Shakespeare's the Comedy of Errors
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The Comedy of Errors
By William Shakespeare | Directed by Jane Nichols All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Welcome to Seattle Shakespeare Company's 25th Anniversary Season! This season's theme is "Bloodlines," and we're diving deep into plays about family — both the functional, and the conflicted. To start off, we're staging this fall's fast-paced version of The Comedy of Errors. This play is one of Shakespeare's earliest, and is a light comedy with a dark backdrop. The framing story of this play is of Egeon, who sought his son all the way to Ephesus and is sentenced to death because he is from Syracuse. It is on top of this dreary story that our effervescent comedy of mistaken identity is built. We will see a more mature version of the unexplained feud between Ephesus and Syracuse later this season, when we produce Shakespeare's beloved tragedy, Romeo and Juliet, with its most famous of family feuds between the Capulets and Montagues. In between these two shows, we will also be producing the stories of a war-weary mother trying to protect her children in Mother Courage and Her Children, a father who must avenge his destroyed family in Titus Andronicus, and a mother who needed to make tough choices to support her daughter in Mrs. Warren's Profession. Thank you for your continued support of Seattle Shakespeare Company, and we hope you enjoy The Comedy of Errors! Best, Michelle Burce Education Director www.seattleshakespeare.org/education 206-733-8228 ext. 251 or [email protected] PRODUCTION SPONSORS CONTENTS Plot Synopsis . -
Performing Corpo-Realities in Shakespeare's Late Romances 2017
Action Bodies / Acting Bodies: Performing Corpo-Realities in Shakespeare's Late Romances Von der Philosophischen Fakultät der Gottfried Wilhelm Leibniz Universität Hannover zur Erlangung des Grades einer Doktorin der Philosophie (Dr. phil.) genehmigte Dissertation von Eve-Marie Oesterlen geboren am 24. April 1974 in München 2017 Referentin: Prof. Dr. Liselotte Glage Korreferent: Prof. Dr. Rainer Emig Tag der Promotion: 24. November 2016 Zusammenfassung Ausgangspunkt dieser Arbeit ist die Annahme, dass das Spätwerk Shakespeares sich durchgängig und intensiv damit auseinandersetzt, „was es heißt zu wissen, dass andere, dass wir Körper haben“ (Stanley Cavell). Untersucht wird die Bedeutung, die ein solcher corporeal turn für die Rezeption von drei der von der Shakespeare-Forschung bisher eher vernachlässigten Romanzen hat: Pericles, The Winter’s Tale und Cymbeline. Das Augenmerk der Analyse richtet sich hierbei insbesondere auf die Art und Weise, in der sich Repräsentationen des handelnden Körpers im doppelten Sinne (action body/acting body) zur dichten textuellen und theatralischen Selbstreflexion der Stücke verhalten. Hierbei rekurriert die Analyse auf kritische Ansätze, die sich aus der neueren kulturwissenschaftlichen Diskurswende in Bezug auf Körper und Performanz ergeben. Shakespeare, Körper, Performanz Abstract Proceeding from the premise that in his late plays Shakespeare continuously engages with the question of “what it is to know that others, that we, have bodies” (Stanley Cavell), this thesis examines the significance of such a ‘corporeal turn’ for the dramatic analysis of three of Shakespeare’s late romances: Pericles, The Winter's Tale, and Cymbeline. Following in the wake of critical approaches that have emerged from a new focus of interest in the body and performance, this thesis supplements a reading of the playtext with a reading of the text in performance to illustrate how representations of the performing body are bound up with and shaped by the plays’ intense textual and theatrical self-reflection. -
The Comedy of Errors and Free Shakespeare for Kids Are Made Possible by These Generous Sponsors and Supporters
HOME OF MARYLAND HOME OF MAGAZINE.COM MARYLAND The William G. Baker, Jr. Memorial Fund creator of the Baker Artist Awards | www.bakerartistawards.org MAGAZINE.COM A Sustaining Sponsor of Free Shakespeare for Kids MARYLAND The Comedy of Errors and Free Shakespeare for Kids are made possible by these generous sponsors and supporters. MAGAZINE.COM Chesapeake Shakespeare Company Ian Gallanar* Lesley Malin* Patrick Kilpatrick* Founding Artistic Director Managing Director Production Manager The Comedy of Errors By William Shakespeare Directed by Scott Alan Small* Technical Director: Daniel O’Brien* | Costume Designer: Heather C. Jackson | Stage Manager: Sarah Thompson Setting: Ephesus CAST AEGEON, a merchant from Syracuse .........................................................................................................................................Frank Mancino* SOLINUS, Duke of Ephesus .................................................................................................................................................................Kate Forton* ANTIPHOLUS OF SYRACUSE ................................................................................................................................................Matthew Ancarrow* DROMIO OF SYRACUSE, a servant ................................................................................................................................................Kelsey Painter* FIRST MERCHANT, SECOND MERCHANT ........................................................................................................................................ -
