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https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19900
Royal Opera House
2017-06-23T09:18:36Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|<big>Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|<big>The Royal Ballet - The Dream <br><small> '''Taken by''' [[User:Mthatfalvi|Mary Hatfalvi]] <br> '''Year''' 2017 <br> '''Location''' Trafalgar Square, London]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
<br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19899
Royal Opera House
2017-06-23T09:18:18Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|<big>Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream <br><small> '''Taken by''' [[User:Mthatfalvi|Mary Hatfalvi]] <br> '''Year''' 2017 <br> '''Location''' Trafalgar Square, London]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
<br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19898
Royal Opera House
2017-06-23T09:16:19Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|<big>Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19897
Royal Opera House
2017-06-23T09:15:55Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|<big>Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|<big>The Royal Ballet - The Dream <br><small> '''Taken''' [[User:Mthatfalvi|Mary Hatfalvi]] <br> '''Year''' 2017 <br> '''Location''' Trafalgar Square, London]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
<br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19896
Royal Opera House
2017-06-23T09:13:35Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|<big>Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19895
Royal Opera House
2017-06-23T09:12:48Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|Linbury Studio <br> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19894
Royal Opera House
2017-06-23T09:12:27Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left <br><small> '''Attributed to''' By User:FA2010 (Own work) [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AROH_auditorium_003.jpg Link]]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|Linbury Studio <br><small> '''Attributed to''' By Kleon3 (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ALondon%2C_ROH%2C_Linbury_interior.jpg Link]]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Opera_House&diff=19893
Royal Opera House
2017-06-23T09:07:55Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Opera House=<br />
<br />
{{Infobox <br />
|title = [[Royal Opera House]]<br />
|header1 = The [[Royal Opera House]] in the London district of Covent Garden. <br />
|bodystyle = width:25em<br />
|image = [[ File:Royaloperahousenight.jpeg|x450px|alt=Article Image]]<br />
|caption = The [[Royal Opera House]] at Night<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Peter Suranyi<br />
|label3 = '''Year'''<br />
|data3 = 2009<br />
|label4 = '''Dimensions'''<br />
|data4 = 11.4 cm^2 ( 4.49 in^2)<br />
|label5 = '''Location'''<br />
|data5 = Covent Garden, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
After the British Civil War, only two theaters were instated for 28 years. Those theaters were the Drury Theater and the [[Royal Opera House]]. The Opera House burned down twice before the current building was built. Two years ago the [[Royal Opera House]] doubled its size and renovated the existing parts of the building. The total cost was over £200 million. The [[Royal Opera House]] now has two proscenium theaters and eight dance studios. There are also two sister dance schools that are considered among the most prestigious in the world next to France and Moscow.<br />
<br><br><br />
__TOC__<br />
<br><br />
=History=<br />
The Royal Opera House did not start as the Royal Opera House. It was formally called Covent Garden and Theatre Royal. In the beginning in 1732, the theatre was a playhouse. The the fire in 1808 destroyed the theatre. The second Theatre Royal or Covent Garden was designed by Robert Smirke and opened in 1809. Sadly this was also destroyed in a fire in 1856. The theatre which stands today was built in 1858. This building was designed by Edward Middleton Barry. <br><br />
<br />
According to the Royal Opera House history page, during World War II The Royal Opera House was used as a dance hall.<ref name = "hist" >History. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/about/the-royal-opera/history</ref> Now the Royal Opera House is the home of both the Royal Opera, which was founded in 1946 as the Covent Garden Opera Company, and The Royal Ballet which was founded in 1931 then moved to the house in 1946.<ref name = "hist"/><br />
<br><br><br />
<br />
=Theater Space=<br />
==Main Stage==<br />
[[File:ROH_auditorium_003.jpg|400px|thumb|The Royal Opera House Auditorium Stage Left]]<br />
The original auditorium is used as the main theater. It has over 2,500 seats. The main stage is proscenium style with no apron. The stage is 15 meters square. The orchestra pit can fit 90-109 musicians. The floor of the pit is hydraulic and has three heights. The top level is used for concerts. The second level is used for smaller orchestra shows. The third and lowest level of the pit is used for large orchestra shows. This enables more musicians to fit in the pit and for dampening of the sound so the performers can be better heard. While it was recently redone, the auditorium retains its original renaissance style. It even still has a box for the royal family that was first created for Queen Elizabeth I. There is also an adjoining room for the royal family to eat and wait in before the show.<br />
==Linbury Studio==<br />
[[File:linburystudio.jpeg|400px|thumb|Linbury Studio]]<br />
The Linbury Studio is the secondary theater used for smaller and experimental shows. It seats 400 guests. This stage is also in the proscenium style.<br />
<br><br><br />
<br />
=Scenic=<br />
The Royal Opera House makes all of its own sets off-site in Thurrock. There the sets are fabricated, deconstructed and sent to the theater. Upon arrival at the theater, the tractor trailer holding the pallets filled with the set backs into a massive elevator. This elevator then brings the truck to the unloading bay where the pallets are stored on a conveyor system. This system is then integrated with the wagon system that Rolls Royce designed for the theater. The wagon system allows for extremely fast set changes between shows, only 20 minutes. The stage floor rests on three wagons with the rest of the set on top. The stage has a hydraulic floor system. To switch between shows, the current floor can be raised and transported out of the way allowing the new floor to slide and be lowered into place. That process takes only 40 seconds. The Royal Opera House is one of only two theaters to have this system.<br />
<br><br><br />
<br />
=Props=<br />
The Royal Opera House would not be complete to make a show without it's Prop department. This includes of team of artists, sculptors, engineers and welders. Mostly all of the props are made in this department or acquired from warehouse storage. Beautiful props complete the performances and a lot of work goes into each production. Anything can be made and anything can be changed to look like something it isn't. For example, plaster, molds, and paint can be made to look like food. <ref> Props to you! Prop-making tricks of the trade revealed - Royal Opera House. (n.d.). Retrieved May 20, 2017, from http://www.roh.org.uk/news/props-to-you-prop-making-tricks-of-the-trade-revealed </ref><br />
<br><br><br />
<br />
=Lighting & Projections=<br />
Unlike many theaters, the Royal Opera House has their lighting fixtures located in a panel that can lower from the dome of the roof. When the lights are not needed for a show, the panels retract and blend in with the rest of the dome. This concept was to keep the proscenium free from truss and fixtures that would distract the viewer from the performance or obstruct their view. When the renovation was being done on the theater, the ETC lighting company received the contract to provide and setup numerous fixtures, consoles and a house control system. They also have lights on the back stage batons so that the dancers and singers can see on stage.<br />
<br><br><br />
<br />
=Sound=<br />
When the theater was rebuilt two years ago, the sound designers decided to remove the carpeting from the stairs and floors. This was to give the theater better acoustics because the singers or instrumentalists do not use microphones. There is not much need for a sound system for the operas and ballets because the performers do not have microphones and the music is provided by the orchestra.<br />
<br><br><br />
<br />
=Costumes=<br />
The Royal Opera House makes all of their costumes in house. There are three sub-departments in their costume department. The first is in charge of creating costumes for the first performance of a show. The other two departments are in charge of care, maintenance and organization of the costumes. After the first show, costumes become their responsibility. They take care of laundry and mending any damage to the costumes. After a show has completed its run, costumes are then put into storage off-site until the next run of the show. Properly stored and cared for costumes can last for decades of use.<br />
<br><br><br />
=Performances=<br />
==Pygmalion (1734)==<br />
===Performance Summary===<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the Royal Opera House was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
<br><br><br />
===Reviews===<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
<br />
Marie was complemented in many reviews for her success & genius in her decision & performance. She even got to perform for the royal family and court of the day. One review about her performance said that, ''"Sallé had talents to open a thousand purses"'' <ref name = "lure"> Chazin-Bennahum, J. (2005). Reformers and Philosophes as Forerunners of the Revolution in Fashion. In The lure of perfection: fashion and ballet 1780-1830 (pp. 35-64). London: Routledge. </ref> Apparently she could bring a lot of people to a theater and the theater made money. Overall, this performance was a breakthrough in ballet history with costumes and style. <br />
<br><br><br />
== The Dream / Symphonic Variations / Marguerite and Armand (2017)==<br />
===Performance Summary===<br />
[[File:Royal Ballet - The Dream.jpg|300px|thumb|The Royal Ballet - The Dream]]<br />
The performance was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. The music was by Felix Mendelssohn and arranged by John Lanchbery. <br><br><br />
The Dream is a ballet based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon make everything right with everyone. Oberon makes peace with Titania and everyone goes back to the way they were supposed to be. Oberon was played by Steven Mcrae and Titiana was Akane Takada. The chorus during the performance was sung by the London Oratory Junior Choir. The scenery had the look of an enchanted forest. <br><br><br />
Symphonic Variations was one of the first works done by the Royal Ballet at the Royal Opera House in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. <br><br><br />
The most emotional performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She performed in the story of Marguerite and Armand, played by Roberto Bolle, which is about two lovers who are destined to never be together. Marguerite is a Parisian courtesan who has a passionate love affair with Armand. Within the performance there were great changes of the scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. The most memorable dance was final one before Marguerite dies.<br />
<br />
===Reviews===<br />
The reviews for this performance were very positive. Bad reviews could not be found. For Margarite and Armand, the Independent said: ''"Saying farewell to the Royal Ballet after 23 years, Yanowsky shows her quality as an actress, a dancer and a star. There’s a grand sweep to her movement, while her alert stage presence makes tiny moments count. When she’s forced to give up her lover, Roberto Bolle’s Armand, she holds still for a vulnerable second, trying to resist the inevitable. In her death scene, she’s ardent and feverish, clinging on to life. Bolle less at home in the grand gestures, but makes a sure, devoted partner. It’s a very moving goodbye."'' <ref> Anderson, Z. (2017, June 05). Frederick Ashton/Royal Ballet, Royal Opera House, London, review: Zenaida Yanowsky shows her quality as an actress, a dancer and a star. Retrieved June 09, 2017, from http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/frederick-ashtonroyal-ballet-royal-opera-house-london-review-a7773401.html </ref><br><br><br />
For The Dream a beautiful summary of the performance is given: <br><br><br />
''"The Dream opens in a 50 minute one-act ballet created to celebrate the 400th anniversary of Shakespeare’s birth. Here, Ashton has transformed the play into a sumptuous rendition of the human and fairy worlds colliding-framed by Mendelssohn’s floating incidental music.''<br />
<br />
''As chords are struck in a callout to fairies, played with pitch perfect precision under Emmanuel Plasson’s watchful baton, Oberon arrives onstage and surveys the landscape as we, the audience, anticipate the arrival of magic as much through the musical timbre as the movement.''<br />
<br />
''Famous for his understanding of movement and music, Ashton understood that once the dancer comprehended the musical score, they would ‘know the steps,’ and this is clearly evident in Steven McRae’s Oberon, a precise and richly virtuoso act as he spins and winds across the stage in perfect time.''<br />
<br />
''Bang on tempo, McRae’s sharply executed jumps are also feat to behold as he elevates to dizzy heights, yet achieves soft landings, as if operated by invisible strings from above and noiselessly released back down onstage.''<br />
<br />
''While Akane Takada’s debut as Titania lends new meaning to the phrase ‘all that’s solid melts into air.’ Here in her debut performance, Takada literally embodies her steps with such limpid and fluid grace, it’s as if she will transform into something other than human before our very eyes.''" <ref> Nouchi, R. (2017, June 6). Review: Royal Ballet - The Dream | Symphonic Variations | Marguerite and Armand. Retrieved June 09, 2017, from http://londondance.com/articles/reviews/royal-ballet-the-dream-symphonic-variations-margue/ </ref><br><br><br />
According to the Stage review, Symphonic Variations ''"...delivers us into a coolly abstract realm that’s somehow suffused with mystery and intimations of tenderness. The curving black lines that adorn Sophie Federovitch’s yellow-green backdrop are given physical echo in the dancers’ restrained, weightless spools of movement, the women’s arms occasionally half-framing the men’s faces. Some secret, sublime knowledge seems to inhere within Marianela Nunez, shaping the profound sensitivity of her phrasing."''<ref> Winter, A. (2017, June 04). ★★★★ The Dream / Symphonic Variations / Marguerite and Armand review at the Royal Opera House, London. Retrieved June 09, 2017, from https://www.thestage.co.uk/reviews/2017/ashton-triple-bill-review-at-the-royal-opera-house-london/ </ref><br />
<br />
<br><br><br />
==L'elisir d'amore (1832)==<br />
<br />
===Plot Summary===<br />
<br><br />
In a small farming town, a poor young man, Nemorino, has fallen hopelessly in love with the beautiful Adina. Nemorino pursues Adina, even though she is far above him in intellect, looks, and wealth. Adina refuses to love Nemorino, choosing instead a Sergeant from the military, Belcore. In despair, Nemorino spends his entire savings on a love potion from the traveling Dr. Dulcamara. The potion is nothing more than cheap red wine, but Nemorino believes in its powers so thoroughly that he ignores Adina, expecting her to soon love him and wanting to get a small amount of revenge on her. Annoyed by his inattentiveness, Adina accepts Belcore's proposal of marriage; They will be married that very night. Hearing this, Nemorino despairs: The love potion takes twenty-four hours to take effect! He seeks out Dr. Dulcamara, asking what he can do to speed the potion's effect. Dulcamara tells him to buy more. But Nemorino is out of money, and leaves to loudly lament his sorrows of being so poor. Belcore overhears Nemorino, and tells him of the large enlistment bonus given out by the military. Nemorino signs up and uses the funds to buy more potion. <br />
<br><br><br />
Unbeknownst to Nemorino, his wealthy uncle has just died left his entire fortune to Nemorino. Word of this windfall spreads through the townswomen. Suddenly, Nemorino is the town's most eligible bachelor, and women start throwing themselves upon his affections. Nemorino goes along, assuming that the potion has taken affect. Meanwhile, Adina sees Nemorino consorting with the other women and realizes, to her surprise, that she is jealous of them. Perhaps she does love Nemorino, after all. Adina buys back Nemorino's enlistment papers from Belcore, and professes her love to Nemorino. Nemorino is overjoyed, and the two are soon married. All rejoice - Dulcamara most of all, as he celebrates his potion's now-proven power <ref>L'elisir d'amore. (n.d.). Retrieved June 12, 2017, from http://www.roh.org.uk/productions/lelisir-damore-by-laurent-pelly<br />
</ref>.<br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.roh.org.uk/ Royal Opera House Official Website] <br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=National_Theater&diff=19892
National Theater
2017-06-23T09:01:54Z
<p>Mthatfalvi: </p>
<hr />
<div>=National Theater=<br />
<br />
{{Infobox <br />
|title =National Theater<br />
|header1 = The National Theater<br />
|bodystyle = width:25em<br />
|image = [[File:800px-Royal_National_Theatre_4.jpg|x450px|alt=Article Image]]<br />
|caption = National Theater<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Man vyi<br />
|label3 = '''Year'''<br />
|data3 = 2008<br />
|label4 = '''Location'''<br />
|data4 = National Theater, London<br />
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}}<br />
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=Overview=<br />
The National Theater (or as it is officially named the Royal National Theater) was first thought of in 1847 through pamplets and newspaper articles wanting a national theatre that would preserve timeless classics as they were supposed to be performed. The goal was to have a theater available to all people, not just the elite. Officially, the Company opened in 1963 with a performance of Hamlet. <ref name = "nat">National Theatre. (n.d.). Retrieved May 20, 2017, from https://www.nationaltheatre.org.uk/about-the-national-theatre/history </ref> From 1963 till 1976, the company was based at the Old Vic Theatre in Waterloo. The building that the company is now in was designed by architects Sir Denys Lasdun and Peter Softley. The design greatly reflects the goal of making theater accessible to all. Instead of having an ornate theater, it was made primarily from concrete. People could feel comfortable walking into the theater in jeans as opposed to being expected to dress up. There was also no elaborate design to steal attention away from the performance. All of the theaters were designed for maximum visibility, capacity and to accommodate for last minute guests. The shows run on a repertory schedule, alternating shows every four days, to provide the most variety of shows in a given time in order to meet the interests of everyone. The National Theater is meant to be a theater for the people.<br />
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=Theater Space=<br />
There are three theaters within the National Theater; the Olivier theatre, the Lyttelton theatre and the Dorfman theatre. Each theater is different in accords to the size, style and design of each theater. This is meant to accommodate attendance, set design and sound acoustics that can be different for each performance. <br />
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==Olivier Theatre==<br />
The Olivier Theatre is named after Laurence Olivier who was the first director of the National Theatre and a British actor.<ref name = "oli"> Olivier Theatre-National Theatre. (n.d.). Retrieved June 1, 2017, from https://www.nationaltheatre.org.uk/your-visit/national-theatre-venues/olivier-theatre </ref> It is the largest of the three theaters and it can fit 1,160 people in its auditorium.<ref name = "oli"/> The design of the theater was based on the architect's favorite style of stage, the traditional Greek amphitheater as seen at Epidaurus. The Greeks had a thrust stage surrounded by seats 180 degrees around. However, the stage in Olivier Theater has seating spanning only 118 degrees. This number comes from the average peripheral vision of a human. By standing in the commanding spot or anywhere behind it, an actor can see the entire audience without turning his/her head. This creates a more intimate experience for the audience. The stage has a five-story deep cylinder beneath it. This drum can spin, enabling a revolving set. Additionally, the two half circles comprising the face of the cylinder act as stage lifts. For the production of Treasure Island, this technology was used to reveal the cross section of a ship in act two. The fly above is 30 meters high and has the capacity to lift a double decker bus. The rigging is automated as opposed to a traditional system with pulleys and counterweights.<br />
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==Lyttelton Theatre==<br />
According to the National Theater website, the Lyttelton Theatre was named after Oliver Lyttelton, who was the National Theatre's first chairman.<ref name = "lyc"> Lyttelton Theatre-National Theatre. (n.d.). Retrieved June 1, 2017, from https://www.nationaltheatre.org.uk/your-visit/national-theatre-venues/lyttelton-theatre </ref> This theater has a proscenium style stage that is known for excellent acoustics and seats 890 people.<ref name = "lyc"/> The seating arrangement is different than that of West End theaters. West End theaters have horseshoe shaped seating with royal boxes. That design came from the desire of the royalty to be seen. In modern day those boxes have some of the worst views. In order to give viewers the best experience, there are no royal boxes. It does, however, have day seats. These are seats in the balcony that are not sold until the day of a performance. This gives people who want to see a show but were unable to buy a ticket a chance to see it. The Lyttelton has an adjustable proscenium stage for different set design needs.<ref name = "lyc"/> It can be an open-ended stage or it can have a an orchestra pit.<ref name = "lyc"/> While stage left and behind the stage are used for storage for the set of the off show, the back storage space can be opened up to extend the stage.The fly in this theater is only 25 meters high and the rigging is primarily in the traditional style.<br> <br />
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==Dorfman Theatre==<br />
The Dorfman Theatre most adjustable Theater of of the National Theater stages. It is a flexible seating rectangular room that can house up to 450 people. <ref name = "dorf"> Dorfman Theatre-National Theatre. (n.d.). Retrieved June 1, 2017, from https://www.nationaltheatre.org.uk/your-visit/national-theatre-venues/dorfman-theatre </ref> Because this theater is flexible with seating, each performance performed in the Dorfman Theatre has a different seating chart based on the stage design. <ref name = "dorf"/> <br> <br><br />
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=Scenic & Props=<br />
About 60-80% of every show's set is created in house at the National Theater. The rest may be completed by them off site because it is too large, by a third party or rented. The theater has large workshops for every part of the process. This includes a metals shop and carpentry shop. After those two stages, talented artists paint the set and add other effects. Props makers must be skilled in multiple disciplines in order to create a prop. Some props are made from scratch. For others it is more economical or time effective to buy a product and modify it from there if necessary. Creating the set and props requires creativity. The set is created based off of a model that is converted into CAD files and technical drawings. From there it is up to the fabrication team to determine how to make the set. Often even less information is conveyed about a prop. They will simply be told to make something and then it is up to them to design and create it. A set and the props are not always what they appear to be. In order to save money, time and weight, materials may be used other than what the audience would suspect. The ornate molding around a door frame may be created by forming a mold and filling it with expanding foam. This foam is then painted gold to appear authentic. The illusion of a brick wall can be created convincingly with paint and perhaps another substance to add texturing onto a surface. In order to make these designs as they would appear in real life, many more costly materials and a significant amount of time would be required. All of this fabrication is typically completed in a six to eight week block. After a show the set goes into storage as it is under the copyright of designer. This set is eventually recycled as it can never be reused. Props go into storage for hire. The theater, other theaters or the general public can rent out these props for use.<br />
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=Lighting & Projections=<br />
Each lighting set up is unique to a show.<br />
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=Sound=<br />
Each theater within the National Theater has its own unique sound system. For the Olivier Theatre, the sound system is mostly used for sound effects, the mics can be used or not used since the stage is set up to be able to hear without microphones. The Lyttelton Theatre has the usual sound system needed for projection and sound affects. <br />
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=Costumes=<br />
After a show the costumes are put into storage for hire. The costumes can be rented back to the theater, to other theaters or to the public. This is one way the theater is able to earn back the money that was put into the performance.<br />
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=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
The performance of Shakespeare's Twelfth Night opened in the Oliver Theatre on February 22, 2017. The director was Simon Godwin. Overall the performance was put on in the timeless way. Meaning that no time period could be pinned down for the show. The script was the original Shakespearean script with some interpretation and wording changed. The characters spoke in Shakespearean language with humorous twists to some of the words. An interesting decision that the creators did in this play was switching some of the character’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that sexual orientation equality was also a theme for this interpretation since Malvolio is supposed to have a affection towards Olivia. The main theme from this interpretation of Twelfth Night was that Shakespeare is timeless. <br />
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===Dramatic Elements===<br />
The style of the play was a mix of Shakespearean period and modern 21st century. One scene had a 1950's vehicle when another scene had Shakespearean period costumes. The set design was a triangle staircase with rooms inside that created many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities for the set were endless. Music throughout the play was mainly jazz with clarinets & saxophones but there was also some modern club music for the party/club scene. <br />
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=References=<br />
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=External Links=<br />
[https://www.nationaltheatre.org.uk/ National Theatre ]<br />
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=Image Gallery=<br />
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[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Marie_Sall%C3%A9&diff=19318
Marie Sallé
2017-06-22T14:04:59Z
<p>Mthatfalvi: </p>
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<div>=Marie Sallé=<br />
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{{Infobox <br />
|title = Marie Sallé<br />
|bodystyle = width:25em<br />
|image = [[File:Salle1.jpg|x450px|alt=Article Image]]<br />
|caption = Portrait of Maria Salle<br />
Dancer and choreographer of the 18th century by I.Deshkova<br />
|label2 = '''Year'''<br />
|data2 = 1730s<br />
|label3 = '''Attributed to'''<br />
|data3 = See page for author [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ASalle1.jpg Link]<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
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=Overview=<br />
[[Marie Sallé]] whom was born 1707 and died July 27, 1756, in Paris, France, was French dancer and choreographer. According to Encyclopedia Britannica, Salle performed expressive, dramatic dances during a period when displays of technical virtuosity were more popular.<ref name = "brit"> The Editors of Encyclopedia Britannica. ( 1998, July 20). Marie Salle. Retrieved June 05, 2017, from https://www.britannica.com/biography/Marie-Salle </ref> She was the first woman to choreograph the ballets in which she performed in. She integrated music, costumes, and dance styles with the themes of her ballets, a form that was not officially used in ballet until the ballet reformation in the late 18th-century.<ref name = "brit"/> <br />
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=Background=<br />
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==Bio==<br />
[[Marie Sallé]] was born 1707 in France and was a daughter of a tumbler who was player in a company of actors directed by Francisque Moylin.<ref name = "french" > Beaumont, C. W. (1934). Marie Sallé. In Three French dancers of the 18th century: Camargo, Sallé, Guimard (pp. 18-25). London: C.W. Beaumont. </ref> She was one of two children who both had a talent for dance. She made her first debut in 1718 at the St. Laurent's Fair in an opera-comique by Lesaye called ''La Princesse Carisme''.<ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref> <br />
[[File:Maurice-Quentin de La Tour, Retrato de Mademoiselle Sallé (1741).jpg|300px|thumb| Mademoiselle Sallé (1741) <br><small> '''Attributed to''' Maurice Quentin de La Tour [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AMaurice-Quentin_de_La_Tour%2C_Retrato_de_Mademoiselle_Sall%C3%A9_(1741).jpg Link]]]<br><br />
In 1725, Marie with her brother Nivelon were chosen by John Rich, who was the manager of the theatre in Lincoln's Inn Fields, to go to London and perform in his production named ''Love's Last Shift''. She stayed in London dancing in many productions for two years with her brother, then returned to Paris where she started then at the Opera. On September 14th, 1727, Marie made her debut in the Opera in ''Les Anmours des Dieux''. <ref name = "french"/> However, she quickly returned to London for some dances then back again to Paris because she would be ridiculed for her ideas in Paris for wanting to refine the dance costumes. She wanted to make them more liberating and free flowing for greater movement. She stayed in Paris from 1728 to 1733 then left to go to Covent Garden (now known as the [[Royal Opera House]]) where she choreographed and performed two of her greatest performances, ''Pigmalion'' and ''Bacchus and Ariadne'' which were both shown in the spring of 1734. <ref name = "inf"> McCleave, S. (2008). Marie Sallé, a Wise Professional Woman of Influence. In L. Brooks (Ed.), Womens work: making dance in Europe before 1800 (pp. 160-182). Madison, WI: University of Wisconsin Press.</ref> <br><br><br />
After her season at Covent Garden, she renewed her contract with John Rich and danced for many operas & dance interludes between acts in plays. In an new opera by Handel called ''Alcina'' where she performed dressed as a boy. This decision of hers was not welcomed and she eventually went back to Paris. After a salary raise, she returned to the Paris Opera. During her time there, she produced, choreographed and performed in many different ballets that were all wildly praised for her talent, style & grace. <br />
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Sallé retired in 1740 with her final opera in ''Les Talens Lyriques''. She performed a little outside of the opera and her last performance was called ''Phaeton'' in 1753.<ref name = "french"/> She died in 1756. Her reforms in ballet dance were eventually were adopted by other future performers. According to an article about her; "as a dancer she was loved for her naturalness, grace and lack of affectation. As a women she was known for her intelligence and virtue." <ref name = "andros"/><br />
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==Performances==<br />
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===England===<br />
====Pygmalion====<br />
=====Summary=====<br />
This performance was shown on the 14th February 1734 with [[Marie Sallé]] as Galatea and choreographer. <ref name = "greek"> Pygmalion (1734), accessed at http://www.apgrd.ox.ac.uk/productions/production/13155 <5 June 2017> </ref> The music was by Jean-Joseph Mouret. The ballet plot was about Pygmalion, king of Cyprus, who carved a statue of his ideal woman and fell in love with her. <ref name = "artmypth"> Reid, J. D., & Rohmann, C. (1993). The Oxford guide to classical mythology in the arts 1300-1900s (Vol. 2). New York: Oxford University Press. </ref> Aphrodite then brought the sculpture to life and Pygmalion married her. The name Galatea was the name given to the statue for this interpretation and other performances <ref name = "artmypth"/> This performance was put on when the [[Royal Opera House]] was called Convert Gardens before the second fire. According to an article on Marie, she danced in a muslin costume with her hair down and un-ornamented which emphasized her belief that dance should be natural. <ref name = "andros"> Andros, D. (1991, May). Marie Salle, (1707-1756). Retrieved June 05, 2017, from http://michaelminn.net/andros/biographies/salle_marie/ </ref><br />
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=====Reviews=====<br />
At the time, ballet dancers would dress in extravagant costumes with corsets. This did not give freedom for much movement. It was unheard of what [[Marie Sallé]] did in this performance. According to a review from her endeavor ''"For nearly two months Pygmalion has been given without any sign of failing interest...You can imagine, Sir, what the different stages of such an action can become when mimed and danced with the refined and delicate grace of Mlle. Sallé. She has dared to appear in this entree without pannier, skirt or bodice and with her hair down; she did not wear a single ornament on her head. Apart from her corset and petticoat she wore only a simple dress of muslin draped about her in the manner of a Greek statue."'' <ref name = "andros"/> <br><br><br />
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Marie was complemented in many reviews for her success & genius in her costume decision & performance. She even got to perform the dance for the King Geroge II and Queen Caroline and all of the Court. Overall, this performance was a breakthrough in ballet history with it's costumes and style. <br />
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=References=<br />
<references/> <br />
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=External Links=<br />
[http://michaelminn.net/andros/biographies/salle_marie/ Marie Salle Bio]<br><br />
[https://www.britannica.com/biography/Marie-Salle Bio Marie Salle Britannica Encyclopedia]<br />
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[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=User:Mthatfalvi&diff=19316
User:Mthatfalvi
2017-06-22T13:57:20Z
<p>Mthatfalvi: </p>
<hr />
<div>=Mary Hatfalvi=<br />
[[File: IMG_1253ret4x6_-_Copy.jpg|x350px|right|frameless|thumb|Mary Hatfalvi]]<br><br />
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=Overview=<br />
I had one project goal for each of my milestones. My first milestone goal was to find the message that Shakespeare's Romeo & Juliet has sent through the centuries. My second milestone goal was to make a story about the doll 'Little Marie' from the story of the ballet ''Pygmalion'' and Marie Sallé. The third milestone, which was also my Humanities and Art's capstone, dove deep into Shakespeare's Twelfth Night and created an interpretation based on current and past performances. In preparation for my milestones, I had taken a class in Theater Workshop as well as having had past dance & dramatic performance experience. My London experience has given me a greater appreciation and understanding for London and its history.<br />
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=Milestone 1=<br />
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'''How Shakespeare through the Centuries Still Lives On'''<br><br />
'''Objective:''' To find the similarities & differences between the performance, dramatic elements and style of two interpretations of Shakespeare’s Romeo & Juliet performed in London in two different time periods. One play performed in 2016 at the Garrick Theatre, and another performed in 1867 at the Covent Gardens. In conclusion, to find that the original message of Shakespeare's play that still lives on through the century. <br />
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Through the research I found that the original message of Shakespeare's Romeo & Juliet was the message of the different passions of love, war and conflict. This theme comes from the inspiration of the story. In the time period Shakespeare was alive, religious persecution was a big issue. Families were torn apart, people were unjustly killed and life was scary for the people in hiding wondering if they were next to be jailed & persecuted. Shakespeare always had a purpose to writing his plays and this conflict could have moved him to write Romeo & Juliet. He was also a romantic and loved poetry. Throughout the story, Shakespeare shows the tragedy of conflict, death and loss of love. This message was true not only in the original script but in the interpretations that were found. In both interpretations, the same mood is found: in different passions of love, conflict and death. Despite one interpretation performed in 1867 as an opera and another interpretation performed in 2016 as a modern twist to the original, both adaptations give the same original message that Shakespeare wanted to portray.<br />
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[[How Shakespeare through the Centuries Still Lives On|Read More]] <br />
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=Milestone 2=<br />
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'''Storytelling through Ballet and the Woman Behind It'''<br><br />
'''Objective:''' A research report on the recorded first ballet in London, Pygmalion which opened in 1734 at the Covent Gardens, and the famous dancer & choreographer Marie Salle. How this ballet choreographed by Marie Salle started a new approach of ballet style and performance in London that is used today. In conclusion, telling the story of 'Little Marie' through ballet and specific places throughout London. <br />
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Ballet has been used for theatrical performances since the early 16th century. Ballet gives another form of dimension to theater that brings grace and emotion into storytelling. London in particular has been the home to famous ballet groups and ballet performance theaters. Ballet started in London as a form of dance with corsets and big cumbersome dresses. When Marie Sallé performed in ''Pygmalion'' in 1734, she defiled the norm and wore a roman robe on stage as her character. She wanted her dance to tell the story not to give a performance. My research looked at the details for this first ballet as well as the life & influence of Marie Sallé. I also looked into general past ballet and today's ballet. I looked at the different ballet poses & positions used, and places ballet has performed in London. I concluded this milestone with a children's story written using ballet places & poses to enhance the story. It is the story of my doll named 'Little Marie'. <br />
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[[Storytelling through Ballet and the Woman Behind It|Read More]] <br />
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=Milestone 3=<br />
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'''Perspectives on "Twelfth Night"'''<br><br />
'''Objective:''' A study into current and past performances of Twelfth Night resulting in a personal interpretation of the play. Explaining the reasons & concepts behind the use of specific dramatic elements, mood and style that would be used for an approach to a successful interpretation. <br />
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This project found different dramatic elements and performance aspects based on current and previous performances of 'Twelfth Night' that would result to a successful interpretation.The story of 'Twelfth Night' is a romantic comedy that makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. A performance used to gain information was performed this year at the Shakespeare Globe in London. Another current performance took place at the National Theater in London. These performances were found to have a different style and twist. I additionally looked at these performance's reviews to find if they were well received or poorly received by audiences. These findings helped with the development of a new interpretation of the show. <br><br><br />
In the research, I, with my research colleague, found that audiences liked this play much more when it was done in a more realistic tone. Making the tone of the story more of a spoof took away some of the beauty of the story and humanity lessons that are within it. Another aspect to the play that Shakespeare and modern adaptations have done is the gender switching of the supporting characters. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. This milestone was meant to fulfill my humanities and arts capstone. <br />
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[[Perspectives on "Twelfth Night"|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey & The Tower of London==<br />
[[Westminster Abbey]] was an amazing place to visit. I learned so much about British royalty and tradition. Some of the things I saw there was the throne in which all royalty in England has been crowned in since King Edward I. Many famous people and royalty including Mary Queen of Scots, King Henry the V, Edward the Confessor, Queen Elizabeth I, Issac Newton and the unknown solder are buried and honored in [[Westminster Abbey]]. You can read more about the people buried there in my [[The Tombs of Westminster Abbey|article]]. Something ironic I would say is that Queen Elizabeth I and Queen Mary I are both buried together even though they were at odds to say the least with each other during their lifetime. Both Mary I and Elizabeth I are mentioned in my Milestone 1 on Romeo and Juliet. The Abbey was built in 960 A.D as a small Benedictine monastery. It was later added on and built to be a church for royal coronations and burials by Edward the Confessor. The first monarch to be coordinated at the Abbey was William the Conquer and all of the monarchs have been crowned there ever since. Something I found while exploring the Abbey was a door that was closed off. The door had a sign on it labeled the oldest door in England dated 1050. No one should leave London without seeing this church. Even though this site was not really relevant to my milestones, it is the most spectacular thing I have ever seen.<br><br><br />
The Tower of London was a place I could get lost and spend all day in. There was so much history in the tower that I could not be at a lost for things to see and do. Many sad things happened in the tower for instance Edward V and his brother Richard were sent to the Bloody tower by their uncle who become Richard III. They were never seen or heard from again. Later on, the bodies of two young boys were found in front of the white tower. They are said today to be the two princes. Another man who was held at the tower and later beheaded was Thomas More. He was a friend to King Henry VIII and did not agree with his rule of being the new head of the church. He was taken to the Bell Tower as a prisoner and later beheaded. Besides executions, the tower did house things like the royal coin minting, the royal observatory and the crown jewels. This place was another non relating milestone cite. Mentioned before though, Queen Mary I, Queen Elizabeth I, and King Henry VIII though did influence the time period I am researching about in my Milestone I. The Tower of London was another amazing place to see and I would go there again when I visit London in the future.<br />
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==Activity #2 St. Paul's Cathedral==<br />
[[St. Paul's Cathedral]] is a place where history, religion and modern culture combine. What I found really cool in the Cathedral, was all the statues & plaques that commemorated the soldiers, generals and warriors of Britain. St.Paul's Cathedral is a place where the non royal heroes of England are honored & remembered. The art in the cathedral ranged from mosaics on the arches of the dome, to TV screen art that used slow motion and effects. One piece that I was inspired to write an article on was [[The Martyrs in St. Paul's Cathedral]] by Bill Viola. For one of my milestones I did a perspectives of Twelfth Night. The Martyrs gives an example of an interpretation of the biblical theme of hope and death on earth. This style of interpretation is something I was inspired to use in my project. The crypt under the church held tombs of warriors including Lord Nelson and Arthur Wellesley, the Duke of Wellington. Even though this site was not greatly related to my milestones, it was a good place to see. <br />
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==Activity #3 British Museum==<br />
The [[British Museum]] was a very cool place to visit. There was a lot to see and it took me an hour an a half just to see one exhibit about Egyptian history. There was so much history in the museum from ancient Egypt, to Africa, to the Roman times to modern America. The most interesting exhibit to me was the mummies from ancient Egypt exhibit. The museum had mummies from Egyptian kings to unknown men & women. I started and contributed to an article on this exhibit and you can read more <br />
[[Mummies of Ancient Egypt|here]]. <br><br><br />
This museum did not have much to do with any of my milestone research. Though it did have an exhibit in the Greek artifacts exhibit on Music & Dance in Greece. Theater was a form of entertainment in ancient Greece. The Greeks had an ancient theatre in Epidaurus which was designed for large seating and sound amplification. A lot of modern outdoor amphitheaters are designed like this one. This museum was a fun and interesting experience. It was a great place to learn about the origins of all of the different cultures from around the world. <br />
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==Activity #4 Natural History Museum==<br />
The [[Natural History Museum]] was a huge museum about the natural history of the world. There were exhibits on mineral rocks, space, natural disasters such as earthquakes & volcanic eruptions and of course fossils of animals. One exhibit that I thought was interesting was about the Natural Disasters of Earth. The museum had a remake of the affect and feeling of a 1995 earthquake in China. I contributed to the [[Natural History Museum]] article with an article on the Human Evolution exhibit since I found that exhibit also very interesting.This museum was not directly related to any of my milestones. However, in the minerals exhibit, there was diamonds & special rocks in jewelry I found. They could have been used in costume jewelry for the plays and performances in theater that my milestones are on. The museum was definitely worth seeing if you are researching about the wonders of the earth. <br><br><br />
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==Activity #5 National Gallery==<br />
The National Gallery was a beautiful place to step back in time and find yourself in the lives of the work of art. I loved the original paintings by Leonardo da Vinci especially the one called ''The Virgin of the Rocks''. Sadly, I could not get to see Michelangelo's paintings but I got to see so many other artists including Claude, who I wrote a contributing article about in [[The National Gallery]] article. All of his paintings in the gallery are on landscapes. A lot of the paintings older than the 1500's were about christian themes and biblical stories. This museum did not have things that were directly related to my milestones. I was inspired though by a painting by Jean-Antoine Watteau called ''Perfect Harmony'', which counter-relates to my milestone 1 on Romeo & Juliet. Their lives were not perfect harmony. Other paintings I saw were about lovers and Romeo & Juliet were lovers. Overall the Gallery was a beautiful place to visit and admire amazing art. <br />
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==Activity #6 National Theater's Adaptation of Twelfth Night==<br />
Going to see [[National Theater]]’s Twelfth Night was an amazing experience. The performance was done beautifully. The style of the play was a mix of the Shakespearean period and the modern 21st century. For example, one scene had a 1950's vehicle, when another scene had costumes from the Shakespearean time period. The main theme that I got from this interpretation of Twelfth Night was that this Shakespeare story is timeless. The characters mostly spoke in Shakespearean language with humorous twists to some of the words. <br><br><br />
The set design was spectacular. I absolutely loved the concept and outcome of the set. It was a triangular staircase with rooms inside that had the ability to create many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities were endless. I loved the acting in this interpretation also. The characters made you feel like you were back in time despite the modern twist. An interesting decision that the creators did for this play was switching some of the characters’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that homosexuality played a part in this interpretation since Malvolio is supposed to have a affection towards Olivia. Music throughout the play was mainly jazz with clarinets & saxophones but, there was also some modern club music for the party/club scene. Going to see this play was part of my requirement for my milestone 3, since it was about doing my own interpretation of Twelfth Night. The whole play was done excellently and I would highly recommend going to see it. Based on this performance I contributed to creating and writing the article about the [[National Theater]].<br />
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==Activity #7 Tate Britain==<br />
[[Tate Britain]] was an interesting museum. I usually do not appreciate modern art but, this museum made British modern art genuinely interesting. One modern British artist that I wrote about in [[Tate Britain]] was named Joseph Turner. He is apparently known as the father of modern art. His pieces of art were very interesting to me. Other art pieces I found interesting were Derek Jarman's ''Blue'', which he made while he was losing his eyesight from a terminal illness, and a art film called ''Together''. ''Blue'' was inspiring because it showed that one could make something seem extravagant from a single element. Visiting this museum was not related to any of my milestones. The acting styles however, in the film art had interesting things to use towards my milestone 3 research on the different perspectives of Twelfth Night. Overall, this museum was an interesting place to visit. <br />
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==Activity #8 Victoria and Albert Museum==<br />
The [[Victoria and Albert Museum]] had a lot of amazing collections. I admired the fashion through the Victorian age till the modern time in the fashion exhibit. There was a lot of Religious Renaissance art there that was also very beautiful. What was interesting was that they had complete exhibits each on different materials used for art and building. There was a glass, jewelry, portrait paintings and Theater & Performance exhibits. <br><br><br />
The Theater and Performance Exhibit was directly related to all of my milestones. This exhibit was where I spent most of my time in for research. There were advertisements, pictures, costumes and set design miniatures all around this exhibit. I liked the costumes that were brought in from Wicked, which was the wicked witch costume, and The Lion King. On display were miniatures of the theater space layout of some of the greatest theaters from around England. This exhibit also had miniature set designs used for real productions in the theater. I contributed to an article on the Theater & Performance Exhibit on the [[Victoria and Albert Museum]] page. Overall, the museum was absolutely worth going to. <br />
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==Activity #9 Backstage Tour of Royal Opera House==<br />
The backstage tour was incredible! I got to see so many things that went on behind the scenes of one the oldest theater houses. On display, was the miniature set designs for past performances that were used for visual representation as well as to perfect the overall performance design. Our guide told us that they could spend 8000 pounds on just a miniature set! This is because they do not want to get things wrong for the real set and mistakes should be made on the miniature. Another interesting fact about this opera house that I didn't know was that it has survived two fires. For my milestone 2, I am looking at the first ballet that was performed at Covent Gardens also called the Theater House before the second fire in 1734. <br><br><br />
I got to see the props area and learned where the word props comes from. Back before the [[Royal Opera House]] was built for the third time in 1858, rich nobles would sit on the actual stage with the performers instead of in audience boxes that are still in place at the Royal Opera House. They would take the props from the stage after the performances. The stage workers then started to stamp the props with a stamp that said "theater property" to stop the people from stealing them each night. That is where we got the word props. <br><br><br />
I also got to see backstage where they use a neat way of moving sets by lowering the floors and moving the whole floor out of the stage. I also got to see one of the many ballet studios that the house uses for practices and rehearsals. There I also learned that the [[Royal Opera House]] has three costume studios. Overall, the tour was a really educational experience and I learned so much about the Opera House that I contributed to the [[Royal Opera House]] article. <br />
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==Activity #10 Tate Modern==<br />
[[Tate Modern]] was interesting. I really didn't get most of the art but I could get the meaning behind some of it. For example, there is a flag that was made with the blood, soil and fabric from the drug wars in mexico. I got the message of the sad events that the artist is trying to show however, I am not at all comfortable with using human blood and battle soil for art. Makes me cringe. Maybe that is the idea though who knows. A video on how not to be seen was very funny. I could not take it seriously but it was informative. One piece of art that I wrote about in the [[Tate Modern]] article was called Babel. It was a tower that was supposed to represent the tower of Babylon and the story outcome how many different people speak different languages now. The tower was made from radios and throughout the tower, the radios were on broadcasting events and songs. I could not make out anything that the radios were broadcasting. It was really interesting. Nothing from this museum related to my milestones at all really. The acting in the videos maybe. Overall, the museum had its good parts and its bad parts. <br />
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==Activity #11 Backstage Tour of National Theater==<br />
Going on the backstage tour of the [[National Theater]] was a great experience. I got to see both the Olivier and Lyttelton Theatre. I got to learn that this theater was built to showcase & preserve classic plays as well as take them into the future. The Olivier theater has a grand drum floor that is used to bring sets or scenic props up & down the stage. It is the only one in the world that is this extravagant and functionally used. The Olivier theater was built in a style inspired by the Greek style stage of Delphi. This is one style of seating that the audience likes since they can see everything. The actors like this style as well because they can see all of the audience. <br><br><br />
The workshop used to make all of the [[National Theater]] productions' sets was huge. They make most of their stage sets for every show but then sadly, have to take them apart and recycle them after the show is over. There costumes department is stored in a warehouse and anyone who is willing to pay the price can use costumes from that warehouse. Why even Warner Brothers Studios have used costumes from the [[National Theater]] warehouse for Harry Potter. Visiting this theater was related to my milestone 3 research. It helped me to see all of the aspects and work that goes into putting on a show. I wrote about the [[National Theater]]'s details in its article. <br />
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==Activity #12 Museum of London==<br />
The [[Museum of London]] takes you back in time to before London was London and then gives the history of how London came to be London. I found this museum very interesting. The Lord Major's coach was so interesting, that I contributed that part to the [[Museum of London]] article. Moreover I found a model of the Rose Theatre, which was a theater similar to [[The Globe Theater]] at the time of Shakespeare. Shakespeare works were also performed at the Rose Theatre as well. Sadly, it was left deserted in 1605 and later destroyed. This was good to learn about since two of my milestones are about Shakespeare's performances. I greatly admired the London before London and medieval London exhibits. It was very interesting to see all of the different artifacts that were discovered including the Roman wall that is partially preserved on the museum site today. Overall, the museum was a great learning experience and it made me appreciate London more. <br />
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==Activity #13 Twelfth Night at the Globe==<br />
[[The Globe Theater]]'s interpretation of Twelfth Night was not what I was expecting. It was more of the ''Robin Hood Men in Tights'' style and humor. Obviously, the original Shakespearean wording was kept but the performance was modernized. For example, Sebastian and Viola were white naval officers. The clown/narrator was a drag queen. What was interesting was the big age differences. Olivia, Sir Toby, Sir Andrew and Duke Orsino all looked to be over 30. When Maria, Sebastian and Viola were all young actors. The Malvolio character was played by a short girl dressed as a man. <br><br><br />
One interesting thing about the set was some of the hidden messages within it. The four life saver rings on the stage each had a word that together made the message 'In Love We Trust'. Compared with the other interpretation I saw at the [[National Theater]], this felt more modernized and silly. I was surprised. Since this play was at [[The Globe Theater]], I thought it would be more in the Shakespearean time period style. Going to this performance was needed for my research on milestone 3. I contributed to the part about this performance in the article, [[The Globe Theater]]. Overall though, it was an alright show. <br />
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==Activity #14 BMW London Symphony Orchestra Open Air Classics Concert==<br />
The London Symphony Orchestra (LSO) preformed live at Trafalgar Square. The crowds were large because this free concert is only done once a year. It was impossible to get into the seating area but I was inside the area. Still I had to see the concert on the big screen. I heard about the LSO from the movies like Star Wars I have watched. It was an amazing experience to see this world renowned orchestra live. The three pieces that they preformed were written by a Russian composer named Rachmaninov. Behzod Abduraimov, who was the visiting star piano player, was amazing. He played his parts like it was second nature to him. I was so impressed especially, since he didn't even have music. <br><br><br />
One of my favorite parts of the concert was for the second movement where they invited the LSO On Track Young Musicians and students from the Guildhall School of Music & Drama to play with the LSO. They played so well and the young kids looked like they were living the dream. Which is understandable, because who wouldn't want to play with the LSO. The second piece sounded like a ballet piece that my 2nd milestone is about. In conclusion, the LSO played beautifully.<br />
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==Activity #15 Imperial War Museum of London==<br />
The [[Imperial War Museum]] was pretty cool. There were exhibits of the war and struggles from World War I to the current conflicts going on in Britain right now. The Secret War exhibit was really interesting since it showed MI6 and the SAS (Special Air Services). Within the Secret War exhibit, was the story about the attack on the Iraq Embassy. How the SAS saved the day was amazing. Another thing I saw was a piece of the twin towers that were destroyed on 9/11. It was great to see all of the american things and people honored at this museum. I can tell that Americans are an important ally to Britain. The museum did not have any direct relation to my milestones except for milestone 2 where I researched about how WWII grew the art of ballet. Overall, even though this museum had nothing that was really related to my milestones, I found the museum a great eye opener to all of the terrors and struggles from war. Also, how necessary it is to stop evil things that war is fought for like the Holocaust. I contributed to the Syria: A Conflict Explored part in the article [[Imperial War Museum]] .<br />
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==Activity #16 Museum of London Docklands==<br />
The [[Museum of London Docklands]] is a small museum with a lot of interesting history. There were things about the first docks in London and the supplies they used. One thing I found interesting was the whaling parts in the museum. I started an article about it [[Whaling in London|here]]. The London port was the leading dealer for whaling for a while until the Dutch took over. Another interesting thing I found was, the African Prince exhibit about the Royal African named Sessarakoo. He went to London to be educated but was tricked into being sold into slavery. He was eventually freed 4 years later and then started to be accepted into London society. Even though visiting this museum was not directly related to my milestones, what I did think could be linked to my research was that goods that were brought on the docks could have been needed for the use of theatrical performances. This museum was good place to visit and had a lot of information on the docks of London. <br />
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==Activity #17 Horniman Museum and Gardens==<br />
The [[Horniman Museum]] was a beautiful place to go and see. Other than seeing some musical instruments used in theater, going to this museum was not necessary for my milestone research. I loved seeing all of the different animals on display in the gallery. Within this gallery was a huge clock on the balcony that was really beautiful. When the four o'clock would chime, the twelve apostles within the clock would move. The museum had a huge walrus, which is the museum's 'mascot'. Another interesting exhibit they had there was an exhibit on musical instruments. They had church organs, trombones, 17th century pianos and so much more on display. Throughout this exhibit, were different non musical but cultural things like a wedding dress used in African weddings. This was to show what purpose music has in different places around the world. The gardens were very beautiful. The gardens had many different and unique sundials. Exotic plants such as Japanese Bamboo were featured in these gardens. I also found sheep being kept at one place in the garden. Overall, the garden & the museum were a nice place to visit and I enjoyed the beautiful sunny day we had that day in London. I contributed by writing a part in the article the [[Horniman Museum]] about the robot exhibit. <br />
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==Activity #18 Hampton Court Palace==<br />
Visiting [[Hampton Court Palace]] was spectacular. I was in love with the style and architecture of the palace. So many historical events happened there. Henry VIII, Elizabeth I and William & Mary were some of the English monarchs who have lived there. I liked visiting William III's apartment. The apartment looked like the palace rooms you see in the movies about these historical people. The art there and around the palace was also very beautiful. In King Henry VIII's Kitchen, there was someone actually cooking a roast in the stove on a pit. <br><br><br />
[[The Gardens at Hampton Court Palace| The Gardens]] were so big and beautiful. I loved the rose garden. The privy garden, I learned, was where Charles I ran into to try to escape his house arrest. He was recaptured though and eventually beheaded. The Great Vine, which is the largest vine in the world, was housed in the old greenhouse in the gardens. I wrote about it in [[The Gardens at Hampton Court Palace]] article as well as fixed things in the [[Hampton Court Palace]] article. The maze, which was in the wilderness garden, was also pretty fun to go into and get lost in. The palace did not have much related to my milestones except for that Shakespeare did perform at the palace with his company for James I. Also Elizabeth I, Henry VIII and Mary I, who were all influential to the time period of the plays I am researching about, lived in this palace. <br />
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==Activity #19 The Wallace Collection==<br />
[[The Wallace Collection]] was housed in the beautiful Herlford House located on Manchester square. The collection was originally a private collection owned by the Marquesses of Hertford. The collection of paintings were all very beautiful. The mini portraits of Napoleon I and his empress Joséphine sparked my interest. They had numerous mini portraits of them in different years of their lives. Another cool exhibit that I enjoyed was the Gilded Bronze collection. The intricate art on the candlesticks and side table were very detailed and beautiful. The collection of armory was also very amazing to see. There were three galleries just dedicated to the European and Oriental Armor. On display were two full size dressed manikin horses with armor on them. Intricately decorated swords were numerously present in this collection also. The museum though didn't have information that would have contributed towards my milestones research. I did contribute to [[The Wallace Collection]] article on the East Galleries. Overall, the museum was an amazing experience. <br><br><br />
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==Activity #20 The Science Museum of London==<br />
The [[London Science Museum]] was spectacular. The amount of science and history that is housed in this museum is almost too much to see in one day. No really I went to this museum twice and I still haven't been able to see everything. The space exhibit really sparked my attention. There was a full size replica of the Apollo 11 lunar ship that landed on the moon. The space exhibit also had a real moon rock. Another interesting thing they had was the oldest surviving steam engine locomotive Puffing Bully. Another cool artifact the museum had was a cut out part from one of the biggest passenger airplanes ever built, Boeing 747. The Airbus A380 900 is now the largest passenger airplane today and can seat 900! The museum did not have much towards my milestones research but the museum was a great learning experience. I did contribute to the [[London Science Museum]] article.<br />
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==Activity #21 Evensong at Westminster Abbey==<br />
Evensong is a prayer done at 5pm at Westminster Abbey. The prayers were sung by the Lay Vicars of Westminster Abbey. Six prayers were sung in total. Most of then were older hymns written in the 1500s or from the bible. It was a beautiful service. The choir sounded beautiful. No musical instruments were played except for the organ at some parts. When the choir would sing, they would sing acapella. My favorite song they sung was 'The Magnificat'. It is the prayer that Mary says when she is visiting her cousin Elizabeth's house. That prayer is so beautiful. The choir sang most of the songs in Latin. Latin is the original language of prayer in the catholic church. Overall, the choir was magnificent and I would highly recommend hearing evensong from them. <br />
