tag:blogger.com,1999:blog-52941425089094675152024-02-21T09:46:13.946+01:00Blog de teatro inglésJoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.comBlogger166125tag:blogger.com,1999:blog-5294142508909467515.post-65369189282385856262021-09-22T18:13:00.004+02:002023-12-12T14:41:21.255+01:001. INTRODUCCIÓN<p></p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><small><big><span style="font-size: x-large;"><br /></span></big></small></span></span></span></p><p><span style="font-size: medium;"><i>Bienvenidos a este blog sobre teatro inglés. Los contenidos pueden verse en la columna derecha. Comenzamos por la introducción. Esta unidad, como las demás, empieza por abajo y va en sentido inverso, como los blogs—con las sub-unidades separadas por líneas horizontales.<br /></i></span></p><p><i><span style="font-size: x-large;"> </span></i></p><p><i><span style="font-size: x-large;">______________ </span></i><br /></p><p><span style="font-size: large;"><br /></span><span style="font-size: x-large;"><span><span><span><span>Sobre cómo hacer
un comentario de texto, <a href="https://www.academia.edu/1731753/" target="_blank">aquí
hay una pequeña guía que usábamos en Literatura Inglesa 2.</a> </span></span></span></span></span></p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><small><big><span style="font-size: x-large;"><span>En el caso del teatro, ayuda además el poder utilizar unas nociones
sobre semiótica teatral (el uso del espacio escénico, los estilos de
actuación, gestualidad, movimiento, sonido, música y luces, etc.) —hay libros al respecto en la bibliografía.<br /></span></span></big></small></span></span></span></p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><small><big><span style="font-size: x-large;"><span>Y
también, para el análisis formal de la trama, ayuda tener idea de
narratología, es decir, de la estructura argumental, el desarrollo de
conflictos y caracterización de los personajes cara al conflicto, el
uso del punto de vista, el tipo de resolución o clausura que se
alcanza.... Un primer paso, desde luego, es aplicar las
nociones aristotélicas de estructura argumental, cuestiones de análisis
de secretos y de sorpresas, su revelación u ocultación, la relación
entre tramas primarias y secundarias, la identificación del espectador
con los diversos personajes, etc.<br />
<br />
Y todo esto contextualizarlo en una tradición teatral, una época, con atención al papel de la obra en cuestión en los debates ideológicos de su época, o
en la representación de conflictos e identidades sociales.</span><br />
<span><br />
</span><br />
<span><br />
</span><br />
<span>________________________</span><br />
<span><br />
</span><br />
<span>A mitad de camino entre la
Introducción y el Tema 2 tenemos unas <a href="https://generos-1.blogspot.com/2019/10/primitive-ancient-and-medieval-drama.html">lecciones
y materiales sobre teatro antiguo y medieval,</a> las tradiciones sobre
las que se edifica el teatro inglés renacentista.<br />
</span><span style="font-style: italic;"><span style="font-weight: bold;"><br />
<br />
<br />
<span style="font-size: x-large;">__________________</span><br />
<span style="font-size: x-large;"></span>
<br />
</span></span>Seguiremos
con una introducción a los
géneros teatrales, y seguimos con el primer texto en clase, la Poética
de
Aristóteles. Abajo hay un enlace. Recordad traer los textos de cada
tema a clase.<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"> </span></span></span>A
Aristóteles sólo le podemos dedicar una sesión más. Quien quiera más
lecciones sobre Aristóteles, puede encontrarlas en muchos sitios, pero
en concreto en el capítulo sobre la época clásica de este curso sobre
teoría literaria: </span><span style="font-style: italic;"><big><span style="font-size: x-large;"><br />
<br />
<a href="http://personal.unizar.es/garciala/hypercritica/00.Hypercritica.html">Hypercritica: A Hypertextual History of Literary Theory and Criticism.</a> <br />
</span><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></span></big></span><span style="font-size: x-large;">Más cosas. Aparece una
teoría de la
tragedia, entendida como un choque de dos fuerzas contrapuestas<span style="font-weight: bold;">,</span> en el clásico libro de A. C.
Bradley <i>Shakespearean Tragedy.</i> Un
comentario adicional al respecto puede verse aquí: <a href="http://ssrn.com/abstract=1961202" target="_blank">Tragediay dinámica de fuerzas.</a></span></big></small></span></span></span></p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><small><big><span style="font-size: x-large;"> </span></big></small></span></span></span></p><p><span style="font-size: x-large;"><span><span style="font-size: large;"><small><big><span style="font-size: x-large;"> </span></big></small></span>__________________</span><br />
<span></span><br />
<span></span><br />
<br />
<span><i> NIVEL AVANZADO: Más sobre <a href="https://generos-1.blogspot.com/2019/09/teoria-del-teatro-nivel-avanzado.html">teoría
del teatro y del dramatismo social.</a></i></span><br />
<span></span><br />
<span></span><br />
<span></span><br />
<span>_________________</span><br />
<br />
<br />
<br />
<span>Aquí tenemos también la
Poética de
Aristóteles: el texto fundamental de la teoría teatral de Occidente, y
también de la poética literaria, y de la narratología. En la traducción
de S. H. Butcher, en Project
Gutenberg:<br />
<a href="http://www.gutenberg.org/files/1974/1974-h/1974-h.htm#2H_4_0001">http://www.gutenberg.org/files/1974/1974-h/1974-h.htm#2H_4_0001</a><br />
<span style="font-weight: bold;"><br />
</span>Prestaremos atención ante todo a la primera mitad. Traedlo a
clase, e id leyendo tanto este texto como la selección de Goffman.<br />
<span style="font-weight: bold;">
<br />
</span>Nuestro primer texto dramático para poder ir adelantando
lecturas será
Marlowe, <i>The Tragical History of
Doctor Faustus.</i> Aquí en red en Project
Gutenberg:<br />
<a href="http://www.gutenberg.org/ebooks/779">http://www.gutenberg.org/ebooks/779</a><br />
2012</span>
<span><i><br />
</i></span><span><i>__________________</i></span><br />
<br />
<span><i>Temas tratados en clase:</i></span></span></p><p><span style="font-size: x-large;"><span><i> </i></span><br />
<span><i> </i></span>
<span>Theatrical Traditions :
Literary drama vs. Spectacular Drama</span><br />
<br />
<br />
<span>The limits of drama:
Interaction with other genres and media</span><br />
<br />
<span>- Dramatism of social
events </span><br />
<span><br />
</span><span>-
Technology and conventions</span><br />
<span><br />
</span><span>-
Media experiments</span><br />
<span><br />
</span><span>-
Voice and drama; narration and drama; presence and drama</span><br />
<span><br />
</span><span>-
"Dramatic" narrative modes.</span><br />
<br />
<br />
<span>Kinds of Genres in
dramatic theory. </span><br />
<br />
<span>- Scripted and
Unscripted</span><br />
<span>- Professional and
Amateur</span><br />
<span>- Conventional and
Unconventional </span><br />
</span></p><p><span style="font-size: x-large;"></span></p><p><span style="font-size: x-large;">___________________________<br /> </span></p><p><span style="font-size: x-large;">NIVEL AVANZADO:<span> </span></span></p><p><span style="font-size: x-large;"><span> </span></span></p><p><span style="font-size: x-large;"><span>- Some
notes on Northrop Frye's <a href="https://www.researchgate.net/publication/340539011" target="_blank">ANATOMY OF CRITICISM</a>.<span style="font-style: italic;"><span style="font-weight: bold;"><br />
</span></span></span><br />
</span><span style="font-size: x-large;"></span></p><p><span style="font-size: x-large;"><br />
<span style="font-size: large;"><small><big><big>- Para leer más sobre el
concepto de Topsight (a nivel avanzado y fuera de programa), <a href="http://vanityfea.blogspot.com/2017/04/retropost-1582-26-de-abril-de-2007-poe.html">aquí</a>.</big></big></small></span><br />
<br />
<span style="font-size: large;"><small><span style="font-style: italic;"><big><big>
</big></big></span></small><small><big><span style="font-style: italic;"><big>Siguiendo
con nuestro Leit-Motiv de "la vida como teatro", acordaos de
ir leyendo la introducción a la teoría dramatística de Goffman en </big></span><big>The
Presentation of Self in Everyday Life;</big><span style="font-style: italic;"><big>
tenéis fotocopiados los primeros capítulos y podéis leer más allí, o en
el libro en sí. </big></span></big></small><small><span style="font-style: italic;"><big><big>
También, para quien se interese más por la cuestión de
la teatralidad de la vida cotidiana, os dejo este artículo que trata
las teorías de Goffman y alguna otra:<br />
</big></big>
</span></small></span><br />
</span></p><div style="text-align: center;">
<span style="font-size: large;"><small><big><big><a href="http://unizar.academia.edu/Jos%C3%A9AngelGarc%C3%ADaLanda/Papers/1670984/Somos_Teatreros_El_sujeto_la_interaccion_dialectica_y_la_estrategia_de_la_representacion_segun_Goffman"><big>"Somos
teatreros: El sujeto, la interacción dialéctica y la estrategia de la
representación según Goffman."<br />
</big></a></big></big></small></span></div>
<span style="font-size: large;"><small>
<big><big> <br />
—¡pero tranquilos que este artículo no entra para examen! Voy
añadiendo algún
enlace adicional sobre <span style="font-style: italic;">el mundo como
teatro</span> en la etiqueta "Dramatismo" de la columna derecha.</big></big></small></span><br />
<br />
<span style="font-size: x-large;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><span style="font-size: large;">Quien tenga tiempo y afición teatral de sobra, puede ver
también cosas sobre teatro en esta otra página mía:<br />
<a href="httpss://thishugestage.blogspot.com"> El
Gran Teatro del
Mundo</a><span style="font-weight: bold;"><span style="font-weight: bold;"><br /><br />
<br />
</span></span>Me citan en esta tesis de la Universidad Montfort sobre
narración en el teatro contemporáneo:<br />
<br />
Swettenham, Neal. </span><span style="font-style: italic;"><span style="font-size: large;">The Role and Status of Narrative in Contemporary
Theatre. Ph.D. diss., De Montfort U, 2003. </span></span><span style="font-size: large;">En red en<br />
<a href="https://www.dora.dmu.ac.uk/bitstream/handle/2086/4317/271923.pdf">https://www.dora.dmu.ac.uk/bitstream/handle/2086/4317/271923.pdf</a></span><br />
</span><p><span style="font-size: x-large;">
<br />
<br />
<br />
____________________________<br />
</span><span style="font-size: large;"><small><big><span style="font-size: x-large;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span></span></span><br />
Hablamos algo sobre punto de vista en el teatro. Aquí otra conferencia
en audio, de Francisco Ruiz Ramón, sobre la construcción
del drama (clásico y español): voz, punto de vista, construcción...
