"Now is the winter of our discontent" - Richard III by William Shakespeare

Julius Caesar by William Shakespeare (BBC Play of the Month)

Richard III - Winter of Our Discontent

Macbeth (1997)

Shakespeare. Macbeth. Dir. Jeremy Freeston. Cast: Jason Connery, Helen Baxendale, Graham McTavish, Hildegard Neil. Photog. Dave Miller. Ed. Owen Parker and Chris Gormlie. Assist. Dir. Brian Blessed. Music by Paul Farrer. Exec. Prod. Bob Carruthers, David McWhinnie, Gary Russell and George Mitchell. Prod. Shona Donaldson. Cromwell Productions / La Mancha Productions / Grampian Television / Macbeth PLC, 1996.

         https://youtu.be/P2IxA-QErhA

         2020

 

Macbeth

Shakespeare. A Performance of Macbeth, by William Shakespeare. TV prod. Royal Shakespeare Company, dir. Trevor Nunn. Cast: Ian McKellen, Judi Dench, John Woodvine and Bob Peck. YouTube (John Baxter) 17 Oct. 2019.*

https://youtu.be/7skhaOegpLA

         2020

Richard III - Hofstra Shakespeare Festival

Min. 1.31.00: Richard is offered the crown by Buckingham.

—oOo—

Richard III (1946) - Radio drama starring Laurence Olivier and Ralph Richardson

 

Shakespeare. Richard III by William Shakespeare. Adapt. For radio drama. Cast: Laurence Olivier, Ralph Richardson, et al. Old Vic Theatre Company / CBS Columbia Workshop, 1946. Audio. YouTube (Roman Styran) 6 June 2015.*

         https://youtu.be/T-41gSAaj_w

         2020

Henry IV (Shakespeare) - Full play | 2017

Shakespeare. Henry IV. (Full Play). Adapted from Shakespeare's Henry IV Part I and Part II. Dir. Sven Delarivière. Brussels Shakespeare Society. Filmed at the Petit Varia, Brussels, 2017. YouTube (Alasil) 7 Oct. 2017.*

         https://youtu.be/3hItvO_Tpb4

         2020

 

 

Looking for Richard

Macbeth ----- William Shakespeare

Shakespeare. Macbeth. Dir. Arthur Allan Seidelman. Cast: Jeremy Brett, Piper Laurie, Simon MacCorkindale, Richard Alfieri, Barry Primus, Millie Perkins, Alan Oppenheimer, Franlyn Seales, Jay Robinson, Fight staging by Robert Aberdeen, Music: Gerald Bernard Cohen, Costumes by Dorothy Baca, Prod. Des. John Retsek. Art exec. Prod. Jack Manning. Prod. Jack Nakano. Shakespeare Video Society / Bard Productions Ltd., 1981. YouTube (Rania Ecrivain Channel) 21 Aug. 2013.*

         https://youtu.be/IKFLVEI1NBA

         2020

Brush Up Your Shakespeare

BRUSH UP YOUR SHAKESPEARE          

(Cole Porter, from Kiss Me Kate)

 

MOBSTERS:

 

The girls today in society

Go for classical poetry,

So to win their hearts one must quote with ease

Aeschylus and Euripides.

But the poet of them all

Who will start 'em simply ravin'

Is the poet people call

The bard of Stratford-on-Avon.

 

Brush up your Shakespeare,

Start quoting him now.

Brush up your Shakespeare

And the women you will wow.

Just declaim a few lines from "Othella"

And they think you're a heckuva fella.

If your blonde won't respond when you flatter 'er

Tell her what Tony told Cleopaterer,

And if still, to be shocked, she pretends well,

Just remind her that "All's Well That Ends Well."

Brush up your Shakespeare

And they'll all kowtow.

 

Brush up your Shakespeare,

Start quoting him now.

Brush up your Shakespeare

And the women you will wow.

If your goil is a Washington Heights dream

Treat the kid to "A Midsummer Night Dream."

If she fights when her clothes you are mussing,

What are clothes? "Much Ado About Nussing."

If she says your behavior is heinous

Kick her right in the "Coriolanus."

Brush up your Shakespeare

And they'll all kowtow,

And they'll all kowtow,

And they'll all kowtow.

 

Brush up your Shakespeare,

Start quoting him now.

Brush up your Shakespeare

And the women you will wow.

 

Brush up your Shakespeare

And they'll all kowtow,

And they'll all kowtow.

