when was taming of the shrew first performed
1844
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The Taming of the Shrew in performance "The Taming of the Shrew" in performance has had an uneven history. Popular in Shakespeare's day, the play fell out of favour during the seventeenth century, when it was replaced on the stage by John Lacy's "Sauny the Scott". The original Shakespearean text was not performed at all during the eighteenth century, with David Garrick's adaptation "Catharine and Petruchio" dominating the stage. After over two hundred years without a performance, the play returned to the British stage in 1844, the last Shakespeare play restored to the repertory. However, it was only in the
The Taming of the Shrew in performance
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The Taming of the Shrew in performance "The Taming of the Shrew" in performance has had an uneven history. Popular in Shakespeare's day, the play fell out of favour during the seventeenth century, when it was replaced on the stage by John Lacy's "Sauny the Scott". The original Shakespearean text was not performed at all during the eighteenth century, with David Garrick's adaptation "Catharine and Petruchio" dominating the stage. After over two hundred years without a performance, the play returned to the British stage in 1844, the last Shakespeare play restored to the repertory. However, it was only in the
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seventeenth century. The original play seems not to have been performed at all during the eighteenth century, and instead a range of adaptations held the stage, most notably David Garrick's 1754 adaptation, "Catharine and Petruchio". Shakespeare's "The Shrew" was not performed again until 1844, the last of his plays restored to the repertory, 211 years since the last definite performance. That year, Benjamin Webster directed a production designed by J.R. Planché at the Haymarket Theatre. Starring Louisa Cranstoun Nisbett as Katherina and Webster himself as Petruchio, the production was staged in a minimalist Elizabethan manner, with only two simple locations;
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Lane in March 1754, starring Hannah Pritchard and Henry Woodward, although Pritchard was replaced by Kitty Clive in 1756. This adaptation dominated the stage for almost a century, with Shakespeare's play not returning to the English stage until 1844, although Garrick's version was still being performed as late as 1879, when Herbert Beerbohm Tree staged it. In "Catharine and Petruchio", the subplot is entirely omitted; Bianca is married to Hortensio when the play opens. Consequently, it is not a full-length play, and was often performed with Garrick's shorter version of "The Winter's Tale" or as an afterpiece. Indeed, the play
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thus add layers of nuance and doubt to her pronouncement, Garrick's play concludes after these lines. Of the many adaptations of "The Taming of the Shrew", the most successful was David Garrick's "Catharine and Petruchio," which was introduced in 1754 and dominated the stage for almost two centuries, with Shakespeare's play not returning until 1844 in England and 1887 in the United States, although Garrick's version was still being performed as late as 1879, when Herbert Beerbohm Tree staged it. In Garrick's version, the subplot is entirely omitted, Bianca is married to Hortensio when the play opens. Consequently, it is
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late to save him. Starring Aureliano Pertile and Mercedes Llopart, it was first performed at La Scala in Milan. Rudolf Karel's "The Taming of the Shrew" is an unfinished opera upon which he worked between 1942 and 1944. Philip Greeley Clapp's "The Taming of the Shrew" (1948) was first performed at the Metropolitan Opera. Vittorio Giannini's "The Taming of the Shrew" (1953) is an opera buffa, with libretto by Giannini and Dorothy Fee. It was first performed at the Cincinnati Music Hall, starring Dorothy Short and Robert Kircher. Vissarion Shebalin's "Ukroshchenye stroptivoy" (1957), with libretto by Abram Akimovich Gozenpud, was
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He reveals he is not dead, and, impressed with the ruse, Maria decides to end her "taming". The play ends with them agreeing to live a life of mutual respect. When the two plays were performed at court in November 1633, Master of the Revels Henry Herbert recorded "Shrew" was "likt" but "Tamer Tamed" was "very well likt". During the 1660s, "Shrew" was adapted by John Lacy as "Sauny the Scot", to make it better match with Fletcher's sequel. Originally performed under the "Taming of the Shrew" title, the play was published in 1698 as "Sauny the Scot: or, The
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apprivoisée". Using the music of Alessandro Scarlatti, it was originally performed by the Ballet de l'Opéra de Paris in 1954. The best known ballet adaptation is John Cranko's "The Taming of the Shrew", first performed by the Stuttgart Ballet at the Staatsoper Stuttgart in 1969. Another ballet adaptation is Louis Falco's "Kate's Rag", first performed by the Louis Falco Dance Company at the Akademie der Künste in 1980. In 1988, Aleksandre Machavariani composed a ballet suite, but it was not performed until 2009, when his son, conductor Vakhtang Machavariani, gave a concert at the Georgian National Music Center featuring music
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based on the 1623 First Folio. Under this referencing system, 1.2.51 means Act 1, Scene 2, line 51. The Taming of the Shrew The Taming of the Shrew is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. The play begins with a framing device, often referred to as the induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly's diversion. The main plot depicts the courtship of Petruchio and Katherina, the headstrong, obdurate shrew.
