"if at the end of a performance. A statue was created for Logan Circle, Philadelphia in 1926, designed by Alexander Stirling Calder. It does not depict Shakespeare himself, but rather the figures of Touchstone the jester from ""As You Like It"", representing comedy, and Hamlet, representing tragedy. Touchstone is lounging with his head tilted laughing, his feet hanging over the top of the tall stone pedestal and his left arm resting on Hamlet's legs. Hamlet is seated, brooding, his knife dangling over Touchstone's body. The opening lines of the famous All the world's a stage speech from ""As You Like"
"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"
"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"
"""he"" will take Rosalind's place and that ""he"" and Orlando can act out their relationship. The shepherdess, Phebe, with whom Silvius is in love, has fallen in love with Ganymede (Rosalind in disguise), though ""Ganymede"" continually shows that ""he"" is not interested in Phebe. Touchstone, meanwhile, has fallen in love with the dull-witted shepherdess, Audrey, and tries to woo her, but eventually is forced to be married first. William, another shepherd, attempts to marry Audrey as well, but is stopped by Touchstone, who threatens to kill him ""a hundred and fifty ways."" Finally, Silvius, Phebe, Ganymede, and Orlando are brought"
"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"
"The Careless Shepherdess The Careless Shepherdess is a Jacobean era stage play, a pastoral tragicomedy generally attributed to Thomas Goffe. Its 1656 publication is noteworthy for the introduction of the first general catalogue of the dramas of English Renaissance theatre ever attempted. The dates of authorship and first performance for the play are not known with any certainty; the 1619–29 era is usually cited, with ""c. 1625"" as a common approximation. The play was revived at the Salisbury Court Theatre in 1638, and also was twice performed at Court before King Charles I and Queen Henrietta Maria, in 1629 and"
"English Renaissance drama. The Careless Shepherdess The Careless Shepherdess is a Jacobean era stage play, a pastoral tragicomedy generally attributed to Thomas Goffe. Its 1656 publication is noteworthy for the introduction of the first general catalogue of the dramas of English Renaissance theatre ever attempted. The dates of authorship and first performance for the play are not known with any certainty; the 1619–29 era is usually cited, with ""c. 1625"" as a common approximation. The play was revived at the Salisbury Court Theatre in 1638, and also was twice performed at Court before King Charles I and Queen Henrietta Maria,"
"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"
"was not contemptuous of popular theatre, and included many scenes and lines that were influenced by ""Hamlet"" and ""Antonio's Revenge"" in his tragedy, ""Orestes"". ""Phoenissae"" has also been attributed to Goffe. It was probably performed at Christ Church in 1619 but is now lost. Goffe is also believed by some to have authored ""The Careless Shepherdess"", a pastoral that was probably produced at Christ Church between 1618 and 1629, and later revised and produced by Queen Henrietta's Men around 1638. However, the argument against this belief is that Goffe could not have authored the pastoral because of the statement on"
"to walk out onto the roadway, Lord Redbrick has the other red gnomes glue Juliet's feet to her fountain because he does not want to lose her like he lost her mother. Gnomeo's mushroom friend, Shroom, finds out that Gnomeo is still alive as a blue teapot fell out of the truck, and a dog has carried him to a nearby park. He and Featherstone eventually reaches the park where Gnomeo climbs onto a statue of William Shakespeare (Patrick Stewart) and tells him his story. Shakespeare tells Gnomeo that his story is very similar to his own writing, of Romeo"
"encounters Rosalind, and it is love at first sight. Frederick then becomes angry, and banishes Rosalind. Celia decides to accompany her, along with a jester, Touchstone (Mackenzie Ward). Rosalind and Celia disguise themselves as ""Ganymede"", a boy, and ""Aliena"", respectively, and venture into the Forest of Arden, where they eventually encounter the exiled Duke. Orlando, deeply in love, posts love poems on the trees in praise of Rosalind. Orlando comes across Ganymede, who tells him he can teach Orlando how to cure love by pretending to be Rosalind. At the same time, Phoebe (Joan White), a shepherdess, falls in love"
"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"
"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"
"& executed. I was much amused, & it appeared to excite a breatheless eagerness in the audience."" Set in Geneva 'and its vicinity', Peake's adaptation of Mary Shelley's novel portrays the story of Frankenstein as he creates a mute blue-skinned Creature, known as the Hobgoblin. Often shown through the concerned eyes of his bumbling servant, Fritz, and his esteemed friend, Clerval, Frankenstein's work is brought to light. This play brings Mary Shelley's famous characters to life in a series of three acts, each of which highlight the important themes of community and romance. In the opening scene, Clerval shows concern"
