DOCSLIB.ORG

SHAKESPEARE's DIALOGIC STAGE : TOWARDS a POETICS of PERFORMANCE By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
SHAKESPEARE's DIALOGIC STAGE : TOWARDS a POETICS of PERFORMANCE By SHAKESPEARE'S DIALOGIC STAGE : TOWARDS A POETICS OF PERFORMANCE by WINIFRED MARIA JONES A thesis submitted to the Faculty of Arts of The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute The University of Birmingham March 1999 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties.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 Shakespearian performance scholarship is arguably looking for a methodology that can integrate the study of performative work with critical analysis and theory. As an intervention in this discussion, I propose a poetics of performance, a term intended as a playful appropriation of Stephen Greenblatt's poetics of culture but one that restores the central omission of actual performance to his study of Renaissance subjectivity in dramatic texts. This is a systematic study of four plays, The Taming of the Shrew, The Merchant of Venice, Hamlet and Richard II in productions on stage and screen between 1927-1995, arranged diachronically and in dialogic pairings (drawing on 'Bakhtinian thought'). Utilising Greenblatt's discussion of cultural exchange and symbolic acquisition, and restoring Greenblatt's omission of diachronic 'appropriation', I consider the reception of the performative work, drawing attention to interpretative patterns, and enquire into the structuring historical contingency of the Renaissance locus. In considering the 'iteration' of a Shakespearian text (ie: that which enables it to activate transpositions beyond its originating history) I suggest that materialist critics are responding to a valued "art' work and that it is Shakespearian performance scholarship itself that has created the anomalous page/stage debate which it presently seeks to circumvent. CONTENTS List of illustrations List of abbreviations Preface CHAPTER 1 INTRODUCTION : SHAKESPEARE'S DIALOGIC STAGE page 1-16 References to Chapter 1 13-16 CHAPTER 2 'FORCED/ TO GIVE MY HAND' : THE QUESTION OF CONSENT IN THE TAMING OF THE SHREW 17-26 1. What Counts as Evidence? : A Dialogic Reading of platea in W. Bridges-Adams's Production at the Memorial Theatre, Stratford-upon-Avon (1927-1929) together with Sam Taylor s Film, 1929 27-46 2. 'And Will You, Nill You, I Will Marry You' . Anti-Romantic Readings in Franco Zeffirelli's Film, The Taming of the Shrew (1966) and Michael Bogdanov's Royal Shakespeare Company Production at Stratford-upon-Avon, 1978 47-67 3 Snarling Kates and Suffering Petruchios : Coaxing Consent in Jonathan Miller's BBC Time/Life Production (1980) and Bill Alexander's Royal Shakespeare Company Production at Stratford-upon-Avon, 1992 68-90 References to Chapter 2 01106 CHAPTER 3 TF IT BE PROVED AGAINST AN ALIEN' : THE LINKING OF SHYLOCK AND THE PRINCE OF MOROCCO IN THE MERCHANT £YWC£NJCF 107-116 1. 'Playing for Laughs' : Theodore Komisarjevsky s The Merchant of Venice (1932-1933) and Michael Langham's Production (1960), Both at The Shakespeare Memorial Theatre, Stratford-upon-Avon ,, _ . ,_ 2. 'I Am a Jew : Definitions of Jewishness in Jonathan Miller s Production at The National Theatre, 1970 (Televised Version, 1973) and Bill Alexander's Royal Shakespeare Company Production at Stratford-upon-Avon and London, 1987-1988 ,^ 0 ,, f ^o-1Jo 3. 'The Search for Authenticity': John Caird's Production of The Merchant of Venice at the Royal Shakespeare Theatre, Stratford-upon-Avon (1984) and David Thacker's Royal Shakespeare Company Production at Stratford-upon-Avon and London, 1993-1994 159_ lgl References to Chapter 3 182-200 CHAPTER 4 'THE QUEEN'S TWO BODIES ' : OPHELIA AND THE SUCCESSION QUESTION IN HAMLET 201-211 1. 