Two Unknown Essays By Craig On The Production Of
... significant element on stage: “there is no motion: then what is it that holds us?—their presence alone” (EGC Ms B 169, bundle E, 3). However, only very fine actors can achieve such an effect, and Craig seemed unsure that such fine actors still could be found in his time, except in a realm of ghosts: ...
... significant element on stage: “there is no motion: then what is it that holds us?—their presence alone” (EGC Ms B 169, bundle E, 3). However, only very fine actors can achieve such an effect, and Craig seemed unsure that such fine actors still could be found in his time, except in a realm of ghosts: ...
a study guide - The Shakespeare Theatre of New Jersey
... with tools to both allay their own concerns and to expand the theatre-going experience for their students beyond the field trip to the Shakespeare Theatre. The information included in this study guide will help you expand your students’ understanding of Shakespeare in performance, as well as help yo ...
... with tools to both allay their own concerns and to expand the theatre-going experience for their students beyond the field trip to the Shakespeare Theatre. The information included in this study guide will help you expand your students’ understanding of Shakespeare in performance, as well as help yo ...
All Play and No Work: the Protestant Work Ethic and the Comic
... conservatives, communists, and centrists promoted the importance of work, and much of what historians have labeled the New Deal focused on procuring employment for the millions of unemployed workers. In programs like the Civilian Conservation Corps (CCC) and the Works Progress Administration (WPA), ...
... conservatives, communists, and centrists promoted the importance of work, and much of what historians have labeled the New Deal focused on procuring employment for the millions of unemployed workers. In programs like the Civilian Conservation Corps (CCC) and the Works Progress Administration (WPA), ...
Annual Review 2015 - Shakespeare`s Globe
... Project Prospero, our next major capital development, will represent the completion of Sam Wanamaker’s vision for the Globe. The stunning new building will provide a fully integrated campus on Bankside and enable theatre audiences, scholars and the general public to engage more effectively at every ...
... Project Prospero, our next major capital development, will represent the completion of Sam Wanamaker’s vision for the Globe. The stunning new building will provide a fully integrated campus on Bankside and enable theatre audiences, scholars and the general public to engage more effectively at every ...
Musical Dramaturgy In Late Nineteenth And Early Twentieth
... of the emotional influence of the music on the theatre performance, but also the impact of the stage on the music and the ways it is perceived…These phenomena of mutual reinforcement are little understood, because rarely has there been any examination of what changes in perception of a text, a space ...
... of the emotional influence of the music on the theatre performance, but also the impact of the stage on the music and the ways it is perceived…These phenomena of mutual reinforcement are little understood, because rarely has there been any examination of what changes in perception of a text, a space ...
About the Play - Tempest.pub - Shakespeare Theatre Company
... toward romances at the end of his career is significant—after 1605, Shakespeare wrote only tragedies and romances. It could have been a growing trend in audience taste, or Shakespeare’s recognition of his own mortality, that caused this abandonment of comedy in favor of darker, more complex writing ...
... toward romances at the end of his career is significant—after 1605, Shakespeare wrote only tragedies and romances. It could have been a growing trend in audience taste, or Shakespeare’s recognition of his own mortality, that caused this abandonment of comedy in favor of darker, more complex writing ...
Mr. D`Oyly Carte`s “B” Company 2 Jan. – 31 Dec. 1882
... MR D’OYLY CARTE’S OPERA COMPANY. On Saturday night last one of Mr D’Oyly Carte’s Opera Companies performed, for the second time in Falkirk, Messrs Gilbert and Sullivan’s nautical comic opera, “H.M.S. Pinafore.” The popularity of this opera is now so well known, and its merits so fully recognised, th ...
... MR D’OYLY CARTE’S OPERA COMPANY. On Saturday night last one of Mr D’Oyly Carte’s Opera Companies performed, for the second time in Falkirk, Messrs Gilbert and Sullivan’s nautical comic opera, “H.M.S. Pinafore.” The popularity of this opera is now so well known, and its merits so fully recognised, th ...
to view the Know-The-Show guide!
... not have the room to do so here. Let me simply say, that it is no mistake that Jonson is often touted as Shakespeare’s only equal from that time or since. They lived at the same time, in the same place, and practiced the same occupation, but they could not be more different as writers. I read a wond ...
... not have the room to do so here. Let me simply say, that it is no mistake that Jonson is often touted as Shakespeare’s only equal from that time or since. They lived at the same time, in the same place, and practiced the same occupation, but they could not be more different as writers. I read a wond ...
Book chapter - Archive ouverte UNIGE
... at least two reasons. Firstly, because of its historical location on the trajectory from an earlier, medieval pre-print culture to a later, firmly printbased culture of literacy. And secondly, because the page and the stage are the twin media for which Shakespeare conceived his plays. Such at least ...
