{"title":"“At the Arras”: What Is the Location Implied in This Phrase?","authors":"M. Ichikawa","doi":"10.1353/shb.2022.0019","DOIUrl":"https://doi.org/10.1353/shb.2022.0019","url":null,"abstract":"Abstract:Although early modern stage directions provide very few explicit references to a central opening in the tiring-house wall, they might actually contain many references to this architectural feature. This article considers the possibility that some simple phrases containing the term “arras,” “hangings,” or “curtain[s]”––such as “behind the arras/hangings/curtain[s]” and “at the arras”––were regularly used to refer to such a central opening. It focuses on the phrase “at the arras,” which is found in five playtexts related to the King’s Men in six stage directions that obviously derive from the company’s bookkeepers. By examining entrances and exits made in relevant scenes in relation to the use of stage doors, and by exploring the fundamental nature of the language of the tiring-house, this article shows that in all six examples the organization of stage traffic and arrangement of stage furniture necessitate an opening covered by the “arras” hanging between the two stage doors. It thus concludes that, at least in the 1620s and 1630s, at the Globe and Blackfriars, “at the arras” and “behind the arras/hangings/curtain[s]” specifically provide evidence of a central covered opening in the tiring-house façade.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"7 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130676721","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Comedy of Errors, and: Pericles, and: Cymbeline (review)","authors":"M. Sasser","doi":"10.1353/shb.2022.0028","DOIUrl":"https://doi.org/10.1353/shb.2022.0028","url":null,"abstract":"Working closely with the designers, we came up with a color palette and specific silhouette for each of the major locations. [. Pericles/Tyre is represented by a series of (heroic) blues; with its brothel scenes, Mytilene is hot, blood corrupt, incestuous Antioch is a (diseased) acid beneficent Pentapolis is off white and (where Pericles meets and marries Thaisa). fabrics and pieces will reinforce the costume color palette Pericles’s","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131869019","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Alchemist","authors":"S. Richardson","doi":"10.1353/shb.2022.0027","DOIUrl":"https://doi.org/10.1353/shb.2022.0027","url":null,"abstract":"The Alchemist Presented by Red Bull Theater at New World Stages in New York, NY. 7 November–19 December 2021. Adapted by Jeffrey Hatcher. Directed by Jesse Berger. Scene design by Alexis Distler. Costume design by Tilly Grimes. Lighting design by Cha See. Original music and sound design by Greg Pliska. Wig and makeup design by Tommy Turzman. Production stage manager Rebecca McBee. With Manoel Felciano ( Jeremy/Face), Reg Rogers (Subtle), Jennifer Sánchez (Dol Common), Nathan Christopher (Abel Drugger), Stephen DeRosa (Ananais), Carson Elrod (Dapper), Teresa Avia Lim (Dame Pliant), Jacob Ming-Trent (Sir Epicure Mammon), Louis Mustillo (Surly), and Allen Tedder (Kastril).","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"370 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122347995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Framing Shakespeare in New Digital Canons: Paratextual Conventions of RSC Live and NT Live","authors":"Beth Sharrock","doi":"10.1353/shb.2022.0020","DOIUrl":"https://doi.org/10.1353/shb.2022.0020","url":null,"abstract":"Abstract:This article develops an analysis of the relationship between paratextual framing and institutional identity in the body of productions broadcast to cinemas by RSC Live and NT Live, proposing that paratexts are an integral yet consistently overlooked mediator of meaning in Shakespearean live theater broadcasts. Since the National Theatre’s broadcast of All’s Well that End’s Well in 2009 and the Royal Shakespeare Company’s debut live theater broadcast of Richard II in 2013, Shakespearean performance has dominated the UK’s event cinema market. This article examines the interpretive significance of paratextual conventions developed by these two companies in negotiating institutional identity and shaping narratives of Shakespeare’s cultural value. It brings these marginal materials to the center of critical analysis, proposing an original critical vocabulary by which to examine the diversity of the broadcast paratexts which have developed around, and been shaped by, Shakespearean performance in the medium. A sustained analysis of the frames of interpretation offered in Shakespearean broadcast performances exposes the interpretive labor these marginal materials regularly perform, highlighting the value of analyzing Shakespearean live theater broadcasts holistically.","PeriodicalId":304234,"journal":{"name":"Shakespeare Bulletin","volume":"69 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129242593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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