November
Shakespeare Electronic Conference, Vol. 6, No. 0932. Thursday, 30 November 1995. (1) From: Laura Blanchard <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 18:47:05 -0500 Subj: Re: SHK 6.0926 Ian McKellen's *R3* (2) From: Bill Day <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 22:48:47 -0500 Subj: Ian McKellen and Richard III (1)---------------------------------------------------------------------------- From: Laura Blanchard <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 18:47:05 -0500 Subject: 6.0926 Ian McKellen's *R3* Comment: Re: SHK 6.0926 Ian McKellen's *R3* Many thanks to all who responded. Much of this I have already, but I hope to have more comprehensive materials for our Web site before I link the section to our homepage. Those of you who would be interested in previewing the section are welcome to do so at http://www.webcom.com/blanchrd/mckellen/index.html The usual "under construction" caveats apply, of course -- especially to the Shakespeare links, which I have been gathering over the past week but have not yet included. Thanks again. Regards, Laura Blanchard Richard III Society (2)---------------------------------------------------------------------------- From: Bill Day <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 22:48:47 -0500 Subject: Ian McKellen and Richard III I haven't heard anything about plans to film the production, but I'm surprised he'd bother. I saw it at the Kennedy Center in Washington and thought it was a disaster for reasons that, as I recall, others aired on the list when the play was in performance. McKellen's choice to portray Richard as a kind of proto-Hitler, Nazi uniforms and all, both obscured the nature of Richard's personal malevolence and ambition and undermined the credibility of the performance. Far from exercising the kind of hypnotic control over the masses that Hitler displayed over the crowds at Nuremberg, R3's rise to power is largely a matter of the manipulation of personal alliances and the elimination of people who stand before him in the succession. Despite his allegation of the princes' bastardy, Richard does not really achieve the throne by perpetration of the Big Lie, as Hitler did. Although there may be some superficial similarity between Hitler's seizure of power and Richard's, Hitler exercised much greater popular control than Richard does in the play (witness Buckingham's appeal to the citizen's of London.) Richard is a tragedy that turns on one man's ambition far more than on an entire nation's corruption. I think it is a vulgar error, in the worst sense of the word, to conflate the Nazi regime with every coup d'etat and dictatorial regime that springs up. Cavalier allusion undermines, rather than aiding, the cause of "relevance." Unfortunately, the effect at the Kennedy Center when I saw R3 was repeated, though muted, laughter in the audience every time McKellen delivered one of R's more vicious lines. Dressing Richard in robes too big for him did neither the production nor McKellen a service. Sincerely, Bill DayThis email address is being protected from spambots. You need JavaScript enabled to view it.
Shakespeare Electronic Conference, Vol. 6, No. 0931. Thursday, 30 November 1995. From: Michael T. Calvert <U30373@UICVM> Date: Wednesday, 29 Nov 95 17:13:40 CST Subject: Shakespeare visual aids Fellow SHAKSPEReans: I am currently looking for Shakespeare slides to illustrate lectures. In particular, I'm interested in bibliographic images, i.e., title pages and sample pages of text from both pre- and post-folio publications, plus images of handwritten documents (such as the possibly Shakespearean scenes from _Sir Thomas More_). Does anyone know of a publisher or educational media house that sells such items? Please reply to me directly atThis email address is being protected from spambots. You need JavaScript enabled to view it. , and I will gladly digest the responses and post them to the list. TIA Michael Calvert Newberry Library