Redating Pericles: a Re-Examination of Shakespeare’S
REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY A THESIS IN Theatre Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS by Michelle Elaine Stelting University of Missouri Kansas City December 2015 © 2015 MICHELLE ELAINE STELTING ALL RIGHTS RESERVED REDATING PERICLES: A RE-EXAMINATION OF SHAKESPEARE’S PERICLES AS AN ELIZABETHAN PLAY Michelle Elaine Stelting, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2015 ABSTRACT Pericles's apparent inferiority to Shakespeare’s mature works raises many questions for scholars. Was Shakespeare collaborating with an inferior playwright or playwrights? Did he allow so many corrupt printed versions of his works after 1604 out of indifference? Re-dating Pericles from the Jacobean to the Elizabethan era answers these questions and reveals previously unexamined connections between topical references in Pericles and events and personalities in the court of Elizabeth I: John Dee, Philip Sidney, Edward de Vere, and many others. The tournament impresas, alchemical symbolism of the story, and its lunar and astronomical imagery suggest Pericles was written long before 1608. Finally, Shakespeare’s focus on father-daughter relationships, and the importance of Marina, the daughter, as the heroine of the story, point to Pericles as written for a young girl. This thesis uses topical references, Shakespeare’s anachronisms, Shakespeare’s sources, stylometry and textual analysis, as well as Henslowe’s diary, the Stationers' Register, and other contemporary documentary evidence to determine whether there may have been versions of Pericles circulating before the accepted date of 1608. -
Historia Apollonii Regis Tyri
Metaphor and the riddle of representation in the Historia Apollonii regis Tyri ANDREW LAIRD University of Warwick It is characteristic of philosophical writing that it must continually con- front the question of representation. Walter Benjamin, The Origin of German Tragic Drama. Aristotle says that metaphor is ‘the application of a word that belongs to another thing: either from genus to species, species to genus, species to spe- cies, or by analogy’.1 Studies of metaphors in specific texts – such as those considered in the present volume – are, on the whole, served well by the sort of definition Aristotle offers. But that Aristotelian definition, in presuppos- ing that proper names belong to their objects, raises some awkward ques- tions about naming and essence. And those questions become more threatening if the metaphors to be considered are found in fiction. Ken Dow- den’s chapter raises the possibility of fiction as a reconfiguration of the nar- ratives of our own lives, and as an instructive defamiliarisation of our own individually felt experience. This is no doubt true, but it is also disconcert- ing: if a fictional text can itself be seen as a kind of metaphor, what are the consequences for the metaphors we discern within it? The Historia Apollonii regis Tyri (History of Apollonius King of Tyre) is a late work of ancient fiction but it might serve as a useful coda to the an- cient novels preceding it in quite another way – by prompting thought about the metaphorical nature of an entire work of fiction, in tandem with the metaphors it contains. -
Synopsis of Pericles He Medieval Poet John Gower Returns from the Grave to Tell the Story of Pericles, Prince of Tyre
Synopsis of Pericles he medieval poet John Gower returns from the grave to tell the story of Pericles, Prince of Tyre. THe starts with Pericles’ search for a wife, which leads him to the city of Antioch, where King Antiochus has a beautiful and mysterious daughter. Any knight who can solve the riddle of her identity will win her hand; those who fail are executed at once. Pericles successfully deciphers the riddle, which reveals that . n o i t the King and his daughter have an incestuous c e l l o relationship. Horrified, Pericles flees Antioch, rightly C e t assuming that the King will kill Pericles to prevent him a T e h from revealing the answer to the riddle. t f o y s e t r In Tyre, Pericles fears that Antiochus may start a war u o in order to silence him. Pericles appoints his C counselor Helicanus to rule as regent and again flees. Ships in Distress in a Storm, Peter Monamy c. 1720-30. Pericles arrives in the famine-stricken kingdom of Tarsus, where he delivers wheat to the starving citizens. He receives news that an assassin from vows to never wash his face or cut his hair again and Antioch is on his trail and sets sail. A tempest leaves departs for the sea. him the sole survivor of a shipwreck and washed up on the shore of Pentapolis. A group of fishermen At the brothel, Marina avoids losing her maidenhood rescue Pericles and his armor and take him to the and instead uses her goodness and purity to influence royal court. -