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==Activity #22 Stratford-upon-Avon==<br />
The trip to Shakespeare's birthplace and home was great! I enjoyed seeing the place where Shakespeare lived. I visited his family home where he was born & grew up, New Place which is where he lived with his family, and Hall's Croft the home of Shakespeare's son-in-law Dr John Hall & Susanna Hall, Shakespeare's oldest daughter. The places were great to see since these were the places where history was made. Shakespeare's family home was a historical site where the rooms were decorated to look like how it would have looked when Shakespeare was born and during his life. The original window that is believed to be the one in the room Shakespeare was born in is housed upstairs of Shakespeare's home. People who would come visit this place would sign their name on the window. Many famous people have done it. <br><br><br />
Another place I saw was New Place where Shakespeare lived with his wife Anne Hathaway. Sadly though, the house was destroyed by a man named Reverend Francis Gastrell. He got frustrated with people wanting to visit his house, New Place, so he destroyed it. He became so disliked for this that he was run out of town. The site now has gardens with statues that signify Shakespeare's life and his works. I liked the statues that represented plays Shakespeare wrote with quotes from the scripts. The exhibition, which is housed in the building next to New Place, has some artifacts from the excavation of the site. <br><br><br />
The last place visited was Hall's Croft. This place was set up the way Dr Hall would have had it when he lived their with his wife. There were interesting displays about medicine in the time of Shakespeare's life. The house was beautiful. Besides going to these three places I also visited the Royal Shakespeare Company. On display, at their theater, were pictures and costumes from past Shakespeare performances. Visiting Stratford-upon-Avon was relevant to two of my milestones since they are about Shakespeare's plays. I learned more about his plays and the time period he was living in. I learned as well the things that could have inspired his writing in the place where he grew up & lived. Overall, it was a great experience to visit this place.<br />
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==Activity #23 Romeo & Juliet at The Globe==<br />
This performance of Romeo & Juliet really surprised me to say the least. For a setting such as [[The Globe Theater| the Globe]], one would think that the performance could give more of a traditional style. But, no it was a scary, dark clown interpretation. No kidding. The "Prince" was a scary deep voice in the background and spoke through the sound system. He also said the Prologue. The costumes were mostly black and Elizabethan time looking for the most part. There were some popping costumes once and a while such as Pluto from Disney. Romeo's character and actor I liked the best. He was expressive and passionate. Juliet was alright however, she lack the feeling of that she was a young girl in love. I cannot get over the fact it was so dark, with grave digging and dead bodies lying on hospital rolling beds. The mood was definitely dark & the style of delivery of lines was Mel Brooks humor. I believe the writers wanted to give this tragedy a twist from the usual mood of different passions of love, pain & conflict; to tragic, humor, love, conflict & pain. The lack of passion though made me cringe. Compared to the other performances I studied, I was so disappointed. The opportunity to make this so memorable and heart aching was lost. There wasn't even the use of the balcony for the balcony scene. Overall, my personal review of this is that if you want a spoof off the original story go see this. if you want to not be frightened and disappointed for the lack of a Shakespeare classic storytelling, don't see it. <br><br><br />
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==Activity #24 The Dream / Symphonic Variations / Marguerite and Armand | performed at the Royal Opera House==<br />
The performance was shown on a big screen in Trafalgar park. It was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. <br />
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The Dream is a ballet, based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon, who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon do make things right with everyone. Oberon makes peace with Titania and everyone goes back to the way things were supposed to be. I loved Oberon's performance. His moves and style made the character. I loved the scenery that looked like an enchanted forest. Overall, this act was a beautiful masterpeice. <br />
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Symphonic Variations was one of the first works done by the Royal Ballet at the [[Royal Opera House]] in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. I did like this piece but, the act had no story to it so I did not get it. <br />
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The most emotional and beautiful performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She was so beautiful and emotional. I loved watching her. She was the story of Marguerite and Armand; two lovers who are destined to never be together. Marguerite is a Parisian courtesan, who has a passionate love affair with Armand. What I liked about the performance was the change of scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. It was cool to see. Going to this event helped me with my milestone 2 research on what ballet today looks like. The performance showed me today's ballet poses and costumes. The event was an amazing experience and I would definitely do it again if I was back in London. I wrote details about this performance in the article on the [[Royal Opera House]].<br />
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==Activity #25 Stonehenge, Bath and Lancock Village==<br />
[[Stonehenge]] was an amazing place to see. To hear it is about 5100 years old, is amazing. The great significance of the structure is the achievement of the people at the time to build the structure without wheels or pulleys. We take these things for granted today but, the people who moved the huge boulders for the structure didn't have all of that. I am amazed and in awe of the great history that surrounded this site. As told by archaeologists, [[Stonehenge]] was used as a place for burial's, celebration, and healing. Visiting this site did not have much to do with my milestones, but this historic site has been around before, during and after the time periods of my milestone research. I also started and contributed to the article about [[Stonehenge]].<br />
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Bath was a city where the Romans made baths out of the hot springs founded on the site. The water, from underground, comes to the surface at the temperature of 50 Celsius. The King's bath, as the site is now called, is the the place where the Romans made their roman bath. You can see the water coming out of the ground bubbling and steaming. The Abbey in Bath right next to the Roman Bath's is the site where the first King of England, Edgar, was crowned. The church seen today was build by Bishop John with the help of King William Rufus. When King Henry VIII declared his Dissolution of the Monasteries, the Abbey was destroyed but, it was later restored. Bath overall, was such a beautiful place to visit. It is so different in style and architecture compared with London. The place was around during the times of my milestones research but, the site has not great importance to my milestones.<br><br><br />
The last place to visit on this tour was a place called Lancock Village. It is a 16th century village that after the dissolution by King Henry VIII, the Abbey and the estate, including the village were sold to William Sharington. The Talbot family later owned the place until it was given to the National Trust. The village and Abbey have been the setting for some major films including 1995 Pride and Prejudice, Harry Potter and other great films. The village was a great place to see even though visiting it had no great importance in my milestones research. <br />
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==Activity #26 Windsor Castle==<br />
[[Windsor Castle]] was a spectacular palace to visit. It was beautiful. The state apartments within the castle held a huge collection of art and expensive pieces belonging to the royal family. The Waterloo Chamber housed portraits of not just royalty but, military and nobility heroes from battles & conflicts. There was a big grand portrait of the Duke of Wellington painted before the battle of Waterloo. One portrait that caught my eye was of Pope Pius VII by Sir Thomas Lawrence. I really liked it. St George's Hall and the Grand Reception Room were also a site to see. They were beautiful. St George's Hall and the Grand Reception Room were some of the state apartments damaged in the 1992 fire that [[Windsor Castle]] suffered from. Fortunately, it was restored with other damaged parts with the help of the current Duke of Edinburgh. I also got to admire the portrait of Queen Elizabeth II. She looked so beautiful. <br />
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St. Georges Chapel, within Windsor castle, is one of the oldest churches in England built in the 11th century by King Edward III. The tombs of King Henry VIII, with his third wife Jane Seymour, are located in the choir area of the chapel. A little chapel was newly put in for Queen Elizabeth II's father George VI and mother Queen Elizabeth final resting place. Her sister, Princess Margaret, was also given a place for her ashes there. What I also found, from the church, was King Edward III's sword on display. I looked to be taller than me. Visiting this place was not need for any milestone research. The monarchs from the time period I am researching though, would have resided in [[Windsor Castle]] at some point. This beautiful palace I thought deserved an article so I created the [[Windsor Castle]] article and contributed to it. <br />
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==Activity #27 Backstage Tour of the Royal Albert Hall==<br />
The [[Royal Albert Hall]] was more grand on the inside then on the outside. When taking this tour, I got to sit in the grand tier seating. That seating is reserved for important guests or people who are willing to pay the high price. According to my tour guide, about 46 years ago, grand tier seats were sold for ₤100. For that price you were guaranteed that seat for any show for 990 years! That is amazing. What the backstage tour showed was the places where the equipment is stored and the show crew works before, during & after a show. What was interesting to learn was that despite the grand size of the hall, equipment used for events and shows backstage don't have a home. Some of the equipment continuously moves to different places throughout Albert Hall. I was in constant awe of this beautiful and big place. I wrote an article about the [[Royal Albert Hall]] but, the amount I put in isn't all of information about the hall that can be put in. In conclusion, if you are ever in London, you have to see the [[Royal Albert Hall]]. <br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Mthatfalvi|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Whaling_in_London&diff=19314
Whaling in London
2017-06-22T13:55:12Z
<p>Mthatfalvi: </p>
<hr />
<div>=Whaling in London=<br />
<br />
{{Infobox <br />
|title = Whaling in London<br />
|header1 = Greenland Whaling<br />
|bodystyle = width:25em<br />
|image = [[File:FMIB 32944 Greenland Whaling-Grounds.jpeg|x450px|alt=Article Image]]<br />
|caption = Greenland Whaling <br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Frederick Whymper<br />
|label3 = '''Year'''<br />
|data3 = 1883<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = <br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
Whaling is a practice from back in the middle ages. In the 17th century, English whalers from the Greenland company started whaling. Overall, the whaling trade has periods of grown and decline. In the time of 1750, whale oil was used as regular oil is used today for lubricating machinery and other stuff. The whaling trade in London since the 1960's has closed due to other better sources of oil. <br />
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__TOC__<br />
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=Background=<br />
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==Beginning of Whaling==<br />
According to the London Waling Trade article on the London Port Cities website, the Middle Ages saw the start of the hunting of whales in the Bay of Biscay by Basque fishermen. <ref name = "wal">The London whaling trade. (n.d.). Retrieved May 23, 2017, from http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2633/The-London-whaling-trade.html </ref> Then in the 17th century, English and Dutch whalers working for the Muscovy Company started searching in the Arctic for whales to trade with Russia.<br />
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===Greenland Whaling===<br />
The Greenland Company took over the whaling side of the Muscovy Company because it was granted monopoly rights given by the government.<ref name = "wal"/> London then had 20 whaling ships in the 1620s.<ref name = "wal"/> During this whaling time though the English had bitter competition with the Dutch who eventually dominant them by mid 17th century.<ref name = "wal"/> <br />
<gallery mode = "packed" heights = 200px><br />
File:Walfang zwischen 1856 und 1907.jpg|A New England whaler <br> <small> '''Attributed to''' Walfang zwischen US Library of Congress [Public Domain] (2004) via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File:Walfang_zwischen_1856_und_1907.jpg Link]<br />
File:Dutch Whaling Scene Bonaventura Peeters.JPG|Dutch Whaling Scene by Bonaventura Peeters (1645) <br> <small> '''Attributed to''' Bonaventura Peeters [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ADutch_Whaling_Scene_Bonaventura_Peeters.JPG Link]<br />
File:Cook-whaling.jpg|A view of whale fishery (1790) <br> <small> '''Attributed to''' By Archival Photograph by Mr. Sean Linehan [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ACook-whaling.jpg Link]<br />
</gallery><br />
<br><br><br />
<br />
==Death of Whaling==<br />
In 1750, according to an article, whale oil was being used for street lighting, machine lubricating in paint and putty.<ref name = "wal"/> Then the oil was replaced by gas and alternative oil sources. This brought the end to the big whaling industry in London and the last whale ship was sent out in 1835. <ref name = "wal"/> <br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2635/The-London-whaling-trade.html PortCities London Whaling Trade]<br />
<br><br><br />
<br />
<br />
<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Whaling_in_London&diff=19313
Whaling in London
2017-06-22T13:54:34Z
<p>Mthatfalvi: </p>
<hr />
<div>=Whaling in London=<br />
<br />
{{Infobox <br />
|title = Whaling in London<br />
|header1 = Greenland Whaling<br />
|bodystyle = width:25em<br />
|image = [[File:FMIB 32944 Greenland Whaling-Grounds.jpeg|x450px|alt=Article Image]]<br />
|caption = Greenland Whaling <br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Frederick Whymper<br />
|label3 = '''Year'''<br />
|data3 = 1883<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = <br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
Whaling is a practice from back in the middle ages. In the 17th century, English whalers from the Greenland company started whaling. Overall, the whaling trade has periods of grown and decline. In the time of 1750, whale oil was used as regular oil is used today for lubricating machinery and other stuff. The whaling trade in London since the 1960's has closed due to other better sources of oil. <br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Background=<br />
<br><br />
==Beginning of Whaling==<br />
According to the London Waling Trade article on the London Port Cities website, the Middle Ages saw the start of the hunting of whales in the Bay of Biscay by Basque fishermen. <ref name = "wal">The London whaling trade. (n.d.). Retrieved May 23, 2017, from http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2633/The-London-whaling-trade.html </ref> Then in the 17th century, English and Dutch whalers working for the Muscovy Company started searching in the Arctic for whales to trade with Russia.<br />
<br><br><br />
===Greenland Whaling===<br />
The Greenland Company took over the whaling side of the Muscovy Company because it was granted monopoly rights given by the government.<ref name = "wal"/> London then had 20 whaling ships in the 1620s.<ref name = "wal"/> During this whaling time though the English had bitter competition with the Dutch who eventually dominant them by mid 17th century.<ref name = "wal"/> <br />
<gallery mode = "packed" heights = 200px><br />
File:Walfang zwischen 1856 und 1907.jpg|A New England whaler <br> <small> '''Attributed to''' Walfang zwischen US Library of Congress [Public Domain] (2004) via Wikimedia Commons - https://commons.wikimedia.org/wiki/File:Walfang_zwischen_1856_und_1907.jpg<br />
File:Dutch Whaling Scene Bonaventura Peeters.JPG|Dutch Whaling Scene by Bonaventura Peeters (1645) <br> <small> '''Attributed to''' Bonaventura Peeters [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ADutch_Whaling_Scene_Bonaventura_Peeters.JPG Link]<br />
File:Cook-whaling.jpg|A view of whale fishery (1790) <br> <small> '''Attributed to''' By Archival Photograph by Mr. Sean Linehan [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ACook-whaling.jpg Link]<br />
</gallery><br />
<br><br><br />
<br />
==Death of Whaling==<br />
In 1750, according to an article, whale oil was being used for street lighting, machine lubricating in paint and putty.<ref name = "wal"/> Then the oil was replaced by gas and alternative oil sources. This brought the end to the big whaling industry in London and the last whale ship was sent out in 1835. <ref name = "wal"/> <br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2635/The-London-whaling-trade.html PortCities London Whaling Trade]<br />
<br><br><br />
<br />
<br />
<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Whaling_in_London&diff=19312
Whaling in London
2017-06-22T13:53:56Z
<p>Mthatfalvi: </p>
<hr />
<div>=Whaling in London=<br />
<br />
{{Infobox <br />
|title = Whaling in London<br />
|header1 = Greenland Whaling<br />
|bodystyle = width:25em<br />
|image = [[File:FMIB 32944 Greenland Whaling-Grounds.jpeg|x450px|alt=Article Image]]<br />
|caption = Greenland Whaling <br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Frederick Whymper<br />
|label3 = '''Year'''<br />
|data3 = 1883<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = <br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
Whaling is a practice from back in the middle ages. In the 17th century, English whalers from the Greenland company started whaling. Overall, the whaling trade has periods of grown and decline. In the time of 1750, whale oil was used as regular oil is used today for lubricating machinery and other stuff. The whaling trade in London since the 1960's has closed due to other better sources of oil. <br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Background=<br />
<br><br />
==Beginning of Whaling==<br />
According to the London Waling Trade article on the London Port Cities website, the Middle Ages saw the start of the hunting of whales in the Bay of Biscay by Basque fishermen. <ref name = "wal">The London whaling trade. (n.d.). Retrieved May 23, 2017, from http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2633/The-London-whaling-trade.html </ref> Then in the 17th century, English and Dutch whalers working for the Muscovy Company started searching in the Arctic for whales to trade with Russia.<br />
<br><br><br />
===Greenland Whaling===<br />
The Greenland Company took over the whaling side of the Muscovy Company because it was granted monopoly rights given by the government. London then had 20 whaling ships in the 1620s. During this whaling time though the English had bitter competition with the Dutch who eventually dominant them by mid 17th century.<br />
<gallery mode = "packed" heights = 200px><br />
File:Walfang zwischen 1856 und 1907.jpg|A New England whaler <br> <small> '''Attributed to''' Walfang zwischen US Library of Congress [Public Domain] (2004) via Wikimedia Commons - https://commons.wikimedia.org/wiki/File:Walfang_zwischen_1856_und_1907.jpg<br />
File:Dutch Whaling Scene Bonaventura Peeters.JPG|Dutch Whaling Scene by Bonaventura Peeters (1645) <br> <small> '''Attributed to''' Bonaventura Peeters [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ADutch_Whaling_Scene_Bonaventura_Peeters.JPG Link]<br />
File:Cook-whaling.jpg|A view of whale fishery (1790) <br> <small> '''Attributed to''' By Archival Photograph by Mr. Sean Linehan [Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ACook-whaling.jpg Link]<br />
</gallery><br />
<br><br><br />
<br />
==Death of Whaling==<br />
In 1750, according to an article, whale oil was being used for street lighting, machine lubricating in paint and putty.<ref name = "wal"/> Then the oil was replaced by gas and alternative oil sources. This brought the end to the big whaling industry in London and the last whale ship was sent out in 1835. <ref name = "wal"/> <br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2635/The-London-whaling-trade.html PortCities London Whaling Trade]<br />
<br><br><br />
<br />
<br />
<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Royal_Albert_Hall&diff=19301
Royal Albert Hall
2017-06-22T13:39:45Z
<p>Mthatfalvi: </p>
<hr />
<div>=Royal Albert Hall=<br />
<br />
{{Infobox <br />
|title = The Royal Albert Hall<br />
|header1 = <br />
|bodystyle = width:25em<br />
|image = [[File:Royal Albert Hall.jpg|x450px|alt=Article Image]]<br />
|caption = Royal Albert Hall<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Panos Asproulis from London, United Kingdom<br />
|label3 = '''Year'''<br />
|data3 = 2005<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = London, England.<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Royal Albert Hall]] is a concert hall located in South Kensington, London. It has a capacity of up to 5,272 seats. It's namesake is for Prince Albert, Queen Victoria's husband. It was opened by her in 1871. Each year it shows performances in wide variety including classical, rock and pop concerts, ballet, opera, film screenings with live orchestra, sports, award ceremonies, school and community events, charity performances and banquets. <br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=History=<br />
The Royal Albert Hall site was once the Gore estate. Gore estate, according to the Royal Albert Hall website, were bought by the Exhibition’s Royal Commission to create the "cultural quarter" called Albertopolis,named after Prince Albert, in 1851.<ref name = "his"> Pre-Opening — Royal Albert Hall. (n.d.). Retrieved June 15, 2017, from http://www.royalalberthall.com/about-the-hall/our-history/explore-our-history/time-machine/pre-opening/ </ref> Albertopolis is now the home to the [[Natural History Museum]], [[Victoria and Albert Museum]], the [[London Science Museum|Science Museum]] and the Imperial College. <br><br><br />
The building was to be named originally The Central Hall of Arts and Sciences it was changed to the [[Royal Albert Hall]] by Queen Victoria in the honor of her husband Prince Albert.The official name of the hall is [[Royal Albert Hall|The Royal Albert Hall of Arts and Sciences]].<br />
On the 20th of May 1867, The foundation stone was laid by Queen Victoria in a great ceremony.<ref name = "his"/> The building was opened on the 29th of March 1871 by the Prince of Wales since the Queen was too emotional to speak at the opening. <ref> 1800s — Royal Albert Hall. (n.d.). Retrieved June 15, 2017, from http://www.royalalberthall.com/about-the-hall/our-history/explore-our-history/time-machine/1800s/ </ref> To this day, the hall has been used all different displays and performances of the arts and sciences, including ballet, exhibitions, conventions, memorial concerts, classical music concerts, pop music performances, theater, and so much more. <br />
<br><br><br />
<br />
=Theater Space=<br />
[[File:Royal Albert Hall - Central View 169 (1).jpg|thumb|Royal Albert Hall Theater interior <br><small> '''Attributed to''' © User:Colin / Wikimedia Commons, via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3ARoyal_Albert_Hall_-_Central_View_169.jpg Link]]]<br />
This grand theater can seat up to 5,272. It is a stadium style theater. The Hall is circular with seating all around the bottom stage. A gallery is located all around the hall. The choir seating is right next to the grand organ above the main stage section. The arena is used for sporting events as well as some ballet performances such as Swan Lake. It can also be used for extra seating if needed.<br><br><br />
The sound echo that used to be heard in the the grand theater is now gone hanks to the Fibreglass acoustic diffusing discs on the ceiling known as Mushrooms.<ref name = "mush">Mushrooms (acoustic diffusers) — Royal Albert Hall. (n.d.). Retrieved June 16, 2017, from http://www.royalalberthall.com/about-the-hall/our-history/explore-our-history/building/acoustic-diffusers-mushrooms/ </ref> Acosutic testing that was done in the 1960 brought the idea of this solution. Originally there were 135 mushrooms that were made by the Yorkshire Fibreglass Company however in 2001, 50 diffusers were removed based on more advanced acoustic testing by Peutz Associates.<ref name = "mush"/><br />
<br><br><br />
<br />
=Visiting Arts and Sciences Groups=<br />
==English National Ballet== <br />
According to the company's website, this ballet troupe was founded in 1950's called ‘Festival Ballet’ by Anton Dolin, Alicia Markova and Julian Braunsweg.<ref name = "bal"> Company History - English National Ballet. (n.d.). Retrieved June 15, 2017, from https://www.ballet.org.uk/company-history/ </ref> From 1951, the company has toured worldwide performing at several places. In 1965, after a big financial expenditure with a production of Swan Lake, the Arts Council of Great Britain agreed to grant a subsidy to the Company and introduced a new Administrator, Donald Albery, to lead the Company.<ref name = "bal"/> <br><br> <br />
Beryl Grey in 1968 was appointed to be Artistic Director of London Festival Ballet and capitalize on seasons at the London Coliseum to help raise awareness for the Company.<ref name = "bal"/> This great business deal has allowed the company to grow and flourish. Beryl Grey was succeed by John Field in 1979. During his involvement, according to the company's website, the London Festival Ballet became the first British classical ballet company to establish a formal outreach and education program.<ref name = "bal"/> 1989 saw changes in the funding system of the Company as well as the Company’s name change to ‘English National Ballet’.<br><br><br />
The year 1997 saw the start of series of performances for the [[Royal Albert Hall]], with the ballet Swan Lake which was attended by Diana, Princess of Wales before her death. Tamara Rojo as the new Artistic Director has introduced new works while still honoring traditional ballet.<ref name = "bal"/> The English National Ballet has won awards such as the Winner of the Stef Stefanou Award for Outstanding Company at the 2014 and 2016 Critics’ Circle National Dance Awards, the production of ''Lest we Forget'' was named Winner of the The South Bank Sky Arts Awards 2015 and the Manchester Theatre Awards’ Robert Robson Award for Dance for three years in a row.<ref name = "bal"/> English National Ballet is still doing what it has done throughout the years with taking ballet all over the world. <br />
<br><br><br />
<br />
=Performances=<br />
==Swan Lake (2016)==<br />
===Performance Summary===<br />
The [[Royal Albert Hall]] first put on this unique production in 1997 when Diana, Princess of Whales attended the production. This performance's music was the original Tchaikovsky music played by the English National Ballet Philharmonic. The dancers were from the English National Ballet. The choreographer, Derek Deane, used the theater space to his advantage in his dance choreography. It is explained in detail in a review. ''"This distraction aside, Deane’s Swan Lake is a tremendous achievement – the choreography is configured so that it can be seen front-on from all sides (though this does mean you get a lot of gusset at times). The traditional pas de six is ramped up to a pas de douze, impeccably danced in wonderful costumes of luminous greenish gold — Laurretta Summerscales is particularly compelling here, long-limbed and lofty. Though they’re decked out in drab brown, a troupe of attentive peasants performs with equally stunning precision when their time comes. It’s a shame that Michael Coleman’s uncomfortably rotund royal tutor keeps pestering one of these agile and nubile wenches, who has to respond to his advances with a broad smile, proof that everything’s festive and fine within the feudal system. Then, of course, there’s the stirring sight of 60 white swans filling the stage, bourreeing on pointe together, their arms in perfect alignment. It’s absolutely mesmerising."'' <ref>Winter, A. (2016, June 6). Review: Swan Lake in-the-round at the Royal Albert Hall. Retrieved June 16, 2017, from http://exeuntmagazine.com/reviews/review-swan-lake-round-royal-albert-hall/ </ref> The performance ran from 1st-12th June 2016. <br />
<br><br><br />
<br />
===Reviews===<br />
This performance has received many positive reviews. What seems to be the great factor to this performance is the stage it performs on. Luke Jennings from the Guardian explains this. "Configured for the vast auditorium of the Royal Albert Hall, it features no fewer than 60 swans. When they make their first entrance, wave after wave of them, it’s awesome. To see them move and breathe as one is also profoundly touching. Five dozen young women, refuting every generalisation about their generation – the petulant individualism, the zero attention span, the need for immediate gratification – and enacting a collective act of homage to this most rigorous of art forms." <ref> Jennings, L. (2016, June 19). Swan Lake review – a muted ballet blanc saved by its corps. Retrieved June 16, 2017, from https://www.theguardian.com/stage/2016/jun/19/swan-lake-review-english-national-ballet-derek-deane</ref> <br />
<br><br><br />
Another review from the Express gives the performance an encore worthy review. ''"English National Ballet’s Swan Lake..., is played with no distracting scenery and at the centre of 5,000 faces. With nowhere to hide, the dancers tell the story of love, betrayal and forgiveness with an honest conviction. ...Deane has opened up this gorgeous classic for all to enjoy playing..... If you are curious about ballet, now is the time."'' <ref>Taylor, J. (2016, June 04). Dance review: Swan Lake in the round, English National Ballet. Retrieved June 16, 2017, from http://www.express.co.uk/entertainment/theatre/676803/Dance-review-Swan-Lake-in-the-round-English-National-Ballet </ref> Overall, this performance is praised for it's unique choreography that is used on a stage for the [[Royal Albert Hall]].<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
=External Links=<br />
[http://www.royalalberthall.com/ Royal Albert Hall Official Website]<br><br />
[https://www.ballet.org.uk/ English National Ballet Official Website]<br />
<br><br><br />
<br />
=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Place&diff=19297
The Place
2017-06-22T13:37:43Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Place=<br />
<br />
{{Infobox <br />
|title = The Place <br />
|header1 = The Place on Dukes Road<br />
|bodystyle = width:25em<br />
|image = [[File:2317356 ff40d18d.jpg|x450px|alt=Article Image]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to [http://www.geograph.org.uk/profile/12735 Mike Quinn]<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = London, UK<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
[[The Place]] is a dance and performance centre located on Duke's Road near Euston. It is the home of the London Contemporary Dance School. The Place has been on the site since 1969, when the Contemporary Ballet Trust took over the premises. To this day [[The Place| the Place]] is a theater where contemporary ballet is performed.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=History=<br />
The building was designed by R.W Edis and built by Charles Kynoch and Company of Clapham as a drill hall for the the 20th Middlesex (Artists) Volunteer Rifle Corps between 1888-89. <ref> Good Stuff (1997-08-01). [http://www.britishlistedbuildings.co.uk/101342089-the-place-and-attached-railings-kings-cross-ward#.WUPKdmjyvIU "The Place and Attached Railings - Camden - Greater London - England"]. British Listed Buildings. Retrieved 2016-12-14.</ref> The drill hall, which was known as [[The Place|The Artists Place]], became known as simply [[The Place]] when the Contemporary Ballet Trust took over the premises in 1969.<br><br><br />
[[The Place]] was founded by a man named Robin Howard. Howard, according to an article on [[The Place]] website, wanted to establish a "distinctively British form of contemporary dance'" that would be firmly rooted in Kings Cross that would also allow international influences.<ref name = "his"> Pritchard , J. (2001). A History of The Place. Retrieved June 16, 2017, from http://www.theplace.org.uk/history-place </ref> [[The Place]] attracted dancers and choreographers from around the world both as students and performers. In the 1970s, the Contemporary Ballet Trust started the London Contemporary Dance School and the London Contemporary Dance Theatre (now succeed by the Richard Alston Dance Company) both were formed and are housed at [[The Place]]. From 1999 to 2008, dance studios were also built. <br><br><br />
Today, [[The Place]] is the home of the London Contemporary Dance School where students and teachers come from around the world.<ref name = "his"/> The school provides both undergraduate and postgraduate training, as well as a research program in contemporary dance. <ref name = "his"/> <br />
<br><br><br />
<br />
=Theatre=<br />
[[File:The place theater.PNG|300px|thumb|Robin Howard Dance Theatre seating <br><small>'''Taken by''' [[User:Mthatfalvi|Mary Hatfalvi]] (2017) please no copying]]<br />
This theatre, which was named in 2001 as the Robin Howard Dance Theatre, seats 280 people. <ref name = "about">About The Place. (n.d.). Retrieved June 16, 2017, from http://www.theplace.org.uk/about-place</ref> <ref name = "his"/> The theatre, pictured on the right, is in the style of a proscenium theatre. Main company productions as well as visiting artists perform in this theatre. <br />
<br><br><br />
<br />
=Studios=<br />
According to the [[The Place]] website, this place has 11 dance studios that are used on an every day basis.<ref name = "sto"> Studios - The Place . (n.d.). Retrieved June 20, 2017, from http://www.theplace.org.uk/studios </ref> The studios, according to the site, can be used for events such as classes, workshops and rehearsals.<ref name = "sto"/> The studios also have different amenities available such as mirrors, pianos, Speaker system, TV screens, ballet dance barres and table & chairs.<ref name = "sto"/> <br />
<br><br><br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.theplace.org.uk/ The Place Official Website]<br />
<br><br><br />
<br />
=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
<br />
[[Category:Art]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Place&diff=19291
The Place
2017-06-22T13:35:08Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Place=<br />
<br />
{{Infobox <br />
|title = The Place <br />
|header1 = The Place on Dukes Road<br />
|bodystyle = width:25em<br />
|image = [[File:2317356 ff40d18d.jpg|x450px|alt=Article Image]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to [http://www.geograph.org.uk/profile/12735 Mike Quinn]<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = London, UK<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
[[The Place]] is a dance and performance centre located on Duke's Road near Euston. It is the home of the London Contemporary Dance School. The Place has been on the site since 1969, when the Contemporary Ballet Trust took over the premises. To this day [[The Place| the Place]] is a theater where contemporary ballet is performed.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=History=<br />
The building was designed by R.W Edis and built by Charles Kynoch and Company of Clapham as a drill hall for the the 20th Middlesex (Artists) Volunteer Rifle Corps between 1888-89. <ref> Good Stuff (1997-08-01). [http://www.britishlistedbuildings.co.uk/101342089-the-place-and-attached-railings-kings-cross-ward#.WUPKdmjyvIU "The Place and Attached Railings - Camden - Greater London - England"]. British Listed Buildings. Retrieved 2016-12-14.</ref> The drill hall, which was known as [[The Place|The Artists Place]], became known as simply [[The Place]] when the Contemporary Ballet Trust took over the premises in 1969.<br><br><br />
[[The Place]] was founded by a man named Robin Howard. Howard, according to an article on [[The Place]] website, wanted to establish a "distinctively British form of contemporary dance'" that would be firmly rooted in Kings Cross that would also allow international influences.<ref name = "his"> Pritchard , J. (2001). A History of The Place. Retrieved June 16, 2017, from http://www.theplace.org.uk/history-place </ref> [[The Place]] attracted dancers and choreographers from around the world both as students and performers. In the 1970s, the Contemporary Ballet Trust started the London Contemporary Dance School and the London Contemporary Dance Theatre (now succeed by the Richard Alston Dance Company) both were formed and are housed at [[The Place]]. From 1999 to 2008, dance studios were also built. <br><br><br />
Today, [[The Place]] is the home of the London Contemporary Dance School where students and teachers come from around the world.<ref name = "his"/> The school provides both undergraduate and postgraduate training, as well as a research program in contemporary dance. <ref name = "his"/> <br />
<br><br><br />
<br />
=Theatre=<br />
[[File:The place theater.PNG|300px|thumb|Robin Howard Dance Theatre seating]]<br />
This theatre, which was named in 2001 as the Robin Howard Dance Theatre, seats 280 people. <ref name = "about">About The Place. (n.d.). Retrieved June 16, 2017, from http://www.theplace.org.uk/about-place</ref> <ref name = "his"/> The theatre, pictured on the right, is in the style of a proscenium theatre. Main company productions as well as visiting artists perform in this theatre. <br />
<br><br><br />
=Studios=<br />
According to the [[The Place]] website, this place has 11 dance studios that are used on an every day basis.<ref name = "sto"> Studios - The Place . (n.d.). Retrieved June 20, 2017, from http://www.theplace.org.uk/studios </ref> The studios, according to the site, can be used for events such as classes, workshops and rehearsals.<ref name = "sto"/> The studios also have different amenities available such as mirrors, pianos, Speaker system, TV screens, ballet dance barres and table & chairs.<ref name = "sto"/> <br />
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=References=<br />
<references/> <br />
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=External Links=<br />
[http://www.theplace.org.uk/ The Place Official Website]<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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[[Category:Art]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Place&diff=19278
The Place
2017-06-22T13:21:38Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Place=<br />
<br />
{{Infobox <br />
|title = The Place <br />
|header1 = The Place on Dukes Road<br />
|bodystyle = width:25em<br />
|image = [[File:2317356 ff40d18d.jpg|x450px|alt=Article Image]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to [http://www.geograph.org.uk/profile/12735 Mike Quinn]<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = London, UK<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
[[The Place]] is a dance and performance centre located on Duke's Road near Euston. It is the home of the London Contemporary Dance School. The Place stated on the site in 1969 when the Contemporary Ballet Trust took over the premises. To this day [[The Place| the Place]] is a theater where contemporary ballet is performed.<br />
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__TOC__<br />
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=History=<br />
The building was designed by R.W Edis and built by Charles Kynoch and Company of Clapham as a drill hall for the the 20th Middlesex (Artists) Volunteer Rifle Corps between 1888-89. <ref> Good Stuff (1997-08-01). [http://www.britishlistedbuildings.co.uk/101342089-the-place-and-attached-railings-kings-cross-ward#.WUPKdmjyvIU "The Place and Attached Railings - Camden - Greater London - England"]. British Listed Buildings. Retrieved 2016-12-14.</ref> The drill hall, which was known as [[The Place|The Artists Place]], became known as simply [[The Place]] when the Contemporary Ballet Trust took over the premises in 1969.<br><br><br />
[[The Place]] was founded by a man named Robin Howard. Howard, according to an article on [[The Place]] website, wanted to establish a "distinctively British form of contemporary dance'" that would be firmly rooted in Kings Cross that would also allow international influences.<ref name = "his"> Pritchard , J. (2001). A History of The Place. Retrieved June 16, 2017, from http://www.theplace.org.uk/history-place </ref> [[The Place]] attracted dancers and choreographers from around the world both as students and performers. In the 1970s, the Contemporary Ballet Trust started the London Contemporary Dance School and the London Contemporary Dance Theatre (now succeed by the Richard Alston Dance Company) both were formed and are housed at [[The Place]]. From 1999 to 2008, dance studios were also built. <br><br><br />
Today, [[The Place]] is the home of the London Contemporary Dance School where students and teachers come from around the world.<ref name = "his"/> The school provides both undergraduate and postgraduate training, as well as a research program in contemporary dance. <ref name = "his"/> <br />
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=Theatre=<br />
[[File:The place theater.PNG|300px|thumb|Robin Howard Dance Theatre seating]]<br />
This theatre, which was named in 2001 as the Robin Howard Dance Theatre, seats 280 people. <ref name = "about">About The Place. (n.d.). Retrieved June 16, 2017, from http://www.theplace.org.uk/about-place</ref> <ref name = "his"/> The theatre, pictured on the right, is in the style of a proscenium theatre. Main company productions as well as visiting artists perform in this theatre. <br />
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=Studios=<br />
According to the [[The Place]] website, this place has 11 dance studios that are used on an every day basis.<ref name = "sto"> Studios - The Place . (n.d.). Retrieved June 20, 2017, from http://www.theplace.org.uk/studios </ref> The studios, according to the site, can be used for events such as classes, workshops and rehearsals.<ref name = "sto"/> The studios also have different amenities available such as mirrors, pianos, Speaker system, TV screens, ballet dance barres and table & chairs.<ref name = "sto"/> <br />
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=References=<br />
<references/> <br />
<br><br><br />
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=External Links=<br />
[http://www.theplace.org.uk/ The Place Official Website]<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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[[Category:Art]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=National_Theater&diff=19275
National Theater
2017-06-22T13:19:01Z
<p>Mthatfalvi: </p>
<hr />
<div>=National Theater=<br />
<br />
{{Infobox <br />
|title =National Theater<br />
|header1 = The National Theater<br />
|bodystyle = width:25em<br />
|image = [[File:800px-Royal_National_Theatre_4.jpg|x450px|alt=Article Image]]<br />
|caption = National Theater<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Man vyi<br />
|label3 = '''Year'''<br />
|data3 = 2008<br />
|label4 = '''Location'''<br />
|data4 = National Theater, London<br />
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}}<br />
<br />
=Overview=<br />
The National Theater (or as it is officially named the Royal National Theater) was first thought of in 1847 through pamplets and newspaper articles wanting a national theatre that would preserve timeless classics as they were supposed to be performed. The goal was to have a theater available to all people, not just the elite. Officially, the Company opened in 1963 with a performance of Hamlet. <ref name = "nat">National Theatre. (n.d.). Retrieved May 20, 2017, from https://www.nationaltheatre.org.uk/about-the-national-theatre/history </ref> From 1963 till 1976, the company was based at the Old Vic Theatre in Waterloo. The building that the company is now in was designed by architects Sir Denys Lasdun and Peter Softley. The design greatly reflects the goal of making theater accessible to all. Instead of having an ornate theater, it was made primarily from concrete. People could feel comfortable walking into the theater in jeans as opposed to being expected to dress up. There was also no elaborate design to steal attention away from the performance. All of the theaters were designed for maximum visibility, capacity and to accommodate for last minute guests. The shows run on a repertory schedule, alternating shows every four days, to provide the most variety of shows in a given time in order to meet the interests of everyone. The National Theater is meant to be a theater for the people.<br />
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__TOC__<br />
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=Theater Space=<br />
There are three theaters within the National Theater; the Olivier theatre, the Lyttelton theatre and the Dorfman theatre. Each theater is different in accords to the size, style and design of each theater. This is meant to accommodate attendance, set design and sound acoustics that can be different for each performance. <br />
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==Olivier Theatre==<br />
The Olivier Theatre is named after Laurence Olivier who was the first director of the National Theatre and a British actor.<br />
It is the largest of the three theaters and it can accommodate 1,160 people in its fan-shaped auditorium.<ref name = "nat"/> The design of the theater was based on the architect's favorite style of stage, the traditional Greek amphitheater as seen at Epidaurus.<ref name = "nat"/> The Greeks had a thrust stage surrounded by seats 180 degrees around. However, the stage in Olivier Theater has seating spanning only 118 degrees.<ref name = "nat"/> This number comes from the average peripheral vision of a human. By standing in the commanding spot or anywhere behind it, an actor can see the entire audience without turning his/her head. This creates a more intimate experience for the audience. The stage has a five-story deep cylinder beneath it. This drum can spin, enabling a revolving set. Additionally, the two half circles comprising the face of the cylinder act as stage lifts. For the production of Treasure Island, this technology was used to reveal the cross section of a ship in act two. The fly above is 30 meters high and has the capacity to lift a double decker bus. The rigging is automated as opposed to a traditional system with pulleys and counterweights.<br />
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==Lyttelton Theatre==<br />
According to the National Theater website, the Lyttelton Theatre was named after Oliver Lyttelton, who was the National Theatre's first chairman.<ref name = "nat"/> This theater has a proscenium style stage that is known for excellent acoustics and seats 890 people.<ref name = "nat"/> The seating arrangement is different than that of West End theaters. West End theaters have horseshoe shaped seating with royal boxes. That design came from the desire of the royalty to be seen. In modern day those boxes have some of the worst views. In order to give viewers the best experience, there are no royal boxes. It does, however, have day seats. These are seats in the balcony that are not sold until the day of a performance. This gives people who want to see a show but were unable to buy a ticket a chance to see it. The Lyttelton has an adjustable proscenium stage for different set design needs. It can be an open-ended stage or it can have a an orchestra pit. While stage left and behind the stage are used for storage for the set of the off show, the back storage space can be opened up to extend the stage.The fly in this theater is only 25 meters high and the rigging is primarily in the traditional style.<br> <br />
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==Dorfman Theatre==<br />
The Dorfman Theatre most adjustable Theater of of the National Theater stages. It is a flexible seating rectangular room that can house up to 450 people. <ref name = "nat"/> Because this theater is flexible with seating, each performance performed in the Dorfman Theatre has a different seating chart based on the stage design.<ref name = "nat"/> <br> <br><br />
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=Scenic & Props=<br />
About 60-80% of every show's set is created in house at the National Theater. The rest may be completed by them off site because it is too large, by a third party or rented. The theater has large workshops for every part of the process. This includes a metals shop and carpentry shop. After those two stages, talented artists paint the set and add other effects. Props makers must be skilled in multiple disciplines in order to create a prop. Some props are made from scratch. For others it is more economical or time effective to buy a product and modify it from there if necessary. Creating the set and props requires creativity. The set is created based off of a model that is converted into CAD files and technical drawings. From there it is up to the fabrication team to determine how to make the set. Often even less information is conveyed about a prop. They will simply be told to make something and then it is up to them to design and create it. A set and the props are not always what they appear to be. In order to save money, time and weight, materials may be used other than what the audience would suspect. The ornate molding around a door frame may be created by forming a mold and filling it with expanding foam. This foam is then painted gold to appear authentic. The illusion of a brick wall can be created convincingly with paint and perhaps another substance to add texturing onto a surface. In order to make these designs as they would appear in real life, many more costly materials and a significant amount of time would be required. All of this fabrication is typically completed in a six to eight week block. After a show the set goes into storage as it is under the copyright of designer. This set is eventually recycled as it can never be reused. Props go into storage for hire. The theater, other theaters or the general public can rent out these props for use.<br />
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=Lighting & Projections=<br />
Each lighting set up is unique to a show.<br />
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=Sound=<br />
Each theater within the National Theater has its own unique sound system. For the Olivier Theatre, the sound system is mostly used for sound effects, the mics can be used or not used since the stage is set up to be able to hear without microphones. The Lyttelton Theatre has the usual sound system needed for projection and sound affects. <br />
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=Costumes=<br />
After a show the costumes are put into storage for hire. The costumes can be rented back to the theater, to other theaters or to the public. This is one way the theater is able to earn back the money that was put into the performance.<br />
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=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
The performance of Shakespeare's Twelfth Night opened in the Oliver Theatre on February 22, 2017. The director was Simon Godwin. Overall the performance was put on in the timeless way. Meaning that no time period could be pinned down for the show. The script was the original Shakespearean script with some interpretation and wording changed. The characters spoke in Shakespearean language with humorous twists to some of the words. An interesting decision that the creators did in this play was switching some of the character’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that sexual orientation equality was also a theme for this interpretation since Malvolio is supposed to have a affection towards Olivia. The main theme from this interpretation of Twelfth Night was that Shakespeare is timeless. <br />
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===Dramatic Elements===<br />
The style of the play was a mix of Shakespearean period and modern 21st century. One scene had a 1950's vehicle when another scene had Shakespearean period costumes. The set design was a triangle staircase with rooms inside that created many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities for the set were endless. Music throughout the play was mainly jazz with clarinets & saxophones but there was also some modern club music for the party/club scene. <br />
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=References=<br />
<references/> <br />
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=External Links=<br />
[https://www.nationaltheatre.org.uk/ National Theatre ]<br />
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=Image Gallery=<br />
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[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Globe_Theater&diff=19248
The Globe Theater
2017-06-22T13:11:01Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Globe Theater=<br />
<br />
{{Infobox <br />
|title = The Globe Theater<br />
|header1 = The Globe Theater<br />
|bodystyle = width:25em<br />
|image = [[File:3677572 5b5c94df.jpg|x450px|alt=Article Image]]<br />
|caption = The Shakespearean Globe<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to N. Chadwick<br />
|label3 = '''Year'''<br />
|data3 = 2013<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = The Shakespearean Globe, London<br />
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}}<br />
<br />
=Overview=<br />
The original Globe Theater has been the home of Shakespeare and his plays since the beginning. During the English Civil War though the theater was closed down and demolished for tenant houses. The new Shakespearean Theater which opened in 1997, a few hundred feet away, strives to keep the original Globe's architectural design and classic Shakespeare plays. <br />
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__TOC__<br />
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=History=<br />
In 1576, during the first years of Elizabeth I’s reign, an actor/manager named James Burbage built a Theatre in Shoreditch.<ref name = "globe"> About Us - Original Globe / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/original-globe </ref> It was the first built playhouse in London as previously play companies used inns, inn yards, college halls and private houses for their performances. In the 1580's, Shakespeare joined the resident troupe at the Theatre. The company, which was later known as the King’s Men, remained there for 20 years. Then in 1597, James Burbage died.Then in 1598, the company leased land near the Rose and demolished the Theatre. In early 1599, the Globe Theatre opened and started showing Shakespeare’s plays.<ref name = "globe"/><br />
According to the Shakespearean Globe website, sadly, in 1613, during a performance of Henry VIII, a stage cannon lit fire to the roof and the theatre burned to the ground.<ref name = "globe"/> The theatre was rebuilt. It was opened until the area was taken over by the Puritans in 1642.<ref name = "globe"/> It was then demolished in 1644.<ref name = "globe"/><br><br><br />
The current Globe Theater (now know as the Shakespearean Globe) was opened in 1997.<ref name = "ab">About Us - Rebuilding the Globe / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/rebuilding-the-globe </ref> An American actor, director and producer Sam Wanamaker founded the Trust in 1970 that eventually raised the money to rebuild a replica Globe Theater.<ref name = "ab"/><br />
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=Theater Space=<br />
[[File:Hodge's conjectural Globe reconstruction.jpg|300px|thumb|Reconstruction of the Globe by C. Walter Hodges <br><small> '''Attributed to''' By C. Walter Hodges [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AHodge's_conjectural_Globe_reconstruction.jpg Link]]]<br />
The current globe was constructed to look like to original globe as much as possible. The actual look of the original globe is something that might have to always be a mystery. Fortunately, some prints by John Norden and Wenceslaus Hollar and other written accounts give us an idea as to what it looked liked. <ref name = "ab"/> The excavation of the Rose theater in 1989 showed the polygonal shape of the theatre. <ref name = "ab"/> One of the Globe's architect explains the layout well by saying: ''"The Globe was built as an experiment to investigate the lost open-air playhouse form of drama in all its aspects. It is vital that there is a continual process of re-assessment, that all the judgments made during construction are re-evaluated when new evidence or new interpretations surface, and even that the old arguments, so hotly debated before construction, are continually re-rehearsed."'' <ref>Elizabethan Architecture Research | Shakespeare's Globe | Globe Education / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/education/library-research/architectural-research-group</ref><br />
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=Scenic=<br />
The Globe's set design is kept to a minimum because of the paintings and design of the stage. According to the glossary of the globe terms, designers can use different floor coverings, curtains, or props for a performance to change and enhance scenes.<ref name = "no"> Glossary / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/discovery-space/adopt-an-actor/glossary </ref> The big requirement though is that the stage crew has to be able to change an entire set within an hour for another performance. <br />
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=Lighting & Projections=<br />
According to the glossary of terms used at the Globe, 'There is no lighting rig at the Globe.' <ref name = "no"/> Their afternoon shows are lit by the light that enters the roof and in the evening, lights light the theatre for the affect as the Globe says 'to recreate daylight'.<ref name = "no"/> When viewing this, one can find that there are special effect lights that are used for the story line but no spotlights are used on the actors. <br />
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=Sound=<br />
Regular sound system which is used for sound effects and music mostly. The actors and actresses have mics but they are not needed since the theater is designed as a natural sound system and they project their lines. <br />
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=Costumes=<br />
The costumes were very modern and most could be mistake for street clothing of today. Most of the clothing worn by the actors followed a black and white colour scheme, but during the party they did were more colourful clothing. Romeo wore a style of clothing that could be attributed to punk and almost looked like Billie Joe Armstrong from the band ''Green Day''. Juliet wore a simple white night gown that could have symbolized her purity. <br />
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=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
Twelfth Night is an original Shakespearean play about gender confusion. It is one of Shakespeare's fun and playful plays. The play starts with two twins named Viola and Sebastian who are separated during a storm at sea. Viola goes to the land where the Duke Orsino is trying to woo the fair Olivia. Viola decided to disguise herself as a man and serve the Duke. She then finds herself falling for the Duke who wants Olivia who wants Viola as a man. So the story gets even more confusing when Sebastian is alive and both him & Viola as a man gets confused for each other. In the end everyone gets maybe not what they initially wanted but what they need. <br><br><br />
The globe's style of this play was a lot like the style of Robin Hood Men in Tights. The characters are putting on a show and the humor is funny, sexual and stupid. The characters were also different in the sense that the clown was portrayed as a drag queen. When she was the priest she was actually a nun named Sister Topas. Sr Toby, Duke Orsino and Antonio were portrayed as Scottish with the kilts. Viola and Sebastian were performers on the boat then portrayed as white naval officers. The set was a metal staircase that doubles as a 'ship'. Props such as leaves, pull up bush disguises, and 2 metal triple bunk beds were used. <br />
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===Reviews===<br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun then serious from this review's perspective. This review warns traditional Shakespeare fans that this is not an original old style performance. <br><br><br />
Overall, of the of humor and mood from a Mel Brooks film. The show wasn't supposed to be taken as something to learn from but to give entertainment. <br />
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==Romeo and Juliet==<br />
===Summary===<br />
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Romeo and Juliet is one of William Shakespeare's most famous tragedies, most likely written in the 1590s. Romeo and Juliet centers around a pair of feuding households in Verona, the Capulets and the Montagues. The play opens with a street brawl between members of the two households, leading the Prince of Verona to threaten death to any Capulet or Montague who further breaks the peace. Later, Romeo, the son of Montague, having snuck into a Capulet ball, meets Juliet, the daughter of Capulet.The two immediately fall in love. While at the ball, Romeo is recognized by Tybalt, Juliet's cousin. Tybalt attempts to kill Romeo, but is stopped by Capulet, who does not want a death in his house. Later that night, in what has become famous as the "Balcony Scene," Romeo meets Juliet and they vow to marry. The marriage takes place in secret the next day, with the help of Friar Laurence. <br />
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Later, Tybalt challenges Romeo to a duel, but Romeo, now considering Tybalt to be kin, refuses to fight. Mercutio, a close friend of Romeo, accepts the duel in his place. Mercutio is fatally wounded in the resulting fight, leading Romeo to seek out Tybalt in revenge. Romeo kills Tybalt and is banished by the Prince of Verona. Juliet's grief over the banishment of Romeo is misinterpreted by her father as grief over the death of Tybalt, and he attempts to cheer her by arranging her marriage to Count Paris. Juliet seeks help from Friar Laurence in escaping the marriage. He offers her a potion that will put her in a death-like state, and suggests that she take it the night before the wedding. Friar Laurence explains that she will be laid in the Capulet family crypt, and that he will send word to Romeo, now outside the city, to come, collect Juliet, and together flee the city. Juliet accepts this plan, and drinks the potion the night before her marriage to Paris. However, Friar Laurence's message does not get to Romeo, who instead hears only that Juliet has died. Grief-stricken, Romeo goes to the Capulet crypt. There he encounters Paris, who mistakes him for a vandal. Romeo and Paris fight, and Paris dies. Romeo then poisons himself and dies next to Juliet's body. After his death, Juliet awakens. Finding Romeo dead, she stabs herself with his dagger and dies. The deaths of Romeo and Juliet bring together their two families, ending their feud.<br />
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===Reviews===<br />
Sadly, the performance reviews for this interpretation are not good. No review seen gave the performance over 3 stars out of 5. A big comment comes from one of the guardian's theatre critics Michael Billington saying: ''"A predominantly young audience seemed happy enough but, for me, this was another example of vandalised Shakespeare."'' <ref> Billington, M. (2017, April 28). Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2017/apr/28/romeo-and-juliet-review-globe-shakespeare </ref> Another gave a good explanation as to why it was so bad:<br><br><br />
"''(the director) Kramer’s approach is about as far from polite as you can get. It waggles its posterior in the face of the purists. There is voice-over and strobe lighting, nipple tassels and, in one scene, nipple licking. Those contentious speakers are given a good work out, and there are moments where you can almost hear the sphincters of the more timid members of the Globe’s board tightening.''<br />
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''Some of Kramer's decisions are baffling, others misfire badly, but his production is never dull. He animates this most frustrating of plays, even if he doesn’t get under the skin of these two teens wedded to death.''"<ref> Tripney, N. (2017, April 28). Romeo and Juliet review at Shakespeare's Globe, London. Retrieved June 07, 2017, from https://www.thestage.co.uk/reviews/2017/romeo-juliet-review-shakespeares-globe-london-2/</ref><br><br><br />
In an article comparing all of the reviews a concluding thought is said. ''"It's certainly not for purists, that's for sure. Daniel Kramer's production follows the Emma Rice playbook, eschewing the traditional approach the Globe grew up with and embracing the eclectic, electronically-aided exuberance it has provoked headlines for during recent times."'' <ref>Morgan, F. (2017, May 03). Romeo and Juliet at Shakespeare's Globe, London – review round-up. Retrieved June 07, 2017, from https://www.thestage.co.uk/opinion/2017/romeo-and-juliet-at-shakespeares-globe-london-review-round-up/</ref><br />
Personally, the play was as described. A dark mockery of Shakespeare's classic of Romeo & Juliet. Not even a real balcony scene was used in this production. Given all of this information it is no surprise no one finds this production to be a classic. <br />
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=Modernizing The Globe=<br />
The Globe Theater, as a whole, still has the original structure and scenery from Shakespeare's time but there are aspects that show modernizing. The first modern objects that can be seen are the fake trees placed around the buildings. These trees have a real tree trunk that has been cut at the top and bottom. The bottom of the tree trunk is strapped down with metal clamps instead of its original roots. The top part of the trunk has fake branches and leaves, carved out of wooden sheets and painted, that are strapped together and also strapped to the tree trunk. This shows modern art displayed at the Globe Theater meaning it is still tied to our world today. <br />
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=References=<br />
<references/> <br />
<br><br><br />
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=External Links=<br />
[http://www.shakespearesglobe.com/ Shakespeare's Globe ]<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
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[[Category:Art]]<br />
[[Category:Music]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Globe_Theater&diff=19242
The Globe Theater
2017-06-22T13:09:12Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Globe Theater=<br />
<br />
{{Infobox <br />
|title = The Globe Theater<br />
|header1 = The Globe Theater<br />
|bodystyle = width:25em<br />
|image = [[File:3677572 5b5c94df.jpg|x450px|alt=Article Image]]<br />
|caption = The Shakespearean Globe<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to N. Chadwick<br />
|label3 = '''Year'''<br />
|data3 = 2013<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = The Shakespearean Globe, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The original Globe Theater has been the home of Shakespeare and his plays since the beginning. During the English Civil War though the theater was closed down and demolished for tenant houses. The new Shakespearean Theater which opened in 1997, a few hundred feet away, strives to keep the original Globe's architectural design and classic Shakespeare plays. <br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=History=<br />
In 1576, during the first years of Elizabeth I’s reign, an actor/manager named James Burbage built a Theatre in Shoreditch.<ref name = "globe"> About Us - Original Globe / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/original-globe </ref> It was the first built playhouse in London as previously play companies used inns, inn yards, college halls and private houses for their performances. In the 1580's, Shakespeare joined the resident troupe at the Theatre. The company, which was later known as the King’s Men, remained there for 20 years. Then in 1597, James Burbage died.Then in 1598, the company leased land near the Rose and demolished the Theatre. In early 1599, the Globe Theatre opened and started showing Shakespeare’s plays.<ref name = "globe"/><br />
