The re-creation of early English pantomime
... intention here, however, is to look in detail at the problems of re-creating these early pantomimes, rather than to make a case for their being the originators of the folk play. Rich’s Perseus and Andromeda is unusual in that we have much of the script material available, together with the music for ...
... intention here, however, is to look in detail at the problems of re-creating these early pantomimes, rather than to make a case for their being the originators of the folk play. Rich’s Perseus and Andromeda is unusual in that we have much of the script material available, together with the music for ...
Audience Engagement Survey
... There were also a few respondents (4% of the total) who completed the survey but had not attended the programs of any of the 20 organizations during the past two years. These respondents were matched to the original email lists and were therefore kept in the survey database. ...
... There were also a few respondents (4% of the total) who completed the survey but had not attended the programs of any of the 20 organizations during the past two years. These respondents were matched to the original email lists and were therefore kept in the survey database. ...
William Shakespeare
... He lived and worked in the 16th century, in the period of Renaissance. Shakespeare’s parents, John and Mary, were married about 1557. She was of the landed gentry, he was a glover (glove maker) and merchant. They had eight children. By 1568, John held the position of high bailiff, similar to mayor. ...
... He lived and worked in the 16th century, in the period of Renaissance. Shakespeare’s parents, John and Mary, were married about 1557. She was of the landed gentry, he was a glover (glove maker) and merchant. They had eight children. By 1568, John held the position of high bailiff, similar to mayor. ...
THE REAL THING?1 ADAPTATIONS, TRANSFORMATIONS AND
... of 1810. That the thriving popular stages should have turned to Shakespeare and exploited his popularity is not surprising: numerous ...
... of 1810. That the thriving popular stages should have turned to Shakespeare and exploited his popularity is not surprising: numerous ...
William Shakespeare in the Croatian Drama until the Postmodern
... Shakespeare. It is important to emphasize that the adaptation and localization of the plays in that time was not unusual, and it was quite common. Even Shakespeare did not always conceive plots for his own works but he would use and (re)arrange some old, already known plots using his immense talent, ...
... Shakespeare. It is important to emphasize that the adaptation and localization of the plays in that time was not unusual, and it was quite common. Even Shakespeare did not always conceive plots for his own works but he would use and (re)arrange some old, already known plots using his immense talent, ...
Hytner, Sir Nicholas
... One of the "basic impulses" of the play, Hytner noted, is "the need to demonize those in a community that are felt to be dangerous or 'other.'" Hytner also saw parallels between the seventeenth-century Salem witch trials and homophobia in today's society. "There will definitely be gay people who wil ...
... One of the "basic impulses" of the play, Hytner noted, is "the need to demonize those in a community that are felt to be dangerous or 'other.'" Hytner also saw parallels between the seventeenth-century Salem witch trials and homophobia in today's society. "There will definitely be gay people who wil ...
Shakespeare and The Tempest
... http://www.folger.edu/Content/DiscoverShakespeare/Shakespeares-Theater/ ...
... http://www.folger.edu/Content/DiscoverShakespeare/Shakespeares-Theater/ ...
macondo / erendira - Rhône
... consistently shown his leaning towards contemporary writing and plays. The need to tell of tragedies both past and present has led him to direct works such as ‘La Chunga’ by Mario Vargas-Llosa (1993), or ‘Claude Gueux’ by Victor Hugo (2007). In working on plays such as Tennessee Williams’ ‘The Glass ...
... consistently shown his leaning towards contemporary writing and plays. The need to tell of tragedies both past and present has led him to direct works such as ‘La Chunga’ by Mario Vargas-Llosa (1993), or ‘Claude Gueux’ by Victor Hugo (2007). In working on plays such as Tennessee Williams’ ‘The Glass ...
Towards a way of Reading Scenic Space in Dramatic Texts of the
... Although the status or function of medieval rubrics is by no means given or strictly demarcated, in the case of liturgical drama, most of them seem to be of nonliterary origin and of practical, directorial purpose. Rubrics can specify – although not even remotely fully – individual components of a p ...
... Although the status or function of medieval rubrics is by no means given or strictly demarcated, in the case of liturgical drama, most of them seem to be of nonliterary origin and of practical, directorial purpose. Rubrics can specify – although not even remotely fully – individual components of a p ...
OBERON BOOKS CatalOguE
... which gained an international reputation. Over the course of its 16-year history the company worked with some of the most respected artists and organizations in the UK and internationally, and made a significant contribution to the British theatre scene of the 1990s and early 2000s. Described by Sco ...
