Search results

You are looking at 1 - 5 of 5 items for :

  • novice mistress x
  • Manchester Shakespeare x
Clear All
Abstract only
The Citizens’ Theatre (Glasgow), 1972, and Northern Broadsides (Halifax), 1995
Carol Chillington Rutter

tease and wicked laughter: Octavius had been trounced by her mistress's triumph. Shortly, he'd know it. Entering upstage, looking into the scene from behind the wire and seeing that he'd been robbed of his trophy, ‘her life in Rome’ (5.1.65), Cryer's Octavius hurled himself against the fence, a snarling beast, his face twisted in a grimace of fury and pain, his fingers clutching the mesh but really snatching only at empty air (see 5.4 ). 5

in Antony and Cleopatra
Abstract only
How did laywomen become nuns in the early modern world?
Elizabeth A. Lehfeldt

such a ceremony from a fifteenth-century guide for English Benedictine nuns. 2 The event took place at the altar of the convent church with the other nuns looking on from their stalls in the choir. The novice read her profession in the presence of a priest, made the sign of a cross in the book of profession, approached the altar with her novice mistress, kissed the altar, bowed

in Conversions
Abstract only
Rewriting the English lyric landscape
Anne Sweeney

in the Novitiate generally reflected this fascination with landscape, and novices were schooled in its implications. In ‘A vale of teares’ (p. 41) Southwell presents a remarkable vision: a landscape clearly taken from life, the result of actual observation of nature, but one that, in its ‘disordred order’, presents the truest reflection, as he sees it, of England’s fallen

in Robert Southwell
Robert Shaughnessy

parts – the difference, say, between Mistress Quickly in Henry V (63 lines) and Cleopatra (678) – and also informs the structuring of a part’s relations to others, most importantly, McMillin observes, in terms of cues. One condition of part-playing is that it demands a high state of attentiveness and mental agility: equipped only with a short cue that is not identified by its speaker, the player

in As You Like It
Abstract only
Indira Ghose

would justify the marginal jests of the debauched imagination, or when what has been marginal would lead to the centre, every trace of the centre would be lost. 3 The manuscripts Jorge alludes to were burlesque representations of events in the Scriptures, secretly sniggered over by novices, but in full awareness of their transgression

in Shakespeare and laughter