Pub Date : 2022-11-01DOI: 10.1177/01847678221137543m
B. Haworth
{"title":"Performance review: Richard III by Gregory Doran","authors":"B. Haworth","doi":"10.1177/01847678221137543m","DOIUrl":"https://doi.org/10.1177/01847678221137543m","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"151 - 153"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47267508","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221122809
S. Fischer
The thirty-minute experiment titled Dream represented a collaborative effort between the Royal Shakespeare Company and Audience of the Future. It fused live performance with motion capture technology, 3D graphics, and interactive gaming techniques, and let the audience remotely guide Puck through a virtual forest. Inspired by A Midsummer Night's Dream, it focused on Puck and the fairies. If, for online audiences, the virtual fairies moving through a digital forest suggested a video game, the eight performances were delivered live and in real time. This Dream represents a new format for Shakespeare’s performance that evolved during (rather than emerged from) the COVID-19 pandemic.
{"title":"Following Puck virtually in the Royal Shakespeare Company's Dream experiment: Live theatre and high-tech innovations","authors":"S. Fischer","doi":"10.1177/01847678221122809","DOIUrl":"https://doi.org/10.1177/01847678221122809","url":null,"abstract":"The thirty-minute experiment titled Dream represented a collaborative effort between the Royal Shakespeare Company and Audience of the Future. It fused live performance with motion capture technology, 3D graphics, and interactive gaming techniques, and let the audience remotely guide Puck through a virtual forest. Inspired by A Midsummer Night's Dream, it focused on Puck and the fairies. If, for online audiences, the virtual fairies moving through a digital forest suggested a video game, the eight performances were delivered live and in real time. This Dream represents a new format for Shakespeare’s performance that evolved during (rather than emerged from) the COVID-19 pandemic.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"85 - 97"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65230036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221136456a
C. McKague
While the Covid-19 pandemic is far from over – at the time of this writing, Ontario is entering its seventh wave of the disease, fuelled by the Omicron BA.5 subvariant – the impetus to return to a sense of normalcy and ‘life pre-Covid’ is prevalent. Government-issued public health restrictions have loosened and masking is only required in particular settings, usually those pertaining to health care, though businesses do retain a degree of autonomy regarding their own requirements. Theatre has been drastically affected by the pandemic and public health guidelines since the global emergence of Covid-19 in early 2020. The Stratford Festival is no exception. Its 2020 season was cancelled entirely, and its 2021 season was staged predominantly outdoors under purpose-built tents. This 2022 season marks a return to indoor performances and further easing of the previous season’s restrictions. Nonetheless, innovative digital viewing options born of necessity during the pandemic’s first ravages continue to be offered, expanding the viewing demographic and possibilities available to patrons. Actors and audiences alike are delighted to see most of the previously cancelled 2020 offerings return to the 2022 Stratford Festival’s roster, including Hamlet, Richard III, All’s Well that Ends Well, Hamlet-911, Chicago, and The Miser. Regrettably, Wolf Hall, Mike Poulton’s reimagining of Hilary Mantel’s novel, is not to return this season. Chris Abraham’s Much Ado About Nothing starring Graham Abbey and Maev Beaty is also not experiencing a 2022 revival. Instead, the Festival has added Sunny Drake’s salacious Every Little Nookie in its world premiere, directed by Ted Witzel; Little Women, adapted for the stage by Jordi Mand and directed by Esther Jun with Schulich Children’s Plays; and Death and the King’s Horsemen, by Wole Soyinka and directed by Tawiah M’Carthy. In 2021, 90-minute productions featured casts of eight socially distanced performers to outdoor audiences. There were some limited capacities, socially distanced productions in
{"title":"The Stratford Festival: Emerging from global lockdown","authors":"C. McKague","doi":"10.1177/01847678221136456a","DOIUrl":"https://doi.org/10.1177/01847678221136456a","url":null,"abstract":"While the Covid-19 pandemic is far from over – at the time of this writing, Ontario is entering its seventh wave of the disease, fuelled by the Omicron BA.5 subvariant – the impetus to return to a sense of normalcy and ‘life pre-Covid’ is prevalent. Government-issued public health restrictions have loosened and masking is only required in particular settings, usually those pertaining to health care, though businesses do retain a degree of autonomy regarding their own requirements. Theatre has been drastically affected by the pandemic and public health guidelines since the global emergence of Covid-19 in early 2020. The Stratford Festival is no exception. Its 2020 season was cancelled entirely, and its 2021 season was staged predominantly outdoors under purpose-built tents. This 2022 season marks a return to indoor performances and further easing of the previous season’s restrictions. Nonetheless, innovative digital viewing options born of necessity during the pandemic’s first ravages continue to be offered, expanding the viewing demographic and possibilities available to patrons. Actors and audiences alike are delighted to see most of the previously cancelled 2020 offerings return to the 2022 Stratford Festival’s roster, including Hamlet, Richard III, All’s Well that Ends Well, Hamlet-911, Chicago, and The Miser. Regrettably, Wolf Hall, Mike Poulton’s reimagining of Hilary Mantel’s novel, is not to return this season. Chris Abraham’s Much Ado About Nothing starring Graham Abbey and Maev Beaty is also not experiencing a 2022 revival. Instead, the Festival has added Sunny Drake’s salacious Every Little Nookie in its world premiere, directed by Ted Witzel; Little Women, adapted for the stage by Jordi Mand and directed by Esther Jun with Schulich Children’s Plays; and Death and the King’s Horsemen, by Wole Soyinka and directed by Tawiah M’Carthy. In 2021, 90-minute productions featured casts of eight socially distanced performers to outdoor audiences. There were some limited capacities, socially distanced productions in","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"113 - 115"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49377076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543f
