March
The Shakespeare Conference: SHK 9.0181 Monday, 2 March 1998. [1] From: Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Mar 1998 11:20:12 +0000 (HELP) Subj: Re: SHK 9.0178 Re: The Curse of Mac. [2] From: Heather Barnes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Mar 1998 12:45:16 -0800 Subj: Re: The Curse of Mac. [1]----------------------------------------------------------------- From: Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Mar 1998 11:20:12 +0000 (HELP) Subject: 9.0178 Re: The Curse of Mac.; MM Comment: Re: SHK 9.0178 Re: The Curse of Mac.; MM The curse continues. At Stratford, Ontario, three years ago, the fine Irish/Canadian actress Joyce Campion fell from the Festival Stage's treacherous balcony to the stage floor and her near death during a blackout in the dress rehearsal of the dreaded play. She was playing one of the witches, but instead spent the season in a hospital. Seanna McKenna, the Lady Macbeth, came to the Centaur Theatre in Montreal fresh from her success to play Cleopatra and had to cancel the second performance because of her loss of voice. Dropping my character of Lepidus, or perhaps living it, I recommended she take Bismatol, a bismuth medicine that strangely has to be inserted in the opposite orifice from the throat, and she regained her speech in time for the third night. Hell is indeed murky. In a letter I got recently from Ronald Harwood, in whose *Taking Sides* I am presently appearing as Wilhelm Furtwaengler, he recounts how he worried as the Dresser to Sir Donald Wolfit about the prodigious amount of spit the great actor for some reason produced when playing Macbeth. The role does have a slightly larger preponderance of sibilants than some other of the tragic figures, coming after plethorae of pretty powerful plosives. Anyway, I suppose we might add a damp first-few-rows of public to the effects of the infamous MacCurse. Harry Hill [2]----------------------------------------------------------------- From: Heather Barnes <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Sunday, 01 Mar 1998 12:45:16 -0800 Subject: Re: The Curse of Mac. Yes, I would agree with Joseph on the basis of the "curse of Mac.". In the past, as I've listened to my schoolmates going on about the "curse", I've sat quietly chuckling and shaking my head at their loss of reason.
The Shakespeare Conference: SHK 9.0180 Sunday, 1 March 1998. [1] From: Alberto Uttranadhie <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 13:43:16 +0100 Subj: Names' Translation [2] From: Susan St. John <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 28 Feb 98 18:23:26 -0700 Subj: R&J CD-Rom [3] From: Layla Abuisba <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 07:45:06 -0600 Subj: Elizabethan Audience/Society [1]----------------------------------------------------------------- From: Alberto Uttranadhie <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 13:43:16 +0100 Subject: Names' Translation. Hello, everybody: This is the first message I am sending to the list. I do not know what will it result, so here I go! A friend of mine and I are working on a Spanish version of _The Merry Wives of Windsor_ for the stage; but we have a small problem: characters' translation. As translator I am not particularly interested on translate the characters' names, but on the other hand we are seeing that if we do not do it, maybe the The Bard's satire and ironic ideas will miss. Could anybody be so kind to give opinions and so? Thank you very much and regards from Spain. Alberto Uttranadhie (Madrid)This email address is being protected from spambots. You need JavaScript enabled to view it. [2]------------------------------------------------------------- From: Susan St. John <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Saturday, 28 Feb 98 18:23:26 -0700 Subject: R&J CD-Rom While reading "Working Mother" magazine (March 1998) I came across their recommendation of an R&J CD-Rom with "hip images, contemporary language and cybersavy direction..." They profess it has "five-fast-paced games [that] familiarize players with the period, vocabulary, characters and plot...accompanied by scene summaries, hyper-linked footnotes, illustrations and scene-by-scene debates among four animated teenagers." (Stratford Studios, $50, 1-888-YO-BILLY) The magazine lists this on its page of info geared to kids age 11-14. Anyone ever heard of this? used it? designed it??? I'm interested to hear opinions. Do they have other titles? Would it be appropriate in the classroom? I will call the 888 number, but just wondered if anyone had any personal experience with this. Thanks, Susan St. John [3]------------------------------------------------------------- From: Layla Abuisba <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 07:45:06 -0600 Subject: Elizabethan Audience/Society I am new to this board and am currently enrolled in my first class on Shakespeare. My term paper for this semester will cover the effect Shakespeare had on his audience. I would like to know if there are any articles or books available which deal specifically with how Shakespeare's audience was influenced by his plays. I am looking for published work that I can refer to in my analysis. Also of interest would be information on his contemporary critics and any direct or indirect comment by them about Shakespeare. I understand that his plays were often veiled comments on Elizabethan society. What effect did this have? I am aware of one possible event to consider for discussion regarding the Earl of Essex. I would enjoy exploring this topic and have found tidbits here and there which I believe I can work with; however, any further information provided will be much appreciated. Also, I've tried to search the archive files of this list but have come up short. If there are any ideas on keywords I might use I would appreciate the suggestion. Thanks very much. Layla Abuisba