... at least two reasons. Firstly, because of its historical location on the trajectory from an earlier, medieval pre-print culture to a later, firmly printbased culture of literacy. And secondly, because the page and the stage are the twin media for which Shakespeare conceived his plays. Such at least ...
Rafe`s Rebellion: Reconsidering The Knight of the Burning Pestle
... and if we equate Rafe with the parts he plays we make the same mistake as George and Nell, who are roundly mocked for being unable to distinguish between the reality of the actors on the stage and the imaginary world they present. Recognizing Rafe as an actor may seem obvious, but it is important in ...
... and if we equate Rafe with the parts he plays we make the same mistake as George and Nell, who are roundly mocked for being unable to distinguish between the reality of the actors on the stage and the imaginary world they present. Recognizing Rafe as an actor may seem obvious, but it is important in ...
Post-11 - NMSU College of Business
... befell those innocent victims could happen to us. Aristotle (1954: 239-240) does admit that “fear and pity may be aroused by the Spectacle,” in the spectator, as well as can be done by the poet’s plot, but to do so with spectacle is far less artistic. In postmodern war, spectacle dominates in a more ...
... befell those innocent victims could happen to us. Aristotle (1954: 239-240) does admit that “fear and pity may be aroused by the Spectacle,” in the spectator, as well as can be done by the poet’s plot, but to do so with spectacle is far less artistic. In postmodern war, spectacle dominates in a more ...
Language, Character and History in Postmodern
... of character, language and representation since modernism. Some of these works include Deborah Geis’s Postmodern Theatric[k]s: Monologue in Contemporary American Drama (1993), Jeanette Malkin’s Memory Theatre and Postmodern Drama (1999), and Nick Kaye’s Postmodernism and Performance (1994), to name ...
... of character, language and representation since modernism. Some of these works include Deborah Geis’s Postmodern Theatric[k]s: Monologue in Contemporary American Drama (1993), Jeanette Malkin’s Memory Theatre and Postmodern Drama (1999), and Nick Kaye’s Postmodernism and Performance (1994), to name ...
a performance history of sir thomas more
... discovery of the production at Hoxton Hall. Terry Taylor of the Shakespeare Society of America provided useful research material from their own Archives. Special thanks are due to Peter Henderson, Archivist, King’s School, Canterbury, Christine Terrey of the College Secretary’s Office, Birkbeck Coll ...
... discovery of the production at Hoxton Hall. Terry Taylor of the Shakespeare Society of America provided useful research material from their own Archives. Special thanks are due to Peter Henderson, Archivist, King’s School, Canterbury, Christine Terrey of the College Secretary’s Office, Birkbeck Coll ...
Alan Ayckbourn`s Absurd Person Singular and Woman in Mind: A
... artistic evolution, one closer to the contemporary view of natural evolution: as a bush with many side branches and doublings back rather than a ladder with rungs neatly marked with improvements. Far from leaving farce behind in the 1970s, for example, Ayckbourn continues to employ its elements in ...
... artistic evolution, one closer to the contemporary view of natural evolution: as a bush with many side branches and doublings back rather than a ladder with rungs neatly marked with improvements. Far from leaving farce behind in the 1970s, for example, Ayckbourn continues to employ its elements in ...
Shakespeare`s Globe - Assets
... From 1997 Shakespeare’s Globe flourished once more on London’s South Bank after an absence of four hundred years. The playhouse is now a major attraction for theatregoers, scholars, tourists, teachers and students of all ages, who come to experience Shakespeare’s plays and those of his contemporaries ...
... From 1997 Shakespeare’s Globe flourished once more on London’s South Bank after an absence of four hundred years. The playhouse is now a major attraction for theatregoers, scholars, tourists, teachers and students of all ages, who come to experience Shakespeare’s plays and those of his contemporaries ...
Shakespeare Among the Saints - Office of the Academic Vice
... the Salt Lake Theatre but itself stands as a grand monument to the playhouse, having been built upon the plan of the Salt Lake Theatre. When one looks at its exterior, one sees the shape of a now vanished romantic “Old Playhouse.” Likewise, the Pioneer Memorial Theatre on the University of Utah camp ...
... the Salt Lake Theatre but itself stands as a grand monument to the playhouse, having been built upon the plan of the Salt Lake Theatre. When one looks at its exterior, one sees the shape of a now vanished romantic “Old Playhouse.” Likewise, the Pioneer Memorial Theatre on the University of Utah camp ...
2017 Events - Around Play
... by demons, witches and ghosts, or whether these are real terrors unleashed by the devil in his futile struggle with God. It will be the first time that Nashe’s extraordinary text, which had a major influence on the development of prose and drama in the age of Shakespeare, has been read aloud by cand ...