bastante estructuralista, pero útil en su línea.<span style="font-style: italic;"><br />
<a href="http://www.march.es/conferencias/anteriores/voz.aspx?id=954&l=1">http://www.march.es/conferencias/anteriores/voz.aspx?id=954&l=1</a><span style="font-weight: bold;"><br />
<br />
</span></span></span></big></small></span><span style="font-size: x-large;"><span><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span><span><span style="font-style: italic;"><span style="font-weight: bold;"></span></span></span><span></span></span><span style="font-size: large;"><small><big><span style="font-size: x-large;">Y también dijimos algo
sobre un tipo de argumento muy frecuente,
el del
intrigante o 'plotter'
cuyos planes son desbaratados. Esto se da tanto en narrativa
"narrativa" como en narrativa dramática, claro está. Aquí hay una
pequeña reflexión al respecto: <a href="http://garciala.blogia.com/2006/011002-la-historia-del-fracaso-del-plan.php">La
historia del fracaso del plan</a>.</span><span style="font-style: italic;"><big><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-size: x-large;"><span style="font-weight: bold;"><br />
</span>
</span><br />
</span></span></span></big></span><span style="font-style: italic;"><big><br />
</big></span><big><br />
</big></big><span style="font-style: italic;"><big><big>
</big></big></span></small></span><br /></p>
<span style="font-size: large;"><small><big><big>____________<br />
<br />
Con vistas al tema 1: un audio de la BBC (In Our Time) sobre <a href="https://www.bbc.co.uk/programmes/b00l16vp">ELIZABETHAN REVENGE
TRAGEDY.</a><br />
</big>
<br />
_________</big></small></span><br />
<span style="font-size: large;"><small><big><br />
</big></small></span><p><br />
<span style="font-size: large;">Aristotle's Poetics:</span><br />
<span style="font-size: large;"><a href="https://en.wikisource.org/wiki/The_Poetics_translated_by_S._H._Butcher/1">https://en.wikisource.org/wiki/The_Poetics_translated_by_S._H._Butcher/1</a></span><br />
<span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;">_____________________</span>
<br />
<span style="font-size: large;"><br />
</span><span style="font-size: large;">NIVEL AVANZADO: </span></p><p><span style="font-size: large;">- Para más cosas sobre Aristóteles y Platón y sus teorías miméticas y poéticas pueden verse el capítulo 1 de <a href="https://personal.unizar.es/garciala/hypercritica/00.Hypercritica.html" target="_blank">HYPERCRITICA: A Hypertextual History of Literary Criticism</a>.<br /></span></p><p></p><p><span style="font-size: large;"><br />
</span><span style="font-size: large;"> </span><big><big><big><span style="font-size: large;"><br />
Más cosas sobre <a href="https://generos-1.blogspot.com/2019/09/el-gran-teatro-del-mundo-nivel-avanzado.html">El
Gran Teatro del Mundo (NIVEL AVANZADO)</a></span></big></big></big><br />
<br />
________________________________<br />
<span style="font-size: large;"><br />
</span><br />
<br />
<span style="font-size: large;"><span style="font-size: large;"><small><span style="font-style: italic;"><big><br />
<big><big><span style="font-style: italic;">El Gran Teatro del
Mundo (o The
Globe Theatre):</span></big></big></big></span></small></span></span>
<br />
<span style="font-size: large;"><br />
</span><br />
</p><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHC__9CuYp5bEQVnwFoa5XDBAp8PXQEkEJOCN8j94Y1tixJmqO_Y5LKFGdYCnW-sFjhTbHxDfVeNAOwyUtvHLH_4cbUBsKIM1p7HONntKHUkYKha2_sz1JERFEyK_Q1Q7siVn1sqrrOJU/s1600/worldsastage.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="367" data-original-width="500" height="469" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHC__9CuYp5bEQVnwFoa5XDBAp8PXQEkEJOCN8j94Y1tixJmqO_Y5LKFGdYCnW-sFjhTbHxDfVeNAOwyUtvHLH_4cbUBsKIM1p7HONntKHUkYKha2_sz1JERFEyK_Q1Q7siVn1sqrrOJU/s640/worldsastage.jpg" width="640" /></a></div><p>
<br />
<span style="font-size: large;"><small><span style="font-style: italic;"><big><br />
<br />
<br />
<br />
<span style="font-style: italic;"></span><big><big>Una idea cara a
Calderón y a
Shakespeare. Aquí una representación del auto sacramental de Pedro
Calderón de la Barca </big></big></big></span><big><big><big>El Gran
Teatro del Mundo:<br />
<br />
</big></big></big></small></span>
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Ye1o6c3F1lo" width="560"></iframe>
<span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><br />
</span><br />
<span style="font-size: large;"><small><span style="font-style: italic;"><big><big><big> </big></big></big></span></small></span><br />
<br />
<br />
<span style="font-size: large;"><small><span style="font-style: italic;"><big><big><big>Sobre
el tema de <span style="font-weight: bold;">el
mundo como teatro</span></big>, <big>que tomamos un poco como
Leitmotiv de esta introducción, iré
añadiendo aquí algunos enlaces: </big></big></big></span></small></span></p><p><span style="font-size: large;"><small><span style="font-style: italic;"><big><big><big> </big></big><br />
<span style="font-size: x-large; font-weight: bold;"><br />
</span><span style="font-size: x-large;"><a href="https://generos-1.blogspot.com/search/label/Dramatismo">- Dramatismo</a></span></big></span></small></span></p><p><a href="https://generos-1.blogspot.com/2020/09/el-mundo-como-teatro.html"><span style="font-size: large;"><small><span style="font-style: italic;"><big><span style="font-size: x-large;">- El mundo como teatro</span></big></span></small></span></a><br />
<br />
<a href="https://generos-1.blogspot.com/2019/10/somos-teatreros.html"><span style="font-size: large;"><small><span style="font-style: italic;"><big><span style="font-size: x-large;">- Somos Teatreros</span></big></span></small></span></a><br />
<span style="font-size: large;"><small><span style="font-style: italic;"><big><span style="font-size: x-large;"><br />
</span></big></span></small></span><span style="font-size: large;"><small><span style="font-style: italic;"><big><span style="font-size: x-large;">_____________________
</span><span style="font-weight: bold;"><span style="font-size: x-large;"><br />
<br />
Shakespeare, Sonnet 15<br />
<br />
</span></span><span style="font-size: x-large; font-style: italic;">When
I consider every thing
that grows</span><span style="font-size: x-large;"><br style="font-style: italic;" />
<span style="font-style: italic;">Holds in perfection but a little
moment,</span><br style="font-style: italic;" />
<span style="font-style: italic;">That this huge stage presenteth
nought but shows</span><br style="font-style: italic;" />
<span style="font-style: italic;">Whereon the stars in secret influence
comment;</span><br style="font-style: italic;" />
<span style="font-style: italic;">When I perceive that men as plants
increase,</span><br style="font-style: italic;" />
<span style="font-style: italic;">Cheered and checked even by the
self-same sky,</span><br style="font-style: italic;" />
<span style="font-style: italic;">Vaunt in their youthful sap, at
height decrease,</span><br style="font-style: italic;" />
<span style="font-style: italic;">And wear their brave state out of
memory;</span><br style="font-style: italic;" />
<span style="font-style: italic;">Then the conceit of this inconstant
stay</span><br style="font-style: italic;" />
<span style="font-style: italic;">Sets you most rich in youth before my
sight,</span><br style="font-style: italic;" />
<span style="font-style: italic;">Where wasteful Time debateth with
decay</span><br style="font-style: italic;" />
<span style="font-style: italic;">To change your day of youth to
sullied night,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> And all in war with Time
for love of you,</span><br style="font-style: italic;" />
<span style="font-style: italic;"> As he takes from you, I
engraft you new.</span></span><br />
</big></span></small></span><span style="font-size: large;"><small><big><small><span style="font-style: italic;"><big><span style="font-weight: bold;"><br />
</span></big></span></small></big></small></span><br />
<br />
<br />
<span style="font-size: large;"><small><big><small><span style="font-style: italic;"><big><span style="font-weight: bold;"> </span></big></span></small>A
la cuestión del Teatro del Mundo, la
teatralidad, la vida como teatro y el drama en general dedico (fuera de
programa) esta página de Facebook: <a href="https://www.facebook.com/elgranteatrodelmundo"><span style="font-style: italic;">El Gran Teatro del Mundo, </span>https://www.facebook.com/elgranteatrodelmundo</a><br />
<span style="font-style: italic;"><br />
</span>—You're welcome.<br />
<span style="font-style: italic;"><br />
</span></big></small></span>
<span style="font-size: large;"><br />
</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><br />
</span><span style="font-size: large;"><i>La sociología dramatística</i></span>
<span style="font-size: large; font-weight: bold;"><span style="font-weight: bold;"></span></span></p><p><span style="font-size: large; font-weight: bold;"><span style="font-weight: bold;"><br />
</span></span><span style="font-size: large;">Hablando de la teoría
"dramatística" de la vida
social de
Erving Goffman, recordad que tenéis en el bloque de fotocopias un
capítulo de su
libro La presentación de la
identidad personal en la vida cotidiana (<i>The Presentation of Self in
Everyday Life).</i> Y aquí unos apuntes sobre <a href="https://generos-1.blogspot.com/2020/09/frame-theory.html">Teoría de los Marcos (Frame Theory)</a>, cosas que dijimos en clase.</span><span style="font-size: large;"><br /></span><span style="font-size: large;"><span style="font-size: large;"><small><span style="font-style: italic;"><big><br />
</big></span></small></span></span>
<br />
<br />
<br />
<big><big><big>________</big></big></big><br />
<br />
<br />
<br />
<big><big><big><span style="font-size: large;"><small><span style="font-style: italic;"><big><span style="font-style: italic;"><br />
</span></big></span><big>Otros materiales de interés sobre
teatro y sobre drama inglés:<br />
<br />
<a href="http://vanityfea.blogspot.com.es/2015/11/drama-dramatic.html">Definición
de DRAMA, DRAMATIC</a>, etc. en el Oxford English Dictionary.
(Obsérvese la mezcla de vida y teatro).<br />
<br />
Una conferencia de Fernando Savater sobre "La utopía teatral." <br />
<a href="http://www.march.es/conferencias/anteriores/voz.aspx?id=2322&l=1">http://www.march.es/conferencias/anteriores/voz.aspx?id=2322&l=1</a><br />
<br />
<br />
Theatre Database <br />
<a href="http://www.theatredatabase.com/">http://www.theatredatabase.com/</a><br />
<br />
<br />
Playbill<br />
<a href="http://www.playbill.com/">http://www.playbill.com/</a></big></small></span></big></big></big><br />
<big><big><big><span style="font-size: large;"><small><span style="font-style: italic;"><big><br />
</big></span></small></span>
</big></big></big><br />
<big><big><big><span style="font-size: large;"><small><span style="font-style: italic;"><big><br />
</big></span></small></span>
</big></big></big><br />
<big><big><big><span style="font-size: large;"><small><span style="font-style: italic;"><big>_______________<br />
</big></span></small></span>
</big></big></big></p><p><br />
<big><big><big><i>Primera semana</i></big></big></big><br />
<big><big><big><i> </i><br />
</big></big></big><br />
<span style="font-size: large;">Empezamos
hablando de teatro, teatralidad y semiótica teatral,
con Aristóteles y Goffman como textos clave. Ya pueden recogerse 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 <i>Norton
Shakespeare</i>). También hay ejemplares en la biblioteca. </span><br />
<br />
<span style="font-size: large;">Traed a clase la lectura principal del
tema 1, la <span style="font-style: italic;">Poética </span>de
Aristóteles.<br />
<br />
De los otros textos de la Unidad 1, el de Goffman es para leerlo por
vuestra cuenta. La teoría del dramatismo que expone Goffman es muy
aplicable al análisis del drama, y (extrañamente) no se ha hecho
mucho—si buscáis ideas para un trabajo.<br />
<br />
El texto de Fielding (<span style="font-style: italic;">Tom Jones</span>)
está también relacionado con "el mundo como teatro", un tema al que
volveremos en clase ocasionalmente. Este lo podéis leer en casa.<br />
<br />
</span><small><span style="font-size: large;"><br />
</span><span style="font-style: italic;"><big><span style="font-size: large;"><br />
<br />
Luego, pasando al tema 2, veremos selecciones de:<br />
<br />
Kyd, <span style="font-style: italic;">The Spanish Tragedie:</span><br />
<a href="http://www.gutenberg.org/files/6043/6043-h/6043-h.htm">http://www.gutenberg.org/files/6043/6043-h/6043-h.htm</a><br />
<br />
Jonson, <span style="font-style: italic;">Volpone, or The Fox</span><br />
<a href="http://www.gutenberg.org/files/4039/4039-h/4039-h.htm">http://www.gutenberg.org/files/4039/4039-h/4039-h.htm</a>
<br />
<br />
Webster, <span style="font-style: italic;">The Duchess of Malfi</span><br />
<a href="http://www.gutenberg.org/files/2232/2232-h/2232-h.htm">http://www.gutenberg.org/files/2232/2232-h/2232-h.htm</a><br />
<br />
</span></big></span><big><span style="font-size: large;"></span></big></small><small><big><span style="font-size: large;"><span style="font-size: large;">Ya
pueden comprarse en Reprografía las fotocopias con las lecturas del
programa. Las lecturas
de Reprografía siguen el orden de los temas del programa,
pero recordad que no se han incluido las de Shakespeare (temas 3, 4, y
5). Ahí podéis también usar la biblioteca, si no optáis por comprar las
obras de Shakespeare.</span></span></big></small><br />
<small><big><span style="font-size: large;"><br />
<span style="font-size: large;">Veo que la distribución "por pandemia"
de la asistencia a este grupo es un tanto absurda, dado que hay espacio
más que suficiente en clase. Usad en esto vuestro criterio según veáis
oportuno, yo no puedo sino constatar esto y a la vez recordaros las
disposiciones del Rectorado. Sea como sea, iremos siguiendo el programa
según el orden previsto a través de esta web. Quienes no hayan asistido
a las primeras sesiones, que lean cuidadosamente el programa y
contacten conmigo por email para dudas o consultas.<br />
</span>
</span></big></small></p><p><small><big><span style="font-size: large;"><span style="font-size: large;"><br />
Recordad los deberes pendientes: comprar
las lecturas en Reprografía; haceros un horario de trabajo; encargar o
localizar los libros que vayáis a utilizar para esta
asignatura.</span><br />
<small><big><span style="font-size: large;"> </span></big></small></span></big></small></p><small><big><span style="font-size: large;">
<p><small><big><span style="font-size: large;">En el punto 0.Programa
de la barra derecha tenéis detallado
el programa de la asignatura. Los distintos temas se pueden localizar
fácilmente con las etiquetas de la barra derecha: de momento, las más
relevantes son las numeradas 0 y 1, el programa y la introducción. Si
veis que algún
enlace no funciona, me lo comunicáis. </span></big></small><br />
<small><big><span style="font-size: large;"><br />
</span></big></small><small><big><span style="font-size: large;">Aquí
hay algunas cosas de <a href="https://generos-1.blogspot.com/2019/09/teoria-del-teatro-nivel-avanzado.html">NIVEL
AVANZADO (y por tanto fuera de programa) sobre teoría del teatro</a>.</span></big></small><br />
<small><big><span style="font-size: large;"> </span></big><big><span style="font-size: large;"><br />
</span><span style="font-size: large;">Entre los recursos web
adicionales que podrían interesaros (fuera de programa) hay otro blog
sobre teatro que vengo elaborando, <span style="font-style: italic;"><a href="https://thishugestage.blogspot.com/">This Huge Stage: El Gran
Teatro del Mundo</a> </span><a href="https://thishugestage.blogspot.com/">https://thishugestage.blogspot.com/</a><br />
<br />
(También como página de Facebook, <i>El Gran Teatro del Mundo:)</i> <a href="http://facebook.com/elgranteatrodelmundo">http://facebook.com/elgranteatrodelmundo</a></span></big></small><br />
<br />
<small><big><span style="font-size: large;">Allí se ponen (aparte de
enlaces y noticias muy misceláneas sobre teatro) muchos materiales
relativos a la teoría dramatística de la realidad social, y al
dramatismo inherente a muchas actividades "no teatrales"—una cuestión a
la que también iremos volviendo obsesivamente durante el curso. </span></big></small><br />
<br />
<small><big><span style="font-size: large;">Ese blog es una página de
Facebook, con lo cual es necesario registrarse en Facebook para verlo.
