9
10
196
-
https://embta.english.ucsb.edu/files/original/f19c2ce28d5321d91bf79cd9568b9625.jpg
0c28460f3b686b267a1306cd7141f060
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
Covent Garden
Subject
The topic of the resource
London (England)--Covent Garden Theater
Description
An account of the resource
Items related to Covent Garden Theater
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
London: Covent Garden Theatre Int. View of Stage and Auditorium
Subject
The topic of the resource
London (England)--Covent Garden Theater
Theater architecture
Description
An account of the resource
Interior of Covent Garden Theater, empty, showing the orchestra, the box seats to stage right, and the stage with the curtain drawn.
Source
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<a href="artstor.org">ARTstor</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
1794
Rights
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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.
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JPG
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Still Image
Identifier
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embta2013-00019
theater architecture
-
https://embta.english.ucsb.edu/files/original/497ddeaf4c825b9865ca19961e243edd.jpg
9dbbb5fb6e3d90ec797d1368450e346d
Dublin Core
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Title
A name given to the resource
The Jew of Malta
Description
An account of the resource
Developed in Spring 2013 for Professor Blurton's English 101
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Title
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Lopez Compounding to Poison the Queen
Subject
The topic of the resource
Lopez, Roderigo, 1525-1594
Description
An account of the resource
An unknown conspirator meets with Queen Elizabeth's physician (Lopez) to plan to poison her. "What will you give?" In the stark background stands the Tower of London and the gallows, the destined end of traitors. Engraving from Carlton's <em>A Thankful Remembrance of God's Mercy</em> (1627).
Creator
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Hulsius, Friedrich van, 1580-
Source
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<a title="DigitalBard" href="http://digitalbard.lmc.gatech.edu/wiki/index.php/Doctor_Rodrigo_Lopez">DigitalBard</a>
Publisher
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Robert Mylbourne and Humphrey Robinson at the signe of the three Pigeons in Pauls Church-yard (1627)
<a title="DigitalBard" href="http://digitalbard.lmc.gatech.edu/wiki/index.php/Doctor_Rodrigo_Lopez">DigitalBard</a>
Date
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1627
Format
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JPG
Language
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Latin
Type
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still image
Identifier
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embta2013-00034
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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/19349c30a649880993997fdc96128a5f.jpg
9037a745234ee60c93c027f26b8f56b0
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.
THE
Man of Mode,
OR,
Sr Fopling Flutter.
A
COMEDY.
Acted at the Duke's Theater.
by George Etherege Esq;.
LICENSED,
June 3. 1676. Roger L'Estrange.
LONDON,
Printed by J. Macock, for Henry Herringman, at the Sign of
the Blew Anchor in the Lower Walk of the
New Exchange, 1676.
Dublin Core
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Title
A name given to the resource
Man of Mode, or Sir Fopling Flutter, 1676 title page
Subject
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Etherege, George, 1636-1691 or 1692. Plays
Description
An account of the resource
title page for Man of Mode in 1676, the year it was first performed at Duke's Theatre.
Creator
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Etherege, George, 1636-1691 or 1692
Source
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<a href="https://en.wikipedia.org/wiki/File:George_Etherege_The_Man_of_Mode_frontspiece_1676.jpg" target="_blank">Wikipedia</a>
Publisher
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<a href="https://en.wikipedia.org/wiki/File:George_Etherege_The_Man_of_Mode_frontspiece_1676.jpg" target="_blank">Wikipedia</a>
Date
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1676
Format
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JPG
Language
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English
Type
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Document
Identifier
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embta2013-00089
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-
Dublin Core
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Title
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Map of London, The Town, & Westminster, c. 1680
Subject
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Theaters in London c. 1680s
Description
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Map showing location of theaters and relevant sites.
Creator
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Dowling, Jean
Source
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Powell, Jocelyn. "Restoration Theater Production." London: Routledge & Kegan Paul, 1984.
Publisher
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Routledge & Kegan Paul
Date
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1984
Contributor
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Powell, Jocelyn, 1938-
Rights
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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
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JPG
Language
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English
Type
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still image
-
https://embta.english.ucsb.edu/files/original/c6a65eb1a3d49c0d30ad9042bf563a42.jpg
f22bcda0761d6c9c84ecede15f40b5b6
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
Mark Lemon as Falstaff
Subject
The topic of the resource
Lemon, Mark, 1809-1870
Falstaff, John, Sir (Fictitious character)--Drama
Description
An account of the resource
Full-length engraved portrait. Mark Lemon costumed as Falstaff holds a tankard in his right hand and wears a dagger, a sword, and a purse.
Creator
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Tenniel, John, 1820-1914
Source
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University of Illinois at Urbana-Champaign. Rare Book and Manuscript Library
Publisher
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<a href="http://www.library.illinois.edu/contentdm/cdm4/results.php?CISOOP1=any&CISOFIELD1=CISOSEARCHALL&CISOROOT=/actors&CISOBOX1=Print" target="_blank">University of Illinois Theatrical Print Collection</a>
Format
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JPG
Language
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English
Type
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Still Image
Identifier
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embta2013-00072
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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/244b9c02eb40f2f3a3b64558ce5156de.jpg
b8d0d07940fc5b37194e5667ee0dfc82
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
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Title
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Mary Saunderson Betterton
Subject
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Betterton, Mary (nee Saunderson)
Description
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Attributed three-quarter length portrait of actress, Mary Betterton holding a shell beside a fountain with three stone cherubs.
