Shakespeare Electronic Conference, Vol. 7, No. 0201. Wednesday, 13 March 1996.
(1) From: Brooke Brod <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 19:43:06 -0500
Subj: Re: SHK 7.0169 Shrew in Performance
(2) From: Michael Saenger <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 21:40:46 -0500 (EST)
Subj: Re: SHK 7.0196 Genre Query
(3) From: Bruce Golden <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 19:28:31 -0800 (PST)
Subj: Re: SHK 7.0197 Re: Othello's Religion and Origins
(4) From: Kay Campbell Pilzer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Tuesday, 12 Mar 1996 10:32:02 -0600 (CST)
Subj: Acting Co. (*HV) info
(5) From: Kay Campbell Pilzer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Tuesday, 12 Mar 1996 10:25:43 -0600 (CST)
Subj: Tempest productions
(1)----------------------------------------------------------------------------
From: Brooke Brod <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 19:43:06 -0500
Subject: 7.0169 Shrew in Performance
Comment: Re: SHK 7.0169 Shrew in Performance
How does one encourage the growth of new theatre? I don't know if I have any
coherent program to "Save the American Theatre", but I will mention a few
things.
1) I believe it was the March 3rd, Sun. edition of the NY Times that had an
interesting article about three theatres that survive without government
funding, NADA, Surf Reality and Alice's Fourth Floor.
2) Theatre has been on its "deathbed" for a long time in the U.S.(even before
the NEA ever existed), and still manages to hang on, somehow.
I think that what theatre professionals and enthusiasts need to do are to think
of new ways to make theatre "necessary" to an audience.
(2)----------------------------------------------------------------------------
From: Michael Saenger <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 21:40:46 -0500 (EST)
Subject: 7.0196 Genre Query
Comment: Re: SHK 7.0196 Genre Query
Regarding Peter Herman's query,
Rosalie Colie's _The Resources of Kind_ is still, I believe, unsurpassed on the
issue of genre, at least in general terms.
Michael Saenger
(3)----------------------------------------------------------------------------
From: Bruce Golden <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Monday, 11 Mar 1996 19:28:31 -0800 (PST)
Subject: 7.0197 Re: Othello's Religion and Origins
Comment: Re: SHK 7.0197 Re: Othello's Religion and Origins
This thread on etymology of Shakespeare's names hasn't yet mentioned John
Ruskin's note in _Minerva Pulveris_, which I found in Northrop Frye's _Anatomy
Of Criticism_ (p. 9).
Of Shakespeare's names I will speak at more length; they are
curiously--often barbarously mixed out of various traditions
and languages. Three of the clearest in meaning have been
already noticed. Desdemona--_miserable fortune_is also plain
enough. Othello is, I believe, "the careful";...
-Bruce Golden
(4)----------------------------------------------------------------------------
From: Kay Campbell Pilzer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Tuesday, 12 Mar 1996 10:32:02 -0600 (CST)
Subject: Acting Co. (*HV) info
The Acting Company, currently touring the "*HV*: St. Crispin's Day at the
Boar's Head," can be contacted at: (212) 564-3510. Times Square St., P. O. Box
898, New York, NY 10108.
[This is for the several people who contacted me directly or the list about
information about the schedule of this tour--which I was unable to get, but I
did find this address].
(5)----------------------------------------------------------------------------
From: Kay Campbell Pilzer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: Tuesday, 12 Mar 1996 10:25:43 -0600 (CST)
Subject: Tempest productions
An interesting production of *Tem* was toured last year by the National
Players: a "*Tempest*: The Opera" approach. They set the play to music and
presented it as an opera in a slightly abridged form. (These people tour to
community colleges and high schools.)
The most striking moment of this production, for me, came when Caliban explains
the noises to Stephano. On the other side of the stage from him, Miranda and
Ferdinand are involved in their own world, but when Caliban does his "do not be
afeard" speech, it becomes a duet by Miranda and Caliban (who each perform as
though unconscious of the other). It was a magical touch linking these two
children of the island.
I don't know if there is a tape of this production, but here is how to reach
the National Players: P. O. box 550, Olney, MD 20830. (301)924-5908; fax:
(301)924-2654. Managing director is Barbara Pinolini.
This information is primarily for Rod Osiowy, whose address I failed to note,
but I thought others might be interested in this approach.
Kay Campbell Pilzer
Vanderbilt University
