9Th Annual Meeting in Stratford-Upon-Avon, United

Total Page:16

File Type:pdf, Size:1020Kb

9Th Annual Meeting in Stratford-Upon-Avon, United SHAKESPEARE MAN OF THE THEATRE I SECOND CONGRESS OF THE INTERNATIONAL SHAKESPEARE ASSOCIATION NINTH ANNUAL MEETING OF THE SHAKESPEARE ASSOCIATION OF AMERICA STRATFORD-UPON-AVON 1 - 7 AUGUST 1981 Hosts The International Shakespeare Association The Shakespeare Association of America The Shakespeare Birthplace Trust The Shakespeare Institute, University of Birmingham The Royal Shakespeare Theatre PRINTED BY fO,ot STRATFORD - UPON - AVON THE INTERNATIONAL SHAKESPEARE ASSOCIATION President: Sir John Gielgud Vice-President: Maynard Mack (Yale University) Chairman: Kenneth Muir (University of Liverpool) Vice-Chairman and Secretary: Levi Fox (Shakespeare Birthplace Trust) Treasurer: Roger Pringle (Shakespeare Birthplace Trust) Executive Committee: ]. Leeds Barroll (Shakespeare Association of America) Michel Grivelet (University of Dijon) S. C. Sen Gupta (Calcutta) Werner Habicht (Deutsche Shakespeare-Gesellschaft West) THE SHAKESPEARE ASSOCIATION OF AMERICA G. R. Hibbard (University of Waterloo) Eldred Jones (University of Sierra Leone) OFFICERS 1980-1981 Nico Kiasashvili (Tbilisi State University) Jung-hwi Kwon (Shakespeare Society of Korea) Martin Lehnert (Deutsche Shakespeare-Gesellschaft) D. F. McKenzie (Victoria University of Wellington) President: S. Schoenbaum (University of Maryland) Jiro Ozu (Shakespeare Society of Japan) Executive Secretary: Ann Jennalie Cook (Vanderbilt University) Administrative Assistants: Nancy Elizabeth Hodge (Vanderbilt University) Rosemary Allen (Vanderbilt University) Trustees: John Andrews (Folger Shakespeare Library) CONGRESS COMMITTEE Stephen Booth (University of California, Berkeley) Joan Hartwig (University of Kentucky) Chairman: Kenneth Muir (University of Liverpool) Jill Levenson (University of Toronto) Secretary: Levi Fox (Shakespeare Birthplace Trust) Jeanne Roberts (American University) Treasurer: Roger Pringle (Shakespeare Birthplace Trust) Charles Shattuck (University of Illinois) Nigel Alexander (University of London) Susan Snyder (Swarthmore College) David Brierley (Royal Shakespeare Theatre) R. W. Van Fossen (University of Toronto) Philip Brockbank (Shakespeare Institute) Gareth Lloyd Evans (University of Birmingham) ]. R. Mulryne (University of Warwick) D. ]. Palmer (University of Manchester) R. L. Smallwood (Shakespeare Institute) Stanley Wells (Oxford University Press) Congress Office Assistants: Marjorie Lea (Shakespeare Birthplace Trust) Marcia McDonald (Belmont College) Marian]. Pringle (Shakespeare Birthplace Trust) Jenny Robinson (Shakespeare Birthplace Trust) Members of the Shakespeare Club of Stratford-upon-Avon 2 3 GENERAL INFORMATION Except for the two Plenary Sessions, only registered delegates may attend the proceedings of the International Shakespeare Association Congress. Registration is open to members of the Interna­ tional Shakespeare Association, the Shakespeare Association of America and all other affiliated Shakespeare associations. Delegates are asked to wear their badges whenever they attend sessions of the Congress. Unless this is done, difficulties concerning admission may arise. Seminars The Seminars are open only to those listed in the programme. However, a limited number of LOCATION OF EVENTS auditors may attend by arrangement with the Congress Office though auditors may not par­ ticipate in the discussion. Delegates will receive a map of the town on which locations for Congress events are marked. These are as follows: Forums Forums on Shakespeare in the Theatre are being held on Thursday, 6 August, and will base their The Congress Headquarters at the Stratford Hilton, Bridgefoot discussion on questions submitted in writing before 7.00 p.m. on Wednesday, 5 August. Ques­ tions, which must be signed, may be placed in the box provided on the Congress Office desk. The Shakespeare Centre, Henley Street Please note that entrance to the Queen Elizabeth Hall and the Wolfson Hall is via the Workshops with Members of the Royal Shakespeare Company Visitors' Centre entrance. The entrance nearest to Shakespeare's Birthplace should be used only for the Shakespeare Centre Library and for the exhibition, All the The