Shakespeare in Production

Total Page:16

File Type:pdf, Size:1020Kb

Shakespeare in Production Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SHAKESPEARE IN PRODUCTION Shakespeare’s last play seems unusually elastic, capable of radically differ- ent interpretations, which reflect the social, political, scientific or moral concerns of their period. This edition of The Tempest is the first dedicated to its long and rich stage history. Drawing on a wide variety of sources, it examines four centuries of mainstream, regional and fringe productions in Britain (including Dryden and Davenant’s Restoration adaptation), nineteenth- and twentieth-century American stagings, and recent Australian, Canadian, French, Italian and Japanese productions. In a substantial, illustrated introduction Dr Dymkowski analyses the cultural significance of changes in the play’s theatrical representation: for example, when and why Caliban began to be represented by a black actor, and Ariel became a man’s role rather than a woman’s. The commentary annotates each line of the play with details about acting, setting, textual alteration and cuts, and contemporary reception. With extensive quotation from contemporary commentators and detail from unpublished promptbooks, the edition offers both an accessible account of the play’s changing meanings and a valuable resource for further research. © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SHAKESPEARE IN PRODUCTION : . This series offers students and researchers the fullest possible staging of individual Shakespearean texts. In each volume a substantial intro- duction presents a conceptual overview of the play, marking out the major stages of its representation and reception. The commentary, presented alongside the New Cambridge edition of the text itself, offers detailed, line-by-line evidence for the overview presented in the introduction, making the volume a flexible tool for further research. The editors have selected interesting and vivid evocations of settings, acting and stage presentation and range widely in time and space. A Midsummer Night’s Dream, edited by Trevor R. Griffiths Much Ado About Nothing, edited by John F. Cox Antony and Cleopatra, edited by Richard Madelaine Hamlet, edited by Robert Hapgood Macbeth, edited by John Wilders Julius Caesar, edited by James Rigney King Henry V, edited by Emma Smith Romeo and Juliet, edited by James N. Loehlin The Taming ofthe Shrew, edited by Elizabeth Schafer The Merchant ofVenice, edited by Charles Edelman As You Like It, edited by Cynthia Marshall Troilus and Cressida, edited by Frances Shirley © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information THE TEMPEST Reader in Drama and Theatre, Royal Holloway, University ofLondon © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information The Pitt Building, Trumpington Street, Cambridge, United Kingdom The Edinburgh Building, Cambridge , UK www.cup.cam.ac.uk West th Street, New York, -, USA www.cup.org Stamford Road, Oakleigh, Melbourne , Australia Ruiz de Alarcón , Madrid, Spain © Cambridge University Press This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2000 Typeface in Monotype Ehrhardt ⁄. pt, System in QuarkXPressTM [] A catalogue record for this book is available from the British Library Library ofCongress Cataloging in Publication Data Shakespeare, William, –. The Tempest / edited by Christine Dymkowski. p. cm. – (Shakespeare in production) Includes bibliographical references (p. ) and index. (hb) . Survival after airplane accidents, shipwrecks, etc – Drama. Shakespeare, William, - – Stage history. Shakespeare, William, –. Tempest. Fathers and daughters – Drama. Castaways – Drama. 6. Magicians – Drama. I. Dymkowski, Christine, – II. Title. III. Series. .¢ – dc - hardback paperback Transferred to digital printing 2003 © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information For Pauline © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information CONTENTS List of illustrations page viii Series editors’ preface ix Acknowledgements xi Editor’s note xii List of abbreviations xiv List of productions xix Introduction List of characters The Tempest and commentary Appendix : selected textual variations Appendix : list of principal players Bibliography Index vii © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information ILLUSTRATIONS Michael Fitzgerald as Prospero, with multiple Ariels, in Silviu Purcarete’s production. By courtesy and kind permission of Nottingham Playhouse. Photo: Sean Hudson. page Leah Hanman as Ariel in Frank Benson’s production. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Michael Redgrave as Prospero and Alan Badel as Ariel in Michael Benthall’s production. