'Touchstone', a court jester, features in which Shakespeare comedy?
"Baltimore, Chicago Shakespeare Theatre, Illinois Shakespeare Festival, Colorado Shakespeare Festival, the Mark Taper Forum of Los Angeles, Organic Touchstone, Bailiwick Theatre, and the Chicago Humanities Festival, among other theatres. As an actor, Fink appeared in the Chicago premiere of David Hare's ""Racing Demon"" at the Organic/Touchstone Theatre and in ""Hamlet, The Comedy of Errors"" and ""As You Like It"" for the Colorado Shakespeare Festival. Fink has directed and acted in over 100 productions in university and regional productions across the country, including the world premiere of Jean-Claude Van Italie's ""Ancient Boys"", at the University of Colorado, and of his own"
"Eastward Hoe Eastward Hoe or Eastward Ho! is an early Jacobean-era stage play written by George Chapman, Ben Jonson, and John Marston. The play was first performed at the Blackfriars Theatre by a company of boy actors known as the Children of the Queen's Revels in early August 1605, and it was printed in September the same year. ""Eastward Ho!"" is a citizen or city comedy about Touchstone, a London goldsmith, and his two apprentices, Quicksilver and Golding. The play is highly satirical about social customs in early modern London, and its anti-Scottish satire resulted in a notorious scandal in"
"play's parodic treatment of Terentian comedy. The plot centres on the loss of a needle belonging to Gammer Gurton. It is eventually found when her servant, Hodge, is slapped on the buttocks by the trickster figure Diccon and discovers it in the seat of his breeches. John Still John Still (c. 1543 – 26 February 1607/8), bishop of Bath and Wells, enjoyed considerable fame as a preacher and disputant. He was formerly reputed to be the author of the early English comedy drama ""Gammer Gurton's Needle"" (see below). He was born 1543 at Grantham, Lincolnshire. After finishing his schooling at"
"In Shakespeare's elaborated version of the event, Cade strikes London Stone with a staff rather than a sword, then seats himself upon the Stone as if on a throne, to issue decrees and dispense rough justice to a follower who displeases him. In 1598, London Stone was again brought to the stage, in William Haughton's comedy ""Englishmen for My Money"", when three foreigners, being led about on stage through the supposedly pitch-black night-time streets of London, blunder into it. Later, London Stone was to play an important but not always consistent role in the visionary writings of William Blake. Thus"
"thunderbolt. The ghosts fall on their knees."" The actors in Shakespeare's company included the famous Richard Burbage, William Kempe, Henry Condell and John Heminges. Burbage played the leading role in the first performances of many of Shakespeare's plays, including ""Richard III"", ""Hamlet"", ""Othello"", and ""King Lear"". The popular comic actor Will Kempe played the servant Peter in ""Romeo and Juliet"" and Dogberry in ""Much Ado About Nothing"", among other characters. He was replaced around 1600 by Robert Armin, who played roles such as Touchstone in ""As You Like It"" and the fool in ""King Lear"". In 1613, Sir Henry Wotton"
"natural for our whetstone""). Often he tries to show off his wit and intelligence by making some wise comments and references. Touchstone compares himself to Ovid and Jaques likens him to Jove in Ovid's ""Metamorphoses"". The word ""touchstone"" appears in Book II of the second 1575 edition of Arthur Golding's translation of this work. in which Mercury tricks Battus into revealing the whereabouts of the cattle of Apollo which Mercury himself has stolen and punishes Battus by turning him into a touchstone. In ""Shakespeare's Clown,"" David Wiles suggests that Robert Armin played the part of Touchstone in the first productions"
"quarter of the 20th century, Pounds appeared regularly in London in a variety of roles ranging from Shakespeare to variety. He established himself as a popular Shakespearean character actor with Tree's company, as the clown Feste in ""Twelfth Night"" (1901), the preposterous Sir Hugh Evans in ""The Merry Wives of Windsor"", and Touchstone in ""As You Like It"" (1907), of which ""The Times"" said he ""acts even better than he sings, which is, of course, saying a good deal."" ""The Manchester Guardian"" wrote of him, ""Courtice Pounds had all that Shakespeare asked of his clowns – the gift of song"