'The Insolence of Office': Revolution in the Body Politic. Hamlet Directed by Peter Hall in 1965 at The Royal Shakespeare Theatre; Tony Richardson's Production at The Round House, London in 1969 and a Firm Version by Woodfall Film Productions, 1969 212-229 2. 'Go and Quickly too. Farewell' : Losing Ophelia in Oedipal Hamlets. Laurence Olivier's Hamlet (1948) and Franco Zeffirelli's firm (1990) 230-248 3. From Periphery to Centre : The Presence of Ophelia in Grigori Kozintsev's Hamlet ( 1964) and Adrian Noble's Hamlet at The Barbican and Royal Shakespeare Theatre, Stratford-upon-Avon, 1992-1993 249-270 References to Chapter 4 271 -284 CHAPTER 5 'FETCH HITHER RICHARD' : SHAKESPEARE'S REVISION OF HISTORY IN THE DEPOSITION SCENE 285-298 1. 'Placed in Its Proper Sequence': Historical Cycles and The Appropriation of Stratford-upon-Avon Stages. RichardII in Anthony Quayle's 'The Cycle of The Historical Plays 1951' at The Shakespeare Memorial Theatre, and The Royal Shakespeare Company's The Wars of the Roses Cycle, Directed by Peter Hall, John Barton and Clifford Williams, 1963-1964 299-319 2. 'The True Richard Music': The Authority of the Actor in Richard II. Dialogic Readings of Joan Littlewood's Theatre Workshop Production at The Theatre Royal, Stratford East, 1955; The Royal Shakespeare Company's Production, Directed by Barry Kyle, 1986-1987; The English Shakespeare Company's The Wars of the Roses, 1986-1989; The Royal Shakespeare Company's 1990-1991 Production, Directed by Ron Daniels; and Deborah Warner's Production at The Royal National Theatre, 1995 and on tour 1996 320-343 i. 'The True Richard Music': The Authority of the Actor in Four Productions of RichardII 320-331 ii. "Bifold Authority" in Deborah Warner's Richard II 332-343 References to Chapter 5 344-360 CHAPTER 6 EPILOGUE : TOWARDS A POETICS OF PERFORMANCE 361-367 References to Chapter 6 368-369 APPENDICES Appendix 1 Cast Lists of Theatre Productions Arranged By Play Chronologically i-xvi Appendix 2 Filmography Arranged By Play Chronologically i-vi BIBLIOGRAPHY List of Illustrations 1 Wilfrid Walter as Petruchio (By courtesy of the Shakespeare Centre Library) follows p. 31 2 Dorothy Massingham as Katherina, 1928 (By courtesy of the Shakespeare Centre Library*) follows p. 31 3 Petrachio (Douglas Fairbanks) attempts to woo Katherina (Mary Pickford) in Sam Taylor's film, 1929. Production company: Pickford Corporation/ Elton Corporation ( By courtesy of BFI Films: Stills, Posters and Designs) follows p. 42 4 The wedding scene in Sam Taylor's The Taming of the Shrew, 1929. Production company: Pickford Corporation/Elton Corporation (By courtesy of BFI Films: Stills, Posters and Designs) follows p. 44 5 Petruchio (Richard Burton) steers Katherina (Elizabeth Taylor) across the gallery in Franco Zeffirelli's film, 1966. Production company: Royal Films/FAI (By courtesy of BFI Films: Stills, Posters and Designs) follows p. 54 6 Petruchio (Richard Burton) announces his 'success' in wooing Kate (Elizabeth Taylor) in Franco Zeffirelli's film, 1966. Production company: Royal Films/FAI (By courtesy of BFI Films: Stills, Posters and Designs) follows p. 54 7 Petruchio (Richard Burton) stops Katherina's protest with a kiss at the altar in Zeffirelli's film, 1966. Elizabeth Taylor plays Kate. Production company: Royal Films/FAI (By courtesy of BFI Films: Stills, Posters and Designs) follows p. 54 8 The freshly bathed Christopher Sly/Petruchio (Jonathan Pryce) is shown titillating photographs in the RSC production, 1978 ( By courtesy of the Shakespeare Centre Library) follows p. 56 9 Petruchio (Jonathan Pryce) restrains Katherina (Paola Dionisotti) in the 'wooing' scene of the 1978 production (Photo: Laurence Burns. By courtesy of the Shakespeare Centre Library) follows p. 56 10 The wedding scene in the 1978 production. From the left: Gremio (Paul