scholarly journals Theatre Reviews

2015 ◽  
Vol 12 (27) ◽  
pp. 147-165
Author(s):  
Xenia Georgopoulou ◽  
Eleni Pilla ◽  
Urszula Kizelbach ◽  
Jacek Fabiszak

Romeo and Juliet for Two. Dir. Kostas Gakis, Athina Moustaka, Konstantinos Bibis. 104 Theatre, Athens, Greece. Lady Macbeth. Dir. Marios Mettis. Theatro Thentro, Nicosia, Cyprus Hamlet. Dir. Jan Klata. Gdańsk Shakespeare Theatre, Gdańsk, Poland The Taming of the Shrew [Poskromienie złośnicy]. Dir. Katarzyna Deszcz. Stefan Żeromski Theatre, Kielce, Poland

PMLA ◽  
1912 ◽  
Vol 27 (3) ◽  
pp. 380-397 ◽  
Author(s):  
James Holly Hanford

In an essay on Sophocles and Shakespeare, the late Professor John Churton Collins makes, about the latter's use of the motive of suicide, some striking remarks which have hitherto, I believe, been allowed to pass unchallenged. The attitude of the two dramatists toward the crime is, he says, exactly similar:“By neither of them has any glamor of sentiment been cast over it. In no case is it associated with honor, but in all cases with intemperance or ignominy, or with both. … In the suicide of Ajax, the one instance in which Sophocles has represented suicide as a deliberate act, what impresses us throughout is the utter demoralization of the victim… . Labouring at first in a turbid storm of frenzy, he regains self-mastery only to reduce to the dominion of a perverted will an anarchy of conflicting emotions—rage, shame, remorse, pity, grief—perishing desperately, a laughing stock to his foes, a source of sorrow and reproach to his friends. So perish Shakespeare's Romeo and Juliet, Brutus, Cassius, Titinius, Cleopatra, Antony, Enobarbus, Goneril, Othello, and, it would seem, Lady Macbeth. In none of these cases is self-destruction associated with anything but intemperance or retribution. ' The foul'st best fits my latter part of life,' exclaims Enobarbus; and it is remarkable that the poet should have put into the mouth of Brutus, the noblest of those who fall by their own hands in the tragedies, not merely a condemnation of the act generally, but a condemnation of the one suicide which tradition has universally glorified, and which even Bante appears to have excepted from the catalogue of crimes:I did blame Cato for the deathWhich he did give himself; I know not how,But I do find it cowardly and vile,For fear of what might fall, so to preventThe time of life: arming myself with patienceTo stay the providence of some high powersThat govern us below.Hamlet's remark in his famous soliloquy will occur to every one, but still more striking are the words in which Gloucester expresses his thankfulness that he has been saved from such a crime:You ever-gentle gods, take my breath from me;Let not my worser spirit tempt me againTo die before you please.


2003 ◽  
Author(s):  
William Shakespeare ◽  
Thomas Moisan
Keyword(s):  

Author(s):  
Sophie Chiari

While ecocritical approaches to literary texts receive more and more attention, climate-related issues remain fairly neglected, particularly in the field of Shakespeare studies. This monograph explores the importance of weather and changing skies in early modern England while acknowledging the fact that traditional representations and religious beliefs still fashioned people’s relations to meteorological phenomena. At the same time, a growing number of literati stood against determinism and defended free will, thereby insisting on man’s ability to act upon celestial forces. Yet, in doing so, they began to give precedence to a counter-intuitive approach to Nature. Sophie Chiari argues that Shakespeare reconciles the scholarly views of his time with more popular ideas rooted in superstition and that he promotes a sensitive, pragmatic understanding of climatic events. She pays particular attention to A Midsummer Night’s Dream, Romeo and Juliet, As You Like It, Othello, King Lear, Anthony and Cleopatra, and The Tempest. Taking into account the influence of classical thought, each of the book’s seven chapters emphasises specific issues (e.g. cataclysmic disorders, the dog days’ influence, freezing temperatures, threatening storms) and considers the way climatic events were presented on stage and how they came to shape the production and reception of Shakespeare’s drama.


Author(s):  
Brandon Shaw

Romeo’s well-known excuse that he cannot dance because he has soles of lead is demonstrative of the autonomous volitional quality Shakespeare ascribes to body parts, his utilization of humoral somatic psychology, and the horizontally divided body according to early modern dance practice and theory. This chapter considers the autonomy of and disagreement between the body parts and the unruliness of the humors within Shakespeare’s dramas, particularly Romeo and Juliet. An understanding of the body as a house of conflicting parts can be applied to the feet of the dancing body in early modern times, as is evinced not only by literary texts, but dance manuals as well. The visuality dominating the dance floor provided opportunity for social advancement as well as ridicule, as contemporary sources document. Dance practice is compared with early modern swordplay in their shared approaches to the training and social significance of bodily proportion and rhythm.


2018 ◽  
Vol 11 (2) ◽  
pp. 102-112
Author(s):  
Thomas R. Brooks ◽  
Stephen Reysen ◽  
Iva Katzarska-Miller

We examined the connection between the perception of love and stigma in relationships and how much stigma needs to be present to elicit a heightened perception of love. Participants in the first study rated several relationships on the degree of stigma each one of them faced, and how much the individuals in each relationship loved each other—the perception of the Romeo and Juliet effect. In the second study, participants read a scenario of a male, gay relationship with various degree of stigma (none, one, two, or three sources), and rated how much the couple loved each other. The results suggest that there is a perception that the Romeo and Juliet effect exists, despite evidence that does not (Sinclair, Hood, & Wright, 2014). Individuals in relationships, which face stigma from multiple sources, are believed to love each other more than those with no stigma. Together, the results suggest that perceived stigma and love in a relationship are positively associated, which runs counter to better supported models of relationship satisfaction (Parks, Stan, & Eggert, 1983).


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