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a BBC website review which recommends the production with great gusto, uses different words to say the same thing: ‘Go and see The Island Princess ’, she insists, ‘and embrace the exotic flavour of a new experience.’ 26 The attitudes here underline the continued status of the Far East, centuries after Mandeville, as a locus of novelty (‘new’), wonder (‘exotic
retrieve it after he has thrown it down and rip it apart in frustration (BBC (1981)). In either action, the tearing of words leaves its mark on the soundtrack. Ajax’s impatience to learn the proclamation (2.1.20–9) exposes the gaps between the graphematic letters and words as sound as Achilles enunciates each of the letters slowly, and points at the words with his fingers (Mendes (1990)). Peter Hall’s (2001) production dramatised even more fundamentally the orality/textuality question that haunts the whole play: was it ever performed, or only read? With the house lights
’s monumental painting Chaucer at the Court of Edward III (1847–51) and even the Chaucer puppet narrating Jonathan Myerson’s 1998 BBC animated adaptation of the Canterbury Tales.24 But these images have not circulated independently; rather, they have existed alongside an abundance of written interpretations of Chaucer’s countenance, which in some cases respond to the portraits but elsewhere elaborate accounts of the author’s face with little or no reference to any visual depictions. Unlike the relative stability of depiction across many of the visual portraits, which largely
). 4 ‘Gary Lineker pants: Match of the Day presenter keeps Twitter promise’; BBC website, 13 August 2016, www.bbc.co.uk/sport/football/37074641 , accessed 13 January 2019. 5 On Dorigen's promise in the context of late-medieval legal practice and rash promises in literature, see Richard Firth Green, A Crisis of Truth: Literature and Law in Ricardian England (Philadelphia: University of
-news/hungarian-tale-500-slaughtered-welsh-1809705, accessed 24 October 2017. 157 Medievalist double consciousness 157 73 See ‘Strengthening the link between Wales and Hungary’, Wales Online, 27 March 2013, www.walesonline.co.uk/news/local-news/ strengthening-link-between-wales-hungary-2056906, accessed 24 October 2017. 74 See Nick Thorpe, ‘Protests usher in far- right theatre director in Hungary’, BBC News, 2 February 2012, www.bbc.co.uk/news/world- europe-16843913, accessed 24 October 2017. 75 Berend, History Derailed, pp. 77–8. 76 Louise D’Arcens and Clare
information on the fire see www.bbc.co.uk/news/uk-england- manchester-20598600, accessed 24 October 2017. 32 Elizabeth Price, lecture at ‘Art Out of Time: Challenging Periodization’ conference at Oxford University, 27 June 2014. 33 Paul O’Neil, ‘Mad love: An interview with Elizabeth Price’, Art Monthly 326 (2009), 2–7. 34 Elizabeth Price, lecture at Focal Point Gallery, Southend, 14 November 2013. 35 See Elizabeth Price (ed.), Small Gold Medal (London: Bookworks, 2001). 195 The language of gesture 195 36 Elizabeth Price, User Group Disco (-2009). 37 Manuel
recently forming the underlying plot in the fourth season of the BBC’s Sherlock (see ‘The Six Thatchers’, Sherlock , BBC One, 1 January 2017). 2 Reed, ‘The Slaughter of the Innocents’, p. 219, on directing the York Cycle’s Slaughter of the Innocents for the 1999 University of Toronto festival. 3 See Nolan Sidhu, Indecent Exposure, pp. 219–21 and Sturges, The Circulation of Power , pp. 64–5. 4 On the gendered conflict between female grief and male control, see Katharine Goodland, Female Mourning and Tragedy in Medieval and Renaissance Drama: From the
Aucklanders’ iconoclastic reaction to a billboard that dared to probe similar questions demonstrates, such knots retain their potential to spark humour, controversy and hostility. Notes 1 See the BBC News article http://news.bbc.co.uk/1/hi/8417963.stm [accessed 14 August 2019]. 2 See Richard Beadle, ed., ‘Joseph’s Trouble about Mary’, in The York Plays (London: Edward Arnold Publishers, 1982), pp. 117–24; Stephen Spector, ed., ‘Joseph’s Doubt’, in The N-Town Play: Cotton MS Vespasian D8 , EETS, s.s., 11–12, Vol. 1 (Oxford: Oxford University Press, 1991), pp
Annunciation and Visitation , where Mary’s pregnancy needed to be visible soon after the Annunciation. 69 Modern performances occasionally make theatrical jokes of this, using inflatable stomachs for Mary’s bump and collapsing the gestation period with the same comic rapidity also widely mocked in the first series of the 2015 BBC drama Poldark. While Mak’s complaint about Gyll’s fecundity sets up the sheep trick to come, the lack of time between her pregnancies also operates as a metatheatrical joke on the impracticality of physically representing divine gestation on