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If honour and principle were the watchwords for Caesars of the nineteenth century, and totalitarianism the core of twentieth, the word which ghosts twenty-first-century productions most clearly is 'spin'. This book traces this evolutionary journey, and discusses productions because they somehow speak to ideas about the play which characterise their period of production, or they have significant features in their own right. It first gives an account of productions of the play prior to the Second World War, right from the stagings at the Globe Theatre's in 1599 to William Bridges-Adams's productions till 1934. The 1937 Orson Welles's production of Julius Caesar, staged at New York's Mercury Theatre was decked out with all the trappings and scenic theatricality of contemporary European Fascism. Shakespeare's play becomes a forum for a consideration of an ethics of American identity with John Houseman's 1953 film. The book discusses three modernist productions of Lindsay Anderson, John Barton and Trevor Nunn, and the new versions of the play for the British TV. The productions under Thatcher's Britain are also focused as well as the unknown accents, especially the Indian and African ones. The productions of Italy, Austria and Germany productions have eschewed direct political association with past or present regimes. The book also presents a detailed study of two productions by a single company, Georgia Shakespeare. In the new millennium, the play's back-and-forth exchange between its long past and the shrill and vibrant insistence of its present, have taken centre stage.

Anderson, Barton and Nunn
Andrew James Hartley

modernist wave which, in the course of the next decade, demanded greater attention and started to dictate new standards of success. This chapter will consider three productions which model different forms of that modernist impulse: Lindsay Anderson’s 1964 production at the Royal Court; John Barton’s 1968 production for the RSC; and Trevor Nunn’s production, also for the RSC, in 1972. Each staging targeted

in Julius Caesar
Abstract only
Patsy Stoneman

space that proletarians “owned”’ it became the focus for personal fulfilment and the basis for social attitudes. ‘The. . . Victorian ideology of the family as the repository of “human values” converged with the tradition of romantic revolt’ (Zarestky: 61). In Chapter 1, John Barton is shown partly as nurturing father, and partly as political activist, as if mediating in his person the Latin meaning of ‘proletarian’ – ‘he who has no wealth but chap 4 20/7/06 9:42 am Page 47 Mary Barton 47 his children’ – and its meaning in capitalism – ‘he who has no wealth but

in Elizabeth Gaskell
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From Margaret Harkness to John Law
Tabitha Sparks

steady disappearance of the furniture and personal effects of the Barton home, a literal disappearance of the signs of their existence in a callous world. Without making too reductive a connection between domestic privacy and the development of idiosyncratic character, it can be said that Gaskell’s description of John Barton dramatically diverges from Harkness’s stolid and undifferentiated ‘types’: ‘John Barton became a Chartist, a Communist, all that is commonly called wild and visionary. Ay! But being a visionary is something. It shows a soul, a being not altogether

in Margaret Harkness
Steven Earnshaw

-place it seemed as if they were in total darkness, except one bright spot, which might be a cat’s eye, or might be, what it was, a red-hot fire, smouldering under a large piece of coal, which John Barton immediately applied himself to break up, and the effect instantly produced was warm and glowing light in every corner of the room. To add to this (although the coarse yellow glare seemed lost in the ruddy glow from the fire), Mrs. Barton lighted a dip by sticking it in the fire, and having placed it satisfactorily in a tin candlestick, began to look further about her, on

in Beginning realism
Class and Gender in Elizabeth Gaskell’s Work
Patsy Stoneman

focussed on factory-workers like John Barton and Nicholas Higgins. Her work as a whole, however, highlights working women – not just factory workers like Bessy Higgins but seamstresses, milliners, washerwomen, ‘chars’, a tailor, beekeepers, farmers, housewives and domestic servants. Her very first publication is a verse portrait of an old working woman (Sketches Among the Poor’, K1: xxiixxv). Her first published story, Libbie Marsh’s Three Eras (1847), is about the friendship of an unmarried seamstress and a widowed washerwoman. These stories are remarkable for their

in Elizabeth Gaskell
Martin Heale

double feast, as a virgin and martyr, in perpetuity. We excommunicate the apostates 89 John Barton and John Presaw and we declare them excommunicated. We also absolve the other brethren being members of the chapter there from all sentences of law and order, and we declare them absolved in these writings. In the last visitation, the monastery owed nothing, nor indeed do they at the

in Monasticism in late medieval England, c. 1300–1535
Michael D. Friedman and Alan Dessen

so as to spite his brother-rival, a choice that clearly shocked Lavinia and her group (although Titus in his blindness welcomed it as an honour). But Titus’s series of choices in 1.1 are not as easily resolved, so every actor must work out his rationale, a rationale that, in turn, will condition if not control the rest of his interpretation. Particularly instructive here are the comments of Patrick Stewart, who played Titus in John Barton’s 90-minute 1981 rendition for the Royal Shakespeare Company. To

in Titus Andronicus
Carol Chillington Rutter

by Peter Hall and John Barton at the Royal Shakespeare Company (1963). 4 Since then, in both adapted and unadapted versions, the Henry VI cycle in Britain has become virtually the exclusive property of the RSC, with productions in 1977 (directed by Terry Hands), 1988 (Adrian Noble), 1994 (Katie Mitchell) and 2000 (Michael Boyd). The period of this rediscovery has

in Shakespeare’s histories and counter-histories
Eric Richards

into a fund for emigration.19 West Sussex was evidently alive to these openings in the mid-1830s. One of the notable early pioneers in the new colony of South Australia was John Barton Hack (1805–84) who emigrated from Chichester in 1837.20 He was a wealthy Quaker and his health problems may have been part of his motivation towards Australia. Therapeutic health considerations were an added element in the calculation of the basic differential between home and destination for many such emigrants. The publicity in Sussex for emigration also showed the extraordinary mix

in The genesis of international mass migration