12 edition of Shakespeare and the authority of performance found in the catalog.
Includes bibliographical references (p. 229-246) and index.
|LC Classifications||PR3091 .W67 1997|
|The Physical Object|
|Pagination||x, 255 p. ;|
|Number of Pages||255|
|ISBN 10||052155134X, 0521558999|
|LC Control Number||96045571|
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This stimulating book asks how both text and performance are construed as vessels of authority, and finds that our understanding of Shakespearean performance retains a surprising sense of the possibility of being 'faithful' to Shakespearean texts, and so to 'Shakespeare'.After an opening theoretical chapter Worthen examines the relationship between text and performance in three Author: W.
Worthen. Shakespeare and the Authority of Performance is a superb entry in the growing bibliography of important performance studies; it is even more valuable for the conversations it will enable across different scholarly and theatrical communities that share concerns about authority which they may not yet realize are commno interests."/5(8).
W. Worthen is Professor and Chair of the Department of Theatre at Barnard College. He is the author of The Idea of the Actor (), Modern Drama and the Rhetoric of Theater (), Shakespeare and the Authority of Performance (), Shakespeare and the Force of Modern Performance.
Shakespeare and the authority of performance. Add to My Bookmarks Export citation. Type Book Author(s) Worthen, William B. Date Publisher Cambridge University Press Pub place Cambridge ISBN This item appears on. List: The Shakespeare Effect Section: Readings. ‘@Shakespeare: Trying to keep incognito with #WSCongress16 in town.
If a scholar sees me I just say, “Hullo, lovely to meet you. I’m Peter Holland”/@TwasFletcher: Tell them you’re Me!’ (1 August ).
This article looks at the anonymously-managed @Shakespeare account and its performance of Shakespeare’s authority on social media, in the context of the parody bot Cited by: 5.
He is the author of The Idea of the Actor: Drama and the Ethics of Performance (), Modern Drama and the Rhetoric of Theater (), Shakespeare and the Authority of Performance (Cambridge. Elements: Shakespeare Performance is a dynamic collection of scholarship in a ﬁeld that is at once always emerging and always evanescent.
Responding incisively to the global range of Shakespeare performance today, the collection is a carefully curated hub launching provocative, urgent criticism for researchers, graduate students and practitioners.
This book examines conceptions of authority for and in Shakespeare, and the construction of Shakespeare as literary and cultural authority. The first section, Defining and Redefining Authority, begins by re-defining the concept of Shakespeare’s sources, suggesting that ‘authorities’ and ‘resources’ are more appropriate terms.
Focusing on the practical means and media of Shakespeare's stage, this study envisions horizons for his achievement in the theatre. Bridging the gap between today's page- and stage-centred interpretations, two renowned Shakespeareans demonstrate the artful means by which Shakespeare responded to the competing claims of acting and writing in the Elizabethan by: Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority.
The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition Author: Edyta Lorek-Jezińska. SHAKESPEARE AND THE FORCE OF MODERN PERFORMANCE.
Shakespeare and the Force of Modern Performance asks a central theoretical question in the study of drama: what is the rela- tionship between the dramatic text and the meanings of per- formance.
He is the author of The Idea of the Actor (), Modern Drama and the Rhetoric of Theater (), Shakespeare and the Authority of Performance (), Shakespeare and the Force of Modern. He is the author of The Idea of the Actor: Drama and the Ethics of Performance (), Modern Drama and the Rhetoric of Theater (), Shakespeare and the Authority of Performance (Cambridge, ), and of a wide range of articles on drama and performance in major : W.
Worthen. Shakespeare and the Authority of Performance is a superb entry in the growing bibliography of important performance studies; it is even more valuable for the conversations it will enable across different scholarly and theatrical communities that share concerns about authority which they may not yet realize are commno interests.".
This resource features the world-famous prompt book collection at the Folger Shakespeare Library. These prompt books tell the story of Shakespeare’s plays as they were performed in theatres throughout Great Britain, the United States and internationally, between the seventeenth and twentieth centuries.
Above all David Kasran demonstrates in Shakespeare and the Book that Shakespeare's authentic presence has been as elusive in print or in electronic text as it has been in performance.
In this wide-ranging but brief history of printed and digital versions of his plays, Shakespeare remains, like King Hamlet, a "questionable shape" or "a ghostly presence" (). The nature and authority of the early documents are re-examined, and the canon and chronological order of composition freshly established.
on which it is based and some notes on the significance and/or performance history of the work in question. My Actor Son was delighted to receive William Shakespeare The Complete Works as a Christmas Cited by: Performances during Shakespeare's lifetime.
The troupe for which Shakespeare wrote his earliest plays is not known with certainty; the title page of the edition of Titus Andronicus reveals that it had been acted by three different companies. After the plagues of –93, Shakespeare's plays were performed by the Lord Chamberlain's Men, a new company of which Shakespeare.
She addresses these issues from both the viewpoints of literary theory and theatre studies, shifting Shakespeare out of straightforward performance studies in order to address questions about his plays and to consider them in the context of current theoretical debates on historiography, post-colonialism and by: tive, partly follows what is generally taken to be scholarly authority.
Where I am skeptical of authority, I have provided brief annotations to account for my surmises. Shakespeare was christened on Apat Stratford-on-Avon, and died there on Ap We do not know when he first joined the. In comparison, however, it might be a useful authority to the cuts and adaptations made in the performance it was based on.
The First Folio edition of Julius Caesar () is the only authoritative source, since it is the copy-text of all future editions. A diary which is probably authentic has total authority. Royal Power and Authority in Shakespeare’s Late Tragedies By Alisa Manninen This book first published Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK including the revisions of this book.
