16 10 196 https://embta.english.ucsb.edu/files/original/23c52ab88df546f5944be80f5cb8fcd8.jpg 3bcd27409f990dbc78b8b0564f7f10d3 Hyperlink Title, URL, Description or annotation. URL http://www.shakespearetheatre.org/plays/photos.aspx?id=145 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shakespeare Theatre Company's production of William Congreve's The Way of the World Subject The topic of the resource Congreve, William, 1670-1729. The Way of the World. Description An account of the resource Shakespeare's Theatre Company's web page showing four still pictures of scenes from a 2008 performance of The Way of the World. Creator An entity primarily responsible for making the resource Kahn, Michael [director] Source A related resource from which the described resource is derived <a href="http://www.shakespearetheatre.org/plays/photos.aspx?id=145" target="_blank">Shakespeare Theatre Company</a> Publisher An entity responsible for making the resource available <a href="http://www.shakespearetheatre.org/plays/photos.aspx?id=145" target="_blank">Shakespeare Theatre Company</a> Date A point or period of time associated with an event in the lifecycle of the resource 2008 Contributor An entity responsible for making contributions to the resource Cox, Veanne [actress, Millamant] Innvar, Christopher [actor, Mirabell] Long, Andrew [actor, Fainall] Lorette, Deanne [actress, Mrs. Marwood] Robinette, Nancy [actress, Mrs. Wishfort] Scofield, Todd [actor, Waitwell] Format The file format, physical medium, or dimensions of the resource Hyperlink Type The nature or genre of the resource Webpage Identifier An unambiguous reference to the resource within a given context embta2013-00093 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. https://embta.english.ucsb.edu/files/original/f93a50db7b1cfa201f677259e3049fd2.jpg 63045adc57dfb5f9d095ca75ed985128 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard III Subject The topic of the resource By William Shakespeare Description An account of the resource A multimedia exploration of educational tools relating to Shakespeare's "Richard III" Creator An entity primarily responsible for making the resource Juliet Way-Henthorne Date A point or period of time associated with an event in the lifecycle of the resource 2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Physical Mutilation, Vengeance, and Technological Advancement in Shakespeare’s “Richard III” William Shakespeare’s “Richard III” offers one of literature’s greatest villains with the ingenious, scheming Richard, Duke of Gloucester, whose treachery and plotting leads to the downfall of the House of York in the wake of the War of the Roses. Indeed, it is Richard’s intelligence, skillful manipulation, and playful interaction with the audience that has led this tragedy to endure the test of time, as it continues to influence popular culture even today through multiple adaptations, as well as inspiring characters like the nefarious Francis Underwood (ironically played by Academy Award winning actor Kevin Spacey) in the Netflix hit series, "House of Cards," which demonstrates the lasting power of Shakespeare’s works over mass media. However, beyond Richard’s ability to skillfully manipulate the human pawns in his grand schemes, his motivation stems from his physical deformity, which is depicted in a number of items associated with Shakespeare’s “Richard III,” as well as complementing a collection of multimedia tools that reflect the continuing impact of such a widely referenced work. Beginning with a ceramic sculpture of famed actor David Garrick (1717-1779) as Richard III (dated 1772), this collection provides a carefully crafted representation of the evolution of Richard III as the character relates to each era of his existence. In this sculpture of Garrick as Richard during battle, an excess of color is used, depicting an elaborately dressed Richard who, while skilled in games of the mind, is not skilled in games of war. With flushed cheeks and a limping leg representing the physical deformity that Richard describes as his being “cheated of feature by dissembling nature,” the villain seems hugely out of place on the battlefield (1.1.19) Similarly, in a later piece simply called “Richard III figurine” (which is also owned by the Victoria & Albert Museum and dated 1880), Richard again appears apprehensive, elaborately clothed in a flamboyant costume befitting the court, with a dagger tucked into his belt. Additionally, Richard’s deformity is represented through a limping leg which, when paired with a hunched back, serves as the primary motive for his villainy: “Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to see my shadow in the sun And descant on mine own deformity. And therefore, since I cannot prove a lover To entertain these fair well-spoken days, I am determinèd to prove a villain And hate the idle pleasures of these days” (1.1.24-31). In these lines, audiences are able to gain an understanding of the impetus behind Richard’s evil acts; he feels that he has been neglected by nature and, therefore, reasons that he too may behave in unnatural ways, which encapsulates audiences’ fascination with darkness, deformity, and the desire for revenge. A final depiction of Richard’s physical form can be found in The Victoria and Albert Museum’s “Edmund Kean as Richard in Richard III by William Shakespeare,” which, through oil painting, again captures the Duke’s deformity through unusual posture and a bulging back, which is partially obscured by ornate, jeweled cloaks. Through these physical depictions of Richard III, an intense interest in his physical mutation is demonstrated, adding to the magnetism of such a physically and emotionally