Page 4 | March 2019

Total Page:16

File Type:pdf, Size:1020Kb

Page 4 | March 2019 3 - CEO Message 6 - TV Listings 18 - PBS Hawai‘i Passport 4 - Cover Story 10 - Evening Grid 17 - Daytime Grid PROGRAM GUIDE MARCH 2019 VOL. 38 NO. 3 PAGE 4 | MARCH 2019 NĀ MELE Screening Volunteer Turns 100 Community Advisory Board Featuring the Lim Family PBS Hawai‘i helped celebrate Members of PBS Hawai‘i’s statewide longtime volunteer Masako Kawana’s Community Advisory Board recently In Waimea, Hawai‘i Island, 100th birthday. Masako, of Honolulu, convened to give us feedback on supporters of PBS Hawai‘i catch enjoys volunteering because it programming and other community up before the premiere screening allows her to be productive and engagement. Pictured from left: of NĀ MELE: Traditions in keeps her mind sharp. Pictured Marissa Sandblom (Kaua‘i), Momi Hawaiian Song featuring the behind her from left are PBS Hawai‘i Akana (O‘ahu), Chair Karen Knudsen Lim Family of Kohala. Volunteer Coordinator Jill Loving, (O‘ahu) and Cheryl Ka‘uhane Masako’s son Sanford and Lupenui (Hawai‘i Island). daughter-in-law Kathy. ON THE COVER: Two-year old Theo engrossed in a book at the PBS Hawai‘i Keiki Neighborhood Library. GET CAUGHT READING! Find out more on pages 4-5. BOARD OF DIRECTORS MANAGEMENT Chair Vice Chair President and CEO Senior Vice President/CFO Jason Fujimoto Joanne Grimes Leslie Wilcox Karen Yamamoto Secretary Treasurer Vice President, Content Vice President, Advancement Bettina Mehnert Kent Tsukamoto Chuck Parker Christina Sumida Muriel Anderson Joy Miura Koerte Vice President, Communications Director, Learning Initiatives Susan Bendon Kamani Kuala‘au Jody Shiroma Robert Pennybacker Jodi Endo Chai Mary Ann Manahan James E. Duffy Jr. Aaron Salā Chief Engineer Matthew Emerson Julie Shimonishi John Nakahira Jake Fergus Ka‘iulani Sodaro Jason Haruki Candy Suiso Noelani Kalipi Bruce Voss PROGRAM GUIDE Ian Kitajima Editor and Chief Programmer Graphic Artist John Kovacich Randall Choo pbshawaii.org 2 CEO MESSAGE Leslie Wilcox PBS Hawai‘i President and CEO Sharing Book Bliss Remember when reading meant more than checking we’re asking adults and children to read a favorite one’s Facebook, Twitter and Instagram accounts? passage to fellow Island residents. Thankfully, many people still make time to read whole “How do I pick?” is a typical response. “I have a lot of books, knowing the truth of what Katie M wrote on favorite books.” These are words we love to hear at this @betterbybooks: “Books let you fight dragons, meet educational media organization! the love of your life, travel to faraway lands and laugh Here’s a sampling of the excerpts that Hawai‘i citizens alongside friends, all within their pages. They’re an chose to GET CAUGHT READING: escape that brings you home.” As part of PBS Hawai‘i’s GET CAUGHT READING multimedia initiative, which is launching this month, Honolulu Police Activist and poet University of Chief Susan Mahealani Wendt Hawai‘i Men’s Ballard spoke up of Hāna, Maui Basketball Head for the little guy in read from her own Coach Eran Ganot picking Horton poem, “Voyage,” read The Hears a Who! by inspired by Stonecutter’s Dr. Seuss, with the Polynesian Credo by Jacob Horton musing voyaging canoe Riis: that there just may be a tiny person Hōkūle‘a: “When nothing seems to help, I go atop a speck of dust: “We are brothers in a vast blue look at a stonecutter hammering “Some sort of a creature of a very heaven, windswept kindred souls at away at his rock, perhaps a hundred small size, too small to be seen by an sea. We are the sons of vast night, times without as much as a crack elephant’s eyes...some poor person planets brilliant and obscure, showing in it. But at the