December
The Shakespeare Conference: SHK 10.2177 Thursday, 9 December 1999. [1] From: Dana Shilling <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 11:06:34 -0500 Subj: Re: SHK 10.2171 Re: "To be, or not to be" [2] From: Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 08:25:50 -0800 Subj: SHK 10.2171 Re: "To be, or not to be" [1]----------------------------------------------------------------- From: Dana Shilling <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 11:06:34 -0500 Subject: 10.2171 Re: "To be, or not to be" Comment: Re: SHK 10.2171 Re: "To be, or not to be" One of the Nazis in "To Be or Not To Be" remarks of the Jack Benny character: "What he does to Shakespeare, we are now doing to Poland." I have often found this comment applicable to contemporary directors... Dana (Shilling) [2]------------------------------------------------------------- From: Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 08:25:50 -0800 Subject: Re: "To be, or not to be" Comment: SHK 10.2171 Re: "To be, or not to be" Since there seems to be interest in "To Be or Not To Be" just now, it is worth mentioning that list member Tanya Gough has both versions available at her shop, Poor Yorick. The original Lubitsch version sells for $25.99 Canadian/ $19.99 US, and the Mel Brooks remake for $12.99 Canadian / $9.99 US. If you want just one, spend extra and go for the Lubitsch. A truly brilliant movie. You can find Tanya's on line catalog by at www.pooryorick.com/ Tanya's e-mail isThis email address is being protected from spambots. You need JavaScript enabled to view it. Enjoy the laughter, Mike Jensen
The Shakespeare Conference: SHK 10.2176 Thursday, 9 December 1999. From: Joe Conlon <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 10:25:31 -0500 Subject: 10.2160 Shakespeare Web Contest Comment: Re: SHK 10.2160 Shakespeare Web Contest Dear Kenneth, I'll be teaching a Shakespeare Course to High School juniors and seniors during our fourth term (roughly March-June) and this sounds like something I might be able to interest some of them in as a project. Keep me in mind and send details etc. What sort of software would my school need for the students to make Flash movies? etc. Sincerely, Joe Conlon Warsaw, IN
The Shakespeare Conference: SHK 10.2175 Thursday, 9 December 1999. [1] From: Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 10:22:00 -0500 Subj: Re: SHK 10.2168 Latin Pronunciation [2] From: Joseph Tate <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 11:08:46 -0800 (PST) Subj: Re: SHK 10.2168 Latin Pronunciation [3] From: David Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 19:43:58 GMT Subj: Re: SHK 10.2168 Latin Pronunciation [4] From: Dale Coye <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 8 Dec 1999 13:42:55 EST Subj: Re: SHK 10.2168 Latin Pronunciation [5] From: Peter Groves <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Dec 1999 12:24:14 +1100 Subj: Re: SHK 10.2168 Latin Pronunciation [6] From: Fran Barasch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Dec 1999 08:54:43 EST Subj: Re: SHK 10.2168 Latin Pronunciation [1]----------------------------------------------------------------- From: Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 10:22:00 -0500 Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation Derek Attridge's "Well-Weighed Syllables" (1974) has a chapter on this question. There may also be more recent discussions, esp among musicologists. TB [2]------------------------------------------------------------- From: Joseph Tate <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 11:08:46 -0800 (PST) Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation Try Derek Attridge's book *Well-Weighed Syllables: Elizabethan verse in classical metres.* He discusses Elizabethan Latin pronunciation. [3]------------------------------------------------------------- From: David Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 19:43:58 GMT Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation There are some useful brief remarks on the question of Elizabethan Latin Pronunciation in Derek Attridge's book on the attempts to write English quantitative verse entitle Well-Weighed Syllables (Cambridge, 1974) - though I am sure others will know of more substantial and recent work in this area. David Lindley School of English University of Leeds [4]------------------------------------------------------------- From: Dale Coye <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 8 Dec 1999 13:42:55 EST Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation In my Pronouncing Shakespeare's Words (Greenwood 1998) I give both restored Latin and traditional Anglo-Latin versions of all the Latin in Shakespeare (hic jacet would be /hick JAY sit/ in Anglo-Latin. In the back there is a short bibliography of articles that were helpful to me in this. One source was Sidney Allen's Vox Latina, where there is a short history of the change in Latin pronunciation. The main point is that Latin took part in the Great Vowel Shift and all the other changes that English was subjected to over the centuries. So wherever the English vowels were at Shakespeare's time, the Latin vowels were there too. Dale Coye The College of NJ [5]------------------------------------------------------------- From: Peter Groves <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 09 Dec 1999 12:24:14 +1100 Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation > I wonder whether anyone knows of a source for information on the > pronunciation of Latin in Elizabethan England? I'm involved in a > production of Lyly's Woman in the Moon, in which various Latin tags are > thrown around, and we thought it would be nice, since we have to teach > the actors how to pronounce the Latin anyway, if we could base the > pronunciation on something authentic to the period. I'd be grateful for > any insights. > See Derek Attridge, _Well-weigh'd Syllables_ (CUP 1973) Peter Groves, Department of English, Monash University [6]------------------------------------------------------------- From: Fran Barasch <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Dec 1999 08:54:43 EST Subject: 10.2168 Latin Pronunciation Comment: Re: SHK 10.2168 Latin Pronunciation To Alice Cooley: Many moons ago, my Latin teacher said that, as no record of classical Latin survived, each nation or locality pronounced it in accordance with its own usage. If that is correct, then Elizabethan Latin would have had an Elizabethan anglo-latin sound. Best, Fran Barasch