"written for the particular talents of famous Elizabethan actor, William Kempe. After Kempe left the troupe, Shakespeare's comic characters changed dramatically. Kempe was known for his improvising, and ""Hamlet"" contains a famous complaint at improvisational clowning (Act 3, Scene 2). Perhaps central to the Bard's redrawing of the fool was the actor Robert Armin: ... Shakespeare created a whole series of domestic fools for [Ar- min]. [His] greatest roles, Touchstone in ""As You Like It,""(1599), Feste in ""Twelfth Night,""(1600), and (the) fool in ""King Lear,""(1605); helped Shakespeare resolve the tension between thematic material and the traditional entertainment role of the"
"alter it so much that it became almost unrecognisable. However, Dibdin did accept two clever emendations suggested by Garrick, which resulted in a reconciliation between the two men: it is claimed that Garrick's very last step upon the stage was during a rehearsal for ""The Touchstone"" a night or two before the opening. Covent Garden productions continued with ""The Chelsea pensioners"", and ""The Mirror, or, Harlequin everywhere"" (a pantomime) (both 1779), and in 1780 the comic opera ""The Shepherdess of the Alps"", and the three-act opera ""The Islanders"", most of which was re-presented as a two-act farce called ""The Marriage"
"which King James was offended and the play's authors were imprisoned. ""Eastward Ho!"" also references, even parodies, popular plays performed by adult companies such as ""The Spanish Tragedy"", ""Tamburlaine"", and ""Hamlet"". The play's title alludes to ""Westward Ho!"" by Thomas Dekker and John Webster who also wrote ""Northward Ho!"" in response that same year""."" William Touchstone, a London goldsmith, chastises his apprentice Francis “Frank” Quicksilver for his laziness and prodigality. Concerned with his reputation, he tells Quicksilver to consider his actions with the catchphrase, ""Work upon that now!"" (1.1.10-1). Touchstone also warns Quicksilver against dishonest business and bad company, but"
"Shakespeare. Most of Shakespeare's romance plays appeared late in his life and include plays such as ""The Tempest"" and ""Cymbeline"". ""Comedy"", in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. Patterns in the comedies include movement to a ""green world"", both internal and external conflicts, and a tension between Apollonian and Dionysian values. Shakespeare's use of comedy and characters of comedic value was not limited to his"
"facsimile text at Internet Archive. Histriomastix (play) Histriomastix or The Player Whipped is a late Elizabethan play, written by the satirist John Marston and acted in 1599. It was previously thought that the play was likely acted by the Children of Paul's, one of the companies of boy actors active at the time; but more recent research suggests that ""Histriomastix"" was performed at the 1598–9 Christmas revels of the Middle Temple. (Plays acted at the Inns of Court could take an approach opposite to that of the professionals, maximizing rather than minimizing the number of roles to make room for"
"play by Lucinda Coxon at the National Theatre, London. He was seen in David Eldridge's ""Under The Blue Sky"", which ran from July to September 2008 at the ""Duke of York's Theatre"", London, then from December 2009 in Martin Crimp's version of Molière's comedy ""The Misanthrope"" at the Comedy Theatre, London. In summer 2009, he appeared as Touchstone in Shakespeare's ""As You Like It"" at the ""Globe Theatre"", where he also appeared in the title role of ""Henry VIII"" in 2010. In July 2011 he appeared at the Royal Court alongside Romola Garai in ""The Village Bike"". In 2012 he"