Si no deseáis registraros, se puede seguir en abierto en la dirección
de Blogger (blogspot). Y además todo esto es para gente especialmente
interesada en el teatro y fuera de programa. El blog de la asignatura
no es ése, sino éste en el que estamos.</span></big></small><br />
<br />
<br />
<br />
<br />
<small><big><span style="font-size: large;"> </span></big><span style="font-style: italic;"><big><br />
</big></span></small>
<br />
</p>
</span></big></small><p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-45513988964942810592021-06-21T12:30:00.003+02:002021-06-21T12:30:22.569+02:00Convocatoria de septiembre<p> </p><p>El examen de septiembre de la asignatura Géneros Literarios en la literatura Inglesa 1 tendrá lugar el 14/09/2021, de 17 a 20h en el aula 407 del Interfacultades.</p><p><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-16283180699468581482020-12-13T19:33:00.002+01:002021-10-12T11:16:05.276+02:005. SHAKESPEARE: TRAGEDIAS<p><span style="font-size: large;"></span></p><p></p><p></p><i><span style="font-size: medium;"><span style="font-family: "Cambria", serif;">Este tema empieza abajo, como en un blog.</span></span></i><br /><p><span style="font-size: x-large;">_______________________</span></p><p><span style="font-size: x-large;"><br /></span></p><p><span style="font-size: x-large;">Terminamos nuestro repaso a las tragedias de Shakespeare con <a href="https://generos-1.blogspot.com/2020/11/king-lear-complete-analysis.html" target="_blank">unas notas sobre <i>King Lear.</i></a></span></p><p><span style="font-size: x-large;"><i> </i></span></p><p><span style="font-size: x-large;"><i>_______________________</i></span></p><p><span style="font-size: x-large;"><i> </i></span></p><p><span style="font-size: x-large;"><a href="https://generos-1.blogspot.com/2020/11/king-lear-nivel-avanzado.html" target="_blank">KING LEAR: Nivel avanzado</a> <i><br /></i></span></p><p><span style="font-size: x-large;"><i>_______________________ </i><br /></span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">El 25-26 N haremos un breve repaso de las tragedias de Shakespeare, centrándonos más en nuestra principal lectura, <i>Macbeth.</i> </span></p><p><span style="font-size: x-large;"><br /></span></p><p><iframe frameborder="0" height="315" src="https://www.youtube.com/embed/1OU0cuGuPSk" style="background-image: url(https://i.ytimg.com/vi/1OU0cuGuPSk/hqdefault.jpg);" width="560"></iframe><br /><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/GLc3w-yp3wk" width="560"></iframe><br /></p><p><span style="font-size: large;"><br /></span></p><p>
</p><p class="MsoNormal"><span style="font-size: large;">Shakespeare. <i style="mso-bidi-font-style: normal;">Macbeth.</i>
<span class="style-scopeyt-formatted-string">Folger Theatre / Two River Theater
Company, co-directed by Teller and Aaron Posner. <i style="mso-bidi-font-style: normal;">YouTube (FolgerLibrary)</i> 25 March 2020.</span></span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;"> </span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;">Hay muchas otras versiones de Macbeth: las clásicas de la BBC, la más reciente de Justin Kurzel.... (ver bibliografía <a href="http://bit.ly/abibliog">http://bit.ly/abibliog</a> ). No sé si habréis visto la de Rupert Goold (2010) que ha estado disponible en nuestra web estos días, pero ya está descolgada. Aquí hay algunas más: </span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;">- <a href="https://generos-1.blogspot.com/2020/10/macbeth-1997.html" target="_blank">Macbeth for Grampian TV (1997)</a></span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;">- <a href="https://generos-1.blogspot.com/2020/10/macbeth.html" target="_blank">Macbeth on stage </a>(Bob Jones University, 2020) </span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;">Hay más siguiendo n<a href="https://generos-1.blogspot.com/search/label/Macbeth" target="_blank">uestra etiqueta "Macbeth".</a><br /></span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string" style="font-size: large;"> </span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string"><span style="font-size: large;">Una representación en español: </span><br /></span></p><p class="MsoNormal"><span class="style-scopeyt-formatted-string"><br />
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/C-gUMuDT7_A" width="560"></iframe>
</span></p><div class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;">
<i><span lang="EN-US" style="font-size: 14pt;">"La tragedia de Macbeth."</span></i><span lang="EN-US" style="font-size: 14pt;"> (Estudio 1).
Shakespeare's drama filmed for TV. </span><span lang="ES-TRAD" style="font-size: 14pt;">With Francisco Piquer, José María Escuer, Margarita Esteban, Carola F.
Gómez, Julia Lorente, Vicente Vega, Julio Núñez, José Sepúlveda, Irene Gutiérrez
Caba, Tomás Blanco, Julio Navarro, Eduardo Moreno, Víctor Fuentes, Ricardo
Merino, Rosario G. Ortega, Pilar Bienert, Félix Dafauce, Ramón Reparaz, José
Luis Lespe. TVE, 1966. </span></div>
<div class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;">
<span lang="EN-US" style="font-size: 14pt;"><span> </span><i>YouTube
(TEATRO)</i> 12 April 2018.*</span></div>
<div class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify;">
<span lang="EN-US" style="font-size: 14pt;"><a href="https://youtu.be/C-gUMuDT7_A">https://youtu.be/C-gUMuDT7_A</a></span></div>
<div class="nt" style="margin: 0cm 0cm 0cm 35.45pt; text-align: justify; text-indent: -35.45pt;">
<i><span lang="EN-US" style="font-size: 14pt;"><span> </span></span></i><span lang="EN-US" style="font-size: 14pt;">2019</span></div><p>
<br />
<br />
<br />
<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Hay otra película más
clásica aún, la de Orson Welles, de tono expresionista, bastante
recomendable. Y pueden verse otras
por ahí,
con Sean Connery, o con Rupert Goold, bastante peores.</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> _________</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> An audio on <a href="https://www.bbc.co.uk/programmes/m000mytn" target="_blank">Macbeth (BBC In Our Time)</a>.<br /></span></p><p><span style="font-size: large;"> </span><br />
<small><br />
</small><br />
_______________<br />
<br /></p><dl><dt><span style="font-size: large;"><span>Más crítica shakespeariana—<a href="https://www.gutenberg.org/files/16966/16966-h/16966-h.htm">aquí está el
libro de A. C. Bradley <span style="font-style: italic;">Shakespearean
Tragedy,</span></a> que comentamos algo en clase—quizá el más
influyente libro jamás escrito sobre
Shakespeare. Northrop Frye, a cuya <span style="font-style: italic;">Anatomy of Criticism </span>también
me referí, también fue un influyente crítico de Shakespeare en otras
obras. Y hoy en día Stephen Greenblatt, Harold Bloom...</span></span>
</dt></dl><span style="font-size: large;">
<span><br />
Un comentario adicional sobre las "fuerzas enfrentadas" en las
tragedias, según Bradley: <a href="https://www.researchgate.net/publication/228300091_Tragedia_y_Dinmica_de_Fuerzas_%28Tragedy_and_Force_Dynamics%29">"Tragedia
y dinámica de fuerzas"</a></span>
<span><br /></span>
<span><br />
Y sobre la teoría aristotélica de la tragedia hay algunas lecciones en
mi sitio web <a href="http://personal.unizar.es/garciala/hypercritica/00.Hypercritica.html">Hypercritica.</a></span><br />
<span><br />
En la sección sobre <a href="http://www.unizar.es/departamentos/filologia_inglesa/garciala/hypercritica/01.Classical/Classical.1.3/Classical.1.3.1.html">crítica
clásica</a>, claro.</span><br />
</span><p>
</p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"> </span><br />
<span style="font-size: large;">_________ </span><br />
<br />
<br />
</p><div style="text-align: right;">
<a href="https://generos-1.blogspot.com/2019/12/macbeth-sleepwalking-scene-zurich.html"><span style="font-size: large;">Verdi's opera <i>Macbeth</i>: The Sleepwalking scene</span></a></div>
<span style="font-size: large;"> </span><span style="font-size: large;"> </span><br />
<br />
<br />
<span style="font-size: large;"><br /></span>
<br />
<div style="text-align: right;">
<a href="https://generos-1.blogspot.com/2019/11/julius-caesar-bbc-nivel-avanzado.html"><span style="font-size: large;">NIVEL AVANZADO: <i>Julius Caesar,</i> </span></a></div>
<div style="text-align: right;">
<span style="font-size: large;">—one of Shakespeare's 'Roman plays' or historical tragedies.</span></div>
<span style="font-size: large;"><br /></span>
<br />
<small>
</small>
<small><br /></small><br />
<div style="text-align: right;">
<small>
<span style="font-size: large;">—unas notas sobre <a href="http://vanityfea.blogspot.com.es/2014/10/othello.html">Othello</a>.</span></small><br />
<small>
</small></div><p>
<br />
<span style="font-size: large;">__________</span><br />
</p><p></p><p></p><p></p><p></p><p><br />
<br />
<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;">Un audio de la BBC (In Our Time) sobre <i>Hamlet:</i></span></p><p><span style="font-size: large;"><a href="https://www.bbc.co.uk/programmes/b09jqtfs">https://www.bbc.co.uk/programmes/b09jqtfs</a><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Sobre algunas tragedias de Shakespeare, varias de ellas representadas en
Zaragoza,
también he escrito alguna reseña:</span><br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><a href="http://garciala.blogia.com/2006/042202-hamlet-marica.php">- Hamlet
marica</a></span>
<span style="font-size: large;"><a href="http://garciala.blogia.com/2005/121901-otelo-siempre-en-alepo.php">-
Otelo siempre en Alepo</a></span>
<span style="font-size: large;"><a href="http://garciala.blogia.com/2006/071801-korol-lir.php">-
Korol'
Lir</a></span><br />
<br />
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><i>Macbeth website at MIT:</i></span><br />
<a href="http://shakespeare.mit.edu/macbeth/full.html"><span style="font-size: large;">http://shakespeare.mit.edu/macbeth/full.html</span></a><br />
<br />
<br />
<br />
<br />
<span style="font-size: large;"> Marjorie Garber, a lecture on <i>Macbeth:</i></span><br />
<br />
<br />
<br />
<br />
<br />
<br />
</p><div style="text-align: right;">
<span style="font-size: large;">NIVEL AVANZADO: <a href="https://generos-1.blogspot.com/2019/12/nivel-avanzado-macbeth.html">Paul Cantor, 3 lectures on <i>Macbeth.</i></a></span></div><p>
<br />
<br />
<span style="font-size: x-large;">_____________</span>
<span style="font-size: x-large;"></span></p><p><span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><b>THEORIES OF TRAGEDY</b></span><br />
<br />
<span style="font-size: x-large;">Aristotle's theory of tragedy in the <i>Poetics</i>
(see Introduction): importance of action, of human defects and
limitations, of misfortune and wrong choices. Tensions added by kinship
(clashing roles).</span><br />
<br />
<span style="font-size: x-large;">Catharsis: pity and fear</span><br />
<br />
<span style="font-size: x-large;">Rationalism and lack of religious interest in Aristotle's <i>Poetics</i>. Origin of anthropological theories of tragedy.</span><br />
<br />
<br />
<b><span style="font-size: x-large;">Myth criticism:</span></b><br />
<br />
<span style="font-size: x-large;">Nietzsche: Apollonian vs. Dionysiac</span><br />
<br />
<span style="font-size: x-large;">Gilbert Murray and the seasonal cycle.</span><br />
<span style="font-size: x-large;"><span style="font-size: x-large;">Frye's cycle of mythoi (mythos of autumn).</span> </span><br />
<br />
<span style="font-size: x-large;">Girard: the tragic protagonist as <i>pharmakos</i>
or scapegoat. Exemplary suffering which rebuilds the community
through purgation of a flaw. Regeneration and acceptance of death.</span><br />
<br />
<span style="font-size: x-large;">(Cf. the noble death).</span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"><a href="https://generos-1.blogspot.com/2020/11/the-mythos-of-autumn-tragedy.html" target="_blank">Northrop Frye's archetypal theory of tragedy. </a><br /></span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">________________________ </span><br />
<br />
<br />
<b><span style="font-size: x-large;">Bradley, </span></b><span style="font-size: x-large;"><i>Shakespearean Tragedy</i></span><br />
<br />
<span style="font-size: x-large;"><b>The substance of tragedy: </b></span><br />
<span style="font-size: x-large;"><b> </b>Historical or legendary subjects<i>.</i></span><br />
<span style="font-size: x-large;">Tragedy as the story of a person (or 2)</span><br />
<br />
<span style="font-size: x-large;">Suffering in contrast to prosperity: as the product of characteristic choices.</span><br />
<br />
<span style="font-size: x-large;">Protagonist face obstacles of their own making: emphasis on responsibility and tragic choice.</span><br />
<br />
<br />
<span style="font-size: x-large;">Characteristic deeds: Abnormality, the supernatural, etc. are marginal.</span><br />
<br />