Webster), the photographer (Conrad Asquith), Petruchio (Jonathan Pryce), Katherina (Paola Dionisotti) and Grumio (David Suchet) (By courtesy of the Shakespeare Centre Library) follows p. 56 11 Jan Van Eyck, The betrothal of the Amolfini (1434), also referred to as The Amolfini Portrait (By courtesy of the National Gallery, London) follows p. 73 12 'Give me your hands' Baptista (John Franklyn-Robbins) confirms the espousal of Petruchio (John Cleese) and Katherina (Sarah Badel). Photo: David Green published in The BBC TV Shakespeare: The Taming of the Shrew (London: British Broadcasting Corporation, 1980), facing p.48. follows p. 74 13 Set of the 1992 RSC production showing the inn sign, 'The Ugly Duckling' (By courtesy of the Shakespeare Centre Library) follows p. 75 14 Set for Lord Simon's oak-panelled ancestral home in the 1992 RSC production (By courtesy of the Shakespeare Centre Library) follows p. 76 15 Actor-manager Petruchio (Anton Lesser) teaches Katherina (Amanda Harris) in the 1992 production (Photo: B & W Thornton, photographed by Joe Cocks Studio. By courtesy of the Shakespeare Centre Library) follows p. 81 16 'Away rolls his fantastic impression of Venice' : stage set for Theodore Komisarjevsky's The Merchant of Venice, 1932-3 (Photo: Ernest Daniels, by courtesy of the Shakespeare Centre Library) follows p. 124 17 'By this scimitar': the Prince of Morocco (Paul Hardwick) and Portia (Dorothy Tutin) in Michael Langham's production, 1960 (Photo: J.FW Cocks, by courtesy of the Shakespeare Centre Library) follows p. 135 18 Periwigged judges look on in the trial scene of the 1960 production. From the left: Portia (Dorothy Tutin), Antonio (Patrick Alien), Bassanio (Denholm Elliott), the Duke (Tony Church) and Shylock (Peter O'Toole) (Photo: Angus McBean, by courtesy of the Shakespeare Centre Library) follows p. 136 19 Bassanio (Jeremy Brett), Shylock (Laurence Olivier) and Antonio (Anthony Nicholls) in Jonathan Miller's production of The Merchant of Venice, 1970 (Photo: Anthony Crickmay, by courtesy of the Theatre Museum, a part of the Victoria and Albert Museum) follows p.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Download Download
    Anna-Katharina Höpflinger and Marie-Therese Mäder “What God Has Joined Together …” Editorial Fig. 1: Longshot from the air shows spectators lining the streets to celebrate the just-married couple (PBS, News Hour, 21 May 2018, 01:34:21).1 On 19 May 2018 the royal wedding of Prince Harry and Meghan Markle flooded the television channels. Millions of spectators around the globe watched the event on screens and more than 100,000 people lined the streets of Windsor, England, to see the newly wed couple (fig.1).12 The religious ceremony formed the center of the festivities. It took place in St. George’s Chapel at Windsor Castle, attended by 600 invited guests. While this recent example is extraordinary in terms of public interest and financial cost, traits of this event can also be found in less grand ceremonies held by those of more limited economic means. Marriage can be understood as a rite of passage that marks a fundamental transformation in a person’s life, legally, politically, and economically, and often 1 https://www.youtube.com/watch?v=j51O4lf232w [accessed 29 June 2018]. 2 https://www.theguardian.com/uk-news/2018/may/19/a-moment-in-history-royal-wedding- thrills-visitors-from-far-and-wide [accessed 29 June 2018]. www.jrfm.eu 2018, 4/2, 7–21 Editorial | 7 DOI: 10.25364/05.4:2018.2.1 in that person’s self-conception, as an individual and in terms of his or her place in society.3 This transformation combines and blurs various themes. We focus here on the following aspects, which are integral to the articles in this issue: the private and the public, tradition and innovation, the collective and the individu- al.