The Shakespeare Conference: SHK 10.2174 Thursday, 9 December 1999. [1] From: Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 10:13:41 -0500 Subj: Re: SHK 10.2166 Re: Flags over Globe [2] From: Laura Fargas <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 9 Dec 1999 00:43:05 -0500 (EST) Subj: Re: SHK 10.2166 Re: Flags over Globe [1]----------------------------------------------------------------- From: Tom Bishop <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 7 Dec 1999 10:13:41 -0500 Subject: 10.2166 Re: Flags over Globe Comment: Re: SHK 10.2166 Re: Flags over Globe >Since theatres were forbidden from advertising their plays, they raised >flags from their roofs that signified what sort of play was being >performed that day: white was comedy, black was tragedy, and red was >history. Does someone have a citation for this specific color-coding practice? It sounds suspiciously as though it's been borrowed from some later critic's reading of Tamburlaine. [2]------------------------------------------------------------- From: Laura Fargas <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thu, 9 Dec 1999 00:43:05 -0500 (EST) Subject: 10.2166 Re: Flags over Globe Comment: Re: SHK 10.2166 Re: Flags over Globe Vince Locke <This email address is being protected from spambots. You need JavaScript enabled to view it. > wrote: > > Since theatres were forbidden from advertising their plays, they raised > flags from their roofs that signified what sort of play was being > performed that day: white was comedy, black was tragedy, and red was > history. In addition, it's in my memory that a yellow flag signaled the premiere of a new play, with admissions doubled, but I can't provide an attribution. Laura Fargas
The Shakespeare Conference: SHK 10.2173 Thursday, 9 December 1999. [1] From: Ed Taft <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 09:49:06 -0400 (EDT) Subj: Henry V [2] From: Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 08:41:14 -0800 Subj: SHK 10.2159 Re: Henry V [3] From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 10:28:33 -0800 Subj: Re: SHK 10.2159 Re: Henry V [4] From: Karen Peterson-Kranz <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 8 Dec 1999 13:20:06 +1000 Subj: Re: SHK 10.2159 Re: Henry V [1]----------------------------------------------------------------- From: Ed Taft <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 09:49:06 -0400 (EDT) Subject: Henry V Bashing Kenneth Branagh and his films is a new academic sport that we should do without. He cuts Shakespeare's plays! Well, so did Shakespeare, most probably. It's highly unlikely that the 1599 Globe audience saw the entire play as we read it today; ditto for Hamlet, etc., etc. One post made the lucid point that the problem faced by a modern director is how to translate words from the play into visual images for the screen. Consider, if you will, Brnangh's entrance of King Henry V at the start of the council scene: 1.2. While the music swells (both ominous and grand, at the same time), we see a black silhouette of the king-one that modern audiences instantly recognize as similar to Batman AND to Darth Vader! There it is! The essential ambivalence of the play strikingly represented in a double figure that, to my mind, educates a general audience in the same way scholars were educated 20 years ago by Norman Rabkin's famous essay, "Rabbits and Ducks." Or think of the much maligned close to the battle scenes, where Henry picks up the dead boy, formerly Falstaff's page, and carries him to the basket for the dead, while the soldiers sing the famous hymn "Te Deum." On the one hand, the scene humanizes Henry, who carries the dead boy to his grave. On the other hand, THIS IS HENRY'S BURDEN: Who is the real misleader of youth? Falstaff, or the young King? We can't avoid the question that Branagh brilliantly puts before us. I could go on, but I hope my point is clear. Scholars who have an "ideal" text/version of H5 have to suspend their prejudices and look carefully at what the director has done. If they do, Branagh's H5 will appear to be the great film that it surely is. --Ed Taft [2]------------------------------------------------------------- From: Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 08:41:14 -0800 Subject: Re: Henry V Comment: SHK 10.2159 Re: Henry V With a nod to Sean Lawrence's fascinating comments, oh dear, Hawkes will accuse us of being the same person again, I want to reference the comments of Nicolas Pullin about the cuts in Branagh's films. I wonder what list members will think when they learn that the forthcoming Love's Labour's Lost weighs in at a bit over 90 minutes, with several songs bloating the running time. Remember Branagh's commenting about his dislike for the verbal humor in Much Ado? What do you think he cut from LLL? Hoping Ken picked good songs, Mike Jensen [3]------------------------------------------------------------- From: Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 07 Dec 1999 10:28:33 -0800 Subject: 10.2159 Re: Henry V Comment: Re: SHK 10.2159 Re: Henry V Re-reading my last posting, I just noticed a typo: >Nor, I think, does the rather unedifying spectacle of badly-dressed, >rain-drenched soldiers hacking at each other in the mud really make >Henry more "heroic", in the sense that you seem to be using the term. "More" should be "less". Cheers, Se