HENRY V (Laurence Olivier)

 

Laurence Olivier's film of Shakespeare's Henry V   (1944):

In Spanish:

2. TEATRO RENACENTISTA

El día 21 acabaremos con Ben Jonson y también con Webster. Tragedia. Traed el texto de The Duchess of Malfi.

 

Otra cosa. Están abiertas las encuestas de docencia para esta asignatura; las podéis realizar cuando queráis en https://encuestas.unizar.es/

Tenemos ya fecha para el examen de la primera convocatoria, el 20 de enero.

Y nos anuncian que anunciemos que...

se ha convocado la segunda edición del PREMIO LITERARIO DE NARRATIVA CORTA patrocinado por el Consejo Social de la Universidad de Zaragoza y el Departamento de Ciencia, Universidad y Sociedad del Conocimiento del Gobierno de Aragón. Más información: https://consejosocial.unizar.es/premio-literario

______________________________
Esta semana trataremos sobre Jonson y Webster. Veremos algunas escenas de Volpone. Traed los textos de Volpone y The Duchess of Malfi, y recordad haceros ya con las obras de Shakespeare que no están incluidas en las fotocopias—empezando por Henry V. 

Con Webster terminamos nuestro tema 2, "Teatro renacentista" —aunque obviamente seguimos con el teatro renacentista en los temas siguientes, empezando a partir de ahora por el tema 3: Shakespeare (obras históricas).

 

Podéis visitar también, de vez en cuando, This Huge Stage / El Gran Teatro del Mundo

https://thishugestage.blogspot.com/

https://www.facebook.com/elgranteatrodelmundo

 

Dejamos a Ben Jonson y a los contemporáneos de Shakespeare con este poema, que inaugura por así decirlo la crítica sobre Shakespeare... y la bardolatría.



Ben Jonson

To the Memory of My Beloved,
The Author, Mr William Shakespeare,
And What He Hath Left Us

To draw no envy, Shakespeare, on thy name,
   Am I thus ample to thy book and fame;
While I confess thy writings to be such
   As neither man nor muse can praise too much:
‘Tis true, and all men’s suffrage. But these ways
   Were not the paths I meant unto thy praise:
For silliest ignorance on these may light,
   Which, when it sounds at best, but echoes right;
Or blind affection, which doth ne’er advance
   The truth, but gropes, and urgeth all by chance;              10
Or crafty malice might pretend this praise,
   And think to ruin where it seemed to raise.
These are as some infamous bawd or whore
   Should praise a matron: what could hurt her more?
But thou art proof against them, and indeed
   Above the ill fortune of them, or the need.
I therefore will begin. Soul of the age!
   The applause, delight, the wonder of our stage!
My Shakespeare, rise: I will not lodge thee by
   Chaucer or Spenser, or bid Beaumont lie               20
A little further, to make thee a room;
   Thou art a monument without a tomb,
And art alive still while thy book doth live,
   And we have wits to read, and praise to give.
That I not mix thee so, my brain excuses:
   I mean with great, but disproportioned, muses;
For if I thought my judgement were of years
   I should commit thee surely with thy peers:
And tell how far thou didst our Lyly outshine,
   Or sporting Kyd, or Marlowe’s mighty line.              30
And though thou hadst small Latin, and less Greek,
   From thence to honour thee I would not seek
For names, but call forth thundering Aeschylus,
   Euripides, and Sophocles to us,
Pacuvius, Accius, him of Cordova dead,
   To life again, to hear thy buskin tread
And shake a stage; or when thy socks were on,
   Leave thee alone for the comparison
Of all that insolent Greece or haughty Rome
   Sent forth, or since did from their ashes come.              40
Triumph, my Britain, thou hast one to show
   To whom all scenes of Europe homage owe.
He was not of an age, but for all time!
   And all the muses still were in their prime
When like Apollo he came forth to warm
   Our ears, or like a Mercury to charm!
Nature herself was proud of his designs,
   And joyed to wear the dressing of his lines,
Which were so richly spun and woven so fit
   As, since, she will vouchsafe no other wit.              50
The merry Greek, tart Aristophanes,
   Neat Terence, witty Plautus, now not please,
But antiquated and deserted lie
   As they were not of nature’s family.
Yet must I not give nature all: thy art,
   My gentle Shakespeare, must enjoy a part.
For though the poet’s matter nature be,
   His art doth give the fashion. And that he
Who casts to write a living line must sweat
   (Such as thine are) and strike the second heat              60
Upon the muses’ anvil: turn the same
   (And himself with it) that he thinks to frame;
Or for the laurel he may gain a scorn:
   For a good poet’s made, as well as born;
And such wert thou. Look how the father’s face
   Lives in his issue: even so, the race
Of Shakespeare’s mind and manners brightly shines
   In his well-turnèd and true-filèd lines:
In each of which he seems to shake a lance,
   As brandished at the eyes of ignorance.                 70
Sweet swan of Avon! What a sight it were
   To see thee in our waters yet appear,
And make those flights upon the banks of Thames
   That so did take Eliza, and our James!
But stay, I see thee in the hemisphere
   Advanced, and made a constellation there!
Shine forth, thou star of poets, and with rage
   Or influence chide or cheer the drooping stage;
Which, since thy flight from hence, hath mourned like night,
   And despairs day, but for thy volume’s light.              80
_______________________