Shakespeare Electronic Conference, Vol. 6, No. 0930. Thursday, 30 November 1995. (1) From: Leslie Thomson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 19:31:15 -0500 Subj: Re: SHK 6.0928 *Ham.* in Hollywood; Bedford Reviews; Job (2) From: Jesus Cora <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 17:01:28 UTC+0200 Subj: SHK 6.0924 Re: Courts, Merchants, and more (3) From: Robert Appelbaum <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 14:45:47 -0800 (PST) Subj: Soliloquies (1)---------------------------------------------------------------------------- From: Leslie Thomson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 19:31:15 -0500 Subject: 6.0928 *Ham.* in Hollywood; Bedford Reviews; Job Comment: Re: SHK 6.0928 *Ham.* in Hollywood; Bedford Reviews; Job A correction: the *Hamlet* piece mentioned by E. Pearlman is in the November 20 issue of the New Yorker. (2)---------------------------------------------------------------------------- From: Jesus Cora <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 17:01:28 UTC+0200 Subject: Re: Courts, Merchants, and more Comment: SHK 6.0924 Re: Courts, Merchants, and more Oops... I know, I know. My memory did not serve me right as to the Restoration *Lear* which is not by Dryden and Davenant, but by Nahum Tate as many of you pointed out. Dryden and Davenant did rewrite a Shakespeare play, though: *The Tempest; or the Happy Island*. Sorry about this mistake. By the way, are these reworkings of Shakespeare's plays ever performed these days? Yours. Jesus CoraThis email address is being protected from spambots. You need JavaScript enabled to view it. (3)---------------------------------------------------------------------------- From: Robert Appelbaum <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 14:45:47 -0800 (PST) Subject: Soliloquies A question, maybe an odd question: We know that early modern Englanders generally read aloud rather than to themselves. Is there any evidence that they may have been more inclined to THINK aloud than we do? Chaucer's *The Miller's Tale*, some of you will remember, seems to rely on this possibility when Nicholas exclaims "A berd! A berd!" Incidentally, is it an article of faith that "soliloquy" has to mean talking *to* oneself? Can't it also mean talking *by* oneself? Robert Appelbaum UC Berkeley
Shakespeare Electronic Conference, Vol. 6, No. 0929. Thursday, 30 November 1995. (1) From: Jay Johnson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 15:21:51 -0700 (MST) Subj: Re: SHK 6.0927 Re: *Shr.* (2) From: Bernie Folan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 30 Nov 95 11:36:49 gmt Subj: Kate / Griselda (1)---------------------------------------------------------------------------- From: Jay Johnson <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Wednesday, 29 Nov 1995 15:21:51 -0700 (MST) Subject: 6.0927 Re: *Shr.* Comment: Re: SHK 6.0927 Re: *Shr.* With regard to Kate's final speech in _The Taming of the Shrew_, one very clear and unironic interpretation is that given by Charles Marowitz. In his adaptation, called _The Shrew_, Kate's taming is essentially a Concentration Camp brainwashing. Here is the beginning of the final scene: (Lights up on a surreal tribunal setting. Petruchio sits behind a high tribunal desk. He is looking straight ahead in the background, there is the unmistakeable murmur of women's voices, chatting, gossiping, conniving. After a moment Grumio, dressed in a black gown like an official of the Court, bangs his staff three times. The wispering stops. Kate is ushered in by Baptista. She is wearing a simple, shapeless institutional-like garment. She stares straight ahead and gives the impression of being mesmerized. Her face is white; her hair drawn back, her eyes wide and blank.) Kate: (Weakly) What is your will, sir, that you send for me? Petruchio: Katherine, I charge thee, tell these headstrong women What duty they owe to their lords and husbands. (Kate does not reply. After a moment, Baptista, who is beside her, touches her shoulder comfortingly. Eventually, Kate begins to mouthe words. Obviously, she has learned this speech by rote and is delivering it as if the words were being spoken by another.) and so on... Marowitz also has a very interesting version of _The Merchant of Venice_ set in pre-WW II Palestine. These and other adaptations can be found in _The Marowitz Shakespeare_ (1978). Cheers, Jay Johnson Medicine Hat College (2)---------------------------------------------------------------------------- From: Bernie Folan <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Thursday, 30 Nov 95 11:36:49 gmt Subject: Kate / Griselda Lisa Broome wrote: >>I am working on a paper in which I describe Shakespeare's >>Taming of the Shrew as mythic and Dekker's Patient Grissil >>as folkloric in mode. .. I would like to know if anyone >>has suggestions for additional sources. I also welcome >>any comments on the topic! ..<snip> There is an article by C E Brown comparing Katherina and Griselda in TEXAS STUDIES IN LITERATURE AND LANGUAGE, Vol 37, No 3 (Fall 1995). Published by University of Texas Press. Bernie