<span style="font-size: x-large;">Chance is prominent (linked to </span><span style="font-size: x-large;">unforeseeability, failure of plans and multiple consequences of actions): Fate only in that sense</span><br />
<br />
<span style="font-size: x-large;">Actions leading to conflict: both external and internal conflicts mirror each other.</span><br />
<br />
<span style="font-size: x-large;">Ruling passions or obsessions (hamartia) leading to wrong choices. Villain-heroes.</span><br />
<br />
<span style="font-size: x-large;">No divine order: a human world which involves the destruction of both good and evil.</span><br />
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;">Structure of conflict:
stability - evil impulse disturbs order - Reaction involving
destruction of both evil and good involved with it.</span><br />
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;">E.g. Macbeth.</span></p><p><span style="font-size: x-large;">See also Bradley on the rhythm of Shakespeare plays: alternation of scenes of tension and calm. </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">________________</span></p><p><span style="font-size: x-large;"> </span></p><p><span style="font-size: x-large;">NIVEL AVANZADO:</span></p><p><span style="font-size: x-large;"> <br /></span></p><p><span style="font-size: x-large;">An early tragedy, and a bit of "Bad Shakespeare"—which can be very good indeed.</span></p><p><span style="font-size: x-large;"><a href="https://generos-1.blogspot.com/2020/12/titus-andronicus-nivel-avanzado.html" target="_blank">Julie Taymor's film version of <i>Titus Andronicus.</i></a> </span><br />
<br />
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</p></style></p><p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-6749610578802621692020-12-13T19:30:00.001+01:002020-12-13T19:30:09.688+01:00“KING HENRY V” by William Shakespeare<iframe width="480" height="270" src="https://www.youtube.com/embed/ufT5GUw_dQs" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-12456880110322855912020-12-10T08:57:00.001+01:002020-12-11T19:49:38.112+01:00Stephen Greenblatt on KING LEAR<p> </p><br /><p> </p><p style="text-align: right;"><span style="font-size: large;">From <i>The Norton Shakespeare:</i></span></p><p><span style="font-size: large;"><i> </i></span></p><p style="text-align: center;"><span style="font-size: large;"><i> </i> KING LEAR</span></p><p style="text-align: center;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;">You have, King James told his eldest son a few years before Shakespeare wrote <i>King Lear,</i>
a double obligation to love God: first because He made you a man, and
second because he made you "a little God to sin on his Throne, and rule
over other men." Whatever the realities of Renaissance
kingship—realities that included the stem necessity of compromise,
reciprocity, and restraint—the idea of sovereignty was closely linked to
fantasies of divine omnipotence. From his exalted height, the sovereign
looked down upon the tiny figures of the ordinary mortals below him.
Their hopes, the material conditions of their miserable existence, their
names, were of little interest, and yet the king knew that they too
were looking back up at him. "For Kings being public persons," James
uneasily acknowledged, are set "upon a public stage, in the sight of all
the people; where all the beholders' eyes are attentively bent to look
and pry in the least circumstance of their secretist drifts." Under such
circumstances, the sovereign's dream was to command, like God, not only
unquestioning obedience but unqualified love.</span></p><p style="text-align: left;"><span style="font-size: large;">In <i>King Lear,</i>
Shakespeare explores the dark consequences of this dream not only in
the state but also in the family, where the Renaissance father
increasingly styled himself "a little God." If, as the play opens, the
aged Lear, exercising his imperious will and demanding professions of
devotion, is "every inch a king," he is also by the same token every
inch a father, the absolute ruler of a family that conspicuously lacks
the alternative authority of a mother. Shakespeare's play invokes this
royal and paternal sovereignty only to chronicle its destruction in
scenes of astonishing cruelty and power. The very words "every inch a
king" are spoken not by the confident figure of supreme authority whom
we glimpse in the first moments but by the ruined old man who perceives
in his feverish rage and madness that the fantasy of omnipotence is a
fraud: "When the rain came to wet me once, and the wind to make me
chatter; when the thunder would not peace at my bidding, there I
found'em, there I smelt 'em out. Go to, they are not men o' their words.
They told me I was everything; 'tis a lie, I am not ague-proof"
(4.5.98-102; all quotations, except where noted, are from <i>The Tragedy of King Lear</i>).</span></p><p style="text-align: left;"><span style="font-size: large;">"They
told me I was everything": Shakespeare's culture continually staged
public rituals of deference to authority. These rituals—kneeling,
bowing, uncovering the head, and so forth—enacted respect for wealth,
cast, power, and, at virtually every level of society, age, Jacobean
England had a strong official regard fro the rights and privileges of
age. It told itself that, by the will of God and the natural order of
things, authority gravitated to old men, and it contrived to ensure that
this proper, sacrified arrangement of society be everywhere respected. </span></p><p style="text-align: left;"><span style="font-size: large;">"'Tis
a lie": Shakespeare's culture continually told itself at the same time
that without the control of property and the threat of punishment, any
claim to authority was chillingly vulnerable to the ruthless ambitions
of the young, the restless, and the discontented. The incessant,
ritualized spectacles of sovereignty have a nervous air, as if no one
quite believed all the grand claims to divine sanction for the rule of
kings and fathers, as if those who ruled both states and families
secretly feared that the elaborate hiararchical structure could vanish
like a mirage exposing their shivering, defenseless bodies, <i>King Lear</i>
relentlessly stages this horrifying descent toward what the ruined
King, contemplating the filthy, naked body of a mad beggar, calls "the
thing itself": "Unaccomodated man is no more but such a poor, bare,
forked animal as thou art" (3.4.95-97). Lear and the Earl of Gloucester,
another old man whose terrible fate closely parallels Lear's,
repeatedly look up at the heavens and call upon the gods for help, but
the gods are silent. The despairing Gloucester concludes that the
universe is actively malevolent—"As flies to wanton boys are we to
th'gods / They kill us for their sport" (4.1.37-38)—but the awful
silence of the gods may equally be a sign of their indifference or their
nonexistence. </span></p><p style="text-align: left;"><span style="font-size: large;">The
story of King Lear and his three daughters had been often told when
Shakespeare undertook to make it the subject of a tragedy. The play,
performed at court in December 1605, was probably written and first
performed somewhat earlier, though not before 1603, since it contains
allusions to a book published in that year. The book is Samuel
Harsnett's <i>Declaration of Egregious Popish Impostures,</i> a florid
piece of anti-Catholic propaganda from which Shakespeare took the
colorful names of the "foul fiends" by whom the mad beggar claims to be
possessed. Thus scholars generally assign Shakespeare's composition of <i>King Lear</i> to 1604-5, shortly after <i>Othello</i> (c. 1603-4) and before <i>Macbeth</i> (c. 1606): an astounding succession of tragic masterpieces.</span></p><p style="text-align: left;"><span style="font-size: large;"><i>King Lear</i> first appeared in print in a quarto published in 1608 entitled <i>M. William Shak-speare His Historie, of King Lear; </i>a substantially different text, entiled <i>The Tragedie of King lear</i>
and grouped with the other tragedies, was printed in the 1623 First
Folio. From the eighteenth century, when the difference between the two
texts was first noted, editors, assuming that they were imperfect
versions of the identical play, customarily conflated them, blending
together the approximately one hundred Folio lines not printed in the
quarto with the approximately three hundred quarto lines not printed in
the Folio and selecting as best they could among the hundreds of
particular alternative readings. But there is a growing scholarly
consensus that the 1608 text of <i>Lear</i> represents the play as
Shakespeare first wrote it and that of the 1623 text represents a
substantial revision. (See the Textual Note for further discussion.)
Since this revision includes significant structural changes as well as
many local details, the two texts provide a precious opportunity to
glimpse Shakespeare's creative process as an artist and the
collaborative work of his theater company. Accordingly, the<i> Norton Shakespeare </i>prints <i>The History of King Lear </i>and <i>The Tragedy of King Lear</i>
on facing pages; in addition, a modern conflated version of the play
follows, so that readers will be able to judge for themselves the
effects of the familiar editorial practice of stitching together the two
texts.</span></p><p style="text-align: left;"><span style="font-size: large;">When <i>King Lear</i>
was first performed, it may have struck contemporaries as strangely
timely in the wake of a lawsuit that had occurred in late 1603. The two
elder daughters of a doddering gentleman named Sir Brian Annesley
attempted to get their father legally certified as insane, thereby
enabling themselves to take over his estate, while his youngest daughter
vehemently protested on her father's behalf. The youngest daughter's
name happened to be Cordell, a name uncannily close to that of Lear's
youngest daughters, Cordelia, who tries to save her father from the
malevolent designs of her older sisters.</span></p><p style="text-align: left;"><span style="font-size: large;">The
Annesley case is worth invoking not only because it may have caught
Shakespeare's attention but also because it directs our own attention to
the ordinary family tensions and fears around which <i>King Lear,</i>
for all of its wildness, violence, and strangeness, is constructed.
Though the Lear story has the mythic quality of a folktale
(specifically, it resembles both the tale of Cinderella and the tale of a
daughter who falls into disfavor for telling her father she loves him
as much as salt), it was rehearsed in Shakespeare's time as a piece of
authentic British history from the very ancient past (c. 800 B.C.) and
as an admonition to contemporary fathers not to put too much trust in
the flattery of their children: "Remember what happened to old King
Lear. . ." In some versions of the story, including Shakespeare's, the
warning centers on a decision to retire.</span></p><p style="text-align: left;"><span style="font-size: large;">Retirement
has come to seem a routine event, but in the patriarchal, gerontocratic
culture of Tudor and Stuart England, it was generally shunned. When
through illness or extreme old age it became unavoidable, retirement put
a severe strain on the politics and psychology of deference by driving a
wedge between status—what Lear at society's pinnacle calls "the name
and all th'addition to a king" (1.1.134)—and power. In both the state
and the family, the strain could be somewhat eased by transferring power
to the eldest legitimate male successor, but as the families of both
the legendary Lear and the real Brian Annesley showed, such a successor
did not always exist. In the absence of a male heir, the aged Lear,
determined to "shake all cares and business" from himself and confer
them on "younger strengths," attempts to divide his kingdom equally
among his daughters so that, as he puts it, "future strife / May be
prevented now" (1.1.37-38, 42-43). But this attempt is a disastrous
failure. Critics have often argued that the roots of the failure lie in
the division of the kingdom, that any parceling out of the land on a map
would itself have provoked in the audience an ominous shudder, as it is
clearly meant to do when the rebels spread out a map in anticipation of
a comparable division in <i>1 Henry IV.</i> Early seventeenth-century
audiences had reason to fear the dissolution of the realm into competing
fragments. But the focus of Shakespeare's tragedy seems to lie
elsewhere: Lear's folly is not that he retires or that he divides his
kingdom—the play opens with the Earl of Glucester and the Earl of Kent
commenting without apparent disapproval on the scrupulous equality of
the shares—but rather that he rashly disinherits the only child who
truly loves him, his youngest daughter.</span></p><p style="text-align: left;"><span style="font-size: large;">Shakespeare
contrives moreover to show that the problem with which his characters
are grappling does not simply result from the absence of a son and heir.
