bluuebunny/crossref_metadata_2025_split huggingface dataset:
Comedies
Authors: Miola Robert S 
Published: November 2023

Abstract
What did Shakespeare read in order to write his comedies? He read the classics, probably in Latin and in translation, especially Plautus (c. 250-184 BC) and Terence (c.190-159 BC). These playwrights, heirs to Menander (fourth century BC) and other Greeks, gave to later generations a flexible repertory of comic characters-the old man (senex), wily servant (servus callidus), marriageable girl (virgo), young man (adulescens), braggart soldier (miles gloriosus), parasite (parasitus), and courtesan (meretrix).
Davies on Garrick as King Lear I742-76], Thomas Davies on David Garrick as King Lear, from Dramatic Micellanies [sic], 3 vols. (1784), ii. 318-20.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
They, who have had the exquisite pleasure to see Mr. Garrick in King Lear, will most unfeignedly wish that his action and elocution could have been perpetuated. A Reynoldsr could have faithfully transcribed a look and an attitude; but, alas! this would have been but an imperfect representation. The wonders of his voice and multiplied expression could not have been preserved! In the preceding scenes of Lear, Garrick had displayed all the force of quick transition from one passion to another: he had, from the most violent rage, descended to sedate calmness; had seized, with unutterable sensibility, the various impressions of terror, and faithfully represented all the turbid passions of the soul; he had pursued the progress of agonizing feelings to madness in its several stages.
May 1776, Henry Bate (Sir Henry Bate Dudley, 1745-1824), on David Garrick as Lear at the Theatre Royal, Drury Lane, London, from The Morning Post, reprinted by James Agate in The English Dramatic Critics I660-I932 (n.d. [1932]), p. 61.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Henry Bate DuoLEY, journalist, man-about-town, librettist and clergyman, known as ‘The Fighting Parson’, was a close friend of Garrick and editor of The Morning Post at the time he wrote this piece. The emotionalism of both audience and performers was no doubt enhanced by the knowledge that this was Garrick’s farewell season-he was to play Lear only once more-but additional testimony to the greatness of this particular performance comes from the theatre journal of William Hopkins, the prompter at Drury Lane, who noted that ‘Human nature cannot arrive at greater excellence in acting than Mr Garrick was possessed of this night. All words must fall far short of what he did and none but his spectators can have an idea of how great he was-the applause was unbounded.’
[c.1790-6], Charles Lamb (1775-1834) on Robert Bensley (1742-1817) as Malvolio and James William Dodd (?1740-96) as Sir Andrew Aguecheek in Twe!fth Night, from ‘On Some of the Old Actors’, reprinted from The London Magazine (1822) in his Essays of Elia (1823).
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Lamb was never a regular drama critic but wrote from time to time about theatrical topics. Although Malvolio was one of Bensley’s most successful parts, Lamb’s eloquent account of his performance seems to be heavily coloured by his own conception of the role. Dodd, who specialized in foppish parts, frequently played Sir Andrew with great success. Lamb, a versatile man of letters, is here writing nostalgically about performances he had seen in the past—Dodd
February 1814, William Hazlitt (1778-1830) on Edmund Kean (1787 or 1789-1833) as Richard III at the Theatre Royal, Drury Lane, London, from The Morning Chronicle; reprinted in e.g. Hazlitt on Theatre, ed. William Archer and Robert Lowe (1895; repr. New York, n.d. (1957]), pp. 3-5.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Edmu Nd Kean made a sensational London debut at Drury Lane as Shylock in The Merchant of Venice on 26 January 1814 Though the audience was sparse it included the versatile man of letters William Hazlitt who wrote enthusiastically about the performance in The Morning Chronicle. He wrote later ‘I had been told to give as favourable an account as I could: I gave a true one. I am not one of those who, when they see the sun breaking from behind a cloud, stop to ask others whether it is the moon. Mr Kean’s appearance was the first gleam of genius breaking athwart the gloom of the stage.’ This may seem unfair to Kean’s immediate predecessors, but Kean’s vivid, direct, apparently spontaneous style came as a contrast to the declamatory manner of actors of the school of Kemble, whose genius Hazlitt could also appreciate while welcoming a breaking of the mould. Kean’s style had in fact been anticipated by the brilliant but erratic George Frederick Cooke (1756-r8n).