According to the Shakespearean Globe website, sadly, in 1613, during a performance of Henry VIII, a stage cannon lit fire to the roof and the theatre burned to the ground.<ref name = "globe"/> The theatre was rebuilt. It was opened until the area was taken over by the Puritans in 1642.<ref name = "globe"/> It was then demolished in 1644.<ref name = "globe"/><br><br><br />
The current Globe Theater (now know as the Shakespearean Globe) was opened in 1997.<ref name = "ab">About Us - Rebuilding the Globe / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/rebuilding-the-globe </ref> An American actor, director and producer Sam Wanamaker founded the Trust in 1970 that eventually raised the money to rebuild a replica Globe Theater.<ref name = "ab"/><br />
<br><br><br />
<br />
=Theater Space=<br />
[[File:Hodge's conjectural Globe reconstruction.jpg|300px|thumb|Reconstruction of the Globe by C. Walter Hodges]]<br />
The current globe was constructed to look like to original globe as much as possible. The actual look of the original globe is something that might have to always be a mystery. Fortunately, some prints by John Norden and Wenceslaus Hollar and other written accounts give us an idea as to what it looked liked. <ref name = "ab"/> The excavation of the Rose theater in 1989 showed the polygonal shape of the theatre. <ref name = "ab"/> One of the Globe's architect explains the layout well by saying: ''"The Globe was built as an experiment to investigate the lost open-air playhouse form of drama in all its aspects. It is vital that there is a continual process of re-assessment, that all the judgments made during construction are re-evaluated when new evidence or new interpretations surface, and even that the old arguments, so hotly debated before construction, are continually re-rehearsed."'' <ref>Elizabethan Architecture Research | Shakespeare's Globe | Globe Education / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/education/library-research/architectural-research-group</ref><br />
<br />
<br><br><br />
<br />
=Scenic=<br />
The Globe's set design is kept to a minimum because of the paintings and design of the stage. According to the glossary of the globe terms, designers can use different floor coverings, curtains, or props for a performance to change and enhance scenes.<ref name = "no"> Glossary / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/discovery-space/adopt-an-actor/glossary </ref> The big requirement though is that the stage crew has to be able to change an entire set within an hour for another performance. <br />
<br><br><br />
<br />
=Lighting & Projections=<br />
According to the glossary of terms used at the Globe, 'There is no lighting rig at the Globe.' <ref name = "no"/> Their afternoon shows are lit by the light that enters the roof and in the evening, lights light the theatre for the affect as the Globe says 'to recreate daylight'.<ref name = "no"/> When viewing this, one can find that there are special effect lights that are used for the story line but no spotlights are used on the actors. <br />
<br><br><br />
<br />
=Sound=<br />
Regular sound system which is used for sound effects and music mostly. The actors and actresses have mics but they are not needed since the theater is designed as a natural sound system and they project their lines. <br />
<br><br><br />
<br />
=Costumes=<br />
The costumes were very modern and most could be mistake for street clothing of today. Most of the clothing worn by the actors followed a black and white colour scheme, but during the party they did were more colourful clothing. Romeo wore a style of clothing that could be attributed to punk and almost looked like Billie Joe Armstrong from the band ''Green Day''. Juliet wore a simple white night gown that could have symbolized her purity. <br />
<br><br><br />
<br />
=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
Twelfth Night is an original Shakespearean play about gender confusion. It is one of Shakespeare's fun and playful plays. The play starts with two twins named Viola and Sebastian who are separated during a storm at sea. Viola goes to the land where the Duke Orsino is trying to woo the fair Olivia. Viola decided to disguise herself as a man and serve the Duke. She then finds herself falling for the Duke who wants Olivia who wants Viola as a man. So the story gets even more confusing when Sebastian is alive and both him & Viola as a man gets confused for each other. In the end everyone gets maybe not what they initially wanted but what they need. <br><br><br />
The globe's style of this play was a lot like the style of Robin Hood Men in Tights. The characters are putting on a show and the humor is funny, sexual and stupid. The characters were also different in the sense that the clown was portrayed as a drag queen. When she was the priest she was actually a nun named Sister Topas. Sr Toby, Duke Orsino and Antonio were portrayed as Scottish with the kilts. Viola and Sebastian were performers on the boat then portrayed as white naval officers. The set was a metal staircase that doubles as a 'ship'. Props such as leaves, pull up bush disguises, and 2 metal triple bunk beds were used. <br />
<br><br><br />
===Reviews===<br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun then serious from this review's perspective. This review warns traditional Shakespeare fans that this is not an original old style performance. <br><br><br />
Overall, of the of humor and mood from a Mel Brooks film. The show wasn't supposed to be taken as something to learn from but to give entertainment. <br />
<br><br><br />
<br />
==Romeo and Juliet==<br />
===Summary===<br />
<br><br />
Romeo and Juliet is one of William Shakespeare's most famous tragedies, most likely written in the 1590s. Romeo and Juliet centers around a pair of feuding households in Verona, the Capulets and the Montagues. The play opens with a street brawl between members of the two households, leading the Prince of Verona to threaten death to any Capulet or Montague who further breaks the peace. Later, Romeo, the son of Montague, having snuck into a Capulet ball, meets Juliet, the daughter of Capulet.The two immediately fall in love. While at the ball, Romeo is recognized by Tybalt, Juliet's cousin. Tybalt attempts to kill Romeo, but is stopped by Capulet, who does not want a death in his house. Later that night, in what has become famous as the "Balcony Scene," Romeo meets Juliet and they vow to marry. The marriage takes place in secret the next day, with the help of Friar Laurence. <br />
<br><br><br />
Later, Tybalt challenges Romeo to a duel, but Romeo, now considering Tybalt to be kin, refuses to fight. Mercutio, a close friend of Romeo, accepts the duel in his place. Mercutio is fatally wounded in the resulting fight, leading Romeo to seek out Tybalt in revenge. Romeo kills Tybalt and is banished by the Prince of Verona. Juliet's grief over the banishment of Romeo is misinterpreted by her father as grief over the death of Tybalt, and he attempts to cheer her by arranging her marriage to Count Paris. Juliet seeks help from Friar Laurence in escaping the marriage. He offers her a potion that will put her in a death-like state, and suggests that she take it the night before the wedding. Friar Laurence explains that she will be laid in the Capulet family crypt, and that he will send word to Romeo, now outside the city, to come, collect Juliet, and together flee the city. Juliet accepts this plan, and drinks the potion the night before her marriage to Paris. However, Friar Laurence's message does not get to Romeo, who instead hears only that Juliet has died. Grief-stricken, Romeo goes to the Capulet crypt. There he encounters Paris, who mistakes him for a vandal. Romeo and Paris fight, and Paris dies. Romeo then poisons himself and dies next to Juliet's body. After his death, Juliet awakens. Finding Romeo dead, she stabs herself with his dagger and dies. The deaths of Romeo and Juliet bring together their two families, ending their feud.<br />
<br><br><br />
<br />
===Reviews===<br />
Sadly, the performance reviews for this interpretation are not good. No review seen gave the performance over 3 stars out of 5. A big comment comes from one of the guardian's theatre critics Michael Billington saying: ''"A predominantly young audience seemed happy enough but, for me, this was another example of vandalised Shakespeare."'' <ref> Billington, M. (2017, April 28). Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2017/apr/28/romeo-and-juliet-review-globe-shakespeare </ref> Another gave a good explanation as to why it was so bad:<br><br><br />
"''(the director) Kramer’s approach is about as far from polite as you can get. It waggles its posterior in the face of the purists. There is voice-over and strobe lighting, nipple tassels and, in one scene, nipple licking. Those contentious speakers are given a good work out, and there are moments where you can almost hear the sphincters of the more timid members of the Globe’s board tightening.''<br />
<br><br><br />
''Some of Kramer's decisions are baffling, others misfire badly, but his production is never dull. He animates this most frustrating of plays, even if he doesn’t get under the skin of these two teens wedded to death.''"<ref> Tripney, N. (2017, April 28). Romeo and Juliet review at Shakespeare's Globe, London. Retrieved June 07, 2017, from https://www.thestage.co.uk/reviews/2017/romeo-juliet-review-shakespeares-globe-london-2/</ref><br><br><br />
In an article comparing all of the reviews a concluding thought is said. ''"It's certainly not for purists, that's for sure. Daniel Kramer's production follows the Emma Rice playbook, eschewing the traditional approach the Globe grew up with and embracing the eclectic, electronically-aided exuberance it has provoked headlines for during recent times."'' <ref>Morgan, F. (2017, May 03). Romeo and Juliet at Shakespeare's Globe, London – review round-up. Retrieved June 07, 2017, from https://www.thestage.co.uk/opinion/2017/romeo-and-juliet-at-shakespeares-globe-london-review-round-up/</ref><br />
Personally, the play was as described. A dark mockery of Shakespeare's classic of Romeo & Juliet. Not even a real balcony scene was used in this production. Given all of this information it is no surprise no one finds this production to be a classic. <br />
<br><br><br />
<br />
=Modernizing The Globe=<br />
The Globe Theater, as a whole, still has the original structure and scenery from Shakespeare's time but there are aspects that show modernizing. The first modern objects that can be seen are the fake trees placed around the buildings. These trees have a real tree trunk that has been cut at the top and bottom. The bottom of the tree trunk is strapped down with metal clamps instead of its original roots. The top part of the trunk has fake branches and leaves, carved out of wooden sheets and painted, that are strapped together and also strapped to the tree trunk. This shows modern art displayed at the Globe Theater meaning it is still tied to our world today. <br />
<br><br />
<br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.shakespearesglobe.com/ Shakespeare's Globe ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
<br />
[[Category:Art]]<br />
[[Category:Music]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Globe_Theater&diff=19239
The Globe Theater
2017-06-22T13:08:15Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Globe Theater=<br />
<br />
{{Infobox <br />
|title = The Globe Theater<br />
|header1 = The Globe Theater<br />
|bodystyle = width:25em<br />
|image = [[File:3677572 5b5c94df.jpg|x450px|alt=Article Image]]<br />
|caption = The Shakespearean Globe<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to N. Chadwick<br />
|label3 = '''Year'''<br />
|data3 = 2013<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = The Shakespearean Globe, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The original Globe Theater has been the home of Shakespeare and his plays since the beginning. During the English Civil War though the theater was closed down and demolished for tenant houses. The new Shakespearean Theater which opened in 1997, a few hundred feet away, strives to keep the original Globe's architectural design and classic Shakespeare plays. <br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=History=<br />
In 1576, during the first years of Elizabeth I’s reign, an actor/manager named James Burbage built a Theatre in Shoreditch.<ref name = "globe"> About Us - Original Globe / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/original-globe </ref> It was the first built playhouse in London as previously play companies used inns, inn yards, college halls and private houses for their performances. In the 1580's, Shakespeare joined the resident troupe at the Theatre. The company, which was later known as the King’s Men, remained there for 20 years. Then in 1597, James Burbage died.Then in 1598, the company leased land near the Rose and demolished the Theatre. In early 1599, the Globe Theatre opened and started showing Shakespeare’s plays.<ref name = "globe"/><br />
According to the Shakespearean Globe website, sadly, in 1613, during a performance of Henry VIII, a stage cannon lit fire to the roof and the theatre burned to the ground.<ref name = "globe"/> The theatre was rebuilt. It was opened until the area was taken over by the Puritans in 1642.<ref name = "globe"/> It was then demolished in 1644.<ref name = "globe"/><br><br><br />
The current Globe Theater (now know as the Shakespearean Globe) was opened in 1997. An American actor, director and producer Sam Wanamaker founded the Trust in 1970 that eventually raised the money to rebuild a replica Globe Theater.<ref name = "globe"/><br />
<br><br><br />
<br />
=Theater Space=<br />
[[File:Hodge's conjectural Globe reconstruction.jpg|300px|thumb|Reconstruction of the Globe by C. Walter Hodges]]<br />
The current globe was constructed to look like to original globe as much as possible. The actual look of the original globe is something that might have to always be a mystery. Fortunately, some prints by John Norden and Wenceslaus Hollar and other written accounts give us an idea as to what it looked liked. <ref name = "ab"/> The excavation of the Rose theater in 1989 showed the polygonal shape of the theatre. <ref name = "ab"/> One of the Globe's architect explains the layout well by saying: ''"The Globe was built as an experiment to investigate the lost open-air playhouse form of drama in all its aspects. It is vital that there is a continual process of re-assessment, that all the judgments made during construction are re-evaluated when new evidence or new interpretations surface, and even that the old arguments, so hotly debated before construction, are continually re-rehearsed."'' <ref>Elizabethan Architecture Research | Shakespeare's Globe | Globe Education / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/education/library-research/architectural-research-group</ref><br />
<br />
<br><br><br />
<br />
=Scenic=<br />
The Globe's set design is kept to a minimum because of the paintings and design of the stage. According to the glossary of the globe terms, designers can use different floor coverings, curtains, or props for a performance to change and enhance scenes.<ref name = "no"> Glossary / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/discovery-space/adopt-an-actor/glossary </ref> The big requirement though is that the stage crew has to be able to change an entire set within an hour for another performance. <br />
<br><br><br />
<br />
=Lighting & Projections=<br />
According to the glossary of terms used at the Globe, 'There is no lighting rig at the Globe.' <ref name = "no"/> Their afternoon shows are lit by the light that enters the roof and in the evening, lights light the theatre for the affect as the Globe says 'to recreate daylight'.<ref name = "no"/> When viewing this, one can find that there are special effect lights that are used for the story line but no spotlights are used on the actors. <br />
<br><br><br />
<br />
=Sound=<br />
Regular sound system which is used for sound effects and music mostly. The actors and actresses have mics but they are not needed since the theater is designed as a natural sound system and they project their lines. <br />
<br><br><br />
<br />
=Costumes=<br />
The costumes were very modern and most could be mistake for street clothing of today. Most of the clothing worn by the actors followed a black and white colour scheme, but during the party they did were more colourful clothing. Romeo wore a style of clothing that could be attributed to punk and almost looked like Billie Joe Armstrong from the band ''Green Day''. Juliet wore a simple white night gown that could have symbolized her purity. <br />
<br><br><br />
<br />
=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
Twelfth Night is an original Shakespearean play about gender confusion. It is one of Shakespeare's fun and playful plays. The play starts with two twins named Viola and Sebastian who are separated during a storm at sea. Viola goes to the land where the Duke Orsino is trying to woo the fair Olivia. Viola decided to disguise herself as a man and serve the Duke. She then finds herself falling for the Duke who wants Olivia who wants Viola as a man. So the story gets even more confusing when Sebastian is alive and both him & Viola as a man gets confused for each other. In the end everyone gets maybe not what they initially wanted but what they need. <br><br><br />
The globe's style of this play was a lot like the style of Robin Hood Men in Tights. The characters are putting on a show and the humor is funny, sexual and stupid. The characters were also different in the sense that the clown was portrayed as a drag queen. When she was the priest she was actually a nun named Sister Topas. Sr Toby, Duke Orsino and Antonio were portrayed as Scottish with the kilts. Viola and Sebastian were performers on the boat then portrayed as white naval officers. The set was a metal staircase that doubles as a 'ship'. Props such as leaves, pull up bush disguises, and 2 metal triple bunk beds were used. <br />
<br><br><br />
===Reviews===<br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun then serious from this review's perspective. This review warns traditional Shakespeare fans that this is not an original old style performance. <br><br><br />
Overall, of the of humor and mood from a Mel Brooks film. The show wasn't supposed to be taken as something to learn from but to give entertainment. <br />
<br><br><br />
<br />
==Romeo and Juliet==<br />
===Summary===<br />
<br><br />
Romeo and Juliet is one of William Shakespeare's most famous tragedies, most likely written in the 1590s. Romeo and Juliet centers around a pair of feuding households in Verona, the Capulets and the Montagues. The play opens with a street brawl between members of the two households, leading the Prince of Verona to threaten death to any Capulet or Montague who further breaks the peace. Later, Romeo, the son of Montague, having snuck into a Capulet ball, meets Juliet, the daughter of Capulet.The two immediately fall in love. While at the ball, Romeo is recognized by Tybalt, Juliet's cousin. Tybalt attempts to kill Romeo, but is stopped by Capulet, who does not want a death in his house. Later that night, in what has become famous as the "Balcony Scene," Romeo meets Juliet and they vow to marry. The marriage takes place in secret the next day, with the help of Friar Laurence. <br />
<br><br><br />
Later, Tybalt challenges Romeo to a duel, but Romeo, now considering Tybalt to be kin, refuses to fight. Mercutio, a close friend of Romeo, accepts the duel in his place. Mercutio is fatally wounded in the resulting fight, leading Romeo to seek out Tybalt in revenge. Romeo kills Tybalt and is banished by the Prince of Verona. Juliet's grief over the banishment of Romeo is misinterpreted by her father as grief over the death of Tybalt, and he attempts to cheer her by arranging her marriage to Count Paris. Juliet seeks help from Friar Laurence in escaping the marriage. He offers her a potion that will put her in a death-like state, and suggests that she take it the night before the wedding. Friar Laurence explains that she will be laid in the Capulet family crypt, and that he will send word to Romeo, now outside the city, to come, collect Juliet, and together flee the city. Juliet accepts this plan, and drinks the potion the night before her marriage to Paris. However, Friar Laurence's message does not get to Romeo, who instead hears only that Juliet has died. Grief-stricken, Romeo goes to the Capulet crypt. There he encounters Paris, who mistakes him for a vandal. Romeo and Paris fight, and Paris dies. Romeo then poisons himself and dies next to Juliet's body. After his death, Juliet awakens. Finding Romeo dead, she stabs herself with his dagger and dies. The deaths of Romeo and Juliet bring together their two families, ending their feud.<br />
<br><br><br />
<br />
===Reviews===<br />
Sadly, the performance reviews for this interpretation are not good. No review seen gave the performance over 3 stars out of 5. A big comment comes from one of the guardian's theatre critics Michael Billington saying: ''"A predominantly young audience seemed happy enough but, for me, this was another example of vandalised Shakespeare."'' <ref> Billington, M. (2017, April 28). Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2017/apr/28/romeo-and-juliet-review-globe-shakespeare </ref> Another gave a good explanation as to why it was so bad:<br><br><br />
"''(the director) Kramer’s approach is about as far from polite as you can get. It waggles its posterior in the face of the purists. There is voice-over and strobe lighting, nipple tassels and, in one scene, nipple licking. Those contentious speakers are given a good work out, and there are moments where you can almost hear the sphincters of the more timid members of the Globe’s board tightening.''<br />
<br><br><br />
''Some of Kramer's decisions are baffling, others misfire badly, but his production is never dull. He animates this most frustrating of plays, even if he doesn’t get under the skin of these two teens wedded to death.''"<ref> Tripney, N. (2017, April 28). Romeo and Juliet review at Shakespeare's Globe, London. Retrieved June 07, 2017, from https://www.thestage.co.uk/reviews/2017/romeo-juliet-review-shakespeares-globe-london-2/</ref><br><br><br />
In an article comparing all of the reviews a concluding thought is said. ''"It's certainly not for purists, that's for sure. Daniel Kramer's production follows the Emma Rice playbook, eschewing the traditional approach the Globe grew up with and embracing the eclectic, electronically-aided exuberance it has provoked headlines for during recent times."'' <ref>Morgan, F. (2017, May 03). Romeo and Juliet at Shakespeare's Globe, London – review round-up. Retrieved June 07, 2017, from https://www.thestage.co.uk/opinion/2017/romeo-and-juliet-at-shakespeares-globe-london-review-round-up/</ref><br />
Personally, the play was as described. A dark mockery of Shakespeare's classic of Romeo & Juliet. Not even a real balcony scene was used in this production. Given all of this information it is no surprise no one finds this production to be a classic. <br />
<br><br><br />
<br />
=Modernizing The Globe=<br />
The Globe Theater, as a whole, still has the original structure and scenery from Shakespeare's time but there are aspects that show modernizing. The first modern objects that can be seen are the fake trees placed around the buildings. These trees have a real tree trunk that has been cut at the top and bottom. The bottom of the tree trunk is strapped down with metal clamps instead of its original roots. The top part of the trunk has fake branches and leaves, carved out of wooden sheets and painted, that are strapped together and also strapped to the tree trunk. This shows modern art displayed at the Globe Theater meaning it is still tied to our world today. <br />
<br><br />
<br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://www.shakespearesglobe.com/ Shakespeare's Globe ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
<br />
[[Category:Art]]<br />
[[Category:Music]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Globe_Theater&diff=19236
The Globe Theater
2017-06-22T13:07:20Z
<p>Mthatfalvi: </p>
<hr />
<div>=The Globe Theater=<br />
<br />
{{Infobox <br />
|title = The Globe Theater<br />
|header1 = The Globe Theater<br />
|bodystyle = width:25em<br />
|image = [[File:3677572 5b5c94df.jpg|x450px|alt=Article Image]]<br />
|caption = The Shakespearean Globe<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to N. Chadwick<br />
|label3 = '''Year'''<br />
|data3 = 2013<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = The Shakespearean Globe, London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
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=Overview=<br />
The original Globe Theater has been the home of Shakespeare and his plays since the beginning. During the English Civil War though the theater was closed down and demolished for tenant houses. The new Shakespearean Theater which opened in 1997, a few hundred feet away, strives to keep the original Globe's architectural design and classic Shakespeare plays. <br />
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=History=<br />
In 1576, during the first years of Elizabeth I’s reign, an actor/manager named James Burbage built a Theatre in Shoreditch.<ref name = "globe"> About Us - Original Globe / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/original-globe </ref> It was the first built playhouse in London as previously play companies used inns, inn yards, college halls and private houses for their performances. In the 1580's, Shakespeare joined the resident troupe at the Theatre. The company, which was later known as the King’s Men, remained there for 20 years. Then in 1597, James Burbage died.Then in 1598, the company leased land near the Rose and demolished the Theatre. In early 1599, the Globe Theatre opened and started showing Shakespeare’s plays.<ref name = "globe"/><br />
According to the Shakespearean Globe website, sadly, in 1613, during a performance of Henry VIII, a stage cannon lit fire to the roof and the theatre burned to the ground.<ref name = "globe"/> The theatre was rebuilt. It was opened until the area was taken over by the Puritans in 1642.<ref name = "globe"/> It was then demolished in 1644.<ref name = "globe"/><br><br><br />
The current Globe Theater (now know as the Shakespearean Globe) was opened in 1997. An American actor, director and producer Sam Wanamaker founded the Trust in 1970 that eventually raised the money to rebuild a replica Globe Theater.<ref name = "globe"/><br />
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=Theater Space=<br />
[[File:Hodge's conjectural Globe reconstruction.jpg|300px|thumb|Reconstruction of the Globe by C. Walter Hodges]]<br />
The current globe was constructed to look like to original globe as much as possible. The actual look of the original globe is something that might have to always be a mystery. Fortunately, some prints by John Norden and Wenceslaus Hollar and other written accounts give us an idea as to what it looked liked. <ref name = "ab">About Us - Rebuilding the Globe / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/about-us/history-of-the-globe/rebuilding-the-globe </ref> The excavation of the Rose theater in 1989 showed the polygonal shape of the theatre. <ref name = "ab"/> One of the Globe's architect explains the layout well by saying: ''"The Globe was built as an experiment to investigate the lost open-air playhouse form of drama in all its aspects. It is vital that there is a continual process of re-assessment, that all the judgments made during construction are re-evaluated when new evidence or new interpretations surface, and even that the old arguments, so hotly debated before construction, are continually re-rehearsed."'' <ref>Elizabethan Architecture Research | Shakespeare's Globe | Globe Education / Shakespeare's Globe. (n.d.). Retrieved May 31, 2017, from http://www.shakespearesglobe.com/education/library-research/architectural-research-group</ref><br />
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=Scenic=<br />
The Globe's set design is kept to a minimum because of the paintings and design of the stage. According to the glossary of the globe terms, designers can use different floor coverings, curtains, or props for a performance to change and enhance scenes.<ref name = "no"> Glossary / Shakespeare's Globe. (n.d.). Retrieved May 21, 2017, from http://www.shakespearesglobe.com/discovery-space/adopt-an-actor/glossary </ref> The big requirement though is that the stage crew has to be able to change an entire set within an hour for another performance. <br />
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=Lighting & Projections=<br />
According to the glossary of terms used at the Globe, 'There is no lighting rig at the Globe.' <ref name = "no"/> Their afternoon shows are lit by the light that enters the roof and in the evening, lights light the theatre for the affect as the Globe says 'to recreate daylight'.<ref name = "no"/> When viewing this, one can find that there are special effect lights that are used for the story line but no spotlights are used on the actors. <br />
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=Sound=<br />
Regular sound system which is used for sound effects and music mostly. The actors and actresses have mics but they are not needed since the theater is designed as a natural sound system and they project their lines. <br />
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=Costumes=<br />
The costumes were very modern and most could be mistake for street clothing of today. Most of the clothing worn by the actors followed a black and white colour scheme, but during the party they did were more colourful clothing. Romeo wore a style of clothing that could be attributed to punk and almost looked like Billie Joe Armstrong from the band ''Green Day''. Juliet wore a simple white night gown that could have symbolized her purity. <br />
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=Performances=<br />
==Twelfth Night==<br />
===Summary===<br />
Twelfth Night is an original Shakespearean play about gender confusion. It is one of Shakespeare's fun and playful plays. The play starts with two twins named Viola and Sebastian who are separated during a storm at sea. Viola goes to the land where the Duke Orsino is trying to woo the fair Olivia. Viola decided to disguise herself as a man and serve the Duke. She then finds herself falling for the Duke who wants Olivia who wants Viola as a man. So the story gets even more confusing when Sebastian is alive and both him & Viola as a man gets confused for each other. In the end everyone gets maybe not what they initially wanted but what they need. <br><br><br />
The globe's style of this play was a lot like the style of Robin Hood Men in Tights. The characters are putting on a show and the humor is funny, sexual and stupid. The characters were also different in the sense that the clown was portrayed as a drag queen. When she was the priest she was actually a nun named Sister Topas. Sr Toby, Duke Orsino and Antonio were portrayed as Scottish with the kilts. Viola and Sebastian were performers on the boat then portrayed as white naval officers. The set was a metal staircase that doubles as a 'ship'. Props such as leaves, pull up bush disguises, and 2 metal triple bunk beds were used. <br />
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===Reviews===<br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun then serious from this review's perspective. This review warns traditional Shakespeare fans that this is not an original old style performance. <br><br><br />
Overall, of the of humor and mood from a Mel Brooks film. The show wasn't supposed to be taken as something to learn from but to give entertainment. <br />
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==Romeo and Juliet==<br />
===Summary===<br />
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Romeo and Juliet is one of William Shakespeare's most famous tragedies, most likely written in the 1590s. Romeo and Juliet centers around a pair of feuding households in Verona, the Capulets and the Montagues. The play opens with a street brawl between members of the two households, leading the Prince of Verona to threaten death to any Capulet or Montague who further breaks the peace. Later, Romeo, the son of Montague, having snuck into a Capulet ball, meets Juliet, the daughter of Capulet.The two immediately fall in love. While at the ball, Romeo is recognized by Tybalt, Juliet's cousin. Tybalt attempts to kill Romeo, but is stopped by Capulet, who does not want a death in his house. Later that night, in what has become famous as the "Balcony Scene," Romeo meets Juliet and they vow to marry. The marriage takes place in secret the next day, with the help of Friar Laurence. <br />
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Later, Tybalt challenges Romeo to a duel, but Romeo, now considering Tybalt to be kin, refuses to fight. Mercutio, a close friend of Romeo, accepts the duel in his place. Mercutio is fatally wounded in the resulting fight, leading Romeo to seek out Tybalt in revenge. Romeo kills Tybalt and is banished by the Prince of Verona. Juliet's grief over the banishment of Romeo is misinterpreted by her father as grief over the death of Tybalt, and he attempts to cheer her by arranging her marriage to Count Paris. Juliet seeks help from Friar Laurence in escaping the marriage. He offers her a potion that will put her in a death-like state, and suggests that she take it the night before the wedding. Friar Laurence explains that she will be laid in the Capulet family crypt, and that he will send word to Romeo, now outside the city, to come, collect Juliet, and together flee the city. Juliet accepts this plan, and drinks the potion the night before her marriage to Paris. However, Friar Laurence's message does not get to Romeo, who instead hears only that Juliet has died. Grief-stricken, Romeo goes to the Capulet crypt. There he encounters Paris, who mistakes him for a vandal. Romeo and Paris fight, and Paris dies. Romeo then poisons himself and dies next to Juliet's body. After his death, Juliet awakens. Finding Romeo dead, she stabs herself with his dagger and dies. The deaths of Romeo and Juliet bring together their two families, ending their feud.<br />
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===Reviews===<br />
Sadly, the performance reviews for this interpretation are not good. No review seen gave the performance over 3 stars out of 5. A big comment comes from one of the guardian's theatre critics Michael Billington saying: ''"A predominantly young audience seemed happy enough but, for me, this was another example of vandalised Shakespeare."'' <ref> Billington, M. (2017, April 28). Romeo and Juliet review – the Globe's perverse show vandalises Shakespeare. Retrieved June 07, 2017, from https://www.theguardian.com/stage/2017/apr/28/romeo-and-juliet-review-globe-shakespeare </ref> Another gave a good explanation as to why it was so bad:<br><br><br />
"''(the director) Kramer’s approach is about as far from polite as you can get. It waggles its posterior in the face of the purists. There is voice-over and strobe lighting, nipple tassels and, in one scene, nipple licking. Those contentious speakers are given a good work out, and there are moments where you can almost hear the sphincters of the more timid members of the Globe’s board tightening.''<br />
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''Some of Kramer's decisions are baffling, others misfire badly, but his production is never dull. He animates this most frustrating of plays, even if he doesn’t get under the skin of these two teens wedded to death.''"<ref> Tripney, N. (2017, April 28). Romeo and Juliet review at Shakespeare's Globe, London. Retrieved June 07, 2017, from https://www.thestage.co.uk/reviews/2017/romeo-juliet-review-shakespeares-globe-london-2/</ref><br><br><br />
In an article comparing all of the reviews a concluding thought is said. ''"It's certainly not for purists, that's for sure. Daniel Kramer's production follows the Emma Rice playbook, eschewing the traditional approach the Globe grew up with and embracing the eclectic, electronically-aided exuberance it has provoked headlines for during recent times."'' <ref>Morgan, F. (2017, May 03). Romeo and Juliet at Shakespeare's Globe, London – review round-up. Retrieved June 07, 2017, from https://www.thestage.co.uk/opinion/2017/romeo-and-juliet-at-shakespeares-globe-london-review-round-up/</ref><br />
Personally, the play was as described. A dark mockery of Shakespeare's classic of Romeo & Juliet. Not even a real balcony scene was used in this production. Given all of this information it is no surprise no one finds this production to be a classic. <br />
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=Modernizing The Globe=<br />
The Globe Theater, as a whole, still has the original structure and scenery from Shakespeare's time but there are aspects that show modernizing. The first modern objects that can be seen are the fake trees placed around the buildings. These trees have a real tree trunk that has been cut at the top and bottom. The bottom of the tree trunk is strapped down with metal clamps instead of its original roots. The top part of the trunk has fake branches and leaves, carved out of wooden sheets and painted, that are strapped together and also strapped to the tree trunk. This shows modern art displayed at the Globe Theater meaning it is still tied to our world today. <br />
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=References=<br />
<references/> <br />
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=External Links=<br />
[http://www.shakespearesglobe.com/ Shakespeare's Globe ]<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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[[Category:Art]]<br />
[[Category:Music]]<br />
[[Category:Drama & Theater]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Horniman_Museum&diff=19230
Horniman Museum
2017-06-22T13:03:54Z
<p>Mthatfalvi: </p>
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<div>=Horniman Museum and Gardens=<br />
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{{Infobox <br />
|title = Horniman Museum and Gardens<br />
<br />
|image = [[File:horniman.jpg|x450px|alt=Article Image]]<br />
|caption = Horniman Museum and Garden<br />
|label2 = '''Director'''<br />
|data2 = Janet Vitmayer<br />
|label3 = '''Opened'''<br />
|data3 =1901<br />
|label5 = '''Location'''<br />
|data5 =Forest Hill<br>London, SE23<br>United Kingdom<br />
}}<br />
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=Overview=<br />
The Horniman Museum and Garden was founded by John Horniman. He opened this museum to show off his collection of objects and bring the world to Forest Hill. This museum has an acclaimed aquarium, anthropology, musical instruments and natural history collection. There are many parts of the museum that can be correlated to the Garden.<br />
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=Background=<br />
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John Horniman was a successful tea trader and philanthropist. He used the wealth to begin collecting objects, artifacts, and specimens that "illustrated natural history and the arts and hand crafts from people around the world" in 1860. He did this to "bring the world to Forest Hill"and educate his community. He went to places such as Egypt, Sri Lanka, Burma, China, Japan, Canada, and the United States. His interests became well known and soon people began approaching Horniman with specimens and curiosities. In the late 19<sup>th</sup> century, his collection had grown too large for his house. The Horniman family moved next door and turned their old house into a museum. Over the years the musuem has expanded its footprint several times. The 1911 expansion by Charles Harrison Townsend uses similar design features to complement the original building. The 1996 Eco Building was designed by Achitype and uses sustainable wood while utilizing an early grass roof. The 2002 extension designed by Allies & Morrison also follows the original buildings style, ass well as being sourced from the same quarry as the 1911 extension.<br />
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==Natural History Exhibit==<br />
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The Natural History exhibit at the Horniman Museum aims to show how human lives are linked to the nature of Earth. It also attempts to display the diverse wildlife of the world. The creators of the gallery hoped that through the exhibit people would become inspired by nature. The gallery has been open since the early 20th century and has remained almost unchanged since then. To learn more about the exhibit click [[Natural History at the Horniman Museum|here]]<br />
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===Taxidermy===<br />
The art of taxidermy was developed to preserve animals of all sorts including birds, mammals and to fish. By stuffing the animal, it can remain as life like as possible even after many years. It wasn't until the middle of the 19th century that people started to mount the taxidermy in their house through fashionable cases. The more exotic species the more desirable they were. During the Victorian and Edward time periods, it became popular to stuff what you hunted. The taxidermy animals were trophies which you could show off and prove your accomplishments. <br />
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===The Horniman Walrus===<br />
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The Horniman Walrus, which has become a mascot of the museum, has been on display for over one hundred years. The walrus first appeared in an 1886 exhibition on ''Canada'' as part of a group of animals assembled by James Henry Hubbard, a Canadian hunter and explorer. The exhibition was highly praised by Queen Victoria, and, when the exhibition closed, the walrus and several other animals were bought by Frederick Horniman for display.<br />
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Walruses (Latin name ''Odobenus rosmarus'') are one of the largest species of seal, living in the waters of the Arctic. To deal with the cold, walruses have thick skin and blubber. The diet of a walrus consists mainly of clams and shellfish. Walruses detect their prey with sensitive whiskers on their faces and use their snouts of jets of water to uncover prey from the seabed.<br />
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===Edward Hart===<br />
Edward Hart is a taxidermist who lived from 1847-1928. He started in the Fathers business, William Hart & Son, Preservers of Birds and Beasts before starting his own. He later turned his into a museum. He then tried to sell he collection to the Bournemouth Society but was unable to. He was later able to sell it to John Hall of Stafford. After Hall's death the collection sent to Stowe School in Buckinghamshire. Leicester Museums stared to take care of his collection in 1923 and it was bought by Leicester Museum Service, Hampshire County Council Museums Service and the Horniman Museum in 1980. a lot of his collection is displayed in the Natural History exhibit.<br />
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===Evolution - Domestication 2===<br />
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Evidence of evolution: There are many cases where man has domesticated wild animals as companions or food. Because humans involvement by breeding their domesticated animals, these species are unlike their wild form and look dissimilar to other of their own genus. Breeders select individual animals that closely resembles what type of species they want to create and the result is then bred again to continue the breed. The museum displays the two closest examples of domestication, pigeons and dogs. The human involvement of creating breeds produces artificial examples of evolution but demonstrate that in the wild a natural evolutionary process can occur.<br><br />
===Defensive Protection=== <br />
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This exhibit shows the devices that animals use to protect themselves from predators as well as other animals of their own kind. Internal mechanisms, such as those that fight bacteria, have not been included in this exhibit. Many of the devices used defensively, are more often times than not used offensively in capturing prey. Some animals have more than one method so therefore could be classified under more than one heading in this exhibit. <br />
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====Surface Protection==== <br />
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Surface protection can be divided into 7 sections, sheets, spines, exoskeletons, limy skeletons, scales and armor. the purpose of this protection is to prevent a predator from biting the animal, which will kill it. While skin is a protection against bacteria and viruses it was not included in this exhibit but it is more or less universal in multicellular animals. Many of the protections are modifications of skin or secreted by it.<br />
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==Figure Clock==<br />
The Horniman Museum features an ornate clock above the Natural History exhibit. The clock depicts scenes of Jesus and his apostles. It was made in the 1800's and has been in the museum since it opened in 1901. It chimes every quarter hour and has moving biblical scenes including the passion and nativity. The clock was manufactured in Germany and plays German hymns. <br />
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==Music Exhibit==<br />
The music exhibit at the Horniman Museum is incredible. It covers one fourth of the lower level of the museum. There are many different examples of music throughout the years and how instruments have evolved. To learn more about the exhibit, click [[Music Exhibit at the Horniman Musuem| here]].<br />
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==The Robot Zoo==<br />
The Robot Zoo is a temporary exhibit that goes from February 2017 till October 2017. This exhibit features animals that are recreated as robots which helps people learn about the inside of the animals. Animals featured in robotic form includes a giraffe, beetle, grasshopper, and many more. Also featured are interactive places where you can create and design your own robotic creatures<br />
<gallery mode = "packed" heights = 300px><br />
3734924942 4e360c4907 b.jpg|Grasshopper <br><small> '''Attributed to''' [https://www.flickr.com/photos/21218849@N03/ Samuel Mann] via flickr - [https://www.flickr.com/photos/21218849@N03/3734924942/in/photostream/ Link]<br />
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===The Body Shop===<br />
<gallery mode="packed"><br />
Robotic Body Shop.jpeg<br />
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"Robot Body Shop" are series of four stations that show how various parts of animals and insects work. These stations recreate live body functions in machine forms that mimic how an actual animal or insect body part would operate in real life. The first station demonstrates how a muscle works. The second station demonstrates how a heart and lungs function. The third station demonstrates how joints work and finally, the last station demonstrates how energy is stored and released. <br />
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[[File: Horniman Gardens 10 2.jpg|x350px|right|thumb|frame|]]<br><br />
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==Exploting Nature==<br />
Inevitably, discovery of faraway places and their wildlife resulted in exploitation for profit. Scientific collecting led to hunting for trophies and shooting and trapping on an industrial scale. By the late 19 century millions of birds and mammal skins were being materials for all sorts of businesses. Taxidermy thrived, Nature's bounty was thought to be endless, but many species suffered catastrophic declines as a result, Today wildlife conservation organisations attempt to control the worst excesses of exploitation.<br />
===Decoration===<br />
Decoration The art of taxidermy developed to preserve birds, mammals and fish to look as life-like as possible. Quality taxidermy mounts became fashionable items for home decoration from the middle of the 19th century. Cases containing rarities and exotic species were particularly desirable. Willams and Sons taxidermy ohop, Dublin 1900 image courteoy of Martin Dunne, British Historical Taxidermy Society.<br />
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===Fashion===<br />
Fashion The use of fur and feathers for women's clothing and accessories reached extraordinary heights in the late Victorian and early Edwardian It of dress especially hats. fashionable incorporate plumes, wings, even whole birds onto supply the millinery was extensive. in paradise, gulls to species suffered severe declines or faced extinction as Maria Christina de (1806-78) Queen of doll on wearing incorporating Leneer Bardot OErich Lessing<br />
===Trophies===<br />
Trophlas Hunting, shooting and fishing were popular pursuits in the Victorian and Edwardian periods, Trophies were a physical record of the catch and embellished the reputation of the eatcher Taxidermists were in demand for preserving record fish, unusual varieties and all kinds of game from the Lmpire,<br />
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=The Gardens=<br />
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In 1901 Frederick Horniman donated his museum and 9 acres of land to the London City Council. Horniman wanted to create a place that would give people the space to relax, learn and play. After the donation of the property the museum and garden, the 9 acres grew by extending into the surrounding area. Today the gardens extend over an area of 16.5 acres with sundials hidden throughout the area, sheep, and a musical playground.<br />
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==Sundials==<br />
Hidden throughout the gardens and museum are a trail of several different sundials. This path was established with the help of the British Sundial Society, which is a society that was established in 1989 that currently has about 400 members. The sundials range from being located on the ceiling, to a brick wall, to even one that uses a person's shadow to tell the time. There are a total of 12 sundials to explore on the property. <br />
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===Scaphe Sundial===<br />
Angela Hodgson designed this sundial as a juxtaposition of the smooth surface of the spherical inner bowl with the disorganized outer surface and stem. This is meant to symbolize the conflict between perfect human ideals and the death and decay time passing brings. The dial's plant-like stem was influenced by the Chinese Magnolia flower. The tip of the shadow created by the gnomon indicates solar time. <br />
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===Stained Glass Sundial===<br />
Designed by Roselyn Loftin, the dial is a feature of the Conservatory. The design is meant to symbolize elements of the museum, each blue panel represents a collection and the green panels represent the gardens. The shadow from the sundial is situated so it can be seen inside the building, despite the actual structure being outside. Time is indicated by the gnomon's shadow on the glass inside the Conservatory. The layout shows morning hours on the right and evening hours on the left. There is a plaque underneath the dial explaining the "Equation of Time". <br />
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===Butterfly Sundial===<br />
The butterfly sundial was originally designed for the Sunday Express Garden at the Chelsea Flower Show in 1987. It was meant to demonstrate a mixture of science and art. The sundial commemorates Noel Ta'Bois's 20th wedding anniversary. The Horniman received the sundial after his death in 1988. To read the dial, you use the edge of the shadow of the butterfly's wing to indicate Solar Time. <br />
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===Tea-time Sundial===<br />
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===Double Polar Horniman Logo Sundial===<br />
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===Spot-on Sundial===<br />
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===Armillary Octahedron Sundial=== <br />
The Armillary Octahedron Sundial was designed by David Young and John Moir in 2007. The design was inspired by Borromean rings. Borromean rings are three interlocking rings that are no longer interlocking if one ring is removed. Instead of ring, the design uses diamonds. The inscriptions on the diamonds represent strength and unity. To tell time, the vertical diamond casts shadows on the markings of the other two diamonds. Depending on the time of day is which diamond should be referenced. <ref>Sundial trail. Retrieved from http://www.horniman.ac.uk/collections/stories/sundial-trail/story-chapter/armillary-octahedron</ref><br />
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File:Armillary Octahedron Sundial- sm- JR.jpg|thumb|Armillary Octahedron Sundial<br />
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===Equatorial Sundial===<br />
The Equatorial Sundial was created by Silas Higgon in 1994. It consists of two half circles and a rod. As the sun passes through the sky, the shadow cast by the rod on the curved strip of metal behind it tells the time. On the base of the sundial there is an inscription of a graph of the Equation of Time. <ref>Sundial trail. Retrieved from http://www.horniman.ac.uk/collections/stories/sundial-trail/story-chapter/armillary-octahedron</ref><br />
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File:Equatorial Sundial- sm- JR.jpg|Equatorial Sundial<br />
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===Roman Sundial===<br />
This version of a Roman Sundial was constructed in 2004 by David Brown. The sundial has 12 hours, to represent the time between sunrise and sunset, changing the length of the hours with the changing of the seasons. This dial has been modified from the original roman style to read as having equal length hours in the day, but retains the Roman appearance. Roman sundials also have marks to indicate solstices and equinoxes: the central green line denotes an equinox, the red line denotes the Summer Solstice, and the blue line the Winter Solstice.<br />
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===Horniman Sundial===<br />
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===Analemmatic Sundial===<br />
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===CUE Building Ceiling Sundial===<br />
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==Display Gardens==<br />
All botanical displays have been carefully created by the museum's gardeners and curators to unite the indoor and outdoor collections. They reflect themes of the exhibits displayed in the museum and can be seen inside and outside of it.<br />
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==Conservatory==<br />
This Victorian Conservatory was originally built at the Horniman family house at Coombe Cliffe, Croydon, in 1894. By 1982, it had fallen into disrepair. The structure was dismantled and moved to its current site where it was beautifully restored with the help of English Heritage. It re-opened in 1989 and is used for performances, workshops, and as a function room.<br />
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==Brandstand==<br />
From the grandstand, visitors are able to enjoy a breathtaking vista of London. It was built in 1903 from a design by Charles Harrison Townsend and it is a focal point for a lot of the museum's outdoor summer events programme such as concerts or film screenings, while surrounding terrace provides a large picnic area with stunning views.<br />
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==Nature Trail==<br />
The Horniman Nature Trail is the oldest in London. It is roughly half a mile long on the site of the original Crystal Palace and South London Junction Railway. The railway was closed in 1954 and the area was left unmanaged until 1972. This resulted in it becoming a wild woodland area. Today, the trail is managed carefully to encourage a wide variety of plants, birds, insects and other animals which depend on each other for survival. Pond and meadow habitats have been introduced to attract new species, and a log pile area is home to dozens of different mini beasts, including the endangered stag beetle. The trail is a sensitive area and much time goes into managing it for your enjoyment. The main entrance to the Nature Trail is located on the cycle path that runs parallel with the Museum and Gardens and can be accessed from London Road. <ref>The Horniman Museum and Gardens. (n.d.). Gardens - Displays. Retrieved May 22, 2017, from http://www.horniman.ac.uk/visit/displays/gardens#image-4</ref><br />
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<br />
=References=<br />
<references/><br />
#History of the Museum. (n.d.). Retrieved May 22, 2017, from http://horniman.ac.uk/about/museum-history<br />
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=External Links=<br />
If appropriate, add an external links section<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
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[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=London_Science_Museum&diff=19225
London Science Museum
2017-06-22T13:00:48Z
<p>Mthatfalvi: </p>
<hr />
<div>=London Science Museum=<br />
<br />
{{Infobox <br />
|title = London Science Museum<br />
|header1 = <br />
|bodystyle = width:25em<br />
|image = [[File:Science Museum, Exhibition Road, London SW7 - geograph.org.uk - 1125595.jpg|x450px|alt=Article Image]]<br />
|caption = Science Museum<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Christine Matthews [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons<br />
|label3 = '''Year'''<br />
|data3 = 2008<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = Science Museum, Exhibition Road, London <br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The science museum started in 1857 as part of the South Kensington Museum under Bennet Woodcroft.<ref name = "his">Museum history. (n.d.). Retrieved June 01, 2017, from http://www.sciencemuseum.org.uk/about-us/history</ref> According to the timeline of events, the Patent Office Museum also opened on the site.<ref name = "his"/> It wasn't until 1862 when the Science collections move to separate buildings on Exhibition Road. In 1909, the Science and Engineering collections housed and running separately at the time officially got the name Science Museum which is kept today.<ref name = "his"/><br />
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__TOC__<br />
<br><br />
<br />
=Background=<br />
<br><br />
Begin writing the background information of this article, or use this format to begin a new article with some other relevant section filled with important information. <br />
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<br />
=Level 0=<br />
<br><br><br />
==Wounded==<br />
The first world war was an introduction to a new kind of War in which large armies with powerful weapons produced casualty levels unparalleled to any wars previous in scale and severity. On the battlefield, conditions were dependent on medical evacuation, treatment, and care. Medical teams faced new challenges such as the need to immediate save soldiers lives on the battlefield as well as the need for long term care at home. The need for new techniques, technologies and strategies were needed while others strategies were adapted and evolved. The personal impact of this war lasted for decades and many lives of those wounded were changed forever. This war however caused Great Britain to develop better centers of medical care and welfare and medical care facilities that specialized in the treatment and rehabilitation of those who need. This war increase the social awareness towards the new generation of disabled veterans.<br />
<br> <br> <br />
=== Vulnerable Bodies ===<br />
Due to the fact that new industrialized weapons were being used, soldiers on the West Front were extremely susceptible to injury. Their gas masks, helmets, and body armor gave little protection and the trenches did help to diminish the injuries, however escaping injury was mostly out of pure luck. Gas became a new and frightening reality to these soldiers and the gas helmets became part of the soldier's arsenal. Many men fears facial wounds that could damage their appearances' and paralysis on the battlefields. However, some hoped for superficial wounds so that they could get out of the war and go back home.<br />
<br> <br> <br />
=== The Chain of Evacuation ===<br />
After a soldier was hit, there was a long and complex medical journey to get help. Depending on the injuries, a wounded soldier could be taken to a number of different medical personnel, locations, and receive different medical treatments ranging from first aid to a full blown surgery. There were four sequential treatment centers that were involved in getting treatment for injuries, which were The Regimental Aid and Posts, Dressing Stations, Casualty Clearing Stations, and Base Hospitals. At each location the soldiers were assessed and prioritized. <br />
<br> <br> <br />
=== Treatment ===<br />
During the war on the Western Front, there was a huge need for medical aid unlike any of the other areas. Though some of the wounds received were superficial, many were debilitating or even fatal. Many wounds had heavy blood loss, which meant patients could bleed out before getting to the operating table. Blood loss containment was the primary goal with serious injuries. During this war there was also a heavy use of X-rays and other medical advancements. Many of these technologies became portable and were very important on the battlefield. <br />
<br><br><br />
==Our Lives in Data==<br />
Every day more and more data is collected. Data is collected from taking pictures, morning commutes, and more of our lives are being recorded as data every day. When you look at this data is shows patterns which help us see things that we could not see before. By looking at our world through data it provides a new perspective. This collection of data is known as 'big data'. <br />
<br><br><br />
Examples of data being collected and its use: <br />
Search histories show our fears, journey data shows how cities are growing, smartphones show where traffic jams are, social media profiles reveal a lot about our personalities, energy meters can tell when we are home. What we purchase reveals life events, ebooks can measure our reading speeds, social media posts reveal who'll win an election, and so on and so on. <br />
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There are many small interactive exhibits inside the Our Lives in Data exhibit. One of them asks you a series of questions and determines how willing you are to share information. Another just by taking your picture compares it with the other data it has received to predict your age, gender, and happiness level. There is a display on the data collected from tube stations, and one on how much data is collected through Facebook. <br />
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<br><br><br />
==Energy Hall==<br />
Text here<br />
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==Exploring Space==<br />
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==Valentina Tereshkova==<br />
On June 16th, 1963 Valentina Tereshkova ascended into space, making her the first woman to travel to space. This was an extremely major victory for women in space exploration and it took another twenty years before any other women were able to travel to space. Even today, she is still the only woman to have completed a space mission on her own. <br />
<br><br><br />
Valentina Tereshkova was born in a small village in Russia and did not start school until she was 8 years old. She left school when she was 16 and worked at a textile factory in order to help her mother afford to care for their family. The Soviet government began selecting women to be a part of their space program and Tereshkova was chosen out of over 400 applicants to participate in the program. He family and friends did not know that she would be going to space, and she kept her plans completely secret. She was selected to pilot the Vostok 6 after 18 months of intense training and preparation. <br />
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Tereshkova is described as being a hero and an icon for gender equality, not only in Russia but around the world. After her space mission, she entered the political world and represented the USSR at many different international organizations. She also received the 'Greatest Woman Achiever of the Century' award in 2000 for all of her achievements and hardworking. <br />
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==Robert Goddard==<br />
In 1926 Goddard launched the worlds first liquid propellant rocket. It flew for 2.5 seconds and reached a height of 12.5 meters. His paper ''Liquid Propellant Rocket Development'' was published by the Smithsonian in 1936. His work went largely unnoticed at the time due o his secrecy but he is now considered the father of modern rocketry.<br />
<br />
==Making the Modern World==<br />
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===Submerged rigid repeater for Transatlantic Telephone cable===<br />
In 1956 the first transatlantic telephone cable, TAT-1, was laid. In the section connecting Newfoundland and Nova Scotia rigid electronic repeaters were included to boost the electrical signals sent through the cable. Another section of the cable connecting Newfoundland and Oban, Scotland used flexible repeaters developed by Bell Telephone Laboratories.<br />
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Image: repeater.JPG<br />
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===Miss England===<br />
The racing boat "Miss England" is currently on display in the London Science Museum. The boats claim to fame is that it won the world championship in 1929 taking the acolade away from the previous champion "Miss America IV". Captained by Henry Segrave it's single motor and lightweight design gave it the edge it needed over the heavier dual engine boat captained by Gar Wood. The manufacturer was the English company called "The Power Boat Company". <br />
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===Engines===<br />
<br><br><br />
====J-2====<br />
The J-2 Engine was used in the second and third stages of the Saturn V rocket. Five were used in the second stage and one relight-able one was used in the third stage. Each engine produced 232,250 lbs of thrust in a vacuum which pushed the Saturn V into orbit at 17,400 mph and then onto the Moon at over 24,000 mph.<br />
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Image: j-2.JPG<br />
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<br><br><br />
====RL-10====<br />
The RL-10 engine was used by NASA to convert missiles into space rockets. Two RL-10s were used in Atlas and Titan rockets, increasing their power. The increased power allowed unmanned spacecrafts to propel to the Moon and towards all the other planets. <br />
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Image: RL-10TT.JPG<br />
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====V-2====<br />
The V-2 engine was critical for the rockets that landed mankind on the Moon. Developed by the German army during the Second World War, the engine propelled the world's first long-range missile. The engine is capable of 25 tons of thrust, boosting the missile 200 miles. This makes it the first vehicle to reach space. Direct descendants of the V-2 engine are responsible for the first US satellite entering into orbit and launching the first American into space. <br />
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Image: V2TT.JPG<br />
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=Level 1=<br />
<br><br><br />
==Robots: The 500-Year Quest to Make Machines Human==<br />
This temporary, special exhibit showcases the evolution of robotics over the past 500 years. The exhibit is divided into five sections that focus on different time periods and stages in the evolution of robotics. A variety of robots are showcased in the exhibit. Visitors will find an animatronic baby, clocks, early animatronic displays, a model of the robot from "Terminator", social robots and industrial robots. Some of the robots are even running and visitors can interact with them.<br />
===Marvel: 1570-1800===<br />
Incredibly, robots date back to the late 16th century. In that time, people explained everything through religion and faith. There was the world of heaven and that of the human body. Clockwork was used to model the heavens. People then questioned if they could do the same for the human body. The first step towards robots was the commissioning of mechanical clocks by churches to call the people to worship. Clocks were the mechanization of the heavens as clocks tracked the time of day and important holidays. Clocks also became a symbol of status and wealth. Some of the earliest recognizable robots came in the form of automatons. Many were commissioned for churches and would display scenes such as Jesus' crucifixion or depict Satan. These displays were magical to those viewing them. The 18th century was the golden age for automatons. Often they were created for nobility. They could perform human tasks and often took on their own character. In addition, prosthetics for show grew in popularity. These prosthetics were functional featuring articulating joints and fingers. They were also meant to be seen. Instead of being hidden under clothes they were showcased and were, in the own way, an art form.<br />