"lesser extent, juggling and acrobatics. Shakespeare not only borrowed from this multi-talented jester tradition, but contributed significantly to its rethinking. Whereas the court jester often regaled his audience with various skills aimed to amuse, Shakespeare's fool, consistent with Shakespeare's revolutionary ideas about theater, became a complex character who could highlight more important issues. Like Shakespeare's other characters, the fool began to speak outside of the narrow confines of exemplary morality. Shakespeare's fools address themes of love, psychic turmoil, personal identity, and many other innumerable themes that arise in Shakespeare, and in modern theater. Shakespeare's earlier fools often seem to be"
"much, but think the more"" (4.1.85) and ""Not I, my thoughts aim at a further matter:/I stay not for love of Edward but the crown"" (141.124–125); Warwick's ""O unbid spite, is sportful Edward come"" (5.1.18); the entirety of Richard's soliloquy in Act 5, Scene 6, after killing Henry (ll.61–93) and Richard's ""To say the truth, so Judas kissed his master/And cried 'All hail', whenas he meant all harm"" (5.7.33–34). The play also featured in ITV's ""Will Shakespeare"", a 1978 six-part (heavily fictionalised) biopic of Shakespeare (Tim Curry), written by John Mortimer. Episode one, ""Dead Shepherd"", focuses on Shakespeare's apprenticeship to"
"Beware Women"", and the cynically satirical city comedy ""A Chaste Maid in Cheapside"". Earlier editions of ""The Revenger's Tragedy"" attributed the play to Cyril Tourneur, or refused to arbitrate between Middleton and Tourneur. Since the statistical studies by David Lake and MacDonald P. Jackson, however, Middleton's authorship has not been seriously contested, and no further scholar has defended the Tourneur attribution. The Oxford Middleton and its companion piece, ""Thomas Middleton and Early Modern Textual Culture"", offer extensive evidence both for Middleton's authorship of ""The Revenger's Tragedy"", for his collaboration with Shakespeare on ""Timon of Athens"", and for his adaptation and"
"Histriomastix (play) Histriomastix or The Player Whipped is a late Elizabethan play, written by the satirist John Marston and acted in 1599. It was previously thought that the play was likely acted by the Children of Paul's, one of the companies of boy actors active at the time; but more recent research suggests that ""Histriomastix"" was performed at the 1598–9 Christmas revels of the Middle Temple. (Plays acted at the Inns of Court could take an approach opposite to that of the professionals, maximizing rather than minimizing the number of roles to make room for enthusiastic amateurs. Without doubling, a"
"in ""The School for Scandal"" and Foresight in ""Love for Love"". By the early 1840s, Compton had earned the reputation of being the best Shakespearian clown of his age both in London and in the provinces. He performed for three years at the Princess's Theatre, London, famously playing Touchstone in ""As You Like It"" in 1844. He also played at the Olympic Theatre for three years, then the Royal Strand Theatre. In 1853 he joined the company at the Haymarket Theatre, where he originated roles in important new plays. He also won praise as Mr. Cox in revivals of ""Box"
"he may also have played with the company at the Curtain, while Kempe was still a member. Armin is generally credited with all the ""licensed fools"" in the repertory of the Chamberlain's and King's Men: Touchstone in ""As You Like It"", Feste in ""Twelfth Night"", the Fool in ""King Lear"", Lavatch in ""All's Well That Ends Well"", and perhaps Thersites in ""Troilus and Cressida"", the Porter in ""Macbeth"", the Fool in ""Timon of Athens"", and Autolycus in ""The Winter's Tale"". Of these eight, Touchstone is the fool about which there is the most critical discussion. Harold Bloom describes him as"
"all the play’s cheery light fantastic [it] contains altogether more truth than is quite comfortable."" The play was revived in a performance at the Hampstead Theatre in 2009 as part of the celebrations of the theatre’s 50th anniversary. Three comedies: ""The Trial of St George"", a satire on British justice when dealing with sexuality, inspired by the Oz Trial; ""Why Mrs Neustadter Always Loses"", a wry monologue by an American divorcee exiled on a Greek island; and ""Keep It in the Family"", a satire concerning a happy incestuous family (which Colin Spencer also directed) appeared between 1972 and 1978 at"
