Category: Drama
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Shakespeare 107
Sometimes just identifying what it is that is really bothering you may be all that’s necessary to open your eyes to a viable way of escape.
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Shakespeare 106
And so it is through the same contrivance used in Measure for Measure, that it’s Helena, Bertram’s lawful wife, who shares his bed and obtains his ring.
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Shakespeare 104
In the ensuing happy scene, past wrongs are forgiven and peace and hope reign for the future.
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Shakespeare 103
But remember, this play is considered a tragedy for good reason.
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Shakespeare 102
It takes extraordinary courage to let go of pain suffered as the result of (perceived) past injustices.
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Shakespeare 101
The awful truth is that the two daughters who had once easily flattered him, have now viciously turned against him and unable to bear this reality, Lear slowly goes mad.
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Narrative Coaching
When it comes to coaching models, it is certainly not the case that one size fits all. So far, the one that I like most is called Narrative Coaching. It’s described as a ‘mindful, experiential and holistic approach’ to shift my client’s stories thereby generating new options for desired change. The idea is that stories…
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Disguise as a Device in Renaissance Drama
If as postmodern philosophers like Foucault have suggested, the ‘self’ is narrated into existence by the stories that we and others tell us about us, then this ability to be someone else allows the disguised character to disconnect with his/her story and play an entirely different one to great effect.
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Tradition and Form in Renaissance Tragedy
The form of English tragedy has most certain evolved over time – with Chaucer it was a ‘ditty’ about prosperity ending in wretchedness whist in later periods it had morphed into sad stories about a man’s fall as told by his ghost. By the 15th and early 16th century, we see the so-called ‘everyman (morality)…
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The Significance of Humoural Theory in Early Modern Drama
In his essay Hamlet and His Problems, TS Eliot (81-87) concludes that such refusal leaves Hamlet ‘dominated by an emotion’ which ‘is inexpressible’ – he can neither ‘understand’ nor ‘objectify’ it – and if a key character such as Hamlet remains inexpressible on stage, then as Eliot suggests the play is an ‘artistic failure’.