Tag Archives: drama/theater

Aphra Behn (1640-1689)

“English dramatist, novelist, and poet, the first Englishwoman known to earn her living by writing. Her early life is obscure (as is her original surname), but she spent most of it in South America. Her novel Oroonoko (1988), the story of an enslaved African prince who Behn knew in South America, influenced the development of the English novel. Her first play, The Forc’d Marriage, was produced in 1671; her later witty comedies, such as the two-part The Rover (1677, 1681), were highly successful, and toward the end of her life she wrote many popular novels.”

Excerpted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Martha Graham (1894-1991)

“U.S. dancer, teacher, choreographer, and foremost exponent of modern dance. Born in Pittsburgh, she trained from 1916 under Ted Shawn at the Denishawn school. She left in 1923 for New York, where she founded her own school in 1927 and a performing company in in 1929. She choreographed over 160 works, creating unique “dance plays” and using a variety of themes to express emotion and conflict. Many are based on American themes including Appalachian Spring (1944); other works include Primitive Mysteries (1931), El Penitente (1940), Letter to the World (1940), Cave of the Heart (1946), Clytemnestra (1958), Phaedra (1962), and Frescoes (1978). She collaborated for many years with Louis Horst, her musical director, and Isamu Noguchi, who designed many of her sets. She retired from dancing in 1970 but continued to teach and choreograph. Her technique became the first significant alternative to classical ballet, and her influence extended worldwide through her choreography and her students.”

Excerpted from: Stevens, Mark A., Ed. Merriam Webster’s Collegiate Encyclopedia. Springfield, Massachusetts: Merriam-Webster, 2000.

Countee Cullen (1903-1946)

 “American poet, novelist, critic, and dramatist. Cullen was one of the leading poets of the Harlem Renaissance during the 1920s. Following the traditional verse forms based in part on the works of John Keats, Cullen is best remembered for his poems treating contemporary racial issues. His first volume of seventy-three poems, Color (1925), won the Harmon Award for high achievement in literature. Among his most notable poems in the volume are ‘The Shroud of Color,’ ‘Heritage,’ ‘Yet Do I Marvel,’ and ‘Incident.’ His other published collections include The Ballad of the Brown Girl (1927), Copper Sun (1927), The Black Christ and Other Poems (1929) and The Medea and Some Poems (1935). He also edited Carolina Dusk: An Anthology of Verse by Negro Poets (1929). His only novel, One Way to Heaven (1932), was praised for its accurate portrayal of Harlem life. The Lost Zoo (1940) and My Lives and How I Lost Them (1942) are children’s books. Two important works published after his death were On These I Stand: An Anthology of the Best Poems of Countee Cullen (1947), and My Soul’s High Song: The Collected Writings of Countee Cullen, Voice of the Harlem Renaissance (1991). 

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Cultural Literacy: Paul Robeson

The New York Review of Books recently ran a review of two recent biographies of the the great Paul Robeson. I was glad that the article disclosed the fact that Mr. Robeson earned a law degree, and that on his first–and last–day practicing law, he suffered the indignity of dealing with a secretary who refused to take dictation (see the fourth paragraph of the article beneath the hyperlink above) “from a n****r.” That’s the kind of disgraceful fact that I think we need out on display when discussing, say, the Black Lives Matter movement, especially with those who dismiss the movement with rhetorically insipid and factually dubious claim that “all lives matter” in American society.

Anyway, here, on a Monday morning, is a Cultural Literacy worksheet on Paul Robeson. I still listen to his music, especially the album Ballad For Americans, which includes his great song “Scandalize My Name.”

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Brewer’s Curious Titles: All’s Well that Ends Well

“One of the ‘dark’ comedies (c. 1604) of William Shakespeare (1564-1616). The plot is based on a traditional folk tale found in Boccaccio’s The Decameron. Helena, enamored of Bertram, count of Rousillon, is given to him in marriage by the king of France, whose life she has saved. However, Bertram spurns her (‘A poor physician’s daughter my wife?’) and leaves for the Italian wars. From there he writes to her:

‘When thou canst get the ring upon my finger, which never shall come off, and show me a child begotten of thy body that I am father

to then call me husband, but in such a then, I write a never.’ III. iii

However, in disguise, Helena follows him to Italy, where she finds he is in love with a Florentine maid, whose place she takes in the dark, gets the ring, and conceives his child. In the end, she wins his love, after he has believed her dead.

The title All’s Well that Ends Well is from an old English proverb, known from the mid-13th century. It is somewhat ironic given the dark mood of the play, although it also has the suggestion of the ends justifying the means. At the end of the play the king, after all has been resolved, says:

‘All seems well; and if it end so meet,

The bitter past more welcome the sweet.” V. iii

He then adopts the role of epilogue, and, in accordance with theatrical convention, begs the audience’s indulgence for the play:

‘The king’s a beggar, now the play is done.

All is well ended if this suit be won,

That you express content; which we will pay

With strife to please you, day exceeding day.

Ours be your patience then, and yours our parts;

Your gentle hands lead us, and take our hearts.’”       V. iii, Epilogue

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Rotten Reviews: Romeo and Juliet

“March 1st—To the Opera and there saw Romeo and Juliet, the first time it was ever acted; but it is a play of itself the worst that ever I heard in my life, and the worst acted that ever I saw these people do….”

Samuel Pepys, Diary

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: George Bernard Shaw on Shakespeare’s Julius Caesar

”There is not a single sentence uttered by Shakespeare’s Julius Caesar that is, I will not say worthy of him, but worthy of an average Tammany boss.”

George Bernard Shaw, Saturday Review

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: George Bernard Shaw Assesses Shakespeare’s Antony and Cleopatra

“To say that there is plenty of bogus characterization in it…is merely to say that it is by Shakespeare.”

George Bernard Shaw, Saturday Review 1897

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: Voltaire on Hamlet

“It is a vulgar and barbarous drama, which would not be tolerated by the vilest populace of France, or Italy…one would imagine this piece to be the drunken savage.”

Voltaire, (1768), The Works of M. de Voltaire 1901

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.

Rotten Reviews: Anton Chekhov

“If you were to ask me what Uncle Vanya is about, I would say about as much as I can take.”

Robert Garland, Journal American

Excerpted from: Bernard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998.