William Shakespeare: Cymbeline
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THE KINGS and QUEENS of BRITAIN, PART I (From Geoffrey of Monmouth’S Historia Regum Britanniae, Tr
THE KINGS AND QUEENS OF BRITAIN, PART I (from Geoffrey of Monmouth’s Historia Regum Britanniae, tr. Lewis Thorpe) See also Bill Cooper’s extended version (incorporating details given by Nennius’s history and old Welsh texts, and adding hypothesised dates for each monarch, as explained here). See also the various parallel versions of the Arthurian section. Aeneas │ Ascanius │ Silvius = Lavinia’s niece │ Corineus (in Cornwall) Brutus = Ignoge, dtr of Pandrasus │ ┌─────────────┴─┬───────────────┐ Gwendolen = Locrinus Kamber (in Wales) Albanactus (in Scotland) │ └Habren, by Estrildis Maddan ┌──┴──┐ Mempricius Malin │ Ebraucus │ 30 dtrs and 20 sons incl. Brutus Greenshield └Leil └Rud Hud Hudibras └Bladud │ Leir ┌────────────────┴┬──────────────┐ Goneril Regan Cordelia = Maglaurus of Albany = Henwinus of Cornwall = Aganippus of the Franks │ │ Marganus Cunedagius │ Rivallo ┌──┴──┐ Gurgustius (anon) │ │ Sisillius Jago │ Kimarcus │ Gorboduc = Judon ┌──┴──┐ Ferrex Porrex Cloten of Cornwall┐ Dunvallo Molmutius = Tonuuenna ┌──┴──┐ Belinus Brennius = dtr of Elsingius of Norway Gurguit Barbtruc┘ = dtr of Segnius of the Allobroges └Guithelin = Marcia Sisillius┘ ┌┴────┐ Kinarius Danius = Tanguesteaia Morvidus┘ ┌──────┬────┴─┬──────┬──────┐ Gorbonianus Archgallo Elidurus Ingenius Peredurus │ ┌──┴──┐ │ │ │ (anon) Marganus Enniaunus │ Idvallo Runo Gerennus Catellus┘ Millus┘ Porrex┘ Cherin┘ ┌─────┴─┬───────┐ Fulgenius Edadus Andragius Eliud┘ Cledaucus┘ Clotenus┘ Gurgintius┘ Merianus┘ Bledudo┘ Cap┘ Oenus┘ Sisillius┘ ┌──┴──┐ Bledgabred Archmail └Redon └Redechius -
Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
Shakespeare's Gemstones.Indd
SHAKESPEARE’S GEMSTONES DAVID W. BERRY, PHD Droeshout engraving of Shakespeare from the First Folio 1623 SHAKESPEARE’S GEMSTONES by David W. Berry, PhD Copyright © 2005 by David W. Berry All rights reserved. No part of this book may be reproduced in any manner whatsoever without written permission, except in the case of brief quotations embodied in critical articles and reviews. TABLE OF CONTENTS I. Introduction ............................................................ 1 II. Background on the Use of Gems in Elizabethan England .................................................................. 7 III. Shakespeare’s Use of Gems as Imagery ............... 21 IV. Shakespeare’s Use of Gems in the Romance Tradition .............................................................. 35 V. The Diamond in Cymbeline: Symbol and Means For Unity ....................................................................... 45 VI. The Two Rings in All’s Well That Ends Well ............ 53 VII. Claudius’s Union: Ritual and Revenge .................... 59 VIII. Duncan’s Gift of a Diamond in Macbeth ................ 67 IX. Shylock’s Turquoise and Diamond .......................... 71 X. Desdemona as Chrysolite and Pearl ........................ 81 XI. Statistics on Gem Reference .................................... 89 Index of Individual Gemstones ............................................ 93 Bibliography ...................................................................... 113 Chapter I INTRODUCTION The many uses that Shakespeare makes of precious stones in his plays and poems is the topic of this book. This topic fi rst appealed to me because it provides a manageable approach to the canon. The thirty-seven plays, one hundred and fi fty-four sonnets, and other poems, along with a mountain of criticism about these works can overwhelm a reader. However, the subject of gemstones offers a narrow focus that is quite manageable. Another reason why this topic appealed to me is that it provides a special insight into Shakespeare’s art. -
19Tf? Annual Colorado Shakespeare 5®Stii>A(