<gallery mode="packed" heights=225p><br />
Image:Automaton- sm- JR.jpg|Automaton<br />
Image:Automail- sm- JR.jpg|Prosthetics<br />
</gallery><br />
<br />
===Obey: 1800 -1920===<br />
The Mechanical Turk was an early robot created to play chess that was supposedly unbeatable. As manufacturing picked up, people thought that if a robot could play chess then it could be put to work in industry. This led to mechanizing factories. Looms became powered by engines. Workers had to work in a mechanized, logical fashion.<br />
===Dream: 1920-2009===<br />
This is the era of dreaming of robots. People dreamed about the future of robots and how advanced they could become. They also feared the power they might have. In this room, there is a series of humanoid robots on display. These robots bridge some of the gaps between previous robots and more modern ones. Instead of operating through clockwork, these robots ran on batteries and electronics. People dreamed of these robots taking on domestic roles as housekeepers and providing further services to people. One robot on display is George. He was created in 1949 making him one of the first humanoid robots in the UK. He was the fifth in a series of robots created by Tony Sale. Sale began creating these robots at only 12 years old. George was created from scrap aluminum and controlled via an advanced remote control system that was based on instructions encoded in morse code. Other robots on display are movie stars. Maria was created for "Metropolis" a movie by Fritz Lang. She also inspired later cinematic robots including C-3PO from Star Wars. There is also a T-800 Endoskeleton robot from "Terminator Salvation" on display. These robots were the perfect example of people's fears of the power robots could possess.<br />
<gallery mode="packed" heights=250p><br />
Image:George- sm- JR.jpg|George<br />
Image:Maria- sm- JR.jpg|Maria<br />
Image:T-800 Endoskeleton- sm- JR.jpg|T-800 Endoskeleton<br />
</gallery><br />
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===Build: 1920-2009===<br />
Society is now in the period of building and advancing robots. Engineers work to create more advanced robots. To do so they often turn to the human body and mind. The mind is the ultimate computer and the body represents our ideal mobility for a robot. In doing so, scientists and engineers are discovering just how complex humans are. In order for a robot to walk on two feet the designers must understand how humans do so. It turns out that it is not as simple as putting one foot in front of the other as it is claimed to be in the movie "Santa Claus is Comin' to Town" by Rankin/Bass Productions. Instead, walking is a complex series of sensing and reacting making it a difficult process for robots. Meanwhile, human brains are able to sense and process the information required to walk in the subconscious parts of the brain. Likewise, attempts to create artificial intelligence have further revealed the complexities of the human mind. The brain is capable of complex and significantly more electrical impulses than any computer currently in existence. Furthermore, the intelligence would have to be able to adapt and learn as a human does. Life is complex and not bound by a simple set of rules. Developing social robots requires an understanding of human interactions. It has been found that people are more comfortable interacting with a robot that does not seem like a robot but acts more naturally. This means that it must be able to express and read emotions. Much of this comes down to understanding micro expressions. Just as engineers are learning new ways to advance robots, they must also learn more about people opening up new fields of study. One of the robots on display is a reconstruction of a Cybernetic Tortoise created by Grey Walter. These robots were created with just a few simple touch and light sensors. Walter created them to test his theory that the equivalent of just a few brain cells could be used to achieve decision making that mimics complex, life like behavior. These robots could navigate his home avoiding obstacles. The Honda P2 robot that can be seen on display is the first independently walking humanoid robot. The designers conducted extensive studies on how humans move to create their design. Nonetheless, the design results in large power consumption. The Byrun robot seeks to address some of the Honda P2's problems through further research on human mobility. This design mimics human bi-articulate muscles. Feedback systems are important for sensing the forces present as the robot walks as humans instinctively do. Nexi is a social robot designed for studying human interactions. The robot can express 21 different emotions. This allows scientists to observe how people react to the robot and how to make robots more comfortable to interact with.<br />
<gallery mode="packed" heights=250p><br />
Image:Cybernetic Tortoise- sm- JR.jpg|Cybernetic Tortoise<br />
Image:Honda P2- sm- JR.jpg|Honda P2<br />
Image:Byrun- sm- JR.jpg|Byrun<br />
Image:Nexi- sm- JR.jpg|Nexi<br />
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===Imagine: 2000 - ===<br />
Social robots and robots with greater intelligence are making there way into society. People no longer are limited to interacting with robots through machine code. Instead people can interact with and program robots through everyday speech and movements. Robots are becoming people friendly meaning that they are both safer to work with and easier to work with. Now it is just up to imagination where robots will go from here. Harry, the trumpet-player robot, was created by Toyota in 2005. It was designed to promote the idea of a caring and intelligent robotic assistant. The robot can play the trumpet as a human would. Artifical lips and a compressor are used to create human like breath. The fingers are highly dexterous in order to play the instrument. In addition, the robot taps its foot and sways its hips as it plays as a human might. Cousin robots, Nao and Pepper, were both created by SoftBank Robotics to be social robots. Nao has become quite popular for use in schools. He is often used with students with disabilities, especially autism. He can easily be programmed on multiple platforms and has many applications that can be downloaded. Pepper is designed to be a companion at home and interact with visitors at public venues. She can detect emotions and respond accordingly as well as move autonomously. Baxter is an industrial robot meant for manufacturing. He is special though in that he is safe to work alongside humans. Unlike many automated manufacturing systems, Baxter does not need to be surrounded by shields. He is safe and features a user friendly interface. He can be programmed simply by moving his appendages to different positions and recording them. Kaspar was designed for working with autistic children. He helps develop skills such as reading facial expressions, taking turns and understanding personal space.<br />
<gallery mode="packed" heights=175><br />
Image:Harry- sm- JR.jpg|Harry<br />
Image:Nao- sm- JR.jpg|Nao<br />
Image:Pepper- sm- JR.jpg|Pepper<br />
Image:Baxter- sm- JR.jpg|Baxter<br />
Image:Kaspar- sm- JR.jpg|Kaspar<br />
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<br />
==Who am I==<br />
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==Challenge of Materials Gallery==<br />
<br />
===Materials House===<br />
[[File:Materials_House.JPG|x450px|right|thumb|Materials House by Thomas Heatherwick]]<br />
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=Level 2=<br />
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==Atmosphere==<br />
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==The clockmakers' Museum==<br />
This collection of clocks and watches is the oldest of its kind in the world, first begun in 1813 by the Worshipful Company of Clockmakers. The collection was first displayed in 1873 in the City's Guildhall, where it remained until 2014. The purpose of the collection is to tell the story of "The Clockmakers of London."<br />
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The collection includes more than one thousand watches, eighty clocks, twenty-five marine chronometers, and over a dozen sundials. These artifacts showcase the history of innovation in clockmaking in London from 1600 to the present day. <br />
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===Astronomical and Automaton Monstrance Clock by Johann Schneider===<br />
[[File:Astronomical and Automaton Monstrance Clock by Johann Schneider.jpg|x450px|right|thumb|Astronomical and Automaton Monstrance Clock by Johann Schneider]]<br />
<br><br />
This clock is considered by many to be the masterpiece of clockmaker Johann Schneider, and is constructed to conform with the 1577 Augsburg Clockmakers' Guild rules. The clock is adorned by an automaton figure of St. George, standing above a twelve hour dial. The outermost ring of the main dial is a one-year calendar, with each day marked with the name of a corresponding Saint. Inside the calendar ring is a minute ring and a twenty-four hour ring. Inside these is a silver ring showing which hours of the day are light and dark. At the very center of the rings is an astrolabe. The steel hand of the clock shows the minutes, while the gilt hands show the hour and the age of the moon. On the back of the clock are shown the day of the week and the month.<br />
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==Energy==<br />
(interactive area) Text here<br />
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==Information Age==<br />
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===The Aerial Tuning Inductor===<br />
This was an important part of Rugby Radio Station's transmitter that helped to send messages around the world. This device linked the station's electrical generators and the masts outside being tuned in the process. The use of materials such as American whitewood, enamel, and cotton helped to insulate the device and reduce power loss. The purpose of aerial turning inductor was to correct the frequency of the broadcast to allow it to travel across the world.<br />
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==Journeys Through Medicine==<br />
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==Mathematics: The Winton Gallery==<br />
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==Voyages==<br />
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==The Last Supper==<br />
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=Level 3=<br />
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==Engineer your Future==<br />
[[File:Engineering.jpg|thumb]] This interactive exhibit is designed for young engineers to try to solve future world problems. The first exhibit is the Play Rugged Rovers. In this exhibit, you are to design a space rover to be used on mars. You have to draw a body design and place the wheels. The goal is for the rover to go as far as possible without flipping over or crashing. There is also a big picture game. This game is the building of systems to make our lives easier. They have two versions of this game. One of them requires you to build a power grid to keep everyone having energy. The other one is the designing of a baggage handling system to make sure people don't lose their luggage and that there is nothing dangerous inside. Finally there is Futureville. This game shows the not too distant future to show where engineers engineer in the least expected places. This exhibit is designed for teens aged 11-15 who have in interest in engineering.<br />
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<br />
==Flight==<br />
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===Fly 360===<br />
Fly 360 is a flight simulator station. People who step into this station turn into fighter pilots who are tasked with flying a plane in combat. The objective while flying is to take out enemy planes. While in the "cockpit", the people piloting have full control of the plane and they are able fly the as they please. The flying is then accompanied with real time motion where the whole cockpit moves according to how they plane moves. This allows the people inside to get a true feeling for how flying in combat feels.<br />
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===Silver plated Model of the Forth Bridge===<br />
1882 Construction of the Forth Bridge was started The Forth Bridge, when completed in 1890, in 1882 to replace the ferry which carried the was the largest span bridge in the world. 57 men lost their lives. east coast rail link north over the Firth ofForth. During construction The proposal had been vigorously opposed The bridge took seven years tobuild, cost €3 million in the money of the timeand used by the rival rail companies which could over 50,000 tonsofsteel, lt was the largest operate faster via the westcoast routes to civil engineering structure achieved during Perth and the Highlands, This 1:480scale model was built to illustrate the proposal to the nineteenth century, and though William aparliamentarycommittee. Morris described t as the supremest specimen ugliness, remainsone of In 1879, the Tay Bridge had fallen in a storm. the industrial wonders of the world, This disaster ensured that the Forth Bridge auwe uimwaronv was designed using themost thorough structural analysis then possible, lt was also the first bridge to use the new steel produced by the Siemensopen-hearth process. The novel design came from the engineering partnership of Fowler and Baker, William as chief contractor,<br />
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===Hot Air Balloon===<br />
After you pass through the flying simulators on the third floor you enter a gallery room full of airplanes. But one of the first displays is on the hot air balloon, also referred to a cloud in a bag. <br><br><br />
Henry Cavendish discovered hydrogen in 1766 which he called 'inflammable air' and proved it was lighter than air. After reading Joseph Priestly's ''Experiments and Observations on Different Kinds of Air'', Joseph Montgolfier started experiments. With help from his brother Etienne, they were able to successful fly small paper and cloth balloons in 1782. The Montgolfier Brothers may not have known all the physics behind the hot air balloon, but they used old shoes and rotting meat as fuel since it created a dense smoke to fill the balloon. In September 1783 they flew a balloon from Versailles so King Lousi XVI and Marie Antoinette could watch as the sheep, cockerel and duck all landed safely. This proved that traveling into the upper atmosphere was not fatal.<br />
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J A C Charles was a young scientist who began to experiment with the hydrogen gas after hearing about the Montgolfier's balloons. With help from brother Robert, a small test ballon with rubberizing the silk envelope to retain the gas, was sent off on August 27th, 1783. Charles and Robert then flew for two hours in a life size one on December 1st, 1783. Charles then flew by himself one more time before never flying again. <br />
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On display is a model of the hot air balloon that made the first human flight. The two passengers were Pilatre de Rozier, a science teacher, and Francois Laurent. They took off form Bois de Boulogne on November 21st, 1783. It was a dangerous twenty five minute ride over Paris but they safely landed in parkland near the present day Place d'Italie. <br><br><br />
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=References=<br />
<references/><br />
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=External Links=<br />
[http://www.sciencemuseum.org.uk/ London Science Museum Official website ]<br />
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=Image Gallery=<br />
If appropriate, add an image gallery<br />
<br><br><br />
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[[Category:Art]]<br />
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[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Garrick_Theatre&diff=19217
Garrick Theatre
2017-06-22T12:55:11Z
<p>Mthatfalvi: </p>
<hr />
<div>=Garrick Theatre=<br />
<br />
{{Infobox <br />
|title =[[Garrick Theatre]]<br />
|header1 = The [[Garrick Theatre]]<br />
|bodystyle = width:25em<br />
|image = [[File:Garrick Theatre London 2011.jpg|300px]]<br />
|caption = The [[Garrick Theatre]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Andreas Praefcke<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = [[Garrick Theatre]], London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Garrick Theatre]] is one of the West End theaters on Theatre Row in London. It is owned by the company named Nimax Theaters. It first opened with the production named 'The Profligate' by A. W. Pinero.<ref name = "sor"> The Garrick Theatre, Charing Cross Road, London. (n.d.). Retrieved May 20, 2017, from http://www.arthurlloyd.co.uk/GarrickTheatre.htm </ref> This theatre which opened in 1889 was designed by Walter Emden and C. J. Phipps, and it was built by Messrs Peto.<ref name = "sor"/> The theater is named after the famous stage actor David Garrick.<br />
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__TOC__<br />
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<br />
=Theater Space=<br />
[[File:Garrick Theatre, Let it Be.JPG|300px|thumb|The Garrick Theatre advertising Let it Be <br><small> '''Attributed to''' By Philafrenzy (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AGarrick_Theatre%2C_Let_it_Be.JPG Link]]]<br />
The auditorium was constructed on four levels, Stalls and Pit, Dress Circle, Upper Circle, and Gallery and seats 718. According to an article on the theatre, it was quoted in the ERA to be able to seat 1,500, but when 2 Circle Boxes were removed, the seating count was 1,250.<ref name = "sor"/> The number now is 656 because today, the Gallery seating is closed. The interior decoration remains much the same as it was when the theater first opened. According to the Nimax Website, the stage measures 10 m x 10.8 m.<ref> Www.dewynters.com, D. %. (n.d.). Theatres - Garrick Theatre. Retrieved May 22, 2017, from https://www.nimaxtheatres.com/garrick-theatre/ </ref><br />
<br><br><br />
<br />
=Performances=<br />
==Romeo and Juliet==<br />
===Summery===<br />
An interpretation of Romeo and Juliet was preformed in 2016 at the Garrick Theatre. It is a Shakespeare story about two star crossed lovers and their fight against their quarreling families. The directors for this production were Kenneth Branagh and Rob Ashford. Rob Ashford was also the choreographer in this production. Richard Madden and Lily James played the star roles. The performance follows the same script of the original story but with some lines cut and some added humor. The play keeps to the same Shakespearean words and sayings thoughout.<br />
<br />
===Dramatic Elements===<br />
The set and period the play was a 1950's Verona Italy. The costumes were in the 1950's style with men wearing dark suits and the women wearing petticoats.The main scenic design looks like a roman building with white marble columns and steps.The whole play keeps this main set and uses props & lighting to change scenes. The background music throughout the play is modern. Different kinds of passion can be shown throughout this interpenetration. The passion of love, war, conflict, fear and pain. There is a theme of darkness and light that is shown through the stage, lighting and characters. Especially in the Romeo & Juliet death scene, the white light showing Juliet's white gown is contrasted with Romeo's dark black suit. The mood throughout the play is serious, energetic and passionate. <br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.garricktheatre.org/ Garrick Theatre Official Website]<br />
<br><br />
[https://www.nimaxtheatres.com/garrick-theatre/ Nimax Website]<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Garrick_Theatre&diff=19215
Garrick Theatre
2017-06-22T12:54:43Z
<p>Mthatfalvi: </p>
<hr />
<div>=Garrick Theatre=<br />
<br />
{{Infobox <br />
|title =[[Garrick Theatre]]<br />
|header1 = The [[Garrick Theatre]]<br />
|bodystyle = width:25em<br />
|image = [[File:Garrick Theatre London 2011.jpg|300px]]<br />
|caption = The [[Garrick Theatre]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Andreas Praefcke<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = [[Garrick Theatre]], London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Garrick Theatre]] is one of the West End theaters on Theatre Row in London. It is owned by the company named Nimax Theaters. It first opened with the production named 'The Profligate' by A. W. Pinero.<ref name = "sor"> The Garrick Theatre, Charing Cross Road, London. (n.d.). Retrieved May 20, 2017, from http://www.arthurlloyd.co.uk/GarrickTheatre.htm </ref> This theatre which opened in 1889 was designed by Walter Emden and C. J. Phipps, and it was built by Messrs Peto.<ref name = "sor"/> The theater is named after the famous stage actor David Garrick.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Theater Space=<br />
[[File:Garrick Theatre, Let it Be.JPG|300px|thumb|The Garrick Theatre advertising Let it Be <br><small> '''Attributed to''' By Philafrenzy (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AGarrick_Theatre%2C_Let_it_Be.JPG Link]]]<br />
The auditorium was constructed on four levels, Stalls and Pit, Dress Circle, Upper Circle, and Gallery and seats 718. According to an article on the theatre, it was quoted in the ERA to be able to seat 1,500, but when 2 Circle Boxes were removed, the seating count was 1,250.<ref name = "sor"/> The number now is 656 because today, the Gallery seating is closed. The interior decoration remains much the same as it was when the theater first opened. According to the Nimax Website, the stage measures 10 m x 10.8 m.<ref> Www.dewynters.com, D. %. (n.d.). Theatres - Garrick Theatre. Retrieved May 22, 2017, from https://www.nimaxtheatres.com/garrick-theatre/ </ref><br />
<br><br><br />
<br />
=Performances=<br />
==Romeo and Juliet==<br />
===Summery===<br />
An interpretation of Romeo and Juliet was preformed in 2016 at the Garrick Theatre. It is a Shakespeare story about two star crossed lovers and their fight against their quarreling families. The directors for this production were Kenneth Branagh and Rob Ashford. Rob Ashford was also the choreographer in this production. Richard Madden and Lily James played the star roles. The performance follows the same script of the original story but with some lines cut and some added humor. The play keeps to the same Shakespearean words and sayings though.<br />
===Dramatic Elements===<br />
The set and period the play was a 1950's Verona Italy. The costumes were in the 1950's style with men wearing dark suits and the women wearing petticoats.The main scenic design looks like a roman building with white marble columns and steps.The whole play keeps this main set and uses props & lighting to change scenes. The background music throughout the play is modern. Different kinds of passion can be shown throughout this interpenetration. The passion of love, war, conflict, fear and pain. There is a theme of darkness and light that is shown through the stage, lighting and characters. Especially in the Romeo & Juliet death scene, the white light showing Juliet's white gown is contrasted with Romeo's dark black suit. The mood throughout the play is serious, energetic and passionate. <br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.garricktheatre.org/ Garrick Theatre Official Website]<br />
<br><br />
[https://www.nimaxtheatres.com/garrick-theatre/ Nimax Website]<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Garrick_Theatre&diff=19214
Garrick Theatre
2017-06-22T12:54:27Z
<p>Mthatfalvi: </p>
<hr />
<div>=Garrick Theatre=<br />
<br />
{{Infobox <br />
|title =[[Garrick Theatre]]<br />
|header1 = The [[Garrick Theatre]]<br />
|bodystyle = width:25em<br />
|image = [[File:Garrick Theatre London 2011.jpg|300px]]<br />
|caption = The [[Garrick Theatre]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Andreas Praefcke<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = [[Garrick Theatre]], London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Garrick Theatre]] is one of the West End theaters on Theatre Row in London. It is owned by the company named Nimax Theaters. It first opened with the production named 'The Profligate' by A. W. Pinero.<ref name = "sor"> The Garrick Theatre, Charing Cross Road, London. (n.d.). Retrieved May 20, 2017, from http://www.arthurlloyd.co.uk/GarrickTheatre.htm </ref> This theatre which opened in 1889 was designed by Walter Emden and C. J. Phipps, and it was built by Messrs Peto.<ref name = "sor"/> The theater is named after the famous stage actor David Garrick.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
„៛”=Theater Space=<br />
[[File:Garrick Theatre, Let it Be.JPG|300px|thumb|The Garrick Theatre advertising Let it Be <br><small> '''Attributed to''' By Philafrenzy (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AGarrick_Theatre%2C_Let_it_Be.JPG Link]]]<br />
The auditorium was constructed on four levels, Stalls and Pit, Dress Circle, Upper Circle, and Gallery and seats 718. According to an article on the theatre, it was quoted in the ERA to be able to seat 1,500, but when 2 Circle Boxes were removed, the seating count was 1,250.<ref name = "sor"/> The number now is 656 because today, the Gallery seating is closed. The interior decoration remains much the same as it was when the theater first opened. According to the Nimax Website, the stage measures 10 m x 10.8 m.<ref> Www.dewynters.com, D. %. (n.d.). Theatres - Garrick Theatre. Retrieved May 22, 2017, from https://www.nimaxtheatres.com/garrick-theatre/ </ref><br />
<br><br><br />
<br />
=Performances=<br />
==Romeo and Juliet==<br />
===Summery===<br />
An interpretation of Romeo and Juliet was preformed in 2016 at the Garrick Theatre. It is a Shakespeare story about two star crossed lovers and their fight against their quarreling families. The directors for this production were Kenneth Branagh and Rob Ashford. Rob Ashford was also the choreographer in this production. Richard Madden and Lily James played the star roles. The performance follows the same script of the original story but with some lines cut and some added humor. The play keeps to the same Shakespearean words and sayings though.<br />
===Dramatic Elements===<br />
The set and period the play was a 1950's Verona Italy. The costumes were in the 1950's style with men wearing dark suits and the women wearing petticoats.The main scenic design looks like a roman building with white marble columns and steps.The whole play keeps this main set and uses props & lighting to change scenes. The background music throughout the play is modern. Different kinds of passion can be shown throughout this interpenetration. The passion of love, war, conflict, fear and pain. There is a theme of darkness and light that is shown through the stage, lighting and characters. Especially in the Romeo & Juliet death scene, the white light showing Juliet's white gown is contrasted with Romeo's dark black suit. The mood throughout the play is serious, energetic and passionate. <br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.garricktheatre.org/ Garrick Theatre Official Website]<br />
<br><br />
[https://www.nimaxtheatres.com/garrick-theatre/ Nimax Website]<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Garrick_Theatre&diff=19213
Garrick Theatre
2017-06-22T12:53:55Z
<p>Mthatfalvi: </p>
<hr />
<div>=Garrick Theatre=<br />
<br />
{{Infobox <br />
|title =[[Garrick Theatre]]<br />
|header1 = The [[Garrick Theatre]]<br />
|bodystyle = width:25em<br />
|image = [[File:Garrick Theatre London 2011.jpg|300px]]<br />
|caption = The [[Garrick Theatre]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Andreas Praefcke<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = [[Garrick Theatre]], London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Garrick Theatre]] is one of the West End theaters on Theatre Row in London. It is owned by the company named Nimax Theaters. It first opened with the production named 'The Profligate' by A. W. Pinero.<ref name = "sor"> The Garrick Theatre, Charing Cross Road, London. (n.d.). Retrieved May 20, 2017, from http://www.arthurlloyd.co.uk/GarrickTheatre.htm </ref> This theatre which opened in 1889 was designed by Walter Emden and C. J. Phipps, and it was built by Messrs Peto.<ref name = "sor"/> The theater is named after the famous stage actor David Garrick.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Theater Space=<br />
[[File:Garrick Theatre, Let it Be.JPG|200px|thumb|The Garrick Theatre advertising Let it Be <br><small> '''Attributed to''' By Philafrenzy (Own work) [CC BY-SA 4.0 (http://creativecommons.org/licenses/by-sa/4.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AGarrick_Theatre%2C_Let_it_Be.JPG Link]]]<br />
The auditorium was constructed on four levels, Stalls and Pit, Dress Circle, Upper Circle, and Gallery and seats 718. According to an article on the theatre, it was quoted in the ERA to be able to seat 1,500, but when 2 Circle Boxes were removed, the seating count was 1,250.<ref name = "sor"/> The number now is 656 because today, the Gallery seating is closed. The interior decoration remains much the same as it was when the theater first opened. According to the Nimax Website, the stage measures 10 m x 10.8 m.<ref> Www.dewynters.com, D. %. (n.d.). Theatres - Garrick Theatre. Retrieved May 22, 2017, from https://www.nimaxtheatres.com/garrick-theatre/ </ref><br />
<br><br><br />
<br />
=Performances=<br />
==Romeo and Juliet==<br />
===Summery===<br />
An interpretation of Romeo and Juliet was preformed in 2016 at the Garrick Theatre. It is a Shakespeare story about two star crossed lovers and their fight against their quarreling families. The directors for this production were Kenneth Branagh and Rob Ashford. Rob Ashford was also the choreographer in this production. Richard Madden and Lily James played the star roles. The performance follows the same script of the original story but with some lines cut and some added humor. The play keeps to the same Shakespearean words and sayings though.<br />
===Dramatic Elements===<br />
The set and period the play was a 1950's Verona Italy. The costumes were in the 1950's style with men wearing dark suits and the women wearing petticoats.The main scenic design looks like a roman building with white marble columns and steps.The whole play keeps this main set and uses props & lighting to change scenes. The background music throughout the play is modern. Different kinds of passion can be shown throughout this interpenetration. The passion of love, war, conflict, fear and pain. There is a theme of darkness and light that is shown through the stage, lighting and characters. Especially in the Romeo & Juliet death scene, the white light showing Juliet's white gown is contrasted with Romeo's dark black suit. The mood throughout the play is serious, energetic and passionate. <br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.garricktheatre.org/ Garrick Theatre Official Website]<br />
<br><br />
[https://www.nimaxtheatres.com/garrick-theatre/ Nimax Website]<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Garrick_Theatre&diff=19207
Garrick Theatre
2017-06-22T12:52:11Z
<p>Mthatfalvi: </p>
<hr />
<div>=Garrick Theatre=<br />
<br />
{{Infobox <br />
|title =[[Garrick Theatre]]<br />
|header1 = The [[Garrick Theatre]]<br />
|bodystyle = width:25em<br />
|image = [[File:Garrick Theatre London 2011.jpg|300px]]<br />
|caption = The [[Garrick Theatre]]<br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Andreas Praefcke<br />
|label3 = '''Year'''<br />
|data3 = 2011<br />
|label4 = '''Location'''<br />
|data4 = [[Garrick Theatre]], London<br />
<!--Add/Delete the label/data pair lines as needed--><br />
}}<br />
<br />
=Overview=<br />
The [[Garrick Theatre]] is one of the West End theaters on Theatre Row in London. It is owned by the company named Nimax Theaters. It first opened with the production named 'The Profligate' by A. W. Pinero.<ref name = "sor"> The Garrick Theatre, Charing Cross Road, London. (n.d.). Retrieved May 20, 2017, from http://www.arthurlloyd.co.uk/GarrickTheatre.htm </ref> This theatre which opened in 1889 was designed by Walter Emden and C. J. Phipps, and it was built by Messrs Peto.<ref name = "sor"/> The theater is named after the famous stage actor David Garrick.<br />
<br><br><br />
__TOC__<br />
<br><br />
<br />
=Theater Space=<br />
[[File:Garrick Theatre, Let it Be.JPG|200px|thumb|The Garrick Theatre advertising Let it Be]]<br />
The auditorium was constructed on four levels, Stalls and Pit, Dress Circle, Upper Circle, and Gallery and seats 718. According to an article on the theatre, it was quoted in the ERA to be able to seat 1,500, but when 2 Circle Boxes were removed, the seating count was 1,250. <ref name = "sor"/> The number now is 656 because today, the Gallery seating is closed. The interior decoration remains much the same as it was when the theater first opened. According to the Nimax Website, the stage measures 10 m x 10.8 m. <ref> Www.dewynters.com, D. %. (n.d.). Theatres - Garrick Theatre. Retrieved May 22, 2017, from https://www.nimaxtheatres.com/garrick-theatre/ </ref><br />
<br><br><br />
<br />
=Performances=<br />
==Romeo and Juliet==<br />
===Summery===<br />
An interpretation of Romeo and Juliet was preformed in 2016 at the Garrick Theatre. It is a Shakespeare story about two star crossed lovers and their fight against their quarreling families. The directors for this production were Kenneth Branagh and Rob Ashford. Rob Ashford was also the choreographer in this production. Richard Madden and Lily James played the star roles. The performance follows the same script of the original story but with some lines cut and some added humor. The play keeps to the same Shakespearean words and sayings though.<br />
===Dramatic Elements===<br />
The set and period the play was a 1950's Verona Italy. The costumes were in the 1950's style with men wearing dark suits and the women wearing petticoats.The main scenic design looks like a roman building with white marble columns and steps.The whole play keeps this main set and uses props & lighting to change scenes. The background music throughout the play is modern. Different kinds of passion can be shown throughout this interpenetration. The passion of love, war, conflict, fear and pain. There is a theme of darkness and light that is shown through the stage, lighting and characters. Especially in the Romeo & Juliet death scene, the white light showing Juliet's white gown is contrasted with Romeo's dark black suit. The mood throughout the play is serious, energetic and passionate. <br />
<br><br><br />
<br />
=References=<br />
<references/><br />
<br><br><br />
<br />
=External Links=<br />
[http://www.garricktheatre.org/ Garrick Theatre Official Website]<br />
<br><br />
[https://www.nimaxtheatres.com/garrick-theatre/ Nimax Website]<br />
<br><br><br />
<br />
[[Category:Drama & Theater]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=User:Mthatfalvi&diff=19190
User:Mthatfalvi
2017-06-22T12:41:13Z
<p>Mthatfalvi: </p>
<hr />
<div>=Mary Hatfalvi=<br />
[[File: IMG_1253ret4x6_-_Copy.jpg|x350px|right|frameless|thumb|Mary Hatfalvi]]<br><br />
<br />
__TOC__<br />
<br />
=Overview=<br />
I had one project goal for each of my milestones. My first milestone goal was to find the message that Shakespeare's Romeo & Juliet has sent trough the centuries. My second milestone goal was to make a story about the doll 'Little Marie' from the story of the ballet ''Pygmalion'' and Marie Sallé. The third milestone, which was also my Humanities and Art's capstone, dove deep into Shakespeare's Twelfth Night and created an interpretation based on current and past performances. In preparation for my milestones, I had taken a class in Theater Workshop as well as have had past dance & dramatic performance experience. My London experience has given me a greater appreciation and understanding for London and its history.<br />
<br><br><br />
<br />
=Milestone 1=<br />
<br><br />
'''How Shakespeare through the Centuries Still Lives On'''<br><br />
'''Objective:''' To find the similarities & differences between the performance, dramatic elements and style of two interpretations of Shakespeare’s Romeo & Juliet performed in London in two different time periods. One play performed in 2016 at the Garrick Theatre, and another performed in 1867 at the Covent Gardens. In conclusion, to find that the original message of Shakespeare's play that still lives on through the century. <br />
<br><br><br />
Through the research I found that the original message of Shakespeare's Romeo & Juliet was the message of the different passions of love, war and conflict. This theme comes from the inspiration of the story. In the time period Shakespeare was alive, religious persecution was a big issue. Families were torn apart, people were unjustly killed and life was scary for the people in hiding wondering if they were next to be jailed & persecuted. Shakespeare always had a purpose to writing his plays and this conflict could have moved him to write Romeo & Juliet. He was also a romantic and loved poetry. Throughout the story, Shakespeare shows the tragedy of conflict, death and loss of love. This message was true not only in the original script but in the interpretations that were found. In both interpretations, the same mood is found: in different passions of love, conflict and death. Despite one interpretation performed in 1867 as an opera and another interpretation performed in 2016 as a modern twist to the original, both adaptations give the same original message that Shakespeare wanted to portray.<br />
<br><br />
[[How Shakespeare through the Centuries Still Lives On|Read More]] <br />
<br><br><br />
<br />
=Milestone 2=<br />
<br><br />
'''Storytelling through Ballet and the Woman Behind It'''<br><br />
'''Objective:''' A research report on the recorded first ballet in London, Pygmalion which opened in 1734 at the Covent Gardens, and the famous dancer & choreographer Marie Salle. How this ballet choreographed by Marie Salle started a new approach of ballet style and performance in London that is used today. In conclusion, telling the story of 'Little Marie' through ballet and specific places throughout London. <br />
<br><br><br />
Ballet has been used for theatrical performances since the early 16th century. Ballet gives another form of dimension to theater that brings grace and emotion into storytelling. London in particular has been the home to famous ballet groups and ballet performance theaters. Ballet started in London as a form of dance with corsets and big cumbersome dresses. When Marie Sallé performed in ''Pygmalion'' in 1734, she defiled the norm and wore a roman robe on stage as her character. She wanted her dance to tell the story not to give a performance. My research looked at the details for this first ballet as well as the life & influence of Marie Sallé. I also looked into general past ballet and today's ballet. I looked at the different ballet poses & positions used, and places ballet has performed in London. I concluded this milestone with a children's story written using ballet places & poses to enhance the story. It is the story of my doll named 'Little Marie'. <br />
<br><br />
[[Storytelling through Ballet and the Woman Behind It|Read More]] <br />
<br><br><br />
<br />
=Milestone 3=<br />
<br><br />
'''Perspectives on "Twelfth Night"'''<br><br />
'''Objective:''' A study into current and past performances of Twelfth Night resulting in a personal interpretation of the play. Explaining the reasons & concepts behind the use of specific dramatic elements, mood and style that would be used for an approach to a successful interpretation. <br />
<br><br><br />
This project found different dramatic elements and performance aspects based on current and previous performances of 'Twelfth Night' that would result to a successful interpretation.The story of 'Twelfth Night' is a romantic comedy that makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. A performance used to gain information was performed this year at the Shakespeare Globe in London. Another current performance took place at the National Theater in London. These performances were found to have a different style and twist. I additionally looked at these performance's reviews to find if they were well received or poorly received by audiences. These findings helped with the development of a new interpretation of the show. <br><br><br />
In the research, I, with my research colleague, found that audiences liked this play much more when it was done in a more realistic tone. Making the tone of the story more of a spoof took away some of the beauty of the story and humanity lessons that are within it. Another aspect to the play that Shakespeare and modern adaptations have done is the gender switching of the supporting characters. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. This milestone was meant to fulfill my humanities and arts capstone. <br />
<br><br />
[[Perspectives on "Twelfth Night"|Read More]] <br />
<br><br><br />
<br />
=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
<br><br><br />
<br />
==Activity #1 Westminster Abbey & The Tower of London==<br />
[[Westminster Abbey]] was an amazing place to visit. I learned so much about British royalty and tradition. Some of the things I saw there was the throne in which all royalty in England has been crowned in since King Edward I. Many famous people and royalty including Mary Queen of Scots, King Henry the V, Edward the Confessor, Queen Elizabeth I, Issac Newton and the unknown solder are buried and honored in [[Westminster Abbey]]. You can read more about the people buried there in my [[The Tombs of Westminster Abbey|article]]. Something ironic I would say is that Queen Elizabeth I and Queen Mary I are both buried together even though they were at odds to say the least with each other during their lifetime. Both Mary I and Elizabeth I are mentioned in my Milestone 1 on Romeo and Juliet. The Abbey was built in 960 A.D as a small Benedictine monastery. It was later added on and built to be a church for royal coronations and burials by Edward the Confessor. The first monarch to be coordinated at the Abbey was William the Conquer and all of the monarchs have been crowned there ever since. Something I found while exploring the Abbey was a door that was closed off. The door had a sign on it labeled the oldest door in England dated 1050. No one should leave London without seeing this church. Even though this site was not really relevant to my milestones, it is the most spectacular thing I have ever seen.<br><br><br />
The Tower of London was a place I could get lost and spend all day in. There was so much history in the tower that I could not be at a lost for things to see and do. Many sad things happened in the tower for instance Edward V and his brother Richard were sent to the Bloody tower by their uncle who become Richard III. They were never seen or heard from again. Later on, the bodies of two young boys were found in front of the white tower. They are said today to be the two princes. Another man who was held at the tower and later beheaded was Thomas More. He was a friend to King Henry VIII and did not agree with his rule of being the new head of the church. He was taken to the Bell Tower as a prisoner and later beheaded. Besides executions, the tower did house things like the royal coin minting, the royal observatory and the crown jewels. This place was another non relating milestone cite. Mentioned before though, Queen Mary I, Queen Elizabeth I, and King Henry VIII though did influence the time period I am researching about in my Milestone I. The Tower of London was another amazing place to see and I would go there again when I visit London in the future.<br />
<br><br><br />
<br />
==Activity #2 St. Paul's Cathedral==<br />
[[St. Paul's Cathedral]] is a place where history, religion and modern culture combine. What I found really cool in the Cathedral, was all the statues & plaques that commemorated the soldiers, generals and warriors of Britain. St.Paul's Cathedral is a place where the non royal heroes of England are honored & remembered. The art in the cathedral ranged from mosaics on the arches of the dome, to TV screen art that used slow motion and effects. One piece that I was inspired to write an article on was [[The Martyrs in St. Paul's Cathedral]] by Bill Viola. For one of my milestones I did a perspectives of Twelfth Night. The Martyrs gives an example of an interpretation of the biblical theme of hope and death on earth. This style of interpretation is something I was inspired to use in my project. The crypt under the church held tombs of warriors including Lord Nelson and Arthur Wellesley, the Duke of Wellington. Even though this site was not greatly related to my milestones, it was a good place to see. <br />
<br><br />
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==Activity #3 British Museum==<br />
The [[British Museum]] was a very cool place to visit. There was a lot to see and it took me an hour an a half just to see one exhibit about Egyptian history. There was so much history in the museum from ancient Egypt, to Africa, to the Roman times to modern America. The most interesting exhibit to me was the mummies from ancient Egypt exhibit. The museum had mummies from Egyptian kings to unknown men & women. I started and contributed to an article on this exhibit and you can read more <br />
[[Mummies of Ancient Egypt|here]]. <br><br><br />
This museum did not have much to do with any of my milestone research. Though it did have an exhibit in the Greek artifacts exhibit on Music & Dance in Greece. Theater was a form of entertainment in ancient Greece. The Greeks had an ancient theatre in Epidaurus which was designed for large seating and sound amplification. A lot of modern outdoor amphitheaters are designed like this one. This museum was a fun and interesting experience. It was a great place to learn about the origins of all of the different cultures from around the world. <br />
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==Activity #4 Natural History Museum==<br />
The [[Natural History Museum]] was a huge museum about the natural history of the world. There were exhibits on mineral rocks, space, natural disasters such as earthquakes & volcanic eruptions and of course fossils of animals. One exhibit that I thought was interesting was about the Natural Disasters of Earth. The museum had a remake of the affect and feeling of a 1995 earthquake in China. I contributed to the [[Natural History Museum]] article with an article on the Human Evolution exhibit since I found that exhibit also very interesting.This museum was not directly related to any of my milestones. However, in the minerals exhibit, there was diamonds & special rocks in jewelry I found. They could have been used in costume jewelry for the plays and performances in theater that my milestones are on. The museum was definitely worth seeing if you are researching about the wonders of the earth. <br><br><br />
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==Activity #5 National Gallery==<br />
The National Gallery was a beautiful place to step back in time and find yourself in the lives of the work of art. I loved the original paintings by Leonardo da Vinci especially the one called ''The Virgin of the Rocks''. Sadly, I could not get to see Michelangelo's paintings but I got to see so many other artists including Claude, who I wrote a contributing article about in [[The National Gallery]] article. All of his paintings in the gallery are on landscapes. A lot of the paintings older than the 1500's were about christian themes and biblical stories. This museum did not have things that were directly related to my milestones. I was inspired though by a painting by Jean-Antoine Watteau called ''Perfect Harmony'', which counter-relates to my milestone 1 on Romeo & Juliet. Their lives were not perfect harmony. Other paintings I saw were about lovers and Romeo & Juliet were lovers. Overall the Gallery was a beautiful place to visit and admire amazing art. <br />
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==Activity #6 National Theater's Adaptation of Twelfth Night==<br />
Going to see [[National Theater]]’s Twelfth Night was an amazing experience. The performance was done beautifully. The style of the play was a mix of the Shakespearean period and the modern 21st century. For example, one scene had a 1950's vehicle, when another scene had costumes from the Shakespearean time period. The main theme that I got from this interpretation of Twelfth Night was that this Shakespeare story is timeless. The characters mostly spoke in Shakespearean language with humorous twists to some of the words. <br><br><br />
The set design was spectacular. I absolutely loved the concept and outcome of the set. It was a triangular staircase with rooms inside that had the ability to create many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities were endless. I loved the acting in this interpretation also. The characters made you feel like you were back in time despite the modern twist. An interesting decision that the creators did for this play was switching some of the characters’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that homosexuality played a part in this interpretation since Malvolio is supposed to have a affection towards Olivia. Music throughout the play was mainly jazz with clarinets & saxophones but, there was also some modern club music for the party/club scene. Going to see this play was part of my requirement for my milestone 3, since it was about doing my own interpretation of Twelfth Night. The whole play was done excellently and I would highly recommend going to see it. Based on this performance I contributed to creating and writing the article about the [[National Theater]].<br />
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==Activity #7 Tate Britain==<br />
[[Tate Britain]] was an interesting museum. I usually do not appreciate modern art but, this museum made British modern art genuinely interesting. One modern British artist that I wrote about in [[Tate Britain]] was named Joseph Turner. He is apparently known as the father of modern art. His pieces of art were very interesting to me. Other art pieces I found interesting were Derek Jarman's ''Blue'', which he made while he was losing his eyesight from a terminal illness, and a art film called ''Together''. ''Blue'' was inspiring because it showed that one could make something seem extravagant from a single element. Visiting this museum was not related to any of my milestones. The acting styles however, in the film art had interesting things to use towards my milestone 3 research on the different perspectives of Twelfth Night. Overall, this museum was an interesting place to visit. <br />
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==Activity #8 Victoria and Albert Museum==<br />
The [[Victoria and Albert Museum]] had a lot of amazing collections. I admired the fashion through the Victorian age till the modern time in the fashion exhibit. There was a lot of Religious Renaissance art there that was also very beautiful. What was interesting was that they had complete exhibits each on different materials used for art and building. There was a glass, jewelry, portrait paintings and Theater & Performance exhibits. <br><br><br />
The Theater and Performance Exhibit was directly related to all of my milestones. This exhibit was where I spent most of my time in for research. There were advertisements, pictures, costumes and set design miniatures all around this exhibit. I liked the costumes that were brought in from Wicked, which was the wicked witch costume, and The Lion King. On display were miniatures of the theater space layout of some of the greatest theaters from around England. This exhibit also had miniature set designs used for real productions in the theater. I contributed to an article on the Theater & Performance Exhibit on the [[Victoria and Albert Museum]] page. Overall, the museum was absolutely worth going to. <br />
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==Activity #9 Backstage Tour of Royal Opera House==<br />
The backstage tour was incredible! I got to see so many things that went on behind the scenes of one the oldest theater houses. On display, was the miniature set designs for past performances that were used for visual representation as well as to perfect the overall performance design. Our guide told us that they could spend 8000 pounds on just a miniature set! This is because they do not want to get things wrong for the real set and mistakes should be made on the miniature. Another interesting fact about this opera house that I didn't know was that it has survived two fires. For my milestone 2, I am looking at the first ballet that was performed at Covent Gardens also called the Theater House before the second fire in 1734. <br><br><br />
I got to see the props area and learned where the word props comes from. Back before the [[Royal Opera House]] was built for the third time in 1858, rich nobles would sit on the actual stage with the performers instead of in audience boxes that are still in place at the Royal Opera House. They would take the props from the stage after the performances. The stage workers then started to stamp the props with a stamp that said "theater property" to stop the people from stealing them each night. That is where we got the word props. <br><br><br />
I also got to see backstage where they use a neat way of moving sets by lowering the floors and moving the whole floor out of the stage. I also got to see one of the many ballet studios that the house uses for practices and rehearsals. There I also learned that the [[Royal Opera House]] has three costume studios. Overall, the tour was a really educational experience and I learned so much about the Opera House that I contributed to the [[Royal Opera House]] article. <br />
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==Activity #10 Tate Modern==<br />
[[Tate Modern]] was interesting. I really didn't get most of the art but I could get the meaning behind some of it. For example, there is a flag that was made with the blood, soil and fabric from the drug wars in mexico. I got the message of the sad events that the artist is trying to show however, I am not at all comfortable with using human blood and battle soil for art. Makes me cringe. Maybe that is the idea though who knows. A video on how not to be seen was very funny. I could not take it seriously but it was informative. One piece of art that I wrote about in the [[Tate Modern]] article was called Babel. It was a tower that was supposed to represent the tower of Babylon and the story outcome how many different people speak different languages now. The tower was made from radios and throughout the tower, the radios were on broadcasting events and songs. I could not make out anything that the radios were broadcasting. It was really interesting. Nothing from this museum related to my milestones at all really. The acting in the videos maybe. Overall, the museum had its good parts and its bad parts. <br />
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==Activity #11 Backstage Tour of National Theater==<br />
Going on the backstage tour of the [[National Theater]] was a great experience. I got to see both the Olivier and Lyttelton Theatre. I got to learn that this theater was built to showcase & preserve classic plays as well as take them into the future. The Olivier theater has a grand drum floor that is used to bring sets or scenic props up & down the stage. It is the only one in the world that is this extravagant and functionally used. The Olivier theater was built in a style inspired by the Greek style stage of Delphi. This is one style of seating that the audience likes since they can see everything. The actors like this style as well because they can see all of the audience. <br><br><br />
The workshop used to make all of the [[National Theater]] productions' sets was huge. They make most of their stage sets for every show but then sadly, have to take them apart and recycle them after the show is over. There costumes department is stored in a warehouse and anyone who is willing to pay the price can use costumes from that warehouse. Why even Warner Brothers Studios have used costumes from the [[National Theater]] warehouse for Harry Potter. Visiting this theater was related to my milestone 3 research. It helped me to see all of the aspects and work that goes into putting on a show. I wrote about the [[National Theater]]'s details in its article. <br />
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==Activity #12 Museum of London==<br />
The [[Museum of London]] takes you back in time to before London was London and then gives the history of how London came to be London. I found this museum very interesting. The Lord Major's coach was so interesting, that I contributed that part to the [[Museum of London]] article. Moreover I found a model of the Rose Theatre, which was a theater similar to [[The Globe Theater]] at the time of Shakespeare. Shakespeare works were also performed at the Rose Theatre as well. Sadly, it was left deserted in 1605 and later destroyed. This was good to learn about since two of my milestones are about Shakespeare's performances. I greatly admired the London before London and medieval London exhibits. It was very interesting to see all of the different artifacts that were discovered including the Roman wall that is partially preserved on the museum site today. Overall, the museum was a great learning experience and it made me appreciate London more. <br />
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==Activity #13 Twelfth Night at the Globe==<br />
[[The Globe Theater]]'s interpretation of Twelfth Night was not what I was expecting. It was more of the ''Robin Hood Men in Tights'' style and humor. Obviously, the original Shakespearean wording was kept but the performance was modernized. For example, Sebastian and Viola were white naval officers. The clown/narrator was a drag queen. What was interesting was the big age differences. Olivia, Sir Toby, Sir Andrew and Duke Orsino all looked to be over 30. When Maria, Sebastian and Viola were all young actors. The Malvolio character was played by a short girl dressed as a man. <br><br><br />
One interesting thing about the set was some of the hidden messages within it. The four life saver rings on the stage each had a word that together made the message 'In Love We Trust'. Compared with the other interpretation I saw at the [[National Theater]], this felt more modernized and silly. I was surprised. Since this play was at [[The Globe Theater]], I thought it would be more in the Shakespearean time period style. Going to this performance was needed for my research on milestone 3. I contributed to the part about this performance in the article, [[The Globe Theater]]. Overall though, it was an alright show. <br />
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==Activity #14 BMW London Symphony Orchestra Open Air Classics Concert==<br />
The London Symphony Orchestra (LSO) preformed live at Trafalgar Square. The crowds were large because this free concert is only done once a year. It was impossible to get into the seating area but I was inside the area. Still I had to see the concert on the big screen. I heard about the LSO from the movies like Star Wars I have watched. It was an amazing experience to see this world renowned orchestra live. The three pieces that they preformed were written by a Russian composer named Rachmaninov. Behzod Abduraimov, who was the visiting star piano player, was amazing. He played his parts like it was second nature to him. I was so impressed especially, since he didn't even have music. <br><br><br />
One of my favorite parts of the concert was for the second movement where they invited the LSO On Track Young Musicians and students from the Guildhall School of Music & Drama to play with the LSO. They played so well and the young kids looked like they were living the dream. Which is understandable, because who wouldn't want to play with the LSO. The second piece sounded like a ballet piece that my 2nd milestone is about. In conclusion, the LSO played beautifully.<br />
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==Activity #15 Imperial War Museum of London==<br />
The [[Imperial War Museum]] was pretty cool. There were exhibits of the war and struggles from World War I to the current conflicts going on in Britain right now. The Secret War exhibit was really interesting since it showed MI6 and the SAS (Special Air Services). Within the Secret War exhibit, was the story about the attack on the Iraq Embassy. How the SAS saved the day was amazing. Another thing I saw was a piece of the twin towers that were destroyed on 9/11. It was great to see all of the american things and people honored at this museum. I can tell that Americans are an important ally to Britain. The museum did not have any direct relation to my milestones except for milestone 2 where I researched about how WWII grew the art of ballet. Overall, even though this museum had nothing that was really related to my milestones, I found the museum a great eye opener to all of the terrors and struggles from war. Also, how necessary it is to stop evil things that war is fought for like the Holocaust. I contributed to the Syria: A Conflict Explored part in the article [[Imperial War Museum]] .<br />
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==Activity #16 Museum of London Docklands==<br />
The [[Museum of London Docklands]] is a small museum with a lot of interesting history. There were things about the first docks in London and the supplies they used. One thing I found interesting was the whaling parts in the museum. I started an article about it [[Whaling in London|here]]. The London port was the leading dealer for whaling for a while until the Dutch took over. Another interesting thing I found was, the African Prince exhibit about the Royal African named Sessarakoo. He went to London to be educated but was tricked into being sold into slavery. He was eventually freed 4 years later and then started to be accepted into London society. Even though visiting this museum was not directly related to my milestones, what I did think could be linked to my research was that goods that were brought on the docks could have been needed for the use of theatrical performances. This museum was good place to visit and had a lot of information on the docks of London. <br />
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==Activity #17 Horniman Museum and Gardens==<br />
The [[Horniman Museum]] was a beautiful place to go and see. Other than seeing some musical instruments used in theater, going to this museum was not necessary for my milestone research. I loved seeing all of the different animals on display in the gallery. Within this gallery was a huge clock on the balcony that was really beautiful. When the four o'clock would chime, the twelve apostles within the clock would move. The museum had a huge walrus, which is the museum's 'mascot'. Another interesting exhibit they had there was an exhibit on musical instruments. They had church organs, trombones, 17th century pianos and so much more on display. Throughout this exhibit, were different non musical but cultural things like a wedding dress used in African weddings. This was to show what purpose music has in different places around the world. The gardens were very beautiful. The gardens had many different and unique sundials. Exotic plants such as Japanese Bamboo were featured in these gardens. I also found sheep being kept at one place in the garden. Overall, the garden & the museum were a nice place to visit and I enjoyed the beautiful sunny day we had that day in London. I contributed by writing a part in the article the [[Horniman Museum]] about the robot exhibit. <br />
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==Activity #18 Hampton Court Palace==<br />
Visiting [[Hampton Court Palace]] was spectacular. I was in love with the style and architecture of the palace. So many historical events happened there. Henry VIII, Elizabeth I and William & Mary were some of the English monarchs who have lived there. I liked visiting William III's apartment. The apartment looked like the palace rooms you see in the movies about these historical people. The art there and around the palace was also very beautiful. In King Henry VIII's Kitchen, there was someone actually cooking a roast in the stove on a pit. <br><br><br />
[[The Gardens at Hampton Court Palace| The Gardens]] were so big and beautiful. I loved the rose garden. The privy garden, I learned, was where Charles I ran into to try to escape his house arrest. He was recaptured though and eventually beheaded. The Great Vine, which is the largest vine in the world, was housed in the old greenhouse in the gardens. I wrote about it in [[The Gardens at Hampton Court Palace]] article as well as fixed things in the [[Hampton Court Palace]] article. The maze, which was in the wilderness garden, was also pretty fun to go into and get lost in. The palace did not have much related to my milestones except for that Shakespeare did perform at the palace with his company for James I. Also Elizabeth I, Henry VIII and Mary I, who were all influential to the time period of the plays I am researching about, lived in this palace. <br />
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==Activity #19 The Wallace Collection==<br />
[[The Wallace Collection]] was housed in the beautiful Herlford House located on Manchester square. The collection was originally a private collection owned by the Marquesses of Hertford. The collection of paintings were all very beautiful. The mini portraits of Napoleon I and his empress Joséphine sparked my interest. They had numerous mini portraits of them in different years of their lives. Another cool exhibit that I enjoyed was the Gilded Bronze collection. The intricate art on the candlesticks and side table were very detailed and beautiful. The collection of armory was also very amazing to see. There were three galleries just dedicated to the European and Oriental Armor. On display were two full size dressed manikin horses with armor on them. Intricately decorated swords were numerously present in this collection also. The museum though didn't have information that would have contributed towards my milestones research. I did contribute to [[The Wallace Collection]] article on the East Galleries. Overall, the museum was an amazing experience. <br><br><br />
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==Activity #20 The Science Museum of London==<br />
The [[London Science Museum]] was spectacular. The amount of science and history that is housed in this museum is almost too much to see in one day. No really I went to this museum twice and I still haven't been able to see everything. The space exhibit really sparked my attention. There was a full size replica of the Apollo 11 lunar ship that landed on the moon. The space exhibit also had a real moon rock. Another interesting thing they had was the oldest surviving steam engine locomotive Puffing Bully. Another cool artifact the museum had was a cut out part from one of the biggest passenger airplanes ever built, Boeing 747. The Airbus A380 900 is now the largest passenger airplane today and can seat 900! The museum did not have much towards my milestones research but the museum was a great learning experience. I did contribute to the [[London Science Museum]] article.<br />
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==Activity #21 Evensong at Westminster Abbey==<br />
Evensong is a prayer done at 5pm at Westminster Abbey. The prayers were sung by the Lay Vicars of Westminster Abbey. Six prayers were sung in total. Most of then were older hymns written in the 1500s or from the bible. It was a beautiful service. The choir sounded beautiful. No musical instruments were played except for the organ at some parts. When the choir would sing, they would sing acapella. My favorite song they sung was 'The Magnificat'. It is the prayer that Mary says when she is visiting her cousin Elizabeth's house. That prayer is so beautiful. The choir sang most of the songs in Latin. Latin is the original language of prayer in the catholic church. Overall, the choir was magnificent and I would highly recommend hearing evensong from them. <br />
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==Activity #22 Stratford-upon-Avon==<br />
The trip to Shakespeare's birthplace and home was great! I enjoyed seeing the place where Shakespeare lived. I visited his family home where he was born & grew up, New Place which is where he lived with his family, and Hall's Croft the home of Shakespeare's son-in-law Dr John Hall & Susanna Hall, Shakespeare's oldest daughter. The places were great to see since these were the places where history was made. Shakespeare's family home was a historical site where the rooms were decorated to look like how it would have looked when Shakespeare was born and during his life. The original window that is believed to be the one in the room Shakespeare was born in is housed upstairs of Shakespeare's home. People who would come visit this place would sign their name on the window. Many famous people have done it. <br><br><br />