In his most brilliant and complex use of a double plot, he intertwines
the story of Lear and his three daughters with the story of Gloucester
and his two sons, a tale he adapted from an episode in Sir Philip
Sidney's prose romance <i>Arcadia.</i> Gloucester has a legitimate heir,
his elder son Edgar, as well as an illegitimate son, Edmond, and in
this family the tragic conflict originates not in an unusual manner of
transferring property from one generation to another but rather in the
reverse: Edmond seethes with murderous resentment at the disadvantage
entirely customary for someone in his position, both as a younger son
and as what was called a "base" or "natural" child. "Thou, nature, art
my goddess," he declares:</span></p><blockquote><p style="text-align: left;"><span style="font-size: large;"> Wherefore should I</span></p><p style="text-align: left;"><span style="font-size: large;">Stand in the plague of custom and permit</span></p><p style="text-align: left;"><span style="font-size: large;">The curiosity of nations to deprive me</span></p><p style="text-align: left;"><span style="font-size: large;">For that I am some twelve or fourteen moonshines</span></p><p style="text-align: left;"><span style="font-size: large;">Lag of a brother? Why 'bastard'? Wherefore 'base'?</span></p><p style="text-align: left;"><span style="font-size: large;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>(1.2.1-6)</span></p></blockquote><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;">For
Edmond, the social order and the language used to articulate it are
merely arbitrary constraints, obstacles to the triumph of his will. He
schemes to tear down the obstaclesby playing on his father's fears,
cleverly planting a forged letter in which his older brother appears to
be plotting against his father's life. The letter's chilling sentences
express Edmond's own impatience, his hatred of the confining power of
custom, his disgusted observation of "the oppression of aged tyranny,
who sways not as it hath power but as it is suffered"(1.2.48-49).
Gloucester is predictably horrified and incensed; these are, as Edmond
cunningly knows, the cold sentiments that the aged fear lie just beneath
the surface of deference and flattery. The forged letter reflects back
as well on the scene in which Gloucester himself has just participated: a
scene in which everyone, with the exception of the Earl of Kent, has
tamely suffered a tyrannical old man to banish his youngest daughter for
her failure to flatter him.</span></p><p style="text-align: left;"><span style="font-size: large;">Why
does Lear, who has already drawn up the map dividing the kingdom, stage
the love test? In Shakespeare's principal source, an anonymous play
called <i>The True Chronicle History of King Lear</i> (published in 1605
but dating from 1594 or earlier), there is a gratifyingly clear answer.
Leir's strong-willed daugher Cordella has vowed that she will only
marry a man whom she herself lovers. Leir wishes her to marry the man he
chooses for his own dynastic purposes. He stages the love test,
anticipating that in competing with her sisters Cordella will declare
that she loves her father best, at which point Leir will demand that she
prove her love by marrying the suitor of his choice. The stratagem
backfires, but its purpose is clear. </span></p><p style="text-align: left;"><span style="font-size: large;">By
stripping his character of a comparable motive, Shakespeare makes
Lear's act seem stranger, at once more arbitrary and more rooted in deep
psychological needs. His Lear is a man who has determined to retire
from power but who cannot endure dependence. Unwilling to lose his
identity as an absolute authority, both in the state and in the family,
he arranges a public ritual—"Which of you shall we say doth love us
most?" (1.1.49)—whose aim seems to be to allay his own anxiety by
arousing it in his children. Since the shares have already been
apportioned, Lear evidently wants his daughters to engage in a
competition for his bounty without having to endure any of the actual
consequences of such a competition; he wants, that is, to produce in
them something like the effect of theater, where emotions run high and
their practical effects are negligible. But in this absolutist theater
Cordelia refuses to perform. "What shall Cordelia speak? Love and be
silent" (1.1.60). When she says "Nothing," a word that echoes darkly
through the play, lear hears what he most dreads: emptiness, loss of
respect, the extinction of identity. And when, under further
interrogation, she declares that she loves her father "according to my
bond" (1.1.91), Lear understands these words too to be the equivalent of
"nothing."</span></p><p style="text-align: left;"><span style="font-size: large;">As
Cordelia's subsequent actions demonstrate, his youngest daughter's bond
is in reality a sustaining, generous love, but it is a love that
ultimately leads her to her death. Here Shakespeare makes an even more
startling departure not only from <i>The True Chronicle History of King Leir</i> but from all his known sources. The earliest of these, the account in Geoffrey of Monmouth's twelfth-century <i>Historia Regum Britanniae,</i> sets the pattern repeated in John Higgins's <i>Mirror for Magistrates</i> (1574 edition), William Warner's <i>Albion's England</i> (1586), Raphael Holinshed's <i>Chronicles of England, Scotland, and Ireland</i> (2nd ed., 1587) and Edmund Spenser's <i>Faerie Queene</i>
(1590, 2.10.27-32): the aged Lear is overthrown by his wicked daughters
and their husbands, but he is restored to the throne by the army of his
good daughter's husband, the King of France. The story then is one of
loss and restoration: Lear resumes his reign, and when, "made ripe for
death" by old age, as Spenser puts it, he dies, he is succeeded by
Cordelia. The conclusion is not unequivocally happy; in all of the known
cronicles, Cordelia rules worthily for several years, and then, after
being deposed and imprisoned by her nephews, in despair commits suicide.
But Shakespeare's ending is unprecedented in its tragic devastation.
When in Act 5 Lear suddenly enters with the lifeless body of Cordelia in
his arms, the original audience, secure in the expectation of a very
different resolution, must have been doubly shocked, a shock cruelly
reinforced when the signs that she might be reviving—"This feather
stirs. She lives" (5.3.239)—all prove false. Lear apparently dies in the
grip of the illusion that he detects some breath on his daughter's
lips, but we know that Cordelia will, as he says a moment earlier, "come
no more. / Never, never, never, never, never"(5.3.283-84).<br /></span></p><p style="text-align: left;"><span style="font-size: large;">Those
five reiterated words, the bleakest pentameter line Shakespeare ever
wrote, are the climax of an extraordinary poetics of despair that is set
in motion when Lear disinherits Cordelia and when Gloucester credits
Edmond's lies about Edgar. <i>King Lear </i>has seemed to many modern
readers and audiences the greatest of Shakespeare's tragedies precisely
because of its anguished look into the heart of darkness, but its vision
of sufering and evil has not always commanded unequivocal admiration.
In the eighteenth century, Samuel Johnson wrote, "I was many years ago
so shocked by Cordelia's death that I know not whether I ever endured to
read again the last scenes of the play till I undertook to revise them
as an editor." Johnson's contemporaries preferred a revision of
Shakespeare's tragedy undertaken in 1681 by Nahum Tate. Finding the play
"a Heap of Jewels, unstrung, and unpolisht," Tate proceeded to restring
them in order to save Cordelia's life and to produce the unambiguous
and happy triumph of the forces of good.</span></p><p style="text-align: left;"><span style="font-size: large;">Only
in the nineteenth century was Shakespeare's deeply pessimistic
ending—the old generation dead or dying, the survivors shaken to the
core, the ruling families all broken with no impending marriage to
promise renewal—generally restored to theatrical performance and the
tragedy's immense power fully acknowledged. Even passionate admirers of <i>King Lear,</i>
however, continued to express deep uneasiness, repeatedly noting not
only its unberably painful close but also what Johnson first called the
"improbability of Lear's conduct" and Samuel Taylor Coleridge termed the
plot's "glaring absurdity." Above all, critics questioned whether the
tragedy was suitable for the stage. Coleridge compared the suffering
Lear to one of Michelangelo's titanic figures, but the grandeur invoked
by the comparison led his contemporary Charles Lamb to conclude flatly
that "Lear is essentially impossible to be represented on stage." "To
see Lear acted," Lamb wrote, "to see an old man tottering about the
stage with a walking stick, turned out of doors by his daughters in a
rainy night, has nothing in it but what is painful and disgusting." In
such a view, <i>King Lear</i> could only be staged successfully in the
imagination; there alone would Lear's passion be perceived not like
ordinary human suffering but rather, in the marvelous characterization
of another Romantic critic, William Hazlitt, "like a sea, swelling,
chafing, raging, without bound, without hope, without beacon, or
anchor." In the theater of the mind, Shakespeare's play could assume
its true, stupendous proportions, enabling the reader to grasp its
ultimate meaning. That meaning, the great early twentieth-century critic
A. C. Bradley wrote, is that we must "renounce the world, hate it, and
lose it gladly. The only real thing in it is the soul, with its courage,
patience, devotion. And nothing outward can touch that." Splendid, but
what about the body?</span></p><p style="text-align: left;"><span style="font-size: large;">A succession of brilliant stage performances and, more recently, films has not only belied the view that <i>King Lear</i>
is intractable but also underscored the crucial importance in the play
of the body. If Shakespeare explores the extremes of the mind's anguish
and the soul's devotion, he nerver forgets that his characters have
bodies as well, bodies that have needs, cravings, and terrible
vulnerabilities. When in this trageddy characters fall from high
station, they plunge unprotected into a world of violent storms,
murderous cruelty, and physical horror. The old King wanders raging on
the heath, through a wild night of thunder and rain. Disguised as Poor
Tom, a mad beggar possessed by demons, Gloucester's son Edgar enacts a
life of utmost degradation: "Poor Tom, that eats the swimming frog, the
toad, the tadpole, the wall-newt and the water; that in the fury of his
heart, when the foul fiend rages, eats cowdung for salds, swallows the
old rat and the ditch-dog, drinks the green mantle of the standing pool"
(3.4.115-19). Gloucester's fate is even more terrible: betrayed by his
son Edmond, he is seized in his own house by Lear's reptilian daughter
Regan and her husband, Cornwall, tied to a chair, brutally interrogated,
blinded, and then thrust bleeding out of doors. </span></p><p style="text-align: left;"><span style="font-size: large;">Mortal anguish in <i>King Lear,</i>
then, is closely intertwined with physical anguish; the terrifying
forces that are released by Lear's folly crash down upon both body and
soul just as the storm that rages on the heath seems at once an
objective event and a symbolic representation of Lear's innermot being.
The greatest expression of this intertwining in the play is Lear's
madness, which brings together a devastating loss of identity, a
relentless, radical assault on the hypocrisies of authority, and a
demented, nauseated loathing of female sexuality. The loathing
culminates in a fit of retching—"Fie, fie, fie; pah, pah!"—followed by
Lear's delusional attempt to find a physical remedy for his psychic
pain: "Give me an ounce of civet, good apothecary, sweeten my
imagination" (4.5.123-24). In fact, relief from the chaotic rage of
madness comes in the wake of a deep, restorative sleep and a change of
garments.</span></p><p style="text-align: left;"><span style="font-size: large;">The body in <i>King Lear</i>
is a site not only of abject misery, nausea, and pain but of care and a
nascent moral awareness. In the midst of his mad ravings, Lear turns to
the shivering Fool and asks, "Art cold?" (3.2.67). The simple question
anticipates his recognition a few moments later that there is more
suffering in the world than his own. </span></p><blockquote><p style="text-align: left;"><span style="font-size: large;">Poor naked wretches, wheresoe'er you are,</span></p><p style="text-align: left;"><span style="font-size: large;">That bide the pelting of this pitiless storm,</span></p><p style="text-align: left;"><span style="font-size: large;">How shall your houseless heads and unfed sides,</span></p><p style="text-align: left;"><span style="font-size: large;">Your looped and windowed raggedness, defend you</span></p><p style="text-align: left;"><span style="font-size: large;">From seasons such as these? O, I have ta'en</span></p><p style="text-align: left;"><span style="font-size: large;">Too little care of this.</span></p><p style="text-align: left;"><span style="font-size: large;"><span> <span> </span><span> </span><span> </span><span> </span><span> </span><span> </span> </span>(3.4.28-33)</span></p></blockquote><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;">And
if the world seems largely unjust and indifferent to human suffering,
there are nonetheless throughout the play constant manifestations of
generosity of body as well as soul. "Help me, help me!" cries the
frightened Fool, to which Kent (disguised in order to serve the King who
has banished him) says simply, "Give me thy hand" (3.4.39-40). "What
are you?" says the blind Gloucester to the son he has unjustly
disinherited, to which the son, also in disguise, replies similarly,
"Give me your hand" (4.5.213, 216). (In a moving moment from <i>The History of King Lear,</i>
absent from the Folio version, two of Gloucester's servants not only
react with horror to their master's blinding but also resolve to assist
him: "Go thou. I'll fetch some flax and whites of eggs / To apply to his
bleeding face. Now heaven help him! [14.103-4].) Such signs of goodness
and empathy do not outweigh the harshness of the physical world of the
play, let alone cancel out the vicious cruelty of certain of its
inhabitants, but they do qualify its moral bleakness.</span></p><p style="text-align: left;"><span style="font-size: large;">It is possible to detect in <i>King Lear</i>
one of the great structural rhythms of Christianity: a passage through
suffering, humiliation, and pain to a transcendent wisdom and love.