"if any, has long been a topic of dispute among scholars. The least disputed facts of the matter yield a schema like this: Apparently Jonson and Marston later came to terms and even collaborated with George Chapman on the play ""Eastward Hoe"" in 1605. That play offended King James with its anti-Scottish satire, a part apparently written by Marston. While Marston evaded capture, Jonson and Chapman ended up in jail as a result. Shakespeare probably alludes to The War of the Theatres in a scene between Hamlet and Rosencrantz and Guildenstern: Scholars differ over the true nature and extent of"
"of the 4th century BC. However, it is more probable that the ""comici"" used contemporary novella, or, traditional sources as well, and drew from current events and local news of the day. Not all scenari were comic, there were some mixed forms and even tragedies. Shakespeare's ""The Tempest"" is drawn from a popular scenario in the Scala collection, his Polonius (""Hamlet"") is drawn from Pantalone, and his clowns bear homage to the ""zanni"". ""Comici"" performed written comedies at court. Song and dance were widely used, and a number of ""innamorati"" were skilled madrigalists, a song form that uses chromatics and"
"Poetaster (play) Poetaster is a late Elizabethan satirical comedy written by Ben Jonson that was first performed in 1601. The play formed one element in the back-and-forth exchange between Jonson and his rivals John Marston and Thomas Dekker in the so-called ""Poetomachia"" or War of the Theatres of 1599–1601. ""Poetaster"" was entered into the Stationers' Register on 21 December 1601, and was first published in quarto in 1602 by the bookseller Matthew Lownes. The title page of the first edition states that the play was performed by the Children of the Chapel, one of the companies of boy actors popular"
"and elsewhere. At the Princess's Theatre, London, where he performed for three years, he famously played Touchstone in Shakespeare's ""As You Like It"" in 1844. He was then at the Olympic Theatre, where he also remained three years. After the Olympic burned down, he moved to the Royal Strand Theatre. In 1853 he joined the company of John Baldwin Buckstone at the Haymarket Theatre, where he originated the role of Blenkinsop in ""An Unequal Match"" by Tom Taylor, Sir Solomon Frazer in Taylor's ""The Overland Route"", De Vaudray in ""A Hero of Romance"" by Westland Marston, and Captain Mountraffe in"
"the Yorkshire Television series, ""Justice"", opposite Margaret Lockwood, his offscreen partner of seventeen years. Subsequently, he appeared in the BBC series, ""Flesh and Blood"" (1980–82) and ""Strike it Rich"" (1986/87). Under his birth name of John Hailstone, he authored ""A Present for the Past"", a play premiered at the Royal Lyceum Theatre, Edinburgh, as part of the Edinburgh International Festival of 1966. It starred Wendy Hiller, Renee Asherson, and Gwen Ffrangcon-Davies, and was produced by Michael Codron. John Stone (actor) John Stone (26 May 1924 – 2007) was a Welsh actor. Born in Cardiff, Glamorgan, Wales as John Hailstone, Stone"
"play in collaboration. ""Eastward Ho"" (1605), written with Jonson and John Marston, contained satirical references to the Scottish courtiers who formed the retinue of the new king James I; this landed Chapman and Jonson in jail at the suit of Sir James Murray of Cockpool, the king's ""rascal[ly]"" Groom of the Stool. Various of their letters to the king and noblemen survive in a manuscript in the Folger Library known as the ""Dobell MS,"" and published by AR Braunmuller as ""A Seventeenth Century Letterbook"". In the letters, both men renounced the offending line, implying that Marston was responsible for the"