19tf? Annual Colorado Shakespeare 5®stii>a( The Comedy of Errors • The Tempest • King John DEPARTMENT OF THEATRE AND DANCE c n L n u a n o s rxjkesn«ciK« University of Colorado® Boulder, Colorado 80309 |Zc?sti'waL Summer 1976 Dear Lover of Shakespeare’s Works: Those who truly love Shakespeare in the theatre will be pleased to learn about the CSh A n nual, a scholarly journal devoted to the art of producing Shakespeare for contemporary audi ences. Eighteen years of experience performing all the Shakespeare plays in the Mary Rip- pon Theatre leave us with a vivid realization of the extent to which the full appreciation of Shakespeare’s content and craftsmanship is dependent on relating to his work in the context for which it was written—the artistic transaction of theatrical production. A significant part of Shakespeare’s greatness has been his capacity to speak meaningfully and movingly to successive generations and diverse cultures. On whatever pedestals we would put him, we must certainly maintain a place for him in our contemporary theatres. His work calls for actors and scenic artists, stages and audiences. It also warrants the attention of those whose scholarship can reflect their practice of his own theatrical art and their sharing of his commitment to make scripts come alive in the theatre. To stimulate such at tention and to make available to others the fruits of such attention—these are the goals of the CSF Annual. The A nnual will grow out of each Colorado Shakespeare Festival. Its basic format will consist of three sections. -
The Disastrous Impacts of Trump's Border Wall on Wildlife
a Wall in the Wild The Disastrous Impacts of Trump’s Border Wall on Wildlife Noah Greenwald, Brian Segee, Tierra Curry and Curt Bradley Center for Biological Diversity, May 2017 Saving Life on Earth Executive Summary rump’s border wall will be a deathblow to already endangered animals on both sides of the U.S.-Mexico border. This report examines the impacts of construction of that wall on threatened and endangered species along the entirety of the nearly 2,000 miles of the border between the United States and Mexico. TThe wall and concurrent border-enforcement activities are a serious human-rights disaster, but the wall will also have severe impacts on wildlife and the environment, leading to direct and indirect habitat destruction. A wall will block movement of many wildlife species, precluding genetic exchange, population rescue and movement of species in response to climate change. This may very well lead to the extinction of the jaguar, ocelot, cactus ferruginous pygmy owl and other species in the United States. To assess the impacts of the wall on imperiled species, we identified all species protected as threatened or endangered under the Endangered Species Act, or under consideration for such protection by the U.S. Fish and Wildlife Service (“candidates”), that have ranges near or crossing the border. We also determined whether any of these species have designated “critical habitat” on the border in the United States. Finally, we reviewed available literature on the impacts of the existing border wall. We found that the border wall will have disastrous impacts on our most vulnerable wildlife, including: 93 threatened, endangered and candidate species would potentially be affected by construction of a wall and related infrastructure spanning the entirety of the border, including jaguars, Mexican gray wolves and Quino checkerspot butterflies. -
Press Release 1/5
PRESS RELEASE 1/5 IN THE CATHEDRAL OF SOUND: “THE PINK FLOYD EXHIBITION: THEIR MORTAL REMAINS” • After London and Rome, the interactive exhibition at the Dortmunder “U” Centre for Arts and Creativity looks back on the 50-year history of the British cult band • The innovative Sennheiser audio guide and 360-degree audio installations provide a thrilling experience in sound and vision Dortmund/Wedemark, 23 August 2018 – Higher and higher it climbs. The escalator in the Dortmunder “U" goes right up to the sixth floor. Having arrived at the top, visitors can also marvel at reaching a summit in audio-visual experience. From 15 September 2018, they can see – and of course hear – “The Pink Floyd Exhibition: Their Mortal Remains”. This interactive