hundred- who’s shaking with fear that he’ll blow illimitable stars and somnolent moon. and-first blow, it will split in two. And I in the pool! He has no way to steer! We have loved lash and sail, shrill know it was not the blow that did it... I’ll just have to save him, because, winds and calm, heavy winds driven but all that had gone before.” after all, a person’s a person, no in squalls over turbulent seas. We matter how small.” have lashed our hearts to souls of islands, joined spirits with birds rising to splendor in a gold acquiescence of sun. We are voyagers and sons of voyagers, our hands working the cordage of peace.” We invite you to listen to words of life and imagination and power on PBS Hawai‘i and pbshawaii.org. Join us at read-aloud events at public libraries. And find joy as you GET CAUGHT READING! 3 COVER STORY Just One More Chapter, I Promise… By Emily Bodfish, PBS Hawai‘i It’s always a rough landing, getting pulled back to reality when you were just immersed in a great book. One minute, you’re saving the known universe with a plucky band of misfits riding mechanical, intergalactic sheep-dragons, and the next, you’re late for your dentist appointment. You got caught reading, and we think it’s a great thing. We want everyone to GET CAUGHT READING! We want everyone to find those books that make you wonder where the hours went, because it’s those stories New Local Multimedia Initiative that we just can’t put down that turn “have to read” into Launching This Month “want to read.” The written word opens doors to adventure, relaxation and knowledge about ourselves, our world and more. Reading brings the world to your fingertips. pbshawaii.org 4 ... a person’s a person, no matter how small. HPD Police Chief Susan Ballard reading from Dr. Seuss’ Horton Hears a Who! GET CAUGHT READING is a new multimedia initiative goal of GET CAUGHT READING is to engage with rural at PBS Hawai‘i, made up of video stories for on-air and communities, especially on neighbor islands. We plan online, and in-person events. Beginning March 3, you’ll to host events on O‘ahu, Kaua‘i, Hawai‘i Island, Maui, see GET CAUGHT READING videos in the intervals Moloka‘i and Lāna‘i. between our regular programs. In these short videos, we State Librarian Stacey Aldrich, who grew up watching highlight the power of words, and the many ways people PBS programs, said that GET CAUGHT READING is get caught reading every day. You’ll hear community “a perfect partnership” between PBS Hawai‘i and the members read passages that hold deep meaning to Hawai‘i State Public Library System. “We know that just them; watch keiki exude excitement talking about their the simple act of reading a book creates strong new favorite stories; witness parents and their grown children connections in our minds and with each other,” Aldrich revisit books they read together years ago. These videos said. We hope to see your budding reader at an event will also be available to watch at pbshawaii.org. near you. Until then – GET CAUGHT READING! In the following months, PBS Hawai‘i will be partnering with Hawai‘i public libraries to host keiki events. We’ll host story time, give away books, and give the children a platform to talk about the books they love. Part of the I felt like anything rather than rejoicing at the downfall ... Retired Hawai‘i Sportscaster Jim Leahey reading from Ron Chernow’s Grant 5 | MARCH 2019 PRIMETIME & WEEKEND LISTING SCHEDULE PBS Hawai‘i is on the air seven days a week from 5:00 am to midnight. Viewers with cable service also have access to overnight programming which is indicated by Cable Only After Midnight. Viewers with cable service and high-definition (HD) TVs may watch PBS Hawai‘i in high-definition