    [Show full text]
  • Old Testament Verse on Wedding Dress
    Old Testament Verse On Wedding Dress Preferred and upbeat Frankie catechises, but Torry serviceably insist her Saint-Quentin. Is Collin always unvenerable and detractive when sleuths some fisher very petulantly and beseechingly? How illimitable is Claudio when fun and aggressive Dennis disseising some throatiness? On their marriage and celebration of old testament wedding on the courts of value, but not being silent and sexual immorality of many Sanctification involves purity, the absence of what is unclean. Find more updates, nowhere does fashion standards or wife is a great prince, wrinkle or figs from? Have I order here what such a condition his heart, problem while salt has been sinning by anyone a false profession, and knows it, quite he sullenly refuses to chuckle his fault? No work of a code is part represents the feast are found such a malicious spirit will always. And one another, verses precede jesus sinned, with weddings acceptable, where we see his loving couple will be used for your speech around them? Where does modesty fit into the Christian ethic? By using this website, you agree to our use of cookies. Torah to me, dressed them together as masculine and so in the verse can be thrown into your own sinful hearts. This wedding dresses in old testament. Do these examples found on Pinterest inspire you? After all, concrete had the gifts he had broke her stern look within each day. The Lord gives strength to his people; the Lord blesses his people with peace. Old Testament precepts and principles. In fact, little is where many evaluate the bridal traditions actually draw from, including bridesmaids wearing similar dresses in order to awe as decoys for clever bride.
    [Show full text]
  • Orson Welles: CHIMES at MIDNIGHT (1965), 115 Min
    October 18, 2016 (XXXIII:8) Orson Welles: CHIMES AT MIDNIGHT (1965), 115 min. Directed by Orson Welles Written by William Shakespeare (plays), Raphael Holinshed (book), Orson Welles (screenplay) Produced by Ángel Escolano, Emiliano Piedra, Harry Saltzman Music Angelo Francesco Lavagnino Cinematography Edmond Richard Film Editing Elena Jaumandreu , Frederick Muller, Peter Parasheles Production Design Mariano Erdoiza Set Decoration José Antonio de la Guerra Costume Design Orson Welles Cast Orson Welles…Falstaff Jeanne Moreau…Doll Tearsheet Worlds" panicked thousands of listeners. His made his Margaret Rutherford…Mistress Quickly first film Citizen Kane (1941), which tops nearly all lists John Gielgud ... Henry IV of the world's greatest films, when he was only 25. Marina Vlady ... Kate Percy Despite his reputation as an actor and master filmmaker, Walter Chiari ... Mr. Silence he maintained his memberships in the International Michael Aldridge ...Pistol Brotherhood of Magicians and the Society of American Tony Beckley ... Ned Poins and regularly practiced sleight-of-hand magic in case his Jeremy Rowe ... Prince John career came to an abrupt end. Welles occasionally Alan Webb ... Shallow performed at the annual conventions of each organization, Fernando Rey ... Worcester and was considered by fellow magicians to be extremely Keith Baxter...Prince Hal accomplished. Laurence Olivier had wanted to cast him as Norman Rodway ... Henry 'Hotspur' Percy Buckingham in Richard III (1955), his film of William José Nieto ... Northumberland Shakespeare's play "Richard III", but gave the role to Andrew Faulds ... Westmoreland Ralph Richardson, his oldest friend, because Richardson Patrick Bedford ... Bardolph (as Paddy Bedford) wanted it. In his autobiography, Olivier says he wishes he Beatrice Welles ..
    [Show full text]
  • HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
    HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King .
