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Metamorphoses of early modern comedy in eighteenth-century bourgeois theatre
Friedemann Kreuder

performance history, and as such, intended to provide the audience with a certain sense of order, in the tangle of characters and chaos of different dramatic levels created by Kurz’s Bernardoniads. Kurz’s theatrical use of established stage personas inherits the principles of the comici dell’arte of the sixteenth and seventeenth centuries, namely the

in Transnational connections in early modern theatre
Middleton’s tragedies on television, 1965–2009
Susanne Greenhalgh

Middleton, Thomas Middleton , pp. 1632–78 . O’Berski , J. ( 2012 ), Middleton and Rowley: The Changeling ( Basingstoke : Palgrave Macmillan ). Panek , J. ( 2019 ), ‘ A performance history ’, in Hutchings

in Screen plays
The Harold Pinter season on Theatre 625 (BBC2, 1967)
Amanda Wrigley and Billy Smart

intermedial performance history of this still-new but well-known work made it a terrific choice for the 1967 Theatre 625 trilogy which sought to illustrate and celebrate Pinter’s ability to work within the expressive possibilities of different media and, indeed, showcase the way his plays readily lent themselves to intermedial adaptation. In a Radio Times article publicising the BBC2

in Screen plays
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Producing theatrical classics with a decorative aesthetic
Billy Smart

). Working without a sense of comparison with theatrical performance history—’I didn’t have any yardstick of “wasn’t-Peggy-lovely-in-’35” to go on’, as Nicholson himself put it ( 1970 : 52)—meant that Messina’s productions prioritised clarity of story-telling and intelligibility of plots for the television viewer (Drabble 1975a ). He defined this as ‘straightforward drama

in Screen plays
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Writing the history of female performers
Susannah Crowder

responding to immediate conditions. Unlike the Catherine actor, Catherine Baudoche appears in many sources that illuminate her as a historical figure; she was a wealthy member of the Messine patriciate, holding influence well beyond the dramatic sphere. Although my later chapters explore Catherine’s biography and performance history in detail, here I focus upon her as a patron of Saint Catherine and the jeu. First, Catherine did not confine her interactions with Catherine of Siena and the Dominicans to the Saint Catherine jeu. Previously unknown documentary sources confirm

in Performing women
Hamlet and the rules of art
Richard Wilson

proposed, the First Quarto title-page is taken seriously, and Hamlet was itself ‘acted … in the City’ in 1600–1 at one of the inns like the Cross Keys, only to be upstaged by the boys. 71 For whatever its performance history, the 1603 version is clearly smarting with indignation on behalf of the Chamberlain’s Men, that ‘the principal public audience that came unto them, are

in Free Will
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Robert Shaughnessy

sexual ambiguity in this scene, not least because throughout Mirren makes no attempt to play either man or boy. Overall, moreover, as Marshall observes, ‘there is no chemistry between Rosalind and Orlando, or Rosalind and Celia, or any other couple’ (80). Flawed as it is, this As You Like It rewards scrutiny less on the basis of its limited contribution to the performance history of the play than for

in As You Like It
Robert Shaughnessy

century (Blayney, ‘Playbooks’, 388). Dering would subsequently make his mark in the annals of Shakespearean performance history as the first known adapter of his works, in the form of his 1622 redaction of Henry IV, Parts 1 and 2 , and as the first known buyer of the First Folio. 4 The juvenile chorister companies require

in As You Like It
Shirley’s and Davenant’s protectorate entertainments
Rachel Willie

regarding the masque’s performance history. The title pages of earlier masques bear information about the date and circumstances of the performance. Often, there then follows a preamble regarding the splendour of the occasion, usually idealising the evening’s entertainments and overlooking the drunken, gluttonous and debauched proceedings to which they were sometimes reduced.13 The preamble and annotated text frequently describe in detail the staging of the masque, and the reader is directed to interpret the allegory of the performance as representing a positive image of

in Staging the revolution
Rachel Willie

Restoration might be the play’s first performance occurring before this event took place. The Rump’s performance history is ambiguous. Following van Lennep, Susan Wiseman states that the play was performed in 1659.13 Conversely, Hughes (after Harold Love) pinpoints the date of first performance to May/June1660.14 More recently, Michael Cordner has suggested that the play was written around March 1660 to form part of London’s anti-Rump festivities and is therefore too early to enter into discourse relating to the Restoration.15 If we consider the play’s relation to panegyric

in Staging the revolution