Lear's initial actions were blind and selfish, but he comes to
acknowledge his folly and, in an immensely poignant scene, to kneel down
before the daughter he has wronged. Gloucester too learns that he was
blind, even when his eyes could see, and he passes, by means of Edgar's
strange description of the imaginary cliff, from suicidal despair to
patien resignation. "Men must endure / Their going hence even as their
coming hither," Edgar wisely counseled his father. "Ripeness is all"
(5.2.9-11). For a time, evil seems to flourish in the world, but the
wicked do not ultimately triumph. The sadistic Duke of Cornwall is
fatally wounded by his own morally upright servant, Edmond is killed by
the brother he had tried to destroy, the loathsome Oswald is clubbed to
death trying to murder Gloucester, one wicked sister poisons the other
and then kills herself. Against self-interest and in the face of
intolerable pressure, goodness shines forth. The earl of Kent, banished
by the rash Lear, dons a disguise in order to serve his king and master,
and there are comparable acts devoted service and self-sacrificing love
from Edgar, Cordelia, and that remarkable figure the Fool. In one of
the comic masterpieces of the sixteenth century, <i>The Praise of Folly,</i>
the great Dutch humanist Erasmus used the fool as an emblem of the
deepest Christian wisdom, revealed only when the pride, cruelty, and
ambition of the world are shattered by a cleansing laughter.The
shattering in <i>King Lear</i> is tragically violent and deadly, but the presence of the truth-telling Fool seems to point toward a comparable revelation.</span></p><p style="text-align: left;"><span style="font-size: large;">Yet <i>King Lear,</i>
set in a pagan world, resists the redemptive optimism that underlies
the Christian vision (an optimism that led Dante to call his poem of
damnation and salvation <i>The Divine Comedy</i>). The Fool's
unnervingly perceptive observations sound far more corrosive than
loving—he is, in Lear's words, "a bitter fool" (1.4.122)—and he
disappears altogether in the third act. His moments of insight and those
of all the other characters in the play are radically unstable, like
brilliant flashes of lightning in a vast, dark landscape. Hence, for
example, Lear's recognition of his folly in banishing Cordelia for her
"most small fault" (1.4.228) is immediately followed by his hideous
cursing of Goneril. His moving acknowledgement of the suffering of the
poor naked wretches is immediately followed by his inability to see the
poor naked wretch before him in any terms but his own: "Didst thou give
all to thy two daughters, /And art thou come to this?" (3.4.47-48). And
his appeal to patient resignation—"When we are born, we cry that we are
come / To this great stage of fools" (3.5.172-173)—is immediately
followed by a mad fantasy of revenge: "The kill, kill, kill, kill, kill,
kill!" Every time we seem to have reached firm moral ground, the ground
shifts, and we are kept, as Johnson observed, in "a perpetual tumult of
indignation, pity, and hope." There are moments of apparent resolution:
"Let's away to prison," says Lear to the weeping Cordelia, when they
are captured by the enemy. "We two alone will sing like birds i'th'cage"
(5.3.8-9). But a more terrible fate lies before them. "Some good I mean
to do," says the dhying Edmond, "despite of mine own nature"
(5.3.217-18). But his attempt to send a reprieve and therefore in some
measure to reedeem himself comes too late. The play's nightmarish events
continually lurch ahead of intentions, and even efforts to say "I have
seen the worst" are frustrated. </span></p><p style="text-align: left;"><span style="font-size: large;">The
tragedy is not only that the intervals of moral resolution, mental
lucidity, and spiritual calm are so brief, continually giving way to
feverish grief and rage, but also that the modest human understandings,
moving in their simplicity, cost such an enormous amount of pain. Edgar
saves his father from despair but also in some sense breaks his father's
heart. Cordelia's steadfast honesty, her refusal to flatter the father
she loves, is admirable but has disastrous consequences, and her attempt
to save Lear only leads to her own death. For a sublime moment, Lear
actually sees his daughter, understands her separateness, acknowledges
her existence—</span></p><p style="text-align: left;"><span style="font-size: large;"><span> </span><span> </span><span></span></span></p><blockquote><p style="text-align: left;"><span style="font-size: large;"><span> </span>Do not laugh at me;</span></p><p style="text-align: left;"><span style="font-size: large;">For as I am a man, I think this lady</span></p><p style="text-align: left;"><span style="font-size: large;">To be my child, Cordelia—</span></p></blockquote><p style="text-align: left;"><span style="font-size: large;"> </span></p><p style="text-align: left;"><span style="font-size: large;">but it has taken the destruction of virtually his whole world for him to reach this recognition (4.6.61-63).</span></p><p style="text-align: left;"><span style="font-size: large;">An
apocalyptic dream of last judgment and redemption hovers over the
entire tragedy, but it is a dream forever deferred. At the sight of the
howling Lear with the dead Cordelia in his arms, the bystanders can only
ask a succession of stunned questions:</span></p><blockquote><p style="text-align: left;"><span style="font-size: large;">KENT <span> </span><span> </span>Is this the promised end?</span></p><p style="text-align: left;"><span style="font-size: large;">EDGAR<span> </span>Or image of that horror?</span></p><p style="text-align: left;"><span style="font-size: large;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>(5.3.237-38) </span></p></blockquote><p style="text-align: left;"><span style="font-size: large;">Lear's
own question a moment later seems the most terrible and the most
important: "Why should a dog, a horse, a rat have life, / And thou no
breath at all?" (5.3.281-82). It is a sign of <i>King Lear'</i>s
astonishing freedom from orthodoxy that it refuses to offer any of the
conventional answers to this question, anwers that largely serve to
conceal or deflect the mourner's anguish. Shakespeare's tragedy asks us
not to turn away from evil, folly, and unbearable human pain but, seeing
them face-to-face, to strengthen our capacity to endure and to love.</span></p><p style="text-align: right;"><span style="font-size: large;"> Stephen Greenblatt <br /></span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: center;"><span style="font-size: large;">—oOo—<br /></span></p><p style="text-align: left;"><span style="font-size: large;"><br /></span></p><p style="text-align: left;"><span style="font-size: large;"><br /><br /></span></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-77061409249641094122020-12-08T23:46:00.004+01:002020-12-08T23:46:44.660+01:00KING LEAR (Nivel avanzado)<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/yLaqoQSAct8" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-86685834563812672092020-12-07T08:12:00.003+01:002020-12-07T08:35:26.664+01:00The Phantom of the Opera (NIVEL AVANZADO)<iframe frameborder="0" height="344" src="https://www.youtube.com/embed/mREzIBmOpBY" style="background-image: url(https://i.ytimg.com/vi/mREzIBmOpBY/hqdefault.jpg);" width="459"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-70214754008605869362020-12-06T13:49:00.004+01:002020-12-06T14:41:51.551+01:00TITUS ANDRONICUS (NIVEL AVANZADO)<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/FedL4B11r60" width="560"></iframe><br /></p><p><br /></p><p>
</p><p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="ES-TRAD">Titus.</span></i><span lang="ES-TRAD"> Dir. Julie Taymor. Screenplay by Julie Taymor, based on
Shakespeare's <i style="mso-bidi-font-style: normal;">Titus Andronicus. </i>Cast:
Anthony Hopkins, Jessica Lange, Alan Cumming, Colm Feore, James Frain, Laura
Fraser, Harry Lennix, Angus MacFadyen, Matthew Rhys, Jonathan Rhys Meyers.
Urania Pictures and NDF International Production. Casting by Irene Lamb and
ellen Lewis. Ed. Françoise Bonnot. Costume des. Milena Canonero. Prod. des.
Dante Ferretti. Photog. Luciano Tovoli. Music by Elliot Goldenthal. Co-prod.
Adam Leipzig and Michiyo Yoshizaki. Co-exec. prod. Ellen Little, Robert Little,
Stephen K. Bannon. Exec. prod. Paul G. Allen. Prod. Jody Patton, Conchita
Airoldi and Julie Taymor. USA: Clear Blue Sky, 1999.</span></p><p class="MsoNormal"><br /></p><p class="MsoNormal"><span lang="ES-TRAD" style="font-size: large;"><a href="https://www.gutenberg.org/cache/epub/1106/pg1106.html" target="_blank">Shakespeare's </a><i><a href="https://www.gutenberg.org/cache/epub/1106/pg1106.html" target="_blank">Titus Andronicus</a> </i>(Project Gutenberg).</span></p><p class="MsoNormal"><span lang="ES-TRAD"><br /></span></p><p class="MsoNormal"><span lang="ES-TRAD"><br /></span></p>
<p></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-79221690929503584852020-12-06T12:46:00.003+01:002020-12-06T12:46:23.824+01:00Dr Kat and Shakespeare's Henry V<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/WdDb_32nxSY" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-28551544660133070032020-12-02T23:30:00.006+01:002020-12-10T08:59:16.642+01:00King Lear (NIVEL AVANZADO)<p></p><p></p><p>BBC radio play with John Gielgud, Kenneth Branagh and Emma Thompson:<br /><br /><iframe frameborder="0" height="344" src="https://www.youtube.com/embed/1JylxvHvdtA" width="459"></iframe><br /></p><p><br /></p><p><br /></p><p>______________</p><p><br /></p><p><span style="font-size: large;"><a href="https://generos-1.blogspot.com/2020/12/stephen-greenblatt-on-king-lear.html" target="_blank">KING LEAR: Some notes by Stephen Greenblatt, </a>from the <i>Norton Shakespeare.</i></span><br /></p><p>_______________<br /></p><p><br /></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>
</p><p class="MsoNormal"><i style="mso-bidi-font-style: normal;"><span lang="EN-US" style="mso-ansi-language: EN-US;">King Lear.</span></i><span lang="EN-US" style="mso-ansi-language: EN-US;"> TV film of Shakespeare's play. Dir. Michael
Elliott. Cast: Laurence Olivier, John Hurt, Robert Lindsay, Diana Rigg. Exec.
prod. David Plowright. Music by Gordon Crosse. Prod. Laurence Olivier. UK:
Granada Television, 1983. (International Emmy Award Winner).</span></p>
<p><style>
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{page:WordSection1;}</style><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/S8MqqPPTXJk" width="560"></iframe><br /><br /></p><p></p><p>__________________</p><p></p><p></p><p></p><p></p><p></p><p><br /><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-88250614913909891692020-11-30T17:33:00.005+01:002020-11-30T17:33:55.560+01:00The Mikado 1966 Gilbert & Sullivan (NIVEL AVANZADO)<iframe width="459" height="344" src="https://www.youtube.com/embed/6AtEIuagK-k" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-20448589137568426122020-11-30T13:58:00.001+01:002020-12-06T14:18:04.735+01:00KING LEAR (NIVEL AVANZADO)<p> </p><p><span style="font-size: large;">- BBC In Our Time: <a href="https://generos-1.blogspot.com/2020/11/king-lear-in-our-time-nivel-avanzado.html" target="_blank">King Lear.</a></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">- Paul Cantor, <a href="https://www.youtube.com/playlist?list=PLvf7ejBdYbcQGDRz1v1meWeQtl8oToexj" target="_blank">4 lectures on King Lear.</a> </span><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-74366192952081226232020-11-30T13:55:00.004+01:002020-11-30T13:55:46.198+01:00King Lear (In Our Time) (NIVEL AVANZADO)<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/x96ZqhPhbh8" style="background-image: url(https://i.ytimg.com/vi/x96ZqhPhbh8/hqdefault.jpg);" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-4307063775913436212020-11-30T12:59:00.001+01:002020-11-30T12:59:08.960+01:00King Lear - A Complete Analysis (Shakespeare's Works Explained)<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/3sgGh5c32II" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-6034650694389935452020-11-29T12:09:00.004+01:002020-11-29T12:09:32.299+01:00Gilbert and Sullivan: Ruddigore (NIVEL AVANZADO)<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/litYduyL1Xw" style="background-image: url(https://i.ytimg.com/vi/litYduyL1Xw/hqdefault.jpg);" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-6929559031191499212020-11-25T14:36:00.003+01:002020-11-25T14:36:53.581+01:00The Mythos of Autumn: Tragedy<p style="text-align: right;"><a href="https://vanityfea.blogspot.com/2018/05/notes-from-northrop-fryes-anatomy-of.html" target="_blank"> Notes from Northrop Frye's <i>Anatomy of Criticism</i></a><br /></p><p> </p><p><span style="font-size: large;">From the Third Essay —ARCHETYPAL CRITICISM (THEORY OF MYTHS):</span></p><p style="text-align: right;"><span style="font-size: large;"><i>The mythos of spring: Comedy</i></span></p><p style="text-align: right;"><span style="font-size: large;"><i>The mythos of summer: Romance</i></span></p><p style="text-align: right;"><span style="font-size: large;"><i>... the Mythos of winter: Irony and satire </i><br /></span></p><p><span style="font-size: large;"><span><span><br /></span></span>
<span><span><b>The mythos of autumn: Tragedy</b></span></span><br />
<br />
<span><span>(206):
"Without tragedy, all literary fiction might be plausibly explained as
expression of emotional attachments, whether of wish-fulfilment or of
repugnance: the tragic fiction guarantees, so to speak, a disinterested
quality in literary experience." 'Realism' as emancipation from dream.
