“It’s no wonder that The Crown — nominated for a record six Golden Globes in this Sunday’s annual awards ceremony — is so successful and popular,” writes Austin Tichenor. “Its depiction of an English monarch struggling to rule Britain while navigating political threats and family tensions is downright Shakespearean.”
Posts Categorized: Shakespeare-in-the-world
Shakespeare quotes can seem like good choices for Valentine’s Day cards, but his tales of love are nuanced and complicated.
Shakespeare & Beyond readers may remember author Ian Doescher’s announcement here in December 2019 that he would be reading through all of Shakespeare’s works in 2020, inviting anyone interested to join him. Many of our readers said yes! We asked Ian to return to the blog and reflect on the Shakespeare 2020 Project.
The story of the Globe Theatre’s beginnings is one of intrigue, legal hairsplitting, holiday opportunity, and the disassembly of another playhouse.
The story of Pericles continues to be retold by twenty-first century novelists, among them Mark Haddon, in The Porpoise (2019), and Ali Smith, in Spring (2019), the penultimate book in her “Seasonal Quartet.”
We asked some of our Shakespeare theater partners what the events of 2020 had illuminated for them about Shakespeare and theater.
Austin Tichenor writes about how the lack of biographical details about Shakespeare’s life leaves his audience always wanting more.
Does a rose by any other name smell as sweet? Can we capture the perfumes of the past to savor in the present? This blog post looks at two 21st-century perfumes that try to market their scents by evoking early modern English royalty. These perfumes attempt to transport the wearer through an olfactive time machine to Renaissance England, and to refashion a whole epoch of British history, distilled to its most enduring and distinctive scent: the rose. But how does one create a perfume that can claim to smell of “Tudor” or “Elisabethan” rose?
Austin Tichenor writes about theater’s limitations as a historical record, given its dramatic needs and narrative imperatives.
Cyril Walter Hodges. The fire at the Globe, 1613 (illustration for: Shakespeare’s Theatre, 1964). Folger Shakespeare Library. While William Shakespeare never wrote what we might think of as a science-fiction play, he knew intuitively that the theatre — more than Doc Brown’s DeLorean, Bill & Ted’s phone booth, H.G. Wells’ 19th-century steampunk device, or… Continue Reading »