Jesús Tronch Pérez [home]
|
|
|
|
Jesús Tronch Pérez [home]
|
The study of drama and theatre | Context: Early modern English society : ranks and titles |
Timeline of plays: 1580-1642 and 950s- 1580s
1586-1642: Theatre companies and playhouses (from G. K. Hunter)
Hodges' conjectural reconstruction of The Globe theatre (Folger
The Globe theatre as reconstructed in : the film Henry V directed by L. Olivier, 1944 (6 first minutes in this clip) ; in Shakespeare's Globe, London (virtual tour).
The Rose theatre as reconstructed in the film Shakespeare in Love directed by John Madden, 1998 ( beginning of Romeo and Juliet clip)
The Rose Theatre: a virtual model by ORTELIA
The Boar’s Head Theatre; a 3-D virtual building, by ORTELIA
A modern reconstruction of an indoor, ‘private’ playhouse: The Sam Wanamaker’s Theatre (photos)
Text : Craik’s modern edition reproduced in EMOTHE collection
Other resources
Script reading (Tod Davies, with Derek Jacobi as Hieronimo) Part 1
Explore the site on The Spanish Tragedy at the Center for the Study of the Renaissance, University of Warwick
Michael Pennington reciting "Black is the beauty of the brightest day" (Part II, 2.4.1): YouTubeclip -- [text]
Text(s): A-Text and B-Text edited by David Bevington and Eric Rasmussen for EMOTHE
Productions:
Productions:
Chronology and genre classification of Shakespeare’s works
Text : Mowat and Werstine’s modern edition at Folger Digital Texts ; reproduced in EMOTHE collection
Productions:
Orson Welles’s film Chimes at Midnight (complete)
Giorgio Strehler’s production (in Italian)
Derek Jarman’s film adaptation (last ten minutes)
News of Taymor’s 2011 film euronews
Peter Brook’s 1971 film (complete)
Episode on Restoration theatre from All the World’s a Stage The Country Wife 1
BBC 1976 Country Wife
China scene from The Country Wife
see definition in Guide to English prosody
Blank verse (Interactive Tutorial with Prospero’s speech ‘Our revels now are ended’ in The Tempest)
John Barton Playing Shakespeare (London Weekend Television production, 1982) (London: Methuen Drama, 1984) Chapter Two: Using the Verse H eightened and Naturalistic Verse (YouTube 2017)
2. In what way is Hunter's definition of tragedy applicable to the play: ‘Tragedy … plots the urge of the individual to assert his freedom against the restrictions imposed by the community, against power as it is embodied in the existing social system. The hero’s bid is to overwhelm the restrictions, and it is his tragic destiny to fail, but also to show, in the process of failing, the power of the individual to represent a daring, an untamability, an inventiveness, occasionally a capacity for love and self-sacrifice that idealizes our own effort to achieve such separate identity’.
3. According to G. K. Hunter (424), The Spanish Tragedy presents two competing eschatologies: on one side the classical Hades which sends Andrea back to earth to enjoy individual fulfilment, on the other hand, a biblical command 'vindicta mihi' that forbids individual revenge. Which of these systems controls the social reality of the play?
4. What thematic consequences would the play have if we removed the scenes with Andrea and Revenge?
5. How does the revenger cope with the inherent conflict or dilemma in revenge?
7. Explain Daiches's statement that The Spanish Tragedy is an adaptation of elements of Senecan tragedy to roaring melodrama.
8. How would you transform The Spanish Tragedy into a more melodramatic story of revenge?
11. Is there any difference between the overall style of the play and the style of the play-within-the play?
12. Is there any difference between the language of Balthazar and that of Horatio? How would you describe them?
REFERENCES
Bevington, David, gen. ed. English Renaissance Drama: A Norton Anthology. New York: W. W. Norton, 2002.
Bevington, David. Medieval drama. Boston, MA: Houghton Mifflin, 1975.
Bowers, Fredson. Elizabethan Revenge Tragedy. Princeton, 1940.
Bradbrook, M. C. Themes and Conventions of Elizabethan Tragedy. Rev. ed. CUP, 1980 (1935).
Bradbrook, M. C. The Growth and Structure of Elizabethan Comedy. Cambridge UP, 1979 (London, 1955).
Clemen, W. H.English Tragedy Before Shakespeare: The Development of Dramatic Speech London: Methuen, 1966 (1961).
Clemen, W. H.Shakespeare's Dramatic Art. London, Methuen, 1972.
Clemen, W. H. The Development of Shakespeare's Imagery. London: Methuen, 1977
Daiches, D. A Critical History of English Literature, London: Ronald Press, 1968.
Gosset, Suzanne. “Dramatic Achievements.” The Cambridge Companion to English Literature 1500-1600. Ed. Arthur F. Kinney. Cambridge: Cambridge University Press, 2000. 153- 177.
Greenblatt, Stephen, gen ed. The Norton Shakespeare: based on the Oxford edition. New York: W. W. Norton, 1997.
Hunter, G. K. English Drama 1586-1642: Shakespeare and his Age. Vol. 6 of The Oxford History of English Literature. Oxford: Clarendon Press, 1997.
Leech, Clifford, and T.W. Craik, gen. eds.The Revels History of Drama in English. 8 vols. London: Methuen. 1975-83
Marcus, Leah. “Dramatic Experiments: Tudor Drama, 1490-1567.” The Cambridge Companion to English Literature 1500-1600. Ed. Arthur F. Kinney. Cambridge UP, 2000. 132-152.
Styan, J. L. Shakespeare's Stagecraft. Cambridge UP, 1971 (1967)
Taylor, Gary, et al. The New Oxford Shakespeare: The Complete Works. Modern Critical Edition. Oxford University Press, 2016.
Wilson, F. P. English Drama 1485-1585. Vol. 5 of The Oxford History of English Literature. Oxford: Clarendon Press.