Another place I saw was New Place where Shakespeare lived with his wife Anne Hathaway. Sadly though, the house was destroyed by a man named Reverend Francis Gastrell. He got frustrated with people wanting to visit his house, New Place, so he destroyed it. He became so disliked for this that he was run out of town. The site now has gardens with statues that signify Shakespeare's life and his works. I liked the statues that represented plays Shakespeare wrote with quotes from the scripts. The exhibition, which is housed in the building next to New Place, has some artifacts from the excavation of the site. <br><br><br />
The last place visited was Hall's Croft. This place was set up the way Dr Hall would have had it when he lived their with his wife. There were interesting displays about medicine in the time of Shakespeare's life. The house was beautiful. Besides going to these three places I also visited the Royal Shakespeare Company. On display, at their theater, were pictures and costumes from past Shakespeare performances. Visiting Stratford-upon-Avon was relevant to two of my milestones since they are about Shakespeare's plays. I learned more about his plays and the time period he was living in. I learned as well the things that could have inspired his writing in the place where he grew up & lived. Overall, it was a great experience to visit this place.<br />
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==Activity #23 Romeo & Juliet at The Globe==<br />
This performance of Romeo & Juliet really surprised me to say the least. For a setting such as [[The Globe Theater| the Globe]], one would think that the performance could give more of a traditional style. But, no it was a scary, dark clown interpretation. No kidding. The "Prince" was a scary deep voice in the background and spoke through the sound system. He also said the Prologue. The costumes were mostly black and Elizabethan time looking for the most part. There were some popping costumes once and a while such as Pluto from Disney. Romeo's character and actor I liked the best. He was expressive and passionate. Juliet was alright however, she lack the feeling of that she was a young girl in love. I cannot get over the fact it was so dark, with grave digging and dead bodies lying on hospital rolling beds. The mood was definitely dark & the style of delivery of lines was Mel Brooks humor. I believe the writers wanted to give this tragedy a twist from the usual mood of different passions of love, pain & conflict; to tragic, humor, love, conflict & pain. The lack of passion though made me cringe. Compared to the other performances I studied, I was so disappointed. The opportunity to make this so memorable and heart aching was lost. There wasn't even the use of the balcony for the balcony scene. Overall, my personal review of this is that if you want a spoof off the original story go see this. if you want to not be frightened and disappointed for the lack of a Shakespeare classic storytelling, don't see it. <br><br><br />
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==Activity #24 The Dream / Symphonic Variations / Marguerite and Armand | performed at the Royal Opera House==<br />
The performance was shown on a big screen in Trafalgar park. It was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. <br />
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The Dream is a ballet, based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon, who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon do make things right with everyone. Oberon makes peace with Titania and everyone goes back to the way things were supposed to be. I loved Oberon's performance. His moves and style made the character. I loved the scenery that looked like an enchanted forest. Overall, this act was a beautiful masterpeice. <br />
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Symphonic Variations was one of the first works done by the Royal Ballet at the [[Royal Opera House]] in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. I did like this piece but, the act had no story to it so I did not get it. <br />
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The most emotional and beautiful performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She was so beautiful and emotional. I loved watching her. She was the story of Marguerite and Armand; two lovers who are destined to never be together. Marguerite is a Parisian courtesan, who has a passionate love affair with Armand. What I liked about the performance was the change of scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. It was cool to see. Going to this event helped me with my milestone 2 research on what ballet today looks like. The performance showed me today's ballet poses and costumes. The event was an amazing experience and I would definitely do it again if I was back in London. I wrote details about this performance in the article on the [[Royal Opera House]].<br />
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==Activity #25 Stonehenge, Bath and Lancock Village==<br />
[[Stonehenge]] was an amazing place to see. To hear it is about 5100 years old, is amazing. The great significance of the structure is the achievement of the people at the time to build the structure without wheels or pulleys. We take these things for granted today but, the people who moved the huge boulders for the structure didn't have all of that. I am amazed and in awe of the great history that surrounded this site. As told by archaeologists, [[Stonehenge]] was used as a place for burial's, celebration, and healing. Visiting this site did not have much to do with my milestones, but this historic site has been around before, during and after the time periods of my milestone research. I also started and contributed to the article about [[Stonehenge]].<br />
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Bath was a city where the Romans made baths out of the hot springs founded on the site. The water, from underground, comes to the surface at the temperature of 50 Celsius. The King's bath, as the site is now called, is the the place where the Romans made their roman bath. You can see the water coming out of the ground bubbling and steaming. The Abbey in Bath right next to the Roman Bath's is the site where the first King of England, Edgar, was crowned. The church seen today was build by Bishop John with the help of King William Rufus. When King Henry VIII declared his Dissolution of the Monasteries, the Abbey was destroyed but, it was later restored. Bath overall, was such a beautiful place to visit. It is so different in style and architecture compared with London. The place was around during the times of my milestones research but, the site has not great importance to my milestones.<br><br><br />
The last place to visit on this tour was a place called Lancock Village. It is a 16th century village that after the dissolution by King Henry VIII, the Abbey and the estate, including the village were sold to William Sharington. The Talbot family later owned the place until it was given to the National Trust. The village and Abbey have been the setting for some major films including 1995 Pride and Prejudice, Harry Potter and other great films. The village was a great place to see even though visiting it had no great importance in my milestones research. <br />
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==Activity #26 Windsor Castle==<br />
[[Windsor Castle]] was a spectacular palace to visit. It was beautiful. The state apartments within the castle held a huge collection of art and expensive pieces belonging to the royal family. The Waterloo Chamber housed portraits of not just royalty but, military and nobility heroes from battles & conflicts. There was a big grand portrait of the Duke of Wellington painted before the battle of Waterloo. One portrait that caught my eye was of Pope Pius VII by Sir Thomas Lawrence. I really liked it. St George's Hall and the Grand Reception Room were also a site to see. They were beautiful. St George's Hall and the Grand Reception Room were some of the state apartments damaged in the 1992 fire that [[Windsor Castle]] suffered from. Fortunately, it was restored with other damaged parts with the help of the current Duke of Edinburgh. I also got to admire the portrait of Queen Elizabeth II. She looked so beautiful. <br />
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St. Georges Chapel, within Windsor castle, is one of the oldest churches in England built in the 11th century by King Edward III. The tombs of King Henry VIII, with his third wife Jane Seymour, are located in the choir area of the chapel. A little chapel was newly put in for Queen Elizabeth II's father George VI and mother Queen Elizabeth final resting place. Her sister, Princess Margaret, was also given a place for her ashes there. What I also found, from the church, was King Edward III's sword on display. I looked to be taller than me. Visiting this place was not need for any milestone research. The monarchs from the time period I am researching though, would have resided in [[Windsor Castle]] at some point. This beautiful palace I thought deserved an article so I created the [[Windsor Castle]] article and contributed to it. <br />
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==Activity #27 Backstage Tour of the Royal Albert Hall==<br />
The [[Royal Albert Hall]] was more grand on the inside then on the outside. When taking this tour, I got to sit in the grand tier seating. That seating is reserved for important guests or people who are willing to pay the high price. According to my tour guide, about 46 years ago, grand tier seats were sold for ₤100. For that price you were guaranteed that seat for any show for 990 years! That is amazing. What the backstage tour showed was the places where the equipment is stored and the show crew works before, during & after a show. What was interesting to learn was that despite the grand size of the hall, equipment used for events and shows backstage don't have a home. Some of the equipment continuously moves to different places throughout Albert Hall. I was in constant awe of this beautiful and big place. I wrote an article about the [[Royal Albert Hall]] but, the amount I put in isn't all of information about the hall that can be put in. In conclusion, if you are ever in London, you have to see the [[Royal Albert Hall]]. <br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Mthatfalvi|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=User:Mthatfalvi&diff=19177
User:Mthatfalvi
2017-06-22T12:28:13Z
<p>Mthatfalvi: </p>
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<div>=Mary Hatfalvi=<br />
[[File: IMG_1253ret4x6_-_Copy.jpg|x350px|right|frameless|thumb|Mary Hatfalvi]]<br><br />
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=Overview=<br />
I had one project goal for each of my milestones. My first milestone goal was to find the message that Shakespeare's Romeo & Juliet has sent trough the centuries. My second milestone goal was to make a story about the doll 'Little Marie' from the story of the ballet ''Pygmalion'' and Marie Sallé. The third milestone, which was also my Humanities and Art's capstone, dove deep into Shakespeare's Twelfth Night and created an interpretation based on current and past performances. In preparation for my milestones, I had taken a class in Theater Workshop as well as have had past dance & dramatic performance experience. My London experience has given me a greater appreciation and understanding for London and its history.<br />
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=Milestone 1=<br />
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'''How Shakespeare through the Centuries Still Lives On'''<br><br />
'''Objective:''' To find the similarities & differences between the performance, dramatic elements and style of two interpretations of Shakespeare’s Romeo & Juliet performed in London in two different time periods. One play performed in 2016 at the Garrick Theatre, and another performed in 1867 at the Covent Gardens. In conclusion, to find that the original message of Shakespeare's play that still lives on through the century. <br />
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Through the research I found that the original message of Shakespeare's Romeo & Juliet was the message of the different passions of love, war and conflict. This theme comes from the inspiration of the story. In the time period Shakespeare was alive, religious persecution was a big issue. Families were torn apart, people were unjustly killed and life was scary for the people in hiding wondering if they were next to be jailed & persecuted. Shakespeare always had a purpose to writing his plays and this conflict could have moved him to write Romeo & Juliet. He was also a romantic and loved poetry. Throughout the story, Shakespeare shows the tragedy of conflict, death and loss of love. This message was true not only in the original script but in the interpretations that were found. In both interpretations, the same mood is found: in different passions of love, conflict and death. Despite one interpretation performed in 1867 as an opera and another interpretation performed in 2016 as a modern twist to the original, both adaptations give the same original message that Shakespeare wanted to portray.<br />
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[[How Shakespeare through the Centuries Still Lives On|Read More]] <br />
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=Milestone 2=<br />
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'''Storytelling through Ballet and the Woman Behind It'''<br><br />
'''Objective:''' A research report on the recorded first ballet in London, Pygmalion which opened in 1734 at the Covent Gardens, and the famous dancer & choreographer Marie Salle. How this ballet choreographed by Marie Salle started a new approach of ballet style and performance in London that is used today. In conclusion, telling the story of 'Little Marie' through ballet and specific places throughout London. <br />
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Ballet has been used for theatrical performances since the early 16th century. Ballet gives another form of dimension to theater that brings grace and emotion into storytelling. London in particular has been the home to famous ballet groups and ballet performance theaters. Ballet started in London as a form of dance with corsets and big cumbersome dresses. When Marie Sallé performed in ''Pygmalion'' in 1734, she defiled the norm and wore a roman robe on stage as her character. She wanted her dance to tell the story not to give a performance. My research looked at the details for this first ballet as well as the life & influence of Marie Sallé. I also looked into general past ballet and today's ballet. I looked at the different ballet poses & positions used, and places ballet has performed in London. I concluded this milestone with a children's story written using ballet places & poses to enhance the story. It is the story of my doll named 'Little Marie'. <br />
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[[Storytelling through Ballet and the Woman Behind It|Read More]] <br />
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=Milestone 3=<br />
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'''Perspectives on "Twelfth Night"'''<br><br />
'''Objective:''' A study into current and past performances of Twelfth Night resulting in a personal interpretation of the play. Explaining the reasons & concepts behind the use of specific dramatic elements, mood and style that would be used for an approach to a successful interpretation. <br />
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This project found different dramatic elements and performance aspects based on current and previous performances of 'Twelfth Night' that would result to a successful interpretation.The story of 'Twelfth Night' is a romantic comedy that makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. A performance used to gain information was performed this year at the Shakespeare Globe in London. Another current performance took place at the National Theater in London. These performances were found to have a different style and twist. I additionally looked at these performance's reviews to find if they were well received or poorly received by audiences. These findings helped with the development of a new interpretation of the show. <br><br><br />
In the research, I, with my research colleague, found that audiences liked this play much more when it was done in a more realistic tone. Making the tone of the story more of a spoof took away some of the beauty of the story and humanity lessons that are within it. Another aspect to the play that Shakespeare and modern adaptations have done is the gender switching of the supporting characters. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. This milestone was meant to fulfill my humanities and arts capstone. <br />
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[[Perspectives on "Twelfth Night"|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey & The Tower of London==<br />
[[Westminster Abbey]] was an amazing place to visit. I learned so much about British royalty and tradition. Some of the things I saw there was the throne in which all royalty in England has been crowned in since King Edward I. Many famous people and royalty including Mary Queen of Scots, King Henry the V, Edward the Confessor, Queen Elizabeth I, Issac Newton and the unknown solder are buried and honored in [[Westminster Abbey]]. You can read more about the people buried there in my [[The Tombs of Westminster Abbey|article]]. Something ironic I would say is that Queen Elizabeth I and Queen Mary I are both buried together even though they were at odds to say the least with each other during their lifetime. Both Mary I and Elizabeth I are mentioned in my Milestone 1 on Romeo and Juliet. The Abbey was built in 960 A.D as a small Benedictine monastery. It was later added on and built to be a church for royal coronations and burials by Edward the Confessor. The first monarch to be coordinated at the Abbey was William the Conquer and all of the monarchs have been crowned there ever since. Something I found while exploring the Abbey was a door that was closed off. The door had a sign on it labeled the oldest door in England dated 1050. No one should leave London without seeing this church. Even though this site was not really relevant to my milestones, it is the most spectacular thing I have ever seen.<br><br><br />
The Tower of London was a place I could get lost and spend all day in. There was so much history in the tower that I could not be at a lost for things to see and do. Many sad things happened in the tower for instance Edward V and his brother Richard were sent to the Bloody tower by their uncle who become Richard III. They were never seen or heard from again. Later on, the bodies of two young boys were found in front of the white tower. They are said today to be the two princes. Another man who was held at the tower and later beheaded was Thomas More. He was a friend to King Henry VIII and did not agree with his rule of being the new head of the church. He was taken to the Bell Tower as a prisoner and later beheaded. Besides executions, the tower did house things like the royal coin minting, the royal observatory and the crown jewels. This place was another non relating milestone cite. Mentioned before though, Queen Mary I, Queen Elizabeth I, and King Henry VIII though did influence the time period I am researching about in my Milestone I. The Tower of London was another amazing place to see and I would go there again when I visit London in the future.<br />
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==Activity #2 St. Paul's Cathedral==<br />
[[St. Paul's Cathedral]] is a place where history, religion and modern culture combine. What I found really cool in the Cathedral, was all the statues & plaques that commemorated the soldiers, generals and warriors of Britain. St.Paul's Cathedral is a place where the non royal heroes of England are honored & remembered. The art in the cathedral ranged from mosaics on the arches of the dome, to TV screen art that used slow motion and effects. One piece that I was inspired to write an article on was [[The Martyrs in St. Paul's Cathedral]] by Bill Viola. For one of my milestones I did a perspectives of Twelfth Night. The Martyrs gives an example of an interpretation of the biblical theme of hope and death on earth. This style of interpretation is something I was inspired to use in my project. The crypt under the church held tombs of warriors including Lord Nelson and Arthur Wellesley, the Duke of Wellington. Even though this site was not greatly related to my milestones, it was a good place to see. <br />
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==Activity #3 British Museum==<br />
The [[British Museum]] was a very cool place to visit. There was a lot to see and it took me an hour an a half just to see one exhibit about Egyptian history. There was so much history in the museum from ancient Egypt, to Africa, to the Roman times to modern America. The most interesting exhibit to me was the mummies from ancient Egypt exhibit. The museum had mummies from Egyptian kings to unknown men & women. I started and contributed to an article on this exhibit and you can read more <br />
[[Mummies of Ancient Egypt|here]]. <br><br><br />
This museum did not have much to do with any of my milestone research. Though it did have an exhibit in the Greek artifacts exhibit on Music & Dance in Greece. Theater was a form of entertainment in ancient Greece. The Greeks had an ancient theatre in Epidaurus which was designed for large seating and sound amplification. A lot of modern outdoor amphitheaters are designed like this one. This museum was a fun and interesting experience. It was a great place to learn about the origins of all of the different cultures from around the world. <br />
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==Activity #4 Natural History Museum==<br />
The [[Natural History Museum]] was a huge museum about the natural history of the world. There were exhibits on mineral rocks, space, natural disasters such as earthquakes & volcanic eruptions and of course fossils of animals. One exhibit that I thought was interesting was about the Natural Disasters of Earth. The museum had a remake of the affect and feeling of a 1995 earthquake in China. I contributed to the [[Natural History Museum]] article with an article on the Human Evolution exhibit since I found that exhibit also very interesting.This museum was not directly related to any of my milestones. However, in the minerals exhibit, there was diamonds & special rocks in jewelry I found. They could have been used in costume jewelry for the plays and performances in theater that my milestones are on. The museum was definitely worth seeing if you are researching about the wonders of the earth. <br><br><br />
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==Activity #5 National Gallery==<br />
The National Gallery was a beautiful place to step back in time and find yourself in the lives of the work of art. I loved the original paintings by Leonardo da Vinci especially the one called ''The Virgin of the Rocks''. Sadly, I could not get to see Michelangelo's paintings but I got to see so many other artists including Claude, who I wrote a contributing article about in [[The National Gallery]] article. All of his paintings in the gallery are on landscapes. A lot of the paintings older than the 1500's were about christian themes and biblical stories. This museum did not have things that were directly related to my milestones. I was inspired though by a painting by Jean-Antoine Watteau called ''Perfect Harmony'', which counter-relates to my milestone 1 on Romeo & Juliet. Their lives were not perfect harmony. Other paintings I saw were about lovers and Romeo & Juliet were lovers. Overall the Gallery was a beautiful place to visit and admire amazing art. <br />
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==Activity #6 National Theater's Adaptation of Twelfth Night==<br />
Going to see [[National Theater]]’s Twelfth Night was an amazing experience. The performance was done beautifully. The style of the play was a mix of the Shakespearean period and the modern 21st century. For example, one scene had a 1950's vehicle, when another scene had costumes from the Shakespearean time period. The main theme that I got from this interpretation of Twelfth Night was that this Shakespeare story is timeless. The characters mostly spoke in Shakespearean language with humorous twists to some of the words. <br><br><br />
The set design was spectacular. I absolutely loved the concept and outcome of the set. It was a triangular staircase with rooms inside that had the ability to create many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities were endless. I loved the acting in this interpretation also. The characters made you feel like you were back in time despite the modern twist. An interesting decision that the creators did for this play was switching some of the characters’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that homosexuality played a part in this interpretation since Malvolio is supposed to have a affection towards Olivia. Music throughout the play was mainly jazz with clarinets & saxophones but, there was also some modern club music for the party/club scene. Going to see this play was part of my requirement for my milestone 3, since it was about doing my own interpretation of Twelfth Night. The whole play was done excellently and I would highly recommend going to see it. Based on this performance I contributed to creating and writing the article about the [[National Theater]].<br />
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==Activity #7 Tate Britain==<br />
[[Tate Britain]] was an interesting museum. I usually do not appreciate modern art but, this museum made British modern art genuinely interesting. One modern British artist that I wrote about in [[Tate Britain]] was named Joseph Turner. He is apparently known as the father of modern art. His pieces of art were very interesting to me. Other art pieces I found interesting were Derek Jarman's ''Blue'', which he made while he was losing his eyesight from a terminal illness, and a art film called ''Together''. ''Blue'' was inspiring because it showed that one could make something seem extravagant from a single element. Visiting this museum was not related to any of my milestones. The acting styles however, in the film art had interesting things to use towards my milestone 3 research on the different perspectives of Twelfth Night. Overall, this museum was an interesting place to visit. <br />
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==Activity #8 Victoria and Albert Museum==<br />
The [[Victoria and Albert Museum]] had a lot of amazing collections. I admired the fashion through the Victorian age till the modern time in the fashion exhibit. There was a lot of Religious Renaissance art there that was also very beautiful. What was interesting was that they had complete exhibits each on different materials used for art and building. There was a glass, jewelry, portrait paintings and Theater & Performance exhibits. <br><br><br />
The Theater and Performance Exhibit was directly related to all of my milestones. This exhibit was where I spent most of my time in for research. There were advertisements, pictures, costumes and set design miniatures all around this exhibit. I liked the costumes that were brought in from Wicked, which was the wicked witch costume, and The Lion King. On display were miniatures of the theater space layout of some of the greatest theaters from around England. This exhibit also had miniature set designs used for real productions in the theater. I contributed to an article on the Theater & Performance Exhibit on the [[Victoria and Albert Museum]] page. Overall, the museum was absolutely worth going to. <br />
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==Activity #9 Backstage Tour of Royal Opera House==<br />
The backstage tour was incredible! I got to see so many things that went on behind the scenes of one the oldest theater houses. On display, was the miniature set designs for past performances that were used for visual representation as well as to perfect the overall performance design. Our guide told us that they could spend 8000 pounds on just a miniature set! This is because they do not want to get things wrong for the real set and mistakes should be made on the miniature. Another interesting fact about this opera house that I didn't know was that it has survived two fires. For my milestone 2, I am looking at the first ballet that was performed at Covent Gardens also called the Theater House before the second fire in 1734. <br><br><br />
I got to see the props area and learned where the word props comes from. Back before the [[Royal Opera House]] was built for the third time in 1858, rich nobles would sit on the actual stage with the performers instead of in audience boxes that are still in place at the Royal Opera House. They would take the props from the stage after the performances. The stage workers then started to stamp the props with a stamp that said "theater property" to stop the people from stealing them each night. That is where we got the word props. <br><br><br />
I also got to see backstage where they use a neat way of moving sets by lowering the floors and moving the whole floor out of the stage. I also got to see one of the many ballet studios that the house uses for practices and rehearsals. There I also learned that the [[Royal Opera House]] has three costume studios. Overall, the tour was a really educational experience and I learned so much about the Opera House that I contributed to the [[Royal Opera House]] article. <br />
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==Activity #10 Tate Modern==<br />
[[Tate Modern]] was interesting. I really didn't get most of the art but I could get the meaning behind some of it. For example, there is a flag that was made with the blood, soil and fabric from the drug wars in mexico. I got the message of the sad events that the artist is trying to show however, I am not at all comfortable with using human blood and battle soil for art. Makes me cringe. Maybe that is the idea though who knows. A video on how not to be seen was very funny. I could not take it seriously but it was informative. One piece of art that I wrote about in the [[Tate Modern]] article was called Babel. It was a tower that was supposed to represent the tower of Babylon and the story outcome how many different people speak different languages now. The tower was made from radios and throughout the tower, the radios were on broadcasting events and songs. I could not make out anything that the radios were broadcasting. It was really interesting. Nothing from this museum related to my milestones at all really. The acting in the videos maybe. Overall, the museum had its good parts and its bad parts. <br />
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==Activity #11 Backstage Tour of National Theater==<br />
Going on the backstage tour of the [[National Theater]] was a great experience. I got to see both the Olivier and Lyttelton Theatre. I got to learn that this theater was built to showcase & preserve classic plays as well as take them into the future. The Olivier theater has a grand drum floor that is used to bring sets or scenic props up & down the stage. It is the only one in the world that is this extravagant and functionally used. The Olivier theater was built in a style inspired by the Greek style stage of Delphi. This is one style of seating that the audience likes since they can see everything. The actors like this style as well because they can see all of the audience. <br><br><br />
The workshop used to make all of the [[National Theater]] productions' sets was huge. They make most of their stage sets for every show but then sadly, have to take them apart and recycle them after the show is over. There costumes department is stored in a warehouse and anyone who is willing to pay the price can use costumes from that warehouse. Why even Warner Brothers Studios have used costumes from the [[National Theater]] warehouse for Harry Potter. Visiting this theater was related to my milestone 3 research. It helped me to see all of the aspects and work that goes into putting on a show. I wrote about the [[National Theater]]'s details in its article. <br />
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==Activity #12 Museum of London==<br />
The [[Museum of London]] takes you back in time to before London was London and then gives the history of how London came to be London. I found this museum very interesting. The Lord Major's coach was so interesting, that I contributed that part to the [[Museum of London]] article. Moreover I found a model of the Rose Theatre, which was a theater similar to [[The Globe Theater]] at the time of Shakespeare. Shakespeare works were also performed at the Rose Theatre as well. Sadly, it was left deserted in 1605 and later destroyed. This was good to learn about since two of my milestones are about Shakespeare's performances. I greatly admired the London before London and medieval London exhibits. It was very interesting to see all of the different artifacts that were discovered including the Roman wall that is partially preserved on the museum site today. Overall, the museum was a great learning experience and it made me appreciate London more. <br />
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==Activity #13 Twelfth Night at the Globe==<br />
[[The Globe Theater]]'s interpretation of Twelfth Night was not what I was expecting. It was more of the ''Robin Hood Men in Tights'' style and humor. Obviously, the original Shakespearean wording was kept but the performance was modernized. For example, Sebastian and Viola were white naval officers. The clown/narrator was a drag queen. What was interesting was the big age differences. Olivia, Sir Toby, Sir Andrew and Duke Orsino all looked to be over 30. When Maria, Sebastian and Viola were all young actors. The Malvolio character was played by a short girl dressed as a man. <br><br><br />
One interesting thing about the set was some of the hidden messages within it. The four life saver rings on the stage each had a word that together made the message 'In Love We Trust'. Compared with the other interpretation I saw at the [[National Theater]], this felt more modernized and silly. I was surprised. Since this play was at [[The Globe Theater]], I thought it would be more in the Shakespearean time period style. Going to this performance was needed for my research on milestone 3. I contributed to the part about this performance in the article, [[The Globe Theater]]. Overall though, it was an alright show. <br />
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==Activity #14 BMW London Symphony Orchestra Open Air Classics Concert==<br />
The London Symphony Orchestra (LSO) preformed live at Trafalgar Square. The crowds were large because this free concert is only done once a year. It was impossible to get into the seating area but I was inside the area. Still I had to see the concert on the big screen. I heard about the LSO from the movies like Star Wars I have watched. It was an amazing experience to see this world renowned orchestra live. The three pieces that they preformed were written by a Russian composer named Rachmaninov. Behzod Abduraimov, who was the visiting star piano player, was amazing. He played his parts like it was second nature to him. I was so impressed especially, since he didn't even have music. <br><br><br />
One of my favorite parts of the concert was for the second movement where they invited the LSO On Track Young Musicians and students from the Guildhall School of Music & Drama to play with the LSO. They played so well and the young kids looked like they were living the dream. Which is understandable, because who wouldn't want to play with the LSO. The second piece sounded like a ballet piece that my 2nd milestone is about. In conclusion, the LSO played beautifully.<br />
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==Activity #15 Imperial War Museum of London==<br />
The [[Imperial War Museum]] was pretty cool. There were exhibits of the war and struggles from World War I to the current conflicts going on in Britain right now. The Secret War exhibit was really interesting since it showed MI6 and the SAS (Special Air Services). Within the Secret War exhibit, was the story about the attack on the Iraq Embassy. How the SAS saved the day was amazing. Another thing I saw was a piece of the twin towers that were destroyed on 9/11. It was great to see all of the american things and people honored at this museum. I can tell that Americans are an important ally to Britain. The museum did not have any direct relation to my milestones except for milestone 2 where I researched about how WWII grew the art of ballet. Overall, even though this museum had nothing that was really related to my milestones, I found the museum a great eye opener to all of the terrors and struggles from war. Also, how necessary it is to stop evil things that war is fought for like the Holocaust. I contributed to the Syria: A Conflict Explored part in the article [[Imperial War Museum]] .<br />
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==Activity #16 Museum of London Docklands==<br />
The [[Museum of London Docklands]] is a small museum with a lot of interesting history. There were things about the first docks in London and the supplies they used. One thing I found interesting was the whaling parts in the museum. I started an article about it [[Whaling in London|here]]. The London port was the leading dealer for whaling for a while until the Dutch took over. Another interesting thing I found was, the African Prince exhibit about the Royal African named Sessarakoo. He went to London to be educated but was tricked into being sold into slavery. He was eventually freed 4 years later and then started to be accepted into London society. Even though visiting this museum was not directly related to my milestones, what I did think could be linked to my research was that goods that were brought on the docks could have been needed for the use of theatrical performances. This museum was good place to visit and had a lot of information on the docks of London. <br />
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==Activity #17 Horniman Museum and Gardens==<br />
The [[Horniman Museum]] was a beautiful place to go and see. Other than seeing some musical instruments used in theater, going to this museum was not necessary for my milestone research. I loved seeing all of the different animals on display in the gallery. Within this gallery was a huge clock on the balcony that was really beautiful. When the four o'clock would chime, the twelve apostles within the clock would move. The museum had a huge walrus, which is the museum's 'mascot'. Another interesting exhibit they had there was an exhibit on musical instruments. They had church organs, trombones, 17th century pianos and so much more on display. Throughout this exhibit, were different non musical but cultural things like a wedding dress used in African weddings. This was to show what purpose music has in different places around the world. The gardens were very beautiful. The gardens had many different and unique sundials. Exotic plants such as Japanese Bamboo were featured in these gardens. I also found sheep being kept at one place in the garden. Overall, the garden & the museum were a nice place to visit and I enjoyed the beautiful sunny day we had that day in London. I contributed by writing a part in the article the [[Horniman Museum]] about the robot exhibit. <br />
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==Activity #18 Hampton Court Palace==<br />
Visiting [[Hampton Court Palace]] was spectacular. I was in love with the style and architecture of the palace. So many historical events happened there. Henry VIII, Elizabeth I and William & Mary were some of the English monarchs who have lived there. I liked visiting William III's apartment. The apartment looked like the palace rooms you see in the movies about these historical people. The art there and around the palace was also very beautiful. In King Henry VIII's Kitchen, there was someone actually cooking a roast in the stove on a pit. <br><br><br />
[[The Gardens at Hampton Court Palace| The Gardens]] were so big and beautiful. I loved the rose garden. The privy garden, I learned, was where Charles I ran into to try to escape his house arrest. He was recaptured though and eventually beheaded. The Great Vine, which is the largest vine in the world, was housed in the old greenhouse in the gardens. I wrote about it in [[The Gardens at Hampton Court Palace]] article as well as fixed things in the [[Hampton Court Palace]] article. The maze, which was in the wilderness garden, was also pretty fun to go into and get lost in. The palace did not have much related to my milestones except for that Shakespeare did perform at the palace with his company for James I. Also Elizabeth I, Henry VIII and Mary I, who were all influential to the time period of the plays I am researching about, lived in this palace. <br />
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==Activity #19 The Wallace Collection==<br />
[[The Wallace Collection]] was housed in the beautiful Herlford House located on Manchester square. The collection was originally a private collection owned by the Marquesses of Hertford. The collection of paintings were all very beautiful. The mini portraits of Napoleon I and his empress Joséphine sparked my interest. They had numerous mini portraits of them in different years of their lives. Another cool exhibit that I enjoyed was the Gilded Bronze collection. The intricate art on the candlesticks and side table were very detailed and beautiful. The collection of armory was also very amazing to see. There were three galleries just dedicated to the European and Oriental Armor. On display were two full size dressed manikin horses with armor on them. Intricately decorated swords were numerously present in this collection also. The museum though didn't have information that would have contributed towards my milestones research. I did contribute to [[The Wallace Collection]] article on the East Galleries. Overall, the museum was an amazing experience. <br><br><br />
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==Activity #20 The Science Museum of London==<br />
The [[London Science Museum]] was spectacular. The amount of science and history that is housed in this museum is almost too much to see in one day. No really I went to this museum twice and I still haven't been able to see everything. The space exhibit really sparked my attention. There was a full size replica of the Apollo 11 lunar ship that landed on the moon. The space exhibit also had a real moon rock. Another interesting thing they had was the oldest surviving steam engine locomotive Puffing Bully. Another cool artifact the museum had was a cut out part from one of the biggest passenger airplanes ever built, Boeing 747. The Airbus A380 900 is now the largest passenger airplane today and can seat 900! The museum did not have much towards my milestones research but the museum was a great learning experience. I did contribute to the [[London Science Museum]] article.<br />
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==Activity #21 Evensong at Westminster Abbey==<br />
Evensong is a prayer done at 5pm at Westminster Abbey. The prayers were sung by the Lay Vicars of Westminster Abbey. Six prayers were sung in total. Most of then were older hymns written in the 1500s or from the bible. It was a beautiful service. The choir sounded beautiful. No musical instruments were played except for the organ at some parts. When the choir would sing, they would sing acapella. My favorite song they sung was 'The Magnificat'. It is the prayer that Mary says when she is visiting her cousin Elizabeth's house. That prayer is so beautiful. The choir sang most of the songs in Latin. Latin is the original language of prayer in the catholic church. Overall, the choir was magnificent and I would highly recommend hearing evensong from them. <br />
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==Activity #22 Stratford-upon-Avon==<br />
The trip to Shakespeare's birthplace and home was great! I enjoyed seeing the place where Shakespeare lived. I visited his family home where he was born & grew up, New Place which is where he lived with his family, and Hall's Croft the home of Shakespeare's son-in-law Dr John Hall & Susanna Hall, Shakespeare's oldest daughter. The places were great to see since these were the places where history was made. Shakespeare's family home was a historical site where the rooms were decorated to look like how it would have looked when Shakespeare was born and during his life. The original window that is believed to be the one in the room Shakespeare was born in is housed upstairs of Shakespeare's home. People who would come visit this place would sign their name on the window. Many famous people have done it. <br><br><br />
Another place I saw was New Place where Shakespeare lived with his wife Anne Hathaway. Sadly though, the house was destroyed by a man named Reverend Francis Gastrell. He got frustrated with people wanting to visit his house, New Place, so he destroyed it. He became so disliked for this that he was run out of town. The site now has gardens with statues that signify Shakespeare's life and his works. I liked the statues that represented plays Shakespeare wrote with quotes from the scripts. The exhibition, which is housed in the building next to New Place, has some artifacts from the excavation of the site. <br><br><br />
The last place visited was Hall's Croft. This place was set up the way Dr Hall would have had it when he lived their with his wife. There were interesting displays about medicine in the time of Shakespeare's life. The house was beautiful. Besides going to these three places I also visited the Royal Shakespeare Company. On display, at their theater, were pictures and costumes from past Shakespeare performances. Visiting Stratford-upon-Avon was relevant to two of my milestones since they are about Shakespeare's plays. I learned more about his plays and the time period he was living in. I learned as well the things that could have inspired his writing in the place where he grew up & lived. Overall, it was a great experience to visit this place.<br />
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==Activity #23 Romeo & Juliet at The Globe==<br />
This performance of Romeo & Juliet really surprised me to say the least. For a setting such as [[The Globe Theater| the Globe]], one would think that the performance could give more of a traditional style. But, no it was a scary, dark clown interpretation. No kidding. The "Prince" was a scary deep voice in the background and spoke through the sound system. He also said the Prologue. The costumes were mostly black and Elizabethan time looking for the most part. There were some popping costumes once and a while such as Pluto from Disney. Romeo's character and actor I liked the best. He was expressive and passionate. Juliet was alright however, she lack the feeling of that she was a young girl in love. I cannot get over the fact it was so dark, with grave digging and dead bodies lying on hospital rolling beds. The mood was definitely dark & the style of delivery of lines was Mel Brooks humor. I believe the writers wanted to give this tragedy a twist from the usual mood of different passions of love, pain & conflict; to tragic, humor, love, conflict & pain. The lack of passion though made me cringe. Compared to the other performances I studied, I was so disappointed. The opportunity to make this so memorable and heart aching was lost. There wasn't even the use of the balcony for the balcony scene. Overall, my personal review of this is that if you want a spoof off the original story go see this. if you want to not be frightened and disappointed for the lack of a Shakespeare classic storytelling, don't see it. <br><br><br />
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==Activity #24 The Dream / Symphonic Variations / Marguerite and Armand | performed at the Royal Opera House==<br />
The performance was shown on a big screen in Trafalgar park. It was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. <br />
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The Dream is a ballet, based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon, who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon do make things right with everyone. Oberon makes peace with Titania and everyone goes back to the way things were supposed to be. I loved Oberon's performance. His moves and style made the character. I loved the scenery that looked like an enchanted forest. Overall, this act was a beautiful masterpeice. <br />
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Symphonic Variations was one of the first works done by the Royal Ballet at the [[Royal Opera House]] in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. I did like this piece but, the act had no story to it so I did not get it. <br />
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The most emotional and beautiful performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She was so beautiful and emotional. I loved watching her. She was the story of Marguerite and Armand; two lovers who are destined to never be together. Marguerite is a Parisian courtesan, who has a passionate love affair with Armand. What I liked about the performance was the change of scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. It was cool to see. Going to this event helped me with my milestone 2 research on what ballet today looks like. The performance showed me today's ballet poses and costumes. The event was an amazing experience and I would definitely do it again if I was back in London. I wrote details about this performance in the article on the [[Royal Opera House]].<br />
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==Activity #25 Stonehenge, Bath and Lancock Village==<br />
[[Stonehenge]] was an amazing place to see. To hear it is about 5100 years old, is amazing. The great significance of the structure is the achievement of the people at the time to build the structure without wheels or pulleys. We take these things for granted today but, the people who moved the huge boulders for the structure didn't have all of that. I am amazed and in awe of the great history that surrounded this site. As told by archaeologists, [[Stonehenge]] was used as a place for burial's, celebration, and healing. Visiting this site did not have much to do with my milestones, but this historic site has been around before, during and after the time periods of my milestone research. I also started and contributed to the article about [[Stonehenge]].<br />
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Bath was a city where the Romans made baths out of the hot springs founded on the site. The water, from underground, comes to the surface at the temperature of 50 Celsius. The King's bath, as the site is now called, is the the place where the Romans made their roman bath. You can see the water coming out of the ground bubbling and steaming. The Abbey in Bath right next to the Roman Bath's is the site where the first King of England, Edgar, was crowned. The church seen today was build by Bishop John with the help of King William Rufus. When King Henry VIII declared his Dissolution of the Monasteries, the Abbey was destroyed but, it was later restored. Bath overall, was such a beautiful place to visit. It is so different in style and architecture compared with London. The place was around during the times of my milestones research but, the site has not great importance to my milestones.<br><br><br />
The last place to visit on this tour was a place called Lancock Village. It is a 16th century village that after the dissolution by King Henry VIII, the Abbey and the estate, including the village were sold to William Sharington. The Talbot family later owned the place until it was given to the National Trust. The village and Abbey have been the setting for some major films including 1995 Pride and Prejudice, Harry Potter and other great films. The village was a great place to see even though visiting it had no great importance in my milestones research. <br />
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==Activity #26 Windsor Castle==<br />
[[Windsor Castle]] was a spectacular palace to visit. It was beautiful. The state apartments within the castle held a huge collection of art and expensive pieces belonging to the royal family. The Waterloo Chamber housed portraits of not just royalty but, military and nobility heroes from battles & conflicts. There was a big grand portrait of the Duke of Wellington painted before the battle of Waterloo. One portrait that caught my eye was of Pope Pius VII by Sir Thomas Lawrence. I really liked it. St George's Hall and the Grand Reception Room were also a site to see. They were beautiful. St George's Hall and the Grand Reception Room were some of the state apartments damaged in the 1992 fire that [[Windsor Castle]] suffered from. Fortunately, it was restored with other damaged parts with the help of the current Duke of Edinburgh. I also got to admire the portrait of Queen Elizabeth II. She looked so beautiful. <br />
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St. Georges Chapel, within Windsor castle, is one of the oldest churches in England built in the 11th century by King Edward III. The tombs of King Henry VIII, with his third wife Jane Seymour, are located in the choir area of the chapel. A little chapel was newly put in for Queen Elizabeth II's father George VI and mother Queen Elizabeth final resting place. Her sister, Princess Margaret, was also given a place for her ashes there. What I also found, from the church, was King Edward III's sword on display. I looked to be taller than me. Visiting this place was not need for any milestone research. The monarchs from the time period I am researching though, would have resided in [[Windsor Castle]] at some point. This beautiful palace I thought deserved an article so I created the [[Windsor Castle]] article and contributed to it. <br />
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==Activity #27 Backstage Tour of the Royal Albert Hall==<br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Mthatfalvi|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=User:Mthatfalvi&diff=19159
User:Mthatfalvi
2017-06-22T12:24:03Z
<p>Mthatfalvi: </p>
<hr />
<div>=Mary Hatfalvi=<br />
[[File: IMG_1253ret4x6_-_Copy.jpg|x350px|right|frameless|thumb|Mary Hatfalvi]]<br><br />
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=Overview=<br />
I had one project goal for each of my milestones. My first milestone goal was to find the message that Shakespeare's Romeo & Juliet has sent trough the centuries. My second milestone goal was to make a story about the doll 'Little Marie' from the story of the ballet ''Pygmalion'' and Marie Sallé. The third milestone, which was also my Humanities and Art's capstone, dove deep into Shakespeare's Twelfth Night and created an interpretation based on current and past performances. In preparation for my milestones, I had taken a class in Theater Workshop as well as have had past dance & dramatic performance experience. My London experience has given me a greater appreciation and understanding for London and its history.<br />
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=Milestone 1=<br />
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'''How Shakespeare through the Centuries Still Lives On'''<br><br />
'''Objective:''' To find the similarities & differences between the performance, dramatic elements and style of two interpretations of Shakespeare’s Romeo & Juliet performed in London in two different time periods. One play performed in 2016 at the Garrick Theatre, and another performed in 1867 at the Covent Gardens. In conclusion, to find that the original message of Shakespeare's play that still lives on through the century. <br />
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Through the research I found that the original message of Shakespeare's Romeo & Juliet was the message of the different passions of love, war and conflict. This theme comes from the inspiration of the story. In the time period Shakespeare was alive, religious persecution was a big issue. Families were torn apart, people were unjustly killed and life was scary for the people in hiding wondering if they were next to be jailed & persecuted. Shakespeare always had a purpose to writing his plays and this conflict could have moved him to write Romeo & Juliet. He was also a romantic and loved poetry. Throughout the story, Shakespeare shows the tragedy of conflict, death and loss of love. This message was true not only in the original script but in the interpretations that were found. In both interpretations, the same mood is found: in different passions of love, conflict and death. Despite one interpretation performed in 1867 as an opera and another interpretation performed in 2016 as a modern twist to the original, both adaptations give the same original message that Shakespeare wanted to portray.<br />
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[[How Shakespeare through the Centuries Still Lives On|Read More]] <br />
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=Milestone 2=<br />
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'''Storytelling through Ballet and the Woman Behind It'''<br><br />
'''Objective:''' A research report on the recorded first ballet in London, Pygmalion which opened in 1734 at the Covent Gardens, and the famous dancer & choreographer Marie Salle. How this ballet choreographed by Marie Salle started a new approach of ballet style and performance in London that is used today. In conclusion, telling the story of 'Little Marie' through ballet and specific places throughout London. <br />
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Ballet has been used for theatrical performances since the early 16th century. Ballet gives another form of dimension to theater that brings grace and emotion into storytelling. London in particular has been the home to famous ballet groups and ballet performance theaters. Ballet started in London as a form of dance with corsets and big cumbersome dresses. When Marie Sallé performed in ''Pygmalion'' in 1734, she defiled the norm and wore a roman robe on stage as her character. She wanted her dance to tell the story not to give a performance. My research looked at the details for this first ballet as well as the life & influence of Marie Sallé. I also looked into general past ballet and today's ballet. I looked at the different ballet poses & positions used, and places ballet has performed in London. I concluded this milestone with a children's story written using ballet places & poses to enhance the story. It is the story of my doll named 'Little Marie'. <br />
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[[Storytelling through Ballet and the Woman Behind It|Read More]] <br />
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=Milestone 3=<br />
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'''Perspectives on "Twelfth Night"'''<br><br />
'''Objective:''' A study into current and past performances of Twelfth Night resulting in a personal interpretation of the play. Explaining the reasons & concepts behind the use of specific dramatic elements, mood and style that would be used for an approach to a successful interpretation. <br />
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This project found different dramatic elements and performance aspects based on current and previous performances of 'Twelfth Night' that would result to a successful interpretation.The story of 'Twelfth Night' is a romantic comedy that makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. A performance used to gain information was performed this year at the Shakespeare Globe in London. Another current performance took place at the National Theater in London. These performances were found to have a different style and twist. We additionally looked at these performance's reviews to find if the performances were well received or poorly received by audiences. These findings helped us as we developed our own interpretation of the show. <br><br><br />
In our research we found that audiences liked this play much more when it was done in a more realistic tone. Making the tone of the story more of a spoof takes away some of the beauty of the story and humanity lessons that are within it. Another aspect to the play that Shakespeare and modern adaptations have done is the gender switching of the supporting characters.'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. This milestone is meant to fulfill my humanities and arts capstone. <br />
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[[Perspectives on "Twelfth Night"|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey & The Tower of London==<br />
[[Westminster Abbey]] was an amazing place to visit. I learned so much about British royalty and tradition. Some of the things I saw there was the throne in which all royalty in England has been crowned in since King Edward I. Many famous people and royalty including Mary Queen of Scots, King Henry the V, Edward the Confessor, Queen Elizabeth I, Issac Newton and the unknown solder are buried and honored in [[Westminster Abbey]]. You can read more about the people buried there in my [[The Tombs of Westminster Abbey|article]]. Something ironic I would say is that Queen Elizabeth I and Queen Mary I are both buried together even though they were at odds to say the least with each other during their lifetime. Both Mary I and Elizabeth I are mentioned in my Milestone 1 on Romeo and Juliet. The Abbey was built in 960 A.D as a small Benedictine monastery. It was later added on and built to be a church for royal coronations and burials by Edward the Confessor. The first monarch to be coordinated at the Abbey was William the Conquer and all of the monarchs have been crowned there ever since. Something I found while exploring the Abbey was a door that was closed off. The door had a sign on it labeled the oldest door in England dated 1050. No one should leave London without seeing this church. Even though this site was not really relevant to my milestones, it is the most spectacular thing I have ever seen.<br><br><br />
The Tower of London was a place I could get lost and spend all day in. There was so much history in the tower that I could not be at a lost for things to see and do. Many sad things happened in the tower for instance Edward V and his brother Richard were sent to the Bloody tower by their uncle who become Richard III. They were never seen or heard from again. Later on, the bodies of two young boys were found in front of the white tower. They are said today to be the two princes. Another man who was held at the tower and later beheaded was Thomas More. He was a friend to King Henry VIII and did not agree with his rule of being the new head of the church. He was taken to the Bell Tower as a prisoner and later beheaded. Besides executions, the tower did house things like the royal coin minting, the royal observatory and the crown jewels. This place was another non relating milestone cite. Mentioned before though, Queen Mary I, Queen Elizabeth I, and King Henry VIII though did influence the time period I am researching about in my Milestone I. The Tower of London was another amazing place to see and I would go there again when I visit London in the future.<br />
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==Activity #2 St. Paul's Cathedral==<br />
[[St. Paul's Cathedral]] is a place where history, religion and modern culture combine. What I found really cool in the Cathedral, was all the statues & plaques that commemorated the soldiers, generals and warriors of Britain. St.Paul's Cathedral is a place where the non royal heroes of England are honored & remembered. The art in the cathedral ranged from mosaics on the arches of the dome, to TV screen art that used slow motion and effects. One piece that I was inspired to write an article on was [[The Martyrs in St. Paul's Cathedral]] by Bill Viola. For one of my milestones I did a perspectives of Twelfth Night. The Martyrs gives an example of an interpretation of the biblical theme of hope and death on earth. This style of interpretation is something I was inspired to use in my project. The crypt under the church held tombs of warriors including Lord Nelson and Arthur Wellesley, the Duke of Wellington. Even though this site was not greatly related to my milestones, it was a good place to see. <br />
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==Activity #3 British Museum==<br />
The [[British Museum]] was a very cool place to visit. There was a lot to see and it took me an hour an a half just to see one exhibit about Egyptian history. There was so much history in the museum from ancient Egypt, to Africa, to the Roman times to modern America. The most interesting exhibit to me was the mummies from ancient Egypt exhibit. The museum had mummies from Egyptian kings to unknown men & women. I started and contributed to an article on this exhibit and you can read more <br />
[[Mummies of Ancient Egypt|here]]. <br><br><br />
This museum did not have much to do with any of my milestone research. Though it did have an exhibit in the Greek artifacts exhibit on Music & Dance in Greece. Theater was a form of entertainment in ancient Greece. The Greeks had an ancient theatre in Epidaurus which was designed for large seating and sound amplification. A lot of modern outdoor amphitheaters are designed like this one. This museum was a fun and interesting experience. It was a great place to learn about the origins of all of the different cultures from around the world. <br />
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==Activity #4 Natural History Museum==<br />
The [[Natural History Museum]] was a huge museum about the natural history of the world. There were exhibits on mineral rocks, space, natural disasters such as earthquakes & volcanic eruptions and of course fossils of animals. One exhibit that I thought was interesting was about the Natural Disasters of Earth. The museum had a remake of the affect and feeling of a 1995 earthquake in China. I contributed to the [[Natural History Museum]] article with an article on the Human Evolution exhibit since I found that exhibit also very interesting.This museum was not directly related to any of my milestones. However, in the minerals exhibit, there was diamonds & special rocks in jewelry I found. They could have been used in costume jewelry for the plays and performances in theater that my milestones are on. The museum was definitely worth seeing if you are researching about the wonders of the earth. <br><br><br />
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==Activity #5 National Gallery==<br />
The National Gallery was a beautiful place to step back in time and find yourself in the lives of the work of art. I loved the original paintings by Leonardo da Vinci especially the one called ''The Virgin of the Rocks''. Sadly, I could not get to see Michelangelo's paintings but I got to see so many other artists including Claude, who I wrote a contributing article about in [[The National Gallery]] article. All of his paintings in the gallery are on landscapes. A lot of the paintings older than the 1500's were about christian themes and biblical stories. This museum did not have things that were directly related to my milestones. I was inspired though by a painting by Jean-Antoine Watteau called ''Perfect Harmony'', which counter-relates to my milestone 1 on Romeo & Juliet. Their lives were not perfect harmony. Other paintings I saw were about lovers and Romeo & Juliet were lovers. Overall the Gallery was a beautiful place to visit and admire amazing art. <br />
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==Activity #6 National Theater's Adaptation of Twelfth Night==<br />
Going to see [[National Theater]]’s Twelfth Night was an amazing experience. The performance was done beautifully. The style of the play was a mix of the Shakespearean period and the modern 21st century. For example, one scene had a 1950's vehicle, when another scene had costumes from the Shakespearean time period. The main theme that I got from this interpretation of Twelfth Night was that this Shakespeare story is timeless. The characters mostly spoke in Shakespearean language with humorous twists to some of the words. <br><br><br />
The set design was spectacular. I absolutely loved the concept and outcome of the set. It was a triangular staircase with rooms inside that had the ability to create many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities were endless. I loved the acting in this interpretation also. The characters made you feel like you were back in time despite the modern twist. An interesting decision that the creators did for this play was switching some of the characters’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that homosexuality played a part in this interpretation since Malvolio is supposed to have a affection towards Olivia. Music throughout the play was mainly jazz with clarinets & saxophones but, there was also some modern club music for the party/club scene. Going to see this play was part of my requirement for my milestone 3, since it was about doing my own interpretation of Twelfth Night. The whole play was done excellently and I would highly recommend going to see it. Based on this performance I contributed to creating and writing the article about the [[National Theater]].<br />