complex character. Interestingly, this collection offers two sketches that incorporate elements of the Elizabethan stage, depicting the ways in which actors might move about the space to the greatest advantage. Simply titled “Richard III drawing," this first sketch by Henry Fuseli depicts Richard as he sleeps during the eve of the great final battle while the spirits of all who he has wronged hover about him. The set is described as illustrating the “spirits rising by his side in pairs, and passing beyond his feet towards an opening in the centre of the tent” (V&A). So, while this piece depicts both scene and emotion during a pivotal moment in the play, it also portrays the practicality of the Elizabethan set. Contrastingly, the “Morris Kestelman set design for Richard III” appears without characters and illustrates the Old Vic Theatre Company's production of “Richard III” at the New Theatre, London, in September 1944, demonstrating the value of careful stage management even beyond the Elizabethan stage, as the billowing tents create an eerie sense of pre-war anxiety. Further, technological advancements allowed set designers to utilize lighting in order to illustrate restlessness and breathe a sense of life into an otherwise vacant set. Interestingly, Morris Kestelman also drew a costume sketch of iconic theatre actress Vivien Leigh, who played opposite her husband, Sir Laurence Olivier, as Lady Anne for many years. Though Vivien Leigh was an incredibly significant figure both on stage and in film, this sketch is particularly significant because it offers the only publicly available depiction of a female character from “Richard III.” As media has evolved, so too have the ways in which audiences interact with “Richard III,” as well as all of Shakespeare’s plays. However, “Richard III” is, in itself, exceptional because the villain is so terrible -- committing multiple murders with a seemingly sound and cunning mind -- that actors through the ages have continued to prize this role. Beginning with The Old Vic Theatre Company in their first American radio appearance performing “Richard III” (starring Laurence Olivier), various forms of new media rose to enhance the audience’s experience with the play. With a dramatic reading, Olivier delivers an iconic performance that not only highlights the advancements in recording technology, but also proves that seemingly dated yet classic texts like those of William Shakespeare can still be accessed by a wider and perhaps less literarily inclined audience. In other words, forms of new media that carefully treat the works of Shakespeare serve as valuable educational tools, ultimately garnering a wider and more intrigued audience. Indeed, a high quality translation of Shakespeare’s “Richard III” is made freely available through public access via Folger Digital texts, making such tools of education more accessible and allowing readers to examine the play in a different manner; with the aid of a computer, particular words can be searched in order to trace themes, characters, or even to perform close readings with ease. And if a reader is inclined to dig even deeper, the application of digital humanities tools can be used to conduct distant readings through data mining and text analysis, which is only made possible through the simple transfer of PDF files like those offered by Folger Digital texts. With regard to the contemporary significance of the play in popular culture, the role of Richard III remains so iconic that only some of the finest contemporary actors have been given the opportunity to play the villainous lead. The most notable of these actors -- Sir Laurence Olivier, Sir Ian McKellen, and Benedict Cumberbatch -- each offer a unique portrayal of Richard III, ranging from classic to modern interpretations that all preserve the essence of such an unusual villain marked by physical deformity and emotional disturbance, which lead to a twisted desire for vengeance and power. Moreover, with regard to animation, “Shakespeare’s The Animated Tales” provides high quality, condensed versions of Shakespeare’s works that, despite being abridged, cover all major plot points and help to preserve the spirit of the Shakespearean theatre while accessing a younger audience. Specifically, animation allows the darker undertones of the text to visually come to life, presenting the ways in which the application of popular media can enhance the lifespan of canonical works. To conclude, the most exciting aspect of the play’s preservation and even evolution is the fact that through modern technology, students, educators, and fans are able to access key scenes through YouTube and other publicly available media, marking this collection of artifacts relating to “Richard III” as both all-encompassing and a true representation of the ways in which an almost four-hundred-year-old text can be reinvented and given new life and meaning while still treating the original masterpiece with integrity and respect. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shakespeare's The Animated Tales: Richard III Subject The topic of the resource Shakespeare, William, 1564-1616. Richard III. Description An account of the resource Educational Video and animated version of Richard III. Creator An entity primarily responsible for making the resource Hubert Humphrey Source A related resource from which the described resource is derived <a href="https://www.youtube.com/watch?v=eG5gqA6cxBM&t=511s">link to item here</a> Date A point or period of time associated with an event in the lifecycle of the resource April 8, 2016 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this item. If you are interested in reproducing this item, please contact the copyright holder named in the “Publisher” field above. Relation A related resource Animated version of Richard III condensed into 30 minute episode for overall comprehension and understanding of play's major points. Format The file format, physical medium, or dimensions of the resource Animated Video Publisher An entity responsible for making the resource available YouTube animation education media public tragedy https://embta.english.ucsb.edu/files/original/0a0335f726f28346d5c50527d2b4e338.jpg 2709abd604db793f8ff37cb10ef7368f Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sir George Etherege Subject The topic of the resource Etherege, George, 1636-1691 or 1692. Description An account of the resource Half-length (and only known) portrait of Sir George Etherege. Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived <a title="Wikipedia" href="https://en.wikipedia.org/wiki/File:SirGeorgeEtherege.jpg" target="_blank">Wikipedia</a> Publisher An entity responsible for making the resource available <a title="Wikipedia" href="https://en.wikipedia.org/wiki/George_Etherege" target="_blank">Wikipedia</a> Date A point or period of time associated with an event in the lifecycle of the resource 1660?-1700? Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00092 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. https://embta.english.ucsb.edu/files/original/e938489f436feed84b46b4e29d9c2eb1.png 0503bbf3c7abfdff38c6e14e6bf32c82 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sketch of Interior of Swan Theater Subject The topic of the resource Theater--England--History--16th century Theater--England--History--17th century Swan Theatre (London, England) Stage history Description An account of the resource This sketch purportedly represents an interior view of the Swan Theatre, from the vantage point opposite center stage at roughly eye level with the roof (tectum). It depicts a raised proscenium stage jutting out prominently into the groundling gallery space, such that the stage seems to be deeper than it is wide. The stage, on which a few actors appear to be rehearsing, is supported by two columns. At the rear of the stage are two separate entrances from the tiring-house (mimorum aedes), where actors kept props and changed costumes between scenes. Directly above the tiring-house, there are six windows or gallery spaces, populated with either musicians or well-to-do spectators. This vertical structure exceeds the height of the theater roof. From its top-most story, a musician is blowing his horn, which would have signaled the start of the theatrical performance. The flag flying from the very top of this structure features a swan. Creator An entity primarily responsible for making the resource De Witt, Johannes Publisher An entity responsible for making the resource available Wikimedia Commons Contributor An entity responsible for making contributions to the resource Van Buchel, Aernout Format The file format, physical medium, or dimensions of the resource PNG Identifier An unambiguous reference to the resource within a given context embta2013-00123 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Stage Conventions theater architecture Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Some Gestures of Rhetoric Subject The topic of the resource Gesture--Early works to 1800 Rhetoric--History--17th century Description An account of the resource A vocabulary of 24 hand gestures (keyed to letters of the alphabet) linked to various rhetorical modes. Creator An entity primarily responsible for making the resource J. B. (John Bulwer), 1606-1656 Marshall, William, 17th cent. Source A related resource from which the described resource is derived Bulwer, J., Chirologia, or the Naturall Language of the Hand, with Chironomia, or the Art of Manuall Rhetorique, London, 1644. Powell, Jocelyn. Restoration Theatre Production. London: Routledge & Kegan Paul, 1984. Publisher An entity responsible for making the resource available Routledge & Kegan Paul, 1984 Date A point or period of time associated with an event in the lifecycle of the resource 1644 Rights Information about rights held in and over the resource Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107). If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner. If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com. Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English Type The nature or genre of the resource Still Image https://embta.english.ucsb.edu/files/original/0cda22013f4c057fb4bd0673c456146c.jpg a6f5532eefb574490136ffbf88d476ea Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tea Caddy featuring David Garrick Subject The topic of the resource Garrick, David, 1717-1779 Theatrical paraphernalia Tea making paraphernalia Description An account of the resource Silver tea caddy featuring David Garrick in several prominent theatrical roles including Macbeth and King Lear. For further information, see <a title="V&A" href="http://www.vam.ac.uk/users/node/8522" target="_blank">V&A</a>. Source A related resource from which the described resource is derived <a title="V&A" href="http://www.vam.ac.uk/users/node/8522" target="_blank">Victoria & Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1770 Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00065 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Actor: A Treatise on the Art of Playing Subject The topic of the resource Theater--England--History--18th century Acting--Study and teaching Description An account of the resource Acting treatise, famous as the English adaptation of Le comédien by Pierre Rémond de Sainte-Albine. For further information, see <a title="Acting Achive