Review of Shakespeare’s Much Ado About Nothing (Directed by Kenny Leon for The Public Theater) at the Delacorte Theatre, 9 June 2019. Streaming as part of PBS’s Great Performances

Shakespeare ◽  
2021 ◽  
Vol 17 (1) ◽  
pp. 111-115
Author(s):  
Atesede Makonnen
Keyword(s):  
The Public ◽  
Much Ado About Nothing ◽  
Public Theater

From Birth to Death

2020 ◽  
pp. 230-320
Author(s):  
Alejandro Vera
Keyword(s):  
Final Section ◽  
Colonial Period ◽  
Royal Family ◽  
Music Participation ◽  
The Public ◽  
The Relationship ◽  
The City ◽  
Public Theater

This chapter deals with music participation in the public fiestas, both religious and secular, and other public spectacles during the colonial period. The first section studies “Nativity celebrations,” such as Christmas, the birth of members of the royal family, and others. The analysis of two villancicos, composed for some of these occasions, shows how the genre was integrated into these festive contexts and how it interacted with other genres and styles. The second section is dedicated to different kinds of fiestas, in both the city itself and its margins, also dealing with official prohibitions to non-official music. Along with civic and religious ceremonies, this section considers the stage as a privileged space for the performance of music and dance, in spite of the absence of a public theater during most of the period studied. The final section examines music presence in burials and, in a broader sense, the relationship between music and death, showing that the former was frequently considered as a tool to reach the supernatural life.

Production Complexity of the Iranian Performing Arts

2021 ◽  
pp. 189-210
Author(s):  
Hooman Abdollahi ◽  
Amsalu Tadele Alamneh ◽  
Nazanin Sharif
Keyword(s):  
Performing Arts ◽  
Financial Support ◽  
Major Part ◽  
Distribution Networks ◽  
The Public ◽  
Cultural Paradigm ◽  
Theater Production ◽  
Production Distribution ◽  
The Government ◽  
Public Theater

Theater is referred to as a cultural product which plays a major part in the cultural paradigm of civilized societies. Public theater is a type of performing arts in which the production receives financial support from the government. Therefore, the public theater production follows a complex trend controlled by a particular socio-economic system. The aims of this study are to identify interactions among financial and economic factors in the Iranian public theater and to find the possible threats and suggest effective policies in order to improve the position of the Iranian theater. For this purpose, the authors use system dynamics methodology to build a model that can explain or mimic the system. They present their analysis in accordance with principles of microeconomics. The analysis is conducted in three acts, namely production, distribution, and consumption. Findings reveal that the position of the Iranian public theater is undesired due to accumulated workforce, lack of distribution networks, and underconsumption. Finally, policies are suggested to overcome the shortcomings.

scholarly journals The Role of COVID-19 Soft Law Measures in Italy: Much Ado about Nothing?

2021 ◽  
Vol 12 (1) ◽  
pp. 93-110
Author(s):  
Flaminia APERIO BELLA ◽  
Cristiana LAURI ◽  
Giorgio CAPRA
Keyword(s):  
Human Rights ◽  
Case Studies ◽  
Phase Ii ◽  
Soft Law ◽  
The Public ◽  
Much Ado About Nothing ◽  
Legal Limits ◽  
Hard Law ◽  
Personal Rights

This article considers the role of non-binding legal instruments adopted in Italy against the SARS-CoV-2 virus in the early months of 2020. To verify whether the use of such instruments restricted fundamental and human rights beyond constitutional and legal limits, the article first gives an overview of hard law measures adopted in Italy against the coronavirus. It then focuses on soft law measures, the use of which became significant only in Phase II of Italy's response to COVID-19 and argues that non-binding legal instruments provided the public with instructions on gradually returning to normal life. This contribution contains case studies on the soft law measures adopted in relation to private economic enterprise and freedom of worship. Italian soft law deployed during the COVID-19 epidemic was borne out of coordination between the state and the Regions and as the result of (even informal) dialogue with the relevant stakeholders. Despite some criticism of the soft law measures used, their role in restricting constitutionally granted rights was marginal, because only hard law measures adopted nationally and locally limited personal rights and freedoms in order to contain the pandemic.

Jonson, Marston, Shakespeare and the Rhetoric of Topicality

2020 ◽  
Vol 27 (2) ◽  
pp. 155-176
Author(s):  
James P. Bednarz
Keyword(s):  
Sixteenth Century ◽  
Early Modern ◽  
Ben Jonson ◽  
John Marston ◽  
The Public ◽  
Early Modern English ◽  
The Status ◽  
Public Theater

The revival of commercial “private” theater by the Children of Paul's in 1599 and the Children of the Chapel in 1600 transformed the culture of playgoing in London at the end of the sixteenth century. It was during this period that John Marston at Paul's and Ben Jonson at Blackfriars attracted attention at these theaters by ridiculing each other personally and denigrating each other's work. In doing so they converted these playhouses into forums for staging ideologically opposed interpretations of drama. Rather than aligning themselves with each other against the “public” theater, as Alfred Harbage had assumed in his influential chapter on “The Rival Repertories” in Shakespeare and the Rival Traditions, Jonson and Marston's satire of each other's work used Paul's and Blackfriars to debate the question of the legitimacy of the drama they staged and the status of the writers who composed it. Their debate on what drama should and should not be constitutes one of the most significant critical controversies in early modern English theater. It constitutes part of the first significant criticism of contemporary drama in English. The point of this essay is to account for how, when Jonson began writing for the Children of the Chapel at Blackfriars in 1600, Marston at Paul's became one of his principal targets through personal invective framed as a series of generalized strictures excoriating the obscenity and plagiarism of contemporary private theater.

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