... which gained an international reputation. Over the course of its 16-year history the company worked with some of the most respected artists and organizations in the UK and internationally, and made a significant contribution to the British theatre scene of the 1990s and early 2000s. Described by Sco ...
Shakespeare_Theatre_Rome_Dead
... millennium Peter Marshall made the problem of ‘Hamlet’s Ghost Critics’ the very problem of the Reformation, it was clear that Shakespeare and pretty much everyone else took seriously the cult of the dead.7 The principal remaining question was only how directly the cult bore on the theatre. Coming to ...
... millennium Peter Marshall made the problem of ‘Hamlet’s Ghost Critics’ the very problem of the Reformation, it was clear that Shakespeare and pretty much everyone else took seriously the cult of the dead.7 The principal remaining question was only how directly the cult bore on the theatre. Coming to ...
Here - livingartsnyc.com
... either here or where you are several times, before any real start is made.” During the next few months there was much correspondence between Gershwin and Heyward over a suggestion that Jerome Kern and Oscar Hammerstein turn Porgy into a musical for Al Jolson. Heyward, who was in rather tight economi ...
... either here or where you are several times, before any real start is made.” During the next few months there was much correspondence between Gershwin and Heyward over a suggestion that Jerome Kern and Oscar Hammerstein turn Porgy into a musical for Al Jolson. Heyward, who was in rather tight economi ...
Puccini and The Girl - La Fanciulla del West
... therefore, judged to be among the most valuable of operatic commodities. At the same time the advance publicity was propagating the idea of the opera’s quintessential Italianness, it highlighted the distinctly American features of the story and the producers’ efforts to portray them realistically on ...
... therefore, judged to be among the most valuable of operatic commodities. At the same time the advance publicity was propagating the idea of the opera’s quintessential Italianness, it highlighted the distinctly American features of the story and the producers’ efforts to portray them realistically on ...
A Midsummer Night`s Dream Teachers` Notes
... Elizabethan theatres were built of wood and comprised of three tiers of seats in a circular shape with a stage area on one side of the circle. The stage was more or less an open platform, jutting out into the audience, with no curtains and no elaborate sets. The audience's seats and part of the stag ...
... Elizabethan theatres were built of wood and comprised of three tiers of seats in a circular shape with a stage area on one side of the circle. The stage was more or less an open platform, jutting out into the audience, with no curtains and no elaborate sets. The audience's seats and part of the stag ...
by William Shakespeare
... t is a mistake to think that prose, in Shakespeare’s plays is simply the limited speech of uneducated or “low” characters. (For example, Hamlet, Prince Hal [in Henry IV, Part I] and Romeo all speak sometimes in prose.) The idea that prose is a homogeneous indicator of class is not supported by this ...
... t is a mistake to think that prose, in Shakespeare’s plays is simply the limited speech of uneducated or “low” characters. (For example, Hamlet, Prince Hal [in Henry IV, Part I] and Romeo all speak sometimes in prose.) The idea that prose is a homogeneous indicator of class is not supported by this ...
PERFORMING SELECTED SCENES FROM A PLAY BY
... guidance. At his suggestion, we scaled back the full production to a two-week workshop that I would direct with a staged reading at the end. This would allow space to undertake a truly experimental project using some developing notions of physical theatre, a huge cast and a script with a lot of gaps ...
... guidance. At his suggestion, we scaled back the full production to a two-week workshop that I would direct with a staged reading at the end. This would allow space to undertake a truly experimental project using some developing notions of physical theatre, a huge cast and a script with a lot of gaps ...
Finding a Style for Presenting Shakespeare on the Japanese Stage
... Shakespeare, as an important part of shingeki’s repertoire, was translated by many scholars and theatre practitioners throughout the 20th century. Fukuda Tsuneari, another notable scholar-translator-director of Shakespeare, made a debut as a Shakespearean director by staging Hamlet in his translatio ...
... Shakespeare, as an important part of shingeki’s repertoire, was translated by many scholars and theatre practitioners throughout the 20th century. Fukuda Tsuneari, another notable scholar-translator-director of Shakespeare, made a debut as a Shakespearean director by staging Hamlet in his translatio ...
geva announces 2017-2018 season
... A Co-Production with Arizona Theatre Company Part of the Wilson Stage Series ...
... A Co-Production with Arizona Theatre Company Part of the Wilson Stage Series ...
this PDF file
... publication & production on the stage." If necessary, "they can be omitted."18 So far as can be determined, this concession did not bring about publication. Much later in life, Constance Lindsay Skinner claimed to have had "seven dramatic productions." 19 Some were likely relatively minor. The roman ...
