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The North Face of Shakespeare: Activities for Teaching the Plays
Vol. XXIV Clemson University Digital Press Digital Facsimile Vol. XXIV THE • VPSTART • CROW• Contents Part One: Shakespeare's Jests and Jesters John R.. Ford • Changeable Taffeta: Re-dressing the Bears in Twelfth Night . 3 Andrew Stott • "The Fondness, the Filthinessn: Deformity and Laughter in Early-Modem Comedy........................................................................... 15 Tamara Powell and Sim Shattuck • Looking for Liberation and Lesbians in Shakespeare's Cross-Dressing Comedies ...................... ...................... 25 Rodney Stenning Edgecombe • "The salt fish is an old coar' in The Merry Wives of Windsor 1. 1 ................................•.....•..... .......•. ... ...... ......... ..... 34 Eve-Marie Oesterlen • Why Bodies Matter in Mouldy Tales: Material (Re)Tums in Pericles, Prince of Tyre .......................... ...... ...... ......... ... ................... 36 Gretchen E. Minton • A Polynesian Shakespeare Film: The Maori Merchant of Venice ............................................................................................... 45 Melissa Green • Tribal Shakespeare: The Federal Theatre Project's "Voo- doo Macbeth n(1936) ........................................ ...... ......... ... ............... .... 56 Robert Zaller • "Send the Head to Angelon: Capital Punishment in Measure for Measure ................................................................................:......... 63 Richard W. Grinnell • Witchcraft, Race, and the Rhetoric of Barbarism in Othello and 1 Henry IV......................................................................... -
The Tempest: Synopsis by Jo Miller, Grand Valley Shakespeare Festival Dramaturg
The Tempest: Synopsis By Jo Miller, Grand Valley Shakespeare Festival Dramaturg Long ago and far away, Prospero, the Duke of Milan, pursued the contemplative life of study while turning the administration of his Dukedom over to his brother [in our play a sister, Antonia], who, greedy for power, made a deal with the King of Naples to pay tribute to the King in exchange for help in usurping Prospero’s title. Together they banished Prospero from Milan, thrusting him out to sea in a rotten, leaky boat with his infant daughter, Miranda. Miraculously, the father and daughter survived and were marooned on an island where Sycorax, an evil witch who died after giving birth to Caliban, had also been exiled. Caliban is thus the only native inhabitant of the isle besides the spirit, Ariel, and his fellow airy beings. For twelve years now, Prospero and Miranda have lived in exile on this island, with Prospero as its de facto king, ruling over Caliban and all the spirits as his slaves, while he has nurtured Miranda and cultivated his powerful magic. At the moment play begins, that same King of Naples and his son Prince Ferdinand, along with the King’s brother [here a sister, Sebastiana], Prospero’s sister, Antonia, and the whole royal court, are sailing home from having given the Princess Claribel in marriage to the King of Tunis. Prospero conjures up a mighty tempest, which wrecks the King’s boat on the island, separating the mariners from the royal party, and isolating Ferdinand so that the King believes him drowned. -
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. -
Love Person Program
Where artists emerge… Where artists explore… Where artists thrive… Where your support is key Make a gift to the BCA today 100% will support a working artist of tomorrow www.bcaonline.org VISUAL ARTS | PERFORMANCE | COMMUNITY Boston Center for the Arts | 539 Tremont Street, Boston, MA 02116 BY ADITI BRENNAN KAPIL DIRECTOR........................................................M. BEVIN O'GARA CAST FREE..........................................................................Sabrina DenniSon VIC...........................................................................SCARLETT REDMOND RAM.......................................................................................NAEL NACER* MAGGIE.................................................................JACQUELINE EmmarT DESIGNERS SET DESign...............................................................DAHLIA Al-HABIELI SoUnd DESign...............................................................JASON E. WEBER LigHTing DESign..........................................................ANNIE WIEGAND COSTUme deSign............................................Miranda KAU GIURLEO PROPERTIES DESIGN......................................aLEXANDRA HERRYMAN PROJECTION DESIGN..................................................AmeLia GOSSETT STAGE MANAGEMENT prodUCTion STage manager....................................ERIN CARLSON ASST. STage manager.........................................................EMILY HART ASST. STage Manager.................................................AnnIE MCGUire REHEARSAL -
Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip
MECHANICS HALL . WORCESTER Twenty-ninth Season, J909-19J0 MAX FIEDLER, Conductor Programme nf % Third and Last Concert WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE TUESDAY EVENING, MARCH 8 AT 8.15 COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER Mme. TERESA CARRENO On her tour this season will use exclusively ^" Piano. THE JOHN CHURCH CO. NEW YORK CINCINNATI CHICAGO REPRESENTED BY S. R, LELAND & SON - - Worcester, Mass. THE function of the Boston Symphony Orchestra always has been to provide music of the highest class in the most perfect manner humanly possible. Such was the sole object foi its founder, and that this ideal has been not only attained, but maintained, finds eloquent testimony in the generous and loyal support given to the Orchestra in the past twenty^eight years by the most discriminating musical publics in America. Only by adhering steadfastly to this ideal since its founda- tion has the Orchestra been able to hold its present position — without a superior in the world and without a peer in this country. Commercial considerations have never been permitted to interfere with or to obstruct its .artistic progress. It has ex- isted as nearly for art's sake alone as is possible in such a great organization. The result of this wise policy is an orchestra which is famous in all countries where the art of music is practised, an orchestra which is accepted as a model to be fol- lowed by all others, an orchestra whose concerts are eagerly sought by all cities, whose coming is always an event of prime importance in a musical season. -
A Florentine Diary
THE LIBRARIES A FLORENTINE DIARY A nderson SAVONAROLA From the portrait by Fra Bartolomeo. A FLORENTINE DIARY FROM 1450 TO 1516 BY LUCA LANDUCCI CONTINUED BY AN ANONYMOUS WRITER TILL 1542 WITH NOTES BY IODOCO DEL B A D I A 0^ TRANSLATED FROM THE ITALIAN BY ALICE DE ROSEN JERVIS & PUBLISHED IN LONDON IN 1927 By J. M. DENT & SONS LTD. •8 *« AND IN NEW YORK BY « « E. P. DUTTON & COMPANY TRANSLATOR'S PREFACE ALTHOUGH Del Badia's ample and learned notes are sufficient for an Italian, it seemed to me that many allu sions might be puzzling to an English reader, especially to one who did not know Florence well; therefore I have added short notes on city-gates, churches and other buildings which now no longer exist; on some of the festivals and customs; on those streets which have changed their nomenclature since Landucci's, day; and also on the old money. His old-fashioned spelling of names and places has been retained (amongst other peculiarities the Florentine was in the habit of replacing an I by an r) ; also the old calendar; and the old Florentine method of reckoning the hours of the day (see notes to 12 January, 1465, and to 27 April, 1468). As for the changes in the Government, they were so frequent and so complex, that it is necessary to have recourse to a consecutive history in order to under stand them. A. DE R. J. Florence 1926. The books to which I am indebted are as follows: Storia della Repubblica di Firenze (2 vols.), Gino Capponi. -
William Shakespeare, the Tempest
William Shakespeare, The Tempest 99 The Tempest William Shakespeare (1564-1616), the greatest writer in English and perhaps the greatest dramatist of all time, wrote 39 plays (some with collaborators), 154 sonnets, and other poetry. His father was a glover, and his mother came from a Catholic family. They lived in a prosperous market town in the English Midlands, Stratford-upon-Avon. The town's grammar school would have provided William with an excellent education in oratory, rhetoric, and classical literature. At 18, he married 26-year-old Anne Hathaway. They had a daughter, Susanna (six months after their wedding), and not two years later, twins were born, Judith and Hamnet (who died at 11). Sometime after losing his only son, Shakespeare would have begun his career in London as an actor, playwright, and part-owner of a playing company called the Lord Chamberlain's Men, which became the King's Men after the death of Queen Elizabeth and the accession of King James in 1603. He seems to have produced his plays between 1589 and 1613|comedies, histories, tragedies. Outbreaks of the plague shut down theater performances periodically throughout these years. Most of his last plays belong to a hybrid tragicomic genre that has been called \romance." One of these is The Tempest, the last of his solo-authored plays. It is a valedictory work, in which Shakespeare explores his great themes of forgiveness and reconciliation, the power of artistic creation, the possibilities for redemption in politics. Given the recently established British colonies -