"Shakespeare plays by contemporary writers, Margaret Atwood's 2016 novel ""Hag-Seed"" is based on ""The Tempest"". ""The Tempest"" first appeared on the screen in 1905. Charles Urban filmed the opening storm sequence of Herbert Beerbohm Tree's version at Her Majesty's Theatre for a -minute ""flicker"", whose individual frames were hand-tinted, long before the invention of colour film. In 1908, Percy Stowe directed a ""Tempest"" running a little over ten minutes, which is now a part of the British Film Institute's compilation ""Silent Shakespeare"". Much of its action takes place on Prospero's island before the storm which opens Shakespeare's play. At least"
"Water"" premiered at the Edinburgh Festival Fringe, produced by Graeae Theatre Company and Theatre Royal Plymouth, it then toured in early 2016, with a run at the National Theatre in March 2016. Thorne wrote the stage play ""Harry Potter and the Cursed Child"", based on an original story by Thorne, J.K. Rowling and John Tiffany, which is running at the Palace Theatre in London's West End since August 2016, and on Broadway in New York City since April 2018. Together with the composer Stephen Warbeck, Thorne wrote ""Junkyard"", a musical about coming-of-age in Lockleaze, an Adventure playground in Bristol. His"
"(""Bartholomew Fair"", however, was first printed in 1631, an event that may have stimulated the trend of the 1630s.) And later plays, like William Wycherley's ""Love in a Wood, or St. James's Park"" (1671) and Thomas Shadwell's ""Epsom Wells"" (1672) and ""Bury Fair"" (1689) among other examples, continued the subgenre of ""topographical comedy"". Brome's play involves the sexual themes, generational conflicts, and the confidence tricks that are typical of his drama. Touchwood and Striker are two London neighbours, both justices of the peace; they maintain a vigorous and long-running quarrel. Their hostility is counterpointed by the affection of their heirs:"
"him to acquire the love of Ganymede whom she loves. She constantly rebukes and insults Silvius, yet he longs for her love. Rosalind feels sympathy for him and scolds him for having become a 'tame snake' because of his passion for Phoebe. Finally, he marries Phoebe with the clever manipulation of Rosalind. Audrey is a homely, ugly and ignorant shepherd girl. Touchstone introduces her to the Duke as 'a poor virgin, sir, an ill-favoured thing, sir, but mine own'. She is attracted by the courtly manners and wit of Touchstone and Touchstone probably discovers in her rich honesty. Touchstone falls"
"small children to play with and a dog to tease, and sews their shirtsleeves closed to welcome them properly! ""Cymbeline,"" the play that Emily and Jessup see being rehearsed at their father's theatre, is one of William Shakespeare's last plays. It details the adventures of Princess Imogen (played in this version by the actress Meg), whose father King Cymbeline refuses to let her marry the noble but poorly born knight Leonates Posthumus. King Cymbeline instead insists that she marry her stepbrother, the evil Prince Cloten. Imogen runs away into the Welsh mountains, where she meets Morgan (played in this production"
"are essentially religious and based on ""the old, old story""; this is evoked in a number of works, from the use of popular songs in ""Pennies from Heaven"" to Potter's gnostic retelling of Jesus' final days in ""Son of Man"". The device of a disruptive outsider entering a claustrophobic environment is another recurring theme. In plays where this occurs, the outsider will commit some apparently liberating act of evil (rape in ""Brimstone and Treacle"") or violence (murder in ""Shaggy Dog"") that gives physical expression to the unsublimated desires of the characters in that setting. While these more malevolent visitors are"
"flaws, which overturn order and destroy the hero and those he loves. In his final period, Shakespeare turned to romance or tragicomedy and completed three more major plays: ""Cymbeline"", ""The Winter's Tale"" and ""The Tempest"", as well as the collaboration, ""Pericles, Prince of Tyre"". Less bleak than the tragedies, these four plays are graver in tone than the comedies of the 1590s, but they end with reconciliation and the forgiveness of potentially tragic errors. Shakespeare collaborated on two further surviving plays, ""Henry VIII"" and ""The Two Noble Kinsmen"", probably with John Fletcher. Other important figures in the Elizabethan theatre include"
"shepherdess Phoebe. Thus behind the conventions of Elizabethan theater in its original setting, the young boy playing the girl Rosalind dresses up as a boy and is then courted by another boy playing Phoebe. When painter-architect Baldassare Peruzzi included a panel of ""The Rape of Ganymede"" in a ceiling at the Villa Farnesina, Rome, (""ca"" 1509–1514), Ganymede's long blond hair and girlish pose make him identifiable at first glance, though he grasps the eagle's wing without resistance. In Antonio Allegri Correggio's ""Ganymede Abducted by the Eagle"" (Vienna) Ganymede's grasp is more intimate. Rubens' version portrays a young man. But when"
"Parasitaster, or The Fawn Parasitaster, or The Fawn is an early Jacobean play, written by the dramatist and satirist John Marston in 1604, and performed by the Children of the Queen's Revels in the Blackfriars Theatre. The play was entered into the Stationers' Register on 12 March 1606, and published later that year, in two separate states: the Epistle in the second states that it is a corrected version of the first, by the author. An apparent allusion in IV,i, 310 to the bloody execution of Sir Everard Digby on 30 January 1606, indicates that Marston revised the play after"
"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"