2015 STUDY GUIDE TOOLS for TEACHERS Sponsored By
2015 STUDY GUIDE TOOLS FOR TEACHERS sponsored by Even Buliung Support for the 2015 season of the Tom Patterson Theatre is generously provided by Corporate Sponsor for the 2015 season of the Tom Patterson Theatre Richard Rooney & Laura Dinner Production support is generously provided by M. Vaile Fainer Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Cast of Characters ...................................................................................................... 6 Plot Synopsis ............................................................................................................... 7 Sources and Origins .................................................................................................... 8 Stratford Festival Production History ....................................................................... 10 The Production Artistic Team and Cast .............................................................................................. 11 Lesson Plans and Activities Pericles’ Travels ................................................................................................... 13 Tapping Into the Story ......................................................................................... -
The Comedy of Errors
A Study Guide for TheThe ComedyComedy ofof ErrorsErrors By: William Shakespeare Presented by Shakespearience a program of the Idaho Shakespeare Festival Table of Contents Section one: WELCOME! Section three: AFTER THE SHOW Special thanks……………………………………….….pg 3 Using this study guide…………………………….….pg 3 Activity: Memory Mnemonics...................................pg 17 About the Idaho Shakespeare Festival…….….pg 4 Activity: Perform a Scene……………..…………………...pg 18 A note from the director……………………..……...pg 4 Activity: Create a Poster…………….……………………...pg 19 Activity: Art of the Insult…………..…………..………..….pg 20 Activity: Did You Know? Facts…...…………………..…..pg 21 Section two: BEFORE THE SHOW Meet the Cast…………………………………………...pg 5 The puppets of comedy……………………………...pg 6 About WILLIAM SHAKESPEARE.………………….pg 7 Comedy of Errors Synopsis…………………………pg 8 Section four: APPENDIX Twins in the real world……………………………….pg 9 Sources……………………………………………………..pg 22 Character Connections………………………………pg 10-11 Suggested viewing/reading.………..………….…..pg 22 Activity: The 15-Minute Play……………………….pg 12-14 Festival History……………………………………………pg 23 Vocabulary Words…………………………………..….pg 15 Activity: Bardbook…...…………………………………pg 16 2 Welcome! Using This Guide... A Very Special Thank You! Dear Teachers, The National Endowment for the Arts in partnership with Arts Midwest presents Shakespeare in American Communities. Idaho Welcome to the Shakespearience study guide for The Comedy Shakespeare Festival is one of 40 professional theater companies of Errors. These materials have been designed to expand your selected to participate in bringing the finest productions of students’ engagement with the performance as well as Shakespeare to middle- and high-school students in communities provide background knowledge on William Shakespeare and across the United States This is the twelfth year of this national the influential literature he wrote. -
William Shakespeare 1 William Shakespeare
William Shakespeare 1 William Shakespeare William Shakespeare The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London. Born Baptised 26 April 1564 (birth date unknown) Stratford-upon-Avon, Warwickshire, England Died 23 April 1616 (aged 52) Stratford-upon-Avon, Warwickshire, England Occupation Playwright, poet, actor Nationality English Period English Renaissance Spouse(s) Anne Hathaway (m. 1582–1616) Children • Susanna Hall • Hamnet Shakespeare • Judith Quiney Relative(s) • John Shakespeare (father) • Mary Shakespeare (mother) Signature William Shakespeare (26 April 1564 (baptised) – 23 April 1616)[1] was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist.[2] He is often called England's national poet and the "Bard of Avon".[3][4] His extant works, including some collaborations, consist of about 38 plays,[5] 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain. His plays have been translated into every major living language and are performed more often than those of any other playwright.[6] Shakespeare was born and brought up in Stratford-upon-Avon. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith. Between 1585 and 1592, he began a successful career in London as an actor, writer, and part-owner of a playing company called the Lord Chamberlain's Men, later known as the King's Men. He appears to have retired to Stratford around 1613 at age 49, where he died three years later. -
