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Bryan White

]. 71 J.  H. Wilson, ‘Theatre Notes from the Newdigate Newsletters’, Theatre Notebook, 15 (1961), 82. For a more detailed discussion of the origins and performance history of the work see Louis Grabu, Albion and Albanius, ed. by B. White, Purcell Society Companion Series, 1 (London: Stainer & Bell, 2007), xi-​xix. 72 Letter of 22 September 1683: London, British Library, Add MS 63759, p. 91. 73 Grabu, owing to severe financial hardship, had left England for France in the spring of 1679. For Grabu’s knowledge of French opera, see B. White, ‘Grabu’s Albion and

in From Republic to Restoration
Michael D. Friedman and Alan Dessen

chapters, when faced with the anomalies that inevitably result, directors often cut or adapt such a script or stylise the action so as to sidestep unwanted effects. James Sandoe (Colorado, 1967) and Deborah Warner, in contrast, did choose to play the received script, warts and all, but still with modern actors and modern playgoers in mind. In the light of the performance history set out in Chapters I – III , consider then this question: to what extent would those moments that have puzzled or antagonised adapters and

in Titus Andronicus
Welles at the Mercury Theatre
Andrew James Hartley

just how original the production really was, the production’s legacy is clear, as is its claim to being the most important single production in the play’s performance history. Under Welles’s bold and innovative direction, the Mercury company found in the play’s political dimension a new and urgent topicality, the resultant production becoming iconic, a bold and strident landmark which dominated staged

in Julius Caesar
Caesar at the millennium
Andrew James Hartley

Kellaway, also with the cast, 10 April), and The Sunday Times (Patrick Marmion’s performance history, 9 April). The feeding frenzy indicated an alignment not just of stars but of issues and a director known for bold strokes. A play many reviews dismissed as ‘one of Shakespeare’s most dull’ had become the ‘most eagerly awaited Shakespearean production I can recall in years’ and been received as ‘one of

in Julius Caesar
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The Spanish Tragedy IV.iv in performance
Tony Howard

’ (p. 417). But if Hieronimo’s play has become emblematic of an era of violence and failed communication, its recent performance history offers us positive images too – images of what the Nobel Committee called the ‘ interlacing of cultures’ rather than the ‘ clash ’. Though Snow ends with a Turkish theatre turned into a warehouse, it’s intriguing that Mitchell Moreno’s Spanish Tragedy was staged

in Doing Kyd
Bryce Lease

postcolonial 178 After ’89 performance history that engages with multiethnic perspectives through casting have resulted in the arrogation of racial critique exclusively to white bodies in a mode that invalidates that critique and redoubles the exceptionalism of whiteness as the founding basis of representation that relegates other racial and ethnic subjectivities to the background. In Desert and Wilderness Weronika Szczawińska’s W pustyni i w puszczy z Sienkiewicza i innych was directed by Bartosz Frąckowiak at the Teatr Dramatyczny in Wałbrzych in 2011. In preparation

in After ’89
Sruti Bala

performance may be a conscious or unconscious endorsement of Israeli government policies and actions, or how the decision of Cape Town Opera to perform in Tel Aviv Opera House may be a manifestation of complicity with a political regime they may not necessarily perceive themselves as having anything to do with. This context is undoubtedly connected to the complex performance history of Porgy and Bess, from its emergence in the racially segregated US, to its widespread rejection by the American civil rights movement, to its renewed politicization during the apartheid era in

in The gestures of participatory art
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Transporting Chaucer
Helen Barr

narrator refuses to anchor the free-floating tidings of Troy with the authority of a Proper Name. The figure of Antenor in Troilus is his opposite: a name without a voice. On stage, but mute, Antenor is a silent physical reminder of the fall of Troy that the audience will already have known even through it remains explicitly unspoken during the course of the play. And yet, directorial choices in the play’s performance history have yielded a scenario in which this speechless body becomes spokesperson for all the characters in Troy. Antenor and the narrator of The House of

in Transporting Chaucer
David Hesse

authority. At all European Scottish festivals, the kilted male is at the centre of attention. And yet this does not mean that women are absent. They are there, either impersonating Scottish men, inventing their own female identities and thus expanding the Scottish dreamscape – or as spectators, dressing up their men, encouraging them to perform as manly Highlanders for their pleasure. The Scottish dreamscape is a world of male heroism, but women participate in its re-­enactment. Methods and structure The twenty-­first-­century memory boom is one of action and performance

in Warrior dreams
Thomas Heywood and Hercules
Richard Rowland

Lichas in Troia , Canto VII. But texts such as William Gager’s Meleager , an academic Latin tragedy performed at Oxford in 1582, and William Alabaster’s Roxana , a Latin tragedy given at Cambridge in the 1590s, were also littered with echoes of or quotations from the Oetaeus . Gager’s debt is charted in Helen Slaney, The Senecan Aesthetic: A Performance History (Oxford: Oxford University Press, 2015), pp. 50–4. In Roxana , Deianira’s foreboding of great evil as Hyllus brings news of his dying father (line 745) is one of dozens of Alabaster’s borrowings from the

in Thomas Heywood and the classical tradition