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The Taming of the Shrew The Taming of the Shrew is a comedy by William Shakespeare, believed to have been written between 1590 and 1592. The play begins with a framing device, often referred to as the induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. The nobleman then has the play performed for Sly's diversion. The main plot depicts the courtship of Petruchio and Katherina, the headstrong, obdurate shrew. Initially, Katherina is an unwilling participant in the relationship; however, Petruchio "tames" her with various psychological torments, such
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Catharine and Petruchio Catharine and Petruchio is a reworking of William Shakespeare's "The Taming of the Shrew" by British playwright and actor David Garrick. It was written in 1754 and was performed far more often than the original "The Shrew" through the eighteenth and nineteenth centuries. "The Taming of the Shrew" was revived following the English Civil War in the second half of the seventeenth century, but not necessarily in Shakespeare's 'original' version. The seventeenth and eighteenth centuries saw multiple adaptations of Shakespeare's "The Shrew." And, as in Nahum Tate's adaptation of "King Lear", which transforms the tragic ending into
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The Taming of the Shrew (1929 film) The Taming of the Shrew is a 1929 American pre-Code film directed by Sam Taylor and starring Mary Pickford and her husband Douglas Fairbanks. It was the first sound film adaptation of the Shakespearean play of the same name. The film was adapted by Taylor from William Shakespeare's play. The first sound version of the play on film, this version was planned as a sound film from the start. Pickford had already made her sound film debut in "Coquette" (1929) so "The Taming of the Shrew" marked her second talkie. This version of
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"First Folio" text throughout the play, he "much abbreviated" Katherina's final speech. In the United States, Shakespeare's "The Shrew" was first performed in 1887, directed by Augustin Daly at Daly's Theatre in New York, starring Ada Rehan and John Drew. Despite claims the production was pure Shakespeare, Daly made several alterations. For example, the Bianca subplot was heavily cut to allow more focus on the taming storyline. Daly also reorganised Act 4 so that Scene 2 (the arrival of the pedant in Padua) was followed by Scene 4 (the pedant confirms the dowry for Bianca), and Scene 1 (Petruchio and
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contains the line "He calls his Kate, and she must come and kiss him." This must refer to "The Shrew", as there is no corresponding "kissing scene" in "A Shrew". There are also verbal similarities between both "Shrew" plays and the anonymous play "A Knack To Know A Knave" (first performed at The Rose on 10 June 1592). "Knack" features several passages common to both "A Shrew" and "The Shrew", but it also borrows several passages unique to "The Shrew". This suggests "The Shrew" was on stage prior to June 1592. In his 1982 edition of the play for The
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The Taming of the Shrew (ballet) The Taming of the Shrew is a ballet in two acts choreographed by John Cranko to keyboard works by Domenico Scarlatti arranged and orchestrated by Kurt-Heinz Stolze. With scenery and costumes designed by Elizabeth Dalton, it was first presented as "Der Widerspenstigen Zähmung" by the Stuttgart Ballet at the Wṻrtembergische Staatstheater in Stuttgart on 16 March 1969. Cranko's ballet is a dance version of William Shakespeare's play "The Taming of the Shrew" (1590–1592). The story is a comedy about Petruchio's determination to subdue the irascible Katherine; he woos her, marries her, and makes her
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and provided a first-class showcase for his virtuosity and partnering skills. A reviewer of an early performance in Stuttgart wrote, "I have been trying to think when—or whether—I ever laughed so much at a ballet as I did at John Cranko's "The Taming of the Shrew". . . . Perhaps the subject sounds an unlikely one for dancing, but to think so is to leave out of account Cranko's absolute genius for comic invention." "The Stuttgart Ballet: The Miracle Lives", a video recording, includes an excerpt from "The Taming of the Shrew", danced by Marcia Haydée and Richard Cragun (West
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1890s that the dominance of "Catharine and Petruchio" began to wain, and productions of "The Shrew" become more regular. Moving into the twentieth century, the play's popularity increased considerably, and it became one of Shakespeare's most frequently staged plays, with productions taking place all over the world. This trend has continued into the twenty-first century, with the play as popular now as it was when first written. The earliest known performance of the play is recorded in Philip Henslowe's diary on 11 June 1594, performed by the Lord Admiral's Men and the Lord Chamberlain's Men at Newington Butts Theatre; "begininge
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1591, which places the date of composition around 1590–1591. The 1594 quarto of "A Shrew" was printed by Peter Short for Cuthbert Burbie. It was republished in 1596 (again by Short for Burbie), and 1607 by Valentine Simmes for Nicholas Ling. "The Shrew" was not published until the "First Folio" in 1623. The only quarto version of "The Shrew" was printed by William Stansby for John Smethwick in 1631 as "A Wittie and Pleasant comedie called The Taming of the Shrew", based on the 1623 folio text. W.W. Greg has demonstrated that "A Shrew" and "The Shrew" were treated as
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The play ends with her thoroughly tamed. Lacy's work premiered at Drury Lane in 1667, starring Susanna Verbruggen and George Powell. Samuel Pepys saw it on 9 April and again on 1 November, enjoying it on both occasions. The play was popular enough that it was still being performed as late as 1732, when it was staged at Goodman's Fields Theatre, and it seems to have supplanted "Shrew"s place on the English stage for the rest of the seventeenth century and the first half of the eighteenth. In 1716, two rival adaptations, both named "The Cobler of Preston", opened in
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newly available technology, and seven minutes were cut from the initial print. This re-released version is the only version now available on DVD or VHS. The Taming of the Shrew (1929 film) The Taming of the Shrew is a 1929 American pre-Code film directed by Sam Taylor and starring Mary Pickford and her husband Douglas Fairbanks. It was the first sound film adaptation of the Shakespearean play of the same name. The film was adapted by Taylor from William Shakespeare's play. The first sound version of the play on film, this version was planned as a sound film from the
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The Taming of the Shrew on screen There have been numerous on screen adaptations of Shakespeare's "The Taming of the Shrew". The best known cinematic adaptations are Sam Taylor's 1929 "The Taming of the Shrew" and Franco Zeffirelli's 1967 "The Taming of the Shrew", both of which starred the most famous celebrity couples of their era; Mary Pickford and Douglas Fairbanks in 1929 and Elizabeth Taylor and Richard Burton in 1967. On television, perhaps the most significant adaptation is the 1980 "BBC Television Shakespeare" version, directed by Jonathan Miller and starring John Cleese and Sarah Badel. The play has also
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adaptations using relatively complete texts intended for use as educational tools in schools, with the primary aim being to show how the plays would have looked when originally performed. The production starred Karen Austin and Franklyn Seales. Other film versions (which are loose adaptations as opposed to straight translations from stage to screen) include: The earliest screening of the play is often inaccurately reported to have been broadcast on BBC Television Service in 1939, directed by Dallas Bower and starring Margaretta Scott and Austin Trevor. However, this was an adaptation of Garrick's "Catharine and Petruchio", not Shakespeare's "Shrew". The first