... by demons, witches and ghosts, or whether these are real terrors unleashed by the devil in his futile struggle with God. It will be the first time that Nashe’s extraordinary text, which had a major influence on the development of prose and drama in the age of Shakespeare, has been read aloud by cand ...
Tempest Study Guide - Pittsburgh Public Theater
... . . .[The Tempest] is obviously a wonderful vehicle for displaying the full resources of the theatre: dramatic action, special effects, music, magic, monsters, dancing, storms, drunken humour, and so on. Anyone who wants a Shakespearean play to produce mainly as an extravagant theatrical tour de for ...
... . . .[The Tempest] is obviously a wonderful vehicle for displaying the full resources of the theatre: dramatic action, special effects, music, magic, monsters, dancing, storms, drunken humour, and so on. Anyone who wants a Shakespearean play to produce mainly as an extravagant theatrical tour de for ...
Melodrama on and off the stage
... trap devised for Boucicault’s The Corsican Brothers in 1852 and the first theatrical use of Pepper’s Ghost (dependent on a sheet of plate glass and reflection) in Britannia melodramas in 1863, sensationally superseding the earlier impact of the phantasmagoria displays of the supernatural at the begi ...
... trap devised for Boucicault’s The Corsican Brothers in 1852 and the first theatrical use of Pepper’s Ghost (dependent on a sheet of plate glass and reflection) in Britannia melodramas in 1863, sensationally superseding the earlier impact of the phantasmagoria displays of the supernatural at the begi ...
An American Drama: The Debate of Slavery in Ante
... Cassy and another slave, Emmeline, escape. Even though the idea is his, Tom himself refuses to leave with them, claiming that it is not within his abilities as a Christian to leave his master, no matter how abusive he is. When Legree discovers Cassy and Emmeline missing, he demands that Tom reveal w ...
... Cassy and another slave, Emmeline, escape. Even though the idea is his, Tom himself refuses to leave with them, claiming that it is not within his abilities as a Christian to leave his master, no matter how abusive he is. When Legree discovers Cassy and Emmeline missing, he demands that Tom reveal w ...
Performing `The Tragedy of Mariam` and Constructing Stage History
... opportunities suggest themselves here; had the play been performed, the Chorus may have remained on stage throughout, a visible reminder of orthodoxy and traditional wisdom. If the Chorus entered and exited at act breaks, such action would have facilitated possibilities for movement and interaction ...
... opportunities suggest themselves here; had the play been performed, the Chorus may have remained on stage throughout, a visible reminder of orthodoxy and traditional wisdom. If the Chorus entered and exited at act breaks, such action would have facilitated possibilities for movement and interaction ...
TEXTUAL APPROPRIATION: TOTALITARIAN VIOLENCE IN
... constituted an arena where established values were challenged. There were two main opposed views as concerns the effectiveness of the theatre as a cultural authority: The one view stressed its capacity to instruct the populace– often, and quite explicitly, to keep them obedient. Thus, Heywood, in an ...
... constituted an arena where established values were challenged. There were two main opposed views as concerns the effectiveness of the theatre as a cultural authority: The one view stressed its capacity to instruct the populace– often, and quite explicitly, to keep them obedient. Thus, Heywood, in an ...
Blue Moons: Transformations of an English Noh Play
... those born long after Dr. King’s assassination in 1968, would have known the much cited phrase from the speech, just as they will have known something about the life of the civil rights’leader. The parallel-text version(Brevoort 2003)like the version published in The Best American Short Plays : 2003 ...
... those born long after Dr. King’s assassination in 1968, would have known the much cited phrase from the speech, just as they will have known something about the life of the civil rights’leader. The parallel-text version(Brevoort 2003)like the version published in The Best American Short Plays : 2003 ...
Self-Reflexivity through Self-Reflectivity
... However, the plays in question in this essay were explicitly branded by Jonson as comedies. Abel’s conception of metatheatre, although stemming from an apparent lack of satisfaction in theatre’s aspiration for tragedy, does not preclude other genres of performance in its ambit. He argues that “event ...
... However, the plays in question in this essay were explicitly branded by Jonson as comedies. Abel’s conception of metatheatre, although stemming from an apparent lack of satisfaction in theatre’s aspiration for tragedy, does not preclude other genres of performance in its ambit. He argues that “event ...
Stoppard: The Metatheatre A Study of Rosencrantz and
... Stoppard’s audience of the stage and the audience of the inner play on stage) are consciously watching the play (Page 55-62). Conversation goes on among Ros and Guil and the player as the rehearsal goes act after act. In the play within the play we find a multiple layer of performing within performi ...
... Stoppard’s audience of the stage and the audience of the inner play on stage) are consciously watching the play (Page 55-62). Conversation goes on among Ros and Guil and the player as the rehearsal goes act after act. In the play within the play we find a multiple layer of performing within performi ...
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.