Shakespeare - Gabriel Egan
... replica Globe playhouse in London having popularised a notion that putting the plays into an approximation of their original per formance context is likely to produce insights unavailable when they are merely read or are performed in theatres unlike those for which they were written. Challenging th ...
... replica Globe playhouse in London having popularised a notion that putting the plays into an approximation of their original per formance context is likely to produce insights unavailable when they are merely read or are performed in theatres unlike those for which they were written. Challenging th ...
David Bevington
... he knew how to capitalize on the narrative traditions of pastoral and romance in The Two Gentlemen of Verona, As You Like It, Pericles, and The Winter’s Tale. Only Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merry Wives of Windsor, and The Tempest stand as plays for which no single organizi ...
... he knew how to capitalize on the narrative traditions of pastoral and romance in The Two Gentlemen of Verona, As You Like It, Pericles, and The Winter’s Tale. Only Love’s Labour’s Lost, A Midsummer Night’s Dream, The Merry Wives of Windsor, and The Tempest stand as plays for which no single organizi ...
Setting the Scene: Directorial Use of Analogy in
... develops a very personal main concept, or vision, for the physicalization of the text. This directorial concept supports what Ralph Berry, on the previous page, called the director‟s “entire philosophy of production:” it inspires and shapes the physical world and leading visual metaphors of the pro ...
... develops a very personal main concept, or vision, for the physicalization of the text. This directorial concept supports what Ralph Berry, on the previous page, called the director‟s “entire philosophy of production:” it inspires and shapes the physical world and leading visual metaphors of the pro ...
The Comedy of Errors
... What the Critics Say.......................................................................26 ...
... What the Critics Say.......................................................................26 ...
Stage-Managing `Otherness`: The Function of
... takes his place among those critics who abstract the sign of Othello's presence and name it "white." The early scenes of the drama invite this interpretation by splitting the character into competing fragments: a narrativised (alien) half and a dramatized (familiar) counterpart. Besides, this interp ...
... takes his place among those critics who abstract the sign of Othello's presence and name it "white." The early scenes of the drama invite this interpretation by splitting the character into competing fragments: a narrativised (alien) half and a dramatized (familiar) counterpart. Besides, this interp ...
here - Congress Business Travel
... International Shakespeare Association The International Shakespeare Association (ISA) offers an opportunity for individuals and institutions to join together to further the knowledge of Shakespeare throughout the world. Its central commitments, outlined in its constitution, are to link the work of ...
... International Shakespeare Association The International Shakespeare Association (ISA) offers an opportunity for individuals and institutions to join together to further the knowledge of Shakespeare throughout the world. Its central commitments, outlined in its constitution, are to link the work of ...
OBERON BOOKS CatalOguE
... Bhatti, Edmund White, Dennis Kelly, Bryony Lavery, Anthony Neilson, Paul Sirett and Roy Williams. ...
... Bhatti, Edmund White, Dennis Kelly, Bryony Lavery, Anthony Neilson, Paul Sirett and Roy Williams. ...
conversations with shakespeare: three
... artists, as well as performance reviews, this study constructs a literary and dramaturgical analysis of three contemporary adaptations in order to understand how these artists converse with Shakespeare, as well as how they invite audiences to engage with retellings of his plays. In addition to analy ...
... artists, as well as performance reviews, this study constructs a literary and dramaturgical analysis of three contemporary adaptations in order to understand how these artists converse with Shakespeare, as well as how they invite audiences to engage with retellings of his plays. In addition to analy ...
The Taming of the Shrew
... Shakespeare specialty bookstall. In its first twenty-five seasons, the Theater has produced nearly the entire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Juliu ...
... Shakespeare specialty bookstall. In its first twenty-five seasons, the Theater has produced nearly the entire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopatra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Juliu ...
The Troublesome Raigne of John, King of England
... In his Arden edition of 1954, and in several later publications, E. A. J. Honigmann reiterated the theory of the precedence of King John and suggested that Troublesome Raigne was a “bad quarto”—a hasty and thoughtless reproduction of King John (King John liv-lviii, 174-5). Despite the external evide ...
... In his Arden edition of 1954, and in several later publications, E. A. J. Honigmann reiterated the theory of the precedence of King John and suggested that Troublesome Raigne was a “bad quarto”—a hasty and thoughtless reproduction of King John (King John liv-lviii, 174-5). Despite the external evide ...
Commedia Dell`Arte Influences on Shakespearean Plays: The
... Acting became a vocation, rather than predominantly an avocation. “Count Carlo Gozzi gave the Sacchi company financial support and wrote material for them”. Patronage of theater by nobility was still necessary to gain entrée to performing at court and maintaining the esteem, along with monetary bene ...