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Photo: Angus McBean. Ralph Richardson as Prospero and Margaret Leighton as Ariel in Michael Benthall’s revival. By permission of Hulton Getty Picture Collection. Photo: Central Press Photos, the Shakespeare Centre Library, Stratford-upon-Avon. The masque in Declan Donnellan’s production. By permission of photographer Robert Workman. The masque in Jonathan Miller’s production. By permission of photographer Simon Annand. Thomas Grieve’s set for Act , Scene of Charles Kean’s production. By permission of V & A Picture Library. Page of The Sketch, September , showing scenes and characters from Herbert Beerbohm Tree’s production. By kind permission of The British Library (Shelfmark LD). Act I, Scene of John Barton’s production, designed by Christopher Morley with Ann Curtis. By permission of photographer Zoë Dominic. Act , Scene of Peter Brook’s production, designed by the director. By permission of the Shakespeare Centre Library, Stratford-upon-Avon. Photo: Angus McBean. Act , Scene of Nicholas Hytner’s production, designed by David Fielding. By permission of the Shakespeare Centre Library, Stratford-upon-Avon (Joe Cocks Studio Collection). Photo: Joe Cocks. Michael Maloney as Ferdinand, Mark Rylance as Ariel, Derek Jacobi as Prospero, and Alice Krige as Miranda in Ron Daniels’s production, designed by Maria Bjornson. By permission of photographer Donald Cooper © Photostage. viii © Cambridge University Press www.cambridge.org Cambridge University Press 0521783755 - The Tempest Edited by Christine Dymkowski Frontmatter More information SERIES EDITORS’ PREFACE It is no longer necessary to stress that the text of a play is only its starting- point, and that only in production is its potential realized and capable of being appreciated fully. Since the coming-of-age of Theatre Studies as an academic discipline, we now understand that even Shakespeare is only one collaborator in the creation and infinite recreation of his play upon the stage. And just as we now agree that no play is complete until it is produced, so we have become interested in the way in which plays often produced – and preeminently the plays of the national Bard, William Shakespeare – acquire a life history of their own, after they leave the hands of their first maker. Since the eighteenth century Shakespeare has become a cultural con- struct: sometimes the guarantor of nationhood, heritage and the status quo, sometimes seized and transformed to be its critic and antidote. This latter role has been particularly evident in countries where Shakespeare has to be translated. The irony is that while his status as national icon grows in the English-speaking world, his language is both lost and renewed, so that for good or ill, Shakespeare can be made to seem more urgently ‘relevant’ than in England or America, and may become the one dissenting voice that the censors mistake as harmless. ‘Shakespeare in Production’ gives the reader, the student and the scholar a comprehensive dossier of materials – eye-witness accounts, contempo- rary criticism, promptbook marginalia, stage business, cuts, additions and rewritings – from which to construct an understanding of the many mean- ings that the plays have carried down the ages and across the world. These materials are organized alongside the New Cambridge Shakespeare text of the play, line by line and scene by scene, while a substantial introduction in each volume offers a guide to their interpretation. One may trace an argument about, for example, the many ways of playing Queen Gertrude, or the political transmutations of the text of Henry V; or take a scene, an act or a whole play, and work out how it has succeeded or failed in presen- tation over four hundred years. For despite our insistence that the plays are endlessly made and remade by history, Shakespeare is not a blank, scribbled upon by the age. Theatre history charts changes, but also registers something in spite of those changes. Some
Recommended publications
  • Loudon Sainthill
    MS 11 Papers of Loudon Sainthill Summary Administrative Information Biographical Note Associated Content Series List and Description Box/Folder Description Summary Creator: Loudon Sainthill and Harry Tatlock Miller Title: Papers of Loudon Sainthill Date range: 1938-1969 Reference number: MS11 Extent: 3 boxes + 4 large polypropylene boxes + 1 oversized box and 1 buckram- covered large binder Overview The collection comprises programmes, photographs, ephemera, correspondence and papers that had been retained by Loudon Sainthill and Harry Tatlock Miller. They are arranged according to Sainthill’s original order of source and/or date. Keywords Ballets Russes, Monte Carlo Russian Ballet, Colonel W. de Basil's Monte Carlo Russian Ballet Key Names - 1 - Loudon Sainthill, Harry Tatlock Miller, Rex de Charembac Nan Kivell, Colonel W. de Basil Administrative Information Access Contact the National Gallery of Australia Research Library reference desk librarians. Phone +61 2 6240 6530 Email [email protected] Provenance During 1988 and 1989 James Mollison, then Director of the Australian National Gallery, corresponded and met with Harry Tatlock Miller, a close associate of Loudon Sainthill, regarding the Sainthill papers in his possession. These were donated to the then named Australian National Gallery by Harry Tatlock Miller on 6 February 1989. Preferred Citation Note MS 11 Papers of Loudon Sainthill [Box number: folder number], National Gallery of Australia Research Library Archives, National Gallery of Australia, Canberra. Biographical Note Loudon Sainthill was born in 1919, Hobart, Tasmania, and spent his early school years in Melbourne. Sainthill was greatly influenced by the theatre after seeing performances of Colonel W. de Basil’s Monte Carlo Russian Ballet in the late 1930s.