on Spectrum Channel 1010 or Hawaiian Telcom Channel 1011. Courtesy of Susan Wilson Courtesy Susan of Over-the-Air Broadcast Channels AMERICAN MASTERS Friday, March 1, 8:00 pm (KHET) Channel 11.1 - 11.2 - 11.3 (KMEB) Channel 10.1 - 10.2 - 10.3 Singer and activist Holly Near Spectrum Basic Cable: Channel 10 1 FRIDAY 2 SATURDAY HD: Channel 1010 PBS Hawai‘i Kids: Channel 443 7:30 WASHINGTON WEEK 12:00 HIKI NŌ (e) 8:00 AMERICAN MASTERS Holly Near 12:30 CLASSICAL STRETCH: BY Hawaiian Telcom Experience the power of song in the ESSENTRICS Back Pain Relief (e) Basic Cable: Channel 11 struggle for equality through the 1:00 DESTINATION CRAFT WITH HD: Channel 1011 PBS Hawai‘i Kids: Channel 96 story of feminist singer and activist JIM WEST Peru Holly Near, who for the last 40 years 1:30 BEST OF THE JOY OF PAINTING All programs have closed-captioning. has worked on global social justice Golden Glow of Morning When possible, encore broadcasts will coalition-building in the women’s 2:00 AMERICAN WOODSHOP be indicated by (e). Programming to be and lesbian movements. Wooden Puzzles determined will be indicated by TBD. 9:00 AMERICAN EXPERIENCE Schedule is subject to change. 2:30 ASK THIS OLD HOUSE (e) The Chinese Exclusion Act (e) 3:00 THIS OLD HOUSE (e) Questions about programming changes? 11:00 AMANPOUR AND COMPANY 3:30 MOTORWEEK Please call PBS Hawai‘i toll free: Cable Only After Midnight 4:00 SIMPLY MING On the Road: Wines (800) 238-4847 12:00 MAKERS Women in Hollywood of the Rhine For more program information and the 1:00 INDEPENDENT LENS 4:30 AMERICA’S TEST KITCHEN FROM latest schedules, visit pbshawaii.org People’s Republic of Desire COOK’S ILLUSTRATED 2:30 EMERY BLAGDON AND HIS 5:00 TASTE OF MALAYSIA WITH PBS Hawai‘i magazine (ISSN: 1946-0813) is published monthly HEALING MACHINE MARTIN YAN Cultural Mosaic by the Hawai‘i Public Television Foundation, dba PBS Hawai‘i.
Recommended publications
  • Chef by Sabrina Mahfouz
    j Chef by Sabrina Mahfouz Underbelly Cowgate – Big Belly, 56 Cowgate, Edinburgh, EH1 1EG Thursday 31st July – Sunday 17th August 2014, 6.10pm Chef tells the gripping story of how one woman went from being a haute-cuisine head-chef to a convicted inmate running a prison kitchen. Sabrina Mahfouz's distinct award-winning lyrical style and Jade Anouka's mesmerising performance make this an extraordinary, must-see, new show. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope. Inspired by an interview Mahfouz conducted with Ollie Dabbous, Chef studies food as the ultimate art form taking stimulus from Dabbous’ obsession with simplicity and making something the best it can be. As the Michelin-star chef of the moment says, ‘language is a bit like a dish, you break it down into little parts and it suddenly becomes easier’. Chef is an explosively engaging character, leading us through her triumphs and tragedies with words as sharp as her knife: ‘The night is packed away into a black bin bag, tagged with a let's not talk of that again, tomorrow will be better and maybe we should just get pizza’. Directed by Kirsty Patrick Ward and produced by POP, Chef has been made possible through a Sky Academy Arts Scholarship. ‘a blistering way with language…this is how theatre can take you anywhere in your imagination’ ***** The Herald on Clean POP are also co-presenting John Berkavitch’s Shame. In this explosive work of spoken-word hiphop-theatre Berkavitch is joined by some of the country’s most innovative break-dancers as he explores the feeling of shame through a combination of narrative spoken-word, hip-hop, contemporary dance, illustration, animation and music.
    [Show full text]
  • Love's Labour's Lost
    CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo.
