1993

Re: Impossibility of t

Shakespeare Electronic Conference, Vol. 4, No. 53.  Sunday, 31 January 1993.
 
From:           Kay Stockholder <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 31 Jan 93 09:49:46 PST
Subject: Re: Impossibility of Performance Criticism
Comment:        SHK 4.0051  Re: Impossibility of Performance Criticism
 
I don't see any theoretical difference between performance criticism and any
other kind. After all, any production of a play is based on a reading of a
text, and if such a reading cannot be performed, then obviously it is a wrong
reading. This applies to discussions of themes, emphases, and so forth in
particular texts rather than to post modern forms of theoretical criticism. In
a sense performance criticism is new criticism under another name.

Re: Shakespeare and History

Shakespeare Electronic Conference, Vol. 4, No. 52.  Friday, 29 January 1993.
 
From:           Roy Flannagan <FLANNAGA@OUACCVMB>
Date:           Friday, 29 January 93, 15:49:54 EST
Subject:        Re: Shakespeare and History
 
 
Re: 1992 books having to do with Shakespeare and history.
 
Leo Damrosch, ed., {The Profession of Eighteenth-Century Literature:
Reflections on an Institution} (Madison, WI: U of Wisconsin P, 1992).
 
Richard F. Hardin. {Civil Idolatry: Desacralizing and Monarchy in
Spenser, Shakepeare, and Milton}. Newark, DE: U of Delaware P, 1992.
 
H. R. Coursen.  {Shakespearean Performance as Interpretation}  Newark,
DE: U of Delaware P, 1992.
 
F. David Hoeniger.  {Medicine and Shakespeare in the English
Renaissance}.  Newark, DE: U of Delaware P, 1992.
 
Lowry Nelson, Jr.  {Poetic Configurations: Essays in Literary History
and Criticism}.  University Park, PA: The Pennsylvania State UP, 1992.
 
Thomas Clayton, ed.  {The Hamlet First Published (Q1, 1603): Origins,
Forms, Intertextualities}.  Newark, DE: U of Delaware P, 1992.
 
David Bradley.  {From Text to Performance in the Elizabethan Theatre:
Preparing the Play for the Stage}.  Cambridge: Cambridge UP, 1992.
 
David Quint, Margaret W. Ferguson, G. W. Pigman III, and Wayne A
Rebhorn, eds.  {Creative Imitation: New Essays on Renaissance Literature
in Honor of Thomas M. Greene}.  Binghamton, NY: MRTS, 1992.
 
These are books at least partly on Shakespeare that include
"history" as a keyword in title or TOC.   The list is obviously
incomplete.
 
Roy Flannagan

Re: Impossibility of Performance Criticism

Shakespeare Electronic Conference, Vol. 4, No. 50.  Friday, 29 January 1993.
 
From:           Michael Friedman <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 28 Jan 1993 15:18:36 -0500 (EST)
Subject:        Re: Shakespeare through Performance
 
I, for one, would be interested in hearing from John Drakakis (or anyone else,
for that matter) why performance criticism is impossible.  I have a list of
reasons why I think it's difficult and very hard to theorize, but if it's
impossible, I'd like to learn what it is that I thought I was doing all these
years but failed to achieve.
                                                Michael Friedman
                                                Friedman@Scranton

Re: Impossibility of Performance Criticism

Shakespeare Electronic Conference, Vol. 4, No. 51.  Friday, 29 January 1993.
 
From:           David Richman <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 29 Jan 1993 14:51:38 -0500 (EST)
Subject: 4.0050  Re: Impossibility of Performance Criticism
Comment:        RE: SHK 4.0050  Re: Impossibility of Performance Criticism
 
I doubt performance criticism is either more or less impossible than criticism
in any other mode.  Dialogue between performance criticism and other sorts
of criticism is difficult and, as Michael Friedman points out, good performance
criticism is difficult to write.  Yet didn't Shakespeare intend his plays
to be performed?  (Pace, intentional fallacy.)  If other critical modes
can't accommodate performance criticism, might not the fault rest with the
other modes?  If we cannot devise a critical vocabulary for the precise,
useful discussion, shouldn't we send out a warrant for a new vocabulary?
 
The project of a book on teaching Shakespeare through performance is quite
exciting.  A couple suggestions:  A nuts-and-bolts essay, early in the book,
about an actor or actress thinking his or her way precisely through a speech
or bit of dialogue.  What are the various ways the line can be effectively
delivered?  What does the passage itself teach the potential performer about
how it is to be delivered?  With what movements, gestures (if any) and in
what physical position is the speech delivered?  In other words, survey the
sometimes terrifying array of perfectly valid choices that suggest themselves
to the performers of even an apparently simple sequence.
 
I think Steve Urkowitz, who is on this list, has used performance to encourage
students to think and feel their way through differences between Quarto and
Folio texts.  (Maybe you could talk about that, Steve.)
 
A couple of fine books are J.L. Halio's book on Shakespeare in performance,
and Robert Cohen's book on acting Shakespeare.  I'm afraid I haven't got
the bibliographical references, and I don't recall the exact titles.  Also
Robert Hapgood's book on Shakespeare the theatre poet is useful.
I realize that much of the foregoing is basic stuff, but I sometimes fear
that in our rush toward critical sophistication, we lose the essential joy.
 
Cheers,
 
David Richman
University of New Hampshire

Shakespeare through Performance; SAA in Atlanta

Shakespeare Electronic Conference, Vol. 4, No. 49.  Wednesday, 27 January 1993.
 
(1)     From:   Milla Riggio <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 26 Jan 93 23:58 EST
        Subj:   [Shakespeare through Performance]
 
(2)     From:   John Cox <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 27 Jan 1993 10:46 EST
        Subj:   SAA in Atlanta
 
 
(1)----------------------------------------------------------------------------
From:           Milla Riggio <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 26 Jan 93 23:58 EST
Subject:        [Shakespeare through Performance]
 
Dear John Drakakis:
 
If I include the topic "Shakespeare and the Impossibility of Performance
Criticism," will you write the essay for that topic?
 
Hello and best wishes,
Milla Riggio
 
(2)----------------------------------------------------------------------------
From:           John Cox <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 27 Jan 1993 10:46 EST
Subject:        SAA in Atlanta
 
    I will be the first to initiatie this year's round of inquiries about
room-sharing at the annual meeting of the Shakespeare Association--but I
hope I won't be the last!  Since double rooms are about half the cost of
single rooms, I'd be glad to share with someone who, like me, is on a con-
strained budget, doesn't smoke, and keeps reasonable hours.  Please respond
to This email address is being protected from spambots. You need JavaScript enabled to view it. or via Internet, This email address is being protected from spambots. You need JavaScript enabled to view it. or by phone, 616-
394-7612.
 
John Cox

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