Tragedy is not confined to drama or to disastrous endings. The source of
tragic effect is not in the mood but in the mythos (Aristotle). Comedy
is based on social groups; tragedy focuses on the individual, between
the divine and the all too human. </span></span><br />
<br />
<span><span>(207):
"The tragic hero is very great as compared with us, but there is
something else, something on the side of him opposite the audience,
compared to which he is small." The hero is our mediator, wrapped in the
mystery of that communion, isolated. What is beyond? (208) "Tragedy
seems to lead up to an epiphany of law, of that which is and must be."
Fate, etc.—a law superior to the gods themselves (cf. the Father's will,
vs. Christ's). </span></span><br />
<br />
<span><span>Revenge
tragedy has a simple, binary structure (as opposed to threefold comedy).
Revenge may come from another world. The law of nature comprises it as
well. <i>Diké, </i>justice; the righhting of the balance = nemesis.
Nemesis happens impersonally, unaffected by the moral quality of the
human motivation involved. </span></span><br />
<span><span>- Fate
is not external to the hero all the time: normally only after the tragic
process has been set going. Admixture of heroism necessary (unlike in
irony). </span></span><br />
<span><span> - Also,
the moral interpretation of tragedy is reductive. Hamartia is not
equivalent to sin. Hybris is frequent as the cause of the hero's
downfall. But the morally intelligible process is only a part; catharsis
cannot be reduced to a moral interpretation. At the core: is the
innocent sufferer a tragic figure? Tradedy is not concerned with it; it
eludes the antitheses<i> good / evil</i> and <i>moral responsibility / arbitrary fate. </i>An archetypal tragic situation in <i>Paradise Lost:</i> man is "sufficient to have stood, though free to fall". Otherwise, we would be in irony or in romance. <i>Proairesis</i> or moral choice as a use of freedom to lose freedom; to come under the consequences of one's act and fate. </span></span><br />
<br />
<span><span>(212):
"And just as comedy often sets up an arbitrary law and then organizes
the action to break or evade it, so tragedy presents the reverse theme
of narrowing a representatively free life into a process of causation".
At the end, the hero recognizes the determined shape of the life he has
created for himself.</span></span><br />
<br />
<span><span>Aristotle's <i>hamartia</i>
is a condition of being, not a cause of becoming. At a point, the
audience can see both what might have been and what will be. Nemesis is
involved with time, whose movement is fatal to the tragic hero as it is
beneficial to the comic hero. In irony, unlike tragedy, there is no
sense of contact with a timeless world.</span></span><br />
<span><span><br /></span></span>
<span><span>Each theory of tragedy is based on a particular tragedy: Aristotle's on <i>Oedipus the King, </i>Hegel's on <i>Antigone,</i> here <i>Paradise Lost. </i>There are analogies between tragedy and sacrificial ritual; pity and fear are crucial, too, a sense of rightness and wrongness.</span></span><br />
<span><span><br /></span></span>
<span><span>(214):
"just as the literary critic finds Freud most suggestive for the theory
of comedy and Jung for the theory of romance, so for the theory of
tragedy we naturally look for the psychology of the will to power as
expounded in Adler and Nietzsche." Dionisiac dreams will impinge upon
an Apollonian sense of external order. The vision of the death of the
herodraws survivers into a new unity. The hidden world and its
remoteness has become visible. Tragedy is a part of quest-myth, a
prelude to comedy. It is virtually impossible to make a comedy end
somberly; it is not 'natural'. Comic actions in tragedies are contained
in underplots, not in the main plot.</span></span><br />
<span><span><br /></span></span>
<span><span><i>Characterization:</i></span></span><br />
<br />
<span><span>The source of the nemesis is an<i> eiron. </i>The
withdrawn eiron of comeddy is here a god or a ghost or an invisible
force. The "vice" is here a soothsayer or prophet, or a Machivellian
villain, who is also an architectus or projection of the author's will. </span></span><br />
<span><span><br /></span></span>
<span><span>The tragic hero is an <i>alazon </i>(unlike
in comedy). He is self-deceived by hybris, and often holds a tyrannic
or unlawful power: the rightful owner is often a victim. </span></span><br />
<br />
<span><span>Parental figures have the same ambivalence as in other forms. </span></span><br />
<br />
<span><span>The <i>bomolochoi </i>turn
here into suppliants, destituted females... They are pathetic, nor
tragic. There are terrible consequences if they are rejected, <i>they</i> arouse pity and fear. </span></span><br />
<span><span><br /></span></span>
<span><span>The <i>agroikos</i>
here is an outspoken plain dealer, a chorus character. (218) "In comedy
a society forms around the hero: in tragedy the chorus, however
faithful, usually represents the society from which the hero is
gradually isolated." There is an embryonic germ of comedy in tragedy,
just as the refusal of festivity is tragic in comedy. </span></span><br />
<br />
<span><span>Love and society are not integrated in tragedy: love is reduced to passion and social activity to duty: cf. <i>Antigone. </i></span></span><br />
<br />
<span><span>The
phases of tragedy go from heroic to ironic. The first three correspond
to teh first three of romance; the last three correspond to the last
three phases of irony.</span></span><br />
<br />
<span><span>1) The hero is given the greatest dignity in contrast to others: the stag pulled down by wolves. Often a calumniated mother.</span></span><br />
<br />
<span><span>2) The tragedy of innocence in the sense of inexperience. Often characters survive, adjusted to adult situations.</span></span><br />
<br />
<span><span>3) An
emphasis on the completeness of the hero's achievement. The paradox of
the downfall which is a triumph, or a triumph with an impending tragic
resolution.</span></span><br />
<span><span><br /></span></span>
<span><span>4) The typical fall of the hero through <i>hamartia</i> (the tragic flaw).</span></span><br />
<span><span><br /></span></span>
<span><span>5) In
this phase the heroic element decreases, the ironic one increases; the
characters are seen from further away and in a smaller perspective. The
ironic perspective is attained by putting characters in a state of lower
freedom than the audience (<i>e.g. cultural inferiority</i>). Tragedies
dealing with existential projections of fatalism belong here. They deal
with metaphysical or theological questions rather than social and moral
ones.</span></span><br />
<span><span><br /></span></span>
<span><span>6) A world of shock and horror, with central images of <i>sparagmos</i>
(dismemberment), mutilation, cannibalism and torture. The hero is too
agonized to achieve a heroic status; often a villainous hero. Demonic
epiphanies, glimpses of undisplaced demonic vision. The chief symbols
are teh prison, the madhouse, the torture chamber. The victim
experiences horror at being watched by public exposure.</span></span><br /> </span><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-34694143348900203072020-11-23T13:23:00.001+01:002020-11-23T13:23:52.505+01:00MACBETH - FULL SHOW | Shakespeare Season | The Shows Must Go On<iframe width="480" height="270" src="https://www.youtube.com/embed/3dalKG4ZiYg" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-10021943466364388262020-11-23T07:54:00.004+01:002020-11-23T07:54:52.805+01:00Henry Purcell DIDO AND AENEAS - OPERA LIVE STREAMING<iframe width="480" height="270" src="https://www.youtube.com/embed/4ofSW5rZKDQ" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-39106183865877844462020-11-22T18:22:00.002+01:002020-11-22T18:22:28.078+01:00David Bevington on THE TEMPEST<p> </p><iframe width="560" height="315" src="https://www.youtube.com/embed/EoZClxzMjr4?start=168" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-46433127167982552802020-11-21T19:59:00.002+01:002020-11-21T19:59:35.417+01:00The Tempest<iframe style="background-image:url(https://i.ytimg.com/vi/4qheHYn3rLY/hqdefault.jpg)" width="459" height="344" src="https://www.youtube.com/embed/4qheHYn3rLY" frameborder="0"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-6917714879995598392020-11-21T18:18:00.004+01:002020-11-22T18:30:07.129+01:004. SHAKESPEARE: COMEDIAS<p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Terminamos con <i>The Tempest</i> el tema 4, y pasamos al <a href="https://generos-1.blogspot.com/2019/12/4-shakespeare-tragedias.html" target="_blank">tema 5, las tragedias de Shakespeare,</a> en los días que quedan de noviembre.</span></p><p><span style="font-size: large;">Las clases del Dr. García Landa terminan en noviembre, y en diciembre y enero los temas 6-8 estarán a cargo de otro profesor.</span></p><p><span style="font-size: large;">___________________________</span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;">Two lectures on Shakespeare's comedy (or 'tragicomedy', or 'romance') <i>The Tempest:</i><br /></span></p><p><span style="font-size: large;">- <a href="https://generos-1.blogspot.com/2020/11/david-bevington-on-tempest.html" target="_blank">David Bevington on <i>The Tempest.</i></a><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">- 400 Years later: Shakespeare's <i>The Tempest </i>and Early America: <br /></span></p><p><a href="https://generos-1.blogspot.com/2020/11/400-years-later-shakespeares-tempest.html" target="_blank"><span style="font-size: large;">a video lecture on William Shakespeare's <i>The Tempest</i></span></a></p><p><span style="font-size: large;"><i> </i></span></p><p><span style="font-size: large;"><i>___________________________ </i> <br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">NIVEL AVANZADO: </span></p><p><a href="https://generos-1.blogspot.com/2020/11/paul-cantor-on-tempest.html" target="_blank"><span style="font-size: large;">Paul Cantor on The Tempest</span></a></p><p><span style="font-size: large;"><a href="https://generos-1.blogspot.com/2020/11/david-bevington-tempest-as-utopia.html" target="_blank">David Bevington on <i>The Tempest</i> </a><br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Más sobre <a href="https://generos-1.blogspot.com/2019/12/nivel-avanzado-comedias-de-shakespeare.html" target="_blank">otras comedias de Shakespeare</a>.</span><br /></p><p><span style="font-size: large;">______________________</span></p><p><span style="font-size: large;">Julie Taymor's film of <i>The Tempest,</i> with Helen Mirren as 'Prospera':</span></p><p><span style="font-size: large;"><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IsAlO994niA" width="560"></iframe></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;">Y (por comparar adaptaciones e interpretaciones) <a href="https://generos-1.blogspot.com/2020/11/the-tempest.html" target="_blank">una versión para televisión de 1960 (bastante recortada).</a><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;"><br /></span></p><p><span style="font-size: large;">______________________<br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Commentary of some passages in <i>The Tempest:</i> </span></p><p><span style="font-size: large;">1.2 Caliban</span></p><p><span style="font-size: large;">2.1 Gonzalo's utopia</span></p><p><span style="font-size: large;">3.3 The vanishing banquet</span></p><p><span style="font-size: large;">4.1 The masque / Our revels now are ended:</span></p><p><br /></p><p><span style="font-size: large;"> </span><span style="font-size: large;"><a name="speech33"><b>PROSPERO</b></a></span>
</p><blockquote>
<span style="font-size: large;"><a name="4.1.161">You do look, my son, in a moved sort,</a><br /></span>
<span style="font-size: large;"><a name="4.1.162">As if you were dismay'd: be cheerful, sir.</a><br /></span>
<span style="font-size: large;"><a name="4.1.163">Our revels now are ended. These our actors,</a><br /></span>
<span style="font-size: large;"><a name="4.1.164">As I foretold you, were all spirits and</a><br /></span>
<span style="font-size: large;"><a name="4.1.165">Are melted into air, into thin air:</a><br /></span>
<span style="font-size: large;"><a name="4.1.166">And, like the baseless fabric of this vision,</a><br /></span>