    [Show full text]
  • Text Pages Layout MCBEAN.Indd
    Introduction The great photographer Angus McBean has stage performers of this era an enduring power been celebrated over the past fifty years chiefly that carried far beyond the confines of their for his romantic portraiture and playful use of playhouses. surrealism. There is some reason. He iconised Certainly, in a single session with a Yankee Vivien Leigh fully three years before she became Cleopatra in 1945, he transformed the image of Scarlett O’Hara and his most breathtaking image Stratford overnight, conjuring from the Prospero’s was adapted for her first appearance in Gone cell of his small Covent Garden studio the dazzle with the Wind. He lit the touchpaper for Audrey of the West End into the West Midlands. (It is Hepburn’s career when he picked her out of a significant that the then Shakespeare Memorial chorus line and half-buried her in a fake desert Theatre began transferring its productions to advertise sun-lotion. Moreover he so pleased to London shortly afterwards.) In succeeding The Beatles when they came to his studio that seasons, acknowledged since as the Stratford he went on to immortalise them on their first stage’s ‘renaissance’, his black-and-white magic LP cover as four mop-top gods smiling down continued to endow this rebirth with a glamour from a glass Olympus that was actually just a that was crucial in its further rise to not just stairwell in Soho. national but international pre-eminence. However, McBean (the name is pronounced Even as his photographs were created, to rhyme with thane) also revolutionised British McBean’s Shakespeare became ubiquitous.
    [Show full text]
  • 52 - Sir Frank Benson
    52 - SIR FRANK BENSON By Ann Pennington The proudest moment in the life of Frank Benson occurred when he was knighted by King George V during the tercentenary performance of Julius Caesar at Drury Lane in 1916, the first actor to be so honoured within the walls of a theatre. Previously he had been awarded the Freedom of the Borough of Stratford-upon-Avon for his services to Shakespearean theatre. Francis Robert Benson, known by his family as Frank and almost invariably by his fellow Thespians as F.R.B. was the fourth child and third son of William Benson, descended from Quaker stock, and Elizabeth Soulsby Benson (nee Smith), reputed to be one of the most beautiful women of her day. Their grave and memorial is in the New Alresford churchyard. Born in Tunbridge Wells on 4th November 1858, Frank Benson was quite a little boy when the family moved to Langtons, now Langton House, at the corner of East Street and Sun Lane in Alresford. Both house and grounds are much smaller now than when the Bensons, their six children and a battalion of servants lived there. The property included the farm with its paddocks, pastures, stables and grounds with long sloping lawns, flower walks and an enclosed kitchen garden. This was the home Frank Benson remembered in later life with almost passionate affection. Throughout his schooldays his main interests were physical fitness and the love of word and rhythm. In his two final years at Winchester he was Head of House (Wickham's) and had won the straight mile, appropriately on the Alresford road.
