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Home :: Archive :: 1997 :: December ::
Re: Recordings; Gallathea
The Shakespeare Conference: SHK 8.1214.  Thursday, 4 December 1997.

[1]     From:   Harry Hill <
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        Date:   Wednesday, 03 Dec 1997 13:00:54 +0000 (HELP)
        Subj:   Re: SHK 8.1213 Re: Recordings

[2]     From:   Cary M. Mazer <
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        Date:   Wednesday, 3 Dec 1997 12:34:50 -0500
        Subj:   Re: SHK 8.1213  Re: Gallathea

[3]     From:   Adrian Kiernander <
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        Date:   Thursday, 04 Dec 1997 09:17:31 +1100
        Subj:   Re: SHK 8.1213  Re: Gallathea


[1]-----------------------------------------------------------------
From:           Harry Hill <
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Date:           Wednesday, 03 Dec 1997 13:00:54 +0000 (HELP)
Subject: 8.1213 Re: Recordings
Comment:        Re: SHK 8.1213 Re: Recordings

*Great Shakespeareans* is a marvelous collection. I play my students
Arthur Bourchier's "Is this a dagger..." every year and they don't find
it as silly as Gielgud's "Once more into the Tremolo..." Some feel as I
do, that the movements the very sinews make when a man is in the midst
of murderous intent and hallucinatory truth are physically, vocally
recreated irresistibly, viscerally and with unequaled magnificence.

        Harry Hill

[2]-----------------------------------------------------------------
From:           Cary M. Mazer <
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Date:           Wednesday, 3 Dec 1997 12:34:50 -0500
Subject: 8.1213  Re: Gallathea
Comment:        Re: SHK 8.1213  Re: Gallathea

 Ivan Fuller asked:

>Adrian Kiernander mentioned having heard of a US production of
>GALLATHEA.  Does anyone have more information about it?  Where and
>when?  I'd really like to make a case for more productions of this
>script and any evidence of past work will be extremely helpful.

I believe I reported to the list some years ago about this, just when
Adrian was preparing his production:  it was a much-cut version of the
play done by a marginally-professional Philadelphia company called The
Red Heel Theatre (and now inauspiciously renamed the Philadelphia
Shakespeare Festival), on a triple bill with a staged version of Venus
and Adonis and a much-cut Dido Queen of Carthage.  The one memorable
thing about doing it as a triple bill was that the various gods were
played by the same actors throughout.

The current artistic director of the renamed company, Carmen Khan, was
*in* the production, and may remember some details.  She's not, to my
knowledge, on e-mail, but can be reached at (610) 429-9208.

Cary

[Editor's Note: To retrieve past postings on *Gallathea*, send the
command SEARCH SHAKSPER GALLATHEA to 
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  and
follow the directions from the message that you will receive in return.
HMC]

[3]-----------------------------------------------------------------
From:           Adrian Kiernander <
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Date:           Thursday, 04 Dec 1997 09:17:31 +1100
Subject: 8.1213  Re: Gallathea
Comment:        Re: SHK 8.1213  Re: Gallathea

To Ivan Fuller

I'll have to check through some old notes to see if I can find any
reference to the US production of _Gallathea_. It could take some time,
but I'll have a look over the weekend. I'm afraid I didn't give that
production a great deal of attention because, a) it was apparently very
heavily cut, and b) I couldn't find out much information about it. But
there may be a further reference somewhere in my notes. I can't even
remember how I heard about it, but it may well have been through
SHAKSPER. Does anyone else have any information? Can anyone check
through the archives? It would be late '94 or early '95 I guess.

I'm delighted that this play is starting to attract so much attention.
This seems to me to demonstrate a major change in attitudes-even a few
years ago Lyly's work would have been dismissed a priori by many people
because it is so formally contrived and obviously artificial. The
interest in _Lyly_ suggests that a number of people have moved away from
that absolute and automatic demand that theatre should seem natural, and
Naturalistic.

This also seems to be affecting approaches to Shakespeare in production,
with many more people for example prepared to focus on the structured,
rhetorical and declamatory aspects of the verse instead of trying to
make it sound like everyday conversation (which I think was the
prevailing assumption of influential companies like the RSC) for the
sake of some laudable but I believe misguided and spurious attempt at
accessibility.

Adrian Kiernander
 

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