    [Show full text]
  • CASTING ANNOUNCED for the GREATEST WEALTH in Celebration of the NHS
    PRESS RELEASE WED 13 JUN CASTING ANNOUNCED FOR THE GREATEST WEALTH In celebration of the NHS One Voice: Monologues funded by the TS Eliot Estate Curated by Lolita Chakrabarti Directed by Adrian Lester The NHS from the 1940s-1970s: Monday 25 June, 8.30pm The NHS from the 1980s-present: Tuesday 26 June, 8.30pm The NHS from the 1940s-present (double bill): Friday 29 June, 8pm ‘No society can legitimately call itself civilised if a sick person is denied medical aid because of lack of means.’ Aneurin Bevan The Old Vic is pleased to announce casting for The Greatest Wealth, curated by Lolita Chakrabarti and directed by Adrian Lester to celebrate 70 years of the National Health Service. Jade Anouka, Louise English, Dervla Kirwan, Ruth Madeley, Art Malik, Meera Syal, Sophie Stone and David Threlfall will perform monologues written by Moira Buffini, Lolita Chakrabarti, Seiriol Davies, Matilda Ibini, Courttia Newland, Meera Syal, Jack Thorne and Paul Unwin in response to each decade since Aneurin Bevan launched the NHS at Park Hospital, Manchester, on 5 July 1948. Each evening will also include music performed by Gloria Obianyo. Lolita Chakrabarti said: ‘I am thrilled to be curating this One Voice for The Old Vic and delighted that so many talented and accomplished actors will be a part of it. To see how inventive but truthful each writer has been and then to realise their work with this calibre of actor is fantastic. This is going to be a very special event.’ The full line up is as follows: 1940s: Boo, by Jack Thorne, performed by Sophie Stone
    [Show full text]
  • The Contingent Gender Identity of Shakespeare's Page-Boy
    Rhode Island College Digital Commons @ RIC Honors Projects Overview Honors Projects 2016 "When Thou Art A Man": The onC tingent Gender Identity of Shakespeare's Page-Boy Heron Kennedy Follow this and additional works at: https://digitalcommons.ric.edu/honors_projects Recommended Citation Kennedy, Heron, ""When Thou Art A Man": The onC tingent Gender Identity of Shakespeare's Page-Boy" (2016). Honors Projects Overview. 125. https://digitalcommons.ric.edu/honors_projects/125 This Honors is brought to you for free and open access by the Honors Projects at Digital Commons @ RIC. It has been accepted for inclusion in Honors Projects Overview by an authorized administrator of Digital Commons @ RIC. For more information, please contact [email protected]. “WHEN THOU ART A MAN”: THE CONTINGENT GENDER IDENTITY OF SHAKESPEARE’S PAGE-BOY By Heron Kennedy An Honors Project Submitted in Partial Fulfillment of the Requirements for Honors in The Department of Arts and Sciences Faculty of Arts and Sciences Rhode Island College 2016 “WHEN THOU ART A MAN”: THE CONTINGENT GENDER IDENTITY OF SHAKESPEARE’S PAGE-BOY An Undergraduate Honors Project Presented By Heron Kennedy To The Department of English Approved: ___________________________________ _______________ Project Advisor Date ___________________________________ _______________ Honors Committee Chair Date ___________________________________ _______________ Department Chair Date Kennedy 1 Part 1. An Introduction to Early Modern Sex and Gender At the level of biology, the early modern conception of sexual difference was, in many ways, much more fluid and less rigidly compartmentalized than our contemporary constructs. Galen’s second-century one-sex theory of male and female anatomy was commonly accepted by not only the general public, but also physicians and scientists, until the end of the sixteenth century (Schiebinger 76).
    [Show full text]
  • Hamlet, the Ghost and the Model Reader
    HAMLET, THE GHOST AND THE MODEL READER THE PROBLEMS OF THE RECEPTION AND A CONCEPT OF SHAKESPEARE’S HAMLET Doctoral dissertation by András G. Bernáth Supervisor: Prof. Guido Latré, PhD Université Catholique de Louvain 2013 ABSTRACT In a comprehensive study of Hamlet and its reception, this dissertation offers a concept and interpretation of Shakespeare’s work as a complex literary work and play for the theatre. It is argued that the play, through a series of ambiguities, implies two main levels of meaning, which complement each other in a truly dramatic contrast, exploring the main theme of Hamlet and dramatic art in general: seeming and being, or illusion and reality. On the surface, which has been usually maintained since the Restoration, Hamlet seems to be a moral hero, who “sets it right” by punishing the evil villain, the usurper King Claudius, following the miraculous return of the murdered King Hamlet from the dead. At a deeper level, exploring the Christian context including King James’s Daemonologie (1597), the Ghost demanding revenge is, in fact, a disguised devil, exploiting the tragic flaw of the protagonist, who wishes the damnation of his enemy. Fortinbras, who comes from the north like King James and renounces revenge, is rewarded with the kingdom after the avengers, Hamlet and Laertes, kill each other and virtually the entire Danish court is wiped out through Hamlet’s quest of total revenge, pursuing both body and soul. The aesthetic identity of Hamlet is also examined. In addition to the mainly philological and historical analysis of the text, the play, some adaptations and the critical reception, theoretical concerns are also included.
