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The David Fragments continues a strand of contemporary theatre-making from the Samuel Beckett Centre that is substantially informed by ensemble practice, durational research, interdisciplinary connections, and innovation with challenging source texts. This tradition includes Love à la Mode (2017) and Enemy of the Stars (2014-15), as well as the work of the Samuel Beckett Laboratory (2013-present). While never seeking to sacrifice entertainment and accessibility, such work responds to the “laboratory” tradition of consciously intellectual and investigative theatre, a “textual event” of embodied research appropriate to a university. Hidden inside a question about the Bible and a playwright in Weimar culture, our ensemble has found more eternal questions about the creative process itself, survival in times of political upheaval, and the legacy of our oldest human stories.
SHAW The Annual of Bernard Shaw Studies
Introduction: Bernard Shaw and the Irish Literary Tradition2010 •
Doctoral Dissertation: Over the course of the 20th century, Irish playwrights penned scores of adaptations of Greek tragedy and Irish epic, and this theatrical phenomenon continues to flourish in the 21st century. My dissertation examines the performance history of such adaptations at Dublin’s two flagship theatres: the Abbey, founded in 1904 by W.B. Yeats and Lady Gregory, and the Gate, established in 1928 by Micheál Mac Liammóir and Hilton Edwards. I argue that the potent rivalry between these two theatres is most acutely manifest in their production of these plays, and that in fact these adaptations of ancient literature constitute a “disputed territory” upon which each theatre stakes a claim of artistic and aesthetic preeminence.
The Performing Century: Nineteenth-Century Theatre's History
Shakespeare and the Music HallEighteenth-Century Intelligencer
Bibliographic Information for Fifty-three Unlocated Eighteenth-Century Items in Arnott and Robinson's English Theatrical Literature, 1559-19002009 •
Attention is often given to the performance of a text, but not to the shaping process behind that performance. The question of rehearsal is seldom confronted directly, though important textual moments - like revision - are often attributed to it. Whatismore, up until now, facts about theatrical rehearsal have been considered irrecoverable. In this groundbreaking new study, Tiffany Stern gathers together two centuries' worth of historical material which shows how actors received and responded to their parts, and how rehearsal affected the creation and revision of plays. This is the first history of the subject, from the sixteenth century to the eighteenth. It examines the nature and changing content of rehearsal, drawing on a mass of autobiographical, textual, and journalistic sources, and in so doing throws new light on textual revision and transforms accepted notions of Renaissance, Restoration, and eighteenth-century theatrical practice. Plotting theatrical change over time, this book will revolutionize the fields of textual and theatre history alike.
The aim of this thesis is to clarify the role that female interpreters in Britain played at an early stage in the canonisation of William Shakespeare. Shakespeare, one of the popular playwrights in English Renaissance theatre, became increasingly famous during the first half of the eighteenth century, and the Shakespeare Jubilee in 1769 marked the climax of the popularisation of his works. It is said that since then, he has maintained his position as the ‘national poet’ of England (or Britain). Although women had supported Shakespeare even before his works had established their canonical status, the extent to which female interpreters contributed to the canonisation of Shakespeare, how they participated in the process, and why they played the roles that they did have not yet been sufficiently visible. In this thesis, I illustrate women’s engagement in the process of the popularisation of Shakespeare by examining the early reception of his works, and to document how individual women’s pleasure of reading and playgoing relates to their intellectual activities. I adopt three approaches to provide answers to my research questions in this thesis: reading critical and fictional works by women; analysing the descriptions of female readers and playgoers by male writers; and conducting a large-scale survey of the ownership history of pre-mid-eighteenth-century printed books of Shakespeare’s plays. This thesis is divided into four chapters. In the first chapter, I analyse women’s engagement with theatre in Renaissance England, and consider Shakespeare’s popularity amongst them based on records about female audiences. The second chapter discusses female readers and writers in Renaissance England and their responses to Shakespeare’s works. Chapter 3 focuses on Restoration Shakespeare and female interpreters from 1642 to 1714. The fourth chapter discusses women’s playgoing, play-reading, writings, and their participation from the early eighteenth century to the Shakespeare Jubilee in 1769.
