Play Reviews: A Satire of the Three Estates, Coriolanus, Edward II, a Mad World, My Masters, as You like it, Othello, Pericles, as You like it, the Taming of the Shrew and Twelfth Night, Richard III, Twelfth Night, Harry the Sixth / the Houses of York and Lancaster / the True Tragedy of the Duke of York, Macbeth, a Midsummer Night's Dream, the Tempest, Indian Tempest

2013 ◽  
Vol 84 (1) ◽  
pp. 53-84
Author(s):  
Lucy R. Hinnie ◽  
Anne-Kathrin Marquardt ◽  
Peter J. Smith ◽  
Peter J. Smith ◽  
James Stredder ◽  
...  
Keyword(s):  
Richard Iii ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
The Tempest ◽  
As You Like It ◽  
Edward Ii ◽  
A Midsummer Night's Dream

Shakespeare Afoot

2018 ◽  
Author(s):  
John Kerrigan
Keyword(s):  
Early Modern ◽  
Richard Iii ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
A Midsummer Night's Dream ◽  
History Of ◽  
The Way

That Shakespeare adds a limp to the received characterization of Richard III is only the most conspicuous instance of his interest in how actors walked, ran, danced, and wandered. His attention to actors’ footwork, as an originating condition of performance, can be traced from Richard III through A Midsummer Night’s Dream and As You Like It into Macbeth, which is preoccupied with the topic and activity all the way to the protagonist’s melancholy conclusion that ‘Life’s but a walking shadow, a poor player | That struts and frets his hour upon the stage’. Drawing on classical and early modern accounts of how people walk and should walk, on ideas about time and prosody, and the experience of disability, this chapter cites episodes in the history of performance to show how actors, including Alleyn, Garrick, and Olivier, have worked with the opportunities to dramatize footwork that are provided by Shakespeare’s plays.

scholarly journals Theatre Reviews

2013 ◽  
Vol 10 (25) ◽  
pp. 133-152
Author(s):  
Olga Bogdańska ◽  
Verónica D’Auria ◽  
Coen Heijes ◽  
Xenia Georgopoulou
Keyword(s):  
Julius Caesar ◽  
Richard Iii ◽  
Henry V ◽  
Midsummer Night's Dream ◽  
Royal Shakespeare Company ◽  
National Theatre ◽  
The Tempest ◽  
A Midsummer Night's Dream

The Tempest. Dir. Silviu Purcarete. The National Theatre “Marin Sorescu” of Craiova, Romania. 16th Shakespeare Festival, Gdansk, Poland   Richard III. Dir. Gabriel Villela. Blanes Museum Garden, Montevideo, Uruguay Henry V. Dir. Des McAnuff. Stratford Shakespeare Festival, Ontario, Canada Julius Caesar. Dir. Gregory Doran. Royal Shakespeare Company A Midsummer Night’s Dream. Adapted and dir. Georgina Kakoudaki. Theatre groups _2 and 4Frontal, Theatro tou Neou Kosmou, Greece Julius Caesar: Scripta Femina. Dir. Roubini Moschochoriti. Theatre group Anima Kinitiras Studio, Greece

North Star and Southern Cross: Shakespeare's Comedies in Australia, 1903–1904

2010 ◽  
Vol 26 (4) ◽  
pp. 383-394
Author(s):  
Veronica Kelly
Keyword(s):  
Vietnam War ◽  
Twelfth Night ◽  
Midsummer Night's Dream ◽  
As You Like It ◽  
Performance Traditions ◽  
A Midsummer Night's Dream ◽  
Costume Drama ◽  
The University

Michael Gow's celebrated play Away (1986) commences with a tatty school version of Shakespeare's A Midsummer Night's Dream. Set in the era of anti-Vietnam War protests, Away ironically salutes the iconic performance traditions of the ‘romantic’ Dream. At the Prince's Theatre, Manchester, in 1901–02, actor-manager Robert Courtneidge directed elaborate productions of this play and As You Like It, and under the management of George Musgrove toured them to Australia, where Twelfth Night was added. These productions' ensemble casting was central to Courtneidge's and Musgrove's ambitions for addressing the ‘distinctive geographies’ of regional taste. Veronica Kelly is an Honorary Research Advisor at the University of Queensland. Her book The Empire Actors: Stars of Australasian Costume Drama 1890s–1920s is published by Currency House (2010).

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