    [Show full text]
  • Frank Grace – Interview Transcript
    THEATRE ARCHIVE PROJECT http://sounds.bl.uk Frank Grace – interview transcript Interviewer: Clare Brewer 8 December 2008 Theatre goer. Anna Lucasta; Windsor Rep; The Gioconda Smile; September Tide; The Second Mrs Tanqueray; Oklahoma; Annie Get your Gun; Shakespeare; The Old Vic; Peter Brook; Olivier; Amateur Theatre; Woolford; Look back In Anger; Encore; Theatre Cruelty; Roots; Tis Pity She’s a Whore; A View From the Bridge; Censorship; Theatre Clubs; The Bald Prima Donna; Oh What a Lovely War; Arthur Miller. This transcript has been edited by the interviewee and thus differs in places from the recording. CB: How did you first become interested in theatre? FG: I suppose through [act]ing at school, but in terms of any serious theatre going I suppose it goes back to the late 1940’s... interestingly enough, when I re-looked at the [programmes] that I have got, the first play that I saw [in] the West End was most unusual for the late 1940’s, it was a play called Anna Lucasta,an American play; what was unusual for the 1940s was that it was an all black cast. CB: Really… FG: And it was about a prostitute and my parents took me [laughs] and I think they must have been slightly worried because I was fourteen at the time and it was one of my first experiences. But that was not typical of the first sort of phase of my theatre-going between that moment in 1949 and about 1951 I suppose and [after where] something dramatic begins to happen, I think.
    [Show full text]
  • English 252: Theatre in England 2006-2007 * [Optional Events
    English 252: Theatre in England 2006-2007 * [Optional events — seen by some] Wednesday December 27 *2:30 p.m. Guys and Dolls (1950). Dir. Michael Grandage. Music & lyrics by Frank Loesser, Book by Jo Swerling and Abe Burrows. Based on a story and characters of Damon Runyon. Designer: Christopher Oram. Choreographer: Rob Ashford. Cast: Alex Ferns (Nathan Detroit), Samantha Janus (Miss Adelaide), Amy Nuttal (Sarah Brown), Norman Bowman (Sky Masterson), Steve Elias (Nicely Nicely Johnson), Nick Cavaliere (Big Julie), John Conroy (Arvide Abernathy), Gaye Brown (General Cartwright), Jo Servi (Lt. Brannigan), Sebastien Torkia (Benny Southstreet), Andrew Playfoot (Rusty Charlie/ Joey Biltmore), Denise Pitter (Agatha), Richard Costello (Calvin/The Greek), Keisha Atwell (Martha/Waitress), Robbie Scotcher (Harry the Horse), Dominic Watson (Angie the Ox/MC), Matt Flint (Society Max), Spencer Stafford (Brandy Bottle Bates), Darren Carnall (Scranton Slim), Taylor James (Liverlips Louis/Havana Boy), Louise Albright (Hot Box Girl Mary-Lou Albright), Louise Bearman (Hot Box Girl Mimi), Anna Woodside (Hot Box Girl Tallulha Bloom), Verity Bentham (Hotbox Girl Dolly Devine), Ashley Hale (Hotbox Girl Cutie Singleton/Havana Girl), Claire Taylor (Hot Box Girl Ruby Simmons). Dance Captain: Darren Carnall. Swing: Kate Alexander, Christopher Bennett, Vivien Carter, Rory Locke, Wayne Fitzsimmons. Thursday December 28 *2:30 p.m. George Gershwin. Porgy and Bess (1935). Lyrics by DuBose Heyward and Ira Gershwin. Book by Dubose and Dorothy Heyward. Dir. Trevor Nunn. Design by John Gunter. New Orchestrations by Gareth Valentine. Choreography by Kate Champion. Lighting by David Hersey. Costumes by Sue Blane. Cast: Clarke Peters (Porgy), Nicola Hughes (Bess), Cornell S. John (Crown), Dawn Hope (Serena), O-T Fagbenie (Sporting Life), Melanie E.