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meets on Wednesdays. It offers the chance for young people to gain valuable experience in areas such as acting skills and stage management. It has run a number of small one-off productions in the past in Letterkenny. Some past LYT shows include "Alien Nation" (2008), "La Vide de Picasso" (2009), and "The Taming of the Shrew" (2010). On Thursday 25 June and Friday 26 June 2009, LYT ran a two-night show in the theatre in which they performed a devised piece entitled "La Vide de Picasso". LYT performed "The Taming of the Shrew" in 2010. On 22 August 2010, LYT
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success of the Daly, Benson and Asche productions, the play began to be performed with much more frequency all over the world. A celebrated early twentieth-century Katherina was Margaret Anglin, who first performed the role in 1908 in Her Majesty's Theatre, Melbourne. Acting opposite Henry Kolker in a production she herself directed, Anglin is generally regarded as the first actress to have performed Katherina's final speech in an ironic manner. The play was a huge success in Australia, and in 1914, Anglin brought it on tour to New York. Of the last scene, Anglin wrote "when I run gaily in
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Long Branch, N.J.: Kultur International Films Ltd., 1983). "Ballerina", a BBC Television recording produced and directed by Derek Bailey (London: BBC TV, 1987), also includes an excerpt from the ballet but is currently not commercially available. The Taming of the Shrew (ballet) The Taming of the Shrew is a ballet in two acts choreographed by John Cranko to keyboard works by Domenico Scarlatti arranged and orchestrated by Kurt-Heinz Stolze. With scenery and costumes designed by Elizabeth Dalton, it was first presented as "Der Widerspenstigen Zähmung" by the Stuttgart Ballet at the Wṻrtembergische Staatstheater in Stuttgart on 16 March 1969. Cranko's
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Verona nobleman Petruchio, to be Katarina's suitor. All does not go well at first, but by the opera's conclusion Petruchio and Katarina are happily in love and married. The 1957 Bolshoi performance under Zdeněk Chalabala with Galina Vishnevskaya as Caterina, Yevgeny Kibkalo as Petruchio, Glafira Deomidova as Bianca and Arthur Eisen as Baptista, was recorded for radio and issued in 1961 on LP by Melodiya. The Taming of the Shrew (Shebalin) The Taming of the Shrew (Russian "Ukroshchenye stroptivoy", Cyrillic "Укрощение строптивой") is a 1957 opera in four acts, five scenes by Vissarion Shebalin to a libretto by the Soviet
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"Edward II" (published in quarto in July 1593), and Shakespeare's "Titus Andronicus" (published in quarto in 1594), "The True Tragedy of Richard Duke of York" (published in octavo in 1595) and "The Taming of a Shrew" (published in quarto in May 1594). Oliver says it is a "natural assumption" that these publications were sold by members of Pembroke's Men who were broke after the failed tour. Oliver assumes that "A Shrew" is a reported version of "The Shrew", which means "The Shrew" must have been in their possession when they began their tour in June, as they didn't perform it
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is mine own" (3.2.231-235) speech; one delivered in an aggressive threatening manner, one in a bawdy sexual manner, directed by Adele Thomas and performed by Eleanor Matsuura and Anthony Howell. In 1980, BBC2 aired an adaptation for their "BBC Television Shakespeare" series, directed by Jonathan Miller and starring Sarah Badel and John Cleese. The casting of Cleese as Petruchio was not without controversy at the time. He had never performed Shakespeare before, was not a fan of the first two seasons of the "BBC Television Shakespeare", and took some persuading from Miller that the BBC "Shrew" would not be, as
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the same text for the purposes of copyright, i.e. ownership of one constituted ownership of the other, and when Smethwick purchased the rights from Ling in 1609 to print the play in the "First Folio", Ling actually transferred the rights for "A Shrew", not "The Shrew". One of the most fundamental critical debates surrounding "The Shrew" is its relationship with "A Shrew". There are five main theories as to the nature of this relationship: The exact relationship between "The Shrew" and "A Shrew" is uncertain, but many scholars consider "The Shrew" the original, with "A Shrew" derived from it; as
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psychological manipulation (without animal abuse), were reused by William Shakespeare in his play "The Taming of the Shrew", which closes with the reformed shrew giving a monologue on why wives should always obey their husbands. This overall plot structure was retained in various works of silent-era and post-Second World War cinema. Elements of the shrew-taming plot are still used today, though with less patriarchal messages since the rise of feminism. "The Taming of the Shrew" has itself led to various modern, loose adaptations to current societal views in differing Western and Eastern industrialised societies, while retaining the stock character and
Shrew (stock character)
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names of Tranio and Grumio. Efforts to establish the play's date of composition are complicated by its uncertain relationship with another Elizabethan play with an almost identical plot but different wording and character names, "A Pleasant Conceited Historie, called the taming of a Shrew". "The Shrew"s exact relationship with "A Shrew" is unknown. Different theories suggest "A Shrew" could be a reported text of a performance of "The Shrew", a source for "The Shrew", an early draft (possibly reported) of "The Shrew", or an adaptation of "The Shrew". "A Shrew" was entered in the Stationers' Register on 2 May 1594,
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play, introducing the Litio disguise, and giving some of Hortensio's discarded lines to Tranio, but not fully correcting everything to fit the presence of a new suitor. This is important in Duthie's theory of an "Ur-Shrew" insofar as he argues it is the original version of "The Shrew" upon which "A Shrew" is based, not the version which appears in the 1623 "First Folio". As Oliver argues, ""A Shrew" is a report of an earlier, Shakespearian, form of "The Shrew" in which Hortensio was not disguised as Litio." Oliver suggests that when Pembroke's Men left London in June 1592, they
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Oxford Shakespeare edition of "2 Henry VI", Roger Warren makes the same argument for "The First Part of the Contention". Randall Martin reaches the same conclusion regarding "The True Tragedy of Richard Duke of Yorke" in his 2001 Oxford Shakespeare edition of "3 Henry VI". This lends support to the theory that "A Shrew" could be both a reported text and an early draft. "The Taming of the Shrew" has been the subject of critical controversy. Dana Aspinall writes "Since its first appearance, some time between 1588 and 1594, "Shrew" has elicited a panoply of heartily supportive, ethically uneasy, or
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heart admired the man whose temper is greater than her own." The first sound adaptation of the play was in 1929; Sam Taylor's "The Taming of the Shrew", starring Mary Pickford and Douglas Fairbanks (the first sound adaptation of any Shakespeare play). This version was simultaneously shot as a silent film, and, depending on whether a given theatre was equipped to screen sound films, was released both as a "talkie" and a silent. Using only 500 lines from the original play, and a few lines from David Garrick's 1754 adaptation of "Shrew", "Catharine and Petruchio", the film is primarily known
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Richard Burton. The 1999 high school comedy film "10 Things I Hate About You" is also loosely based on the play. "Characters appearing in the Induction:" Prior to the first act, an induction frames the play as a "kind of history" played in front of a befuddled drunkard named Christopher Sly who is tricked into believing that he is a lord. The play is performed in order to distract Sly from his "wife," who is actually Bartholomew, a servant, dressed as a woman. In the play performed for Sly, the "shrew" is Katherina, the eldest daughter of Baptista Minola, a
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Oxford Shakespeare, H.J. Oliver suggests the play was composed no later than 1592. He bases this on the title page of "A Shrew", which mentions the play had been performed "sundry times" by Pembroke's Men. When the London theatres were closed on 23 June 1592 due to an outbreak of plague, Pembroke's Men went on a regional tour to Bath and Ludlow. The tour was a financial failure, and the company returned to London on 28 September, financially ruined. Over the course of the next three years, four plays with their name on the title page were published; Christopher Marlowe's