    [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]
  • RCA LHMV 1 His Master's Voice 10 Inch Series
    RCA Discography Part 33 - By David Edwards, Mike Callahan, and Patrice Eyries. © 2018 by Mike Callahan RCA LHMV 1 His Master’s Voice 10 Inch Series Another early 1950’s series using the label called “His Master’s Voice” which was the famous Victor trademark of the dog “Nipper” listening to his master’s voice. The label was retired in the mid 50’s. LHMV 1 – Stravinsky The Rite of Spring – Igor Markevitch and the Philharmonia Orchestra [1954] LHMV 2 – Vivaldi Concerto for Oboe and String Orchestra F. VII in F Major/Corelli Concerto grosso Op. 6 No. 4 D Major/Clementi Symphony Op. 18 No. 2 – Renato Zanfini, Renato Fasano and Virtuosi di Roma [195?] LHMV 3 – Violin Concerto for Violin and Orchestra No. 2 (Bartok) – Yehudi Menuhin, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 4 – Beethoven Concerto No. 5 in E Flat Op. 73 Emperor – Edwin Fischer, Wilhelm Furtwangler and the Philharmonia Orchestra [1954] LHMV 5 – Brahms Concerto in D Op. 77 – Gioconda de Vito, Rudolf Schwarz and the Philharmonia Orchestra [1954] LHMV 6 - Schone Mullerin Op. 25 The Maid of the Mill (Schubert) – Dietrich Fischer-Dieskau, Gerald Moore [1/55] LHMV 7 – Elgar Enigma Variations Op. 36 Wand of Youth Suite No. 1 Op. 1a – Sir Adrian Boult and the London Philharmonic Orchestra [1955] LHMV 8 – Bach Brandenburg Concerto No. 2 in F/Brandenburg Concerto No. 5 in D – Harold Jackson, Gareth Morris, Herbert Sutcliffe, Manoug Panikan, Raymond Clark, Gerraint Jones, Edwin Fischer and the Philharmonia Orchestra [1955] LHMV 9 – Beethoven Symphony No. 5 in C Minor Op.
    [Show full text]
  • To Download the Full Archive
    Complete Concerts and Recording Sessions Brighton Festival Chorus 27 Apr 1968 Concert Dome Concert Hall, Brighton Brighton Festival Belshazzar's Feast Walton William Walton Royal Philharmonic Orchestra Baritone Thomas Hemsley 11 May 1968 Concert Dome Concert Hall, Brighton Brighton Festival Kyrie in D minor, K 341 Mozart Colin Davis BBC Symphony Orchestra 27 Oct 1968 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Budavari Te Deum Kodály Laszlo Heltay Brighton Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Sarah Walker Tenor Paul Taylor Bass Brian Kay 23 Feb 1969 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Symphony No. 9 in D minor, op.125 Beethoven Herbert Menges Brighton Philharmonic Orchestra Soprano Elizabeth Harwood Mezzo-Soprano Barbara Robotham Tenor Kenneth MacDonald Bass Raimund Herincx 09 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Mass in D Dvorák Václav Smetáček Czech Philharmonic Orchestra Soprano Doreen Price Mezzo-Soprano Valerie Baulard Tenor Paul Taylor Bass Michael Rippon Sussex University Choir 11 May 1969 Concert Dome Concert Hall, Brighton Brighton Festival Liebeslieder-Walzer Brahms Laszlo Heltay Piano Courtney Kenny Piano Roy Langridge 25 Jan 1970 Concert Dome Concert Hall, Brighton Brighton Philharmonic Society Requiem Fauré Laszlo Heltay Brighton Philharmonic Orchestra Soprano Maureen Keetch Baritone Robert Bateman Organ Roy Langridge 09 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Mass in B Minor Bach Karl Richter English Chamber Orchestra Soprano Ann Pashley Mezzo-Soprano Meriel Dickinson Tenor Paul Taylor Bass Stafford Dean Bass Michael Rippon Sussex University Choir 1 Brighton Festival Chorus 17 May 1970 Concert Dome Concert Hall, Brighton Brighton Festival Fantasia for Piano, Chorus and Orchestra in C minor Beethoven Symphony No.