The Shakespeare Conference: SHK 9.0179 Sunday, 1 March 1998. [1] From: Daniel Traister <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 15:27:32 -0500 (EST) Subj: Veronica Franca: *Dangerous Beauty* [2] From: Nick Kind <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 13:48:48 +0000 Subj: Announcing the Launch of ArdenNet [1]----------------------------------------------------------------- From: Daniel Traister <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 15:27:32 -0500 (EST) Subject: Veronica Franca: *Dangerous Beauty* *PLEASE EXCUSE MULTIPLE POSTINGS* Opening today in Philadelphia, and perhaps at other movie theaters across the U.S. and Canada, is a movie called *Dangerous Beauty*, about which you can learn something by clicking here http://www.newregency.com/ Succinct as always, *The Philadelphia Inquirer* encapsulates it for you as follows: The story of 16th-century Venetian courtesan Veronica Franco and her seduction of France's Henry III for political reasons. Stars Catherine McCormack and Moira Kelly. Marshall Herskovitz directs. The film is based on Margaret Rosenthal's *The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Centruy Venice* (University of Chicago Press, 1992). "Sensuous, smart, sexy, fresh and beautiful," the ad from last weekend's paper quotes Dr. Joy Browne (WOR-AM radio) as saying: "Don't miss it!" Elsewhere in the same ad, Jeffrey Lyons (WNBC-TV) says: "Lavish and erotic! A stunning feast for the eye." Still lower down the scale--whoops! I mean, of course, "still lower down on the page"--I find Lisa Hendricksson (*GQ*) quoted as remarking: "Unabashedly decadent. A bodice ripper for smart people." Alas, one wonders whether anyone will ever say anything similar about, let alone rip a bodice over, http://www.library.upenn.edu/etext/occult/franca/index.html where the interested decadent will find reproduced a copy of the *Lettere Familiari a diversi della S. Veronica Franca [sic]* (1580?), as well as some pages from the only known North American copy of her *Terze rima di Veronica Franca [sic]* (1585; two other copies, in Florence and Venice, are known to us). Nonetheless, provided scholars use due caution themselves and are also careful to warn their students about unanticipated side effects that may harm clothing, visits to this site are welcome. Daniel Traister, Department of Special Collections Van Pelt-Dietrich Library University of Pennsylvania 3420 Walnut Street Philadelphia, PA 19104-6206 USA [2]------------------------------------------------------------- From: Nick Kind <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 13:48:48 +0000 Subject: Announcing the Launch of ArdenNet The Arden Shakespeare is delighted to announce the launch of a pioneering and unprecedented service on the Internet for Shakespeare studies: ArdenNet. Visit this new website at: <http://www.ardenshakespeare.com/ardennet/> Initially entirely free, ArdenNet provides a peer-reviewed, interactive community space which allows Shakespeare researchers and educators the opportunity to:
The Shakespeare Conference: SHK 9.0178 Sunday, 1 March 1998. [1] From: Joseph "Chepe" Lockett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 11:31:00 -0600 (CST) Subj: Re: The Curse of MACBETH [2] From: Norm Holland <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 98 10:31:03 EST Subj: Re: SHK 9.0170 Re: MM [1]----------------------------------------------------------------- From: Joseph "Chepe" Lockett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 11:31:00 -0600 (CST) Subject: Re: The Curse of MACBETH The theory I've most enjoyed is that MACBETH's "curse" is a simple and obvious result of the dangers of performing it. It's an astoundingly brisk play, revving up throughout until Act V (in most productions I've seen) whizzes past in a blur. At the same time, the play has a great deal of on-stage violence, from Banquo's murder to Macbeth & Malcolm facing off, and opportunities for a lot more. Fast-paced violence, if not thoroughly rehearsed, leads to accidents and wounded actors. And enough of those in enough productions leads to the idea of the play (rather than its production problems) being "bad luck." (The 1991 Houston production in which I played BANQUO saw our share of mishaps: actors cut by swords, and slipping or being dropped onto our concrete rehearsal floor. Ouch! But no "real" ghosts necessary.) [2]------------------------------------------------------------- From: Norm Holland <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 98 10:31:03 EST Subject: 9.0170 Re: MM Comment: Re: SHK 9.0170 Re: MM Re: Measure for Measure You would find a discussion of MfM and its relation to the marriage ceremony in my ancient book: Norman N. Holland, _The Shakespearean Imagination_ (Macmillan, 1964; Indiana, 1968).-Best, Norm
The Shakespeare Conference: SHK 9.0177 Sunday, 1 March 1998. [1] From: David M Richman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 12:38:02 -0500 (EST) Subj: Re: SHK 9.0172 Re: Wasteland's Game of Chess [2] From: Robert Lloyd Neblett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 12:40:15 -0600 (CST) Subj: Re: SHK 9.0172 Re: Wasteland's Game of Chess [1]----------------------------------------------------------------- From: David M Richman <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 12:38:02 -0500 (EST) Subject: 9.0172 Re: Wasteland's Game of Chess Comment: Re: SHK 9.0172 Re: Wasteland's Game of Chess I think the game of chess in *The Waste Land* also takes in the game of chess between two characters-one is Livia and I'm blanking on the other-in Middleton's *Women Beware Women*. This particular game becomes a metaphor for sexual intrigue and competition, and is thus apposite to the section in the poem. I think Eliot points to *Women Beware Women* in his notes, though the other Middleton chess game play, as well as *The Tempest* are doubtless involved. David Richman [2]------------------------------------------------------------- From: Robert Lloyd Neblett <This email address is being protected from spambots. You need JavaScript enabled to view it. > Date: Friday, 27 Feb 1998 12:40:15 -0600 (CST) Subject: 9.0172 Re: Wasteland's Game of Chess Comment: Re: SHK 9.0172 Re: Wasteland's Game of Chess Regarding the "Game of Chess" in THE WASTE LAND, Eliot's poem collapses in on itself in so many different ways that a single reference is often fragmented into many MANY different meanings. Thus Ferdinand is Archduke Ferdinand (of assassination fame), Ferdinand in Marie Larisch's autobiographical novel, and Shakespeare's young prince in THE TEMPEST, individually AND simultaneously. I think the chess reference is not unintentional, although the direct reference to Middleton's play is the primary source. Yet, it would not be unlike Eliot to play with a cross-reference to THE TEMPEST's game as well.