    [Show full text]
  • Canadian Revisionist Drama: Performing Race, Sexuality, and the Cultural Imaginary
    CANADIAN REVISIONIST DRAMA: PERFORMING RACE, SEXUALITY, AND THE CULTURAL IMAGINARY by Kailin Wright A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Kailin Wright, 2012 Canadian Revisionist Drama: Performing Race, Sexuality, and the Cultural Imaginary Kailin Wright Doctor of Philosophy Department of English, University of Toronto, 2012 Abstract My dissertation examines how Canadian revisionist plays adapt popular narratives—national histories, Greek myths, Shakespearean plays, and colonial legends—by changing the identities of marginalized characters and cultural groups. While Linda Hutcheon defines adaptation as repetition with difference, I define revisionist drama as repetition with politicized difference. It is this politicized difference that transforms the identifications of the original marginalized characters, and, as a result, changes their roles in the cultural imaginary. Canadian revisionist plays critique cultural figures such as Philomela, Othello, and Pocahontas as reductive emblems of necessarily complex, layered racial, sexual, and gendered identities. Though this dissertation concentrates on Canadian literature, it also considers European sources (Ovid, Homer, Shakespeare) as well as theories of historiography (Filewod, Salter), speech acts (Austin, Butler), audience reception (Bennett), and publics (Habermas, Warner). My project ultimately outlines a set of twelve literary and dramatic strategies that are repeatedly used to challenge popular conceptions of what it means to be Black, Aboriginal, Canadian, queer, and female. ii Revisionist adaptation is a leading form of political protest in contemporary Canadian theatre. With attention to eight playwrights—Margaret Atwood, Margaret Clarke, Marc Lescarbot, Monique Mojica, Daniel David Moses, Djanet Sears, Erin Shields, and the collective group Optative Theatrical Laboratories (OTL)—this study examines the shared methodologies of late twentieth-century revisionist dramas.
    [Show full text]
  • THEATRE in ENGLAND 2012-13 UNIVERSITY of ROCHESTER Mara Ahmed
    THEATRE IN ENGLAND 2012-13 UNIVERSITY OF ROCHESTER Mara Ahmed The Master and Margarita Barbican Theatre 12/28/12 Based on Mikhail Bulgakov’s novel, this adaptation by Simon McBurney is as inventive and surprising as the book’s storyline. Satan disguised as Professor Woland visits Stalinist Russia in the 1930s. He and his violent retinue use their black magic and death prophesies to dispose of people and take over their apartments; most villainy and betrayal in the play is in fact motivated by the acquisition of apartment space. Bulgakov is satirizing the restriction of private space in Stalin’s Russia but buildings are also a metaphor for the structure of society as a whole. Rooms are demarcated by light beams, in the constantly changing set design, in order to emphasize relative boundaries and limits. The second part of the play focuses on Margarita and her lover, a writer who has just finished a novel about the complex relationship between Pontius Pilate (the Roman procurator of Judaea) and Yeshua ha-Nostri (Jesus, a wandering philosopher). Margarita calls him the Master on account of his brilliant literary chef d’oeuvre. She is devoted to him. However, the Master’s novel is ridiculed by the Soviet literati and after being denounced by a neighbor, he is taken into custody and ends up at a lunatic asylum. The parallels between his persecution and that of his principal character, Jesus, are brought into relief by constant shifts in time and place, between Moscow and Jerusalem. Margarita makes a bargain with Satan on the night of his Spring Ball, which she agrees to host, and succeeds in saving the Master.