15 October 1853, Henry Morley (1822-94) on A Midsummer Night’s Dream, produced by Samuel Phelps (1804-78) at the Sadler’s Wells Theatre, London, in his The Journal of a London Playgoer (1866; repr. 1891), pp. 56-61.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Henry Morley was a prolific writer and editor and an indefatigable lecturer who became Professor of English in the University of London in 1865. He wrote theatre reviews for The Examiner from 1851 to 1866, when he reprinted most of them in collected form. His mission as a popular educator matched the ideals of interpretation of its meaning. It is pleasant beyond measure to think that an entertainment so refined can draw such a throng of playgoers as I saw last Saturday sitting before it silent and reverent at Sadler’s Wells.
[1887-c.1900], William Winter on Ada Rehan (1860-1916) as Kate in The Taming of the Shrew, from his Shakespeare on the Stage (1912), pp. 520-7 .
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
According to Miss Rehan’s ideal, the shrewishness of Katharine is largely superficial. She is externally a virago, but the loveliest qualities of womanhood are latent in her. She is at war with herself; a termagant in temper; haughty; self-willed; imperious; resentful of control; still more resentful of the thought of submission to love, yet, at heart, ardently desirous of it, and secretly impelled to seek for it. Her spirit is high and fiery, and while she longs for the triumph and the endearments of love, she rages against herself, contemning the weakness which permits her longing, but which really is her, as yet unrecognized, power. That ideal was implied by Miss Rehan’s treatment of the character, and her art, in the implication and expression of it, was as nearly perfect as anything of human fabric can be. The vitality, sympathy, and delicious bloom of her Katharine could not be too freely extolled.
28 September 1912, John Palmer on The Winters Tale directed by Harley Granville Barker
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
This was the second of the three epoch-making productions at the Savoy in which Barker carried over into the professional theatre some of Poels ideas of a return to the basic principles of Elizabethan and Jacobean staging (the others were of Twelfth Night, also 1912, and A Midsummer Night—s Dream, 1914). He was more of a textual purist than Poel—this production used a virtually complete text—but less austere in the visual aspects of his staging. After these productions he virtually retired from the theatre.
12 November 1937, John Mason Brown (1900-69) on Orson Welles’s production of Julius Caesar at the Mercury Theatre, New York, from The New York Post, reprinted in his Two on the Aisle: Ten Years of American Theatre in Performance (New York, 1938), pp. 38-43, and in Shakespearean Criticism, vol. 17, ed. Sandra Williamson (Detroit, Gale Research, 1992), pp. 319-21.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
This is no funeral oration such as Miss Bankhead1 and Mr. Tearle2 forced me to deliver yesterday when they interred Antony and Cleopatra. I come to praise Caesar at the Mercury, not to bury it. Of all the many new plays and productions the season has so far revealed, this modern-dress version of the mob mischief and demagoguery which can follow the assassination of a dictator is by all odds the most exciting, the most imaginative, the most topical, the most awesome, and the most absorbing.
[1944], Ronald Harwood (born 1934) on Donald Wolfit (1902-68) as Lear, in his Sir Donald Wolfit: His life and work in the unfashionable theatre (1971), pp. 160-4.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