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==Activity #7 Tate Britain==<br />
[[Tate Britain]] was an interesting museum. I usually do not appreciate modern art but, this museum made British modern art genuinely interesting. One modern British artist that I wrote about in [[Tate Britain]] was named Joseph Turner. He is apparently known as the father of modern art. His pieces of art were very interesting to me. Other art pieces I found interesting were Derek Jarman's ''Blue'', which he made while he was losing his eyesight from a terminal illness, and a art film called ''Together''. ''Blue'' was inspiring because it showed that one could make something seem extravagant from a single element. Visiting this museum was not related to any of my milestones. The acting styles however, in the film art had interesting things to use towards my milestone 3 research on the different perspectives of Twelfth Night. Overall, this museum was an interesting place to visit. <br />
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==Activity #8 Victoria and Albert Museum==<br />
The [[Victoria and Albert Museum]] had a lot of amazing collections. I admired the fashion through the Victorian age till the modern time in the fashion exhibit. There was a lot of Religious Renaissance art there that was also very beautiful. What was interesting was that they had complete exhibits each on different materials used for art and building. There was a glass, jewelry, portrait paintings and Theater & Performance exhibits. <br><br><br />
The Theater and Performance Exhibit was directly related to all of my milestones. This exhibit was where I spent most of my time in for research. There were advertisements, pictures, costumes and set design miniatures all around this exhibit. I liked the costumes that were brought in from Wicked, which was the wicked witch costume, and The Lion King. On display were miniatures of the theater space layout of some of the greatest theaters from around England. This exhibit also had miniature set designs used for real productions in the theater. I contributed to an article on the Theater & Performance Exhibit on the [[Victoria and Albert Museum]] page. Overall, the museum was absolutely worth going to. <br />
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==Activity #9 Backstage Tour of Royal Opera House==<br />
The backstage tour was incredible! I got to see so many things that went on behind the scenes of one the oldest theater houses. On display, was the miniature set designs for past performances that were used for visual representation as well as to perfect the overall performance design. Our guide told us that they could spend 8000 pounds on just a miniature set! This is because they do not want to get things wrong for the real set and mistakes should be made on the miniature. Another interesting fact about this opera house that I didn't know was that it has survived two fires. For my milestone 2, I am looking at the first ballet that was performed at Covent Gardens also called the Theater House before the second fire in 1734. <br><br><br />
I got to see the props area and learned where the word props comes from. Back before the [[Royal Opera House]] was built for the third time in 1858, rich nobles would sit on the actual stage with the performers instead of in audience boxes that are still in place at the Royal Opera House. They would take the props from the stage after the performances. The stage workers then started to stamp the props with a stamp that said "theater property" to stop the people from stealing them each night. That is where we got the word props. <br><br><br />
I also got to see backstage where they use a neat way of moving sets by lowering the floors and moving the whole floor out of the stage. I also got to see one of the many ballet studios that the house uses for practices and rehearsals. There I also learned that the [[Royal Opera House]] has three costume studios. Overall, the tour was a really educational experience and I learned so much about the Opera House that I contributed to the [[Royal Opera House]] article. <br />
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==Activity #10 Tate Modern==<br />
[[Tate Modern]] was interesting. I really didn't get most of the art but I could get the meaning behind some of it. For example, there is a flag that was made with the blood, soil and fabric from the drug wars in mexico. I got the message of the sad events that the artist is trying to show however, I am not at all comfortable with using human blood and battle soil for art. Makes me cringe. Maybe that is the idea though who knows. A video on how not to be seen was very funny. I could not take it seriously but it was informative. One piece of art that I wrote about in the [[Tate Modern]] article was called Babel. It was a tower that was supposed to represent the tower of Babylon and the story outcome how many different people speak different languages now. The tower was made from radios and throughout the tower, the radios were on broadcasting events and songs. I could not make out anything that the radios were broadcasting. It was really interesting. Nothing from this museum related to my milestones at all really. The acting in the videos maybe. Overall, the museum had its good parts and its bad parts. <br />
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==Activity #11 Backstage Tour of National Theater==<br />
Going on the backstage tour of the [[National Theater]] was a great experience. I got to see both the Olivier and Lyttelton Theatre. I got to learn that this theater was built to showcase & preserve classic plays as well as take them into the future. The Olivier theater has a grand drum floor that is used to bring sets or scenic props up & down the stage. It is the only one in the world that is this extravagant and functionally used. The Olivier theater was built in a style inspired by the Greek style stage of Delphi. This is one style of seating that the audience likes since they can see everything. The actors like this style as well because they can see all of the audience. <br><br><br />
The workshop used to make all of the [[National Theater]] productions' sets was huge. They make most of their stage sets for every show but then sadly, have to take them apart and recycle them after the show is over. There costumes department is stored in a warehouse and anyone who is willing to pay the price can use costumes from that warehouse. Why even Warner Brothers Studios have used costumes from the [[National Theater]] warehouse for Harry Potter. Visiting this theater was related to my milestone 3 research. It helped me to see all of the aspects and work that goes into putting on a show. I wrote about the [[National Theater]]'s details in its article. <br />
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==Activity #12 Museum of London==<br />
The [[Museum of London]] takes you back in time to before London was London and then gives the history of how London came to be London. I found this museum very interesting. The Lord Major's coach was so interesting, that I contributed that part to the [[Museum of London]] article. Moreover I found a model of the Rose Theatre, which was a theater similar to [[The Globe Theater]] at the time of Shakespeare. Shakespeare works were also performed at the Rose Theatre as well. Sadly, it was left deserted in 1605 and later destroyed. This was good to learn about since two of my milestones are about Shakespeare's performances. I greatly admired the London before London and medieval London exhibits. It was very interesting to see all of the different artifacts that were discovered including the Roman wall that is partially preserved on the museum site today. Overall, the museum was a great learning experience and it made me appreciate London more. <br />
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==Activity #13 Twelfth Night at the Globe==<br />
[[The Globe Theater]]'s interpretation of Twelfth Night was not what I was expecting. It was more of the ''Robin Hood Men in Tights'' style and humor. Obviously, the original Shakespearean wording was kept but the performance was modernized. For example, Sebastian and Viola were white naval officers. The clown/narrator was a drag queen. What was interesting was the big age differences. Olivia, Sir Toby, Sir Andrew and Duke Orsino all looked to be over 30. When Maria, Sebastian and Viola were all young actors. The Malvolio character was played by a short girl dressed as a man. <br><br><br />
One interesting thing about the set was some of the hidden messages within it. The four life saver rings on the stage each had a word that together made the message 'In Love We Trust'. Compared with the other interpretation I saw at the [[National Theater]], this felt more modernized and silly. I was surprised. Since this play was at [[The Globe Theater]], I thought it would be more in the Shakespearean time period style. Going to this performance was needed for my research on milestone 3. I contributed to the part about this performance in the article, [[The Globe Theater]]. Overall though, it was an alright show. <br />
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==Activity #14 BMW London Symphony Orchestra Open Air Classics Concert==<br />
The London Symphony Orchestra (LSO) preformed live at Trafalgar Square. The crowds were large because this free concert is only done once a year. It was impossible to get into the seating area but I was inside the area. Still I had to see the concert on the big screen. I heard about the LSO from the movies like Star Wars I have watched. It was an amazing experience to see this world renowned orchestra live. The three pieces that they preformed were written by a Russian composer named Rachmaninov. Behzod Abduraimov, who was the visiting star piano player, was amazing. He played his parts like it was second nature to him. I was so impressed especially, since he didn't even have music. <br><br><br />
One of my favorite parts of the concert was for the second movement where they invited the LSO On Track Young Musicians and students from the Guildhall School of Music & Drama to play with the LSO. They played so well and the young kids looked like they were living the dream. Which is understandable, because who wouldn't want to play with the LSO. The second piece sounded like a ballet piece that my 2nd milestone is about. In conclusion, the LSO played beautifully.<br />
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==Activity #15 Imperial War Museum of London==<br />
The [[Imperial War Museum]] was pretty cool. There were exhibits of the war and struggles from World War I to the current conflicts going on in Britain right now. The Secret War exhibit was really interesting since it showed MI6 and the SAS (Special Air Services). Within the Secret War exhibit, was the story about the attack on the Iraq Embassy. How the SAS saved the day was amazing. Another thing I saw was a piece of the twin towers that were destroyed on 9/11. It was great to see all of the american things and people honored at this museum. I can tell that Americans are an important ally to Britain. The museum did not have any direct relation to my milestones except for milestone 2 where I researched about how WWII grew the art of ballet. Overall, even though this museum had nothing that was really related to my milestones, I found the museum a great eye opener to all of the terrors and struggles from war. Also, how necessary it is to stop evil things that war is fought for like the Holocaust. I contributed to the Syria: A Conflict Explored part in the article [[Imperial War Museum]] .<br />
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==Activity #16 Museum of London Docklands==<br />
The [[Museum of London Docklands]] is a small museum with a lot of interesting history. There were things about the first docks in London and the supplies they used. One thing I found interesting was the whaling parts in the museum. I started an article about it [[Whaling in London|here]]. The London port was the leading dealer for whaling for a while until the Dutch took over. Another interesting thing I found was, the African Prince exhibit about the Royal African named Sessarakoo. He went to London to be educated but was tricked into being sold into slavery. He was eventually freed 4 years later and then started to be accepted into London society. Even though visiting this museum was not directly related to my milestones, what I did think could be linked to my research was that goods that were brought on the docks could have been needed for the use of theatrical performances. This museum was good place to visit and had a lot of information on the docks of London. <br />
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==Activity #17 Horniman Museum and Gardens==<br />
The [[Horniman Museum]] was a beautiful place to go and see. Other than seeing some musical instruments used in theater, going to this museum was not necessary for my milestone research. I loved seeing all of the different animals on display in the gallery. Within this gallery was a huge clock on the balcony that was really beautiful. When the four o'clock would chime, the twelve apostles within the clock would move. The museum had a huge walrus, which is the museum's 'mascot'. Another interesting exhibit they had there was an exhibit on musical instruments. They had church organs, trombones, 17th century pianos and so much more on display. Throughout this exhibit, were different non musical but cultural things like a wedding dress used in African weddings. This was to show what purpose music has in different places around the world. The gardens were very beautiful. The gardens had many different and unique sundials. Exotic plants such as Japanese Bamboo were featured in these gardens. I also found sheep being kept at one place in the garden. Overall, the garden & the museum were a nice place to visit and I enjoyed the beautiful sunny day we had that day in London. I contributed by writing a part in the article the [[Horniman Museum]] about the robot exhibit. <br />
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==Activity #18 Hampton Court Palace==<br />
Visiting [[Hampton Court Palace]] was spectacular. I was in love with the style and architecture of the palace. So many historical events happened there. Henry VIII, Elizabeth I and William & Mary were some of the English monarchs who have lived there. I liked visiting William III's apartment. The apartment looked like the palace rooms you see in the movies about these historical people. The art there and around the palace was also very beautiful. In King Henry VIII's Kitchen, there was someone actually cooking a roast in the stove on a pit. <br><br><br />
[[The Gardens at Hampton Court Palace| The Gardens]] were so big and beautiful. I loved the rose garden. The privy garden, I learned, was where Charles I ran into to try to escape his house arrest. He was recaptured though and eventually beheaded. The Great Vine, which is the largest vine in the world, was housed in the old greenhouse in the gardens. I wrote about it in [[The Gardens at Hampton Court Palace]] article as well as fixed things in the [[Hampton Court Palace]] article. The maze, which was in the wilderness garden, was also pretty fun to go into and get lost in. The palace did not have much related to my milestones except for that Shakespeare did perform at the palace with his company for James I. Also Elizabeth I, Henry VIII and Mary I, who were all influential to the time period of the plays I am researching about, lived in this palace. <br />
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==Activity #19 The Wallace Collection==<br />
[[The Wallace Collection]] was housed in the beautiful Herlford House located on Manchester square. The collection was originally a private collection owned by the Marquesses of Hertford. The collection of paintings were all very beautiful. The mini portraits of Napoleon I and his empress Joséphine sparked my interest. They had numerous mini portraits of them in different years of their lives. Another cool exhibit that I enjoyed was the Gilded Bronze collection. The intricate art on the candlesticks and side table were very detailed and beautiful. The collection of armory was also very amazing to see. There were three galleries just dedicated to the European and Oriental Armor. On display were two full size dressed manikin horses with armor on them. Intricately decorated swords were numerously present in this collection also. The museum though didn't have information that would have contributed towards my milestones research. I did contribute to [[The Wallace Collection]] article on the East Galleries. Overall, the museum was an amazing experience. <br><br><br />
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==Activity #20 The Science Museum of London==<br />
The [[London Science Museum]] was spectacular. The amount of science and history that is housed in this museum is almost too much to see in one day. No really I went to this museum twice and I still haven't been able to see everything. The space exhibit really sparked my attention. There was a full size replica of the Apollo 11 lunar ship that landed on the moon. The space exhibit also had a real moon rock. Another interesting thing they had was the oldest surviving steam engine locomotive Puffing Bully. Another cool artifact the museum had was a cut out part from one of the biggest passenger airplanes ever built, Boeing 747. The Airbus A380 900 is now the largest passenger airplane today and can seat 900! The museum did not have much towards my milestones research but the museum was a great learning experience. I did contribute to the [[London Science Museum]] article.<br />
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==Activity #21 Evensong at Westminster Abbey==<br />
Evensong is a prayer done at 5pm at Westminster Abbey. The prayers were sung by the Lay Vicars of Westminster Abbey. Six prayers were sung in total. Most of then were older hymns written in the 1500s or from the bible. It was a beautiful service. The choir sounded beautiful. No musical instruments were played except for the organ at some parts. When the choir would sing, they would sing acapella. My favorite song they sung was 'The Magnificat'. It is the prayer that Mary says when she is visiting her cousin Elizabeth's house. That prayer is so beautiful. The choir sang most of the songs in Latin. Latin is the original language of prayer in the catholic church. Overall, the choir was magnificent and I would highly recommend hearing evensong from them. <br />
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==Activity #22 Stratford-upon-Avon==<br />
The trip to Shakespeare's birthplace and home was great! I enjoyed seeing the place where Shakespeare lived. I visited his family home where he was born & grew up, New Place which is where he lived with his family, and Hall's Croft the home of Shakespeare's son-in-law Dr John Hall & Susanna Hall, Shakespeare's oldest daughter. The places were great to see since these were the places where history was made. Shakespeare's family home was a historical site where the rooms were decorated to look like how it would have looked when Shakespeare was born and during his life. The original window that is believed to be the one in the room Shakespeare was born in is housed upstairs of Shakespeare's home. People who would come visit this place would sign their name on the window. Many famous people have done it. <br><br><br />
Another place I saw was New Place where Shakespeare lived with his wife Anne Hathaway. Sadly though, the house was destroyed by a man named Reverend Francis Gastrell. He got frustrated with people wanting to visit his house, New Place, so he destroyed it. He became so disliked for this that he was run out of town. The site now has gardens with statues that signify Shakespeare's life and his works. I liked the statues that represented plays Shakespeare wrote with quotes from the scripts. The exhibition, which is housed in the building next to New Place, has some artifacts from the excavation of the site. <br><br><br />
The last place visited was Hall's Croft. This place was set up the way Dr Hall would have had it when he lived their with his wife. There were interesting displays about medicine in the time of Shakespeare's life. The house was beautiful. Besides going to these three places I also visited the Royal Shakespeare Company. On display, at their theater, were pictures and costumes from past Shakespeare performances. Visiting Stratford-upon-Avon was relevant to two of my milestones since they are about Shakespeare's plays. I learned more about his plays and the time period he was living in. I learned as well the things that could have inspired his writing in the place where he grew up & lived. Overall, it was a great experience to visit this place.<br />
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==Activity #23 Romeo & Juliet at The Globe==<br />
This performance of Romeo & Juliet really surprised me to say the least. For a setting such as [[The Globe Theater| the Globe]], one would think that the performance could give more of a traditional style. But, no it was a scary, dark clown interpretation. No kidding. The "Prince" was a scary deep voice in the background and spoke through the sound system. He also said the Prologue. The costumes were mostly black and Elizabethan time looking for the most part. There were some popping costumes once and a while such as Pluto from Disney. Romeo's character and actor I liked the best. He was expressive and passionate. Juliet was alright however, she lack the feeling of that she was a young girl in love. I cannot get over the fact it was so dark, with grave digging and dead bodies lying on hospital rolling beds. The mood was definitely dark & the style of delivery of lines was Mel Brooks humor. I believe the writers wanted to give this tragedy a twist from the usual mood of different passions of love, pain & conflict; to tragic, humor, love, conflict & pain. The lack of passion though made me cringe. Compared to the other performances I studied, I was so disappointed. The opportunity to make this so memorable and heart aching was lost. There wasn't even the use of the balcony for the balcony scene. Overall, my personal review of this is that if you want a spoof off the original story go see this. if you want to not be frightened and disappointed for the lack of a Shakespeare classic storytelling, don't see it. <br><br><br />
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==Activity #24 The Dream / Symphonic Variations / Marguerite and Armand | performed at the Royal Opera House==<br />
The performance was shown on a big screen in Trafalgar park. It was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. <br />
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The Dream is a ballet, based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon, who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon do make things right with everyone. Oberon makes peace with Titania and everyone goes back to the way things were supposed to be. I loved Oberon's performance. His moves and style made the character. I loved the scenery that looked like an enchanted forest. Overall, this act was a beautiful masterpeice. <br />
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Symphonic Variations was one of the first works done by the Royal Ballet at the [[Royal Opera House]] in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. I did like this piece but, the act had no story to it so I did not get it. <br />
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The most emotional and beautiful performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She was so beautiful and emotional. I loved watching her. She was the story of Marguerite and Armand; two lovers who are destined to never be together. Marguerite is a Parisian courtesan, who has a passionate love affair with Armand. What I liked about the performance was the change of scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. It was cool to see. Going to this event helped me with my milestone 2 research on what ballet today looks like. The performance showed me today's ballet poses and costumes. The event was an amazing experience and I would definitely do it again if I was back in London. I wrote details about this performance in the article on the [[Royal Opera House]].<br />
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==Activity #25 Stonehenge, Bath and Lancock Village==<br />
[[Stonehenge]] was an amazing place to see. To hear it is about 5100 years old, is amazing. The great significance of the structure is the achievement of the people at the time to build the structure without wheels or pulleys. We take these things for granted today but, the people who moved the huge boulders for the structure didn't have all of that. I am amazed and in awe of the great history that surrounded this site. As told by archaeologists, [[Stonehenge]] was used as a place for burial's, celebration, and healing. Visiting this site did not have much to do with my milestones, but this historic site has been around before, during and after the time periods of my milestone research. I also started and contributed to the article about [[Stonehenge]].<br />
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Bath was a city where the Romans made baths out of the hot springs founded on the site. The water, from underground, comes to the surface at the temperature of 50 Celsius. The King's bath, as the site is now called, is the the place where the Romans made their roman bath. You can see the water coming out of the ground bubbling and steaming. The Abbey in Bath right next to the Roman Bath's is the site where the first King of England, Edgar, was crowned. The church seen today was build by Bishop John with the help of King William Rufus. When King Henry VIII declared his Dissolution of the Monasteries, the Abbey was destroyed but, it was later restored. Bath overall, was such a beautiful place to visit. It is so different in style and architecture compared with London. The place was around during the times of my milestones research but, the site has not great importance to my milestones.<br><br><br />
The last place to visit on this tour was a place called Lancock Village. It is a 16th century village that after the dissolution by King Henry VIII, the Abbey and the estate, including the village were sold to William Sharington. The Talbot family later owned the place until it was given to the National Trust. The village and Abbey have been the setting for some major films including 1995 Pride and Prejudice, Harry Potter and other great films. The village was a great place to see even though visiting it had no great importance in my milestones research. <br />
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==Activity #26 Windsor Castle==<br />
[[Windsor Castle]] was a spectacular palace to visit. It was beautiful. The state apartments within the castle held a huge collection of art and expensive pieces belonging to the royal family. The Waterloo Chamber housed portraits of not just royalty but, military and nobility heroes from battles & conflicts. There was a big grand portrait of the Duke of Wellington painted before the battle of Waterloo. One portrait that caught my eye was of Pope Pius VII by Sir Thomas Lawrence. I really liked it. St George's Hall and the Grand Reception Room were also a site to see. They were beautiful. St George's Hall and the Grand Reception Room were some of the state apartments damaged in the 1992 fire that [[Windsor Castle]] suffered from. Fortunately, it was restored with other damaged parts with the help of the current Duke of Edinburgh. I also got to admire the portrait of Queen Elizabeth II. She looked so beautiful. <br />
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St. Georges Chapel, within Windsor castle, is one of the oldest churches in England built in the 11th century by King Edward III. The tombs of King Henry VIII, with his third wife Jane Seymour, are located in the choir area of the chapel. A little chapel was newly put in for Queen Elizabeth II's father George VI and mother Queen Elizabeth final resting place. Her sister, Princess Margaret, was also given a place for her ashes there. What I also found, from the church, was King Edward III's sword on display. I looked to be taller than me. Visiting this place was not need for any milestone research. The monarchs from the time period I am researching though, would have resided in [[Windsor Castle]] at some point. This beautiful palace I thought deserved an article so I created the [[Windsor Castle]] article and contributed to it. <br />
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==Activity #27 Backstage Tour of the Royal Albert Hall==<br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Mthatfalvi|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=User:Mthatfalvi&diff=19154
User:Mthatfalvi
2017-06-22T12:23:31Z
<p>Mthatfalvi: </p>
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<div>=Mary Hatfalvi=<br />
[[File: IMG_1253ret4x6_-_Copy.jpg|x350px|right|frameless|thumb|Mary Hatfalvi]]<br><br />
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=Overview=<br />
I had one project goal for each of my milestones. My first milestone goal was to find the message that Shakespeare's Romeo & Juliet has sent trough the centuries. My second milestone goal was to make a story about the doll 'Little Marie' from the story of the ballet ''Pygmalion'' and Marie Sallé. The third milestone, which was also my Humanities and Art's capstone, dove deep into Shakespeare's Twelfth Night and created an interpretation based on current and past performances. In perpetration for my milestones, I had taken a class in Theater Workshop as well as have had past dance & dramatic performance experience. My London experience has given me a greater appreciation and understanding for London and its history.<br />
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=Milestone 1=<br />
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'''How Shakespeare through the Centuries Still Lives On'''<br><br />
'''Objective:''' To find the similarities & differences between the performance, dramatic elements and style of two interpretations of Shakespeare’s Romeo & Juliet performed in London in two different time periods. One play performed in 2016 at the Garrick Theatre, and another performed in 1867 at the Covent Gardens. In conclusion, to find that the original message of Shakespeare's play that still lives on through the century. <br />
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Through the research I found that the original message of Shakespeare's Romeo & Juliet was the message of the different passions of love, war and conflict. This theme comes from the inspiration of the story. In the time period Shakespeare was alive, religious persecution was a big issue. Families were torn apart, people were unjustly killed and life was scary for the people in hiding wondering if they were next to be jailed & persecuted. Shakespeare always had a purpose to writing his plays and this conflict could have moved him to write Romeo & Juliet. He was also a romantic and loved poetry. Throughout the story, Shakespeare shows the tragedy of conflict, death and loss of love. This message was true not only in the original script but in the interpretations that were found. In both interpretations, the same mood is found: in different passions of love, conflict and death. Despite one interpretation performed in 1867 as an opera and another interpretation performed in 2016 as a modern twist to the original, both adaptations give the same original message that Shakespeare wanted to portray.<br />
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[[How Shakespeare through the Centuries Still Lives On|Read More]] <br />
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=Milestone 2=<br />
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'''Storytelling through Ballet and the Woman Behind It'''<br><br />
'''Objective:''' A research report on the recorded first ballet in London, Pygmalion which opened in 1734 at the Covent Gardens, and the famous dancer & choreographer Marie Salle. How this ballet choreographed by Marie Salle started a new approach of ballet style and performance in London that is used today. In conclusion, telling the story of 'Little Marie' through ballet and specific places throughout London. <br />
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Ballet has been used for theatrical performances since the early 16th century. Ballet gives another form of dimension to theater that brings grace and emotion into storytelling. London in particular has been the home to famous ballet groups and ballet performance theaters. Ballet started in London as a form of dance with corsets and big cumbersome dresses. When Marie Sallé performed in ''Pygmalion'' in 1734, she defiled the norm and wore a roman robe on stage as her character. She wanted her dance to tell the story not to give a performance. My research looked at the details for this first ballet as well as the life & influence of Marie Sallé. I also looked into general past ballet and today's ballet. I looked at the different ballet poses & positions used, and places ballet has performed in London. I concluded this milestone with a children's story written using ballet places & poses to enhance the story. It is the story of my doll named 'Little Marie'. <br />
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[[Storytelling through Ballet and the Woman Behind It|Read More]] <br />
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=Milestone 3=<br />
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'''Perspectives on "Twelfth Night"'''<br><br />
'''Objective:''' A study into current and past performances of Twelfth Night resulting in a personal interpretation of the play. Explaining the reasons & concepts behind the use of specific dramatic elements, mood and style that would be used for an approach to a successful interpretation. <br />
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This project found different dramatic elements and performance aspects based on current and previous performances of 'Twelfth Night' that would result to a successful interpretation.The story of 'Twelfth Night' is a romantic comedy that makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. A performance used to gain information was performed this year at the Shakespeare Globe in London. Another current performance took place at the National Theater in London. These performances were found to have a different style and twist. We additionally looked at these performance's reviews to find if the performances were well received or poorly received by audiences. These findings helped us as we developed our own interpretation of the show. <br><br><br />
In our research we found that audiences liked this play much more when it was done in a more realistic tone. Making the tone of the story more of a spoof takes away some of the beauty of the story and humanity lessons that are within it. Another aspect to the play that Shakespeare and modern adaptations have done is the gender switching of the supporting characters.'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. This milestone is meant to fulfill my humanities and arts capstone. <br />
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[[Perspectives on "Twelfth Night"|Read More]] <br />
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=Activity Journal=<br />
The activity journal represents an ongoing log of reflections gained through each and every project activity on the calendar. <br />
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==Activity #1 Westminster Abbey & The Tower of London==<br />
[[Westminster Abbey]] was an amazing place to visit. I learned so much about British royalty and tradition. Some of the things I saw there was the throne in which all royalty in England has been crowned in since King Edward I. Many famous people and royalty including Mary Queen of Scots, King Henry the V, Edward the Confessor, Queen Elizabeth I, Issac Newton and the unknown solder are buried and honored in [[Westminster Abbey]]. You can read more about the people buried there in my [[The Tombs of Westminster Abbey|article]]. Something ironic I would say is that Queen Elizabeth I and Queen Mary I are both buried together even though they were at odds to say the least with each other during their lifetime. Both Mary I and Elizabeth I are mentioned in my Milestone 1 on Romeo and Juliet. The Abbey was built in 960 A.D as a small Benedictine monastery. It was later added on and built to be a church for royal coronations and burials by Edward the Confessor. The first monarch to be coordinated at the Abbey was William the Conquer and all of the monarchs have been crowned there ever since. Something I found while exploring the Abbey was a door that was closed off. The door had a sign on it labeled the oldest door in England dated 1050. No one should leave London without seeing this church. Even though this site was not really relevant to my milestones, it is the most spectacular thing I have ever seen.<br><br><br />
The Tower of London was a place I could get lost and spend all day in. There was so much history in the tower that I could not be at a lost for things to see and do. Many sad things happened in the tower for instance Edward V and his brother Richard were sent to the Bloody tower by their uncle who become Richard III. They were never seen or heard from again. Later on, the bodies of two young boys were found in front of the white tower. They are said today to be the two princes. Another man who was held at the tower and later beheaded was Thomas More. He was a friend to King Henry VIII and did not agree with his rule of being the new head of the church. He was taken to the Bell Tower as a prisoner and later beheaded. Besides executions, the tower did house things like the royal coin minting, the royal observatory and the crown jewels. This place was another non relating milestone cite. Mentioned before though, Queen Mary I, Queen Elizabeth I, and King Henry VIII though did influence the time period I am researching about in my Milestone I. The Tower of London was another amazing place to see and I would go there again when I visit London in the future.<br />
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==Activity #2 St. Paul's Cathedral==<br />
[[St. Paul's Cathedral]] is a place where history, religion and modern culture combine. What I found really cool in the Cathedral, was all the statues & plaques that commemorated the soldiers, generals and warriors of Britain. St.Paul's Cathedral is a place where the non royal heroes of England are honored & remembered. The art in the cathedral ranged from mosaics on the arches of the dome, to TV screen art that used slow motion and effects. One piece that I was inspired to write an article on was [[The Martyrs in St. Paul's Cathedral]] by Bill Viola. For one of my milestones I did a perspectives of Twelfth Night. The Martyrs gives an example of an interpretation of the biblical theme of hope and death on earth. This style of interpretation is something I was inspired to use in my project. The crypt under the church held tombs of warriors including Lord Nelson and Arthur Wellesley, the Duke of Wellington. Even though this site was not greatly related to my milestones, it was a good place to see. <br />
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==Activity #3 British Museum==<br />
The [[British Museum]] was a very cool place to visit. There was a lot to see and it took me an hour an a half just to see one exhibit about Egyptian history. There was so much history in the museum from ancient Egypt, to Africa, to the Roman times to modern America. The most interesting exhibit to me was the mummies from ancient Egypt exhibit. The museum had mummies from Egyptian kings to unknown men & women. I started and contributed to an article on this exhibit and you can read more <br />
[[Mummies of Ancient Egypt|here]]. <br><br><br />
This museum did not have much to do with any of my milestone research. Though it did have an exhibit in the Greek artifacts exhibit on Music & Dance in Greece. Theater was a form of entertainment in ancient Greece. The Greeks had an ancient theatre in Epidaurus which was designed for large seating and sound amplification. A lot of modern outdoor amphitheaters are designed like this one. This museum was a fun and interesting experience. It was a great place to learn about the origins of all of the different cultures from around the world. <br />
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==Activity #4 Natural History Museum==<br />
The [[Natural History Museum]] was a huge museum about the natural history of the world. There were exhibits on mineral rocks, space, natural disasters such as earthquakes & volcanic eruptions and of course fossils of animals. One exhibit that I thought was interesting was about the Natural Disasters of Earth. The museum had a remake of the affect and feeling of a 1995 earthquake in China. I contributed to the [[Natural History Museum]] article with an article on the Human Evolution exhibit since I found that exhibit also very interesting.This museum was not directly related to any of my milestones. However, in the minerals exhibit, there was diamonds & special rocks in jewelry I found. They could have been used in costume jewelry for the plays and performances in theater that my milestones are on. The museum was definitely worth seeing if you are researching about the wonders of the earth. <br><br><br />
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==Activity #5 National Gallery==<br />
The National Gallery was a beautiful place to step back in time and find yourself in the lives of the work of art. I loved the original paintings by Leonardo da Vinci especially the one called ''The Virgin of the Rocks''. Sadly, I could not get to see Michelangelo's paintings but I got to see so many other artists including Claude, who I wrote a contributing article about in [[The National Gallery]] article. All of his paintings in the gallery are on landscapes. A lot of the paintings older than the 1500's were about christian themes and biblical stories. This museum did not have things that were directly related to my milestones. I was inspired though by a painting by Jean-Antoine Watteau called ''Perfect Harmony'', which counter-relates to my milestone 1 on Romeo & Juliet. Their lives were not perfect harmony. Other paintings I saw were about lovers and Romeo & Juliet were lovers. Overall the Gallery was a beautiful place to visit and admire amazing art. <br />
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==Activity #6 National Theater's Adaptation of Twelfth Night==<br />
Going to see [[National Theater]]’s Twelfth Night was an amazing experience. The performance was done beautifully. The style of the play was a mix of the Shakespearean period and the modern 21st century. For example, one scene had a 1950's vehicle, when another scene had costumes from the Shakespearean time period. The main theme that I got from this interpretation of Twelfth Night was that this Shakespeare story is timeless. The characters mostly spoke in Shakespearean language with humorous twists to some of the words. <br><br><br />
The set design was spectacular. I absolutely loved the concept and outcome of the set. It was a triangular staircase with rooms inside that had the ability to create many scenes. The set could be a garden, a living room, a street alley, a club, and a church. The opportunities were endless. I loved the acting in this interpretation also. The characters made you feel like you were back in time despite the modern twist. An interesting decision that the creators did for this play was switching some of the characters’s genders. For example, the Clown and Monsieur Malvolio were women. This gives the impression that homosexuality played a part in this interpretation since Malvolio is supposed to have a affection towards Olivia. Music throughout the play was mainly jazz with clarinets & saxophones but, there was also some modern club music for the party/club scene. Going to see this play was part of my requirement for my milestone 3, since it was about doing my own interpretation of Twelfth Night. The whole play was done excellently and I would highly recommend going to see it. Based on this performance I contributed to creating and writing the article about the [[National Theater]].<br />
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==Activity #7 Tate Britain==<br />
[[Tate Britain]] was an interesting museum. I usually do not appreciate modern art but, this museum made British modern art genuinely interesting. One modern British artist that I wrote about in [[Tate Britain]] was named Joseph Turner. He is apparently known as the father of modern art. His pieces of art were very interesting to me. Other art pieces I found interesting were Derek Jarman's ''Blue'', which he made while he was losing his eyesight from a terminal illness, and a art film called ''Together''. ''Blue'' was inspiring because it showed that one could make something seem extravagant from a single element. Visiting this museum was not related to any of my milestones. The acting styles however, in the film art had interesting things to use towards my milestone 3 research on the different perspectives of Twelfth Night. Overall, this museum was an interesting place to visit. <br />
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==Activity #8 Victoria and Albert Museum==<br />
The [[Victoria and Albert Museum]] had a lot of amazing collections. I admired the fashion through the Victorian age till the modern time in the fashion exhibit. There was a lot of Religious Renaissance art there that was also very beautiful. What was interesting was that they had complete exhibits each on different materials used for art and building. There was a glass, jewelry, portrait paintings and Theater & Performance exhibits. <br><br><br />
The Theater and Performance Exhibit was directly related to all of my milestones. This exhibit was where I spent most of my time in for research. There were advertisements, pictures, costumes and set design miniatures all around this exhibit. I liked the costumes that were brought in from Wicked, which was the wicked witch costume, and The Lion King. On display were miniatures of the theater space layout of some of the greatest theaters from around England. This exhibit also had miniature set designs used for real productions in the theater. I contributed to an article on the Theater & Performance Exhibit on the [[Victoria and Albert Museum]] page. Overall, the museum was absolutely worth going to. <br />
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==Activity #9 Backstage Tour of Royal Opera House==<br />
The backstage tour was incredible! I got to see so many things that went on behind the scenes of one the oldest theater houses. On display, was the miniature set designs for past performances that were used for visual representation as well as to perfect the overall performance design. Our guide told us that they could spend 8000 pounds on just a miniature set! This is because they do not want to get things wrong for the real set and mistakes should be made on the miniature. Another interesting fact about this opera house that I didn't know was that it has survived two fires. For my milestone 2, I am looking at the first ballet that was performed at Covent Gardens also called the Theater House before the second fire in 1734. <br><br><br />
I got to see the props area and learned where the word props comes from. Back before the [[Royal Opera House]] was built for the third time in 1858, rich nobles would sit on the actual stage with the performers instead of in audience boxes that are still in place at the Royal Opera House. They would take the props from the stage after the performances. The stage workers then started to stamp the props with a stamp that said "theater property" to stop the people from stealing them each night. That is where we got the word props. <br><br><br />
I also got to see backstage where they use a neat way of moving sets by lowering the floors and moving the whole floor out of the stage. I also got to see one of the many ballet studios that the house uses for practices and rehearsals. There I also learned that the [[Royal Opera House]] has three costume studios. Overall, the tour was a really educational experience and I learned so much about the Opera House that I contributed to the [[Royal Opera House]] article. <br />
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==Activity #10 Tate Modern==<br />
[[Tate Modern]] was interesting. I really didn't get most of the art but I could get the meaning behind some of it. For example, there is a flag that was made with the blood, soil and fabric from the drug wars in mexico. I got the message of the sad events that the artist is trying to show however, I am not at all comfortable with using human blood and battle soil for art. Makes me cringe. Maybe that is the idea though who knows. A video on how not to be seen was very funny. I could not take it seriously but it was informative. One piece of art that I wrote about in the [[Tate Modern]] article was called Babel. It was a tower that was supposed to represent the tower of Babylon and the story outcome how many different people speak different languages now. The tower was made from radios and throughout the tower, the radios were on broadcasting events and songs. I could not make out anything that the radios were broadcasting. It was really interesting. Nothing from this museum related to my milestones at all really. The acting in the videos maybe. Overall, the museum had its good parts and its bad parts. <br />
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==Activity #11 Backstage Tour of National Theater==<br />
Going on the backstage tour of the [[National Theater]] was a great experience. I got to see both the Olivier and Lyttelton Theatre. I got to learn that this theater was built to showcase & preserve classic plays as well as take them into the future. The Olivier theater has a grand drum floor that is used to bring sets or scenic props up & down the stage. It is the only one in the world that is this extravagant and functionally used. The Olivier theater was built in a style inspired by the Greek style stage of Delphi. This is one style of seating that the audience likes since they can see everything. The actors like this style as well because they can see all of the audience. <br><br><br />
The workshop used to make all of the [[National Theater]] productions' sets was huge. They make most of their stage sets for every show but then sadly, have to take them apart and recycle them after the show is over. There costumes department is stored in a warehouse and anyone who is willing to pay the price can use costumes from that warehouse. Why even Warner Brothers Studios have used costumes from the [[National Theater]] warehouse for Harry Potter. Visiting this theater was related to my milestone 3 research. It helped me to see all of the aspects and work that goes into putting on a show. I wrote about the [[National Theater]]'s details in its article. <br />
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==Activity #12 Museum of London==<br />
The [[Museum of London]] takes you back in time to before London was London and then gives the history of how London came to be London. I found this museum very interesting. The Lord Major's coach was so interesting, that I contributed that part to the [[Museum of London]] article. Moreover I found a model of the Rose Theatre, which was a theater similar to [[The Globe Theater]] at the time of Shakespeare. Shakespeare works were also performed at the Rose Theatre as well. Sadly, it was left deserted in 1605 and later destroyed. This was good to learn about since two of my milestones are about Shakespeare's performances. I greatly admired the London before London and medieval London exhibits. It was very interesting to see all of the different artifacts that were discovered including the Roman wall that is partially preserved on the museum site today. Overall, the museum was a great learning experience and it made me appreciate London more. <br />
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==Activity #13 Twelfth Night at the Globe==<br />
[[The Globe Theater]]'s interpretation of Twelfth Night was not what I was expecting. It was more of the ''Robin Hood Men in Tights'' style and humor. Obviously, the original Shakespearean wording was kept but the performance was modernized. For example, Sebastian and Viola were white naval officers. The clown/narrator was a drag queen. What was interesting was the big age differences. Olivia, Sir Toby, Sir Andrew and Duke Orsino all looked to be over 30. When Maria, Sebastian and Viola were all young actors. The Malvolio character was played by a short girl dressed as a man. <br><br><br />
One interesting thing about the set was some of the hidden messages within it. The four life saver rings on the stage each had a word that together made the message 'In Love We Trust'. Compared with the other interpretation I saw at the [[National Theater]], this felt more modernized and silly. I was surprised. Since this play was at [[The Globe Theater]], I thought it would be more in the Shakespearean time period style. Going to this performance was needed for my research on milestone 3. I contributed to the part about this performance in the article, [[The Globe Theater]]. Overall though, it was an alright show. <br />
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==Activity #14 BMW London Symphony Orchestra Open Air Classics Concert==<br />
The London Symphony Orchestra (LSO) preformed live at Trafalgar Square. The crowds were large because this free concert is only done once a year. It was impossible to get into the seating area but I was inside the area. Still I had to see the concert on the big screen. I heard about the LSO from the movies like Star Wars I have watched. It was an amazing experience to see this world renowned orchestra live. The three pieces that they preformed were written by a Russian composer named Rachmaninov. Behzod Abduraimov, who was the visiting star piano player, was amazing. He played his parts like it was second nature to him. I was so impressed especially, since he didn't even have music. <br><br><br />
One of my favorite parts of the concert was for the second movement where they invited the LSO On Track Young Musicians and students from the Guildhall School of Music & Drama to play with the LSO. They played so well and the young kids looked like they were living the dream. Which is understandable, because who wouldn't want to play with the LSO. The second piece sounded like a ballet piece that my 2nd milestone is about. In conclusion, the LSO played beautifully.<br />
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==Activity #15 Imperial War Museum of London==<br />
The [[Imperial War Museum]] was pretty cool. There were exhibits of the war and struggles from World War I to the current conflicts going on in Britain right now. The Secret War exhibit was really interesting since it showed MI6 and the SAS (Special Air Services). Within the Secret War exhibit, was the story about the attack on the Iraq Embassy. How the SAS saved the day was amazing. Another thing I saw was a piece of the twin towers that were destroyed on 9/11. It was great to see all of the american things and people honored at this museum. I can tell that Americans are an important ally to Britain. The museum did not have any direct relation to my milestones except for milestone 2 where I researched about how WWII grew the art of ballet. Overall, even though this museum had nothing that was really related to my milestones, I found the museum a great eye opener to all of the terrors and struggles from war. Also, how necessary it is to stop evil things that war is fought for like the Holocaust. I contributed to the Syria: A Conflict Explored part in the article [[Imperial War Museum]] .<br />
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==Activity #16 Museum of London Docklands==<br />
The [[Museum of London Docklands]] is a small museum with a lot of interesting history. There were things about the first docks in London and the supplies they used. One thing I found interesting was the whaling parts in the museum. I started an article about it [[Whaling in London|here]]. The London port was the leading dealer for whaling for a while until the Dutch took over. Another interesting thing I found was, the African Prince exhibit about the Royal African named Sessarakoo. He went to London to be educated but was tricked into being sold into slavery. He was eventually freed 4 years later and then started to be accepted into London society. Even though visiting this museum was not directly related to my milestones, what I did think could be linked to my research was that goods that were brought on the docks could have been needed for the use of theatrical performances. This museum was good place to visit and had a lot of information on the docks of London. <br />
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==Activity #17 Horniman Museum and Gardens==<br />
The [[Horniman Museum]] was a beautiful place to go and see. Other than seeing some musical instruments used in theater, going to this museum was not necessary for my milestone research. I loved seeing all of the different animals on display in the gallery. Within this gallery was a huge clock on the balcony that was really beautiful. When the four o'clock would chime, the twelve apostles within the clock would move. The museum had a huge walrus, which is the museum's 'mascot'. Another interesting exhibit they had there was an exhibit on musical instruments. They had church organs, trombones, 17th century pianos and so much more on display. Throughout this exhibit, were different non musical but cultural things like a wedding dress used in African weddings. This was to show what purpose music has in different places around the world. The gardens were very beautiful. The gardens had many different and unique sundials. Exotic plants such as Japanese Bamboo were featured in these gardens. I also found sheep being kept at one place in the garden. Overall, the garden & the museum were a nice place to visit and I enjoyed the beautiful sunny day we had that day in London. I contributed by writing a part in the article the [[Horniman Museum]] about the robot exhibit. <br />
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==Activity #18 Hampton Court Palace==<br />
Visiting [[Hampton Court Palace]] was spectacular. I was in love with the style and architecture of the palace. So many historical events happened there. Henry VIII, Elizabeth I and William & Mary were some of the English monarchs who have lived there. I liked visiting William III's apartment. The apartment looked like the palace rooms you see in the movies about these historical people. The art there and around the palace was also very beautiful. In King Henry VIII's Kitchen, there was someone actually cooking a roast in the stove on a pit. <br><br><br />
[[The Gardens at Hampton Court Palace| The Gardens]] were so big and beautiful. I loved the rose garden. The privy garden, I learned, was where Charles I ran into to try to escape his house arrest. He was recaptured though and eventually beheaded. The Great Vine, which is the largest vine in the world, was housed in the old greenhouse in the gardens. I wrote about it in [[The Gardens at Hampton Court Palace]] article as well as fixed things in the [[Hampton Court Palace]] article. The maze, which was in the wilderness garden, was also pretty fun to go into and get lost in. The palace did not have much related to my milestones except for that Shakespeare did perform at the palace with his company for James I. Also Elizabeth I, Henry VIII and Mary I, who were all influential to the time period of the plays I am researching about, lived in this palace. <br />
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==Activity #19 The Wallace Collection==<br />
[[The Wallace Collection]] was housed in the beautiful Herlford House located on Manchester square. The collection was originally a private collection owned by the Marquesses of Hertford. The collection of paintings were all very beautiful. The mini portraits of Napoleon I and his empress Joséphine sparked my interest. They had numerous mini portraits of them in different years of their lives. Another cool exhibit that I enjoyed was the Gilded Bronze collection. The intricate art on the candlesticks and side table were very detailed and beautiful. The collection of armory was also very amazing to see. There were three galleries just dedicated to the European and Oriental Armor. On display were two full size dressed manikin horses with armor on them. Intricately decorated swords were numerously present in this collection also. The museum though didn't have information that would have contributed towards my milestones research. I did contribute to [[The Wallace Collection]] article on the East Galleries. Overall, the museum was an amazing experience. <br><br><br />
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==Activity #20 The Science Museum of London==<br />
The [[London Science Museum]] was spectacular. The amount of science and history that is housed in this museum is almost too much to see in one day. No really I went to this museum twice and I still haven't been able to see everything. The space exhibit really sparked my attention. There was a full size replica of the Apollo 11 lunar ship that landed on the moon. The space exhibit also had a real moon rock. Another interesting thing they had was the oldest surviving steam engine locomotive Puffing Bully. Another cool artifact the museum had was a cut out part from one of the biggest passenger airplanes ever built, Boeing 747. The Airbus A380 900 is now the largest passenger airplane today and can seat 900! The museum did not have much towards my milestones research but the museum was a great learning experience. I did contribute to the [[London Science Museum]] article.<br />
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==Activity #21 Evensong at Westminster Abbey==<br />
Evensong is a prayer done at 5pm at Westminster Abbey. The prayers were sung by the Lay Vicars of Westminster Abbey. Six prayers were sung in total. Most of then were older hymns written in the 1500s or from the bible. It was a beautiful service. The choir sounded beautiful. No musical instruments were played except for the organ at some parts. When the choir would sing, they would sing acapella. My favorite song they sung was 'The Magnificat'. It is the prayer that Mary says when she is visiting her cousin Elizabeth's house. That prayer is so beautiful. The choir sang most of the songs in Latin. Latin is the original language of prayer in the catholic church. Overall, the choir was magnificent and I would highly recommend hearing evensong from them. <br />
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==Activity #22 Stratford-upon-Avon==<br />
The trip to Shakespeare's birthplace and home was great! I enjoyed seeing the place where Shakespeare lived. I visited his family home where he was born & grew up, New Place which is where he lived with his family, and Hall's Croft the home of Shakespeare's son-in-law Dr John Hall & Susanna Hall, Shakespeare's oldest daughter. The places were great to see since these were the places where history was made. Shakespeare's family home was a historical site where the rooms were decorated to look like how it would have looked when Shakespeare was born and during his life. The original window that is believed to be the one in the room Shakespeare was born in is housed upstairs of Shakespeare's home. People who would come visit this place would sign their name on the window. Many famous people have done it. <br><br><br />
Another place I saw was New Place where Shakespeare lived with his wife Anne Hathaway. Sadly though, the house was destroyed by a man named Reverend Francis Gastrell. He got frustrated with people wanting to visit his house, New Place, so he destroyed it. He became so disliked for this that he was run out of town. The site now has gardens with statues that signify Shakespeare's life and his works. I liked the statues that represented plays Shakespeare wrote with quotes from the scripts. The exhibition, which is housed in the building next to New Place, has some artifacts from the excavation of the site. <br><br><br />
The last place visited was Hall's Croft. This place was set up the way Dr Hall would have had it when he lived their with his wife. There were interesting displays about medicine in the time of Shakespeare's life. The house was beautiful. Besides going to these three places I also visited the Royal Shakespeare Company. On display, at their theater, were pictures and costumes from past Shakespeare performances. Visiting Stratford-upon-Avon was relevant to two of my milestones since they are about Shakespeare's plays. I learned more about his plays and the time period he was living in. I learned as well the things that could have inspired his writing in the place where he grew up & lived. Overall, it was a great experience to visit this place.<br />
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==Activity #23 Romeo & Juliet at The Globe==<br />
This performance of Romeo & Juliet really surprised me to say the least. For a setting such as [[The Globe Theater| the Globe]], one would think that the performance could give more of a traditional style. But, no it was a scary, dark clown interpretation. No kidding. The "Prince" was a scary deep voice in the background and spoke through the sound system. He also said the Prologue. The costumes were mostly black and Elizabethan time looking for the most part. There were some popping costumes once and a while such as Pluto from Disney. Romeo's character and actor I liked the best. He was expressive and passionate. Juliet was alright however, she lack the feeling of that she was a young girl in love. I cannot get over the fact it was so dark, with grave digging and dead bodies lying on hospital rolling beds. The mood was definitely dark & the style of delivery of lines was Mel Brooks humor. I believe the writers wanted to give this tragedy a twist from the usual mood of different passions of love, pain & conflict; to tragic, humor, love, conflict & pain. The lack of passion though made me cringe. Compared to the other performances I studied, I was so disappointed. The opportunity to make this so memorable and heart aching was lost. There wasn't even the use of the balcony for the balcony scene. Overall, my personal review of this is that if you want a spoof off the original story go see this. if you want to not be frightened and disappointed for the lack of a Shakespeare classic storytelling, don't see it. <br><br><br />
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==Activity #24 The Dream / Symphonic Variations / Marguerite and Armand | performed at the Royal Opera House==<br />
The performance was shown on a big screen in Trafalgar park. It was a combination of three one act ballets all choreographed by Frederick Ashton. This was the closing performance for the 70th season of the Royal Ballet at Covent Garden. <br />
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The Dream is a ballet, based on Shakespeare's A Midsummer Night's Dream. The plot is about the King of the Fairies Oberon, who fights with his Queen Titania about their son. Oberon then orders Puck to sprinkle her eyes with a flower's potion to make her fall in love with the first thing she sees. Titania then falls for Bottom who is turned into a donkey. While this is happening, two pairs of lovers enter the story and Puck decides to mess with them. This creates havoc and finally he & Oberon do make things right with everyone. Oberon makes peace with Titania and everyone goes back to the way things were supposed to be. I loved Oberon's performance. His moves and style made the character. I loved the scenery that looked like an enchanted forest. Overall, this act was a beautiful masterpeice. <br />
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Symphonic Variations was one of the first works done by the Royal Ballet at the [[Royal Opera House]] in 1946. It is considered as one of Ashton's finest works. The act only had six dancers, 3 male and 3 female. All were dressed in white with a yellow backdrop stage. The dance according to the ballet performers was really difficult to learn. It was quick and slow and the positions used were hard and required great talent. I did like this piece but, the act had no story to it so I did not get it. <br />