 También hay (A NIVEL AVANZADO) otros poemas coetáneos en memoria de Shakespeare.


_______________________

JOHN WEBSTER     (c. 1578-c. 1638)

_____. The White Devil, or Vittoria Corombona. Tragedy. Premiere by Queen Anne's Men, c. 1611. Printed 1612.
_____. The Duchess of Malfi. Tragedy. Performed at Blackfriars by the King's Men, c. 1613. Printed 1623. http://www.gutenberg.org/files/2232/2232-h/2232-h.htm
_____. The Devil’s Law Case. Tragicomedy. Pub. 1623.
_____. Appius and Virginia. Drama. 1654.



- Una pequeña introducción a John Webster y sus dos dramas principales: The White Devil y The Duchess of Malfi.   

- Una videolección introductoria a The Duchess of Malfi.

- Una versión televisiva de The Duchess of Malfi  (BBC, 1972).

 

 

REVENGE TRAGEDY, II:

A memorable and popular tragical mode in the English Renaissance (Kyd, Marlowe, Shakespeare, Chapman, Webster....). Some elements (McAlindon): 

- Violent change

- The Noble Death

- The Violation of Justice and Love

- The Treacherous Entertainmetnt

- Treacherous Words

 
_______________


Y aquí (A NIVEL AVANZADO):

 

-  Webster en A History of English Literature de Legouis & Cazamian.

-  Webster en la History of English Literature de Baugh.

- Una representación reciente de The Duchess of Malfi en el Edinburgh Fringe Festival —etc.




_____________________________






Otro coetáneo de Webster y Jonson, colega y colaborador de Shakespeare: John Fletcher.


____________________

 

______________

 NIVEL AVANZADO:

- Performing Jonson: VOLPONE (opening lines).

 

 

______________

 

BEN JONSON     (1572-1637)

English dramatist and poet, b. Westminster, orphaned son of a Protestant minister, st. Westminster School, left Cambridge without a degree, apprenticed as bricklayer to father-in-law; volonteer in Flanders army 1592, killed enemy in single combat, actor in London c. 1594, imprisoned for manslaughter, converted to Catholicism for some time, married 1594, children died; returned to Anglicanism 1606; pensioned by the King 1616; honorary MA Oxford 1619; poet for aristocratic patrons, apologist of Stuart royalty in court masques; neoclassical theorist and literary authority, overweight and hard drinker.


1590s
_____.  Every Man in his Humour. Comedy. 1596, 1598.
_____. The Isle of Dogs. Drama. 1597. (With Nashe and others, Lost).


1600s
_____. Cynthia's Revels. Drama.  1600.
_____. Every Man Out of His Humour. Comedy. 1600.
_____. The Poetaster. Comedy. Acted at Blackfriars, 1601.
_____. Sejanus His Fall. Tragedy. 1603.
_____. The Masque of Blackness. Acted 1605.
_____. Eastward Ho! Comedy. 1605. (With Marston and Chapman)
_____. Hymenaei. Masque. First performed 1606.
_____. Volpone. Comedy. 1606.
_____. The Masque of Whiteness. c. 1607.
_____. Masque of Beauty. 1608.
_____. Britain's Burse. Drama. 1609.
_____. Epicoene: Or, The Silent Woman. Comedy. 1609-10.
_____. The Masque of Queens. 1609.


1610s
_____. The Alchemist. Comedy. c. 1610.
_____. Oberon the Fairy Prince. Masque. 1611.
_____. Catiline His Conspiracy. Tragedy. Pub. 1611.
_____. Love Restored. Masque. 1612.
_____. The Devil is an Ass. Drama. 1616.
_____. Lovers Made Men. Masque. 1617.
_____. Bartholomew Fair. Comedy. 1614.
_____. The Workes of Beniamin Jonson.  1616.  (Folio; Contains: Comedies, Tragedies, Masques,  Epigrams, and The Forest poems).
_____. Conversations with Drummond. 1619.


