Shakespeare and the Grammar of Forgiveness

Beckwith, Sarah

doi:10.7591/cornell/9780801449789.001.0001

Cited by 77 publications

(13 citation statements)

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“…Fortunately, the company created a professional, theatrical film of the production for educational purposes; however, like many recorded theatrical performances the frisson with the audience is absent. Nevertheless, the recording, coupled 1 See, for example, (Beckwith 2011;Besteman 2019;Goossen 2012;Smith 2018;Shuger 2001;Schleiner 1982;Knight 2001;Whalen 2014;Bradizza 2018;Rust 2019).…”

Section: Triads Liveness Measure For Measure and Cheek By Jowlmentioning

confidence: 99%

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

Bryan

2020

Religions

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Reading Measure for Measure through the logic of substitution has been a long-standing critical tradition; the play seems to invite topical, political, and religious parallels at every turn. What if the logic of substitution in the play goes beyond exchange and seeks out a triadic logic instead? This insistent searching for the triad appears most notably in the performance of Measure for Measure by Cheek by Jowl (2013–2019). Cheek By Jowl’s strategies of touring, simplicity, movement, and liberation create a dynamic and ever-evolving performance. This article puts Cheek by Jowl’s performance of Measure for Measure in conversation with C.S. Peirce’s (and subsequent theorists) explorations of triadic logic with Puttenham’s rhetoric of traductio (repetition with variation, and "tranlacing"), in addition to critical work on substitutions in the play. Tracing the superfluity of substitutions in rhetoric and performance of the play allows us to see how the play refuses binaries, and energizes triadic logic as a means to liveness in performance. Both Shakespeare’s play and the Cheek By Jowl production use a triadic structure which suggests the Trinity, foregrounding the body as a site of mediation and liveness.

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Section: Triads Liveness Measure For Measure and Cheek By Jowlmentioning

confidence: 99%

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

Bryan

2020

Religions

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“…57 Also discussing Cymbeline, Sarah Beckwith argued that the final reconciliation scene 'links the languages of confession, acknowledgment, and recognition to create the unprecedented peace that is the "mark of wonder" in this play, the play that harmonizes Britain with ancient and contemporary Rome'. 58 Her persuasive analysis of religious language and imagery in the last scene shows the creation of a restored community and nation.…”

Section: Past the Size Of Dreaming? Shakespeare' Sromementioning

confidence: 99%

Past the Size of Dreaming? Shakespeare’s Rome

Miola¹,

Holland²

2016

Shakespeare Survey

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Confronting modernity, the speaker in 'The Wasteland' recalled the ancient hero and Shakespeare's play (his 'most assured artistic success', Eliot wrote elsewhere) as fragments of past grandeur momentarily shored against his present ruins. Contrarily, Ralph Fiennes revived Coriolanus in his 2011 film because he thought it a modern political thriller: For me it has an immediacy: I know that politician getting out of that car. I know that combat guy. I've seen him every day on the news and in the newspaperthat man in that camouflage uniform running down the street, through the smoke and the dust. I've seen the people protesting on the streets, in their hoodies and jeans. You know, that's our world. 1 1 Ralph Fiennes in Christopher Wallenberg, 'Stage to Screens: Ralph Fiennes Talks to Playbill.com About Wrestling Coriolanus Onto the Big Screen', Playbill, 20 November 2011,p .2, www.playbill.com/news/article/stage-to-screensralph-fiennes-talks-to-playbill.com-about-wrestling-coriol-184750

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“…Reformation Protestants encountered difficulty when they tried to know whether inward remorse and penance had adequately absolved them of sin so that they could genuinely feel satisfaction. 47 This was largely because of their solitude: a reality that derived from their having no priest with whom to share their guilt's painful burden, so that he could prescribe a set number of ritual acts, such as saying so many Hail Marys, that could absolve them fully. 48 But even as the authorities would not allow the Church of England marriage ceremony onstage, they would not allow any explicit Roman Catholic liturgy.…”

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confidence: 99%

Much Ado About Nothing and pain

Hunt

2018

Cahiers Élisabéthains

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Shakespeare's Much Ado About Nothing especially focuses upon pain. A great build-up of physically but mainly verbally caused pain dissolves in the play's final episodes. This essay explores this paradox by analysing the pain Beatrice and Benedick, Don John, Claudio and Hero, Leonato and Anthony feel and mutually inflict. Variously charged by local dramatic contexts, such suffering invites the application of past and contemporary theories of pain for its fullest interpretation in this comedy. The possibility of empathy depends in the case of Much Ado upon this application.

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Shakespeare and the Grammar of Forgiveness

Cited by 77 publications

References 0 publications

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

“Fantastic Tricks before High Heaven,” Measure for Measure and Performing Triads

Past the Size of Dreaming? Shakespeare’s Rome

Much Ado About Nothing and pain

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