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version. By the end of the eighteenth century, the predominant theory had come to be that "A Shrew" was a non-Shakespearean source for "The Shrew", and hence to include extracts from it was to graft non-authorial material onto the play. This theory prevailed until 1850, when Samuel Hickson compared the texts of "The Shrew" and "A Shrew", concluding "The Shrew" was the original, and "A Shrew" was derived from it. By comparing seven passages which are similar in both plays, he concluded "the original conception is invariably to be found" in "The Shrew". His explanation was that "A Shrew" was
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he has probably fallen asleep. Another version has a closing segment in which Sly, deposited back outside the tavern in a stupor once more, says he will return home to deal with his own shrewish wife, having had "the best dream that ever I had in my life" in which he learned how to "tame a shrew". The closing part of the frame-play does not appear in the text of "The Taming" as it was published in the First Folio. It only appears in the version published in quarto as "The Taming of a Shrew" (rather than "the" Shrew). Sly
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Jan Harold Brunvand argued that the main source for the play was not literary, but the oral folktale tradition. He argued the Petruchio/Katherina story represents an example of Type 901 ('Shrew-taming Complex') in the Aarne–Thompson classification system. Brunvand discovered 383 oral examples of Type 901 spread over thirty European countries, but he could find only 35 literary examples, leading him to conclude "Shakespeare's taming plot, which has not been traced successfully in its entirety to any known printed version, must have come ultimately from oral tradition." Most contemporary critics accept Brunvand's findings. A source for Shakespeare's sub-plot was first identified
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Wallack, the opera premiered at Drury Lane, but it was not successful, and closed after only a few performances. Hermann Goetz' "Der Widerspänstigen Zähmung" (1874), with libretto by Joseph Viktor Widmann, is a comic opera, which focuses on the Bianca subplot, and cuts back the taming story. It was first performed at the original National Theatre Mannheim. John Kendrick Bangs' "Katherine: A Travesty" (1888) is a Gilbert and Sullivan-style parody operetta which premiered in the Metropolitan Opera. Spyridon Samaras' "La furia domata: commedia musicale in tre atti" (1895) is a now lost lyric comedy with libretto by Enrico Annibale Butti
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composing "The Taming of the Shrew" in 1938 while finishing work on his earlier opera, "The Scarlet Letter". He worked sporadically on the opera over the next 12 years; often interrupted by a variety of other music projects and distractions related to World War II that took his attention away from the project. He completed "The Taming of the Shrew" in 1950. In 1954 the NBC Opera Theater filmed a shortened 90 minute version of the opera for television starring John Raitt as Petruchio and Susan Yager as Katharina under the baton of Peter Herman Adler. It was broadcast nationwide
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The Taming of the Shrew (Giannini) The Taming of the Shrew is an opera in three acts by composer Vittorio Giannini. The work uses an English language libretto by Dorothy Fee and the composer which is based on William Shakespeare's play of the same name. The opera premiered at the Cincinnati Music Hall on January 31, 1953 in a concert performance starring Dorothy Short as Katharina, Robert Kircher as Petruchio, the Cincinnati Symphony Orchestra, and conductor Thor Johnson. Considered Giannini's most popular work, it was one of three finalists named for the Pulitzer Prize for Music in 1953. Giannini began
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work with singers Julian Patrick (Petruchio) and Anna Moffo (Katharina). The Taming of the Shrew (Giannini) The Taming of the Shrew is an opera in three acts by composer Vittorio Giannini. The work uses an English language libretto by Dorothy Fee and the composer which is based on William Shakespeare's play of the same name. The opera premiered at the Cincinnati Music Hall on January 31, 1953 in a concert performance starring Dorothy Short as Katharina, Robert Kircher as Petruchio, the Cincinnati Symphony Orchestra, and conductor Thor Johnson. Considered Giannini's most popular work, it was one of three finalists named
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suggestions from audience members. "The Taming of the Shrew" episode was the basis of a two-part Roundhouse Theatre workshop starring Suzanne Bertish and Daniel Massey, which addressed whether or not the play demeans women, or depicts how they are demeaned in society. In 1986, the television series "Moonlighting" produced an episode entitled "Atomic Shakespeare", written by Ron Osborn and Jeff Reno (with a writing credit for William 'Budd' Shakespeare), and directed by Will Mackenzie. The episode recasts the show's main characters in a self-referential comedic parody of "The Taming of the Shrew". The episode opens with a boy who is
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The Taming of the Shrew (1967 film) The Taming of the Shrew () is a 1967 American-Italian romantic comedy film based on the play of the same name by William Shakespeare about a courtship between two strong-willed people. The film was directed by Franco Zeffirelli and stars Elizabeth Taylor and Richard Burton as Shakespeare's Kate and Petruchio. Baptista Minola is attempting to marry off his two daughters; however, he will marry off his youngest, Bianca only if someone will marry his eldest, Katharina. Katharina is an ill-tempered shrewish woman but a lusty young nobleman, Petruchio, takes on the challenge of
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Gervasi). The Taming of the Shrew (1967 film) The Taming of the Shrew () is a 1967 American-Italian romantic comedy film based on the play of the same name by William Shakespeare about a courtship between two strong-willed people. The film was directed by Franco Zeffirelli and stars Elizabeth Taylor and Richard Burton as Shakespeare's Kate and Petruchio. Baptista Minola is attempting to marry off his two daughters; however, he will marry off his youngest, Bianca only if someone will marry his eldest, Katharina. Katharina is an ill-tempered shrewish woman but a lusty young nobleman, Petruchio, takes on the challenge
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over twenty examples of bad quartos, Kirschbaum did not include "A Shrew", which he felt was too different from "The Shrew" to come under the bad quarto banner; "despite protestations to the contrary, "The Taming of a Shrew" does not stand in relation to "The Shrew" as "The True Tragedie", for example, stands in relation to "3 Henry VI"." Writing in 1998, Stephen Roy Miller offers much the same opinion; "the relation of the early quarto to the "Folio" text is unlike other early quartos because the texts vary much more in plotting and dialogue [...] the differences between the
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written by Christopher Marlowe, with "The Shrew" as his template. He reached this conclusion primarily because "A Shrew" features numerous lines almost identical to lines in Marlowe's "Tamburlaine" and "Dr. Faustus". In 1926, building on Hickson's research, Peter Alexander first suggested the bad quarto theory. Alexander agreed with Hickson that "A Shrew" was derived from "The Shrew", but he did not agree that Marlowe wrote "A Shrew". Instead he labelled "A Shrew" a bad quarto. His main argument was that, primarily in the subplot of "A Shrew", characters act without motivation, whereas such motivation is present in "The Shrew". Alexander
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privately educated, to regularly attending the theatre, opera and ballet. The young Jackson saw his first Shakespeare production, "The Taming of the Shrew", performed by the Frank Benson Company when he was ten years old. In his teenage years, he travelled around Europe, visiting Greece and Italy, living in Geneva for eighteen months where he studied French and learnt to paint. He desired to become an artist, but his father persuaded him to take a job in the architect's office of Frank Osborn in Birmingham, beginning working there in 1897. His time there did now inspire him creativity, as he