<span style="font-size: large;"><a name="4.1.167">The cloud-capp'd towers, the gorgeous palaces,</a><br /></span>
<span style="font-size: large;"><a name="4.1.168">The solemn temples, the great globe itself,</a><br /></span>
<span style="font-size: large;"><a name="4.1.169">Ye all which it inherit, shall dissolve</a><br /></span>
<span style="font-size: large;"><a name="4.1.170">And, like this insubstantial pageant faded,</a><br /></span>
<span style="font-size: large;"><a name="4.1.171">Leave not a rack behind. We are such stuff</a><br /></span>
<span style="font-size: large;"><a name="4.1.172">As dreams are made on, and our little life</a><br /></span>
<span style="font-size: large;"><a name="4.1.173">Is rounded with a sleep. Sir, I am vex'd;</a><br /></span>
<span style="font-size: large;"><a name="4.1.174">Bear with my weakness; my, brain is troubled:</a><br /></span>
<span style="font-size: large;"><a name="4.1.175">Be not disturb'd with my infirmity:</a><br /></span>
<span style="font-size: large;"><a name="4.1.176">If you be pleased, retire into my cell</a><br /></span>
<span style="font-size: large;"><a name="4.1.177">And there repose: a turn or two I'll walk,</a><br /></span>
<span style="font-size: large;"><a name="4.1.178">To still my beating mind.</a></span></blockquote><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">5.1 Reconciliation and abandoning Rough magic</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Prospero's farewell:</span></p><p><span style="font-size: large;"> </span></p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/sc5WPpqn13k" width="560"></iframe><p><span style="font-size: large;"> <br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">_____________________ <br /></span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">Seguimos con <i>The Tempest, </i>amén de otras comedias.</span></p><p><span style="font-size: large;"></span></p><p><span style="font-size: large;">- <i>The Merchant of Venice</i> (Shylock and the trial)</span></p><p><span style="font-size: large;">- <i>A Midsummer Night's Dream</i> (<a href="http://shakespeare.mit.edu/midsummer/midsummer.5.1.html" target="_blank">Act 5, </a><i><a href="http://shakespeare.mit.edu/midsummer/midsummer.5.1.html" target="_blank">Pyramus and Thisbe</a>)</i><br />
<span style="font-size: x-large;"></span><span style="font-size: x-large;"><br />
<span><i>Una canción de The Tempest:</i></span><br />
<span></span><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Z18AD5iwvb4" width="560"></iframe>
<span></span>
<span><br /></span>
<span><br /></span>
<span>Marjorie Garber, a lecture on <i>The Tempest</i></span><br />
<span></span><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xryT4B4sOY0" width="560"></iframe>
<span></span>
<span></span><br />
<span></span><br />
<a href="http://www.shakespeare-online.com/plays/tempscenes.html"><span><br /></span></a><span> </span><br />
<span><a href="http://www.shakespeare-online.com/plays/tempscenes.html">- An online edition of The Tempest</a> (Shakespeare Online, MIT). With commentary of main issues, etc.</span><br />
<br />
<br />
<span>A tutorial summarizing <i>The Tempest:</i></span><br />
</span><br />
<br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UvznOeSyESU" width="560"></iframe>
<br />
<br />
</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;"> ________________</span></p><p><span style="font-size: large;"> </span></p><p><span style="font-size: large;">NIVEL AVANZADO:</span></p><p><span style="font-size: large;"><a href="https://generos-1.blogspot.com/2020/11/the-merchant-of-venice-nivel-avanzado.html" target="_blank">Paul Cantor on <i>The Merchant of Venice</i></a> (video lectures).<br /></span>
</p><p><span style="font-size: large;">_______________</span></p><p><span style="font-size: large;">Interludio: </span></p><p><span style="font-size: large;"><a href="https://generos-1.blogspot.com/2020/11/alumno-distinguido-2020-jose-luis.html" target="_blank">José Luis Esteban, gran cómico aragonés,</a> nombrado Alumno Distinguido de nuestra Facultad.</span><br /></p><p>_______________<br /><small><br />
<span style="font-size: x-large;">Trataremos las comedias de Shakespeare con un poco de teoría de la comedia, análisis de algunas escenas, y centrándonos luego más en <i>The Tempest.</i></span></small></p><p><small><span style="font-size: x-large;"><i> </i></span></small></p><p><small><span style="font-size: x-large;"><i><a href="https://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=tempest" target="_blank">The TEMPEST</a> (Open Source Shakespeare) </i></span></small></p><p><small><span style="font-size: x-large;"><i><br /></i></span></small></p><p><small><span style="font-size: x-large;">Comedy, dramatism and theatricality in Shakespeare:</span></small></p><p><small><span style="font-size: x-large;">- Foregrounding of performance <br /></span></small></p><p><small><span style="font-size: x-large;">- Mechanism and complication</span></small></p><p><small><span style="font-size: x-large;">- The dialectics of scripted / unscripted action</span></small></p><p><small><span style="font-size: x-large;">- Complex use of sources and materials.<br /></span></small></p><p><small><span style="font-size: x-large;"><br /></span></small></p><p><small><span style="font-size: x-large;">Theatricality in <a href="https://shakespeare.folger.edu/shakespeares-works/twelfth-night/" target="_blank"><i>Twelfth Night.</i></a> (Analysis of 1.5, 5.1).<br /></span></small></p><p><small><span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;"> - The early comedies (<i>The Two Gentlemen of Verona, The Comedy of Errors, <a href="https://www.youtube.com/watch?v=J_bsyfd5Hbg">The Taming of the Shrew</a></i>).</span></small></p><p><small><span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;">Katherina's final monologue in <i>The Taming of the Shrew. <br /></i></span></small></p><br /><p><small><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ti1Oh9imI8I" width="560"></iframe>
<br />
<span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;"><i> </i></span></small></p><small><span style="font-size: x-large;"><b>Theories of humour:</b></span></small><p><small><span style="font-size: x-large;">Bergson, <i>Le rire.</i> Theory of automatism and liberation from automatism.</span><br />
<br />
<span style="font-size: x-large;">Freud, <i>Jokes and their Relation to the Unconscious.</i> Humour as an escape from repression and authority.</span><br />
<br />
<span style="font-size: x-large;">Priestley: Emphasis on the observation of character and the incongruities it leads to.</span><br />
<br />
<span style="font-size: x-large;">(Social dramatism: incongruities of different social roles on the same individual).</span><br />
<br />
<span style="font-size: x-large;">Desire, sexuality and manners: Comedy as the liberation from a suffocating system of manners and regulated desire.</span><br />
<br />
<span style="font-size: x-large;">Langer: Humour and laughter as the
by-product of a system of conventions. Emphasis on the comedy as a work
of art and an aesthetic artifact which invokes certain conventions and
plays with them. </span><br />
<br />
<span style="font-size: x-large;">Examples from <i>Twelfth Night </i>(E.g. Feste and the rioters vs. Malvolio's puritanism; courtship of Olivia and Viola).</span></small></p><p><small><span style="font-size: x-large;"> <br /></span></small></p><p><small><span style="font-size: x-large;"> </span><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/wsHuAukvs-Q" width="560"></iframe><br />
<br />
<span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;"> </span></small></p><p><small><span style="font-size: x-large;"><a href="https://vanityfea.blogspot.com/2018/05/notes-from-northrop-fryes-anatomy-of.html">Northrop Frye's </a><i><a href="https://vanityfea.blogspot.com/2018/05/notes-from-northrop-fryes-anatomy-of.html">Anatomy of Criticism</a>.</i> Comedy as the mythos of spring. Phases of comedy:</span><br />
<br />
<span style="font-size: x-large;">- Comedies of manners, which put
emphasis on satire and the blocking characters. (Ironic phase,
Quixotic phase, New Comedy)</span><br />
<br />
<span style="font-size: x-large;">- Romantic comedies, emphasizing the
scenes of discovery, liberation and reconciliation. (Romantic comedy,
romances, collapse of comic worlds).</span><br />
<br />
<span style="font-size: x-large;">An order of harmony and stability is
disrupted by blocking and ambitious characters, and then is restored
with the liberation of desire and the punishment of social vices.</span><br />
<br />
<span style="font-size: x-large;">Aristotelian criticism (<i>Tractatus Coislinianus) -</i>Types of comic characters: <i>eiron, alazon, bomolochos</i></span><br />
<br />
<span style="font-size: x-large;">Frye adds the <i>agroikos</i> or killjoy.<i> </i> </span><br />
<br />
<span style="font-size: x-large;">- Kinds of comedies: Old
comedy, New comedy, Commedia dell' arte, romantic comedy, comedy of
humours and comedy of manners....</span><br />
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;">Emphasis on different comic resources (Sypher):</span><br />
<span style="font-size: x-large;">obscenity, Bergsonian automatism,
Farce and slapstick, Wit and verbal battles, comic characters
(Falstaff, Mercutio... who may disrupt the logic of the plot), Comedy
of ideas vs social folly, High comedy, empathy and wisdom.</span><br />
<span style="font-size: x-large;"><br /></span>
<span style="font-size: x-large;"><br /><br /></span>
</small></p><p><small><br />
</small></p><p><br /><small><br />
<br />
<small><span style="font-size: large;"><i><span style="font-weight: bold;"><br />
</span></i><span style="font-size: large;"><span style="font-weight: bold;">Algo de cara a las comedias:<br />
<br />
</span>Después de
las Historias de Shakespeare
pasamos a las Comedias. Aquí unos temillas sobre <a href="https://generos-1.blogspot.com/2020/11/comedy-reiss.html">la
comedia teatral y su tradición</a>. <br />
<br />
Y aquí un excurso sobre la comedia romántica en el cine. No es lo
mismo, pero <a href="https://www.academia.edu/26852641/">the fundamental things apply</a>.<br />
<span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"><span style="font-weight: bold;"></span></span></span></span><br />
<br />
Unas notas sobre <a href="https://generos-1.blogspot.com/2020/11/much-ado-about-nothing-and-its-afterlife.html" target="_blank"><i>Much Ado About Nothing—and its afterlife.</i></a><br />
<br />
<br />
<span style="font-weight: bold;">
</span>Resumen y versión cinematográfica de <a href="http://vanityfea.blogspot.com.es/2014/11/twelfth-night-or-what-you-will.html">TWELFTH
NIGHT</a>.<span style="font-weight: bold;"><br />
<br />
</span></span></span></small><br />
</small></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-11687749621397355202020-11-21T18:02:00.009+01:002020-11-21T18:09:34.656+01:00400 Years Later: Shakespeare's "The Tempest" and Early America<iframe width="560" height="315" src="https://www.youtube.com/embed/-sALD1mG9k4?start=310" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-42057348860587886212020-11-20T23:04:00.002+01:002020-11-20T23:04:19.246+01:00David Bevington, "The Tempest as Utopia" (NIVEL AVANZADO)<iframe frameborder="0" height="270" src="https://www.youtube.com/embed/X-yrjQg_UDw" width="480"></iframe>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-89350465259530924822020-11-19T14:02:00.005+01:002020-11-19T14:07:30.905+01:00Paul Cantor on THE TEMPEST (NIVEL AVANZADO)<p><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/MBosk11TARw" width="560"></iframe><br /><br /><br /><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/zt-pBDGkV2M" width="560"></iframe><br /></p><p><br /></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0tag:blogger.com,1999:blog-5294142508909467515.post-3553521643808377022020-11-18T22:48:00.002+01:002020-11-18T22:48:20.571+01:00Henry Purcell - The Fairy Queen<p></p><p><span style="font-size: large;">An Augustan opera based on Shakespeare's <i>A Midsummer Night's Dream </i>(—not on Spenser's <i>Faerie Queene):</i> Henry Purcell's <i>The Fairy Queen:</i></span><br /><br /><iframe frameborder="0" height="270" src="https://www.youtube.com/embed/QAvS3AypQfI" width="480"></iframe></p>JoseAngelhttp://www.blogger.com/profile/08498383812404763792noreply@blogger.com0