, a paperback anthology of revenge plays, textbooks designed for college students. Early in 2015, Zachary Lesser wrote a groundbreaking, award-winning history of the effect – on criticism, scholarship and performance – of the rediscovery of Q1. 1
Why Q1 Hamlet Matters
Gregory Doran’s Henriad
record? How does the performance of multiple, formally diverse histories as a unified cycle complicate our understanding of the relationship between Shakespearean plots and characters? Can Doran’s consistent emphasis on characterization work for all four
The article uses performance and life analogies in ten novels for juvenile readers to investigate the young protagonists' quest for identity or orientation. Through their experiences in the theatre and as Shakespeare's colleagues, apprentices, or friends, the young people find out who they are and who they might be or should become. The narratives suggest that, not only as stage-actors but also as life-performers, they relive experiences that can be ascribed also to Shakespeare himself. As seen with their eyes, this Shakespeare is de-bardolatrised and de-mythologised when the life-and-theatre analogies he shares with them are extended to his working methods as a poet and playwright.
Graham Holderness and Bryan Loughrey
and the status of Q1 as a corrupt, performance-derived ‘bad quarto’. It was generally conjectured, from the early twentieth century onwards, that the first quarto was reconstructed from memory, possibly by one of the actors who performed in it, and
Seamus Heaney and Tony Harrison (Back) at School
While literature may possibly be, as Derrida claims, ‘the institution which allows one to say everything’, school most certainly is not. As an institution, it is bound up with the political system of a society and inevitably subjected to educational policy. Literature, however, is taught at school, and, as some would claim, institutionalised and canonised thereby. School education, of course, is also a topic within autobiographical poetry that conjures up the days at school or university as part of a reconstructed growth of a poet’s mind. In an unprecendented opening of the school system, the post-war period following the Education Act in 1944 witnessed the introduction of scholarships for marginalised social groups in Britain and campaigns for institutions of higher education in the colonies. Many of the now well-established and internationally renowned poets in English went to school then. Perhaps surprisingly, their class-room poems are not so much about great opportunities and hard-won laurels as about the pressures on, and depressions of, those recently welcomed to a system that distributes social and cultural power. In concentrating on two well-known poems that were both published in the 1970s, Tony Harrison’s ‘Them & [uz]’ and Seamus Heaney’s ‘The Ministry of Fear’, I want to trace the entanglement of poetry and school education from the 1950s, the period reconstructed in the poems, until today. Although critical of the British educational system and its attitude to poetry, these poems are now taught at school. A consideration of the performative dimension of these poems will yield the criteria with which to describe their classroom career.
The Genesis of Sartre’s Theatrical Career in Writings to, with, and by Beauvoir
Dennis A. Gilbert
attract him to a career in dramatic writing and theatrical performance? This vast subject, the genesis of Sartre’s theatrical career, exceeds the limitations of this article. In the pages that follow, I focus only on the most revealing sources of this
Michael M. Wagoner
– Enter Ghost. Marcellus Break off your talk, see where it comes again! ( Hamlet Q1, 1.26–29) 1 Hamlet is a play of interruptions. From entering ghosts to disrupted performances, the play's ideas, actions and statements often
Player Tested, Shakespeare Approved
over-full. Those texts feel writerly; Q1 feels actorly. While it is arguably a less artful script, it is my opinion that Q1 is the more ‘true’ script, and one far more connected to performance. It felt lived in, it felt organic, it felt like the actors
For some time now, attempts to reconstruct and re-mark the history of how interiority and the subjectivity to which that belongs emerged in Western culture have been making critical headlines. According to the proponents of this explicitly anti-humanist and anti-essentialist master narrative, that moment can be precisely located at the time of Shakespeare. Using Hamlet as his example, Francis Barker argues that bourgeois subjectivity comes into being only in the late seventeenth century; challenging idealist conceptions of literary culture and history, Jonathan Dollimore promises to deliver Shakespeare and his contemporaries from the misrepresentations of essentialist humanism. Similarly, Catherine Belsey claims that to search for characters’ ‘imaginary interiority’ is to map modernist notions of a unified, coherent humanist subject onto early modern texts. According to Margareta de Grazia, those texts do represent motives for interiority, or, as Raymond Williams has it, conditions of possibility for occupying such a personal space; but, as Peter Stallybrass maintains, the early modern subject encountered in Shakespeare’s texts is not an ‘individual’.ho Although that subject may indeed possess a ‘self’ (in the sense of being distinct from others), he does not have an ‘identity’ – a term that is also absent from Shakespeare’s texts and that does not appear, in the sense of denoting individuality, until 1638. In short, we have met the early modern subject, and he is not us.
Framing the Experience Through Linear Meta-Narrative
Christian pilgrims come to the Holy Land to visit specific physical places that give their faith a tangible form. On organized tours, pilgrimage is structured through an itinerary which consists of a series of encounters, purposefully shaped to bring to life the story of Jesus. These encounters involve performative practices of tour-group leaders at specific symbolic sites with particular narratives. The biblical reality is invoked through a process of meta-framing which allows for a cognitive shift from the mundane walking from site to site into a biblical reality. Meta-framing interlaces the Christian religious memory, performed by the spiritual leader, with the Israeli historical memory, performed by the Israeli tour guide, into a single, linear meta-narrative.