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Opéra de Lausanne, later taking the production on tour to Bordeaux and Madrid. The televised Lausanne production was broadcast in the European Union in 2002, and a studio recording (with the same cast) was released in 2004. The opera was also performed in a new production by Patrik Sörling at the Drottningholm Festival in 2005, and the following year received yet another new production when it was performed by Bampton Classical Opera. The Bampton production was sung in English under the title "The Taming of the Shrew" using a new translation of the libretto by Robert Thicknesse. Setting: A villa
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only began to dwindle in popularity when afterpieces became less fashionable in the mid-eighteenth century. Prior to that, however, it was a huge success on both sides of the Atlantic; it was first staged in North America in 1768 at the John Street Theatre, starring Margaret Cheer and Lewis Hallam. It was performed at John Philip Kemble's benefit in 1788, with a text he had prepared himself, which deviated slightly from Garrick's, starring Sarah Siddons and Kemble himself. Kemble continued to play the role for many years, including a run opposite his wife, Priscilla Kemble, in 1810. Previously, Kemble's brother,
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The Taming of the Shrew (Shebalin) The Taming of the Shrew (Russian "Ukroshchenye stroptivoy", Cyrillic "Укрощение строптивой") is a 1957 opera in four acts, five scenes by Vissarion Shebalin to a libretto by the Soviet musicologist Abram Akimovich Gozenpud, based on the comedy by William Shakespeare. Gozenpud utilized very little of Shakespeare's original text in his libretto, and completely eliminated many of the secondary characters and subplots from the play. His libretto does match the spirit of Shakespeare's play in its use of wit, the genuine passion of the story's lovers, and mixture of both lofty and coarse language. "Ukroshcheniye
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steps forward and speaks directly to the audience as herself; "Well, I must own, it wounds me to the Heart/To play, unwomanly, so mean a Part./What – to submit, so tamely – so contented,/Thank Heav'n! I'm not the Thing I represented." Cole Porter's musical "Kiss Me, Kate" is an adaptation of "Taming of the Shrew". The music and lyrics are by Porter and the book is by Samuel and Bella Spewack. It is at least partially based on the 1935/1936 Theatre Guild production of "Taming of the Shrew", which starred husband and wife Alfred Lunt and Lynn Fontanne, whose backstage
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Shebalin's last opera and was immediately hailed as a masterpiece throughout Russia. Dominick Argento's "Christopher Sly" (1962), with libretto by John Manlove, is a comic opera in two scenes and an interlude, first performed in the University of Minnesota. Sly is duped by a Lord into believing that he himself is a lord. However, he soon becomes aware of the ruse, and when left alone, he flees with the Lord's valuables and his two mistresses. The earliest known musical adaptation of the play was a ballad opera based on Charles Johnson's "Cobler of Preston". Called "The Cobler of Preston's Opera",
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into the twenty-first century. Some notable productions include: The first known adaptation of "The Taming of the Shrew" was "The Woman's Prize, or The Tamer Tamed", a sequel written by John Fletcher "c."1611. In Fletcher's play, Katherina has died, and Petruchio has remarried, to an equally fiery woman named Maria. Attempting to tame her in a similar manner to Katherina, Petruchio finds his tactics failing, and Maria refusing to consummate their marriage until Petruchio changes his ways. She bands together with other women who are also refusing to consummate their marriages. In an effort to elicit her sympathy, Petruchio pretends
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suggesting that whatever the relationship between the two plays, "The Shrew" was most likely written somewhere between 1590 (roughly when Shakespeare arrived in London) and 1594 (registration of "A Shrew"). However, it is possible to narrow the date further. A "terminus ante quem" for "A Shrew" seems to be August 1592, as a stage direction at 3.21 mentions "Simon," which probably refers to the actor Simon Jewell, who was buried on 21 August 1592. Furthermore, "The Shrew" must have been written earlier than 1593, as Anthony Chute's "Beauty Dishonoured, written under the title of Shore's wife" (published in June 1593)
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of life and humour that we find it now." Hickson is here arguing that Marlowe's "A Shrew" is not based upon the version of "The Shrew" found in the "First Folio", but on another version of the play. Duthie argues this other version was a Shakespearean early draft of "The Shrew"; "A Shrew" constitutes a reported text of a now lost early draft. Alexander returned to the debate in 1969, re-presenting his bad quarto theory. In particular, he concentrated on the various complications and inconsistencies in the subplot of "A Shrew", which had been used by Houk and Duthie as
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H.J. Oliver suggests, there are "passages in ["A Shrew"] [...] that make sense only if one knows the [Follio] version from which they must have been derived." The debate regarding the relationship between the two plays began in 1725, when Alexander Pope incorporated extracts from "A Shrew" into "The Shrew" in his edition of Shakespeare's works. In "The Shrew", the Christopher Sly framework is only featured twice; at the opening of the play, and at the end of Act 1, Scene 1. However, in "A Shrew", the Sly framework reappears a further five times, including a scene which comes after
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of Materials", a documentary by Met Films in which she tried out and performed on one of the world's first 3D printed violins In 2016 Palliser performed on violin and as singer in the All Irish production of Taming of the Shrew at Shakespeare's Globe where she also sang one of her own compositions in the role of Kate's absent mother She later performed in Sam Wanamaker Playhouse in Inn at Lydda In 2018 Palliser returned to Shakespeare's Globe as musical director and violinist of All's Well That Ends Well at Sam Wanmaker Playhouse. Palliser's singing and playing is currently
Úna Palliser
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the Theatre Royal in Wigan, the play became more prominent when performed at the Adelphi in 1904, directed by Otho Stuart. It subsequently went on a world tour, beginning in Australia, and Asche estimates it was performed about 1,500 times all over the world. Although a financial success, the production received mixed reviews. Many critics commented on the size difference between the large and imposing Asche and the diminutive Brayton, feeling the disparity lent the production an uncomfortable tone, especially insofar as Asche rejected Benson's farcical production in favour of a more psychologically real representation. In the wake of the
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many years it was believed that one of the credits read "Additional Dialogue by Sam Taylor", but there is no evidence any print ever contained such a credit and experts on Shakespeare films, like Kenneth S. Rothwell and Robert Hamilton Ball, think it unlikely. Fairbanks biographer Jeffrey Vance, writing in 2008, believes ""Taming of the Shrew" has never received the recognition it deserves as the first talking film of a Shakespeare play. It was not only technically superior to the majority of talking pictures in 1929 but would unquestionably be the finest translation onto film of Shakespeare for some time
The Taming of the Shrew (1929 film)
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annoyed that he has to read "The Shrew" for his homework, rather than watching his favourite programme, "Moonlighting" itself. He goes to his room and begins reading, and the episode then takes place in his mind as he imagines the members of the cast of "Moonlighting" in an adaptation of the play itself, with Cybill Shepherd as Katherina and Bruce Willis as Petruchio. In 1994, BBC aired an as part of "". This version adapted the end of "The Taming of a Shrew" to round out the frame; after Sly announces he now knows how to tame a shrew, he