The Oregon Shakespeare Festival Production Of
The Artistic Director’s Circle Season Sponsors Gail & Ralph Bryan Una K. Davis Brian & Silvija Devine Joan & Irwin Jacobs Sheri L. Jamieson Frank Marshall & Kathy Kennedy Becky Moores Jordan Ressler Charitable Fund of the The William Hall Tippett and Ruth Rathell Tippett Foundation, Jewish Community Foundation David C. Copley Foundation, Mandell Weiss Charitable Trust, Gary & Marlene Cohen, The Rich Family Foundation The Dow Divas, Foster Family Fund of the Jewish Community Foundation, The Fredman Family, Wendy Gillespie & Karen Tanz, Lynn Gorguze & The Honorable Dr. Seuss Fund at The San Diego Scott Peters, Kay & Bill Gurtin, Debby & Hal Jacobs, Lynelle & William Lynch, Foundation and Molli Wagner Steven Strauss & Lise Wilson THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF PRODUCTION SPONSORS Una K. Davis Brian & Silvija Devine The Paula Marie Black Endowment for Women’s Voices in the Art of Theatre Dear Friends, LA JOLLA PLAYHOUSE PRESENTS Christopher Ashley Debby Buchholz Like many of you, just the mere The Rich Family Artistic Director of La Jolla Playhouse Managing Director of La Jolla Playhouse snippet of a song can instantly and viscerally transport me back to a THE OREGON SHAKESPEARE FESTIVAL PRODUCTION OF particular moment of my life. I can’t MISSION STATEMENT: hear the opening phrase of Bob Dylan’s “Tangled Up in Blue” without La Jolla Playhouse advances remembering road trips spent in the theatre as an art form and as a vital backseat of my family’s Oldsmobile Vista Cruiser, listening social, moral and political platform to our eight track tape player. Such is the power of music to by providing unfettered creative intertwine with our personal histories. -
Commedia Dell'arte Influences on Shakespearean Plays
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference May 2015 Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost, and The Taming of the Shrew Amy Drake Franklin University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons, and the Theatre and Performance Studies Commons Recommended Citation Drake, Amy (2013) "Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost, and The Taming of the Shrew," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 6 , Article 3. Available at: http://ideaexchange.uakron.edu/spovsc/vol6/iss2013/3 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Commedia Dell’Arte Influences on Shakespearean Plays: The Tempest, Love’s Labor's Lost , and The Taming of the Shrew Amy Drake, Franklin University illiam Shakespeare incorporated the rich theatrical tradition of commedia dell’arte into some of his plays by basing some plots W and characters on Italian pastoral scenarios. -
Cymbeline the Articles in This Study Guide Are Not Meant to Mirror Or Interpret Any Productions at the Utah Shakespeare Festival
Insights A Study Guide to the Utah Shakespeare Festival Cymbeline The articles in this study guide are not meant to mirror or interpret any productions at the Utah Shakespeare Festival. They are meant, instead, to bean educational jumping-off point to understanding and enjoying the plays (in any production at any theatre) a bit more thoroughly. Therefore the stories of the plays and the interpretative articles (and even characters, at times) may differ dramatically from what is ultimately produced on the Festival’s stages. The Study Guide is published by the Utah Shakespeare Festival, 351 West Center Street; Cedar City, UT 84720. Bruce C. Lee, communications director and editor; Phil Hermansen, art director. Copyright © 2009, Utah Shakespeare Festival. Please feel free to download and print The Study Guide, as long as you do not remove any identifying mark of the Utah Shakespeare Festival. For more information about Festival education programs: Utah Shakespeare Festival 351 West Center Street Cedar City, Utah 84720 435-586-7880 www.bard.org. Cover photo: A scene from Cymbeline, 2002. Contents Information on William Shakespeare Shakespeare: Words, Words, Words 4 Not of an Age, but for All Mankind 6 Elizabeth’s EnglandCymbeline 8 History Is Written by the Victors 10 Mr. Shakespeare, I Presume 11 A Nest of Singing Birds 12 Actors in Shakespeare’s Day 14 Audience: A Very Motley Crowd 16 Shakespearean Snapshots 18 Ghosts, Witches, and Shakespeare 20 What They Wore 22 Information on the Play Synopsis 23 Characters 24 Scholarly Articles on the Play The Legend of King Cymbeline 25 Utah Shakespeare Festival 3 351 West Center Street • Cedar City, Utah 84720 • 435-586-7880 Shakespeare: Words, Words, Words By S. -
