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Home :: Archive :: 1997 :: September ::
Re: Locations; CSF; Scene; PAL
The Shakespeare Conference: SHK 8.0930.  Monday, 15 September 1997.

[1]     From:   Ian Munro <
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        Date:   Friday, 12 Sep 1997 12:50:50 -0400 (EDT)
        Subj:   Re: SHK 8.0919  Play Locations

[2]     From:   W. L. Godshalk <
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        Date:   Friday, 12 Sep 1997 15:03:40 -0400
        Subj:   Re: SHK 8.0921  CSF Hamlet (Again)

[3]     From:   Larry Weiss <
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        Date:   Friday, 12 Sep 1997 19:16:24 -0400
        Subj:   Re: SHK 8.0914  Scene for 1 m, 1f

[4]     From:   Adrian Kiernander <
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        Date:   Tuesday, 16 Sep 1997 01:10:44 +1000
        Subj:   Re: SHK 8.0927 Re: PAL and NTSC


[1]-----------------------------------------------------------------
From:           Ian Munro <
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Date:           Friday, 12 Sep 1997 12:50:50 -0400 (EDT)
Subject: 8.0919  Play Locations
Comment:        Re: SHK 8.0919  Play Locations

> Have been trying to find work recently on the significance of "place" in
> early modern drama.  I know, for example, that Italy was considered the
> home of all things nefarious and naughty, but was wondering if we could
> be more specific.  Would there be any reasons why a play would be set
> in, say, Florence rather than Venice, Naples rather than Bologna?

It doesn't have an Italian focus, but you might want to look at Leah
Marcus's _Puzzling Shakespeare_, which explores the relationship between
Vienna and London as settings (one stated, one implied) for _Measure for
Measure_.

Another interesting example is Ben Jonson's rewriting of _Every Man in
his Humour_, which had a nominal Florentine setting before he changed it
to a London comedy.

Ian Munro

[2]-----------------------------------------------------------------
From:           W. L. Godshalk <
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Date:           Friday, 12 Sep 1997 15:03:40 -0400
Subject: 8.0921  CSF Hamlet (Again)
Comment:        Re: SHK 8.0921  CSF Hamlet (Again)

I'd like to update my previous posting.  The director of the CSF
<italic>Hamlet</italic> is Jasson Minadakis, and the show is still in
rehearsal and still evolving.  Jasson sees the action of
<italic>Hamlet</italic> as purgatorial (or purgative, if you wish) for
the ghost of the old king.  Hamlet senior asks for revenge, and instead
he has to witness the demise of his entire family and the loss of his
kingdom to his former enemy's son, young Fortinbras.  (I compare
<italic>The Spanish Tragedy</italic> where the ghost of Andrea must
witness scenes that wrench his emotions.) And as of last night, the
ghost of old King Hamlet does return in the final scene of this
production.  And, yes, there is no textual reason to bring him back, but
the logic of this production seems to require it!

Yours, Bill Godshalk

[3]-----------------------------------------------------------------
From:           Larry Weiss <
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Date:           Friday, 12 Sep 1997 19:16:24 -0400
Subject: 8.0914  Scene for 1 m, 1f
Comment:        Re: SHK 8.0914  Scene for 1 m, 1f

Shaula Evans asked for:

> Any suggestions for a 10-20 min scene, that works outside the
> context of the play, for 1 male and 1 female player, each c. 40 y.o.

I am astounded that no one suggested Mac I.vii

Larry Weiss

[4]-----------------------------------------------------------------
From:           Adrian Kiernander <
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Date:           Tuesday, 16 Sep 1997 01:10:44 +1000
Subject: 8.0927 Re: PAL and NTSC
Comment:        Re: SHK 8.0927 Re: PAL and NTSC

In response to Bernice,

In Australia now almost every reasonable VCR on sale (i.e. not the real
bargain basement stuff but everything else) can play PAL, NTSC and Secam
(the French system). This versatility seems to be less the case with
machines on sale in the US from what I'm told, but at least one friend
of mine in the US has bought a machine which can play PAL. It is
possible.

All the best,
Adrian
 

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