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first quarto of "Henry V", quarto "King Lear", the "Richard III", the quarto of "Othello", the first quarto of "Romeo and Juliet", and "The Taming of a Shrew", an alternate version of "The Taming of the Shrew". The general editors of the series are Philip Brockbank (1984-1990) and Brian Gibbons (1990-present), with individual editors, or pairs of, assigned to cover separate plays and poetry. The Cambridge Shakespeare The Cambridge Shakespeare is a long-running series of critical editions of William Shakespeare's works published by Cambridge University Press. The name encompasses three distinct series: "The Cambridge Shakespeare" (1863–1866), "The New Shakespeare" (1921–1969),
The Cambridge Shakespeare
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and equal person ("Politics", 1.3, 12–13). Recognising the evil of despotic domination, the play holds up in inverse form Kate's shrewishness, the feminine form of the will to dominance, as an evil that obstructs natural fulfillment and destroys marital happiness. Another theme in the play is cruelty. Alexander Leggatt states: Ann Thompson argues that "the fact that in the folktale versions the shrew-taming story always comes to its climax when the husbands wager on their wives' obedience must have been partly responsible for the large number of references to sporting, gaming and gambling throughout the play. These metaphors can help
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Reynolds' "The Taming of the Shrew Overture" (1927). Ermanno Wolf-Ferrari's verismo opera "Sly, ovvero la leggenda del dormiente risvegliato" (1927) focuses on the Induction, with libretto by Giovacchino Forzano. A tragedy, the opera depicts Sly as a hard-drinking and debt-ridden poet who sings in a London pub. When he is tricked into believing that he is a lord, his life improves, but upon learning it is a ruse, he mistakenly concludes the woman he loves (Dolly) only told him she loved him as part of the ruse. In despair, he kills himself by cutting his wrists, with Dolly arriving too
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the Councillor A.Z. Berman for the necessary infrastructure. The Athlone Committee now stopped their annual dance performances to work on supporting the Shakespearean preparations being led by the two actresses. The organisers soon had a new and renovated stage and a raked auditorium. Mrs Ahrenson and Mrs Sonnenberg contacted Leslie French, an English stage and film actor, whom they had invited to South Africa only months before, to come to Cape Town to direct and act in the theatre's first play. It was chosen to be "The Taming of the Shrew". The performance of "The Taming of the Shrew" on
Maynardville Open-Air Theatre
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the piece was anonymously written, although William Dunkin is thought by some scholars as a likely candidate. Rehearsals for the premier began in Smock Alley in October 1731, but sometime in November or December, the show was cancelled. It was instead performed by a group of children (including an eleven-year-old Peg Woffington) in January 1732 at Signora Violante's New Booth in Dame Street. It was subsequently published in March. James Worsdale's "A Cure for a Scold" is also a ballad opera. First performed at Drury Lane in 1735, starring Kitty Clive and Charles Macklin, "A Cure for a Scold" was
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much better: it's a folk style which sits rather uncomfortably in this very twentieth-century medium of domestic viewing." Similarly, the "BBC Shakespeare"s textual editor, David Snodin wrote As with all of the episodes Jonathan Miller directed, he allowed the work of celebrated artisans to influence his design concepts. In the case of "Shrew", the street set was based on the work of architect Sebastiano Serlio, as well as the Teatro Olimpico, designed by Andrea Palladio. Baptista's living room was modelled closely on Johannes Vermeer's "The Music Lesson". The Taming of the Shrew on screen There have been numerous on screen
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list. But in 1953, Solomon Pottesman, a London-based antiquarian book dealer and collector, discovered the August 1603 book list of the stationer Christopher Hunt, which lists as printed in quarto: The find provided evidence that the play might be a distinct work that had been published but lost and not an early title of "The Taming of the Shrew". However, this evidence is not decisive. Another playwright had written a play called "The Taming of a Shrew" which was published in quarto in 1594, whereas Shakespeare's "Shrew" play was not published until the 1623 Folio. Therefore, it is possible that
Love's Labour's Won
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(quite literally) aquake. Il Bisbetico Domato Il Bisbetico Domato ("The Taming of the Scoundrel") is a 1980 Italian film directed by Franco Castellano and Giuseppe Moccia, credited as Castellano & Pipolo. It was the top grossing film in Italian market for the season 1980/1981, earning about 17 billion of lire. The plot is loosely inspired by William Shakespeare's "The Taming of the Shrew". The closing theme song "Innamorata, Incavolata A Vita" performed by Adriano Celentano was a minor hit, ranking 18 and staying on the Italian singles chart for 16 weeks. Adriano Celentano plays the part of Elia, a well-to-do
Il Bisbetico Domato
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Il Bisbetico Domato Il Bisbetico Domato ("The Taming of the Scoundrel") is a 1980 Italian film directed by Franco Castellano and Giuseppe Moccia, credited as Castellano & Pipolo. It was the top grossing film in Italian market for the season 1980/1981, earning about 17 billion of lire. The plot is loosely inspired by William Shakespeare's "The Taming of the Shrew". The closing theme song "Innamorata, Incavolata A Vita" performed by Adriano Celentano was a minor hit, ranking 18 and staying on the Italian singles chart for 16 weeks. Adriano Celentano plays the part of Elia, a well-to-do and witty farmer
Il Bisbetico Domato
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London. One, by Christopher Bullock, opened at Lincoln's Inn Fields in January 1716, and the other, by Charles Johnson, opened at Drury Lane the following month. Both concentrated on the practical joke element of the Induction and omitted entirely the Petruchio/Katherina story. Bullock renamed the character Sir Toby Guzzle, and Johnson called him Kit Sly. Both plays were short farces, designed to fill one half of a play bill. Bullock's play proved more popular, being printed four times, and performed as late as 1759. The most successful adaptation was David Garrick's "Catharine and Petruchio", which was first performed at Drury
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thus takes on a disturbing irony. Marowitz described his intention in "The Shrew" as "a head-on confrontation with the intellectual substructure of the play, an attempt to test or challenge, revoke or destroy the intellectual foundation which makes a classic the formidable thing it has become [and to] combat the assumptions of a classic with a series of new assumptions, and force it to bend under the power of a new polemic." Due to the extreme nature of the production, the play divided critics and audiences, but it was a huge box office success. The Taming of the Shrew in
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reviewers as being extremely physical. Lunt and Fontanne were the most famous celebrity couple of the time, and their backstage fights were rumoured to be just as ferocious as their on-stage performances. So legendary did the tempestuous reputation of the couple become that Cole Porter's 1948 musical "Kiss Me, Kate", about a fiery couple attempting to stage an adaptation of "The Taming of the Shrew", was based on their real-life antics. In the latter half of the twentieth century, the play has been frequently staged all over the world. Some notable productions include: "The Shrew"s popularity on stage has continued
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read the play in light of modern psychological theories regarding women's responses to domestic violence, and argues that Katherina develops Stockholm syndrome: In a Marxist reading of the play, Natasha Korda argues that, although Petruchio is not characterised as a violent man, he still embodies sixteenth century notions regarding the subjugation and objectification of women. Shrew taming stories existed prior to Shakespeare's play, and in such stories, "the object of the tale was simply to put the shrew to work, to restore her (frequently through some gruesome form of punishment) to her proper productive place within the household economy." Petruchio