Creator
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Unknown
Source
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<a title="Wikipedia" href="http://en.wikipedia.org/wiki/File:Mary_Saunderson_17th_century.jpg" target="_blank">Wikipedia</a>
Publisher
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<a title="Wikipedia" href="http://en.wikipedia.org/wiki/File:Mary_Saunderson_17th_century.jpg" target="_blank">Wikipedia</a>
Date
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1660?-1700?
Format
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JPG
Type
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Still Image
Identifier
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embta2013-00099
Rights
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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.
Originated role of Florinda (Rover)
Played opposite husband Thomas Betterton (Belville) in the Rover
-
https://embta.english.ucsb.edu/files/original/8e5a85abadd99a814315bf3f147e0568.gif
410f49276bee91240bd123eef54a1b31
Dublin Core
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Title
A name given to the resource
Michael Mohun
Subject
The topic of the resource
Mohun, Michael, approximately 1616-1684
Description
An account of the resource
Half-length standing portrait of Michael Mohun in shirt sleeves and holding a sword.<br />Late-18th-century engraving, based on an earlier portrait by an unknown artist. For more information see: <a href="http://www.oxforddnb.com.proxy.library.ucsb.edu:2048/view/article/18885?docPos=6" target="_blank">ODNB</a>
Creator
An entity primarily responsible for making the resource
Harding, Edward, 1775 or 1776-1796
Harding, Sylvester, 1745-1809
Source
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<a href="https://en.wikipedia.org/wiki/File:Michael_Mohun.gif" target="_blank">Wikipedia</a>
Publisher
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<a href="https://en.wikipedia.org/wiki/File:Michael_Mohun.gif" target="_blank">Wikipedia</a>
Date
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1793?
Format
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GIF
Type
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Still Image
Identifier
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embta2013-00097
Rights
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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.
Often paired with Charles Hart (original Horner in Country Wife)
-
https://embta.english.ucsb.edu/files/original/8dc1f16671a3530505d923441db85924.jpg
240809d583ce472c39a34a949b8bbd46
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
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Title
A name given to the resource
Midsummer Night's Dream Set
Subject
The topic of the resource
Shakespeare, William, 1564-1616. Midsummer night's dream
Description
An account of the resource
Staging of a gathering of numerous fairies, dressed in either white or gold, holding staves of flowers. Set in front of a parthenon-like structure. The stage is framed by a large red curtain and ornate pillars.
Creator
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Kean, Charles John, 1811?-1868
Source
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EMC Gallery
Date
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1856?
Contributor
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Lloyds, F.
Format
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jpg
Type
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Still Image
Identifier
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embta2014-00131
Rights
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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.
Victorian staging
-
https://embta.english.ucsb.edu/files/original/d0ff89d8d8638b8db60428a441505454.jpg
5e0790f07d178519fd6032e92347ae50
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
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JPEG
Physical Dimensions
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14.8 X 11.2 cm
Dublin Core
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Title
A name given to the resource
Miss Brunton in Cordelia
Subject
The topic of the resource
Shakespeare, William 1564-1616--Characters--Heroines.
Shakespeare, William, 1564-1616. King Lear
Merry, Anne (née Brunton) (1769-1808)
Description
An account of the resource
Engraving image of Anne Merry portraying Cordelia on the heath.
Creator
An entity primarily responsible for making the resource
Burney, E. (artist)
Thornthwaite, J., born 1735 (engraver)
J. Bell (publisher)
Source
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<a href="http://collections.vam.ac.uk/item/O1264473/miss-bruton-in-cordelia-o-print-e-burney/">Victoria and Albert</a>
Publisher
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<a href="http://collections.vam.ac.uk/item/O1264473/miss-bruton-in-cordelia-o-print-e-burney/">Victoria and Albert</a>
Date
A point or period of time associated with an event in the lifecycle of the resource
1785
Rights
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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
Format
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JPEG
Language
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English
Type
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Still Image
Identifier
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embta2016-00294
feather
-
https://embta.english.ucsb.edu/files/original/9bf16936559f25f03e7d001537571f53.jpg
254e083880e5719f21a410bd1823ba26
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
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Richard III
Subject
The topic of the resource
By William Shakespeare
Description
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A multimedia exploration of educational tools relating to Shakespeare's "Richard III"
Creator
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Juliet Way-Henthorne
Date
A point or period of time associated with an event in the lifecycle of the resource
2017
Coverage
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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.
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Title
A name given to the resource
Morris Kestelman set design for Richard III
Subject
The topic of the resource
Shakespeare, William 1564-1616. Richard III.
Description
An account of the resource
This design by Morris Kestelman (1905-1998) was for an interior scene in the Old Vic Theatre Company's production of Richard III at the New Theatre, London, in September 1944.
Creator
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Morris Kestelman, designed in 1944
Source
A related resource from which the described resource is derived
<a href="http://collections.vam.ac.uk/item/O1283009/morris-kestelman-set-design-for-set-design-kestelman-morris">link to item here</a>
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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
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A set design of Richard III that not only demonstrates the progression of stage management within the 20th century, but also depicts the "grimly effective" tone or Richard III.
Publisher
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Victoria & Albert Museum
Format
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JPG
battlefield
lighting
set design
stage layout
theater technology
war