    [Show full text]
  • The British Press and Zionism in Herzl's Time (1895-1904)* BENJAMIN JAFFE, MA., M.Jur
    The British Press and Zionism in Herzl's Time (1895-1904)* BENJAMIN JAFFE, MA., M.Jur. A but has been extremely influential; on the other hand, it is not easy, and may even be It is a to to the Historical privilege speak Jewish to evaluate in most cases a impossible, public Society on subject which is very much interest in a subject according to items or related to its founder and past President, articles in a published newspapers many years the late Lucien Wolf. Wolf has prominent ago. It is clear that Zionism was at the period place in my research, owing to his early in question a marginal topic from the point of contacts with Herzl and his opposition to view of the public, and the Near East issue Zionism in later an which years, opposition was not in the forefront of such interest. him to his latest The accompanied day. story We have also to take into account that the of the Herzl-Wolf relationship is an interesting number of British Jews was then much smaller chapter in the history of early British Zionism than today, and the Jewish public as newspaper and Wolf's life.i readers was limited, having It was not an venture to naturally quite easy prepare were regard also to the fact that many of them comprehensive research on the attitude of the newly arrived immigrants who could not yet British press at the time of Herzl. Early read English. Zionism in in attracted England general only I have concentrated here on Zionism as few scholars, unless one mentions Josef Fraenkel reflected in the British press in HerzPs time, and the late Oskar K.
    [Show full text]
  • Sir Hamilton Harty Music Collection
    MS14 Harty Collection About the collection: This is a collection of holograph manuscripts of the composer and conductor, Sir Hamilton Harty (1879-1941) featuring full and part scores to a range of orchestral and choral pieces composed or arranged by Harty, c 1900-1939. Included in the collection are arrangements of Handel and Berlioz, whose performances of which Harty was most noted, and autograph manuscripts approx. 48 original works including ‘Symphony in D (Irish)’ (1915), ‘The Children of Lir’ (c 1939), ‘In Ireland, A Fantasy for flute, harp and small orchestra’ and ‘Quartet in F for 2 violins, viola and ‘cello’ for which he won the Feis Ceoil prize in 1900. The collection also contains an incomplete autobiographical memoir, letters, telegrams, photographs and various typescript copies of lectures and articles by Harty on Berlioz and piano accompaniment, c 1926 – c 1936. Also included is a set of 5 scrapbooks containing cuttings from newspapers and periodicals, letters, photographs, autographs etc. by or relating to Harty. Some published material is also included: Performance Sets (Appendix1), Harty Songs (MS14/11). The Harty Collection was donated to the library by Harty’s personal secretary and intimate friend Olive Baguley in 1946. She was the executer of his possessions after his death. In 1960 she received an honorary degree from Queen’s (Master of Arts) in recognition of her commitment to Harty, his legacy, and her assignment of his belongings to the university. The original listing was compiled in various stages by Declan Plumber
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • S K E N È Journal of Theatre and Drama Studies
