Global ETD Search

41	Shrews, Moneylenders, Soldiers, and Moors: Tackling Challenging Issues in Shakespeare for Young Audiences Harelik, Elizabeth A. 19 September 2016 (has links) No description available. Theater Education Theatre Shakespeare Theatre for young audiences The Taming of the Shrew Othello Merchant of Venice Henry V Shakespeare for young audiences Teaching challenging issues Education
42	Shakespearean arrivals : the irruption of character Luke, Nicholas Ian January 2011 (has links) This thesis re-examines Shakespeare’s creation of tragic character through the concept of ‘arrivals’. What arrives is not an ‘individual’ but what I call a ‘subject’, which is a diffused dramatic process of arriving, rather than a self-contained entity that arrives in a final form. Not all characters are ‘subjects’. A subject only arrives through dramatic ‘events’ that rupture the existing structures of the play-world and the play-text. The generators of these irruptions are found equally in the happenings of plot and in changes of poetic intensity and form. The ‘subject’ is thus a supra- individual irruption that configures new forms of language, structure, and action. Accordingly, I explain why scrupulous historicism’s need for nameable continuums is incommensurate to the irruptive quality of Shakespearean character. The concepts of ‘process’, ‘subject’ and ‘event’ are informed by a variety of thinkers, most notably the contemporary French philosopher Alain Badiou. Badiou develops an ‘evental’ model of subjectivity in which the subject emerges in fidelity to a ‘truth- event’, which breaks into a situation from its ‘void’. Also important is the process- orientated philosophy of Bergson and Whitehead, which stresses that an entity is not a stable substance but a process of becoming. The underlying connection between the philosophers I embrace – also including the likes of Žižek, Kierkegaard, Latour, Benjamin, and Christian thinkers such as Saint Paul and Luther – is that they establish a creative alternative to the deadlock between treating the subject as either a stable substance (humanism) or a decentred product of its place in the world (postmodernism). The subject is not a pre-existing entity but something that comes to be. It is not reducible to its cultural and linguistic circumstances but is precisely what exceeds those circumstances. Such an excessive creativity is what gives rise to Shakespeare’s subjects and, I argue, underpins the continuing force of his drama. But it also produces profound dangers. In Shakespeare, ‘events’ consistently expose subjects to uncertainty, catastrophe, and horror. And these dangers imperil both the subject and the relationship between Shakespeare and the affirmative philosophy of the event. 792.909031
43	Performing Protest in Cross-Cultural Spaces: Paul Robeson and Othello Sawyer, Robert 01 September 2017 (has links) When the famous African-American actor and singer Paul Robeson played the lead in Shakespeare's Othello in London in 1930, tickets were in high demand during the production's first week. The critical response, however, was less positive, although the reviews unanimously praised his bass-baritone delivery. When Robeson again played Othello on Broadway thirteen years later, critics praised not only his voice but also his acting, the drama running for 296 performances. My argument concerning Robeson uses elements first noted by Henri Lefebvre in his seminal work, The Production of Space, while I also draw on Paul Connerton's work on commemorative practices. Using spatial and memorial theories as a backdrop for examining his two portrayals, I suggest that Robeson's nascent geopolitical awareness following the 1930 production, combined with his already celebrated musical voice, allowed him to perform the role more dramatically in 1943. commemoration fascism Henri Lefebvre Josè Ferrer Margaret Webster Othello Paul Connerton Paul Robeson Peggy Ashcroft protest Savoy Theatre show boat Spanish Civil War Literature and Language
44	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir 10 July 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
45	Counterfactual Thinking and Shakespearean Tragedy: Imagining Alternatives in the Plays Khan, Amir January 2013 (has links) This dissertation is the application of counterfactual criticism to Shakespearean tragedy—supposing we are to ask, for example, “what if” Hamlet had done the deed, or, “what if” we could somehow disinherit our knowledge of Lear’s madness before reading King Lear. Such readings, mirroring critical practices in history, will loosely be called “counterfactual” readings. The key question to ask is not why tragedies are no longer being written (by writers), but why tragedies are no longer being felt (by readers). Tragedy entails a certain urgency in wanting to imagine an outcome different from the one we are given. Since we