He arrived at the theatre with Rosalind1 at five, dressed in a voluminous brown teddy-bear coat acquired in Canada while touring with Barry Jackson.2 Black homburg on head, shoulders stooped, the actor advanced towards the stage-door, paused and glanced at nearby bomb damage, appeared to nod gravely as if he understood some symbolic message contained in the ruins, and marched into the theatre. Being the first performance of the play that season, he went on to the stage, lit by the naked bulbs of working lights, to make sure all was in order. He surveyed the grey set, something like Stonehenge, gazed up at the position of the spotlights, nodded once more, and retired to his dressing room; it was noticed that he was unusually preoccupied.
[1944-5], Kenneth Tynan (1927-80) on Laurence Olivier (1907-89) at the New Theatre, London, as Richard III, in his He that Plays the King (1950), pp. 32-6.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
From a sombre and uninventive production this brooding, withdrawn player leapt into life, using the circumambient gloom1 as his springboard. Olivier s Richard eats into the memory like acid into metal, but the total impression is one of lightness and deftness. The whole thing is taken at a speed baffling when one recalls how perfectly, even finically, it is articulated: it is Oliviers trick to treat each speech as a kind of plastic vocal mass, and not as a series of sentences whose import must be precisely communicated to the audience: the method is impressionist.
23 July 1949, T. C. Worsley (1907-77) on Tyrone Guthrie’s production of
Henry VIII,
at the Memorial Theatre, Stratford upon-Avon, from
The New Statesman,
reprinted in his
The Fugitive Art: Dramatic Commentaries I947-I95I
(1952), pp. 87-91.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
There are two Tyrone Guthries, as there are at least two of most of us. There is Mr. Tyrone Guthrie, one of our leading producers, an original artist with a most imaginative mind, a great feeling for the visual, a highly developed sense of theatre. Then there is his alter ego, Master Tony Guthrie, let us call him, an inky urchin, with a fourth-form sense of humour and a violent self-destructive streak: the kind of urchin who, having completed a lovely neat fair copy, can never resist the fleeting impulse to spatter it with blobs of ink. These two Guthries :fight it out in the new production of Henry VIII, the last play to be added to the Stratford Repertory this season. It begins as a close race. Or rather-more exactly-those who have put their money on ‘producer’s theatre,’ and on Mr. Guthrie the artist, are able for quite a long time to remain hopeful.
[1959]? John Russell Brown (born 1923) on All’s Well that Ends Well directed by Tyrone Guthrie at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his review article “Three Adaptations’ in Shakespeare Survey 13 (i960), pp. 137—45; 140-2.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Tyrone Guthrie, directing All’s Well that Ends Well at Stratford in 1959, made some additions to the dialogue to fill out those scenes which had particularly attracted him: so a major-domo instructs lesser servants about “hastening the musicians’ and moving a platform ‘more to the left’, a courtier inquires about the “good old king’ and there are many “Quite so’s’, “Hear, hears’, petty oaths, orders and exclamations; more ambitiously, the Duke of Florence enquires “Is this the machine?’ But Guthrie s invention—in keeping with the present reluctance to accept rewriting—was more plainly shown in numerous dumb-shows, excisions, actions in contradiction to what is said, and deliberate and effective misspeaking of Shakespeare’s lines.
[1959], Laurence Kitchin (born 1913) on Laurence Olivier as Coriolanus, directed by Peter HaU (born 1930) at the Shakespeare Memorial Theatre, Stratford-upon-Avon, from his Mid-Century Drama (i960), pp. 143-9
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Olivier as Coriolanus again, twenty-one years after he played it at the Old Vic. Casson,1 the director on that occasion, was now eighty-three years old and the Memorial Theatre production of 1959 was in the hands of Hall, aged twenty-eight. On the afternoon of September 10th I arrived at Stratford-on-Avon to find the riverside lawns flanking the theatre a sapless brown, beaten by the sun and the feet of tourists to the same consistency and colour as the grass of London parks in the most torrid summer within living memory.
[1996], Robert Smallwood on The Comedy of Errors, directed by Tim Supple for the Royal Shakespeare Company at The Other Place and on tour; from Shakespeare Survey 50 (1997), pp. 215-19.
Authors: Shakespeare Critics Theatre 
Published: November 2023