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The most emotional and beautiful performance of the night was the final act where the Prima dancer Zenaida Yanowsky was performing her last prima dance before retiring. She was so beautiful and emotional. I loved watching her. She was the story of Marguerite and Armand; two lovers who are destined to never be together. Marguerite is a Parisian courtesan, who has a passionate love affair with Armand. What I liked about the performance was the change of scenery within the one act. The scene and mood would change as quickly as Marguerite's costumes. It was cool to see. Going to this event helped me with my milestone 2 research on what ballet today looks like. The performance showed me today's ballet poses and costumes. The event was an amazing experience and I would definitely do it again if I was back in London. I wrote details about this performance in the article on the [[Royal Opera House]].<br />
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==Activity #25 Stonehenge, Bath and Lancock Village==<br />
[[Stonehenge]] was an amazing place to see. To hear it is about 5100 years old, is amazing. The great significance of the structure is the achievement of the people at the time to build the structure without wheels or pulleys. We take these things for granted today but, the people who moved the huge boulders for the structure didn't have all of that. I am amazed and in awe of the great history that surrounded this site. As told by archaeologists, [[Stonehenge]] was used as a place for burial's, celebration, and healing. Visiting this site did not have much to do with my milestones, but this historic site has been around before, during and after the time periods of my milestone research. I also started and contributed to the article about [[Stonehenge]].<br />
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Bath was a city where the Romans made baths out of the hot springs founded on the site. The water, from underground, comes to the surface at the temperature of 50 Celsius. The King's bath, as the site is now called, is the the place where the Romans made their roman bath. You can see the water coming out of the ground bubbling and steaming. The Abbey in Bath right next to the Roman Bath's is the site where the first King of England, Edgar, was crowned. The church seen today was build by Bishop John with the help of King William Rufus. When King Henry VIII declared his Dissolution of the Monasteries, the Abbey was destroyed but, it was later restored. Bath overall, was such a beautiful place to visit. It is so different in style and architecture compared with London. The place was around during the times of my milestones research but, the site has not great importance to my milestones.<br><br><br />
The last place to visit on this tour was a place called Lancock Village. It is a 16th century village that after the dissolution by King Henry VIII, the Abbey and the estate, including the village were sold to William Sharington. The Talbot family later owned the place until it was given to the National Trust. The village and Abbey have been the setting for some major films including 1995 Pride and Prejudice, Harry Potter and other great films. The village was a great place to see even though visiting it had no great importance in my milestones research. <br />
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==Activity #26 Windsor Castle==<br />
[[Windsor Castle]] was a spectacular palace to visit. It was beautiful. The state apartments within the castle held a huge collection of art and expensive pieces belonging to the royal family. The Waterloo Chamber housed portraits of not just royalty but, military and nobility heroes from battles & conflicts. There was a big grand portrait of the Duke of Wellington painted before the battle of Waterloo. One portrait that caught my eye was of Pope Pius VII by Sir Thomas Lawrence. I really liked it. St George's Hall and the Grand Reception Room were also a site to see. They were beautiful. St George's Hall and the Grand Reception Room were some of the state apartments damaged in the 1992 fire that [[Windsor Castle]] suffered from. Fortunately, it was restored with other damaged parts with the help of the current Duke of Edinburgh. I also got to admire the portrait of Queen Elizabeth II. She looked so beautiful. <br />
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St. Georges Chapel, within Windsor castle, is one of the oldest churches in England built in the 11th century by King Edward III. The tombs of King Henry VIII, with his third wife Jane Seymour, are located in the choir area of the chapel. A little chapel was newly put in for Queen Elizabeth II's father George VI and mother Queen Elizabeth final resting place. Her sister, Princess Margaret, was also given a place for her ashes there. What I also found, from the church, was King Edward III's sword on display. I looked to be taller than me. Visiting this place was not need for any milestone research. The monarchs from the time period I am researching though, would have resided in [[Windsor Castle]] at some point. This beautiful palace I thought deserved an article so I created the [[Windsor Castle]] article and contributed to it. <br />
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==Activity #27 Backstage Tour of the Royal Albert Hall==<br />
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===My Complete Contributions===<br />
====[[Special:Contributions/Mthatfalvi|All of My Created Content and Edits]]====<br />
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[[Category:Profiles]]<br />
[[Category:2017]]<br />
[[Category:Advisor:Manzo]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19140
Perspectives on "Twelfth Night"
2017-06-22T12:19:12Z
<p>Mthatfalvi: </p>
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<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
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{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
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__TOC__<br />
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=Abstract=<br />
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This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
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=Introduction=<br />
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Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
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=Section 1: Background=<br />
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==Summary==<br />
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"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
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==Inspiration==<br />
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[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
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"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
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Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
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"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
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==Original Performance==<br />
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This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
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The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. The genre for Shakespeare's original performance was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
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John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
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===Reviews===<br />
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Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
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While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
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[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
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According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
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Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on were the tone, setting, characters, and script for our interpretation. <br />
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==Tone==<br />
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The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
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We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
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==Characters==<br />
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There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
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Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
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=Summary=<br />
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To summarize our ideas, below is a table that shows exactly our interpretation ideas against the past & current interpretations. Boxes marked as 'inconclusive' are where information on the particular aspect of that interpretation was not found in our research. <br />
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{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
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=Conclusion=<br />
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The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
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<br />
=References=<br />
<references/> <br />
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=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
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=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19132
Perspectives on "Twelfth Night"
2017-06-22T12:17:29Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
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<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
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<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
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"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
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Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
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"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
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==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
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The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
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Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
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[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
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According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on were the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
<br><br />
To summarize our ideas, below is a table that shows exactly our interpretation ideas against the past & current interpretations. Boxes marked as 'inconclusive' are where information on the particular aspect of that interpretation was not found in our research. <br />
<br><br><br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19102
Perspectives on "Twelfth Night"
2017-06-22T12:08:35Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
<br><br><br />
The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on were the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
<br><br />
To summarize our ideas, below is a table that shows exactly our interpretation ideas against the past & current interpretations. Boxes marked as 'inconclusive' are where information on the particular aspect of that interpretation was not found in our research. <br />
<br><br><br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| comedic, dramatic || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19084
Perspectives on "Twelfth Night"
2017-06-22T12:04:42Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
<br><br><br />
The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on were the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
<br><br />
To summarize our ideas, below is a table that shows exactly our interpretation ideas against the past & current interpretations. Boxes marked as 'inconclusive' are where information on the particular aspect of that interpretation was not found in our research. <br />
<br><br><br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
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<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
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<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19051
Perspectives on "Twelfth Night"
2017-06-22T11:52:45Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
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{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
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__TOC__<br />
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=Abstract=<br />
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This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
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=Introduction=<br />
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Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
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=Section 1: Background=<br />
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==Summary==<br />
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"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
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==Inspiration==<br />
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[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
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"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
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Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
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"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
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==Original Performance==<br />
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This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
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The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
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John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
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===Reviews===<br />
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Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
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While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
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[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
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According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
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Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on were the tone, setting, characters, and script for our interpretation. <br />
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==Tone==<br />
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The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
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We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
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==Characters==<br />
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There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
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Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19050
Perspectives on "Twelfth Night"
2017-06-22T11:52:14Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
<br><br><br />
The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talked about the Malivolio character, that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."''<ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19047
Perspectives on "Twelfth Night"
2017-06-22T11:50:35Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
<br><br><br />
The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night.<ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight.<ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was in the traditional style with Elizabethan era costumes. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying.<ref name = "old"/> He thought that Malvolio was a comic force and that the actors of the company were very versatile in their roles.<ref name = "old"/> <br><br><br />
Another review from the Guardian, in 1984, by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."''<ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article, from The Times, Irving Wardle writes ''''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=19039
Perspectives on "Twelfth Night"
2017-06-22T11:46:57Z
<p>Mthatfalvi: /* Original Performance */</p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
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=Section 1: Background=<br />
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==Summary==<br />
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"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
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==Inspiration==<br />
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[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
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"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
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Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
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"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
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==Original Performance==<br />
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This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace, according to J.W Draper, a professor of English at West Virginia University.<ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was ''"the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino."''<ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed.<ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br />
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The set for the original play saw some parts taking place by the seashore, then in a nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, and specifically, Venice & the Venetian colonies in Dalmatia.<ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe and to be performed other places, not just England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
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John Manningham, who saw the performance at the Middle Temple in 1602, gives mention to this play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'.<ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further, he talked about the subplot of the play in his original writing.<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."''<ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary, that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night. <ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight. <ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was traditional with Elizabethan era costumes and style. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
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===Reviews===<br />
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Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying. <ref name = "old"/> He thought that Malvolio was a comic force. He found that the actors of the company were very versatile in their roles. <ref name = "old"/> <br><br><br />
Another review from the Guardian in 1984 by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."'' <ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article from The Times, Irving Wardle writes ''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
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While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
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[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
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According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
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Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
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==Tone==<br />
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The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
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We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
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==Characters==<br />
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There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
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Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
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=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=18795
Perspectives on "Twelfth Night"
2017-06-22T04:01:07Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme that gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace according to J.W Draper, a professor of English at West Virginia University. <ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was "the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino.'" <ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed. <ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br><br><br />
<br />
The set for the original play saw some parts taking place by the seashore, then in the nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, specifically Venice and the Venetian colonies in Dalmatia. <ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe to be performed other places and for it to not just be done in England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham who say the performance at the Middle Temple in 1602 gives his mention of the play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'. <ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further taking about the subplot of the play in his original writing,<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."'' <ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night. <ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight. <ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was traditional with Elizabethan era costumes and style. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying. <ref name = "old"/> He thought that Malvolio was a comic force. He found that the actors of the company were very versatile in their roles. <ref name = "old"/> <br><br><br />
Another review from the Guardian in 1984 by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."'' <ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article from The Times, Irving Wardle writes ''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=18794
Perspectives on "Twelfth Night"
2017-06-22T04:00:12Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
<br><br><br />
<br />
Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
<br><br><br />
<br />
Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare, through this inspiration, also seems to suggest that the theme of gender is something based on how you act, rather than something based on what you were born with, is another message he wanted to send through this play.<br />
<br />
<br><br><br />
<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace according to J.W Draper, a professor of English at West Virginia University. <ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was "the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino.'" <ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed. <ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br><br><br />
<br />
The set for the original play saw some parts taking place by the seashore, then in the nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, specifically Venice and the Venetian colonies in Dalmatia. <ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe to be performed other places and for it to not just be done in England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham who say the performance at the Middle Temple in 1602 gives his mention of the play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'. <ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further taking about the subplot of the play in his original writing,<br><br><br />
<br />
''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."'' <ref name = "org"/> <br><br><br />
<br />
According to a review on Bruce Smith's findings in John Manningham's Diary that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
<br><br><br />
<br />
==Twentieth Century Performance==<br />
<br><br />
According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night. <ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight. <ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was traditional with Elizabethan era costumes and style. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying. <ref name = "old"/> He thought that Malvolio was a comic force. He found that the actors of the company were very versatile in their roles. <ref name = "old"/> <br><br><br />
Another review from the Guardian in 1984 by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."'' <ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
<br><br><br />
Yet another review addresses the dark comedy and compares it to other performances. In this article from The Times, Irving Wardle writes ''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
<br><br><br />
<br />
==National Theater==<br />
<br><br />
The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
<br><br><br />
<br />
==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
<br><br><br />
<br />
=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
<br><br><br />
<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=18793
Perspectives on "Twelfth Night"
2017-06-22T03:58:18Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
<br><br><br />
<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
<br><br><br />
<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
<br />
"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
<br><br><br />
<br />
Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
<br />
"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an article, written by Dr. Will Tosh on the inspiration of Twelfth Night, ''"Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)".''<ref name = "plot"/> Shakespeare through this inspiration also seems to suggest that the theme of gender is something based on how you act, rather than something based on what you were born with was a message he wanted to send trough this play.<br />
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==Original Performance==<br />
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This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace according to J.W Draper, a professor of English at West Virginia University. <ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was "the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino.'" <ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed. <ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br><br><br />
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The set for the original play saw some parts taking place by the seashore, then in the nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, specifically Venice and the Venetian colonies in Dalmatia. <ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe to be performed other places and for it to not just be done in England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
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John Manningham who say the performance at the Middle Temple in 1602 gives his mention of the play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'. <ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further taking about the subplot of the play in his original writing,<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."'' <ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night. <ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight. <ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was traditional with Elizabethan era costumes and style. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
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===Reviews===<br />
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Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying. <ref name = "old"/> He thought that Malvolio was a comic force. He found that the actors of the company were very versatile in their roles. <ref name = "old"/> <br><br><br />
Another review from the Guardian in 1984 by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."'' <ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article from The Times, Irving Wardle writes ''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
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While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
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[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
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According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
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Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
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==Tone==<br />
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The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
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We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
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==Characters==<br />
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There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
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Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
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<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
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=Conclusion=<br />
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The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
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=References=<br />
<references/> <br />
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<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
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<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
<br><br><br />
<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Perspectives_on_%22Twelfth_Night%22&diff=18792
Perspectives on "Twelfth Night"
2017-06-22T03:53:46Z
<p>Mthatfalvi: </p>
<hr />
<div>=Perspectives on "Twelfth Night"=<br />
by [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br><br />
<br />
{{Infobox<br />
|title = Perspectives on "Twelfth Night"<br />
|bodystyle = width:25em<br />
|image = [[File:Orsino and viola Frederick Richard Pickersgill.jpg|x450px|alt=Milestone Image]]<br />
|caption = Duke Orsino and Viola by Frederick Richard Pickersgill (1850)<br />
|label2 = by <br />
|data2 = [[User:Mthatfalvi|Mary Hatfalvi]] & [[User:Jaroy|Justine Roy]]<br />
}}<br />
<br />
__TOC__<br />
<br />
=Abstract=<br />
<br><br />
This project explored various performances of Shakespeare's "Twelfth Night" and how they were received by viewers and critics. The goal was to gain a better understanding of the relationship between "Twelfth Night" and how people have perceived the show over time. With this knowledge we created our own interpretation of how "Twelfth Night" should be performed. We address components such as tone, setting, characterization and the script. Our previous experience included courses on Shakespeare, theater technology, and photography. This milestone served as our culminating capstone project towards our theater humanities depths.<br />
<br><br><br />
<br />
=Introduction=<br />
<br><br />
Shakespeare was a brilliant, romantic and comedic writer. He could captivate audiences and his writings continue to do so. His romantic comedy, "Twelfth Night", provides humor to the audience and is open to different interpretations by many directors. This play encompasses the essence of Shakespeare as a funny, serious and romantic individual. The play has been made timeless as seen by the numerous interpretations that are performed even today. <br><br><br />
The main goal for this project was to make a written plan of an interpretation for "Twelfth Night" based on current and previous performances. We attended two current productions to analyze their style and researched the descriptions of two previous versions. One modern performance we used to learn about current adaptations of the show was the 2017 performance at the [[The Globe Theater|Shakespeare Globe]] in London. The other performance we viewed was the 2017 production at the [[National Theater]] in London. The two historical performances we analyzed are the 1983 production put on by the Royal Shakespeare Company and what is believed to be one of the first performances in 1602. Each of these performances had unique tones, characterizations and modifications. We additionally looked at their reviews to figure out what aspects of each performance were well received or poorly received by the critics. These findings informed us as we developed our own interpretation of the show. <br />
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<br />
=Section 1: Background=<br />
<br><br />
==Summary==<br />
<br><br />
"Twelfth Night" is a romantic comedy by Shakespeare. After their ship is destroyed by a storm, twins, Viola and Sebastian, are individually rescued and each assume the other drowned. Viola hears of Olivia, the lady whom the Count Orsino is courting. Viola decides that she wants to meet Olivia who also is suffering from the death of her own brother. To do so she devises the plan of serving Orsino disguised as a boy and calling herself Cesario. Orsino has her pursuing Olivia for him as a messenger. Olivia falls in love with Cesario while Viola falls in love with Orsino. Meanwhile, Sebastian decides to go to Count Orsino unaware that his sister is alive. Upon arriving in the city, Sebastian is mistaken by Olivia for Cesario and she promptly marries him. Orsino finds out and, thinking that Sebastian is Cesario, gets extremely upset that his servant acted so wrongly against him. It is not until Viola and Sebastian end up in the same room that the siblings discover the other is alive and disguise of Cesario is abandoned. Olivia ends up happily married to Sebastian while Orsino and Viola become engaged.<br />
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<br />
==Inspiration==<br />
<br><br />
[[File:Viola and the Countess - Frederick Richard Pickersgill.jpg|300px|thumb|Viola and the Countess by Frederick Richard Pickersgill (1859)]]<br />
There are clear relationships between "Twelfth Night" and other works that Shakespeare was exposed to as well as some new styles. <br><br />
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"Twelfth Night" is considered one of Shakespeare's great comedies and defies many of the prior conventions of comedy that his earlier comedies followed. Comedy was seen as a show that resolved happily. However, "Twelfth Night", despite having a positive ending, is also serious and sobering. While Viola and Sebastian are reunited, the tragedy of what had happened to them is still present. In addition, the show does not end on the celebrations of the reunited twins and their relationships with Olivia and Orsino. Instead, the show returns to the shaming of Malvolio ending on a dark note as he promises revenge. Additionally, Shakespeare's focus in the structure of the show defies that of comedies. There are three subplots considered. The typical comedic plot focuses on the antics of Sir Toby, Sir Andrew and Maria harassing Malvolio and using his ego to deceive him. This plot is lighthearted and uses traditional styles of comedy such as farce. The second subplot is that between Olivia and Viola. As with the previous plot, a character is deceived and again follows the established comedic style. The third subplot involves Viola and Orsino and strays from comedy. Instead it explores a sentimental relationship between the two characters. Therefore, the logical structure for a comedy would focus on the plot against Malvolio then the relationship between Olivia and Viola and finally just feature the relationship with Orsino. This would satisfy a comedy of a series of carefully planned misfortunes. However, Shakespeare focuses on these plots in the reverse order. His focus is on the developing relationship with Orsino and Viola giving a considerable sincere side to the play. In doing so he defies the typical style of comedy. <ref>Crane, M. (1955). Twelfth Night and Shakespearian Comedy. Shakespeare Quarterly, 6(1), 1-8. doi:10.2307/2866046</ref><br />
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Despite the play's differences from traditional comedies, plots within "Twelfth Night" parallel those of other shows. These shows likely acted as inspiration for Shakespeare. One of the inspirations Shakespeare used was another one of his own plays "The Comedy of Errors". "The Comedy of Errors" was written as an adaptation of the story named "The Menaechmi" by the Plautus who lived in the late BC era.<ref name = "plot"> Tosh, W. (2016, February 11). Hunting for Shakespeare's sources - Where did Shakespeare get his ideas for Twelfth Night from? Retrieved May 24, 2017, from http://2016.playingshakespeare.org/essay/hunting-for-shakespeare-s-sources </ref> This story is about two twin brothers who are separated and when they are grown, both find themselves in the same town and are mistaken for each other. This gives explanation for the plot of mistaking two twin siblings. However, where did the gender switching come from? <br><br><br />
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"Gl’Igannati" (The Deceived) (1537) by the academy of Intronati at Siena was likely the source for the gender triangle complication in Twelfth Night.<ref name = "gt"> William Shakespeare; J.M. Lothian; T.W. Craik (18 September 1975).[http://%5Bhttps://books.google.co.uk/books?id=kcd54asEHekC&pg=PR35&redir_esc=y#v=onepage&q&f=false|Twelfth Twelfth Night] Cengage Learning EMEA. pp. 35–6. ISBN 0-17-443625-4 </ref> In summary, Gl’Igannati is about a girl, Lelia (Shakespeare’s version Viola), and her love for Flamminio (Duke Orsino). Lelia's father, a rich man named Virginio, loses his wealth and his young son Fabrizio but saves Lelia. Upon moving to a different city Lelia falls in love with Flamminio. He returns her affection until Lelia leaves with her father on a trip. While Lelia is gone Flamminio falls in love with Isabella, who doesn't want him. When Lelia returns she finds Flamminio no longer wants her so she devises a plan. Lelia then disguises herself as a boy called Fabio and becomes Flamminio’s page. A similar situation is played out by Viola disguising herself as Cesario and serving Duke Orsino but being in love with him. <ref name = "gt"/> "Twelfth Night" has several key differences though that create a new tone. In "Gl’Igannati", Lelia previously was in a relationship with Flamminio and, after being wronged, empowers herself. She embodies a strong heroine. In contrast, Viola does not fall in love with Orsino until after she disguises herself nor is she empowered. In fact, when presented with the issue of the love triangle, she resigns herself and hopes that time will sort the problem out for her. Furthermore, Shakespeare further complicates the show with the two other previously mentioned plots, transforming it into a comedy. <ref>L. G. Salingar. (1958). The Design of Twelfth Night. Shakespeare Quarterly, 9(2), 117-139. doi:10.2307/2867233</ref><br />
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Neither of these inspirations, however, had a character like Malvolio. Malvolio is important since he is the butler that thinks he is high & mighty and is then tricked horribly making him the subject of the key comedic plot. It is assumed that he is Shakespeare’s own invention. The most reasonable explanation for this is found in Dr. Tosh's article. ''"The answer lies in something Maria says, after Malvolio has interrupted a late-night party in Olivia’s house. ‘Sometimes he is a kind of puritan,’ she remarks (2.3.125). Today we use the term ‘puritan’ to mean someone who is excessively strict about issues of personal and sexual morality, but it had a more specific meaning in the early seventeenth century. For Shakespeare and his contemporaries, to call someone a ‘puritan’ was to use a disrespectful term for someone with radical religious views. England’s ‘puritans’ were various groups of zealous Protestants who condemned anything that resembled Catholic ritual or tradition. They had many targets for their disapproval: singing, dancing, festive games, rich food, gaudy clothes, long hair – and theatre. Throughout his career, Shakespeare had to contend with extremists who regarded drama as an offence against religion and morality"'' <ref name = "plot"/> The character of Malvolio was someone Shakespeare wanted to use to almost 'revenge' puritans about their theatre hatred. Even when Mavolio is abused, in the end of the play Shakespeare then shows the audience that he is human with feelings and that what was done to Malvolio was wrong. This suggests the theme that mistreatment of humans even when they are in the wrong is never alright. <br />
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Finally, Shakespeare used his audience, venue and resources as an opportunity to develop his comedy. It is believed that "Twelfth Night" was written to be performed at the Middle Temple for the queen. Shakespeare includes comments by the charaters about their surroundings that describe the venue, breaking the fourth wall. The characters also comment on several occasions on the audience. One example of this is when Malvolio says, "I say, this house is as dark as ignorance" (Shakespeare IV. ii. 46-50). This would play with the audience as it would have been comprised by many of the elite and well educated. <ref name = "mid">Akrigg, G. (1958). Twelfth Night at the Middle Temple. Shakespeare Quarterly, 9(3), 422-424. doi:10.2307/2867369</ref> Similarly, Shakespeare played with the fact that only men were allowed to act at the time. According to an Article written by Dr. Will Tosh on the inspiration of Twelfth Night, "Shakespeare’s plays were performed at a time when all of the actors were male, with teenage boys becoming the female roles. Shakespeare incorporated this convention into his plays, finding ways to turn what might be regarded as a disadvantage into a dramatic strength. In Twelfth Night, Viola isn’t just a girl dressing as a boy. She’s a boy playing a girl who pretends to be a boy, pursued by a boy playing a woman (Olivia) who ends up seducing a boy playing a boy (Sebastian). Part of the joke is that Viola-as-Caesario looks attractively feminine and irresistibly masculine depending on who is doing the looking: Orsino observes approvingly of his new pageboy’s appearance that ‘all is semblative a woman’s part’ (1.4.33), while Olivia compliments Viola on being ‘a proper man’ (3.1.125)". <ref name = "plot"/> Shakespeare through this inspiration also seems to suggest that the theme of gender is something based on how you act, rather than something based on what you were born with was a message he wanted to send trough this play.<br />
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<br />
==Original Performance==<br />
<br><br />
This play was first performed in January of 1601 on 'Twelfth-Night Eve' for Queen Elizabeth I and her court at Whitehall palace according to J.W Draper, a professor of English at West Virginia University. <ref name = "tim"> Draper, J. W. (1950). Appendex A - Date, Season, and Time Analysis of The Play. In The 'Twelfth Night' of Shakespeare's Audience (pp. 257-261). Stanford, CA: Stanford University Press. </ref> It was "the Queen's Twelfth Night entertainment to regale 'the living Duke Orsino.'" <ref name ="tim"/> Virgino Orsino was the Duke of Bracciano at the time of Queen Elizabeth I and she entertained him royally on the twelfth night. However, it is known that the Middle Temple was the place where Shakespeare wanted this play to be performed. <ref name = "mid"/> Twelfth Night at the Middle Temple opened in February 1602. <br><br><br />
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The set for the original play saw some parts taking place by the seashore, then in the nearby city. The city, according to J.W Draper, was supposed to be somewhere in Italy, specifically Venice and the Venetian colonies in Dalmatia. <ref name = "tom"> Draper, J. W. (1950). The Setting, Style, and Theme of 'Twelfth Night'. In The 'Twelfth Night' of Shakespeare's Audience (pp. 233-256). Stanford, CA: Stanford University Press. </ref> The dialogue of the play has some Italian wording but also Latin, French and Spanish. The suggestion about the setting and different combination of dialect is that Shakespeare wanted his play to reach across the globe to be performed other places and for it to not just be done in England. The plot, dialogue and costume, however, was written in Elizabethan style. Shakespeare's original style for this play was comedic and dramatic. <br><br><br />
[[File:Edmund Blair Leighton - Olivia.jpg|300px|thumb|Olivia by Edmund Leighton (1888)]]<br />
===Reviews===<br />
<br><br />
John Manningham who say the performance at the Middle Temple in 1602 gives his mention of the play talking about Steward Malvolio and how the play was similar to the plays 'Commedy of Errors', 'Menechmi' by Plautus and 'Inganni'. <ref name = "org"> Manningham, J. (1968). Diary of John Manningham, of The Middle Temple, and of Bradbourne, Kent, Barrister-At-Law (Ser. 1) (J. Bruse, Ed.). Westminster: J.B Nichols and Sons.<br />
Facsimile reprint of 1868 ed. First published by Royal Historical Society, 1868. </ref><br />
In further taking about the subplot of the play in his original writing,<br><br><br />
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''"A good practise in it to make the Steward beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady, in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., and then when he came to practise, making him beleeue they tooke him to be mad."'' <ref name = "org"/> <br><br><br />
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According to a review on Bruce Smith's findings in John Manningham's Diary that ''"in this particular entry, and in those that surround it in the diary, Smith discerns seven subjects (or 'contexts' [6]) of continuing fascination to Manningham and presumably to others like him in the Middle Temple: Romance, Music, Sexuality, Clothing and Disguise, Household Economies, Puritan Probity, and Laughter and Clowning."''<ref> KO, Y. (2003). Early Theatre, 6(1), 101-104. Retrieved from http://www.jstor.org.ezproxy.wpi.edu/stable/43499184 </ref> Manningham and other playgoers at the time really enjoyed this original performance of "Twelfth Night'. It gave laughter and enjoyment to the people who saw it. <br />
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==Twentieth Century Performance==<br />
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According to the Royal Shakespeare Theatre production log, in 1983 the Royal Shakespeare Company, located in Shakespeare's hometown Stanford-upon-Avon, performed an interpretation of Twelfth Night. <ref>1960-2005 productions | Twelfth Night. (n.d.). Retrieved May 26, 2017, from https://www.rsc.org.uk/twelfth-night/past-productions/1960-2005-productions </ref> The Director was John Caird and the set designer was Robin Don. A huge tree was positioned in the middle of the stage that reached to the top of the theater. Sand surrounded the tree and there was a black back drop. The lighting was designed by David Hersey to look like stars, a moon, dawn, and twilight. <ref name = "old"> Farmer, P. (1984). Theatre Journal, 36(1), 113-115. doi:10.2307/3207372 </ref> The performance was traditional with Elizabethan era costumes and style. The story was not portrayed as a happy comedy but a dramatic, dark one. <br><br><br />
<gallery mode = "packed" heights = 200px><br />
File:Twelfthnightpic 1.jpg|Set for the 1983 Performance<br />
File:Twelfthnightpic 2.jpg|Olivia and Malvolio<br />
File:Twelfthnightpic mal.jpg|Malvolio<br />
</gallery><br />
<br><br />
===Reviews===<br />
<br><br />
Patrick Farmer, who reviewed three Royal Shakespeare Theatre plays done at that same time, found this interpretation the most satisfying. <ref name = "old"/> He thought that Malvolio was a comic force. He found that the actors of the company were very versatile in their roles. <ref name = "old"/> <br><br><br />
Another review from the Guardian in 1984 by Nicholas de Jongh said that ''"I (himself) cannot remember a Twelfth Night so steep in an atmosphere of autumnal rejection, or one which shows so graphically people wither under the strain of hopeless love."'' <ref> Gay, P. (2005). As she likes it: Shakespeares unruly women. London: Routledge. </ref><br />
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Yet another review addresses the dark comedy and compares it to other performances. In this article from The Times, Irving Wardle writes ''Quite a deal of poison has been seeping into this play over the past few years, but John Caird's is the first I have seen that projects Twelfth Night as an all-out dark comedy. This is good news not only for jaded old spectators who have seen the piece too often. There is a limit to the amount of fun that can be extracted from the drinking scene and permutations of Malvolio's letter in a play that was never more than intermittently uproarious. And there is everything to be said for muting the comedy for once and giving full attention to the central matter of the illusions and frenzies of love.''"<ref> Irving Wardle, The Times, 21 April 1983 </ref><br><br>This play was put on more like the original interpretation then a more modern version. Overall, people seemed to like this interpretation a lot. <br />
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==National Theater==<br />
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The [[National Theater]]'s performance of "Twelfth Night" was playful but still grounded in realism. The setting spanned multiple time periods. While the costumes were largely modernized, older elements were brought in. For example, the maids' dresses were of a modern style but had ruffs on them. In the beginning the actors drove out in antique cars indicating yet another time period in the late twentieth century. The interior decorating of Olivia's house was modern. This blending of time periods is consistent with the idea that Shakespeare's plays are considered timeless. The [[National Theater]] took several creative liberties with the play. The gender of Fabian, Malvolio and the clown were all switched from male to female. This introduced new relationship dynamics as Malvolia was lesbian unlike Malvolio. Another surprising element introduced was Count Orsino boxing. It is another example of a modern activity being introduced to the show. The casting featured a relatively young cast with all the leads in what appeared to be roughly in their 20s or 30s. Overall, the show appeared to be quite faithful to the original script with only minor alterations being made to adjust for the different genders of characters.<br><br><br />
===Reviews===<br />
<br><br />
While there are always dissenters, National Theater's performance of "Twelfth Night" was largely well received. Common to every review was praise for Tamsin Greig as Malvolia. Even those who disapproved of the show believed "Tamsin Greig shines in a production otherwise at sea"<ref>Cavendish, C. (2017, Feb 23,). Twelfth night, national's olivier theatre review: Tamsin greig shines in a production otherwise at sea. The Telegraph Online Retrieved from http://www.telegraph.co.uk/theatre/what-to-see/twelfth-night-nationals-olivier-theatre-review-tamsin-greig/</ref>. They loved her sharpness and command of the character. There are two main differing perspectives on the tone. Several critics found that the show was too lighthearted and that it did not do the main themes justice. Alexandra Coghlin describes the performance as "siphoning off most of the play’s darker elements and leaving neat sunshine, song and laughter<ref>Coghlen, A. (2017). Twelfth night, national theatre. The Arts Desk, Retrieved from http://www.theartsdesk.com/theatre/twelfth-night-national-theatre-0</ref>. Marianka Swain stated that "Amidst the riotous clowning, the romances feel a tad undercooked"<ref>Swain, M. (2017). BWW review: TWELFTH NIGHT, national theatre. Broadway World, Retrieved from http://www.broadwayworld.com/westend/article/BWW-Review-TWELFTH-NIGHT-National-Theatre-20170223</ref>. Similarly, Michael Billington felt that "all (he) missed was the element of reflective melancholy that makes this, for many of us, the most perfect comedy ever written<ref>Billington, M. (2017, Feb. 23,). Twelfth night review – tamsin greig is brilliant in a show full of fun. The Guardian Retrieved from https://www.theguardian.com/stage/2017/feb/23/twelfth-night-review-olivier-national-theatre-tamsin-greig</ref>. In contrast, others felt that enjoyment from the comedy outweighed this loss or that the core issues were still represented. Ben Dowell believes that the show "never loses sight of the play’s cloudy and troubling subtext"<ref>Dowell, B. (2017). Twelfth night theatre review: Tamsin greig brings dazzling comic brio to a gender-bending production. Radio Times Travel, Retrieved from http://www.radiotimes.com/news/2017-02-23/twelfth-night-theatre-review-tamsin-greig-brings-dazzling-comic-brio-to-a-gender-bending-production</ref>. The general consensus was that an excellent job was done with casting except for Doon Mackichan. There were very mixed opinions over her performance. Holly Williams is of the opinion that Mackichan "gives the unfunny fool a sparkle that goes far beyond her glittery boots"<ref>Williams, H. (2017). Review: Twelfth night (olivier, national theatre). What's on Stage, Retrieved from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-tamsin-greig-olivier-national_42961.html</ref>. However, Natasha Tripney finds that "she does not succeed in making the fool all that funny"<ref>Tripney, N. (2017). Twelfth night review at the national theatre – ‘Tamsin greig is resplendent’. The Stage, Retrieved from https://www.thestage.co.uk/reviews/2017/twelfth-night-review-olivier-national-theatre/</ref>. Most reviews concur that the set design and costumes were a strong point of the show, though every critic seems to have a different idea of which decade it drew on for inspiration. Ann Treneman goes so far as to even describe the set as "sexy" <ref>Treneman, A. (2017, Feb. 24,). Theatre: Twelfth night at the olivier, SE1. The Times Retrieved from https://www.thetimes.co.uk/article/theatre-twelfth-knight-olivier-6tnjt27l5</ref>. Overall, the show appeared to have a positive response and received ratings ranging from three to five stars<ref>Morgan, F. (2017). Twelfth night starring tamsin greig – review round-up. The Stage, Retrieved from https://www.thestage.co.uk/opinion/2017/twelfth-night-starring-tamsin-greig-review-round/</ref>.<br />
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==The Globe==<br />
<br><br />
[[The Globe Theater|The Globe]]'s performance of "Twelfth Night" was nontraditional. The tone was that of a spoof directed by Mel Brooks. The performance was goofy and the performers maintained character though they did not present convincingly realistic people. Instead, the characters were dramatized and occasionally broke the fourth wall. One of the most notable changes made was the introduction of a musical aspect to the show. While the clown sings on occasion in the original script, all of the characters were singing on multiple occasions during the show. This resulted in significant modifications to the script as some lines were removed and some converted into lyrics. Many other lines, however, remained untouched. The show appeared to be set in Scotland in the late 1970s as several of the characters wore kilts and many of the other costumes drew on fashion from that time period such as jumpsuits with bell bottoms. In addition, several songs from that time period were referenced including "We are Family" and "I Will Survive". The casting for the show was older than for the [[National Theater]]'s performance and appeared to have a decent sized age gap between Olivia and both Orsino and Olivia. In addition, the clown did not have as clear of a role. While the clown in the [[National Theater]]'s performance had a significant role in the antics and in revealing themes, the clown in this performance was not well defined. He primarily just led the characters in song. Without knowing the play the character of the clown would quite possibly be very confusing.<br><br><br />
===Reviews===<br />
<br><br />
According to a review from The Culture Whisper, ''"Twelfth Night is delightful and enchanting, even if it is not a transformative or revolutionary adaptation. More than anything, she (Emma Rice who was the artistic director) focuses on making Shakespeare highly entertaining, accessible, joyful and communal.''" <ref name ="glrev">Macdonald, B. (2017). Twelfth Night, The Globe review. Retrieved May 26, 2017, from https://www.culturewhisper.com/r/theatre/summer_of_love_shakespeares_globe_twelfth_night_emma_rice_2017/8773 </ref> The review also talks about this Malivolio that ''"straddles the line beautifully between being endlessly obnoxious and equally loveable."'' <ref name ="glrev"/> <br><br><br />
Another review said that this interpretation was ''"an absolute hoot...freely embellished and fulsomely overdone. ...clownish caricatures instead of credible characters."'' <ref>Trueman, M. (2017, May 25). Review: Twelfth Night (Shakespeare's Globe). Retrieved May 26, 2017, from http://www.whatsonstage.com/london-theatre/reviews/twelfth-night-shakespeares-globe-emma-rice_43684.html </ref> The pop songs and humor made the play more fun than serious from this review's perspective. This review warns traditional Shakespeare fans that this is not a traditional performance. <br />
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=Section 2: Deliverable=<br />
<br><br />
Based on the research explained in the background, we created an idea & plan for our own personal interpretation of Shakespeare' s 'Twelfth Night'. The main things we focused on was the tone, setting, characters, and script for our interpretation. <br />
<br><br><br />
==Tone==<br />
<br><br />
The tones of the two different performances we saw at the National Theater and The Globe were quite different. While both performances were designed to be funny, the National Theater's performance remained grounded in realism. In contrast, The Globe's performance was overly theatrical and goofy coming off as a spoof. Based on personal opinion and others' reviews, we opted for a realistic tone. The reviews indicate that people appreciate when they can relate to the characters and have an emotional connection. In the 1893 performance, a key point was that it was not all just humor but that it also addressed the struggles of the lovers. We believe that by keeping the acting natural and realistic, the audience can become better immersed in the show, which also can result in heightened comedy when it does happen as the audience is better connected with what is taking place.<br />
<br><br>[[File:Pexels-photo-87378.jpeg|thumb|right|300px|A mansion that we would use as the setting of Olivia's mansion with gardens]]<br />
==Setting==<br />
<br><br />
We decided to set the play roughly modern day and in an area inspired by New York City. Both of the adaptations of "Twelfth Night" that we saw incorporated various modern elements to them ranging from set to costumes to music. Modernizing the show keeps it interesting for viewers. It is harder for a person to relate to the entirely different culture of Shakespeare's time. By updating the show, it again helps viewers connect with the performance. To further that, we want the show set in an area similar to New York City. Cities are often closely tied with the image of modern society, particularly the modern architecture and skyscrapers present. Additionally, New York City is a very familiar sight to people all over the world as it is often the setting for many movies, television shows and featured in art forms. Therefore, this sort of setting would feel familiar to the audience.<br><br><br />
<br />
==Characters==<br />
<br><br />
There are several creative liberties we would take with the characters including gender switching and modernizations. In keeping with the theme of modernizing the show, some minor and often subtle changes would be made to the portrayal of the characters. Instead of being a count, Orsino would be a mayor. [[File:Teacher-403004 1280.png|Malvolio Character|200px|right]]This way he would still be in charge of the area but have a modern title. In accordance, Viola as Cesario would be portrayed as his personal assistant when working for him. This would be manifested only in how the character is presented. Nowhere in the script is Cesario's position clearly named. The distinction of being a personal assistant would be shown through costuming and their interactions. This sort of role would make the most sense for the characters in their modernized world. Viola and Sebastian's position in society would be translated to that of upper class citizens, there father having been a CEO. This would explain why Antonio should have known of their father. Meanwhile, Olivia, Sir Toby and Sir Andrew would be socialites as they are clearly rich. They live privileged, frivolous lives. Furthermore, Malvolio and the clown would have to be carefully executed. Malvolio consistently stole the show in all of the performances. As with the critics, we enjoyed the change of Malvolio to Malvolia. This change plays up the gender fluidity in the show and adds an additional layer of depth to the show. We believe she should be depicted as a strict, old school nun teaching in a Catholic school. Her harsh, straight edge demeanor provides greater contrast heightening the comedy of her transformation after reading the letter. If the character is made humorous at all beforehand, the transition becomes less comical as she would not be taken as seriously. A humorous character becoming the subject of comedy is nothing remarkable. However, a stern and harsh character turning comedic is noteworthy. In addition, we again liked National Theater's take on the clown as a clever, witty female. This made the humor more intellectual and she acted as a catalyst throughout the show. In contrast, The Globe reduced the role of the clown until it was almost unrecognizable. We prefer the clown to be a dynamic character. To keep with the modernization, she would not be portrayed as a stereotypical clown but more as a fun loving performer. Her costume would be colorful and playful in contrast to the other characters.<br><br><br />
==Script==<br />
<br><br />
Our goal is to avoid tampering with the script. The more it is changed, the less authentic it feels and it loses the charm and character that Shakespeare put into it. The performances we have seen primarily kept the original script. Only minor revisions were made for gender switches. The Globe further altered their script to make it musical but that also seemed to detract from the script as many lines were lost in lyrics. Our modifications would only go so far as to account for the gender changes and role changes. For example, count would become mayor, Malvolio would be Malvolia, and the clown would primarily be referred to with generic terms and pronouns as clowns are no longer employed as they once were. We do not want to detract from Shakespeare's characters and themes by modifying the script too much.<br />
<br><br><br />
<br />
=Summary=<br />
{| class="wikitable"<br />
|-<br />
! Performance !! Original !! 20th Century !! National Theater !! The Globe !! Our Interpretation<br />
|-<br />
! scope="row" | Tone<br />
| inconclusive || dramatic, dark comedy || realism, lighthearted || spoof || realism, balance of comedy and drama<br />
|-<br />
! scope="row" | Setting<br />
| Elizabethan Era || Elizabethan Era || blend of Elizabethan era elements into an 20th century setting || Scotland in roughly the late 1970s || modern day in a large city inspired by NYC<br />
|-<br />
! scope="row" | Characters<br />
| Malvolio was a well liked character || Malvolio was a comic force || gender bending, serious and awkward Malvolio stole the show, clever fool || role of the clown was unclear, Malvolio was very strict and harsh || modernized titles and social roles, gender bending, harsh and strict Malvolio, witty and fun loving fool<br />
|-<br />
! scope="row" | Script<br />
| original, Elizabethan style writing || inconclusive || minor alterations to account for gender changes || lines converted into lyrics and 70s songs blended in || only minor alterations for gender and title switches<br />
|-<br />
! scope="row" | Reviews<br />
| Queen approved || tone was satisfying || overall positive but some felt darker elements were lost in the lighthearted tone || not for traditionalists but others found it very fun || N/A<br />
|}<br />
<br />
=Conclusion=<br />
<br><br />
The story of 'Twelfth Night' is a romantic comedy, makes fun of the gender roles and humanity as a whole. Shakespeare when writing this play wanted to make people laugh and to also teach people about how important it is to treat others with respect and with dignity. Overall, people like this play when it is done more realistically. Making the tone of the story more of a spoof takes away some of the beauty of the story and the humanity lessons within it. Another aspect to the play that Shakespeare and modern adaptations have done is the <br />
gender switching of the supporting characters like Malvolio. A female Malvolio gives the originally male character a new way of looking at the character as whole. 'Twelfth Night' is a brilliant Shakespeare play that can be interpreted in many different ways. <br><br><br />
Future research could include perspectives on another Shakespeare play. Using different performances by different companies around London could also be something to explore. <br><br><br />
<br />
=Attribution of Work=<br />
<br><br />
==Mary Hatfalvi==<br />
I contributed to the abstract section of this project. In the Background, I contributed to the research & writing of the inspiration subsection as well as researched & wrote the review subsection under The Globe Performance. I researched & wrote under the Background the 20th century performance summer & reviews as well as the original performance summery and reviews. In the Deliverable section, I contributed to the ideas and approach for a successful interpretation of 'Twelfth Night'. I contributed to the writing of the conclusion and the introduction sections as well as added all of the pictures on the milestone page. I contributed to [[The Globe Theater]] and the [[National Theater]] articles which were used in this milestone. <br><br><br />
<br />
==Justine Roy==<br />
We both participated in all parts of the project. I wrote the summary, descriptions of the productions we viewed, reviews for the National Theater performance and deliverable. I co-wrote the inspiration section and made revisions throughout.<br />
<br><br><br />
<br />
=References=<br />
<references/> <br />
<br><br><br />
<br />
=External Links=<br />
[http://shakespeare.mit.edu/twelfth_night/index.html Shakespeare's Twelfth Night ]<br />
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<br />
=Image Gallery=<br />
<gallery><br />
File:Orsino and viola Frederick Richard Pickersgill.jpg|thumb|Duke Orsino and Viola <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1850 <br> '''Attributed to''' Frederick Richard Pickersgill [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AOrsino_and_viola_Frederick_Richard_Pickersgill.jpg<br />
File:Viola and the Countess - Frederick Richard Pickersgill.jpg|thumb|Viola and the Countess <br> <small> '''Artist''' Frederick Richard Pickersgill <br> '''Year''' 1859 <br> '''Attributed to''' By Frederick Richard Pickersgill (25 September 1820, London - 20 December 1900) (Shakespeare Illustrated) [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AViola_and_the_Countess_-_Frederick_Richard_Pickersgill.jpg<br />
File:Edmund Blair Leighton - Olivia.jpg|thumb|Olivia <br> <small> '''Artist''' Edmund Leighton <br> '''Year''' 1888 <br> '''Attributed to''' Edmund Leighton [Public domain], via Wikimedia Commons <br> '''Link''' https://commons.wikimedia.org/wiki/File%3AEdmund_Blair_Leighton_-_Olivia.jpg<br />
File:Twelfthnightpic 1.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14083<br />
File:Twelfthnightpic 2.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Tom Holte<br> '''Year''' 1983 <br> '''Attributed to''' Thos. F. and Mig Holte Collection (Copyright Shakespeare Birthplace Trust) [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=15564<br />
File:Twelfthnightpic mal.jpg|Image from Twelfth Night, Caird/Don, Royal Shakespeare Company, April 1983<br> <small> '''Photographer''' Donald Cooper<br> '''Year''' 1983 <br> '''Attributed to''' Donald Cooper [This image may be used for educational purposes only], via Arts and Humanities Data Source - Performing Arts Collection <br> '''Link''' http://www.ahds.rhul.ac.uk/ahdscollections/docroot/shakespeare/imagedetails.do?imageId=14080<br />