    [Show full text]
  • A Foucauldian Examination of Phyllida Lloyd's All-Female Shakespeare Trilogy
    Furman Humanities Review Volume 32 August 2021 Article 5 2021 Dismantling Power Structures: A Foucauldian Examination of Phyllida Lloyd's All-Female Shakespeare Trilogy Emily Enlow '22 Follow this and additional works at: https://scholarexchange.furman.edu/fhr Part of the Arts and Humanities Commons Recommended Citation Enlow, Emily '22 (2021) "Dismantling Power Structures: A Foucauldian Examination of Phyllida Lloyd's All- Female Shakespeare Trilogy," Furman Humanities Review: Vol. 32 , Article 5. Available at: https://scholarexchange.furman.edu/fhr/vol32/iss1/5 This Article is made available online by Journals, part of the Furman University Scholar Exchange (FUSE). It has been accepted for inclusion in Furman Humanities Review by an authorized FUSE administrator. For terms of use, please refer to the FUSE Institutional Repository Guidelines. For more information, please contact [email protected]. DISMANTLING POWER STRUCTURES: A FOUCAULDIAN EXAMINATION OF PHYLLIDA LLOYD’S ALL-FEMALE SHAKESPEARE TRILOGY Emily Enlow T. E. Phyllida Lloyd’s trilogy of Julius Caesar (2012), Henry IV (2014), and The Tempest (2016) produced at Donmar Warehouse in London (which was filmed at the conclusion of the five-year project) successfully tells Shakespeare’s stories using a company of female actors who not only take on the roles called for in the scripts, but also the roles of inmates in a women’s prison. In an interview for Shakespeare Unlimited, a podcast sponsored by the Folger Shakespeare Library, Lloyd explained that the company worked with Holloway Prison in London to dive deeper into the implications of their choice of setting. She said that through the development process the “prison became less a device and more absolutely fundamental to [their] mission.”1 What began as a project meant to provide a wider range of opportunities for women within the Shake- speare canon became a vehicle to highlight the struggles of inmates limited by the penal system and their pasts.
    [Show full text]
  • Download Download
    S K E N È Journal of Theatre and Drama Studies 6:1 2020 Awry Crowns: Queenship and Its Discontents Edited by Rosy Colombo SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri Executive Editor Guido Avezzù. General Editors Guido Avezzù, Silvia Bigliazzi. Editorial Board Simona Brunetti, Francesco Lupi, Nicola Pasqualicchio, Susan Payne, Gherardo Ugolini. Managing Editors Valentina Adami, Emanuel Stelzer. Assistant Managing Editor Roberta Zanoni. Book Review Editors Chiara Battisti, Sidia Fiorato. Staff Giuseppe Capalbo, Francesco Dall’Olio, Bianca Del Villano, Marco Duranti, Carina Louise Fernandes, Francesco Lupi, Antonietta Provenza, Savina Stevanato. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Richard Allen Cave, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Daniela Guardamagna, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2020 SKENÈ Published in June 2020 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://skenejournal.skeneproject.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Awry Crowns: Queenship and Its Discontents Edited by Rosy Colombo Rosy Colombo – Introduction 5 Monica Centanni – The Queen on Stage. Female Figures of 21 Regality in Aeschylus Nadia Fusini – One, Two, Many Medeas 45 Anton Bierl – Phaedra: a Tragic Queen in Turmoil Between Violent 57 Love and Its Chaste Suppression.
    [Show full text]
  • Warwick.Ac.Uk/Lib-Publications Manuscript Version: Author's Accepted Manuscript the Version Presented in WRAP Is the Author'
    Manuscript version: Author’s Accepted Manuscript The version presented in WRAP is the author’s accepted manuscript and may differ from the published version or Version of Record. Persistent WRAP URL: http://wrap.warwick.ac.uk/99680 How to cite: Please refer to published version for the most recent bibliographic citation information. If a published version is known of, the repository item page linked to above, will contain details on accessing it. Copyright and reuse: The Warwick Research Archive Portal (WRAP) makes this work by researchers of the University of Warwick available open access under the following conditions. Copyright © and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable the material made available in WRAP has been checked for eligibility before being made available. Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. Publisher’s statement: Please refer to the repository item page, publisher’s statement section, for further information. For more information, please contact the WRAP Team at: [email protected]. warwick.ac.uk/lib-publications Dressing the History 'Boys ': Harry's Masks, Falstaff's Underpants Carol Chillington Rutter By mid-2016 the UK Shakespeare community had experienced, one after the other, a spate of anniversaries and national celebrations that put Shakespeare, iconically, at their center: the 450th anniversary of his birth in 2014; the 400th anniversary of his death in 2016; the opening ceremony of the 2012 London Olympics; the 2012 Cultural Olympiad; the 2014-16 'Globe to Globe' Hamlet tour.