Kaara L. Peterson
{"title":"Performance review: Much Ado about Nothing by Megan Sandberg-Zakian","authors":"Kaara L. Peterson","doi":"10.1177/01847678221137543f","DOIUrl":"https://doi.org/10.1177/01847678221137543f","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"131 - 133"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49595437","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543g
Kaara L. Peterson
{"title":"Performance review: The Tempest by Sioned Jones","authors":"Kaara L. Peterson","doi":"10.1177/01847678221137543g","DOIUrl":"https://doi.org/10.1177/01847678221137543g","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"133 - 137"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49185703","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543h
Boika Sokolova
{"title":"Performance review: The Merchant of Venice by Abigail Graham","authors":"Boika Sokolova","doi":"10.1177/01847678221137543h","DOIUrl":"https://doi.org/10.1177/01847678221137543h","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"137 - 140"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65229853","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543d
K. Matsuyama, Sarah Olive
priate to her amoral satisfaction at the destruction she had caused, but I could not understand why the angry and grieving messenger eventually joined in. Perhaps the point was that nihilistic hedonism was the only possible way of living in the play’s amoral universe. As far as I could tell from comments I overheard during the interval, those unfamiliar with the play were having trouble following the plot but they seemed to be enjoying it. Even so, I’m sure I’m not the only one who would have preferred less music, especially in the second half, and an earlier ending time.
{"title":"Performance review: Tomio to Yuriko (based on Romeo and Juliet) by Suemitsu Kenichi","authors":"K. Matsuyama, Sarah Olive","doi":"10.1177/01847678221137543d","DOIUrl":"https://doi.org/10.1177/01847678221137543d","url":null,"abstract":"priate to her amoral satisfaction at the destruction she had caused, but I could not understand why the angry and grieving messenger eventually joined in. Perhaps the point was that nihilistic hedonism was the only possible way of living in the play’s amoral universe. As far as I could tell from comments I overheard during the interval, those unfamiliar with the play were having trouble following the plot but they seemed to be enjoying it. Even so, I’m sure I’m not the only one who would have preferred less music, especially in the second half, and an earlier ending time.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"126 - 130"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49572146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221130985
J. Jowett
Timon of Athens shows Timon as extravagantly generous and sociable in the first half of the play and misanthropic in the second, in which his desire for catastrophe is potentially enacted by Alcibiades’ planned assault on Athens. This article finds a parallel in Lars von Trier's 2011 film Melancholia, which is formally divided into two parts, the first showing the depressive Justine's wedding and the second the approach of the planet Melancholia on its collision course with the Earth. The comparison illuminates the interface between psychological and physical disasters in Timon.
雅典的丁满在戏剧的前半部分表现得慷慨大方，善于交际，后半部分表现得厌世，他对灾难的渴望可能是由亚西比德计划的对雅典的袭击造成的。本文在拉斯·冯·提尔(Lars von Trier) 2011年的电影《忧郁症》(Melancholia)中找到了一个类似的例子，该电影正式分为两部分，第一部分展示了抑郁的贾斯汀(Justine)的婚礼，第二部分展示了忧郁症行星(Melancholia)与地球相撞的过程。这一对比说明了丁满的心理灾难和生理灾难之间的联系。
{"title":"Timon and Melancholia","authors":"J. Jowett","doi":"10.1177/01847678221130985","DOIUrl":"https://doi.org/10.1177/01847678221130985","url":null,"abstract":"Timon of Athens shows Timon as extravagantly generous and sociable in the first half of the play and misanthropic in the second, in which his desire for catastrophe is potentially enacted by Alcibiades’ planned assault on Athens. This article finds a parallel in Lars von Trier's 2011 film Melancholia, which is formally divided into two parts, the first showing the depressive Justine's wedding and the second the approach of the planet Melancholia on its collision course with the Earth. The comparison illuminates the interface between psychological and physical disasters in Timon.","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"64 - 74"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48955257","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543b
Pierre Kapitaniak
{"title":"Performance review: The Witch of Edmonton by Thomas Dekker, William Rowley, and John Ford","authors":"Pierre Kapitaniak","doi":"10.1177/01847678221137543b","DOIUrl":"https://doi.org/10.1177/01847678221137543b","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"122 - 124"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65229811","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/01847678221137543i
Emily Grigg
{"title":"Performance review: King Lear by Helena Kaut-Howson","authors":"Emily Grigg","doi":"10.1177/01847678221137543i","DOIUrl":"https://doi.org/10.1177/01847678221137543i","url":null,"abstract":"","PeriodicalId":42648,"journal":{"name":"CAHIERS ELISABETHAINS","volume":"109 1","pages":"141 - 144"},"PeriodicalIF":0.5,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65229895","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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