Shakespeare Electronic Conference, Vol. 6, No. 0928. Wednesday, 29 Nov. 1995. (1) From: E. Pearlman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 1995 11:24:55 -0600 (MDT) Subj: *Ham.* in Hollywood (2) From: Jung Jimmy <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 95 10:24:00 PST Subj: The Lunatic, The Lover and The Poet (3) From: Kurt Daw <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 95 09:58:35 EST Subj: Position Announcement (1)---------------------------------------------------------------------------- From: E. Pearlman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 1995 11:24:55 -0600 (MDT) Subject: *Ham.* in Hollywood SHAKSPERians will want to read the very amusing and also sad essay by David Remnick in the NEW YORKER for Nov. 30 called "Hamlet in Hollywood." It features well-known Shakespearians. But I would suggest that for the full joy of the experience, people should read or re-read Raymond F. Waddington's essay "Lutheran Hamlet" in ELN 1989,27-39. E. Pearlman (2)---------------------------------------------------------------------------- From: Jung Jimmy <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 95 10:24:00 PST Subject: The Lunatic, The Lover and The Poet I was fishing for reviews of Brian Bedford in The Lunatic, The Lover and The Poet. My mom got a flyer and was trying to decide if she would find it interesting. jimmy (3)---------------------------------------------------------------------------- From: Kurt Daw <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Tuesday, 28 Nov 95 09:58:35 EST Subject: Position Announcement Because of the heavy Shakespearean component of the production aspect of this job it may be of interest to SHAKSPER members: Faculty Position Theater Generalist Kennesaw State College, a progressive metropolitan college in the University System of Georgia, invites applications for a tenure-track position in the theater program in the Department of Music and Performing Arts. Located on an attractive campus northwest of Atlanta, the college enrolls 12,000 students in a broad array of high quality undergraduate and graduate programs. KSC has established a notable record for the inclusion of minorities and women in its educational mission and strongly encourages applications from both groups. Qualifications/Responsibilities: M.F.A. or Doctorate in theater or appropriate related field. Faculty member will teach in small department specializing in contemporary approaches to pre-modern literature in scholarship and production. Primary responsibilities will be 1) to teach an innovative Introduction to Theater course in the general education core, and 2) to teach Contemporary Theater Arts, an introduction to the major and the profession. In addition, undergraduate teaching expertise in theater history, dramaturgy, and play analysis is desirable. Experience or demonstrated potential to direct pre-modern literature (particularly Shakespeare) required. Position requires strong skills in undergraduate liberal arts education, ability to work as a team member and interest in college and community service. Departmental service commitments will include extensive support for Classic TheaterWorks, the campus production company. Involvement with Classic TheaterWorks publications, public relations and educational outreach efforts are an integral part of the job. Computer skills (especially Macintosh) a plus. Rank and salary commensurate with experience and qualifications. Position available September 1996. Application Instructions: Applications will be accepted until position is filled. To guarantee consideration, send a letter of application, vita, official transcripts and three references (names, addresses, telephone numbers) by February 15, 1996 to : Kurt Daw, Chair, Theater Search Committee, Department of Music and Performing Arts, Kennesaw State College, 1000 Chastain Road, Kennesaw, Georgia 30144-5591. FAX (770) 423-6368. The committee also welcomes supporting materials, including examples of teaching materials, demonstrations of computer skills, production photographs, and scholarly and popular dramaturgical articles. Affirmative Action/Equal Opportunity Employer