Essays" href="http://actingarchives.unior.it/Essays/RivistaIframe.aspx?ID=a9e8e2fd-2958-4840-8fc6-a867d75b0c64" target="_blank">Acting Archives Essays</a>. Creator An entity primarily responsible for making the resource Hill, John Source A related resource from which the described resource is derived <a title="Google Books" href="http://books.google.com/books?id=FngPAAAAQAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false" target="_blank">Google Books</a> Publisher An entity responsible for making the resource available Printed for R. Griffiths, at the Dunciad, St. Paul's Church-yard. <a title="Google Books" href="http://books.google.com/books?id=FngPAAAAQAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false" target="_blank">Google Books</a> Date A point or period of time associated with an event in the lifecycle of the resource 1750 Rights Information about rights held in and over the resource EMBTA believes this item to be in the public domain (http://copyright.cornell.edu/resources/publicdomain.cfm) because it was published more than 90 years ago, and/or the creator has been dead for more than 70 years, and copyright has not been renewed. If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com. Format The file format, physical medium, or dimensions of the resource PDF (downloadable) Type The nature or genre of the resource Hyperlink https://embta.english.ucsb.edu/files/original/689cc2f5f28c943fece119b28c6846e5.jpg ef7f5134efbc9a8dc545244511004e8e Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Masters, Anthony. The Play of Personality in the Restoration Theatre. Ed. Simon Trussler. Woodbridge: Boydell P, 1992. 19. Print. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Audience at Drury Lane Theatre, c. 1674 Subject The topic of the resource Theatre Royal, Drury Lane (London, England) Audiences in art Description An account of the resource Imaginative reconstruction of Drury Lane Theatre based on Sir Christopher Wren's images of the longitudinal section of a playhouse. Creator An entity primarily responsible for making the resource Leacroft, Richard Source A related resource from which the described resource is derived Leacroft, Richard. The Development of the English Playhouse. Ithaca: Cornell UP, 1973. 97. Print. Publisher An entity responsible for making the resource available Cornell University Press Date A point or period of time associated with an event in the lifecycle of the resource c. 1674 Contributor An entity responsible for making contributions to the resource Wren, Christopher, Sir, 1632-1723 Format The file format, physical medium, or dimensions of the resource PDF Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00085 Rights Information about rights held in and over the resource Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107). If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner. If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com. theater architecture https://embta.english.ucsb.edu/files/original/be9dd397c1f50714e56228604e5ab5c4.jpg 4638cfb8fae7da1fc02a401047ad4e37 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data watercolor Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Drury Lane Theatre, London Subject The topic of the resource Theater Royal, Drury Lane (London, England) Theaters--England Description An account of the resource A view of the interior of the theater at Drury Lane showing actors on stage and audience members in the box and orchestra seats. Creator An entity primarily responsible for making the resource Dayes, Edward, 1763-1804 Source A related resource from which the described resource is derived Encyclopedia Britannica Henry E. Huntington Library and Art Gallery, San Marino, California Publisher An entity responsible for making the resource available Encyclopedia Britannica Date A point or period of time associated with an event in the lifecycle of the resource 1795 Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00064 Rights Information about rights held in and over the resource Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107). If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner. If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com. theater architecture https://embta.english.ucsb.edu/files/original/d8d0e5e5a640a67b15004642cadc2760.jpg 30bfd6e319e9ee76006a47f88846ab14 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. AM I NOT A MAN AND A BROTHER Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data oil on canvas Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Kneeling Slave, 'Am I not a man and a brother?' Subject The topic of the resource Slavery & anti-slavery Slavery, abolition, and emancipation Description An account of the resource Kneeling half-clothed African man in chains with clasped hands. He kneels in the red dirt surrounded by water and trees. Above, light breaks from the clouds and shines down on him. Below is a blue and gold banner, reading "Am I not a man and a brother?" Creator An entity primarily responsible for making the resource Unknown Artist Source A related resource from which the described resource is derived Wilberforce House Museum Publisher An entity responsible for making the resource available <a title="BBC: Your Paintings" href="http://www.bbc.co.uk/arts/yourpaintings/paintings/the-kneeling-slave-am-i-not-a-man-and-a-brother-79464" target="_blank">BBC:Your Paintings</a> Date A point or period of time associated with an event in the lifecycle of the resource 1800? Relation A related resource IsVersionof embta2014-0014 Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English Type The nature or genre of the resource Still Image Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above.