“Brave Son Versus Braver Daughter” – Invisible Relatives in Prospero's “Present Business”
““BBrraavvee SSoonn VVeerrssuuss BBrraavveerr DDaauugghhtteerr”” –– IInnvviissiibbllee Ensaio RReellaattiivveess iinn PPrroossppeerroo’’ss ““PPrreesseenntt BBuussiinneessss”” David Vichnar|Charles University, Prague, Czech Republic I am the husband, and the whole island is my lawful wife; I am the head, and it is my body. [King James’s speech in Parliament, 1603] The word business in Shakespeare is a word “rich and strange.” King Claudius defines himself in his agony as “a man to double business bound” [Hamlet, III.iii.], meaning both to his “strong intent” to pray and also to the burden of his “stronger guilt” of having committed his “rank offense.” When Edmund hears that the Duke of Cornwall is staying tonight at Gloucester’s, he exclaims: “The duke be here to‐night? The better! best! / This weaves itself perforce into my business” [King Lear, I.ii.], referring to the devilish treacherous plot against his brother Edgar. Iago agrees to give Cassio “access” to Desdemona and even promises “to draw the Moor / out of the way, that your converse and business / may be more free.” Once the seeds of a terrible misconception as to the nature of this business have been implanted in his master’s mind, he swears that “to obey shall be in me remorse / what bloody business ever.” [Othello, III.iii.] Seeing her husband waive in his “dark intent,” Lady Macbeth demands that he “put this night's great business into my dispatch,” [Macbeth, I.v.] and the last instance of his resistance is expressed in his resolution “we will proceed no further in this business.” [Macbeth, I.vii.] For the final restoration of Hermione to be possible, her faithful maid Paulina encourages the spectators to “awake their faith,” and demands that “those that think it is unlawful business / I am about, let them depart.” [The Winter’s Tale, V.v.] In all of these few examples, the connotation of the word “business” is highly suspicious, denoting some exceedingly dark, impertinent, deceptive, if not utterly villainous and criminal undertaking. -
360 ° Series
360° SERIES VIEWFINDER: FACTS AND PERSPECTIVES ON THE PLAY, PLAYWRIGHT, AND PRODUCTION WWW.TFANA.ORG TABLE OF CONTENTS The Play 3 Directors’ Note 4 Synopsis and Characters 5 Perspectives 7 Dialogues: Male Bonds and the Woman’s Part in The Two Gentlemen of Verona by Richard McCoy 10 Dialogues: Verona’s Tragic Women by Tanya Pollard The Playwright 13 William Shakespeare The Production 16 “In Pursuit of Love” With Fiasco — An Interview with Jeffrey Horowitz 22 Cast and Creative Team Resources 26 Glossary About Theatre For a New Audience 30 Mission and Programs 31 Major Supporters This production of Fiasco’s Theater’s The Two Gentlemen of Verona is made possible, in part, by The Howard Gilman Foundation Fund for Classic Drama. Originally produced by Folger Theatre (Janet Alexander Griffin, Artistic Producer), Washington, D.C., 2014. Notes Front Cover Art: (clockwise from top left): Paul L. Coffey; Andy Grotelueschen; Emily Young and Jessie Austrian; photos by Teresa Wood for Folger Theatre; and Noah Brody and Zachary Fine; photo by Jeff Malet for Folger Theatre; designed by Milton Glaser, Inc. Unless otherwise indicated, all Acts, scenes, and line numbers in this Viewfinder are from The Norton Shakespeare, Second Edtion, general editor Stephen Greenblatt (WW. Norton & Company, 2008). This Viewfinder will be periodically updated with additional information. Last updated June 2015. Credits “Synopsis,” “Biography,” and “Perspectives” written and compiled by Jonathan Kalb. “Glossary” researched and compiled by Artistic Intern Andrew Watkins. The Two Gentlemen of Verona 360° | Compiled & edited by: Peter Cook | Literary Advisor: Jonathan Kalb | Council of Scholars Chair: Richard McCoy | Designed by: Milton Glaser, Inc.