"been the first play Shakespeare wrote for the new company; it was followed over the next two years by a concentrated burst of creativity that resulted in ""Romeo and Juliet"", ""Love's Labours Lost"", ""The Merchant of Venice"", and the plays in the so-called second tetralogy. The extent and nature of the non-Shakespearean repertory in the first is not known; plays such as ""Locrine"", ""The Troublesome Reign of King John"", and Christopher Marlowe's ""Edward II"" have somewhat cautiously been advanced as likely candidates. The earliest non-Shakespearean play known to have been performed by the company is Ben Jonson's ""Every Man in"
"Edward Albee Edward Franklin Albee III ( ; March 12, 1928 – September 16, 2016) was an American playwright known for works such as ""The Zoo Story"" (1958), ""The Sandbox"" (1959), ""Who's Afraid of Virginia Woolf?"" (1962), and ""A Delicate Balance"" (1966). Three of his plays won the Pulitzer Prize for Drama, and two of his other works won the Tony Award for Best Play. His works are often considered as frank examinations of the modern condition. His early works reflect a mastery and Americanization of the Theatre of the Absurd that found its peak in works by European playwrights"
"his plan to return to individual performances. He may have had a hand in the bad quartos of ""Hamlet"" and ""The London Prodigal"", in which the clown parts are unusually accurate. Whatever the reason for his departure, Kempe was replaced by Robert Armin, formerly of Chandos's Men and an author in his own right. Small and fanciful, Armin offered significantly different options for Shakespeare, and the change is seen in the last Elizabethan and first Jacobean plays. Armin is generally credited with originating such characters as Feste in ""Twelfth Night"", Touchstone in ""As You Like It"", and the fool in"
"classed with a roster of similar plays in its generation, including Dekker and Ford's ""The Sun's Darling"", Nabbes's ""Microcosmus"", Randolph's ""The Muses' Looking Glass"", Barten Holyday's ""Technogamia"", and William Strode's ""The Floating Island"", among others. In the view of one critic, ""Pathomachia"" has ""a significance for the historian of ethics and psychological theory."" Pathomachia Pathomachia, or the Battle of Affections"", also known as Love's Lodestone"", is an early 17th-century play, first printed in 1630. It is an allegory that presents a range of problems to scholars of the drama of the Jacobean and Caroline eras. The play was licensed for"
"entirely unnecessary to the plot, but are full of “Wit” and are very popular in the ""new style"" of writing. In fact, the further the play continues, the less sense it makes, and the more Bayes defends it. Discussion continues to include Bayes' approval of such devices as “songs, ghosts, and dances,” as a way of filling the theatre seats. Finally, Bayes calls his play a “Touch-stone,” and says he will be able to judge the character of any man by observing his reaction to the play. Scene 2 of the play includes 3 major plot developments: the mysterious death,"
"play is based on various accounts of the semi-legendary Brythonic figure Leir of Britain, whose name has been linked by some scholars to the Brythonic god Lir/Llŷr, though in actuality the names are not etymologically related. Shakespeare's most important source is probably the second edition of ""The Chronicles of England, Scotlande, and Irelande"" by Raphael Holinshed, published in 1587. Holinshed himself found the story in the earlier ""Historia Regum Britanniae"" by Geoffrey of Monmouth, which was written in the 12th century. Edmund Spenser's ""The Faerie Queene"", published 1590, also contains a character named Cordelia, who also dies from hanging, as"
"Horestes Horestes is a late Tudor morality play by the English dramatist John Pickering. It was first published in 1567 and was most likely performed by Lord Rich's men as part of the Christmas revels at court that year. The play's full title is A new interlude of Vice containing the history of Horestes with the cruel revengement of his father's death upon his one natural mother. It has been proposed that John Pickering (John Pickeryng) is likely to be the same person as lawyer and politician Sir John Puckering. The play dramatises the story of the ancient Greek myth"
"works of Shakespeare and George Bernard Shaw, other instances can be noted. George Chapman's ""Caesar and Pompey,"" perhaps his most obscure play, may date from c. 1613. It was followed by Thomas May's ""The Tragedy of Cleopatra, Queen of Egypt"" (1626), Sir Charles Sedley's ""Antony and Cleopatra"" (1677), and John Dryden's ""All for Love"" (1678) — the last, one of Dryden's great successes. Similarly, Katherine Philips's translation of Pierre Corneille's ""La Mort de Pompée"" (1643) was a stage hit in London in 1663. As late as 1910, John Masefield treated Pompey and Septimius in his ""The Tragedy of Pompey the"
"role of Peter is enlarged, and played by Andy Devine as a faint-hearted bully. He speaks lines which Shakespeare gave to other Capulet servants, making him the instigator of the opening brawl. The film includes two songs drawn from other plays by Shakespeare: ""Come Away Death"" from ""Twelfth Night"" and ""Honour, Riches, Marriage, Blessing"" from ""The Tempest"". Clusters of images are used to define the central characters: Romeo is first sighted leaning against a ruined building in an arcadian scene, complete with a pipe-playing shepherd and his dog; the livelier Juliet is associated with Capulet's formal garden, with its decorative"