1620s
_____.  The Gipsies Metamorphosed. Masque. 1621.
_____. Time Vindicated. 1623.
_____. "To the Memory of my Beloved, The Author, Mr. William Shakespeare, and What He Hath Left Us." In Mr. William Shakespeares  Comedies, Histories, & Tragedies. (First Folio). London,1623.
_____. The Fortunate Isles. 1625.
_____. The Staple of Newes. Comedy. 1626.

1630s

_____. The New Inn. Comedy. 1630.
_____. Chloridia. Masque. 1631.
_____. The Magnetic Lady. Comedy. 1632.
_____. Tale of a Tub. Drama. 1633.


1640s
_____. The English Grammar. Ed. James Howell. 1640.
_____. The Underwood. In Jonson, (Works, Second folio). 1640.9.*
_____. An Execration against Vulcan. 1640.
_____. Works. 2nd ed. 1640. (Including: Timber: Or, Discoveries)

 

- Unos apuntes sobre Ben Jonson.

- The plot of Volpone—a summary. And a shortened production of the play: VIDEO.

- The plots of Every Man in His Humour  and Every Man Out of His Humour
 

 

- Una representación (abreviada) de Volpone en español:

 

 - Y otra más completa (Laboratorio de la Máscara).

 

__________________________

 NIVEL AVANZADO:

Una ópera cómica basada en Volpone.

 


- Nivel avanzado: Christopher Marlowe

- Nivel avanzado: Some Elizabethan and Jacobean Dramatists.

 _____________________

 

 

 

 

The Professional Public Theatre in the Elizabethan age

Under Henry VIII:

- Strolling players and jugglers as "Beggars & Vagabonds" (1531 act)

 - Office of the Revels

Under Elizabeth:

Act of Parliament (1572) vs. "Masterless Men": Companies protected by aristocrats

City vs. Players (The Lord Major to the Privy Council, 1597)

Marginal spectacles, leisure and lewdness in the "Liberties".

Popular drama (inns or playhouses) vs. "Private playhouses" and great halls.

 Elizabethan companies:

- Earl of Leicester's Men (James Burbage) pre-1574

- Earl of Sussex

- Earl of Oxford (a favourite of the Anti-Stratfordians)

- Earl of Derby (Lord Strange's Men)

- Earl of Pembroke's Men

- The Queen's Men  (Dick Tarlton, d. 1588)

 

From the late 80s:

- The Admiral's Men (Philip Henslowe, Edward Alleyn)

- The Lord Chamberlain's Men (Henry Carey, Lord Hunsdon)

Led by James Burbage - Richard Burbage - Shakespeare et al.

Playhouses:

Halls (Lincoln's Inn, Whitehall...)

Inns (The Red Lion - 1567, The Bell, The Bull...)

- Burbage's The Theatre (1576)

- Blackfriars (1576)

- The Curtain (1577)

- The Rose (Bankside) -  later, Admiral's men moved to The Fortune (1600) - Philip Henslowe's papers

- The Globe (1597-1613)

 

Structure of the playhouses:

By C. Walter Hodges - Folger Shakespeare Library <a rel="nofollow" class="external free" href="http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~40370~102858:The-Globe-Playhouse,-1599-1613--A-c?sort=Call_Number%2CAuthor%2CCD_Title">http://luna.folger.edu/luna/servlet/detail/FOLGERCM1~6~6~40370~102858:The-Globe-Playhouse,-1599-1613--A-c?sort=Call_Number%2CAuthor%2CCD_Title</a>, CC BY-SA 4.0, Link

 Some suggested films to watch: 

- Shakespeare in Love

- Anonymous

 

 

7-8 octubre. Traed  esta semana los textos de Marlowe (Doctor Faustus) y Kyd (The Spanish Tragedy). Hablaremos del drama de la era isabelina antes de Shakespeare, y veremos algún fragmento más de Doctor Faustus de Marlowe.

Aquí hay una introducción en vídeo a Dr. Faustus.


Podéis ver también una representación de la obra completa, aquí.

- Unos apuntes sobre Christopher Marlowe.

- Y un audio de la BBC sobre Marlowe (In Our Time). 

- Marlowe collaboration (?) with Shakespeare.