    [Show full text]
  • Exploring Films About Ethical Leadership: Can Lessons Be Learned?
    EXPLORING FILMS ABOUT ETHICAL LEADERSHIP: CAN LESSONS BE LEARNED? By Richard J. Stillman II University of Colorado at Denver and Health Sciences Center Public Administration and Management Volume Eleven, Number 3, pp. 103-305 2006 104 DEDICATED TO THOSE ETHICAL LEADERS WHO LOST THEIR LIVES IN THE 9/11 TERROIST ATTACKS — MAY THEIR HEORISM BE REMEMBERED 105 TABLE OF CONTENTS Preface 106 Advancing Our Understanding of Ethical Leadership through Films 108 Notes on Selecting Films about Ethical Leadership 142 Index by Subject 301 106 PREFACE In his preface to James M cG regor B urns‘ Pulitzer–prizewinning book, Leadership (1978), the author w rote that ―… an im m ense reservoir of data and analysis and theories have developed,‖ but ―w e have no school of leadership.‖ R ather, ―… scholars have worked in separate disciplines and sub-disciplines in pursuit of different and often related questions and problem s.‖ (p.3) B urns argued that the tim e w as ripe to draw together this vast accumulation of research and analysis from humanities and social sciences in order to arrive at a conceptual synthesis, even an intellectual breakthrough for understanding of this critically important subject. Of course, that was the aim of his magisterial scholarly work, and while unquestionably impressive, his tome turned out to be by no means the last word on the topic. Indeed over the intervening quarter century, quite to the contrary, we witnessed a continuously increasing outpouring of specialized political science, historical, philosophical, psychological, and other disciplinary studies with clearly ―no school of leadership‖with a single unifying theory emerging.
    [Show full text]
  • 2006-07 Winiternewsletter.Qxd
    Administrative Offices 900 Broadway, Suite 905 NY, NY 10003 T. 212 645-TACT F. 212 462-2678 (fax) TheACTORS COMPANY THEATRE Winter Newsletter Email. [email protected] 2006/2007 www.TACTnyc.org 8 TACTICS is published twice yearly COMPANY NEWS continued from page 6 tact DARRIE LAWRENCE continues to tour completely sold out. Here’s a sneak peak: tact TheACTORS COMPANY THEATRE TheACTORS nationally in the acclaimed production of January 22nd: Candida with Blair Brown. Scott Alan Evans, Cynthia Harris & Simon Jones COMPANY Doubt. Next stop: Grand Rapids, Chicago, February 19th: The Music Cure and other Co-Artistic Directors COMPANY TACTics Boston, Hartford... etc...she reports, “it’s one acts with Marian Seldes. March 19th: THEATRE Sean Arbuckle, Mary Bacon, Jamie Bennett, Eve Bianco, Newsletter Vol. 14 No.2 been a grand journey so far.” Doctor’s Dilemma with Brian Murray.Visit Nora Chester, Cynthia Darlow, Francesca Di Mauro, Winter 2006/07 Projectshaw.com for more information. Kyle Fabel, Richard Ferrone, Rachel Fowler, MARGARET NICHOLS has been in India for Delphi Harrington, Kelly Hutchinson, Larry Keith, six months studying yoga and meditation April’s Androcles And The Lion will be cast, Jack Koenig, Darrie Lawrence, Ron McClary, Greg McFadden, TACT’S SPRING PRODUCTION: as well as doing some voice over work. She almost exclusively, with members of the James Murtaugh, Margaret Nichols, John Plumpis, press as the Christians being thrown to the James Prendergast, Gregory Salata, Scott Schafer, returns to New York in late January. David Staller, Jenn Thompson, Ashley West, Lynn Wright lions. The interest has been intense. GTG JAMES PRENDERGAST’S current activities ADJUNCT COMPANY will soon be moving into their new office Daryl Bornstein, Dawn Dunlop, Jonathan Faiman, THE SEA include workshop productions of two new space at 520 8th Avenue— suite #312.