"and developed in the early Beaumont and Fletcher collaborations. Tragicomedies made a pretence at ""grave stuff,"" but invariably provided a happy ending with light entertainment. Shakespeare's romances are more sharply tragicomic than his comedies: threats of death and scenes of suffering are more acute. Encounters with the supernatural are also more direct and emphatic. The other influence was the extreme elaboration of the courtly masque being stage in the same period by Ben Jonson and Inigo Jones. Key scenes in the late romances are closely related to court masques: They embrace the visual magnificence but also the shallowness of such"
"John Baldwin Buckstone John Baldwin Buckstone (14 September 1802 – 31 October 1879) was an English actor, playwright and comedian who wrote 150 plays, the first of which was produced in 1826. He starred as a comic actor during much of his career for various periods at the Adelphi Theatre and the Haymarket Theatre, managing the Haymarket from 1853 to 1877. Buckstone was born in Hoxton, London, the son of John Buckstone, a retired shopkeeper, and his wife Elizabeth (née Baldwin). He was educated at Walworth Grammar School and was briefly apprenticed on a naval ship at age 10 but"
"The Comedy of Errors The Comedy of Errors is one of William Shakespeare's early plays. It is his shortest and one of his most farcical comedies, with a major part of the humour coming from slapstick and mistaken identity, in addition to puns and word play. ""The Comedy of Errors"" is, along with ""The Tempest"", one of only two Shakespearean plays to observe the Aristotelian principle of unity of time—that is, that the events of a play should occur over 24 hours. It has been adapted for opera, stage, screen and musical theatre numerous times worldwide. In the centuries following"
"The Tempest (Dryden and D'Avenant play) The Tempest, or The Enchanted Island is a comedy adapted by John Dryden and William D'Avenant from Shakespeare's comedy ""The Tempest"". The musical setting, previously attributed to Henry Purcell, and probably for the London revival of 1712, was very probably by John Weldon. The Dryden/D'Avenant adaptation was first performed at the Duke's Theatre in Lincoln's Inn Fields, London, on 7 November 1667, and published in 1670. It is written partly in blank verse and partly in a sort of rhythmic prose. The play was revised and revived a number of times, and adapted as"
"(today part of Hoxton). Tried on a charge of manslaughter, Jonson pleaded guilty but was released by benefit of clergy, a legal ploy through which he gained leniency by reciting a brief bible verse (the neck-verse), forfeiting his 'goods and chattels' and being branded on his left thumb. While in jail Jonson converted to Catholicism, possibly through the influence of fellow-prisoner Father Thomas Wright, a Jesuit priest. In 1598 Jonson produced his first great success, ""Every Man in His Humour"", capitalising on the vogue for humorous plays which George Chapman had begun with ""An Humorous Day's Mirth"". William Shakespeare was"
"his car to escape the conflict, but John, despite claiming repeatedly that Richard is abusing him, joins his stepfather in the car and harasses him. The play ends with John trying to shove a banana-flavored cereal bar into his stepfather's throat; Richard, hitherto a passive character, reacts ""out of sheer desecrated hurt and anger"" by ""swinging a deadly blow"" at the boy. In a second play, ""Mr. Brownstone"", written for another class assignment, Cho depicts three seventeen-year-olds (John, Jane and Joe), who sit in a casino while discussing their deep hatred for Mr. Brownstone, their 45-year-old mathematics teacher. The three"
"While Webster's drama was generally dismissed in the eighteenth and nineteenth centuries, there has been ""a strong revival of interest"" in the 20th century. Other revenge tragedies include ""The Changeling"" written by Thomas Middleton and William Rowley, ""The Atheist's Tragedy"" by Cyril Tourneur, first published in 1611, Christopher Marlowe's ""The Jew of Malta"", ""The Revenge of Bussy D'Ambois"" by George Chapman, ""The Malcontent"" (c. 1603) of John Marston and John Ford's ""'Tis Pity She's a Whore"". Besides ""Hamlet"", other plays of Shakespeare's with at least some revenge elements, are ""Titus Andronicus"", ""Julius Caesar"" and ""Macbeth"". George Chapman (?1559-?1634) was a"