File:Pexels-photo-87378.jpeg|Beige Painted Concrete Building <br> <small> '''Author''' [https://www.pexels.com/u/ingo/ Ingo Joseph] <br> '''Attributed to''' [https://www.pexels.com/u/ingo/ Ingo Joseph] CC0 License via Pexels <br> '''Link''' https://www.pexels.com/photo/park-historical-castle-fountain-87378/<br />
File:Teacher-403004 1280.png|Teacher-Classroom-School <br> <small> '''Author''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu] <br> '''Attributed to''' [https://pixabay.com/en/users/Tumisu-148124/ Tumisu], CC0 Public Domain via pixabay <br> '''Link''' https://pixabay.com/en/teacher-classroom-school-class-403004/<br />
</gallery><br />
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<br />
[[Category: Drama & Theater Projects]]<br />
[[Category:2017]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Wallace_Collection&diff=18568
The Wallace Collection
2017-06-21T19:59:59Z
<p>Mthatfalvi: </p>
<hr />
<div>{{Infobox <br />
|title = The Wallace Collection<br />
|bodystyle = width:25em<br />
|image = [[File:Manchester House, home of the Wallace Collectiion.jpg|x450px|alt=Article Image]]<br />
|label2 = Title <br />
|data2 = Hertford House<br />
}}<br />
<br />
=Overview=<br />
The Wallace Collection is a free to the public art collection that is houes in the once home of the Seymour family. It is located in Manchester Square, in the City of Westminster and is split into six different departments determined by type. The collection started between 1760 and 1880 by the first four Marquesses of Hertford and Sir Richard Wallace, the illegitimate son of the 4th Marquess. In 1897, the private collections were then donated to the nation by Richard Wallace's widow after her death to be a public collection.<br />
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=Background=<br />
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Inside The Wallace Collection, one can find works of many different types such as Ceramics and Glass, or Arms and Armor. There are 25 different galleries where one can wooed and impressed by 18th century French paintings and such. The collection is displayed in the private home of the late Wallace's. <br />
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The Collection was formed by Richard Wallace, fourth Marquess of Hertford, and largely increased by his son, Sir Richard Wallace. The Collection takes its form from the tastes of the fourth Marquess, who lived in Paris and was devoted to eighteenth century arts. As a consequence, this century is richly represented in the Collection by paintings, miniatures, sculptures, furniture, and general objects of art. The Collection extends to the thirteenth century, and the third quarter of the nineteenth century<ref>Mann, J. (1962). Wallace Collection Catalogues: European Arms and Armour (Vol. 1). London.</ref>.<br />
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The Hertford House is separated into four distinctive sections: The French section, A gallery of English, Flemish, Dutch, Spanish and Italian paintings, A section aquired by Sir Richard Wallace dedicated to medieval objects, Italian Renaissance terra-cottas and bronzes, medals and plaquettes, And the Armory, containing pieces from Europe and Asia<ref>Mann, J. (1962). Wallace Collection Catalogues: European Arms and Armour (Vol. 1). London.</ref>.<br />
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= Floor 0 =<br />
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==Billiard Room ==<br />
[[File:2754.JPG|thumb|Billiard Room]] The Billiard Room is a showcase for some of the best furniture by André-Charles Boulle (1642-1732) and for the arts under Louis XIV during Régence. Boulle was a a cabinet maker to Louis XIV, the self-styled Sun King during whose reign France became pre-eminent in the arts. Louis XIV set up a well organized and efficient system of state support for the artist create the official image of the monarchy and to support the economy. In 1897 the billiard room was dominated by a huge billiard table, as was usual in many larger houses at the time. The table was not replaced during the refurbishment in the year 2000. Instead sits an ornate desk from the 1700's in its place. <br />
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==Oriental Armoury==<br />
The collection of the Oriental Arms was acquired mostly by the 4th Marquess of Hertford in Paris prior to his death in 1870 and was chosen by the museum for the relics fine craftsmanship and exotic, Eastern opulence and beauty. Most of the weapons in the exhibit are Indian, Persian and Turkish from the 15th to 19th century while the armour is mostly from Indo-Persia in the 18th and 19th century. These objects were collected since they were highly sought after back in the Parisian society times and today the collection is widely recognized for being one of the largest and finest collections in the UK.<br><br>Unlike medieval arms and weaponry, oriental has more colour and more embellishments. The arms used animal tusks and bones like ivory and buffalo horn and were usually silver gilded. The art was detailed and full of bright vibrant colours like pinks, blues and yellows. Many items were gold encrusted with jewels such as vases and tea pots. <br />
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==European Armory I ==<br />
Armory I displays verity of armor and weapons that seemed to be used around medieval time frame. The armors on displays are a collection of battle armor and decorative armor from around Europe. These armors have varying design and functionality depending on where they came from and how they were used. The weapons are displayed in the same fashion, varying from swords to crossbows to guns. Among them, there are declarative weapons and battle weapons which can be seen distinctly by how they look. <br />
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===Double Barrel Rifles===<br />
Double barrel rifles were unique compared to traditional rifles. Unlike having only one barrel in a tradition rifle, the double barrel rifle had two barrel each with its own bullet. Each barrels also had its own half-lock. This allows for the gun to fire each bullet separately, ultimately allowing for the gun to fire twice before reloading.<br />
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==European Armory II ==<br />
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===Field Armor and Field Armor of Otto Heinrich, Count Palatine of the Rhine===<br />
The field armor was made in 1480 and in the 19th century. It would not be used in it current form because many of the parts were made or modified in the 19th century. The backplate, left counter, and both rebraces are in their original state. The leg armor, lower arm guards, and helmet where modified in the 19th century and the breastplate, pauldrons and gauntlets were made in the 19th century. It is in the German Gothic style and seem to have come from Castle of Hohenaschau in the Tyrol, home of the von Freyberg family. The man's armor Weights 27.161 kg, the horse's armor Weights 30.07 kg, and the mail Weights 10.17 kg. This style was a relatively light and comfortable kind of armor because the kind of steel used allowed to to be made with thin plates. <br />
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Otto Heinrich was a powerful German war-leader. The armor comes from a few different sets, which is made apparent by the fact that the designs of the pauldrons and the curass have the same patterns of birds and infants while the rest of the set contains foliage and flowers. The black section was deliberately left rough when it was made to associate it with battle hardened soldiers and the gold sections marks the armor as belonging to a noble man who's armor would be a work of art as well as functional.<br />
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==European Armory III ==<br />
The pieces in the European Armories came from the collections of Sir Samuel Rush Meyrick and the comte de Nieuwerkerke. The oldest piece dates back to the 10th century. The pieces are considered to be a condensed representation of the finest and most desirable weaponry and armor from Europe. <ref>Arms and armour. Retrieved from http://www.wallacecollection.org/thecollection/collections/armsandarmour</ref><br />
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===Sword with Scabbard A617===<br />
The hilt of this sword is from Saxony, Germany while the blade is from either Germany or Spain. This type of sword was associated with the Saxon Electoral or 'Trabanten' guard. The sword is 118 cm long and weighs 1.4 kg with the balance point 9.5 cm ahead of the guard. Inscribed on the blade there is a sun, the Spanish crest, a bundle of arrows, a crescent and a crown. <ref>Sword with scabbard. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultLightboxView/result.t2.collection_lightbox.$TspTitleLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=15&sp=2&sp=Slightbox_3x4&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=0</ref><br />
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Image:Sword- sm- JR.jpg|Hilt<br />
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===Parrying Dagger A862===<br />
This dagger is German and dates back to around 1600. It is 46.2 cm long and weighs 0.59 kg. The interesting thing about this dagger is that it splits into three sections. These sections are notches to catch on the blade of the opponent to take control of it. <ref>Parrying dagger. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultDetailView/result.tab.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=14&sp=2&sp=SdetailView&sp=0&sp=Sdetail&sp=3&sp=F&sp=SdetailBlockKey&sp=0</ref><br />
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Image:Parrying Dagger- sm- JR.jpg<br />
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===Gauntlet A272===<br />
This guantlet was made by Wolfgang Grosschedel in Landshut, Germany in 1560. It is decorated with etchings of birds and foliage. This left gauntlet alone weighs 0.6 kg. <ref>Gauntlet. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultLightboxView/result.t2.collection_lightbox.$TspTitleLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=16&sp=2&sp=Slightbox_3x4&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=0</ref><br />
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Image:Gauntlet- sm- JR.jpg<br />
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==Cannon barrel and carriage==<br />
The barrel of this cannon was made out of cast-bronze by Giovanni Mazzarioli in 1688 in Venice. It was found in the Venetian lagoon but is unknown how it got there. It was intended for ceremonial use as can be seen with the decorations on it that depict Jupiter and the Titans. The carriage was made out of carved walnut and steel by Angiolo Barbetti and G. Ciani. It was commissioned by Anatole Demidoff and designed by his friend Auguste de Sainson. The coat of arms of Demidoff can be seen painted on either side of the carriage.<br />
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== Smoking Room ==<br />
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== 16th Century Gallery ==<br />
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===Head of John the Baptist=== <br />
One of the many items on display in the 16th Century Gallery is a terracotta head of John the Baptist inside a glass case attributed to Andrea Solario (1465 - 1515). The head was originally painted but has since faded, and was believed to have originally been placed on a platter now assumed lost. The statue came from Milan, Italy around the year 1500 A.D. making it over 500 years old. In the Bible John the Baptist is beheaded by King Herod at the request of his daughter Salome. The head was then brought on a platter and presented to Salome. The Biblical significance of this event is that it foreshadowed the violent death of Jesus. Besides the worn away paint this religious statue remains in good condition.<br />
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== Front State Room ==<br />
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==Back State Room==<br />
The Back State Room was used by Sir Richard Wallace as an entertainment room for guests. During his time the walls were lined with boiserie panelling and Jacques Caffieri's chandelier hung. The chandelier still remains today along with the room's theme of dedicated to King Louis XV and his mistress, Madame de Pompadour. The current room is filled with rococo style art which flourished during their time. Along the back walls are full length display cases filled with porcelain made in France at the Sevres Factory. The porcelain is soft-paste and was made between 1752 and 1780. On the wall opposite the porcelain display case is the tall Astronomical Clock which dates back to 1750 France and is still in use today with the time and date. The wall with the grand fireplace holds a pari of candelabras on its mantle. It is unsure as to who created them but suggested Jean-Louis Prieur. He created four lily stems to mask the candleholders and allow the candle to appear as a lily bud. The theme of flowers can also been seen in the porcelain objects since it was a popular theme of the 18th century. <br />
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file:OGWallaceCollectionStateRoomClock.jpg<br />
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===Sèvres Porcelain===<br />
The French royal porcelain factory of Sèvres is one of the most admired in the world. It began as an experimental workshop at Vincennes, to the east of Paris, in 1740. By 1745, its production was successful enough for it to be granted certain royal privileges, curtailing the scope of its competitors in France. In 1756 it moved to a new location at Sèvres, where it has flourished ever since. The main competitor of Sèvres, the Meissen manufactory in Dresden, was destroyed during the Seven Years' War, enabling Sèvres to dominate Europe. It was solely dedicated to Louis XV in 1759, becoming a royal enterprise, but turned into a republican enterprise when Louis XVI was guillotined in 1793, later turning, imperial, royal, republican, and so forth. Sèvres has always produced highly fashionable, luxurious, useful, and decorative wares, and today it remains a leader in the field<ref>The Back State Room: Sevres Porcelain. (n.d.). From the Wallace Collection.</ref>.<br />
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== Dining Room ==<br />
The dining room is currently used to display French eighteenth-century portraits by Nattier and Houdon, as well as oil sketches by Jean-Francios de Troy. These masterworks were used for the decoration of Loius XV's dining room in Fontainebleau. As suggested by the title, the Dining Room was where Sir Richard and Lady Wallace would generally take their main meals. The doors to the Hall, the main entrance of the museum, were closed in 1897 but were reopened to enable visitors to walk through the house into the courtyard directly behind the Dining Room. <br><br />
There are two marble busts in the room as well, one of Madame Victoire de France and one of Madame de Serilly. Madame Victoire de France, full name Marie-Louise-Therese-Victoire, was the daughter of Louis XV and the aunt of Louis XVI. She led a quiet life at Court, noted for her piety and appetite. During the French Revolution, she took refuge in Naples but was later forced to flee to Trieste, where she died. Madame de Serilly, full name Anne-Marie-Louise de Domangeville, married Antoine de Serilly, the Treasurer at the War Office, in 1779. During the French Revolution, they were accused of plotting to assist the King. All but Madame de Serilly were guillotined; she escaped by claiming she was pregnant. <br />
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file:Dog with flowers and dead game TT.JPG<br />
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<br />
=Floor 1 =<br />
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==Landing ==<br />
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==Boudior==<br />
The paintings in the Boudoir by Greuze, Vernet and Reynolds are important examples of the new interest in strong emotions in European art since the 1760s, The visual arts expressed this change even earlier than literature. In the present display they are shown alongside French furniture from the 1760s and later in the eighteenth century. For Lady Wallace this was her Boudoir or private Sitting Room where she kept miniatures, small paintings, porcelain and renaissance jewellery.<br />
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==West Room==<br />
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===British Portraits of the Eighteenth Century===<br />
This room contains masterpieces of eighteenth-century British portraiture. All of the sitters are female. Three portraits are of Mrs Robinson, a famous actress ofthe period. Her striking full- length portrait by Gainsborough han with smaller works by Reynolds and Romney. Reynolds's work is also showcased in a number of other portraits, including that of the courtesan Nelly O'Brien, which is widely regarded as one of his most original and accomplished compositions. The Mantel Clock after Michelangelo's figures of Night and Day in Florence and the elaborate silver gilt toilet service from Augsburg, herald a transition from France to a wider Europe in the following sequence of picture galleries. Formerly Lady Wallace's Bedroom, upholstered in blue and white, this room contained Sevres porcelain, French furniture and paintings, including Fragonard's The Swing.<br />
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==West Gallery I==<br />
Antonio Canale, called Canaletto, and Francesco Guardi were the two outstanding Venetian view painters of the eighteenth century. Although Canaletto's style seems much more descriptive than Guardi's, both artists created a carefully staged image of Venice. Most of their works were painted for tourists who visited the city, primarily British travellers who came to the Venetian Republic on their Grand Tour. Like many of these tourists, the 1st Marquess of Hertford acquired paintings by Canaletto during a stay in Italy. They are among the earliest acquisitions of artworks by the family to remain in the Collection. The room was created in 1897 from Sir Richard Wallace's Dressing Room, Lady Wallace's Bath Room and Dressing Room and a corridor.<br />
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==West Gallery II==<br />
The room, created in 2010, houses paintings by the brilliant generation of British and French painters who came to maturity during the 1220s Aher thirty years of tubulence in ance ouliminating in the calacse of the Napoleonic Empine, many painters began to seek new insonaten from earlier European history and legend and tam iterature offered an ahenmative to the classicism promoted by the French academic system.<br />
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==West Gallery III== <br />
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===Nineteenth-century pictures and Napoleonica===<br />
The Gallery is hung densely, as was customary in sir Richard Wallace's day, with paintings by artists, many of them among the most fashionable names of this period. Many of these painters belonged to the artistic and literary salon society of nineteenth-century Paris and were contemporaries and, in some cases, friends, of the 4th Marquess of Hertford and Sir Richard Wallace. The 4th Marquess's strong interest in the Emperor Napoleon can be seen in a large collection of artworks illustrating Napoleon and his life. During Sir Richard Wallace's lifetime, this room was the European Armoury and housed much of his collection of European arms and armour.<br />
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==Great Gallery==<br />
The Great Gallery was built in 1872-75 as part of an extension of Hertford House when Sir Richard Wallace moved an important part of the family's collection from Paris to London, An imposing room with large, uninterrupted wall space and natural top light, it has always been the gallery where many of the greatest masterworks of painting in the Collection are displayed alongside furniture and sculptures. The choice and arrangement of these objects has changed considerably over time. The Great Gallery now unites many of the most important paintings from the seventeenth century from the Netherlands, Flanders, France, ltaly and Spain, reflecting the intemational character and lively artistic exchange between the major European artistic centres during the baroque age. With masterworks by Rembrandt, Rubens, Philippe de Champaigne, Poussin, Velazquez and many others of their greatest contemporaries in one room, it offers a unique panorama of seventeenth-century painting of the highest quality. Sir Richard Wallace consciously conceived this superb space, the largest and most magnificent room in Hertford House, as being the culmination of any visit to his collection.<br />
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== East Gallery I ==<br />
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==East Gallery II==<br />
East Gallery II at the Wallace Collection is an exploration of 17th century Holland through art. The art features domestic and genre scenes and some of the most famous artists in the gallery are Gerard her Borch, Gabriel Metsu, and Jan Steen. Many of the paintings in the gallery contain hidden messages, although they seem to be showing a well-mannered and orderly society. Some of these hidden meanings are warning of temptations and traps that people may fall for in the real world. The 3rd Marquess of Hertford's taste for art was described by many as his only "redeeming feature". He added many works to this collection of Dutch and Flemish paintings that depicted meticulous townscapes. <br />
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==East Gallery III==<br />
This gallery contains masterpieces by the Artists Van de Velde, Nicolaes Berchem, Karel du Jardin and Philips Wouwermans. The paintings pictured below are pieces from the gallery. <br />
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File:Karel Dujardin 003.jpg|thumb|''The Smithy, Netherlands (1658)'' <br><small> '''Attributed to''' Karel Dujardin [Public domain or Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AKarel_Dujardin_002.jpg Link]<br />
File:Nicolas berchem.jpeg|thumb|"Italian Landscape with Figures by Nicolaes Berchem, Netherlands (1654)" <br><small> '''Attributed to''' The Wallace Collection © All rights reserved [All images on Art UK are protected by copyright and image permissions vary across the Art UK website. Please check individual artwork pages for information about permitted use. This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised.] - [https://artuk.org/discover/artworks/italian-landscape-with-figures-209184 Link]<br />
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==East Drawing Room==<br />
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==Large Drawing Room==<br />
In this room located in the first floor we can find Boulle Furniture and Netherlandish Paintings. <br />
In Sir Richard Wallace's lifetime, the Large Drawing Room was then, as now, dominated by monumental Boulle furniture, including the enormous Londonderry Bookcase, and large Netherlandish paintings. In eighteenth-century France this particular combination was much admired by collectors and connoisseurs, often augmented, as here, with bronzes and porcelain. In the early nineteenth century, this room and the adjoining Oval Drawing Room were used for entertaining. The 2nd Marchioness was famous for the events she hosted at the then Manchester House, such as the splendid ball she held in 1814, to celebrate the defeat and exiling of the Emperor Napoleon to the island of Elba.<br />
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Writing table Perhaps by Godtfried Weber Mounts attributed to Michel-Paul-Joseph Dewez (1742-1804) Brussels, 1777-8 Oak, pinewood and chestnut, veneered with rosewood and Turkish hazel, mounted with gilt bronze. F320<br />
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==Small Drawing Room ==<br />
The Small Drawing Room illustrates stylistic changes during the Regence and the early reign of Louis XV. Watteau had just introduced the Fete Galante to Paris, idealized scenes of elegant people in the county. This subject as well as his brilliantly painterly style, referring to Rubens and the Venetians, became immediately successful with contemporary collectors. Theater and music were major features of this new world. At the same time, East Asian objects and techniques such as lacquer and porcelain became highly popular. In Sir Richard Wallace's day, this room was titled the Reynolds Drawing Rooms. In it hung most of the superb paintings by Sir Joshua Reynolds in the Wallace Collection. <br />
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==Oval Drawing Room ==<br />
In the Oval Drawing Rom you will see paintings from the high and late Rocco period in France, and there are two very iconic works from the period. Madame de Pompadour commissioned her portrait from Boucher to promote her public role as Louis XV's confidante. you can also see Fragonards' experiment with the Rocco style which is illustrated by his painting The Swing. The clock not he chimneypiece and the roll-top desk in the room show the rich taste in furniture and gilt-bronze which is a characteristic of royal and aristocratic taste. Known as the Octagon Room, this room was used by the 2nd Marchioness of Hertford as a room for entertaining. The chimneypiece which can be dates to c. 1785 is the only original one to survive in Hertford House. Sir Richard Wallace used this room to display his collection of miniatures. <br />
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===The Swing===<br />
[[Image:NBSwing.jpg|right|x200px|thumb|<small>''The Swing'' by Jean-Honoré Fragonard</small>]]<br />
''The Swing'' by Fragonard is a rococo style painting and his most well known. This painting shows a young lady on a swing, which happens to be a mistress of a high ranking official, being pushed by a bishop and a high ranking official observing her legs from beneath her. There are also two statures in the painting of cherub like beings, which one is suggesting the bishop behind the young lady to remain silent and the others are watching the lady from below. As a fine example of the rococo style with its pleasing color palette of pastel pink and mint green, the lighthearted mood, and the soft brush strokes.<br />
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==Study==<br />
The Study is a comfortable, boudoir-like room dedicated to the taste in the period of Queen Marie-Antoinette of France. An exceptional group of furniture owned by the Queen is surrounded by Sevres porcelain and other French decorative arts from the second half of the eighteenth century, when the new, more austere and linear Neo-classical supplanted the light airiness of the Rococo. Fragonard's and Greuze's paintings mark the same transition. The Study was Sir Richard Wallace's private room for writing letters and reading. This photograph c1890 shows that he had the room decorated with watercolours, whilst an impressive Boulle armoire was flanked by marble busts of Sir Richard's wife and his father the 4th Marquess of Hertford.<br />
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The Study is a room the is dedicated to the taste in the period of Queen Marie Antoinette of France. There is a group of furniture that is owned by the Queen and it is surrounded by Sevres porcelain and French decorative arts that are from the second half of the 18th century. This is when the new, Neo-classical style came into use. You can see painting by Fragonard and Grease, which also show the transition. The Study was used by Sir Richard Wallace and a private room for writing letters and reading. <br />
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== Boudor Cabinet==<br />
This Cabinet houses the miniature arts of the seventeenth and eighteenth centuries, with miniature paintings, gold boxes and other luxury items. Miniatures had a strong personal and emotional meaning. They could serve as a souvenir of favourite places or important events, whilst portraits were given as a sign of love or friendship and kept by their owners as tokens of attachment or political allegiance. They also served as a medium for pornography. Gold boxes, usually used for snuff, were extravagant personal toys which reflected the latest fashion in shape, materials and decoration. They are both small and intensely personal objects, yet they also represent a microcosm of the arts of eighteenth-century France.<br />
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= Basement=<br />
==The Ritblat Conservation Gallery ==<br />
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==Porphyry Court==<br />
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=References=<br />
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=External Links=<br />
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=Image Gallery=<br />
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[[Category:Art]]<br />
[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Wallace_Collection&diff=18567
The Wallace Collection
2017-06-21T19:59:03Z
<p>Mthatfalvi: </p>
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<div>{{Infobox <br />
|title = The Wallace Collection<br />
|bodystyle = width:25em<br />
|image = [[File:Manchester House, home of the Wallace Collectiion.jpg|x450px|alt=Article Image]]<br />
|label2 = Title <br />
|data2 = Hertford House<br />
}}<br />
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=Overview=<br />
The Wallace Collection is a free to the public art collection that is houes in the once home of the Seymour family. It is located in Manchester Square, in the City of Westminster and is split into six different departments determined by type. The collection started between 1760 and 1880 by the first four Marquesses of Hertford and Sir Richard Wallace, the illegitimate son of the 4th Marquess. In 1897, the private collections were then donated to the nation by Richard Wallace's widow after her death to be a public collection.<br />
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=Background=<br />
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Inside The Wallace Collection, one can find works of many different types such as Ceramics and Glass, or Arms and Armor. There are 25 different galleries where one can wooed and impressed by 18th century French paintings and such. The collection is displayed in the private home of the late Wallace's. <br />
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The Collection was formed by Richard Wallace, fourth Marquess of Hertford, and largely increased by his son, Sir Richard Wallace. The Collection takes its form from the tastes of the fourth Marquess, who lived in Paris and was devoted to eighteenth century arts. As a consequence, this century is richly represented in the Collection by paintings, miniatures, sculptures, furniture, and general objects of art. The Collection extends to the thirteenth century, and the third quarter of the nineteenth century<ref>Mann, J. (1962). Wallace Collection Catalogues: European Arms and Armour (Vol. 1). London.</ref>.<br />
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The Hertford House is separated into four distinctive sections: The French section, A gallery of English, Flemish, Dutch, Spanish and Italian paintings, A section aquired by Sir Richard Wallace dedicated to medieval objects, Italian Renaissance terra-cottas and bronzes, medals and plaquettes, And the Armory, containing pieces from Europe and Asia<ref>Mann, J. (1962). Wallace Collection Catalogues: European Arms and Armour (Vol. 1). London.</ref>.<br />
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= Floor 0 =<br />
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==Billiard Room ==<br />
[[File:2754.JPG|thumb|Billiard Room]] The Billiard Room is a showcase for some of the best furniture by André-Charles Boulle (1642-1732) and for the arts under Louis XIV during Régence. Boulle was a a cabinet maker to Louis XIV, the self-styled Sun King during whose reign France became pre-eminent in the arts. Louis XIV set up a well organized and efficient system of state support for the artist create the official image of the monarchy and to support the economy. In 1897 the billiard room was dominated by a huge billiard table, as was usual in many larger houses at the time. The table was not replaced during the refurbishment in the year 2000. Instead sits an ornate desk from the 1700's in its place. <br />
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==Oriental Armoury==<br />
The collection of the Oriental Arms was acquired mostly by the 4th Marquess of Hertford in Paris prior to his death in 1870 and was chosen by the museum for the relics fine craftsmanship and exotic, Eastern opulence and beauty. Most of the weapons in the exhibit are Indian, Persian and Turkish from the 15th to 19th century while the armour is mostly from Indo-Persia in the 18th and 19th century. These objects were collected since they were highly sought after back in the Parisian society times and today the collection is widely recognized for being one of the largest and finest collections in the UK.<br><br>Unlike medieval arms and weaponry, oriental has more colour and more embellishments. The arms used animal tusks and bones like ivory and buffalo horn and were usually silver gilded. The art was detailed and full of bright vibrant colours like pinks, blues and yellows. Many items were gold encrusted with jewels such as vases and tea pots. <br />
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==European Armory I ==<br />
Armory I displays verity of armor and weapons that seemed to be used around medieval time frame. The armors on displays are a collection of battle armor and decorative armor from around Europe. These armors have varying design and functionality depending on where they came from and how they were used. The weapons are displayed in the same fashion, varying from swords to crossbows to guns. Among them, there are declarative weapons and battle weapons which can be seen distinctly by how they look. <br />
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===Double Barrel Rifles===<br />
Double barrel rifles were unique compared to traditional rifles. Unlike having only one barrel in a tradition rifle, the double barrel rifle had two barrel each with its own bullet. Each barrels also had its own half-lock. This allows for the gun to fire each bullet separately, ultimately allowing for the gun to fire twice before reloading.<br />
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==European Armory II ==<br />
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===Field Armor and Field Armor of Otto Heinrich, Count Palatine of the Rhine===<br />
The field armor was made in 1480 and in the 19th century. It would not be used in it current form because many of the parts were made or modified in the 19th century. The backplate, left counter, and both rebraces are in their original state. The leg armor, lower arm guards, and helmet where modified in the 19th century and the breastplate, pauldrons and gauntlets were made in the 19th century. It is in the German Gothic style and seem to have come from Castle of Hohenaschau in the Tyrol, home of the von Freyberg family. The man's armor Weights 27.161 kg, the horse's armor Weights 30.07 kg, and the mail Weights 10.17 kg. This style was a relatively light and comfortable kind of armor because the kind of steel used allowed to to be made with thin plates. <br />
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Otto Heinrich was a powerful German war-leader. The armor comes from a few different sets, which is made apparent by the fact that the designs of the pauldrons and the curass have the same patterns of birds and infants while the rest of the set contains foliage and flowers. The black section was deliberately left rough when it was made to associate it with battle hardened soldiers and the gold sections marks the armor as belonging to a noble man who's armor would be a work of art as well as functional.<br />
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==European Armory III ==<br />
The pieces in the European Armories came from the collections of Sir Samuel Rush Meyrick and the comte de Nieuwerkerke. The oldest piece dates back to the 10th century. The pieces are considered to be a condensed representation of the finest and most desirable weaponry and armor from Europe. <ref>Arms and armour. Retrieved from http://www.wallacecollection.org/thecollection/collections/armsandarmour</ref><br />
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===Sword with Scabbard A617===<br />
The hilt of this sword is from Saxony, Germany while the blade is from either Germany or Spain. This type of sword was associated with the Saxon Electoral or 'Trabanten' guard. The sword is 118 cm long and weighs 1.4 kg with the balance point 9.5 cm ahead of the guard. Inscribed on the blade there is a sun, the Spanish crest, a bundle of arrows, a crescent and a crown. <ref>Sword with scabbard. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultLightboxView/result.t2.collection_lightbox.$TspTitleLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=15&sp=2&sp=Slightbox_3x4&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=0</ref><br />
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===Parrying Dagger A862===<br />
This dagger is German and dates back to around 1600. It is 46.2 cm long and weighs 0.59 kg. The interesting thing about this dagger is that it splits into three sections. These sections are notches to catch on the blade of the opponent to take control of it. <ref>Parrying dagger. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultDetailView/result.tab.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=14&sp=2&sp=SdetailView&sp=0&sp=Sdetail&sp=3&sp=F&sp=SdetailBlockKey&sp=0</ref><br />
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===Gauntlet A272===<br />
This guantlet was made by Wolfgang Grosschedel in Landshut, Germany in 1560. It is decorated with etchings of birds and foliage. This left gauntlet alone weighs 0.6 kg. <ref>Gauntlet. Retrieved from http://wallacelive.wallacecollection.org/eMuseumPlus?service=direct/1/ResultLightboxView/result.t2.collection_lightbox.$TspTitleLink.link&sp=10&sp=Scollection&sp=SfieldValue&sp=0&sp=16&sp=2&sp=Slightbox_3x4&sp=0&sp=Sdetail&sp=0&sp=F&sp=T&sp=0</ref><br />
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==Cannon barrel and carriage==<br />
The barrel of this cannon was made out of cast-bronze by Giovanni Mazzarioli in 1688 in Venice. It was found in the Venetian lagoon but is unknown how it got there. It was intended for ceremonial use as can be seen with the decorations on it that depict Jupiter and the Titans. The carriage was made out of carved walnut and steel by Angiolo Barbetti and G. Ciani. It was commissioned by Anatole Demidoff and designed by his friend Auguste de Sainson. The coat of arms of Demidoff can be seen painted on either side of the carriage.<br />
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== Smoking Room ==<br />
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== 16th Century Gallery ==<br />
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===Head of John the Baptist=== <br />
One of the many items on display in the 16th Century Gallery is a terracotta head of John the Baptist inside a glass case attributed to Andrea Solario (1465 - 1515). The head was originally painted but has since faded, and was believed to have originally been placed on a platter now assumed lost. The statue came from Milan, Italy around the year 1500 A.D. making it over 500 years old. In the Bible John the Baptist is beheaded by King Herod at the request of his daughter Salome. The head was then brought on a platter and presented to Salome. The Biblical significance of this event is that it foreshadowed the violent death of Jesus. Besides the worn away paint this religious statue remains in good condition.<br />
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== Front State Room ==<br />
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==Back State Room==<br />
The Back State Room was used by Sir Richard Wallace as an entertainment room for guests. During his time the walls were lined with boiserie panelling and Jacques Caffieri's chandelier hung. The chandelier still remains today along with the room's theme of dedicated to King Louis XV and his mistress, Madame de Pompadour. The current room is filled with rococo style art which flourished during their time. Along the back walls are full length display cases filled with porcelain made in France at the Sevres Factory. The porcelain is soft-paste and was made between 1752 and 1780. On the wall opposite the porcelain display case is the tall Astronomical Clock which dates back to 1750 France and is still in use today with the time and date. The wall with the grand fireplace holds a pari of candelabras on its mantle. It is unsure as to who created them but suggested Jean-Louis Prieur. He created four lily stems to mask the candleholders and allow the candle to appear as a lily bud. The theme of flowers can also been seen in the porcelain objects since it was a popular theme of the 18th century. <br />
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===Sèvres Porcelain===<br />
The French royal porcelain factory of Sèvres is one of the most admired in the world. It began as an experimental workshop at Vincennes, to the east of Paris, in 1740. By 1745, its production was successful enough for it to be granted certain royal privileges, curtailing the scope of its competitors in France. In 1756 it moved to a new location at Sèvres, where it has flourished ever since. The main competitor of Sèvres, the Meissen manufactory in Dresden, was destroyed during the Seven Years' War, enabling Sèvres to dominate Europe. It was solely dedicated to Louis XV in 1759, becoming a royal enterprise, but turned into a republican enterprise when Louis XVI was guillotined in 1793, later turning, imperial, royal, republican, and so forth. Sèvres has always produced highly fashionable, luxurious, useful, and decorative wares, and today it remains a leader in the field<ref>The Back State Room: Sevres Porcelain. (n.d.). From the Wallace Collection.</ref>.<br />
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== Dining Room ==<br />
The dining room is currently used to display French eighteenth-century portraits by Nattier and Houdon, as well as oil sketches by Jean-Francios de Troy. These masterworks were used for the decoration of Loius XV's dining room in Fontainebleau. As suggested by the title, the Dining Room was where Sir Richard and Lady Wallace would generally take their main meals. The doors to the Hall, the main entrance of the museum, were closed in 1897 but were reopened to enable visitors to walk through the house into the courtyard directly behind the Dining Room. <br><br />
There are two marble busts in the room as well, one of Madame Victoire de France and one of Madame de Serilly. Madame Victoire de France, full name Marie-Louise-Therese-Victoire, was the daughter of Louis XV and the aunt of Louis XVI. She led a quiet life at Court, noted for her piety and appetite. During the French Revolution, she took refuge in Naples but was later forced to flee to Trieste, where she died. Madame de Serilly, full name Anne-Marie-Louise de Domangeville, married Antoine de Serilly, the Treasurer at the War Office, in 1779. During the French Revolution, they were accused of plotting to assist the King. All but Madame de Serilly were guillotined; she escaped by claiming she was pregnant. <br />
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=Floor 1 =<br />
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==Landing ==<br />
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==Boudior==<br />
The paintings in the Boudoir by Greuze, Vernet and Reynolds are important examples of the new interest in strong emotions in European art since the 1760s, The visual arts expressed this change even earlier than literature. In the present display they are shown alongside French furniture from the 1760s and later in the eighteenth century. For Lady Wallace this was her Boudoir or private Sitting Room where she kept miniatures, small paintings, porcelain and renaissance jewellery.<br />
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==West Room==<br />
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===British Portraits of the Eighteenth Century===<br />
This room contains masterpieces of eighteenth-century British portraiture. All of the sitters are female. Three portraits are of Mrs Robinson, a famous actress ofthe period. Her striking full- length portrait by Gainsborough han with smaller works by Reynolds and Romney. Reynolds's work is also showcased in a number of other portraits, including that of the courtesan Nelly O'Brien, which is widely regarded as one of his most original and accomplished compositions. The Mantel Clock after Michelangelo's figures of Night and Day in Florence and the elaborate silver gilt toilet service from Augsburg, herald a transition from France to a wider Europe in the following sequence of picture galleries. Formerly Lady Wallace's Bedroom, upholstered in blue and white, this room contained Sevres porcelain, French furniture and paintings, including Fragonard's The Swing.<br />
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==West Gallery I==<br />
Antonio Canale, called Canaletto, and Francesco Guardi were the two outstanding Venetian view painters of the eighteenth century. Although Canaletto's style seems much more descriptive than Guardi's, both artists created a carefully staged image of Venice. Most of their works were painted for tourists who visited the city, primarily British travellers who came to the Venetian Republic on their Grand Tour. Like many of these tourists, the 1st Marquess of Hertford acquired paintings by Canaletto during a stay in Italy. They are among the earliest acquisitions of artworks by the family to remain in the Collection. The room was created in 1897 from Sir Richard Wallace's Dressing Room, Lady Wallace's Bath Room and Dressing Room and a corridor.<br />
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==West Gallery II==<br />
The room, created in 2010, houses paintings by the brilliant generation of British and French painters who came to maturity during the 1220s Aher thirty years of tubulence in ance ouliminating in the calacse of the Napoleonic Empine, many painters began to seek new insonaten from earlier European history and legend and tam iterature offered an ahenmative to the classicism promoted by the French academic system.<br />
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==West Gallery III== <br />
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===Nineteenth-century pictures and Napoleonica===<br />
The Gallery is hung densely, as was customary in sir Richard Wallace's day, with paintings by artists, many of them among the most fashionable names of this period. Many of these painters belonged to the artistic and literary salon society of nineteenth-century Paris and were contemporaries and, in some cases, friends, of the 4th Marquess of Hertford and Sir Richard Wallace. The 4th Marquess's strong interest in the Emperor Napoleon can be seen in a large collection of artworks illustrating Napoleon and his life. During Sir Richard Wallace's lifetime, this room was the European Armoury and housed much of his collection of European arms and armour.<br />
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==Great Gallery==<br />
The Great Gallery was built in 1872-75 as part of an extension of Hertford House when Sir Richard Wallace moved an important part of the family's collection from Paris to London, An imposing room with large, uninterrupted wall space and natural top light, it has always been the gallery where many of the greatest masterworks of painting in the Collection are displayed alongside furniture and sculptures. The choice and arrangement of these objects has changed considerably over time. The Great Gallery now unites many of the most important paintings from the seventeenth century from the Netherlands, Flanders, France, ltaly and Spain, reflecting the intemational character and lively artistic exchange between the major European artistic centres during the baroque age. With masterworks by Rembrandt, Rubens, Philippe de Champaigne, Poussin, Velazquez and many others of their greatest contemporaries in one room, it offers a unique panorama of seventeenth-century painting of the highest quality. Sir Richard Wallace consciously conceived this superb space, the largest and most magnificent room in Hertford House, as being the culmination of any visit to his collection.<br />
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== East Gallery I ==<br />
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==East Gallery II==<br />
East Gallery II at the Wallace Collection is an exploration of 17th century Holland through art. The art features domestic and genre scenes and some of the most famous artists in the gallery are Gerard her Borch, Gabriel Metsu, and Jan Steen. Many of the paintings in the gallery contain hidden messages, although they seem to be showing a well-mannered and orderly society. Some of these hidden meanings are warning of temptations and traps that people may fall for in the real world. The 3rd Marquess of Hertford's taste for art was described by many as his only "redeeming feature". He added many works to this collection of Dutch and Flemish paintings that depicted meticulous townscapes. <br />
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==East Gallery III==<br />
This gallery contains masterpieces by the Artists Van de Velde, Nicolaes Berchem, Karel du Jardin and Philips Wouwermans. The paintings pictured below are pieces from the gallery. <br />
<gallery mode = "packed" heights = 300px><br />
File:Karel Dujardin 003.jpg|thumb|''The Smithy, Netherlands (1658)'' <br><small> '''Attributed to''' Karel Dujardin [Public domain or Public domain], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AKarel_Dujardin_002.jpg Link]<br />
File:Nicolas berchem.jpeg|thumb|"Italian Landscape with Figures by Nicolaes Berchem, Netherlands (1654)" <br><small> '''Attributed to''' The Wallace Collection © All rights reserved<br />
[All images on Art UK are protected by copyright and image permissions vary across the Art UK website. Please check individual artwork pages for information about permitted use.<br />
This image can be used for non-commercial research or private study purposes, and other UK exceptions to copyright permitted to users based in the United Kingdom under the Copyright, Designs and Patents Act 1988, as amended and revised.] - [https://artuk.org/discover/artworks/italian-landscape-with-figures-209184 Link]<br />
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==East Drawing Room==<br />
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==Large Drawing Room==<br />
In this room located in the first floor we can find Boulle Furniture and Netherlandish Paintings. <br />
In Sir Richard Wallace's lifetime, the Large Drawing Room was then, as now, dominated by monumental Boulle furniture, including the enormous Londonderry Bookcase, and large Netherlandish paintings. In eighteenth-century France this particular combination was much admired by collectors and connoisseurs, often augmented, as here, with bronzes and porcelain. In the early nineteenth century, this room and the adjoining Oval Drawing Room were used for entertaining. The 2nd Marchioness was famous for the events she hosted at the then Manchester House, such as the splendid ball she held in 1814, to celebrate the defeat and exiling of the Emperor Napoleon to the island of Elba.<br />
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Writing table Perhaps by Godtfried Weber Mounts attributed to Michel-Paul-Joseph Dewez (1742-1804) Brussels, 1777-8 Oak, pinewood and chestnut, veneered with rosewood and Turkish hazel, mounted with gilt bronze. F320<br />
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==Small Drawing Room ==<br />
The Small Drawing Room illustrates stylistic changes during the Regence and the early reign of Louis XV. Watteau had just introduced the Fete Galante to Paris, idealized scenes of elegant people in the county. This subject as well as his brilliantly painterly style, referring to Rubens and the Venetians, became immediately successful with contemporary collectors. Theater and music were major features of this new world. At the same time, East Asian objects and techniques such as lacquer and porcelain became highly popular. In Sir Richard Wallace's day, this room was titled the Reynolds Drawing Rooms. In it hung most of the superb paintings by Sir Joshua Reynolds in the Wallace Collection. <br />
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==Oval Drawing Room ==<br />
In the Oval Drawing Rom you will see paintings from the high and late Rocco period in France, and there are two very iconic works from the period. Madame de Pompadour commissioned her portrait from Boucher to promote her public role as Louis XV's confidante. you can also see Fragonards' experiment with the Rocco style which is illustrated by his painting The Swing. The clock not he chimneypiece and the roll-top desk in the room show the rich taste in furniture and gilt-bronze which is a characteristic of royal and aristocratic taste. Known as the Octagon Room, this room was used by the 2nd Marchioness of Hertford as a room for entertaining. The chimneypiece which can be dates to c. 1785 is the only original one to survive in Hertford House. Sir Richard Wallace used this room to display his collection of miniatures. <br />
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===The Swing===<br />
[[Image:NBSwing.jpg|right|x200px|thumb|<small>''The Swing'' by Jean-Honoré Fragonard</small>]]<br />
''The Swing'' by Fragonard is a rococo style painting and his most well known. This painting shows a young lady on a swing, which happens to be a mistress of a high ranking official, being pushed by a bishop and a high ranking official observing her legs from beneath her. There are also two statures in the painting of cherub like beings, which one is suggesting the bishop behind the young lady to remain silent and the others are watching the lady from below. As a fine example of the rococo style with its pleasing color palette of pastel pink and mint green, the lighthearted mood, and the soft brush strokes.<br />
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==Study==<br />
The Study is a comfortable, boudoir-like room dedicated to the taste in the period of Queen Marie-Antoinette of France. An exceptional group of furniture owned by the Queen is surrounded by Sevres porcelain and other French decorative arts from the second half of the eighteenth century, when the new, more austere and linear Neo-classical supplanted the light airiness of the Rococo. Fragonard's and Greuze's paintings mark the same transition. The Study was Sir Richard Wallace's private room for writing letters and reading. This photograph c1890 shows that he had the room decorated with watercolours, whilst an impressive Boulle armoire was flanked by marble busts of Sir Richard's wife and his father the 4th Marquess of Hertford.<br />
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The Study is a room the is dedicated to the taste in the period of Queen Marie Antoinette of France. There is a group of furniture that is owned by the Queen and it is surrounded by Sevres porcelain and French decorative arts that are from the second half of the 18th century. This is when the new, Neo-classical style came into use. You can see painting by Fragonard and Grease, which also show the transition. The Study was used by Sir Richard Wallace and a private room for writing letters and reading. <br />
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== Boudor Cabinet==<br />
This Cabinet houses the miniature arts of the seventeenth and eighteenth centuries, with miniature paintings, gold boxes and other luxury items. Miniatures had a strong personal and emotional meaning. They could serve as a souvenir of favourite places or important events, whilst portraits were given as a sign of love or friendship and kept by their owners as tokens of attachment or political allegiance. They also served as a medium for pornography. Gold boxes, usually used for snuff, were extravagant personal toys which reflected the latest fashion in shape, materials and decoration. They are both small and intensely personal objects, yet they also represent a microcosm of the arts of eighteenth-century France.<br />
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= Basement=<br />
==The Ritblat Conservation Gallery ==<br />
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==Porphyry Court==<br />
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=References=<br />
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=External Links=<br />
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=Image Gallery=<br />
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[[Category:Art]]<br />
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Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=The_Gardens_at_Hampton_Court_Palace&diff=18550
The Gardens at Hampton Court Palace
2017-06-21T19:38:55Z
<p>Mthatfalvi: </p>
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<div>{{Infobox <br />
|title = The Wilderness Garden<br />
|header1 = The Wilderness Garden at Hampton Court Palace<br />
|bodystyle = width:25em<br />
|image = [[File:IMG_0881.JPG|x450px|alt=Article Image]]<br />
|label2 = Attributed to<br />
|data2 = [[User:Dmpayette]]<br />
}}<br />
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=Overview=<br />
Surrounding the palace on every side except for the front is the gardens. The gardens were used to grow vegetables for the kitchen and a retreat for the royals who needed some fresh air. The gardens were turned into a huge tourist attraction for visitors who visit the palace now.<br />
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=The Different Gardens at Hampton Court Palace=<br />
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==The 20th Century Garden==<br />
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==The Banqueting House==<br />
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==The Great Fountain Garden==<br />
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==The Great Vine==<br />
[[File:The Great Vine - geograph.org.uk - 396688.jpg|thumb|The Great Vine <br><small> '''Attributed to''' Margaret Sutton [CC BY-SA 2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons - [https://commons.wikimedia.org/wiki/File%3AThe_Great_Vine_-_geograph.org.uk_-_396688.jpg Link]]]<br />
This Great Grape Vine is know as the worlds largest vine. Planted in 1768 by Lancelot Brown by, according to the [[Hampton Court Palace]] website, cuttings from another vine at Valentines Mansion located in Essex.<ref name = "vine"> Palaces, H. R. (n.d.). The Great Vine. Retrieved May 25, 2017, from http://www.hrp.org.uk/hampton-court-palace/visit-us/top-things-to-see-and-do/the-great-vine/#gs.4zyrnrA </ref> The vine is now 4 meters around the base and the longest rod is 36.5 meters.<ref name = "vine"/> The average crop yields 272 kg of grapes each year.<ref name = "vine"/> The grapes are sold during the first 3 weeks of September. <br><br><br />
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==Home Park==<br />
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==The Magic Garden==<br />
The magic garden is the more family friendly garden which is located next to the Tiltyard and the Kitchen Gardens. This garden is a unique, interactive, play garden that was inspired by the history and the stories of the Hampton Court palace and was built on King Henry VIII's tiltyard. This garden is for children ages 5 to 13 and the young at heart who want to explore the tiltyards towers and aerial walkways to the lair of of a mystical fire breathing dragon who protects a jeweled crown and an underground grotto. Bonus there are mystical beasts roaming the grounds!<br />
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==The Kitchen Garden==<br />
This was the home of the food factory for the palace's fruit and vegetables. Currently the garden has been restored to an approximation of its 18th century appearance, the garden was created in the 17th century for William and Mary. Queen Victoria moved the palace gardens to Windsor Castle upon her ascension to the throne, causing the gardens to be leased as market gardens and eventually becoming a pleasure garden in the 1930's. The garden also currently is planted with historically accurate crops, that can be purchases during the summer from the garden stall.<br />
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==The Knot Garden==<br />
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==The Lower Orangery Garden and Terrace==<br />
The lower Orangery Garden used to be the home of the Exotick Plant collection or Queen Mary II, however today the the garden has returned to its former glory. Today the garden houses secret pond garden, which was the original place for the royal courts freshwater fish. <br />
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==The Pond Garden==<br />
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==The Privy Garden==<br />
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The first Privy (Private) Garden at Hampton Court Palace was constructed between 1530 and 158 for King Henry VIII. Its original design was split into two areas, one containing an array of brass sundials and statues, and the other dominated by a bowling alley, a banqueting house and the Water Gallery, which provided a landing stage from the Thames. By 1599, under Elizabeth I, the Privy Garden had acquired an assortment of topiary. Between 1599 and 1659 the Garden's layout changed again to focus on statutory situated on four grass plats. The Garden went through several more redesigns between 1689 and the 19th century, but by the mid-1850s it underwent one of its most extreme changes. The Privy Garden was shaded by large trees and provided a resting point for visitors. By this time the Privy Garden was no longer private, welcoming individuals other than the King and his closest guests<ref name = "pivy">King William III's Privy Garden at Hampton Court Palace. (n.d.). Retrieved May 24, 2017, from https://hrpprodsa.blob.core.windows.net/hrp-prod-container/11049/hampton-court-palace-privy-garden.pdf</ref>.<br />
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The original 1702 layout of the Privy garden was rediscovered during the 1995 restoration effort of the Palace. The Garden was restored to its original state, including the cultivation of the same flowers and shrubs that were first grown here. The Privy Garden was reopened to the public in 1995<ref name = "pivy"/><br />
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==The Rose Garden==<br />
The Rose Garden takes visitors through a relaxing stroll through different roses. Many different colors of roses, like red, pink, and yellow to name a few, line the walls and center of the garden. There are three stone statues that are the centerpiece of the rose garden. The garden was created in 1924 and was planted informally with old English varieties of roses. Visitors first were allowed into the garden when they realized that visitors to the palace were growing in the years after World War I. In 1937, many different gardeners created the formal layout of the mixes of roses that are in the garden today. The kitchen garden was shortened to allow room for the rose garden to be put into place. It used to be part of the Tiltyard Gardens, but was divided up for the kitchen and magic gardens. The Tilityard was where competitors trained for jousting tournaments and other entertainment for King Henry VIII. <br />
<gallery><br />
IMG_0893.JPG|The Rose Garden<br />
IMG_0895.JPG|Statue in The Rose Garden<br />
IMG_0896.JPG|Statue in The Rose Garden<br />
IMG_0898.JPG|Yellow Roses<br />
IMG_0900.JPG|Purple Roses<br />
IMG_0904.JPG|Pink Roses<br />
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==The Royal Tennis Courts==<br />
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==The Wilderness Garden==<br />
In a large part of the gardens off to the west is the wilderness garden. The wilderness garden technically isn't wild at all, but there is no pattern or formal part to the garden. All the garden is is just strolls through woods on dirt paths. The garden was enjoyed by William III and Mary II. They used the garden to get away from the royal palace and immerse themselves into what the actual woods was. Birds and squirrels roamed the trees freely in the wilderness garden and wild flowers grew. Many different types of trees were planted in the garden to give it a variety. The springtime is the best time to visit the wilderness garden since that is when everything in the garden awakes from a deep winter sleep. The birds come chirping back and the wild flowers grow to amazing heights.<br />
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IMG_0873.JPG|Wild Flowers in The Wilderness Garden<br />
IMG_0874.JPG|Modern Walking Path<br />
IMG_0877.JPG|Wall Dividing Gardens<br />
IMG_0881.JPG|Hanging Wild Flowers<br />
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===The Maze===<br />
Inside the wilderness garden is a small maze. The maze was part of the original wilderness forest, but became very popular during Queen Victoria's time when visitors tried to find their own way through the maze. The maze offered high secluded bushes for members of the royal family to walk with lots of privacy from the outside world. Today, the maze has shrunk from its original size, but still holds the prize in the center. In the center of the maze, At the center of the maze (if one is lucky enough to find their way to the center), they will be greeted by a quiet space to talk and sit on benches that Queen Victoria once sat on.<br />
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=References=<br />
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[[Category:History]]</div>
Mthatfalvi
https://londonhuawiki.wpi.edu/index.php?title=Whaling_in_London&diff=18502
Whaling in London
2017-06-21T18:10:20Z
<p>Mthatfalvi: </p>
<hr />
<div>=Whaling in London=<br />
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{{Infobox <br />
|title = Whaling in London<br />
|header1 = Greenland Whaling<br />
|bodystyle = width:25em<br />
|image = [[File:FMIB 32944 Greenland Whaling-Grounds.jpeg|x450px|alt=Article Image]]<br />
|caption = Greenland Whaling <br />
|label2 = '''Artist'''<br />
|data2 = Attributed to Frederick Whymper<br />
|label3 = '''Year'''<br />
|data3 = 1883<br />
|label4 = '''Dimensions'''<br />
|data4 = <br />
|label5 = '''Location'''<br />
|data5 = <br />
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=Overview=<br />
Whaling is a practice from back in the middle ages. In the 17th century, English whalers from the Greenland company started whaling. Overall, the whaling trade has periods of grown and decline. In the time of 1750, whale oil was used as regular oil is used today for lubricating machinery and other stuff. The whaling trade in London since the 1960's has closed due to other better sources of oil. <br />
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=Background=<br />
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==Beginning of Whaling==<br />
According to the London Waling Trade article on the London Port Cities website, the Middle Ages saw the start of the hunting of whales in the Bay of Biscay by Basque fishermen. <ref name = "wal">The London whaling trade. (n.d.). Retrieved May 23, 2017, from http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2633/The-London-whaling-trade.html </ref> Then in the 17th century, English and Dutch whalers working for the Muscovy Company started searching in the Arctic for whales to trade with Russia.<br />
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===Greenland Whaling===<br />
The Greenland Company took over the whaling side of the Muscovy Company because it was granted monopoly rights given by the government. London then had 20 whaling ships in the 1620s. During this whaling time though the English had bitter competition with the Dutch who eventually dominant them by mid 17th century.<br />
<gallery <br />
[[File:Walfang zwischen 1856 und 1907.jpg|300px|thumb|A New England whaler]][[File:Dutch Whaling Scene Bonaventura Peeters.JPG|thumb|right|300px|Dutch Whaling Scene by Bonaventura Peeters (1645)]]<br />
[[File:Cook-whaling.jpg|300px|right|thumb|A view of whale fishery (1790)]]<br />
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==Death of Whaling==<br />
In 1750, whale oil was being used for street lighting, machine lubricating in paint and putty. <ref name = "wal"/> Then the oil was replaced by gas and alternative oil sources. This brought the end to the big whaling industry in London and the last whale ship was sent out in 1835. <br />
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=References=<br />
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=External Links=<br />
[http://www.portcities.org.uk/london/server/show/ConNarrative.129/chapterId/2635/The-London-whaling-trade.html PortCities London Whaling Trade]<br />
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[[Category:History]]</div>
Mthatfalvi