Chairmen of the Workshops on the afternoons of 3, 5 and 6 August will be Ronald Bryden World's a Stage. (University of Toronto), Maurice Daniels (Royal Shakespeare Theatre) and J. R. Mulryne (University of Warwick). Delegates wishing to attend a Workshop session should obtain a pass The Shakespeare Institute, Church Street from the Congress Office. As numbers have to be restricted, early application is advised. The Royal Shakespeare Theatre, Waterside Meals and Coffee/Tea Breaks The Other Place, Southern Lane Coffee and biscuits will be available free to delegates at the Stratford Hilton (Foyer) and at the Shakespeare Centre (King James I Lounge) from 10.30 a.m. to 11.30 a.m. on Monday to Thurs­ Hall's Croft, Old Town day. Tea and biscuits will be provided at 3.30 p.m. each day at the various venues being used for the Seminars. Holy Trinity Church, Old Town The Congress Luncheon on Friday, 7 August, is included in the Congress registration fee. No other meals are covered by the fees paid to the Association. King Edward VI School, Church Street 4 5 PROGRAMME Session 2 (Shakespeare Centre, Queen Elizabeth Hall) Chairman: Ruth Nevo (Hebrew University of Jerusalem) Historic and Iconic Time in Late Tudor Drama. Bernard Beckerman (Columbia University) Shakespeare Imagines a Theatre. Stephen Orgel (The Johns SATURDAY, I AUGUST Hopkins University) 10.30 a.m. Coffee 1.00 p.m. Registration (Stratford Hilton, Foyer) 8.00 p.m. Reception for all delegates (Stratford Hilton, Ballroom) 11.30 a.m. to 12.30 p.m. Session 3 (Stratford Hilton, Ballroom) Chairman: G. K. Hunter (Yale University) Drama and Society in Shakespeare 's Theatre. SUNDAY, 2 AUGUST Robert Weimann (Akademie der Wissenschaften, Berlin) 9.00 a.m. Registration (Stratford Hilton, Foyer) Session 4 (Shakespeare Centre, Queen Elizabeth Hall) Chairman: Eldred Jones (University of Sierra Leone) 11.00 a.m. Congress Service at Holy Trinity Church: Morning Prayer based 'To the judgement of your Eye ': Emblems and the on the Elizabethan Prayer Book (1559) Theatrical Art of 'Pericles'. Mary Judith Dunbar Preacher: The Reverend Professor W. Moelwyn Merchant (University of Santa Clara) 2.30 p.m. Plenary Session 1 (Royal Shakespeare Theatre) Shakespeare and a Cry of Players. John Russell Brown Presiding: Kenneth Muir (Chairman of the International (University of Sussex) Shakespeare Association) S. Schoenbaum (President of the Shakespeare 2.30 p.m. Workshop with members of the Royal Shakespeare Company under Association of America) the direction of John Barton and Trevor Nunn (Shakespeare Cen­ Inaugural Lecture: John Mortimer, Shakespeare and a Playwright tre, Queen Elizabeth Hall) of Today 4.00 p.m. Garden Parties (Hall's Croft and the Shakespeare Institute) 2.30 p.m. to 4.30 p.m. Seminars I-VI Delegates will receive an invitation card admitting them to one or other of the venues. Seminar I: 'Bad Quartos' as Documents of the Theatre (Shakespeare Centre, Wolfson Hall) 8.00 p.m. William : the Conqueror (Royal Shakespeare Theatre) Chairman: Paul Werstine (King's College, University of Western A Shakespearian recital, devised by Roger Pringle and presented by John Gielgud, Barbara Leigh-Hunt, Richard Pasco and Robert Ontario) Spencer (lute and songs) John F. Andrews (Folger Shakespeare Library); David George (Fisk University); Brian Gibbons (University of York); Gerald D. Johnson (University of Alabama, Birmingham); T. J. King (City College of New York); William B. Long (A.M.S. Press); Randall McLeod (University of Toronto); S. W. Reid (Kent State Universi­ MONDAY, 3 AUGUST ty); Marvin Spevack (University of Munster); Gary Taylor (Oxford SHAKESPEARE AND THE THEATRE OF HIS TIME University Press); Sidney Thomas (Syracuse University); Steven Urkowitz (State University of New York, Maritime College) 9.00 a.m. Registration (Stratford Hilton, Congress Office) 9.30 a.m. to 10.30 a.m. Session 1 (Stratford Hilton, Ballroom) Chairman: Philip Brockbank (Shakespeare Institute) The Many-beaded Audience. Andrew Gurr (University of Reading) 6 7 Seminar II: The Court Theatres (Stratford Hilton, Conway Seminar V: Elements of Liturgy and Ritual in Shakespearian Room) Peiformance (Shakespeare Institute, Lounge) Chairman: Glynne Wickham (University of Bristol) Chairman: R. Chris Hassel, Jr. (Vanderbilt