Abstract
Tim Supples version of The Comedy of Errors, which opened (prior to a national and international tour) at The Other Place in Stratford in June, came from a world of Shakespeare production altogether different from Ian Judges. Curious, therefore, that this was the first time the RSC had offered the play since Judges own main stage production in 1990, when one actor played both Antipholuses and one both Dromios, creating an evening of slick and brilliant theatrical razzmatazz in which the romance of the play s ending was entirely destroyed by the need to resolve (through the use of doppelgangers) the technical problems created by the doubling. Supple s reading of the piece was infinitely simpler.
Shakespeare in the Theatre (and the Theatre in Shakespeare)
Authors: Taylor Michael 
Published: November 2023

Abstract
In the twentieth century an enormous amount of first-class research went into the investigation of Shakespeare’s theatre as a material and cultural institution: on one level, its buildings, actors, and audiences; on another, its financial and regulatory infrastructures; on a third, its stage traditions and conventions, and, in the wider contexts of its institutional setting, its place in the local (and national) economy, and its social impact on different strata of society. Critics in this century pursuing these kinds of interests had to have at least a nodding acquaintance with disciplines not immediately associated with literary criticism: archaeology, law, anthropology, economics, architecture, and the like. Truly, in this area if in no other, the twentieth-century obsession with scientific method and exactitude would seem to have found its perfect hunting-ground. Here, one would have thought, Moulton’s and Dowden’s ‘rich feelings for positive concrete facts’ would have found the ideal material for a prolonged love affair. And the late nineteenth-century ambition for a steady and reliable evolutionary progress in literary criticism would seem also to have been realized by the patient accumulation of evidence of a satisfyingly confirmable kind about the physical features of the theatres.
Persons
Authors: Smith Bruce R 
Published: November 2023

Abstract
One signal difficulty in talking about masculine identity in Shake speare’s England is the fact that many of the words we use today to talk about self-consciousness did not exist then, or at least not with the meanings we assume. Early modern English provided no ‘ego’, no ‘psyche’, no ‘personality’, not even ‘individual’ in the sense of an inward perception about who one is.
Ideals
Authors: Smith Bruce R 
Published: November 2023

Abstract
If ‘manners maketh man’, Shakespeare and his contemporaries had plenty of places to turn for advice. First of all, to proverbs. ‘As the man is so is his talk.’ ‘One man is no man.’ ‘A man is weal or woe as he thinks himself so.’ ‘Wise men have their mouth in their heart, fools their heart in their mouth.
Coalescences
Authors: Smith Bruce R 
Published: November 2023

Abstract
However we choose to consider it-in terms of persons, of ethical ideals, of life passages, of relationships with other people-masculinity in Shakespeare’s plays and poems seems precarious. Shakespeare’s male protagonists, when they speak of the bodies they inhabit, describe a highly volatile mixture of fluids. With changes in the combination of humours, qualities that are felt to be masculine, like reason and courage, can be overwhelmed by qualities that are felt to be effeminate, like passion and indolence. How a man presents his person to the world is likewise subject to alteration. On the streets of London no less than on the stage of the Globe, a change in dress can mean a change in perceived identity. Ethical ideals, by their very nature, are marks to be aimed at, not possessions to be seized and enjoyed.
Acting/Seeing Woman Griselda Gambaro’s El despojamiento
Authors: Magnarelli Sharon 
Published: November 2023

Abstract
One of Argentina’s best-known and most highly respected contemporary playwrights, Griselda Gambaro (b. 1928), has written more than two dozen plays and numerous narrative works. Labelled theatre of the absurd, theatre of the grotesque, theatre of cruelty, and, more recently, theatre of crisis, Gambaro’s works focus on oppression, both political and interpersonal. Ironically, although Gambaro’s early works were highly acclaimed, they were also criticized for her apparent indifference to feminist concerns. As might be expected, these criticisms did not appear until the 1980s when feminist theory began influencing Latin American literary analysis. Paradoxically, this was also the decade in which Gambaro’s own growing awareness of feminist issues was already becoming apparent in her works. In fact, many of her plays from the 1g8os focus on the oppression of women, and in them it is often a female character, rather than a male, who represents ‘everyperson’.
The Dialogics of Testimony Autobiography as Shared Experience 1n Nellie Campobello’s Cartucho
Authors: Meyer Doris 
Published: November 2023

Abstract
Among the early ‘novels’ of the Mexican Revolution, the only one written by a woman was Cartucho, published in 1931. From that date to the present, Nellie Campobello’s contribution to this genre has not received the attention it deserves nor has she been adequately recognized as the precursor of more wellknown writers like Elena Garro, Rosario Castellanos, and Elena Poniatowska. This neglect may well be related to the impact Cartucho had when it was published and the nature of its idiosyncratic narrative style which few studies have examined in depth.
Topologies of Catastrophe Horror and Abjection in Diamela Eltit’s Vaca sagrada
Authors: Labanyi Jo 
Published: November 2023

