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Don Carlos and Mary Stuart 1St Edition Pdf Free
DON CARLOS AND MARY STUART 1ST EDITION PDF, EPUB, EBOOK Friedrich Schiller | 9780199540747 | | | | | Don Carlos and Mary Stuart 1st edition PDF Book Don Carlos and Mary Stuart , two of German literature's greatest historical dramas, deal with the timeless issues of power, freedom, and justice. Showing It is an accessible Mary Stuart for modern audiences. Rather, the language is more colloquial and the play exhibits some extensive cuts. The title is wrong. I have not read much by Schiller as of yet, but I feel really inspired to pick up more plays now. A pair of tragedies from Friedrich Schiller, buddy to Goethe, and child of the enlightenment. June Click [show] for important translation instructions. As a global organization, we, like many others, recognize the significant threat posed by the coronavirus. Don Carlos and Mary Stuart. I am particularly impressed by Schiller, a Protestant, for his honest account of the good Queen Mary and the Roman religion. I've read several translations of this text, but this is the one I can most readily hear in the mouths of actors, especially Act 3, when the two women come face to face. This article on a play from the 18th century is a stub. Please contact our Customer Service Team if you have any questions. These are two powerful dramas, later turned into equally powerful operas. The Stage: Reviews. Help Learn to edit Community portal Recent changes Upload file. Peter Oswald London: Oberon Books, , 9. Mary Stuart. Don Carlos is a bit too long, I think, though it is fantastic. Archived from the original on September 8, Jan 01, Glenn Daniel Marcus rated it really liked it. -
Chapter One – „Digital Technology and Theatres‟……………………………………7
Technology; Theatres, Plays and Performance Submitted for assessment to the University of the West of England 2011 for Drama and Creative Writing degree award. Copyright: Hannah Williams Walton 2011 Photo from the Blast Theory website: http://www.blasttheory.co.uk/bt/index.php Abstract Technology is now an integral part of modern society from the internet; to computers, mobile phones and gaming. It is clear that technology has made massive advances to society in terms of connecting the world however we must also examine the disciplines which may be struggling to adapt. The world of arts and theatre is a form that is routed in tradition which brings limitations in how far people are willing to push against normal conventions. This dissertation explores three sections of technology within theatre. „Digital Technology and Theatres‟ which explores the impact that the internet has had on the theatre in terms of marketing; and participation in the arts; looking at specific theatre websites, and the services Digital Theatre and National Theatre Live. „Technology and the internet in contemporary plays‟ looks at Tim Fountain‟s play Sex Addicts that uses the internet live during performance, and the work that contemporary playwrights have developed to stage modern technology within their work. From Patrick Marber‟s chatroom scene in Closer, to Chatroom by Enid Walsh that is set almost entirely in a virtual world. „Digital Performance‟ explores theatre companies and practitioners that are pushing the boundaries between performance and technology, to create contemporary pieces of theatre. The research identified Connected an organisation dedicated to working with artists who use live and interactive media; this included Duncan Speakmen, Hide and Seek and Blast Theory. -
Unseen Poetry Preparation Anthology
Unseen Poetry Preparation Anthology The Pearson Edexcel AS and A level English Literature Unseen Poetry Preparation Anthology can be used to prepare for Component 3 of your assessment Pearson Edexcel GCE in English Literature Approaching Contemporary Unseen Poetry: An Anthology of poems and resources For use with: GCE English Literature A level (9ET0) Component 3 Published by Pearson Education Limited, a company incorporated in England and Wales, having its registered office at Edinburgh Gate, Harlow, Essex, CM20 2JE. Registered company number: 872828 Edexcel is a registered trade mark of Edexcel Limited © Pearson Education Limited 2014 First published 2014 17 16 15 14 10 9 8 7 6 5 4 3 2 1 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 9781446913505 Copyright notice All rights reserved. No part of this publication may be reproduced in any form or by any means (including photocopying or storing it in any medium by electronic means and whether or not transiently or incidentally to some other use of this publication) without the written permission of the copyright owner, except in accordance with the provisions of the Copyright, Designs and Patents Act 1988 or under the terms of a licence issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London, EC1N 8TS (www.cla.co.uk). Applications for the copyright owner’s written permission should be addressed to the publisher. See page 65 for acknowledgements. Contents 1 Introduction 4 2 How to approach -
An Investigation Into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright
An Investigation into How Engagement with the Context and Processes of Collaborative Devising Affects the Praxis of the Playwright: A Practice-as-Research PhD Volume 2 223 Practice-As-Research: The 9.21 to Shrub Hill (Devised Production) Playground (Non-Devised Production) and Accompanying Exegesis 224 Chapter Five Exegesis of the Processes of Creating a Devised Script (The 9.21 to Shrub Hill) and Non-Devised Script (Playground) Introduction The preceding chapters have created a framework for the analysis of my own experiences as a writer-deviser. Without this framework, it would be difficult to situate my practice within a theoretical context, since a similar academic discourse, placing the writer-deviser at the heart of the study, does not exist. As highlighted in the Introduction, the central query of this dissertation is how engagement with devising affects a playwright. This is a query with important ramifications for pedagogical practice and the discourses of devising and playwriting in general, but also represents a significant investigation in the development of my own artistic practice. As previously discussed, my methodological approach encompasses both research-led practice, and practice-led research.1 The preceding chapters have informed the development of the two scripts contained within this volume, and the development of the two scripts directed the focus of my research. As with most PaR investigations, the findings resulting from the practice share equal weighting (if not, in the case of some researchers, more) with those discoveries made from traditional, text-based research methodologies. Whilst I explore the ramifications of devising practice on my writing, I am also placing it within the context of the previous chapters’ revelations, finding resonances with the work of other writer-devisers, and testing out the theories presented of both devising and writing in my own work. -
Greek Drama Resources
Greek Drama Resources A Bibliography & Filmography Compiled by Dennis Lee Delaney Head, Professional Director Training Program Ohio University Theater Division, School of Dance, Film, and Theater © 2016 Websites / Internet Resources Ancient Greek Theater Resources Actors of Dionysus (www.actorsofdionysus.com) AOD has earned a reputation for making Greek tragedy seriously sexy (The Guardian) and since 1993 have built up an extensive track record of gripping and wholly accessible productions. Their website chronicles their production history, education publications/workshops, and also has a shop which features scripts, CDs and DVDs. Ancient Greek Drama (www.cbel.com/ancient_greek_drama) This is a useful compendium of 125 manually selected sites on various topics related to Greek drama, including individual articles on the playwrights and their works. Ancient Greek Theater (www.academic.reed.edu/humanities/ 110Tech.html) A page designed to provide an introduction to Ancient Greek Theater and provide tools for further research. Contains timelines, staging issues, bibliography and links. The Ancient Theatre Archive (www.whitman.edu/theatre/ theatretour/home.htm) A virtual reality tour of Greek and Roman Theatre architecture throughout the world, including mainland Europe, North Africa and the United Kingdom. The Archive of Performances of Greek and Roman Drama / University of Oxford (www.apgrd.ox.ac.uk) A comprehensive production history of ancient Greek and Roman drama in modern performance. It contains a database of information on more than -
Hegel's Theory of Tragic Heroes
HEGEL’S THEORY OF TRAGIC HEROES: THE HISTORICAL PROGRESS OF SUBJECTIVITY A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY by Rachel C. Falkenstern May 2016 Examining Committee Members: Dr. Kristin Gjesdal, Advisory Chair, Philosophy Dr. Susan Feagin, Philosophy Dr. Espen Hammer, Philosophy Dr. Paul Kottman, External Member, Comparative Literature and Philosophy, The New School for Social Research © Copyright 2016 by Rachel C. Falkenstern All Rights Reserved € ii ABSTRACT This dissertation argues that Hegel’s theory of tragedy is best understood in combination with his theory of the historical progress of subjective freedom, and that this progress is manifested as the heroes of tragic drama in its different stages of antiquity, early modernity, and late modernity. The truth of tragedy for Hegel, like the content of all art, progresses concomitantly with human freedom, reason, and subjectivity. Likewise, humanity’s self-understanding of these aspects of itself also historically progresses. In this light, I further argue that Hegel’s theory shows tragedy to be not only a historically contextualized cultural practice and form of self-understanding but also a presentation of absolute truth: the truth of a culture at a particular historical moment is presented in its tragedy, yet that culture is a part of a larger narrative, so that a common thread running through tragic drama of all eras comes to light when tragedy is examined through the lens of Hegel’s philosophy. Specifically, I show that Hegel views self-contradiction, alienation, and the drive to reconcile these as underlying universal human conditions, and in tragedy this universal truth is embodied in the tragic hero. -
Press Releases and Images from Our Website at (Go to ‘Contact’ in the Top Right Hand Corner of the Home Page and Follow the Links)