University) Herbert Berry (University of Saskatchewan); Ian Burton Roy Battenhouse (Indiana University); Hoyt E. Bowen (Western (University of Bristol); Sheila Fulton (University College of North Kentucky University); Dolora Cunningham (San Francisco State Wales, Bangor); William Ingram (University of Toronto); Roslyn University); David 0. Dickerson (Seattle Pacific University); L. Knutson (University of Arkansas); Richard C. Kohler Hugh L. Hennedy (St. Francis College, University of New (University of San Diego); Oliver Neville (University of Bristol); England); F. G. Laroque (University of Montpellier); John John Orrell (University of Alberta); Don Rowan (University of William Mahon (lona College, New York); Hassell B. Sledd New Brunswick); Andrew Sabol (Brown University) (Slippery Rock State College); George W. Slover (University of Massachusetts, Boston); Carolyn Ruth Swift (Rhode Island College); W. B. Thome (Queen's University, Ontario) Seminar III: The Playwright in his World: Patterns in Shakespeare 's Transformation of Sources (Stratford Hilton, Seymour Room) Seminar VI: Pageantry in the Shakespearian Theatre (Stratford Chairman: Meredith
Recommended publications
  • Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
    a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Front Matter
    Cambridge University Press 978-1-107-00489-4 - The Two Gentlemen of Verona: Updated Edition Edited by Kurt Schlueter Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor Brian Gibbons associate general editor A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate General Editors were A. R. Braunmuller and Robin Hood. THE TWO GENTLEMEN OF VERONA Professor Schlueter approaches this early comedy as a parody of two types of Renaissance educational fiction: the love-quest story and the test-of-friendship story, which by their combination show high-flown human ideals as incompatible with each other, and with human nature. A thoroughly researched, illustrated stage history reveals changing conceptions of the play, which nevertheless often fail to come to terms with its subversive impetus. Since the first known production at David Garrick’s Drury Lane Theatre, it has tempted major directors and actors, including John Philip Kemble, William Charles Macready and Charles Kean, who established a tradition of understanding which cast its shadow even on such modern productions as Denis Carey’s famous staging for the Bristol Old Vic and Robin Phillips’s for the Royal Shakespeare Company. This updated edition includes a new introductory section by Lucy Munro on recent stage
    [Show full text]
  • Michael West
    Theater of Enigma in Shakespeare’s England Michael West Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2017 Michael West All rights reserved ABSTRACT Theater of Enigma in Shakespeare’s England Michael West Theater of Enigma in Shakespeare’s England demonstrates the cognitive, affective, and social import of enigmatic theatrical moments. While the presence of other playgoers obviously shapes the experience of attending a play, I argue that deliberately induced moments of audience ignorance are occasions for audience members to be especially aware of their relations to others who may or may not share their bafflement. I explore the character of states of knowing and not-knowing among audience members and the relations that obtain among playgoers who inhabit these states. Further, I trace the range of performance techniques whereby playgoers are positioned in a cognitive no-man's land, lying somewhere between full understanding and utter ignorance—techniques that I collectively term “enigmatic theater.” I argue that moments of enigmatic theater were a dynamic agent in the formation of collectives in early modern playhouses. I use here the term “collective” to denote the temporary, occasional, and fleeting quality of these groupings, which occur during performance but are dissipated afterwards. Sometimes, this collective resembles what Victor Turner terms communitas, in which the normal societal divisions are suspended and the playgoers become a unified collectivity. At other times, however, plays solicit the formation of multiple collectives defined by their differing degrees of knowledge about a seeming enigma.
