Author Nicole Galland gives Edmund Tilney, the Master of the Revels for Queen Elizabeth I, his proper due. She writes: “Because of Tilney, playwrights became more revered among the reading classes; because of Tilney, only certain playwrights’ works were greatly revered; because of Tilney, Shakespeare was chief among those playwrights. That he remains chief among playwrights is a testament to his genius, of course. But the fact that he was positioned to be recognized as such is largely due to Edmund Tilney.”
There are lots of places to watch and listen to Shakespeare online this March, especially for fans of “Julius Caesar” and “Hamlet.”
Iranian professor and Shakespeare scholar Ali Salami has used the Folger Shakespeare’s freely available digital texts to translate almost all of the works of Shakespeare into Persian. Read a Q&A with Salami about his translation work.
Patricia Akhimie writes about racist humor in Shakespeare’s comedies in this excerpt from her essay in The Cambridge Companion to Shakespeare and Race.
“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.”
Victorian director Henry Irving’s use of a Black page in his production of ‘The Merchant of Venice’ shows how forms of race-thinking had been sustained and intensified in the English theatrical imagination.