In 1796, Jane Austen visited John Boydell's Shakespeare Gallery. The museum (operational from 1789-1805) was entirely devoted to specially-commissioned paintings of scenes from Shakespeare's plays, and played a significant role in shaping the dramatist's reputation during the late eighteenth century. This reconstruction of the gallery includes the catalog and the paintings that would have been hanging there in 1796 (the museum's collection ultimately included well over 150 paintings). For more information on the gallery, see the Folger Library's Marketing Shakespeare. The Romantic Illustration Network is working on digitizing extant engravings of the gallery's entire collection. Visitors to the gallery were themselves painted in 1790.
Oregon Shakespeare Festival Launches Three-Year Shakespeare Translation Commissioning Project [Oregon Shakespeare Festival]
OSF is commissioning 36 playwrights and pairing them with dramaturgs to translate 39 plays attributed to Shakespeare into contemporary modern English between now and December 31, 2018. By seeking out a diverse set of playwrights (more than half writers of color and more than half women), we hope to bring fresh voices and perspectives to the rigorous work of translation. Play on![more inside]
Shakespeare: Globe to Globe was a series of 37 Shakespeare plays performed in 37 different languages presented at the reconstructed Shakespeare Globe theatre in London this summer. [more inside]
On the 30th May, 1593, playwright Christopher Marlowe was stabbed in a Deptford tavern. Except, it wasn't a tavern, and all present were known liars. His writing style was very similar to that of early William Shakespeare, whose name first appeared in print very shortly afterwards. [more inside]
Shakespeare was not a full-time writer without other responsibilities, like O’Neill or Williams. But what might look like a distraction for such authors—acting in his own and other people’s plays, coaching fellow players, helping manage the ownership of the troupe’s resources (including its two theaters, the Globe and Blackfriars)—was a strength for Shakespeare, since it made him a day-by-day observer of what the troupe could accomplish, actor by actor. [...]Shakespeare and Verdi in the Theater.
'According to Pacini,' Julian Budden writes in The Operas of Verdi, 'it was the custom at the San Carlo theatre, Naples, for the composer to turn the pages for the leading cello and double bass players on opening nights.' The composer had to change his score to fit new voices if there were substitutions caused by illness or some other accident. In subsequent performances, he was expected to take out or put in arias for the different houses, transposing keys, changing orchestration. He was not a man of the study but of the theater.
"Richard may lie to all the other characters but within his solo speeches he always tells the truth."
"So, 'now'--ooh, what a wonderful first word, right in the beginning of the play. 'Now.' Not in the past. Not a history play. Now." Ian McKellen breaks down Richard III. [more inside]
More Shakespeare than you can shake a spear at.
Does "A desert place. Thunder and lightning. Enter three Witches." just not satisfy your literary mind? You might enjoy a prose version of "Macbeth" instead (or some other adaptations of William's plays). The concept is not new; indeed, Charles and Mary Lamb publsihed in 1807 twenty adaptations of Shakespeare's plays designed for children and those of us who aren't fans of the iamb.
Beware the Ides of March! Take a little time today to think about Crazy Old Bill. There's a ton of Shakespearian stuff out there from the silly to the scary. (Even if you do think he's a phoney). Party Anon, dude.