- McAlindon: The Tragic Law

- More on Marlowe and his contemporaries: Sidney Lee, "The Elizabethan Age in English Literature"

_____________________

 
CHRISTOPHER MARLOWE  

(1564-1593)

(English dramatist and poet, b. Canterbury, son of a shoemaker; receives a grant at King's School, Canterbury. Enters Corpus Christi College, Cambridge, 1580; BA 1584; secret agent working for Walshingham; MA Cambridge 1587 at the authorities' intercession; 1589 imprisoned, tried and released for taking part in a street fight; wrote plays for the Admiral's Men; atheist and homosexual; caused scandal and persecution and was murdered at a tavern in Deptford)

_____. Tamburlaine the Great. Tragedy. 2 parts, c. 1586,
_____. The Jew of Malta. Tragedy. c. 1592.
_____. Edward II. Tragedy. 1593.
_____. The Tragical History of Doctor Faustus. Tragedy. c. 1592-93. Pub. 1604, 1616. (1604 online:    http://www.gutenberg.org/ebooks/779 )
_____. The Massacre at Paris. Drama. (on St. Bartholomew). Prod. Jan. 1593.
_____. Hero and Leander. Unfinished poem, based on a Greek original. Completed by George Chapman. 1598.

Some stage props used by Elizabethan theatrical companies: Inventory of properties belonging to the Admiral's Men company.


"The Globe Theatre": http://en.wikipedia.org/wiki/Globe_Theatre

Y aquí una recreación del teatro privado de Blackfriars, el otro teatro de los King's Men.
__________



Thomas Kyd (1558-94)  

_____. (attr.). ? (Ur-)Hamlet.
_____. The First Part of Jeronymo. 1588.
_____. The Spanish Tragedie. Printed 1592.
https://www.gutenberg.org/files/6043/6043-h/6043-h.htm
_____.  (attr.). Solyman and Perseda. 1592.
_____, trans. Cordelia. By Garnier. 1594.




Aquí unos apuntes sobre Kyd y The Spanish Tragedy.
 


Una lección india sobre The Spanish Tragedy de Kyd.  Y unas notas sobre Kyd and The Spanish Tragedy.

__________________________

NIVEL AVANZADO: Un llamativo aspecto de The Spanish Tragedy: La escena dramática que se hace realidad.
 

Unas notas sobre Revenge Tragedy, con algunos ejemplos.


____________________




Recomiendo también ver esta excelente película para captar algo del espíritu "de la época": Elizabeth: The Golden Age, continuación de la Elizabeth del propio Shekhar Kapur. Aquí en el enlace, mi reseña de la misma.




__________________________________ 




THE UNIVERSITY WITS


John Lyly (1554-1606)  

_____. Euphues. Romance. 1578.
Comedies:
_____. Sapho and Phao (1584);
_____. Endimion (1591);
_____. Midas (1592),
_____. Mother Bombie (1594)

George Peele (1556-96). Plays:
_____. The Araygnement of Paris (1585),
_____. Edward I (1593),
_____. The Battle of Alcazar (1594)
_____. The Old Wives Tale (1595)
_____. David and Fair Bethsabe (1599).

Robert Greene (1558-92) 

Prose:
_____. Pandosto: The Triumph of Time. (Source for Shakespeare's The Winter's Tale)
_____. Greenes Groats-Worth of Witte (1592).

Plays:
_____. Orlando furioso (1595),
_____. Friar Bacon and Friar Bungay (1594)
_____. James the Fourth (1598).

Thomas Lodge  (1558-1625) 

Prose:
_____. Defence of Poetry, Music, and Stage Plays, (1579) (—a reply to Gosson's Schoole of Abuse)
_____. Rosalynde, romance, (1590), source for Shakespeare's As You Like It.
______. The Wounds of Civill War (1594),
 _____. A Looking Glasse for London and England (1594), in collaboration with Robert *Greene.

Other "University Wits":
Thomas Watson, Thomas Kyd, Christopher Marlowe, William Percy...

_____________________________________

NIVEL AVANZADO:  The University Wits

Y una nota sobre innovaciones teatrales y representacionales, a cuenta de la obra de Robert Greene Friar Bacon and Friar Bungay: "Glass Prospective: La televisión medieval en el teatro isabelino."
    http://www.ibercampus.info/la-television-medieval-en-el-teatro-isabelino-28484.htm


 
_______________________________________


Unas notas sobre el principio de la crítica y teoría dramática en la literatura inglesa, en la Apology for Poetry de Sir Philip Sidney.