... Acting became a vocation, rather than predominantly an avocation. “Count Carlo Gozzi gave the Sacchi company financial support and wrote material for them”. Patronage of theater by nobility was still necessary to gain entrée to performing at court and maintaining the esteem, along with monetary bene ...
Othello Ongoing: Feminist and Postcolonial Adaptations
... to control the whole action of the play. Othello is one of the most frequently adapted works by Shakespeare because of its significance and the critics’ interest in it. A. C. Bradley (1905) in his book Shakespearean Tragedy, states that “Of all Shakespeare’s tragedies Othello is the most painfully e ...
... to control the whole action of the play. Othello is one of the most frequently adapted works by Shakespeare because of its significance and the critics’ interest in it. A. C. Bradley (1905) in his book Shakespearean Tragedy, states that “Of all Shakespeare’s tragedies Othello is the most painfully e ...
Towards a Dramaturgy of Appropriation: the Re
... influence is a barrier to getting one’s plays produced at all. Furthermore, many contemporary writers are allied with the critics mentioned above in resisting the various hegemonies in which Shakespeare is now frequently implicated. For the writer who is motivated to tell stories about indigenous or ...
... influence is a barrier to getting one’s plays produced at all. Furthermore, many contemporary writers are allied with the critics mentioned above in resisting the various hegemonies in which Shakespeare is now frequently implicated. For the writer who is motivated to tell stories about indigenous or ...
- ASU Digital Repository
... lighting, and bare and/or stages as Renaissance performance techniques, they are likely to notice them as at least unusual. Productions which make use of fast pace and various kinds of direct audience address will, in fact, probably be considered quite modern by any theatre attendees not familiar wi ...
... lighting, and bare and/or stages as Renaissance performance techniques, they are likely to notice them as at least unusual. Productions which make use of fast pace and various kinds of direct audience address will, in fact, probably be considered quite modern by any theatre attendees not familiar wi ...
Jean-François Ducis - The University of Akron
... delaying the publication of the play. According to Jon Pemble, author of Shakespeare Goes to Paris, the marriage of French plays and Shakespearean theater resulted in “spectacle and ostentation” with less emphasis on the dialogue. As a result, “French Shakespeare was, in a word, operatic” (95). Pemb ...
... delaying the publication of the play. According to Jon Pemble, author of Shakespeare Goes to Paris, the marriage of French plays and Shakespearean theater resulted in “spectacle and ostentation” with less emphasis on the dialogue. As a result, “French Shakespeare was, in a word, operatic” (95). Pemb ...
Re-Creating Shakespeare for an Eighteenth
... delaying the publication of the play. According to Jon Pemble, author of Shakespeare Goes to Paris, the marriage of French plays and Shakespearean theater resulted in “spectacle and ostentation” with less emphasis on the dialogue. As a result, “French Shakespeare was, in a word, operatic” (95). Pemb ...
... delaying the publication of the play. According to Jon Pemble, author of Shakespeare Goes to Paris, the marriage of French plays and Shakespearean theater resulted in “spectacle and ostentation” with less emphasis on the dialogue. As a result, “French Shakespeare was, in a word, operatic” (95). Pemb ...
The Cambridge Introduction to Shakespeare`s Tragedies
... grouped together only because their subject is relatively recent English history and their focus is on English kings. It is notable that Shakespeare’s dialogue with history and historical sources in the wider sense is ongoing in a majority of the tragedies. Not only do King Lear and Macbeth centre r ...
... grouped together only because their subject is relatively recent English history and their focus is on English kings. It is notable that Shakespeare’s dialogue with history and historical sources in the wider sense is ongoing in a majority of the tragedies. Not only do King Lear and Macbeth centre r ...
Annual Review 2015 - Shakespeare`s Globe
... Further afield, we were delighted to be part of the Chancellor of the Exchequer’s delegation to China and to be granted significant funding to grow our activity there, in recognition of the Globe’s work in supporting the government’s cultural diplomacy agenda. Engaging young people is at the heart o ...
... Further afield, we were delighted to be part of the Chancellor of the Exchequer’s delegation to China and to be granted significant funding to grow our activity there, in recognition of the Globe’s work in supporting the government’s cultural diplomacy agenda. Engaging young people is at the heart o ...
THE OCCULT AS A DRAMATIC DEVICE IN SHAKESPEAREAN
... demonstrate is that Shakespeare's use of occult manifestations is not as superficial as it is sometimes said to be. On the contrary, it is the contention of this study that, especially in certain of the major tragedies, occult phenomena are integral to the main action, provide the play with essentia ...