pressinformation finboroughtheatre Lucifer Saved The world premiere of a new play by Finborough Theatre Playwright-in-Residence Peter Oswald Directed by Reuben Grove. Designed by Louie Whitemore. Lighting by Scott McMullin. Music by Alastair Putt. Cast: Penelope Dimond. Richard Franklin. Ria Jones. Jacob Krichefski. Tom Sangster. Pericles Snowdon. Liana Weafer. The world premiere of a new play by Peter Oswald, Finborough Theatre Playwright-in-Residence, opens on 30 October 2007 for a four week run as part of the multi-award-winning Finborough Theatre’s [ new work season 2007 ]. Lucian Willow has a dark past; so dark he can’t remember it. Twenty years after the end of the Second World War, a former Army Chaplain lives in a state of amnesia on his old comrade Lord Brook’s country estate, deep in the slumbering fields of England. The arrival of a circus from across the channel - with its anarchic forces of magic and comedy - impels these wounded men to confront their horrifying and entangled past. Written in verse and prose, Lucifer Saved is an astonishing interweaving of modern story and Christian myth, of tragedy and comedy, by the UK’s foremost verse playwright. Peter Oswald was writer-in-residence at the Globe Theatre where his plays The Storm, The Golden Ass and Augustine’s Oak were all produced. In 2005, his version of Schiller’s Mary Stuart, directed by Phyllida Lloyd, transferred to the West End after a sell-out run at the Donmar Warehouse. Other London credits include The Odyssey and Shakuntala (Gate Theatre), Dona Rosita: The Spinster (Almeida), Fair Ladies at a Game of Poem Cards (National Theatre), and Don Carlos (Lyric). -
Issue 4 (2009)
NEW VOICES IN CLASSICAL RECEPTION STUDIES Issue 4 (2009) RECENT THEATRICAL AND MUSICAL ADAPTATIONS OF APULEIUS´ METAMORPHOSES © Hendrik Müller-Reineke, University of Göttingen Undoubtedly, no other work of ancient literature is so full of theatrical episodes, masquerades, and pantomime as Apuleius’ novel Metamorphoses, also known as The Golden Ass from the second century AD,1 in which Lucius, a young man, is accidentally turned by witchcraft into asinine form and in this guise experiences a stream of adventures before he gains his human form back only by initiation to the cult of the goddess Isis. As Regine May has recently shown convincingly, drama is used constantly as an intertext in all of Apuleius’ works, and especially in the Metamorphoses the author makes use of the readers’ knowledge of contemporary drama, in particular comedy, to interpret the comic adventures of his protagonist.2 It is therefore unsurprising that soon after this only Latin novel to have survived as an entirety was translated into the modern languages, it was also, at least partially, adapted for the stage. In earlier centuries though, these adaptations are limited to the inset story of Cupid and Psyche. The reason for that is the overall atmosphere of the story which forms the framework of Apuleius’ novel with its somewhat loose morality: Lucius’ sexual encounters with Photis and even more his carnal adventures in asinine form were for many centuries not considered as a suitable topic for a literary or a theatre audience. However, with the radical changes in the attitudes of the Western world towards sexual morality and ever growing sexual freedom since the 1960s our attitude towards certain aspects of classical literature has fundamentally changed, and this change also had an enormous influence on the reception of this most fascinating piece of ancient literature. -
The Shape of the Dance: Essays, Interviews and Digressions Free
FREE THE SHAPE OF THE DANCE: ESSAYS, INTERVIEWS AND DIGRESSIONS PDF Michael Donaghy | 224 pages | 01 Oct 2009 | Pan MacMillan | 9780330456289 | English | London, United Kingdom Michael Donaghy - Wikipedia Donaghy was born The Shape of the Dance: Essays an Irish family and grew up with his sister Patricia in the BronxNew York, losing both parents in their early thirties. Donaghy commented: "I owe everything I know about poetry to the public library system in New York City and not to my miseducation at university [ My parents would say something like 'go out and play in the burning wreckage until dinnertime' and I'd make a beeline for the library. Inhe moved to just off Green Lanes in Harringaynorth London to join his partner and fellow musician, Maddy Paxman, whom he married in ; their son, Ruairi, was born in Errata followed inand Conjure in Recognition came in the form of the Geoffrey Faber and Cholmondeley awards and the Whitbread and Forward prizes, among others. Inhe teamed up with Cyborg scientist Kevin Warwick and wrote Grimoire. He died suddenly of a The Shape of the Dance: Essays haemorrhage on September 16, Not since Sylvia Plath almost half a century ago had an American poet living in Britain so decisively entered the bloodstream of his times. From Wikipedia, the free encyclopedia. Categories : births deaths American people of Irish descent American male poets Formalist poets People from The Shape of the Dance: Essays Fordham University alumni Musicians from the Bronx University of Chicago alumni 20th-century American poets 20th-century American musicians Fellows of the Royal Society of Literature 20th-century American male writers American emigrants to the The Shape of the Dance: Essays Kingdom. -