____________________________



NIVEL AVANZADO: Más sobre el teatro de la época Tudor.





________________________________________


 

The Tudor myth - the historical context

Reformation and humanist drama

Henry Medwall, Nature (1490-1500)

John Skelton, Magnificence (1516)

John Rastell, The Four Elements (Anon.) (pr. 1519)

John Heywood (1497?-1580) Witty and Witless.
_____. Love.
_____. The Play of the Weather (1533)
_____. The Four P's.
_____. ? The Pardoner and the Friar
_____. ? Johan Johan.


Others:

John Redford, Wit and Science, c. 1540
Sebastian Wescott, Liberality and Prodigality, c. 1567.


The masques (e.g. Sir Philip Sidney)

Comedies:
Calisto and Meliboea (1530)
Thersites (Anon.). 1537


Nicholas Udall, Ralph Roister Doister (c. 1552)

?William Stevenson, Gammer Gurton's Needle (c. 1553)

George Gascoigne, Supposes (1566)

The Bugbears (1561)

The classical model for tragedy: Seneca's tragedies. e.g. Thyestes (trans. Jasper Heywood et al.)



National drama before Kyd and Marlowe:

Thomas Norton and Thomas Sackville, Gorboduc, or Ferrex and Porrex (1562)

George Gascoigne: Jocasta, 1566 

_____. The Glass of Government (1575)


Richard Edwards, Damon and Pytias (1564)
John Pickering, Horestes (1567)
R. Wilmot et al., Gismond of Salerno (1567)
Thomas Preston, Cambyses (1569)
George Whetstone, Promos and Cassandra (1578)

Protestant drama:

Sir David Lyndsay, The Satire of the Thrie Estaitis (1540)
John Bale (1495-1563). King Johan.

_____________


A chapter on English drama in the mid-16th c. (NIVEL AVANZADO).


________________


Nuestro siguiente tema (Unidad 2) es el teatro en el renacimiento excepto Shakespeare. Tras un panorama general, nos centraremos algo más en Kyd, Marlowe, Jonson y Webster.


Empezamos en el Tema 1 hablando de teatro, teatralidad y semiótica teatral, con Aristóteles y Goffman como textos clave. Recordad que tenéis materiales sobre esta unidad en el Tema 1 y también otros a nivel avanzado.

Supongo que habéis recogido en Reprografía el bloque de lecturas de la asignatura, excepto Shakespeare. En cuanto a las obras de Shakespeare, es recomendable hacerse con una edición completa (es recomendable el Norton Shakespeare). También hay ejemplares en la biblioteca. 



En el tema 2, veremos selecciones de:

Kyd, The Spanish Tragedie:
http://www.gutenberg.org/files/6043/6043-h/6043-h.htm

Jonson, Volpone, or The Fox
http://www.gutenberg.org/files/4039/4039-h/4039-h.htm

Webster, The Duchess of Malfi
http://www.gutenberg.org/files/2232/2232-h/2232-h.htm

Recordad los deberes pendientes: ir leyendo las lecturas en Reprografía; haceros un horario de trabajo; darme la ficha los que faltéis, encargar o localizar los libros que vayáis a utilizar para esta asignatura. Y decidir si vais a hacer trabajos, en cuyo caso sería buena idea empezar el primero.

____________________ 

A mitad de camino entre la Introducción y el Tema 2 tenemos unas lecciones y materiales sobre teatro antiguo y medieval, las tradiciones sobre las que se edifica el teatro inglés renacentista.

THE DUCHESS OF MALFI - Edinburgh Fringe Festival

 

Webster. "The Duchess of Malfi - Edinburgh Fringe Festival @ C Venues." 2015. Video. YouTube (Liver & Lung Productions) 23 Aug. 2015.*

https://youtu.be/8plWh6BAMIo

         2020

 

Otra representación (un tanto circense y oscura) de The Duchess of Malfi:

The Duchess of Malfi. Prod. Vaulting Ambition, dir. Dan Horrigan. Rec. New Players Theatre (Charing Cross) London, 6 May 2010.  

 

'The Duchess of Malfi' by John Webster: context, characters and themes! ...

The Duchess of Malfi by John Webster (NIVEL AVANZADO)

The Duchess of Malfi. Prod. Vaulting Ambition, dir. Dan Horrigan. Rec. New Players Theatre (Charing Cross) London, 6 May 2010. Video. YouTube (Dan Horrigan) 10 March 2016.*

         https://youtu.be/2p2EjIt8Ohw