1994

Shakespeare Electronic Conference, Vol. 5, No. 0965.  Friday, 2 December 1994.
 
(1)     From:   Arthur Pearson <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 29 Nov 1994 10:07:22 -0600
        Subj:   AYLI
 
(2)     From:   Marcia Hepps <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 30 Nov 1994 14:49:41 EST
        Subj:   Art search
 
(3)     From:   David R. Maier <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 30 Nov 1994 23:50:20 -0800
        Subj:   Translations of French in Henry V
 
(4)     From:   Raffaele Galbiati <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 02 Dec 1994 00:15:21 +0100 (CET)
Subjec          Salvini's Sound Recordings
 
 
(1)----------------------------------------------------------------------------
From:           Arthur Pearson <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 29 Nov 1994 10:07:22 -0600
Subject:        AYLI
 
Mindful of Scott Sheperd's recent insightful caution, "Why not create new
dramatic complexities instead of destroying the interesting ones already
present?"  I am curious about the following in AYLI: Is Rosalind's ruse
discovered before the final scene in which she reveals herself to the assembled
wedding party?  Specifically, when "Ganymede" faints having espied the bloody
handkerchief, Aliena and Oliver rush to her assistance and, presumably
phyiscally, help her to her feet.  Whereupon, Oliver questions, "What, you a
man?  You lack a man's heart."  In a scene soon after this, he departs from her
with the farewell, "And you, fair sister." To which she does not reply.
Finally, speaking with Orlando she asks him "Did your brother tell you how well
I counterfeited? (fainting)"  Orlando replies, "Yes, and greater wonders than
that."  Simply, there seem to be a number of textual clues which suggest that
the brothers are on to Rosalind, yet are content to see how this will yet fadge
in the end.  Either this, or everyone remains duped to the end, the
"suggestive" lines only for the audience's sake, their being in on the ruse
with Rosalind.  I am not suggesting there is any right or wrong, here, merely
curious as to how to wrest the most from text for the audience.  Any thoughts
and/or experiences from productions you've seen?
 
Arthur Pearson
This email address is being protected from spambots. You need JavaScript enabled to view it.
 
(2)----------------------------------------------------------------------------
From:           Marcia Hepps <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 30 Nov 1994 14:49:41 EST
Subject:        Art search
 
I am working in the Fort Wayne area and am trying to find a recent edition
of Art Search ( library, university, anyone!) . Art Search itself says
they have no  back copies and they can only get me the next(DEC 15)edition.
Many thanks to all and to all a good...
 
(3)----------------------------------------------------------------------------
From:           David R. Maier <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 30 Nov 1994 23:50:20 -0800
Subject:        Translations of French in Henry V
 
Does anyone have a reference which contains the verbatim and/or idiomatic
translations of the french dialogue in Henry V?
 
David Maier
This email address is being protected from spambots. You need JavaScript enabled to view it.
 
(4)----------------------------------------------------------------------------
From:           Raffaele Galbiati <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 02 Dec 1994 00:15:21 +0100 (CET)
Subject:        Salvini's Sound Recordings
 
I am an Italian student at the State University of Milan and looking for any
possible recordings of Tommaso Salvini's voice while acting in Hamlet,
 
Othello, King Lear, Macbeth and King Lear during his tours of USA (New York,
Philadelphia, Baltimora, Pittsburg, Washington, Boston,Providence, Hartford,
New Haven, Albany, Syracuse, Rochester, Buffalo, Detroit, Toledo, Chicago, New
Orleans etc.), UK, Latin America, France. I would be grateful for knowing the
address of Sound Archives that could hold this kind of recordings for the
purposes of my research. Thank you in advance for any assistance.
 
Patrizia Ardemagni
Email This email address is being protected from spambots. You need JavaScript enabled to view it.
Fax: +39-362-229691

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