    [Show full text]
  • The Moral Basis of Family Relationships in the Plays of Shakespeare and His Contemporaries: a Study in Renaissance Ideas
    The Moral Basis of Family Relationships in the plays of Shakespeare and his Contemporaries: a Study in Renaissance Ideas. A submission for the degree of doctor of philosophy by Stephen David Collins. The Department of History of The University of York. June, 2016. ABSTRACT. Families transact their relationships in a number of ways. Alongside and in tension with the emotional and practical dealings of family life are factors of an essentially moral nature such as loyalty, gratitude, obedience, and altruism. Morality depends on ideas about how one should behave, so that, for example, deciding whether or not to save a brother's life by going to bed with his judge involves an ethical accountancy drawing on ideas of right and wrong. It is such ideas that are the focus of this study. It seeks to recover some of ethical assumptions which were in circulation in early modern England and which inform the plays of the period. A number of plays which dramatise family relationships are analysed from the imagined perspectives of original audiences whose intellectual and moral worlds are explored through specific dramatic situations. Plays are discussed as far as possible in terms of their language and plots, rather than of character, and the study is eclectic in its use of sources, though drawing largely on the extensive didactic and polemical writing on the family surviving from the period. Three aspects of family relationships are discussed: first, the shifting one between parents and children, second, that between siblings, and, third, one version of marriage, that of the remarriage of the bereaved.
    [Show full text]
  • World Theatre Day 2018
    World Theatre Day 2018 Tuesday 27 March, 19h30 | Maison de l‘UNESCO, Salle 1 Musical performance by Jean-Jacques Lemêtre Theatrical Surprise directed by Simon McBurney with Serge Nicolai, Olivia Corsini, Jacques Martial actors of the Théâtre du Soleil company Evening hosted by the clown duo „Les Diptik“ avec Isabelle Huppert With the presence of: Journée Mondiale du Théâtre 2017 Asia PacificAvec la présence d‘Isabelle Huppert, Ram Gopalauteure BAJAJ, du message India de la Journée Mondiale du Théâtre 2017 Arab countries Maya ZBIB, Lebanon Europe Simon MCBURNEY, United Kingdom The Americas Sabina BERMAN, Mexico Africa Werewere-Liking GNEPO, Ivory Coast 3 Content Welcome to the World Theatre Day Celebration 2018 Welcome to the World Theatre Day Celebration 2018 3 UNESCO and ITI 5 International Theatre Institute 6 World Theatre Day 7 Message from the Director-General of UNESCO 8 Message Authors 10 Message Authors 2018 Simon McBurney, United Kingdom 12 Werewere-Liking GNEPO, Ivory Coast 15 Sabina BERMAN, Mexico 16 Ram Gopal BAJAJ, Indie 17 Maya ZBIB, Lebanon 18 Dear message authors, of the creation of a cultural organization whose Ladies and gentlemen; focus was on artistic, educational and humanistic World Theatre Day Message 2018 by Simon McBurney 20 values. It was created to build bridges between all World Theatre Day Message 2018 by Werewere-Liking GNEPO 22 Welcome to the World Theatre Day Celebration nations, especially over the Iron Curtain. Under the World Theatre Day Message 2018 by Sabina BERMAN 26 2018 at UNESCO. leadership of Sir Huxley and the British playwright World Theatre Day Message 2018 by Ram Gopal BAJAJ 28 and novelist J.B.
    [Show full text]
  • The Dramatic Space of Hamlet's Theatre
    Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et.
