existent canons” which share plays and disperse the authority of fixed authorial canons, allowing the plays of the Shakespeare Apocrypha to be read and seen in new, productive contexts. Canonising the Shakespeare Apocrypha: Shakespeare, Middleton and Co-Existent Canons In 2010, director Terry Hands produced a new production — his third— of the anonymous drama Arden of Faversham for Theatr Clwyd Cymru. The programme, white with the theatre’s logo, boldly and simply stated “Arden of Faversham. By Anonymous” (title page). In 2011, a herald in Roland Emmerich’s motion picture Anonymous repeated the latter words. As the elderly Queen Elizabeth (Vanessa Redgrave) is presented with a gift of a play, she asks who the writer may be. The Herald tentatively says “By Anonymous”. Elizabeth pauses momentarily, puzzled, then leans back with a knowing smile. “Anonymous. I do so admire his verse”. In Emmerich’s film, an anti-Stratfordian (or, as Paul Edmondson and Stanley Wells would now have us put it, “anti-Shakespearian”, 32) historical fantasy that has been the occasion and focus of widespread discussion of Shakespearean authorship, “Anonymous” functions as a pseudonym for Edward de Vere, seventeenth Earl of Oxford.
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