Search Results (6)

In the period between 2021 and 2022 immediately following the COVID-19 lockdowns, there were 37 professional or academic productions of The Tempest in the United States. The play was by far the most produced of Shakespeare’s works in this timespan, and those 37 productions represent a 280% increase compared to 2019, in which there were 13 such productions. Considering The Tempest’s hyper-popularity within the context of the Black Lives Matter Movement and the birth of We See You White American Theatre’s calls for reform in 2020, this paper seeks to understand anew the way in which Shakespeare constructs blackness in the play. Indeed for all of its beauty and magic, The Tempest stages a violent anti-blackness in its treatment of Caliban. In particular, I argue an unexplored connection between The Tempest and Ben Jonson’s 1605 court masque, The Masque of Blackness, itself an exploration of the construction of race for a particular early modern audience. My exploration here began as a partial answer to a question posed by Robin Alfriend Kello: “how do you balance [an] attraction to the richness of Shakespearian verse against these layered histories of racial violence and exclusion?” A deeper understanding of Shakespeare’s version of blackness may grant insights into areas of intervention for those theaters reaching for The Tempest amidst national calls for anti-racist theatrical work. Full article

The article discusses early modern English plays from the 1590s to the 1610s, set in or referring to the Mediterranean, which feature Black African characters in marginal roles. These characters are ‘spectral’ in that they have no speaking part but appear briefly as attendants, servants, musicians, or indeed slaves. The article argues that their spectrality evokes the presence of Black African slaves in the Mediterranean, which has often been ignored in Early Modern Studies. However, through these characters Black slavery is turned into a mere spectacle, performed for the gaze of the theatre audience in early modern London. Full article

Recent studies of the conceptualization of the Devil in the early modern period have pointed to the shifting theological and philosophical coordinates, which made possible a diverse spectrum of representation of diabolical evil—from Francis Bacon’s naturalistic scepticism to King James’s supernatural demonology. Shakespeare has always been central to this discussion but has not yet been placed in a contextual frame that incorporates the rise of scholarly interest in the diabolical. This article interprets Shakespeare’s representation of diabolical evil in Hamlet (1601), Othello (1603), Measure for Measure (1604) and Macbeth (1606) as constituted by a complex tension between natural and supernatural ideas about the origin of evil. Drawing on a raft of recent scholarship on representations of witchcraft and devils in the period, I show that diabolical figures in the universe of Shakespeare during the period of great tragedies between 1601 to 1606 exist in two modes of representation: as a persistent magical ambience and as a localized agent. Ambivalence is expressed in the hesitation between these opposing theological modes and is evident in the way that the Devil’s material agency is obscured and left unresolved. Viewing this through the lens of the fantastic as an ontological uncertainty that results in epistemological hesitation helps us to frame Shakespeare’s ambivalence, which at least in part originates in the ambivalent theology of Calvin. The analysis thereby positions hesitation and diabolic temptation in line with Calvin’s theology and shows how Calvin’s framework of secular evil presents an intellectual context through which Shakespeare’s ambiguity can be understood in theological terms. Full article

This article focuses on Guercino’s Return of the Prodigal Son, commissioned in the name of Cardinal Alessandro Ludovisi and on his marketing choices. This is a case study in terms of self-promotion tactics employed by an ambitious artist. My argument is that one finds in the painting a secondary and more sophisticated level of interpretation, which relates to the relationship between the painter and his patron. To the most traditional iconography of the scene, Guercino added musicians and spectators, thus positioning the entire composition in the theatre. One of the musicians is depicted in a way that casts him as a representative of the painter. The patron understood Guercino’s intentions and commissioned what became Guercino’s most important artworks. It was Guercino’s ability of shifting the attention of a given iconography and deliver current political meaning that is discernible in his Roman works commissioned by the same Cardinal Ludovisi who was elected Pope Gregory XV. Full article

Walter Burley Griffin and Marion Mahony Griffin synthesized a modern crystallized interior within their Capitol Theatre design (1920–24) in Melbourne. The Capitol’s auditorium, a mine-like cavity, houses a constructed landscape, elucidating the link between architecture and geological references. Ornamented with prefabricated stepped plasterwork, the auditorium is inserted with opal-coloured light technologies. Through the concept of the “constructed landscape”, this article traces the garish luxury elements found within the Griffins’ Capitol auditorium to understand the design associations between Paul Scheerbart’s Expressionist writings on crystal-glass iconography and William Le Baron Jenney’s symbolic crystal cave. The Griffins’ architectural contribution to the Australian entertainment industry conveys both Jugendstil garden effects and Mesoamerican echoes through its elaborative prismatic ridges. Owing to its transcendental opal allusions, the Capitol’s auditorium shows a constructed landscape model and constitutes a form of garish luxury, exemplifying early Australian glamour. Full article

Sound drama production prior to the onset of the “Radio Age” underwent a pioneering development during the Great War. This was achieved by the making, publication and distribution of short audio dramas acted with sound effects and music in front of early microphones and released in the form of 78 rpm phonograph discs. Entertaining storytelling through dramatic performance was mobilized for the purposes of improving recruitment and disseminating patriotic endorsement recordings. This article focuses on the sound dramatization of the myth of “The Angels of Mons” released by Regal in 1915. The recording is examined as a text for its significance in terms of propaganda, style of audio-drama, and any cultural role it may have played in the media of the First World War. The Regal disc was an example of what was described at the time as “descriptive sketches.” This article explores why a sound phonograph was used to dramatize the myth that angels intervened to assist the British Expeditionary Force to resist the German Army invading France through Belgium in 1914. A number of historians have discussed the First World War as being a theatre for the first modern media war, in which the process of propaganda was modernized. To what extent does “The Angels of Mons” phonograph and the genre of descriptive sketches support this analysis? Does this short sound drama play have any relevance to the cultural phenomena of spiritualism, modernism and patriotic Christianity identified as being important during the Great War period? Full article