2002

Irregular SHAKSPER Service during August

The Shakespeare Conference: SHK 13.1733  Wednesday, 31 July 2002

From:           Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, July 31, 2002
Subject:        Irregular SHAKSPER Service during August

Dear SHAKSPEReans,

On Saturday, August 3, my family and I are scheduled to leave for three
weeks in Scotland and England.

I initially was not going to bring my laptop computer, but I have had a
change of mind. Unfortunately, the laptop has been acting up on me. I
believe that I will be able to keep it functioning; however, if there is
anyone out there in SHAKSPER land who is familiar with DLA software,
especially removing it when it does not appear in the Add/Remove Control
Panel program, I would really appreciate your contacting me with any
ideas. I


Royal Historical Society Bibliography

The Shakespeare Conference: SHK 13.1732  Wednesday, 31 July 2002

From:           Al Magary <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jul 2002 00:18:01 -0700
Subject:        Royal Historical Society Bibliography

This is new to me and may be to some on the list.  The Royal Historical
Society bibliographies on British and Irish history, previously
published on CD-ROM and in printed volumes, are now available online
without charge, at http://www.rhs.ac.uk/bibwel.html  The database has
some 300,000 items--books and articles from some 700 journals--and is
current through 2000.  In its prospectus for the online edition, the RHS
said, "A further major aim of the new edition is to improve the
effectiveness and consistency with which data can be searched, and for
this purpose a comprehensive hierarchical thesaurus of subject-indexing
terms has been prepared."

Al Magary

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Finding Affordable Annotated Collected Works

The Shakespeare Conference: SHK 13.1730  Wednesday, 31 July 2002

From:           Walter Miale <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 30 Jul 2002 19:46:32 -0400
Subject:        Finding Affordable Annotated Collected Works

I would like to purchase annotated Arden or Oxford editions of the
collected works. I think I miss too much otherwise. But as far as I know
one must buy the plays singly at something like $12 each more or less,
which is prohibitive. I should think that buying the plays used on the
Net would be time-consuming, and still expensive. Any suggestions?

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

Re: Jacques Pronunciations

The Shakespeare Conference: SHK 13.1731  Wednesday, 31 July 2002

From:           Peter Groves <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jul 2002 12:01:25 +1000
Subject: 13.1722 Re: Jacques Pronunciations
Comment:        Re: SHK 13.1722 Re: Jacques Pronunciations

>According to John Barton speaking about Troilus and Cressida, the
>pronunciation of a name changes to match the rhythm of the line - it is
>OK to use different ones within the same production.
>
>Jan Pick

Not so: only the name of the melancholy Jaques occurs within the verse
(the brother can presumably be called /zhak/), and each of the five
occurrences supports a disyllablc version (such as /jay-kwiz/),
producing what used to be called a 'feminine ending' in some cases.  It
would clearly be pointless and distracting to pronounce the word in two
quite different ways if the metre does not require it (note that this is
not the same as the difference between a disyllabic and trisyllabic
<Romeo>, which is just a normal variation (presence of absence of
syneresis):

The melancholy Jaques grieves at that,

Much marked of the melancholy Jaques,

Augmenting it with tears. / But what said Jaques?

And never stays to greet him; 'Ay' quoth Jaques,

Stay, Jaques, stay. / To see no pastime I

Peter Groves

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Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
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DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

Re: Her C's . . .

The Shakespeare Conference: SHK 13.1729  Wednesday, 31 July 2002

[1]     From:   John W. Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 30 Jul 2002 18:35:57 -0400
        Subj:   Re: SHK 13.1704 Re: Her C's . . .

[2]     From:   Anna Kamaralli <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 31 Jul 2002 11:27:18 +1000
        Subj:   Re: SHK 13.1704 Re: Her C's . . .


[1]-----------------------------------------------------------------
From:           John W. Kennedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 30 Jul 2002 18:35:57 -0400
Subject: 13.1704 Re: Her C's . . .
Comment:        Re: SHK 13.1704 Re: Her C's . . .

>Good actors not only can but must
>cross generic lines.

I have only just returned from this years' Ohio Light Opera production
of "Der Vetter aus Dingsda", in which the altogether delectable Julie
Wright, best known for her heavy diva roles, from Sylva Varescu to Sari
Lindon, is undertaking a jazzy soubrette, with complete success.

I have seen a single actor (the late Eric Tavares) play Benedick and
Aaron the Moor in rep., both brilliantly.

[2]-------------------------------------------------------------
From:           Anna Kamaralli <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 31 Jul 2002 11:27:18 +1000
Subject: 13.1704 Re: Her C's . . .
Comment:        Re: SHK 13.1704 Re: Her C's . . .

With regard to various points being made about the ability/adaptability
of actors (the argument over whether someone can successfully do both
and also the comment made that our examples seem to be all male) I have
one response:

Miranda Richardson.

Generally, I think, there are two varieties of actor, the personality
actor and the chameleon actor.  Movie stars tend to fall into the former
category, and people go to see them in order to watch them project
whatever their bread-and-butter persona is.  Most of the chameleons seem
to come out of Bristol Old Vic, which makes me suspect that it's largely
a matter of training.

While I'm busy liberally dishing out poorly substantiated opinions, I
must come down firmly on the side of those arguing that good actors
should be able to do both.  Two reasons - first the point already made
that small companies don't have the luxury of dividing their actors into
comic and tragic, but secondly, I think it's an artificial distinction
anyway.  Most plays include elements of both, and how are the plays of
Tom Stoppard, April de Angelis or Edward Albee, let alone Chekhov, to be
performed without actors who can be both funny and moving?

I'm throwing in Emma Thompson and Judy Davis, too.

Anna.

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Web Site <http://www.shaksper.net>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

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