Abstract
In an interview given in 1991, just before the publication of her novel Vaca sagrada, Chilean writer Diamela Eltit described how her experience of reading For Whom the Bell Tolls at the age of 10, while ill, set up a lasting association in her mind between writing, the body, illness, and death (Piña 1991: 227). The central image of Vaca sagrada is menstruation, which traditionally associates the female body with defilement. What interested Eltit here was the female body not as biology but as cultural map:
Cristina Peri Rossi’s Gender Project Rewriting Male Subjectivity and Sexuality in Solitario de amor*
Authors: Levine Linda Gould 
Published: November 2023

Abstract
The writings of Cristina Peri Rossi have long seduced the imagination of the critic in search of transgressive models of gender definitions and sexual roles. Brandishing an allusive and enigmatic literary style, her poetry and prose transport the reader to a metaphorical terrain where phallic power is decentred, sexual multiplicity is suggested, and boundaries of gender and identity are continually collapsed and expanded. Acutely aware of the constraints that fixed definitions place on the subject and well versed in contemporary theories which seek to destabilize phallocentric constructs, Peri Rossi offers her readers a complex body of fiction that inserts itself in a most compelling project for the woman writer: the reconfiguration of male subjectivity and sexuality.
Sonia Coutinho Revisits the City
Authors: Lobo Luiza 
Published: November 2023

Abstract
One of the objectives of feminist criticism has been to challenge the view that women are socially or biologically handicapped in relation to men, thereby helping women break through the barriers imposed by patriarchy and phallocentrism. However, some feminist critics have flirted with versions of biological determinism when discussing the particular characteristics of women’s writing:
Latin American Feminist Criticism Revisited
Authors: Jones Anny Brooksbank 
Published: November 2023

Abstract
With these words Spivak (almost) begins revisiting French feminism, in order to say something about the possibilities of politicizing the theoretical and theorizing the political. This chapter looks at how certain feminist critics have opened up Latin American texts, revisiting, and re- and deconstructing critical theory in the process. It considers the ethico-political securing of these interventions, starting with the construction of feminism itself in a Latin American frame.
Introduction: Italy’s difficult modernization
Authors: Davis John A 
Published: November 2023

Abstract
Few political events caught the imagination of the nineteenth century more dramatically than the creation of an independent and unified state in Italy between 1859 and 1870. Yet in many respects Italy’s unification was just another example of the emergence of new, and of the realignment of older, European states in the same period. Bismarck was forging the new German Reich in the same decades that Italy became a unified nation.
The age of Restoration
Authors: Laven David 
Published: November 2023

Abstract
The defeat of Napoleon in Italy, and the subsequent imposition of Austrian hegemony at the Congress of Vienna, was more than a mere continuation of what Metternich called ‘the three-hundred-year-long struggle for domination in Italy’. The priority given by the Habsburgs in 1814–15 to establishing mastery over the peninsula reflected the way in which this struggle had radically altered since French revolutionary armies first crossed the Alps. Traditionally, Habsburgs and French had fought over Italy for its own sake; from 1797, Napoleon had also used Italy as a base from which to launch attacks deep into the heart land of the Habsburg Empire. After 1815 the rulers of the Habsburg Empire would see control of Italy as an essential bastion against French aggression.
Garibaldi and the South
Authors: Riall Lucy 
Published: November 2023

Abstract
The South played a vital role in the unification of ltaly. Indeed, without the administrative collapse of the Bourbon Kingdom of the Two Sicilies, without the peasant revolt in Sicily in the spring of 1860, and without Giuseppe Garibaldi’s successful invasion in support of the revolution, Italian unification would not have happened. Yet ironically, in the years after unification, the South came to be seen as an obstacle to Italian unity.
Introduction
Authors: McCarthy Patrick 
Published: November 2023

Abstract
In their attempt to legitimize the post-war republic, Italian politicians claimed that it was democratic and that it was born of the Resistance, the anti-fascist struggle against the Mussolini and Hitler regimes. The first of these statements was correct, even if the method chosen for citizens to express their views was proportional representation. This offers the advantage that all shades of opinion are represented in parliament and the disadvantage that it is difficult for citizens to vote into power efficient, long-lasting governments.