    S K E N È Journal of Theatre and Drama Studies 4:1 2018 Transitions Edited by Silvia Bigliazzi SKENÈ Journal of Theatre and Drama Studies Founded by Guido Avezzù, Silvia Bigliazzi, and Alessandro Serpieri General Editors Guido Avezzù (Executive Editor), Silvia Bigliazzi. Editorial Board Simona Brunetti, Lisanna Calvi, Nicola Pasqualicchio, Gherardo Ugolini. Editorial Staff Guido Avezzù, Silvia Bigliazzi, Lisanna Calvi, Francesco Dall’Olio, Marco Duranti, Francesco Lupi, Antonietta Provenza. Layout Editor Alex Zanutto. Advisory Board Anna Maria Belardinelli, Anton Bierl, Enoch Brater, Jean-Christophe Cavallin, Rosy Colombo, Claudia Corti, Marco De Marinis, Tobias Döring, Pavel Drábek, Paul Edmondson, Keir Douglas Elam, Ewan Fernie, Patrick Finglass, Enrico Giaccherini, Mark Griffith, Stephen Halliwell, Robert Henke, Pierre Judet de la Combe, Eric Nicholson, Guido Paduano, Franco Perrelli, Didier Plassard, Donna Shalev, Susanne Wofford. Copyright © 2018 SKENÈ Published in May 2018 All rights reserved. ISSN 2421-4353 No part of this book may be reproduced in any form or by any means without permission from the publisher. SKENÈ Theatre and Drama Studies http://www.skenejournal.it [email protected] Dir. Resp. (aut. Trib. di Verona): Guido Avezzù P.O. Box 149 c/o Mail Boxes Etc. (MBE150) – Viale Col. Galliano, 51, 37138, Verona (I) Contents Silvia Bigliazzi – Preface 5 The Editors Guido Avezzù – Collaborating with Euripides: Actors and 15 Scholars Improve the Drama Text Silvia Bigliazzi – Onstage/Offstage (Mis)Recognitions in The 39 Winter’s Tale Miscellany Angela Locatelli – Hamlet and the Android: Reading 63 Emotions in Literature Roberta Mullini – A Momaria and a Baptism: A Note on 85 Beginning and Ending in the Globe Merchant of Venice (2015) Clara Mucci – The Duchess of Malfi:When a Woman-Prince 101 Can Talk Lilla Maria Crisafulli – Felicia Hemans’s History in Drama: 123 Gender Subjectivities Revisited in The Vespers of Palermo Maria Del Sapio Garbero – Shakespeare in One Act.
    [Show full text]
  • BOLOGNA 27 FEB > 1 MAR 2020
    EUROPEAN ASSOCIATION FOR THE STUDY OF THEATRE AND PERFORMANCE BOLOGNA CURATORS 27 FEB > 1 MAR 2020 Claudio Longhi, Daniele Vianello ᐅ ARENA DEL SOLE THEATRE 2020 EASTAP ASSOCIATED ARTISTS ᐅ LA SOFFITTA - DAMSLab FC Bergman CURATORS Claudio Longhi, Daniele Vianello ADVISORY BOARD Antonio Araujo (University of São Paulo) Christopher Balme (Ludwig-Maximilians-University Munich) Maria João Brilhante (University of Lisbon) Chloé Déchery (University of Paris 8) Josette Féral (University of Quebec / “Sorbonne Nouvelle” University of Paris 3) Clare Finburgh Delijani (Goldsmiths – University of London) Gerardo Guccini (Alma Mater Studiorum – University of Bologna) Stefan Hulfeld (University of Vienna) Lorenzo Mango (University of Naples) Aldo Milohnić (University of Ljubljana) Elena Randi (University of Padua) Anneli Saro (University of Tartu) Diana Taylor (New York University) Gabriele Vacis (Catholic University of Sacred Heart of Milan) Piermario Vescovo (“Ca’ Foscari” University of Venice) ORGANIZING COMMITTEE Claudio Longhi - Daniele Vianello - Gerardo Guccini (Co-organizers) Silvia Cassanelli, Valentina Falorni, Licia Ferrari, Viviana Gardi, Stefania Lodi Rizzini, Giulia Maurigh, Rossella Mazzaglia, Debora Pietrobono, Martina Sottana, Francesco Vaira, Angelo Vassalli ADMINISTRATIVE OFFICE Angelo Vassalli (Director) Licia Ferrari, Francesco Vaira eastap.com emiliaromagnateatro.com/en/conference-eastap [email protected] Programme 26 FEBRUARY ᐅ RIDOTTO DEI PALCHI, STORCHI THEATRE, MODENA 19.30 – 21.00 SOCIAL APERITIF 27 FEBRUARY
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Bate, Toni Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume Original Citation Bate, Toni (2015) Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/30289/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Costume with Textiles: The Role and Development of Textiles in the Interpretation of Historical Dress for Contemporary Theatrical Costume Toni Bate A thesis submitted to The University Huddersfield in partial fulfilment of the requirements of the degree of Masters by Research December 2015 Abstract Costuming a theatrical show is a complex process, from the initial design concept to opening night, the journey through the design and construction of a period costume worn for a live performance requires collaboration and compromise with director, designer, performer and the costume team.
    [Show full text]