109-112 BOOK REVIEW Lorna Hardwick
http://akroterion.journals.ac.za BOOK REVIEW Lorna Hardwick. Translating Words, Translating Cultures. London: Duckworth, 2000 (in the series “Classical Interfaces”). Pp. 160. ISBN 0 7156 2912 3. Paperback. £9.99 Reviewed by Richard Whitaker (University of Cape Town) What exactly does (or should) translation from one language into another try to do? Attempt to convey to readers of the target language (the language into which one is translating) something of the strangeness, difference and historicity of the original in the source language (the language from which one is translating)? Or must translation try to bridge the gap between source and target language, by rendering the original in a thoroughly contemporary style and diction, as if this were a work being written now for the first time? And related to these the further questions: how closely should a translation render the genre, language, metre, style and content of the original? How far can a translation depart from the original without ceasing to be a translation – in other words, where is one to situate the border between “translation”, “version” and “adaptation”? This book’s approach to such questions is discursive rather than normative. Hardwick offers no grand theory of translation; she describes rather than prescribes. Obiter dicta, however, such as “the main function of a translation from classical poetry...is to provide a contemporary means of understanding and responding to the ancient work” (pp. 11-12), together with her choice of translators for discussion – Christopher Logue, Tony Harrison and Derek Walcott, among others – suggest the direction of her sympathies. Hardwick’s way of proceeding is to look in some detail at a particular instance of a translation/version/adaptation of a classical work, and while so doing to comment on the implications this has for our understanding of translation as an art. -
Download the 2015 Programme
LEDBURY POETRY FESTIVAL 2O15 03–12 July 2015 Programme poetry-festival.co.uk @ledburyfest Ledbury Poetry Festival 3 -12 July 2015 Thank you to all the generous and enthusiastic people who give their time and energy to making the Festival the jam-packed, fun-filled, world-class poetry event that it is. Thank you to all our volunteers who help with administration, stewarding, hospitality, accommodation, driving and much more. Thanks also to all our sponsors and supporters. This Festival grew out of its community and it remains a community celebration. Community Programme Poets Brenda Read Brown and Sara-Jane Arbury work all year round with people who may never be able to attend a Festival event, who have never attempted creative writing before, or have never taken part in any cultural activity. The impact this work can have is astounding. The Community Programme reaches out to people facing social exclusion due to physical or mental health issues, disability or learning challenges and engages them in life-affirming ways with poetry and the creative process. See the Mary and Joe event on Sunday 12th July. Recent projects have included poetry writing in doctors’ surgeries and hospital waiting rooms, and with vulnerable women at a women’s shelter. Opportunities for self-expression in these communities are hugely rewarding for all involved. “You’ve woken something up in me!” said one participant. This is only possible due to funding from the Esmée Fairbairn Foundation, Garfield Weston Foundation, Herefordshire Community Foundation and Sylvia Adams Charitable Trust. Poets in Schools All year round the Festival sends skilled and experienced poets into schools across Herefordshire to enable pupils to read, write and thoroughly enjoy poetry. -
Guide to Plays for Performance
Guide to Plays for Performance Welcome to our Guide to Plays for Performance! I hope this Guide will not only be a useful tool for you in helping to choose next season’s play, but also a valuable companion throughout your career in the theatre. The Guide will give you a good overview of our list with detailed information on our most- performed plays as well as new releases and acquisitions. A more comprehensive version of the Guide is available online, and you are welcome to print off any sheets that are of particular interest to you there. Towards the end of this guide you will find a detailed listing of all our plays for performance, including cast details. If you find a play there that you would like a closer look at, just let me know and I will be happy to send you an approval copy of the script. If you wish to receive our quarterly supplements, with information about the most recent acquisitions, you must let me have an email address (send to: [email protected]) so that I can add you to our electronic mailing list. Check before rehearsals May I remind you that it is essential that before rehearsals begin, you check availability with me, as inclusion in the Guide does not necessarily indicate that amateur rights have been released, and some plays may be withdrawn later on without notice. I hope you will find an exciting and inspiring play for a future production in this Guide and look forward to hearing from you.