Robert Jephson’s farce Two Strings to Your Bow (1791) is an Anglo-Irish exemplar of the use of stock characterisation, i.e., the representation of the comic and humorous wit inherent to the native Catholic Irish mainly according to the English and Anglo-Irish audiences of the time. Behind this particular use of characterisation many Protestant Anglo-Irish authors made reference to the religious, social and economic discourses present in Ireland at the time, which represents a translation from literary uses to the plights at the social level. Through the recourse to Spanish archetypes –in Jephson’s case Lazarillo of Valencia – together with a new-historicist use of the “anecdote” of food we examine how Robert Jephson provides an analysis of the circulation and negotiation of social energy at large in Ireland and the Anglo-Ireland of the ascendancy at the end of the eighteenth century. Key words: Robert Jephson, Lazarillo, picaresque, stock-characterisation, Anglo-Ireland, new historicism, circulation of textuality, Anglo-Irish theatre, farce, religious discourse.
This chapter is about the homage routinely paid to Shakespeare by dramatists and performers, and their ignorance of his actual works. It shows that Shakespeare’s plays were known best in their adapted Restoration forms; they were then further altered; and it was already-altered seventeenth- and eighteenth-century Shakespeare plays that provided characters, plot moments, and ‘beauties’ to be threaded through subsequent adaptations and, occasionally, imitations. Much of Shakespeare’s popularity, indeed, rested on the extent to which he had already been altered and was thus available for further alteration – his texts were seen as fundamentally unfixed and so free for remoulding and reshaping. Shakespeare was, then, assimilated through the process of adapting his adaptations: his staged works were always current, and that was because they were always substantially eighteenth-century. Though Shakespeare’s characterisation and storylines were regularly extracted for ‘popular’ theatre and puppet entertainments, his plays as a whole were relegated; only particular word-conscious ‘literary’ productions staged Shakespeare's plays in full at all. Even then, however, the playwright’s language and sentiments were updated to fit eighteenth-century mores and his stories were reduced to leave room for exciting new eighteenth-century entertainments. As all Shakespeare was adapted Shakespeare, a habit built up of staging a fictional version of Shakespeare the man to sanction the alterations of his plays. From this it was only a small step before the ‘Shakespeare’ character started to thrive in his own right on the eighteenth-century stage: extending beyond plays actually by the bard, ‘Shakespeare’ began authorizing other plays by other people. Thus both Shakespeare’s works, and ‘Shakespeare’ represent the way the eighteenth-century was able to tame and regularise its past and shape it to the present; what affected eighteenth-century dramatists was not actual Shakespeare but the works and person that they were able to make him be.
2022 •
Espacio, Tiempo y Forma. Historia Medieval
Configuración y desarrollo de un espacio artesanal: los talleres alfareros de Rabḍ Fajja̅ri̅n, Granada (siglos XII-XVI)2024 •
A Century of Greek-Turkish Relations
The 1923 Greco-Turkish Population Exchange: An Assessment of its History and Long Shadow at its Centennial2024 •
2013 •
International Journal of Pharmacy and Pharmaceutical Sciences
Euphorbia Caducifolia Haines, Euphorbia Nivulia Buch. Ham and Euphorbia Tirucalli Linn. Latex Shelf-Life Assessment of Euphorbia Antiquorum Linn2020 •
Revista de Medicina da UFC
Metástase linfonodal de adenoma pleomórfico recidivado – relato de caso2020 •
Pesan Catering Nasi Kotak Lucu Bojonegoro
MURAH - WA : 0813-3339-2171 (TSEL) , Pesan Catering Nasi Kotak Lucu BojonegoroNASA Earth Science …
Delay/disruption-tolerant network testing using a LEO satellite2008 •
Journal of International Migration and Integration
Solidarity with Displaced People from Ukraine in Hungary: Attitudes and Practices