The editorial recuperation of Claudio

Article Abstract:

A controversy exists over the difference between 'literary' and 'theatrical' versions of Shakespearean plays. Editors either fail to acknowledge the text as a theatrical script or create a performance according to the theatrical conventions with which they are familiar. The editor's opinion may be influenced by the imagined staging of a scene. The performance of 'Much Ado About Nothing' may be used to justify the image of Claudio that Shakespeare apparently meant to portray.

Methods, Dramatists, Playwrights, Dramatic criticism, Theater criticism, Much Ado About Nothing (Play)

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"Master Harold" and the Bard: education and succession in Fugard and Shakespeare

Article Abstract:

Athol Fugard's 'Master Harold' and William Shakespeare's 'Henry IV' part 1 and 2 deal with an era of transition using historical setting as a significant dramatic technique. The playwrights depict the growth of a young man during which he is supposed to select from rival ideologies and political visions related by members of the upper and lower classes. Master Harold and the two parts of Henry IV offer close similarity in terms of two young men's dual-father relationships.

Biography, Portrayals, Fathers and sons, Father-son relations, Henry IV, Part 1 (Play), Master Harold... and the Boys (Play), Fugard, Athol

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"Some shall be pardon'd, and some punished": medieval dramatic eschatology in Shakespeare

Article Abstract:

William Shakespeare derived his knowledge of theater from childhood exposure to mystery plays, and incorporated medieval eschatology into his dramas. He saw plays in the Corpus Christi cycle at Coventry. Eschatological influence shows in his works 'Romeo and Juliet,' 'Measure for Measure,' 'Titus Andronicus,' 'The Merchant of Venice,' 'The Taming of the Shrew,' 'The Winter's Tale' and 'The Tempest.'

Influence, Drama, Medieval, Medieval drama, Mysteries and miracle-plays, Miracle plays, Mystery plays (Religious drama)

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