cannot change events as they stand, we feel a critical helplessness in dealing with feelings of tragic loss; the critical imperative that follows usually accounts for how the tragedy unfolded. Fleshing out a cause is one way to deal with the trauma of tragedy. But such explanation, in a sense, merely explains tragedy away. The fact that everything turns out so poorly in tragedy suggests that the tragic protagonist was somehow doomed, that he (in the case of Shakespearean tragedy) was the victim of some “tragic flaw,” as though tragedy and necessity go hand in hand. Only by allowing ourselves to imagine other possibilities can we regain the tragic effect, which is to remind ourselves that other outcomes are indeed possible. Tragedy, then, is more readily understood, or felt, as the playing out of contingency. It takes some effort to convince others, even ourselves, that the tragic effect resonates best when accompanied by an understanding that the characters on the page are free individuals. No amount of foreknowledge, on our part or theirs, can save us (or them) from tragedy’s horror. Shakespeare Shakespeare in the classroom Shakespearean tragedy Stanley Cavell Counterfactuals Critique of New Historicism Teaching Shakespeare Teaching tragedy Tragedy Tragic effect Tragic fate Northrop Frye A.C. Bradley Reader response Hamlet's delay Hegel on tragedy Possible worlds Present day Shakespeare Hamlet Othello King Lear Macbeth The Winter's Tale Jonathan Dollimore Radical tragedy
46	Inclusive Shakespeare: An Intersectional Analysis of Contemporary Production Brinkman, Eric M. January 2020 (has links) No description available. Theater Literature African American Studies Black Studies British and Irish Literature Comparative Literature Film Studies Fine Arts Gender Studies History Pedagogy Performing Arts Theater History Theater Studies Womens Studies Shakespeare affect sexuality gender performance Theatre drama queer theory critical race theory blackness transgender theory intersectional pedagogy Shakespeare plays Hamlet Titus Andronicus Othello Twelfth Night Romeo and Juliet
47	Disability and Theatrical Representation in Early Modern Repertory Drama Gainey, Evyan January 2024 (has links) My dissertation proposes that the history of early modern repertory theatre cannot be understood free from the history of disability. I argue that disability was a far more ubiquitous presence in early modern theatre than scholars have hitherto recognized. This is because playing companies represented disability through a manifold web of tools pervading the theatrical marketplace, including player identity, props, embodied acts, gestures, vocalizations, fragments of dialogue, and even the staging of locational places. Tracing disability’s overt and allusive ubiquity is essential for understanding how assessments of (dis)ability consistently informed spectators’ encountering and interpretation of staged drama. Chapter One places period commentary on stage players in dialogue with Christopher Marlowe’s Tamburlaine, arguing that ability and able-bodiedness were valued and idealized by playing companies and audiences alike. Chapter Two examines Robert Greene’s Orlando Furioso, Thomas Middleton’s The Revenger’s Tragedy, and George Chapman’s The Blind Beggar of Alexandria, proposing that leading players’ consistent embodiment of disability troubled a firm binary between disability and able-bodiedness in theatrical performance, as players’ stage identities consistently bore the residues of disabled performance. Chapter Three examines William Shakespeare’s Richard III and Othello, as well as Shakespeare and John Fletcher’s The Two Noble Kinsmen, arguing that even minute tics and gestures onstage evoked the memory of past and present disabled performance. Disabled characters were, this chapter argues, often self-consciously constructed upon one another in ways that allowed repertory theatre to both recount and rework its history of disabled representation. Chapter Four examines the anonymous The Fair Maid of the Exchange, Thomas Dekker’s The Shoemaker’s Holiday, and Robert Armin’s The Two Maids of More-Clacke, arguing that disability was essential to the conception of place in early modern theatre—especially within a repertory system in which “place” often depended upon tools of theatrical representation that bore the residues of past and present disabled performance. English drama English literature Disabilities in literature Disability studies Theater Repertory theater Armin, Robert, active 1610 Shakespeare, William, 1564-1616 Marlowe, Christopher, 1564-1593 Dekker, Thomas, approximately 1572-1632 Middleton, Thomas, -1627 Chapman, George, 1559?-1634 Shoemakers' holiday (Dekker, Thomas) King Richard III (Shakespeare, William) Othello (Shakespeare, William) Revenger's tragedy (Middleton, Thomas)

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