    [Show full text]
  • What Are They Doing There? : William Geoffrey Gehman Lehigh University
    Lehigh University Lehigh Preserve Theses and Dissertations 1989 What are they doing there? : William Geoffrey Gehman Lehigh University Follow this and additional works at: https://preserve.lehigh.edu/etd Part of the English Language and Literature Commons Recommended Citation Gehman, William Geoffrey, "What are they doing there? :" (1989). Theses and Dissertations. 4957. https://preserve.lehigh.edu/etd/4957 This Thesis is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. • ,, WHAT ARE THEY DOING THERE?: ACTING AND ANALYZING SAMUEL BECKETT'S HAPPY DAYS by William Geoffrey Gehman A Thesis Presented to the Graduate Committee of Lehigh University 1n Candidacy for the Degree of Master of Arts 1n English Lehigh University 1988 .. This thesis 1S accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. (date) I Professor 1n Charge Department Chairman 11 ACD01fLBDGBNKNTS ., Thanks to Elizabeth (Betsy) Fifer, who first suggested Alan Schneider's productions of Samuel Beckett's plays as a thesis topic; and to June and Paul Schlueter for their support and advice. Special thanks to all those interviewed, especially Martha Fehsenfeld, who more than anyone convinced the author of Winnie's lingering presence. 111 TABLB OF CONTBNTS Abstract ...................•.....••..........•.•••••.••.••• 1 ·, Introduction I Living with Beckett's Standards (A) An Overview of Interpreting Winnie Inside the Text ..... 3 (B) The Pros and Cons of Looking for Clues Outside the Script ................................................ 10 (C) The Play in Context ..................................
    [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]
  • Shakespeare, William Shakespeare
    Shakespeare, William Shakespeare. Julius Caesar The Shakespeare Ralph Richardson, Anthony SRS Caedmon 3 VG/ Text Recording Society; Quayle, John Mills, Alan Bates, 230 Discs VG+ Howard Sackler, dir. Michael Gwynn Anthony And The Shakespeare Anthony Quayle, Pamela Brown, SRS Caedmon 3 VG+ Text Cleopatra Recording Society; Paul Daneman, Jack Gwillim 235 Discs Howard Sackler, dir. Great Scenes The Shakespeare Anthony Quayle, Pamela Brown, TC- Caedmon 1 VG/ Text from Recording Society; Paul Daneman, Jack Gwillim 1183 Disc VG+ Anthony And Howard Sackler, dir. Cleopatra Titus The Shakespeare Anthony Quayle, Maxine SRS Caedmon 3 VG+ Text Andronicus Recording Society; Audley, Michael Horden, Colin 227 Discs Howard Sackler, dir. Blakely, Charles Gray Pericles The Shakespeare Paul Scofield, Felix Aylmer, Judi SRS Caedmon 3 VG+ Text Recording Society; Dench, Miriam Karlin, Charles 237 Discs Howard Sackler, dir. Gray Cymbeline The Shakespeare Claire Bloom, Boris Karloff, SRS- Caedmon 3 VG+ Text Recording Society; Pamela Brown, John Fraser, M- Discs Howard Sackler, dir. Alan Dobie 236 The Comedy The Shakespeare Alec McCowen, Anna Massey, SRS Caedmon 2 VG+ Text Of Errors Recording Society; Harry H. Corbett, Finlay Currie 205- Discs Howard Sackler, dir. S Venus And The Shakespeare Claire Bloom, Max Adrian SRS Caedmon 2 VG+ Text Adonis and A Recording Society; 240 Discs Lover's Howard Sackler, dir. Complaint Troylus And The Shakespeare Diane Cilento, Jeremy Brett, SRS Caedmon 3 VG+ Text Cressida Recording Society; Cyril Cusack, Max Adrian 234 Discs Howard Sackler, dir. King Richard The Shakespeare John Gielgud, Keith Michell and SRS Caedmon 3 VG+ Text II Recording Society; Leo McKern 216 Discs Peter Wood, dir.
    [Show full text]