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Induction. H.J. Oliver, for example, emphasising the importance of the Induction, writes "the play within the play has been presented only after all the preliminaries have encouraged us to take it as a farce. We have been warned." Of Katherina's speech, he argues: The issue of gender politics is an important theme in "The Taming of the Shrew". In a letter to the "Pall Mall Gazette", George Bernard Shaw famously called the play "one vile insult to womanhood and manhood from the first word to the last." A contemporary critic, Emily Detmer, points out that in the late 16th and
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Kate - la bisbetica domata Kate - the Taming of the Shrew ["Kate – La bisbetica domata"] is a 2004 stop-motion-musical adaptation film of Shakespeare's "The Taming of the Shrew", directed by Roberto Lione. The film, which uses a stop motion animation based on paper cut-out figures that Lione called "papermotion", claims to be Italy's first feature-length stop-motion animation film. After four years in the making for a budget expenditure of €5 million, the highly original "Kate" made its debut on April 23, 2004 at the on the Amalfi coast. "Kate" updates Shakespeare's play, setting it in the 21st century
Kate - la bisbetica domata
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Supposes", (performed in 1566, printed in 1573), an early translation of Ariosto and the first comedy written in English prose, which was used by Shakespeare as a source for "The Taming of the Shrew"; the frequently anthologised short poem "Gascoignes wodmanship" (1573); and "Certayne Notes of Instruction concerning the making of verse or ryme in English" (1575), the first essay on English versification. The eldest son of Sir John Gascoigne of Cardington, Bedfordshire, Gascoigne was educated at Trinity College, Cambridge, and on leaving the university is supposed to have joined the Middle Temple. He became a member of Gray's Inn
George Gascoigne
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Pampers, Downy, Baby Alive, and Jordache Jeans. She went on to study at the George Balachine School of Ballet at age eight. Later she joined the New York City Ballet company, most notably performing in "The Nutcracker". She also had performed in both "Sleeping Beauty" and "The Taming of the Shrew". Schachter started her show business career in 1978, appearing in two off-Broadway plays called "The Innocents" and "Time Again". She was selected for what would be known as her most notable role, Nancy in "The Facts of Life". She played the role regularly until 1980, when she was the
Felice Schachter
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Shaw's words 'altogether disgusting to modern sensibility'." Addressing the relationship between "A Shrew" and "The Shrew" from a political perspective, for example, Leah S. Marcus very much believes the play to be what it seems. She argues "A Shrew" is an earlier version of "The Shrew", but acknowledges that most scholars reject the idea that "A Shrew" was written by Shakespeare. She believes one of the reasons for this is because "A Shrew" "hedges the play's patriarchal message with numerous qualifiers that do not exist in" "The Shrew". She calls "A Shrew" a more "progressive" text than "The Shrew", and
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the final scene of the Petruchio/Katherina story. Pope added most of the Sly framework to "The Shrew", even though he acknowledged in his preface that he did not believe Shakespeare had written "A Shrew". Subsequent editors followed suit, adding some or all of the Sly framework to their versions of "The Shrew"; Lewis Theobald (1733), Thomas Hanmer (1744), William Warburton (1747), Samuel Johnson and George Steevens (1765) and Edward Capell (1768). In his 1790 edition of "The Plays and Poems of William Shakespeare", however, Edmond Malone removed all "A Shrew" extracts and returned the text to the 1623 "First Folio"
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John Dover Wilson supported Alexander's argument. However, there has always been critical resistance to the theory. An early scholar to find fault with Alexander's reasoning was E.K. Chambers, who reasserted the source theory. Chambers, who supported Alexander's bad quarto theory regarding "The First part of the Contention betwixt the two famous Houses of Yorke and Lancaster" and "The True Tragedy of Richard Duke of Yorke", argued "A Shrew" did not fit the pattern of a bad quarto; "I am quite unable to believe that "A Shrew" had any such origin. Its textual relation to "The Shrew" does not bear any
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altogether disgusted responses to its rough-and-tumble treatment of the 'taming' of the 'curst shrew' Katherina, and obviously, of all potentially unruly wives." Phyllis Rackin argues that "seen in the context of current anxieties, desires and beliefs, Shakespeare's play seems to prefigure the most oppressive modern assumptions about women and to validate those assumptions as timeless truths." Stevie Davies says that responses to "Shrew" have been "dominated by feelings of unease and embarrassment, accompanied by the desire to prove that Shakespeare cannot have meant what he seems to be saying; and that therefore he cannot really be saying it." Philippa Kelly
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Eduardo Moscovis. In 2002, the television series "One on One" produced an episode called "Tame me, I'm a Shrew". Written by Kenny Buford and directed by Dana De Vally Piazza the episode depicts the main character, Breanna (Kyla Pratt) getting the leading part in a school performance of "The Taming Of The Shrew". Upon finding Shakespeare's language difficult and out of date, she creates a rap version. However, she allows her ego to get the better of her, and unconsciously attempts to take over the production from the director, who ultimately fires her, and hires her best friend for the
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in Ratmansky's "Lost Illusions", the Nutcracker Prince in Yuri Grigorovich's "Nutcracker", and Basilio in "Don Quixote". During 2011, Lantratov also danced in a gala concert in honor of Galina Ulanova in London. He has performed in the first Bolshoi casts of many ballets, including Wayne McGregor's "Chroma", George Balanchine's "Jewels" and Yuri Possokhov's "Classical Symphony". In 2013, he was chosen to be the first dancer to perform the role of Eugene Onegin at the Bolshoi Theater in John Cranko's "Onegin". In 2014, Lantratov created the role of Petruchio in Jean-Christophe Maillot's "Taming of the Shrew". Vladislav Lantratov Vladislav Lantratov (;
Vladislav Lantratov
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went on to be performed overnight in Westminster Abbey. During her time at The Bush, Rourke continued to work as a freelance director. Her projects included Twelfth Night and The Taming of The Shrew for Chicago Shakespeare Company. Much Ado About Nothing for Sonia Friedman Productions at The Wyndhams Theatre with David Tennant and Catherine Tate and Men Should Weep by Ena Lamont Stewart at the National Theatre. In 2011, Rourke was appointed Artistic Director of the Donmar Warehouse. She is the first woman to hold the role and the first female theatre director to be appointed the Artistic Director
Josie Rourke
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Sandoe and Jack Crouch, professor in the Department of English and Speech and head of CU's Creative Arts Festival, began to discuss the possibility of creating an annual Shakespeare festival on campus. Crouch took over in 1947, after which Shakespeare plays were performed in the Rippon theater every year except for 1957, when the annual production was staged in the indoor University Theater. Crouch directed seven plays over the next 10 years and founded the Colorado Shakespeare Festival, which premiered on Aug. 2, 1958, and featured three productions with "Julius Caesar, Hamlet" and "The Taming of the Shrew". More than
Colorado Shakespeare Festival
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later at CHUM. The next stage of his career began when he was engaged by the Earle Grey Festival Company, a precursor of the Ontario Stratford Festival, for their Summer Shakespeare Festivals in Toronto and Fall Tours. Among other parts he performed the roles of Sebastian in "The Tempest," Hortensio in "The Taming of the Shrew," and Horatio in "Hamlet". In the 1956-57 season he traveled to England, performing solo shows at the Arts Club Theatre in London and receiving encouragement and advice from Dame Flora Robson. On his return to Toronto he pursued voice studies with Clara Salisbury Baker,
Daniel Hyatt