    [Show full text]
  • Shakespeare and Intersectionality in Performance and Adaptation Organizer: Ariane M
    2021 SAA: Seminar 36 Shakespeare and Intersectionality in Performance and Adaptation Organizer: Ariane M. Balizet [email protected] “Not an occupation for a Jewish Girl”: Jewishness and Girlhood in Howard Jacobson’s Shylock is My Name Katharine Cleland This paper will explore Howard Jacobson’s portrayal of Jewish girlhood in his 2016 adaptation of The Merchant of Venice: Shylock is My Name. Jacobson’s adaptation is the second installment in the Hogarth Shakespeare series, which commissions award-winning, bestselling contemporary novelists to write adaptations of Shakespeare’s plays. While these adaptations are not public in the same sense as theatrical performances, they are high-profile works of literary fiction. The super star authorial line-up is clearly intended to attract a popular audience of readers. In his own adaptation, Jacobson turns The Merchant of Venice’s subplot involving Shylock and Jessica into his novel’s central conflict. The novel’s protagonist, Simon Strulovitch, is an affluent Jewish art dealer living in Northern England who befriends Shylock after meeting him in a cemetery. Jacobson’s Shylock continues to mourn the death of his wife, Leah, as well as the loss of his daughter to a Christian husband. After inviting Shylock to be his house guest, Strulovitch’s own daughter, Beatrice, runs away to Venice with her Christian boyfriend. In contrast to Jessica, the sixteen-year-old Beatrice’s girlhood is one of her defining characteristics. In this way, Jacobson’s novel participates in a fascination with girlhood in Shakespeare adaptations. In my paper, I will argue that Jacobson denies an impetus to universalize girlhood in Shakespeare adaptations when Beatrice returns to her home in the end, privileging her Jewish identity in a way that Jessica does not.
    [Show full text]
  • Cleaning-Up-Wylie-ITV-Interviews
    ** The content of this press pack is embargoed until 00.01 on Tuesday 23 October 2018 ** Contents Press Release 3 - 4 Interview with Ben Bailey Smith 23 - 25 Foreword by writer Mark Marlow 6 Interview with Rosie Cavaliero 27 - 28 Interview with executive producer Jane Featherstone 8 Episode Synopses 30 Interview with Sheridan Smith 10 - 14 Character and Production Credits 31 Interview with Jade Anouka 16 - 17 Interview with Matthew McNulty 19 - 21 2 ITV’S BRAND NEW SERIES, CLEANING UP, STARRING SHERIDAN SMITH, PRODUCED BY SISTER PICTURES ITV’s new six-part series, Cleaning Up, starring BAFTA award-winning actress Sheridan Smith. The series has been produced by Sister Pictures and created and written by screenwriting newcomer Mark Marlow. The characterful drama focuses on an ordinary working-class woman, Sam, who is caught between two worlds – the everyday life of a devoted and loving mum and the darker, dangerous world of insider trading. Sheridan will be joined by Matthew McNulty (Versailles, The Syndicate, The Musketeers), Jade Anouka (Trauma, Chewing Gum), Branka Katic (Captain America: The Winter Soldier, Black Cat, White Cat), Robert Emms (War Horse, Happy Valley), Lloyd Owen (Apollo 18, Silent Witness, Death in Paradise), Ben Bailey Smith (BrieF Encounters, David Brent: LiFe on the Road), Rosie Cavaliero (UnForgotten, Call the MidwiFe) and Neil Maskell (Humans, Utopia) Sassy office cleaner Sam (Sheridan Smith) is one of an invisible army of cleaners on a zero-hours contract, who mop, sweep and vacuum in the early hours. Struggling with an online gambling addiction, Sam realises she has access to lucrative inside information which, if used correctly, could be the answer to all her prayers.
    [Show full text]