... demonstrate is that Shakespeare's use of occult manifestations is not as superficial as it is sometimes said to be. On the contrary, it is the contention of this study that, especially in certain of the major tragedies, occult phenomena are integral to the main action, provide the play with essentia ...
Scholarly discussions
... theatre shortly followed. 11 Like the scattered rhymes in a lyrical remnant, the deep ...
... theatre shortly followed. 11 Like the scattered rhymes in a lyrical remnant, the deep ...
- Free Documents
... The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent rather than a transitory phenomenon. Their construction was prompted when the Mayor and Corpo ...
... The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama. Once they were in operation, drama could become a fixed and permanent rather than a transitory phenomenon. Their construction was prompted when the Mayor and Corpo ...
Open Access version via Utrecht University Repository
... and translations from German.1 From 1778 adaptations of Shakespeare in German were performed in Zagreb. This situation remained until 1841, when for the first time a Shakespeare play was performed in a native language, although the first translation directly from Shakespeare had appeared in print ea ...
... and translations from German.1 From 1778 adaptations of Shakespeare in German were performed in Zagreb. This situation remained until 1841, when for the first time a Shakespeare play was performed in a native language, although the first translation directly from Shakespeare had appeared in print ea ...
study guide - Hartford Stage
... or are short some syllables. Sometimes the emphasis changes. Many scholars and actors believe variation in blank verse ofers insight into a character’s state of mind, emotional state, or reaction to what is happening onstage: ADRIANA How comes it now, my husband, O how comes it, That thou art thus e ...
... or are short some syllables. Sometimes the emphasis changes. Many scholars and actors believe variation in blank verse ofers insight into a character’s state of mind, emotional state, or reaction to what is happening onstage: ADRIANA How comes it now, my husband, O how comes it, That thou art thus e ...
Questioning History in Cymbeline File
... familiarity with Roman history, which here appears in the form of Julius Caesar's most famous words in-most appropriatelyEnglish translation, as context for her retelling. The queen's brief history of Britain's repulsion of Caesar erects several rhetorical markers, seminal moments that carry the au- ...
... familiarity with Roman history, which here appears in the form of Julius Caesar's most famous words in-most appropriatelyEnglish translation, as context for her retelling. The queen's brief history of Britain's repulsion of Caesar erects several rhetorical markers, seminal moments that carry the au- ...
The Tempest Study Guide - Sacramento Theatre Company
... under close scrutiny by bibliographers who believe the script was written before Henry VIII and The Two Noble Kinsmen and may even have preceded The Winter’s Tale. So much for dramatic tradition! Five areas of disagreement that offer particular fascination to modern readers and theatregoers include ...
... under close scrutiny by bibliographers who believe the script was written before Henry VIII and The Two Noble Kinsmen and may even have preceded The Winter’s Tale. So much for dramatic tradition! Five areas of disagreement that offer particular fascination to modern readers and theatregoers include ...
Shakespeare's plays
William Shakespeare's plays have the reputation of being among the greatest in the English language and in Western literature. Traditionally, the plays are divided into the genres of tragedy, history, and comedy; they have been translated into every major living language, in addition to being continually performed all around the world.Many of his plays appeared in print as a series of quartos, but approximately half of them remained unpublished until 1623, when the posthumous First Folio was published. The traditional division of his plays into tragedies, comedies and histories follows the categories used in the First Folio. However, modern criticism has labelled some of these plays ""problem plays"" that elude easy categorisation, or perhaps purposely break generic conventions, and has introduced the term romances for what scholars believe to be his later comedies.When Shakespeare first arrived in London in the late 1580s or early 1590s, dramatists writing for London's new commercial playhouses (such as The Curtain) were combining two different strands of dramatic tradition into a new and distinctively Elizabethan synthesis. Previously, the most common forms of popular English theatre were the Tudor morality plays. These plays, celebrating piety generally, use personified moral attributes to urge or instruct the protagonist to choose the virtuous life over Evil. The characters and plot situations are largely symbolic rather than realistic. As a child, Shakespeare would likely have seen this type of play (along with, perhaps, mystery plays and miracle plays).The other strand of dramatic tradition was classical aesthetic theory. This theory was derived ultimately from Aristotle; in Renaissance England, however, the theory was better known through its Roman interpreters and practitioners. At the universities, plays were staged in a more academic form as Roman closet dramas. These plays, usually performed in Latin, adhered to classical ideas of unity and decorum, but they were also more static, valuing lengthy speeches over physical action. Shakespeare would have learned this theory at grammar school, where Plautus and especially Terence were key parts of the curriculum and were taught in editions with lengthy theoretical introductions.