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Woman's Prize" but Benfield and Taylor were not.) After this incident, the King's Men had their old play texts re-examined by Herbert for new productions, something that was previously not required. This meant more fees paid to Herbert. The text of Fletcher's play was repaired adequately by the next month, when the company performed "The Taming of the Shrew" and "The Woman's Prize" before the King and Queen at St. James's Palace on 26 and 28 November 1633. According to Herbert, Shakespeare's play was "liked", but Fletcher's play was "very well liked." On 7 April 1634, the King's Men played
King's Men (playing company)
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stroptivoy" had its world premiere in a concert version at the Central House of Artists in Moscow on 1 October 1955. The opera was first staged at the Samara Opera and Ballet Theatre (then known as the Kuybïshev Opera) on 25 May 1957 under the baton of conductor S. S. Bergolts. Unhappy with the final scene between Katherine and Petruchio, Shebalin completely re-wrote the ending of the opera for the work's first staging at the Bolshoi Theatre in August 1957. In subsequent months the work was performed in Leningrad, Kiev and other cities. The success of the opera enabled Shebalin
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performed on Cape Cod through mid-1932. He quit the Theatre Guild briefly during the winter season of 1931-32 to direct the University Players through its 18-week winter season in Baltimore. Windust's first major credit as a professional theatre director was the 1932 West End production of Eugene O'Neill's "Strange Interlude". He directed Alfred Lunt and Lynn Fontanne in "The Taming of the Shrew" and "Amphitryon 38" (which he translated from the original French) and appeared with them in "Idiot's Delight", his last work as an actor. Windust's first major Broadway hit was "Life With Father", the Russel Crouse/Howard Lindsay play
Bretaigne Windust
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entry in the Stationers' Register dated 19 November that year, stationer Nicholas Ling transferred the copyrights of "Romeo and Juliet, Love's Labor's Lost," and "Hamlet" to Smethwick. (At the same time, Smethwick acquired from Ling the rights to "The Taming of a Shrew," the early alternative version of Shakespeare's "The Shrew".) Two of these plays were subsequently published in quarto by Smethwick — "Romeo and Juliet" in 1609 (the third quarto) and "Hamlet" in 1611 (also Q3). Smethwick's possession of these copyrights eventually involved him in the First Folio project. When Edward Blount and William and Isaac Jaggard were preparing
John Smethwick
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D.C. where Jaffrey rehearsed for the 1957 – 58 season with the National Players, a professional touring company that performed classical plays all over America. He was the first Indian to take Shakespearean plays on a tour of the United States. He was cast in the role of Friar Laurence in "Romeo and Juliet". He played Gremio in "The Taming of the Shrew". Midway through the tour, Jaffrey returned to Washington DC from Miami to marry Bahadur in a modest civil ceremony. The next day, they travelled to New York City where Bahadur was taken on as a tour guide
Saeed Jaffrey
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into auditioning for the university's theater. To his surprise, Bagneris was cast as Gremio in "The Taming of the Shrew." Based on his success in that production, Bagneris decided to pursue a career on the stage. Though he'd never even attended the theater before his first audition, by his junior year he was writing, directing, and producing his own plays. The Free Southern Theater, which toured in rural, underprivileged areas of the South (and eventually based itself in New Orleans), performed two of Bagneris's plays while he was an undergraduate. Bagneris became interested in avant-garde theater methods and, upon his
Vernel Bagneris
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dialogue). In an "extremely conventional production" at the Shakespeare Memorial Theater in 1919, starring Ethel Warwick and Edmund Willard, William Bridges-Adams stuck rigidly to the "First Folio" text, but completely removed the Induction and all references to Sly. In a 1922 production at The Old Vic starring Florence Buckton and Rupert Harvey, director Robert Atkins was the first to graft the "A Shrew" epilogue onto a performance of "The Shrew", with Hay Petrie playing Sly. In 1927, H.K. Ayliff directed a modern dress production at the Garrick Theatre in New York, with Mary Ellis and Basil Sydney. At the time,
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College High School and went on to graduate from Hunter College with a degree in Romance languages in 1945. She was a member of Delta Sigma Theta. Dee joined the American Negro Theater as an apprentice, working with Sidney Poitier, Harry Belafonte, and Hilda Simms. She made several appearances on Broadway. Her first onscreen role was in "That Man of Mine" in 1946. She received national recognition for her role in the 1950 film "The Jackie Robinson Story". In 1965, Dee performed in lead roles at the American Shakespeare Festival as Kate in "The Taming of the Shrew" and Cordelia
Ruby Dee
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her performance. In 1966, Taylor and Burton also performed "Doctor Faustus" for a week in Oxford to benefit the Oxford University Dramatic Society; he starred and she appeared in her first stage role as Helen of Troy, a part which required no speaking. Although it received generally negative reviews, Burton produced it into a film, "Doctor Faustus" (1967), with the same cast. It was also panned by critics and grossed only $600,000 in the box office. Taylor and Burton's next project, Franco Zeffirelli's "The Taming of the Shrew" (1967), which they also co-produced, was more successful. It posed another challenge
Elizabeth Taylor
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when the London production of "Kiss Me, Kate" opened on 8 March 1951 at the Coliseum Theatre where it ran for 400 performances. Patricia Morison (who starred in the original Broadway production of "Kiss Me Kate"), Marin Mazzie, and Hannah Waddingham have all performed versions of the song. It was also the opening number of episode 514 of The Muppet Show Another Op'nin', Another Show "Another Op'nin', Another Show" is the opening number of Cole Porter's 1948 musical "Kiss Me, Kate". Sung by a band of players performing a musical adaption of Shakespeare's "The Taming of the Shrew", the song
Another Op'nin', Another Show
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on Netflix on 1 January 2018. In 2015, he was one of the stars of the Comedy Central show "Brotherhood". In it, he played one of two adult brothers who have to raise their younger brother when their mother unexpectedly dies. In 2017, he played the younger Albert Einstein in National Geographic's show "Genius". In 2017, he played Pascal Renouf, a secretive outsider suspected of a series of brutal murders in director/writer Michael Pearce's debut dark thriller "Beast" ...released UK 27 April 2018. Flynn performed in Propeller's all-male Shakespeare troupe, playing Curtis ("The Taming of the Shrew") and Sebastian ("Twelfth
Johnny Flynn (musician)
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in the words of the English theatre director Peter Hall, "the supreme man of the theatre of our time". This table contains Olivier's known professional theatrical roles. It also contains the occasions when he both acted and directed. It does not contain those productions where he was a director but did not appear on stage. It also omits the amateur productions in which he performed at school, mostly Shakespeare, playing, among other roles, Brutus, Puck and also female roles, including Katherina in "The Taming of the Shrew". This table contains Olivier's stage work as a director. It does not include
Laurence Olivier on stage and screen
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from her husband, who has held the stage throughout the play, and reveals that he has failed to tame her in the sense he set out to. He has gained her outward compliance in the form of a public display, while her spirit remains mischievously free." In relation to this interpretation, William Empson suggests that Katherina was originally performed by an adult male actor rather than a young boy. He argues that the play indicates on several occasions that Katherina is physically strong, and even capable of over-powering Petruchio. For example, this is demonstrated off-stage when the horse falls on
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