multimedia exhibition runs until 10 February 2019. After Rome and London, where the retrospective was very well received, Dortmund is the first and only venue in Germany. It presents a review of the British cult band’s creative work: fifty years of music history over an area of 1,000 square metres, illustrated chronologically on the basis of more than 350 exhibits, perfectly matched with innovative audio technology that allows the visitors to immerse themselves in the unmistakable sound of Pink Floyd. And Sennheiser is the audio partner responsible. Fascinating worlds of sound have been created, bringing the band’s career, its albums, its sound engineering and its performances to life in a stunning audio-visual display. The Dortmunder U – Centre for Arts and Creativity is presenting the major Pink Floyd retrospective “The Pink Floyd Exhibition: Their Mortal Remains“ from 15 September 2018 to 10 February 2019. -
Julius Caesar © 2015 American Shakespeare Center
THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me. -
Study Guide 2016-2017
Study Guide 2016-2017 by William Shakespeare Standards Theatre English Language Arts Social Studies TH.68.C.2.4: Defend personal responses. LAFS.68.RH.1.2: Determine central ideas. SS.912.H.1.5: Examine social issues. TH.68.C.3.1: Discuss design elements. LAFS.910.L.3.4: Determine unknown words. TH.68.H.1.5: Describe personal responses. LAFS.910.L.3.5: Demonstrate figurative language. TH.912.S.1.8: Use research to extract clues. LAFS.1112.SL.1.1: Initiate collaborative discussions. TH.912.S.2.9: Research artistic choices. TH.912.H.1.4: Interpret through historical lenses. Content Advisory: Antony and Cleopatra is a political drama fueled by intimate relationships. There are battle scenes. If it were a movie, Antony and Cleopatra would be rated “PG-13.” !1 Antony and Cleopatra Table of Contents Introduction p. 3 Enjoying Live Theater p. 3 About the Play p. 6 Plot Summary p. 6 Meet the Characters p. 7 Meet the Playwright p. 8 Historical Context p. 11 Elizabethan Theater p. 11 Activities p. 12 Themes and Discussion p. 17 Bibliography p. 17 !2 Antony and Cleopatra An Introduction Educators: Thank you for taking the time out of your very busy schedule to bring the joy of theatre arts to your classroom. We at Orlando Shakes are well aware of the demands on your time and it is our goal to offer you supplemental information to compliment your curriculum with ease and expediency. What’s New? Lots! First, let me take a moment to introduce our new Children’s Series Coordinator, Brandon Yagel. -
Pagan Survivals, Superstitions and Popular Cultures in Early Medieval Pastoral Literature
Bernadette Filotas PAGAN SURVIVALS, SUPERSTITIONS AND POPULAR CULTURES IN EARLY MEDIEVAL PASTORAL LITERATURE Is medieval pastoral literature an accurate reflection of actual beliefs and practices in the early medieval West or simply of literary conventions in- herited by clerical writers? How and to what extent did Christianity and traditional pre-Christian beliefs and practices come into conflict, influence each other, and merge in popular culture? This comprehensive study examines early medieval popular culture as it appears in ecclesiastical and secular law, sermons, penitentials and other pastoral works – a selective, skewed, but still illuminating record of the be- liefs and practices of ordinary Christians. Concentrating on the five cen- turies from c. 500 to c. 1000, Pagan Survivals, Superstitions and Popular Cultures in Early Medieval Pastoral Literature presents the evidence for folk religious beliefs and piety, attitudes to nature and death, festivals, magic, drinking and alimentary customs. As such it provides a precious glimpse of the mu- tual adaptation of Christianity and traditional cultures at an important period of cultural and religious transition. Studies and Texts 151 Pagan Survivals, Superstitions and Popular Cultures in Early Medieval Pastoral Literature by Bernadette Filotas Pontifical Institute of Mediaeval Studies This book has been published with the help of a grant from the Canadian Federation for the Humanities and Social Sciences, through the Aid to Scholarly Publications Programme, using funds provided by the Social Sciences and Humanities Research Council of Canada. LIBRARY AND ARCHIVES CANADA CATALOGUING IN PUBLICATION Filotas, Bernadette, 1941- Pagan survivals, superstitions and popular cultures in early medieval pastoral literature / by Bernadette Filotas. -