Shakespeare’s Globe and the Royal Shakespeare Company in Stratford. The consultant editors of this magnificent large hardbound coffee table book were Keith Parsons and Pamela Mason. It blows your mind with pictures of major actors in Shakespeare productions, primarily, in Enmgland over the 20th section dealing with a different play by Shakespeare.
All 38 of William Shakespeare's plays are included.4/5. Journals The journals Shakespeare Bulletin, Shakespeare Quarterly (accessible online via the library catalogue), Cahiers Elisabethains and Shakespeare Survey all feature sections documenting and evaluating British performances of Shakespeare from the s to the present; the journal Shakespeare is also an important resource.
Performance in these internal plays is always unsatisfactory in some respect, and the audience must for the most part read Shakespeare’s own views on theatrical matters in reverse of these mirror stages.
Only near the end of his career does Shakespeare present an idealized theatre of absolute illusion, perfect actors, and a receptive audience.
In this second module, students read and analyze Shakespeare’s A Midsummer Night’s Dream. As with any of Shakespeare’s play, many rich themes are present; in this module, students will focus primarily on the theme of control.
Characters in this play are controlled by emotions, other characters, and even magic. They often attempt to manipulate others in a variety of ways. Though it would not have been appropriate to fully develop this idea, given the other goals of the paper, the Shakespeare Behind Bars program interrogates by example some of W.
Worthen's theories about actors and performance, as argued in his book Shakespeare and the Authority of Performance (). Professor Ko had me weeping as I read his.
Shakespeare's Dramatic Universe. This page contains my recommendations for critical, annotated editions of Shakespeare’s plays, followed by a selection of my favorite criticism.
Almost all of the plays have enough references and ambiguities that it’s worth having a knowledgeable guide to consult with and to agree and disagree with.
Book Description. Starting from the early modern presumption of the incorporation of role with authority, Jean Lambert explores male teachers as representing and engaging with types of authority in English plays and dramatic entertainments by Shakespeare and his contemporaries from the late sixteenth to the early seventeenth century.
SHAKESPEARE AND FREEMASONRY. Peter Dawkins FBRT. In July the Foundation Stone of the Shakespeare Memorial Theatre at Stratford-upon-Avon was laid with full Masonic ritual by Lord Ampthill, pro-Grand Master of the United Grand Lodge of England, using an old Egyptian maul used at Sakhara four thousand years ago.
James S. Shapiro (born ) is Professor of English and Comparative Literature at Columbia University who specialises in Shakespeare and the Early Modern period. Shapiro has served on the faculty at Columbia University sinceteaching Shakespeare and other topics, and he has published widely on Shakespeare and Elizabethan mater: Columbia University, University of Chicago.
How Shakespeare Dramatically Presents Power and Authority in the Relationship Between Men and Women in Much Ado About Nothing One of the key explorations of power and authority in “Much Ado About Nothing” is the relationship between Hero and Leonato as father and daughter.
Shakespeare Bulletin is a peer-reviewed quarterly journal which publishes articles at the cutting edge of Shakespearean and early modern performance studies and theatre history. Since its early days as the publication of the New York Shakespeare Society in and its incorporation of the Shakespeare on Film Newsletter inShakespeare Bulletin has grown into the.
The Case for Oxford. an English schoolmaster whose book "Shakespeare" Identified in Edward de Vere was published in Uncharacteristically deferring to the authority of Chambers and Author: Tom Bethell. Redaction criticism has shown that Matthew, Mark, Luke and John were writing what they were writing in order that it might be the foundation documentation for the church of their day and might bear God’s authority in doing so.
And a book which carries God’s authority to be the foundation of the church for the world is what I mean by scripture.
Authority and power are two different things: power is the force by means of which you can oblige others to obey you. Authority is the right to direct and command, to be listened to or obeyed by others.
Authority requests power. Power without authority is tyranny. JACQUES MARITAIN, "The Democratic Charter", Man and the State. 3 likes. On those occasions when the Shakespeare first folio, the first printing in folio format of the collected works of William Shakespeare, is placed on display, it is generally shown in splendid isolation as one of the great treasures of the library.
Columbia's copy, a part of the bequest of Stephen Whitney Phoenix, is no exception, although over the decades it has been shown to. Shakespeare in Performance, Edited by Eric C. Brown and Estelle Rivier This book first published Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.
Shakespeare, The Queen's Men, and the Elizabethan Performance of History By Brian Walsh Cambridge: Cambridge University Press, Historical drama seems riven by a tension between its form and content: theater is energized by its ephemeral immediacy--its here-and-now-ness--but historical drama necessarily struggles against this punctuality, attempting to occlude.
CLICK ON THE ACTORS' NAMES TO READ ABOUT THEIR PERFORMANCE. BARRY SULLIVAN as RICHARD III Richard III. LAURENCE OLIVIER as SIR TOBY BELCH Twelfth Night. ALAN HOWARD as OBERON/THESEUS A Midsummer Night's Dream.
PAUL SCOFIELD as TIMON. William Shakespeare is inextricably linked with the law. Legal documents make up most of the records we have of his life, and trials, lawsuits, and legal terms permeate his plays.
Gathering an extraordinary team of literary and legal scholars, philosophers, and even sitting judges, Shakespeare and the Law demonstrates that Shakespeare’s thinking about legal concepts. Washington, District Of Columbia, United States About Podcast Home to the world's largest collection of Shakespeare materials.
Advancing knowledge and the peare turns up in the most interesting places, not just literature, and the stage, but science and social history as well. Our 'Shakespeare Unlimited' podcast explores the fascinating and varied connections between Shakespeare. Photographs of Kathryn Hunter and Janet McTeer in all-female production of The Taming of the Shrew, Phyllida Lloyd’s production of The Taming of the Shrew, which used women to caricature men, was first shown at Shakespeare’s Globe Theatre, London, in and revived in New York in View images from this item (2).