    [Show full text]
  • THEATRE of the ENGLISH and ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance
    THEATRE OF THE ENGLISH AND ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance Edited by J. R. MULRYNE Professor of English and Comparative Literary Studies and Chairman, Graduate School of Renaissance Studies, University of Warwick and MARGARET SHEWRING Lecturer in Theatre Studies and Course DirectoT, Graduate School of Renaissance Studies, University of Warwick Palgrave Macmillan ISBN 978-1-349-21738-0 ISBN 978-1-349-21736-6 (eBook) DOI 10.1007/978-1-349-21736-6 © J. R. Mulryne and Margaret Shewring 1991 Softcover reprint ofthe hardcover 1st edition 1991 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 ISBN 978-0-312-06771-7 Library of Congress Cataloging-in-Publication Data Theatre of the English and Italian Renaissance / edited by J. R. Mulryne and Margaret Shewring. p. cm. Revised papers from a Seminar on 'English and ltalian Renaissance Theatre' held at the University of Warwick, May 1987. Inc1udes bibliographical references and index. ISBN 978-0-312-06771-7 1. Italian drama-To 17OQ-History and criticism-Congresses. 2. English drama-Early modem and Elizabethan, 1500-1600-History and criticism-Congresses. 3. Theater-ltaly-History-16th century-Congresses. 4. Theater-England-History-16th century­ -Congresses. I.Mulryne. J.R. 11. Shewring, Margaret. 111. Seminar on 'English and Italian Renaissance Theatre' (1987: University ofWarwick) PQ4139.T54 1991 352'.409-dc20 91-21021
    [Show full text]
  • Georgian Country and Culture Guide
    Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager).
    [Show full text]
  • The First Quarto of King Henry V Edited by Andrew Gurr Frontmatter More Information
    Cambridge University Press 0521623367 - The First Quarto of King Henry V Edited by Andrew Gurr Frontmatter More information THE NEW CAMBRIDGE SHAKESPEARE general editor: Brian Gibbons associate editor: A. R. Braunmuller From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. From 1990 to 1994 the General Editor was Brian Gibbons and the Associate Editors were A. R. Braunmuller and Robin Hood. THE FIRST QUARTO OF KING HENRY V The quarto text of Henry V is of unique importance. It has the authority of being transcribed by actors in Shakespeare’s own company as a record of their original staging of the play at the Globe in 1599. In this new edition Andrew Gurr argues that the Henry V quarto is probably the best surviving example of a Shakespeare playscript as it was actually performed. The speed with which it came to press only a year after its first staging marks its status as an official version of the play first seen by Elizabethan audiences. As a practical staging text it therefore does much to shed new light on what happened to scripts that the Shakespeare company bought from their resident playwright. The Henry V quarto is radically different from the 1623 First Folio version used in all other editions of the play. It is only half as long, eliminating entire scenes, transposing others, shortening long speeches and streamlining the text into something that could easily be put on as a two-hour performance.
    [Show full text]
  • 25.Format.Hum-SHAKESPEARE's TYRANTS from TEXT to STAGE
    IMPACT: International Journal of Research in Humanities, Arts and Literature (IMPACT: IJRHAL) ISSN (P): 2347-4564; ISSN (E): 2321-8878 Vol. 5, Issue 11, Nov 2017, 197-202 © Impact Journals SHAKESPEARE’S TYRANTS: FROM TEXT TO STAGE MANANA GELASHVILI 1 & KHATIA GAGNIDZE 2 1Professor, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishviliTbilisi State University, Tbilisi, Georgia 2Research Scholar, Institute of West European Languages and Literature, Faculty of Humanities, IvaneJavakhishvili Tbilisi State University, Tbilisi, Georgia ABSTRACT The aim of the present article is to study the transformation, which Shakespeare's text undergoes from original into translation and finally for the stage adaptation; namely the interpretation of Shakespeare’s famous tyrants (Richard III, Claudius, King Lear, Julius Caesar) by an acclaimed Georgian theatre director Robert Sturua (b. 1938) at The Rustaveli Theatre, Tbilisi. For this purpose four plays by Shakespeare “King Lear”, “Richard III”,“Hamlet” and “Julius Caesar” have been studied. A comparative analysis of the original text and the translation as well as the text of the staged performance reveals the main tendencies apparent in the interpretation. The scenic adaptations of the Shakespeare's plays show that Shakespeare’s highly suggestive text often becomes a means to discuss political problems and represent the currents issues of the Soviet and Post-Soviet period: the dictatorial state, the perversion of power. At the same time stage directing endeavours
    [Show full text]
  • 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.
    [Show full text]