The General Stud Book : Containing Pedigrees of Race Horses, &C
^--v ''*4# ^^^j^ r- "^. Digitized by tine Internet Arciiive in 2009 witii funding from Lyrasis IVIembers and Sloan Foundation http://www.archive.org/details/generalstudbookc02fair THE GENERAL STUD BOOK VOL. II. : THE deiterol STUD BOOK, CONTAINING PEDIGREES OF RACE HORSES, &C. &-C. From the earliest Accounts to the Year 1831. inclusice. ITS FOUR VOLUMES. VOL. II. Brussels PRINTED FOR MELINE, CANS A.ND C"., EOILEVARD DE WATERLOO, Zi. M DCCC XXXIX. MR V. un:ve PREFACE TO THE FIRST EDITION. To assist in the detection of spurious and the correction of inaccu- rate pedigrees, is one of the purposes of the present publication, in which respect the first Volume has been of acknowledged utility. The two together, it is hoped, will form a comprehensive and tole- rably correct Register of Pedigrees. It will be observed that some of the Mares which appeared in the last Supplement (whereof this is a republication and continua- tion) stand as they did there, i. e. without any additions to their produce since 1813 or 1814. — It has been ascertained that several of them were about that time sold by public auction, and as all attempts to trace them have failed, the probability is that they have either been converted to some other use, or been sent abroad. If any proof were wanting of the superiority of the English breed of horses over that of every other country, it might be found in the avidity with which they are sought by Foreigners. The exportation of them to Russia, France, Germany, etc. for the last five years has been so considerable, as to render it an object of some importance in a commercial point of view. -
Why We Play: an Anthropological Study (Enlarged Edition)
ROBERTE HAMAYON WHY WE PLAY An Anthropological Study translated by damien simon foreword by michael puett ON KINGS DAVID GRAEBER & MARSHALL SAHLINS WHY WE PLAY Hau BOOKS Executive Editor Giovanni da Col Managing Editor Sean M. Dowdy Editorial Board Anne-Christine Taylor Carlos Fausto Danilyn Rutherford Ilana Gershon Jason Troop Joel Robbins Jonathan Parry Michael Lempert Stephan Palmié www.haubooks.com WHY WE PLAY AN ANTHROPOLOGICAL STUDY Roberte Hamayon Enlarged Edition Translated by Damien Simon Foreword by Michael Puett Hau Books Chicago English Translation © 2016 Hau Books and Roberte Hamayon Original French Edition, Jouer: Une Étude Anthropologique, © 2012 Éditions La Découverte Cover Image: Detail of M. C. Escher’s (1898–1972), “Te Encounter,” © May 1944, 13 7/16 x 18 5/16 in. (34.1 x 46.5 cm) sheet: 16 x 21 7/8 in. (40.6 x 55.6 cm), Lithograph. Cover and layout design: Sheehan Moore Typesetting: Prepress Plus (www.prepressplus.in) ISBN: 978-0-9861325-6-8 LCCN: 2016902726 Hau Books Chicago Distribution Center 11030 S. Langley Chicago, IL 60628 www.haubooks.com Hau Books is marketed and distributed by Te University of Chicago Press. www.press.uchicago.edu Printed in the United States of America on acid-free paper. Table of Contents Acknowledgments xiii Foreword: “In praise of play” by Michael Puett xv Introduction: “Playing”: A bundle of paradoxes 1 Chronicle of evidence 2 Outline of my approach 6 PART I: FROM GAMES TO PLAY 1. Can play be an object of research? 13 Contemporary anthropology’s curious lack of interest 15 Upstream and downstream 18 Transversal notions 18 First axis: Sport as a regulated activity 18 Second axis: Ritual as an interactional structure 20 Toward cognitive studies 23 From child psychology as a cognitive structure 24 . -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. 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. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production.