... publication & production on the stage." If necessary, "they can be omitted."18 So far as can be determined, this concession did not bring about publication. Much later in life, Constance Lindsay Skinner claimed to have had "seven dramatic productions." 19 Some were likely relatively minor. The roman ...
CULTURAL PROGRAM PROJECT ENGLISH THEATRE: “ALL
... regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. He is often called England's national poet and the ‘Bard of Avon’. His surviving works consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been transla ...
... regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. He is often called England's national poet and the ‘Bard of Avon’. His surviving works consist of about 38 plays, 154 sonnets, two long narrative poems, and several other poems. His plays have been transla ...
shakespeare`s life
... John would lend money with exorbitant interest rates – a highly illegal practice at the time. Historians also believe that he was a “brogger” or wool dealer. Since the crown held a state monopoly on the wool industry, John’s side business of buying and selling wool, while extremely profitable, would ...
... John would lend money with exorbitant interest rates – a highly illegal practice at the time. Historians also believe that he was a “brogger” or wool dealer. Since the crown held a state monopoly on the wool industry, John’s side business of buying and selling wool, while extremely profitable, would ...
CANDIDA by George Bernard Shaw
... factory accidents. Despite these hardships, workers continued to flood the labor market. With such an excess of available labor, manufacturers took advantage and lowered wages. During the late 1800's fine spinners of yarn made between 25 to 30 shillings a week. Coarse spinners made about 18 shilling ...
... factory accidents. Despite these hardships, workers continued to flood the labor market. With such an excess of available labor, manufacturers took advantage and lowered wages. During the late 1800's fine spinners of yarn made between 25 to 30 shillings a week. Coarse spinners made about 18 shilling ...
THE STUFF THAT PLAyS ARE MADE oF
... By ‘text’ I mean simply the written record of the performance. There are essential elements in the dramatic art that are impossible to capture in a text: they can but happen and be experienced. These elements, with all respect for their powers, remain outside the scope of present enquiery. Recognisi ...
... By ‘text’ I mean simply the written record of the performance. There are essential elements in the dramatic art that are impossible to capture in a text: they can but happen and be experienced. These elements, with all respect for their powers, remain outside the scope of present enquiery. Recognisi ...
this PDF file - European Scientific Journal
... must maintain “a wide range of social services” for all its citizens. This model provides a dichotomy between two categories of people: the people who own the means of production and those who provide labour. The members of the former are the masters while those of the latter are the servants. These ...
... must maintain “a wide range of social services” for all its citizens. This model provides a dichotomy between two categories of people: the people who own the means of production and those who provide labour. The members of the former are the masters while those of the latter are the servants. These ...
JULIET - The Philadelphia Shakespeare Theatre
... at the Globe (which had been constructed earlier that year). Constructed out of timber from their previous playhouse “The Theatre,” it could house up to 3000 spectators and was the most magnificent venue London had ever seen. ...
... at the Globe (which had been constructed earlier that year). Constructed out of timber from their previous playhouse “The Theatre,” it could house up to 3000 spectators and was the most magnificent venue London had ever seen. ...
Augustan drama
Augustan drama can refer to the dramas of Ancient Rome during the reign of Caesar Augustus, but it most commonly refers to the plays of Great Britain in the early 18th century, a subset of 18th-century Augustan literature. King George I referred to himself as ""Augustus,"" and the poets of the era took this reference as apropos, as the literature of Rome during Augustus moved from historical and didactic poetry to the poetry of highly finished and sophisticated epics and satire.In poetry, the early 18th century was an age of satire and public verse, and in prose, it was an age of the developing novel. In drama, by contrast, it was an age in transition between the highly witty and sexually playful Restoration comedy, the pathetic she-tragedy of the turn of the 18th century, and any later plots of middle-class anxiety. The Augustan stage retreated from the Restoration's focus on cuckoldry, marriage for fortune, and a life of leisure. Instead, Augustan drama reflected questions the mercantile class had about itself and what it meant to be gentry: what it meant to be a good merchant, how to achieve wealth with morality, and the proper role of those who serve.Augustan drama has a reputation as an era of decline. One reason for this is that there were few dominant figures of the Augustan stage. Instead of a single genius, a number of playwrights worked steadily to find subject matter that would appeal to a new audience. In addition to this, playhouses began to dispense with playwrights altogether or to hire playwrights to match assigned subjects, and this made the producer the master of the script. When the public did tire of anonymously authored, low-content plays and a new generation of wits made the stage political and aggressive again, the Whig ministry stepped in and began official censorship that put an end to daring and innovative content. This conspired with the public's taste for special effects to reduce theatrical output and promote the novel.