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Early Theatre 8.1 (2005) Maureen Godman ‘Plucking a Crow’ in The Comedy of Errors Shakespeare’s The Comedy of Errors’1 first recorded performance on 28 Decem- ber 1594 at Gray’s Inn Hall formed one element in a series of revels or ‘law-sports’ held intermittently between 20 December and Shrove Tuesday. The proceedings of those festivities have been preserved in the Gesta Grayorum, first published in 1688.2 In referring to the Gesta, scholars usually mention the ‘tumult’ that forced part of the original entertainments for the second ‘Grand Night’ of the law sports to be abandoned, although, we are told, Shakespeare’s play was performed that night as planned. Apparently, a great crowd of people tried to squeeze into Gray’s Inn Hall causing the ambassador from the Inner Temple and his retinue, the ‘Templarians’, to leave in disgust, mollified a few days later by the presentation of the Masque of Amity.3 Surprisingly little attention has been given to the Gesta as a dramatic piece in itself (editions and anthologies usually excerpt only the part relating to the performance of Errors).4 This is a pity because when we look at the play against the backdrop of the full Gesta, taking into account the revels’ purposes (including a celebration of the relationship with its brother law school) and prevailing temper (often satirical and topical), we see that the play takes colour from its frame and reveals much of the immediacy of the moment. We also see the way that Shakespeare adapts his chief sources (The Menaechmi and Amphitryo by Plautus and the Apollonius of Tyre story) to fit the occasion, enhancing the chosen themes of ‘twinning’, for example. -
William Shakespeare's the Comedy of Errors Study Guide
William Shakespeare’s The Comedy of Errors Study Guide 1 The Comedy of Errors Welcome to The Comedy of Errors. We hope that this study guide will help you further your understanding and enjoyment of one of Shakespeare's most popular comedies. The Orlando Shakespeare Theatre has a strong belief in the relationship between the actor and the audience because, without either one, there is no theater. We hope that this study guide will help bring a better understanding of the plot, themes, and characters in this play so that you can more fully enjoy the theatrical experience. Contents Page 3: Meet the Characters Page 4: Plot Summary Page 7: Tools for the Text: Paraphrase Page 8-9: Tools for the Text: Imagery Page 9: Background Information Page 10: Questions for Discussion and Shakespeare’s Early Style Page 11-16: Complete Learning Plans Page 16-18: Images of The Comedy of Errors This guide was written to correspond to the following Sunshine State Standards The Arts Skills and Techniques - The student understands and applies arts techniques, media and processes. Creation and Communication - The student creates and communicates a range of subject matter, symbols, and ideas using knowledge of structures and functions of the arts. Cultural and Historical Connections - The student understands the arts in relation to history and culture. Aesthetic and Critical Analysis - The student analyzes, evaluates, and responds to characteristics of works of art. Language Arts Writing - The student uses the writing process effectively. Listening, Viewing, & Speaking - The student uses listening strategies effectively. Language - The student understands the nature and power of language. -
The Play Pericles, Prince of Tyre by Shakespeare Was Published in 1609
SHAKESPEARE’S PERICLES, PRINCE OF TYRE AND ITS SOURCES: MYTH AND CHRISTIANI- ZATION The play Pericles, Prince of Tyre by Shakespeare was published in 1609. It con- stitutes one of the most unusual instances of the survival of the legend of King Apol- lonius in European literature, this being one of the tales that was most widely spread in varying versions during the Middle Ages and the Renaissance1. The popularity of the story explains the large number of adaptations and translations in a range of lan- guages, in prose, verse and drama, before2 and after Shakespeare 3. Without at this point going into the problem of the authenticity of the play and of whether it was composed wholly or only in part by Shakespeare or by collaborators4 of his, it must be pointed out that the theme of the tale was already popular in England. There is a long list of minor sources, brought together by Hoeniger5, among which several from the British Isles may be highlighted. One was King Apollonius of Tyre by Ro- bert Copland, 1510, a translation of a French work; another saw the light of day in 1578 when J. Falckenburgk published a Latin version of this story, Britannia, Sive de Apollonice Humilitatis, Virtutis et Honoris Porta ... in London, while even in Chaucer there are also echoes of this legend in The Man of Law’s Tale6. In the specific case of Shakespeare, Muir7 holds that the only versions he con- sulted were those by John Gower and Lauwrence Twine8, the Confessio Amantis and the Pattern of Painful Adventures respectively.