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Lecture

ENG220Y1 Lecture Notes - Double Consciousness, The Public Theater, Institute For Operations Research And The Management Sciences


Department
English
Course Code
ENG220Y1
Professor
Elizabeth Harvey

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ENG220Y1 LECTURE NOTES
September 25, 2013
Titus Andronicus:
Introduction:
violence is displaced into the reader's imagination
the theater was a part of the culture in:
o civic and religious festivals
rituals in which people participated that involved an emotional spectacle
there was pageants
o music and dance
o court masques
theatrical performance in courtly context, different from public theater
o jousts, tournaments, entertainments
horrific, involve dogs
o bear baiting, bull baiting
hungry dogs in a bear pit, a spectacle, pleasurable
attest to the desire of watching performances
arousing the emotions
o royal progresses
medium to show the aristocracy to the public
sumptuary laws dictated who could wear what

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meant that the royals and the aristocrats would roam around a city and
demonstrate their power and wealth, a theatrical display - the more
splendid they seemed, the more power they seemed to have
another way was via portraits of the royals, they seemed to not age,
characteristics would repeat over and over although they may no longer
have it anymore due to age
Ex: the rainbow portrait
belief was the senses were an espionage phenomenon, used the senses to
make decisions or opinions
Elizabeth made a network of spies, you're only as good as your spy system
- need infomation to know how to function and rule over the kingdom, just
like we need the senses to function
o Executions
public event, death penalty and punishment were enforced at this time
gruesome punishments
included hanging, burning, disembowelment and castration and drawn and
quartered (arms and legs are attached to carriages and horses and they
move until the body is torn apart)
execution of queen Mary of scot
execution of Charles 1, 1649
The theatricality of power and the power of theatricality:
Stephen Orgel - the illusion of power, 1975
the saying = a chiasmus,
the play is full of synecdoche of body parts; prepares you throughout the play
Spectacle of punishment as mode of disciplining the subject's body:
Michel Foucault, discipline and punish, 1975
power of the sovereign written on the subject's body
chopping body parts was in the sovereign’s power; the authority took control of its
people's bodies
plots against the sovereign and power were extreme
queen Elizabeth 1 started the spies system

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when justice was proclaimed, it had a bodily effect on the suspect
nature of punishment, striked terror on everyone else during that time; fear of being
caught; so there was cohesion
spectacle was designed to moderate behaviour via fear
Performance and theater:
associate the globe with Shakespeare
both performance and text are needed to understand the text fully; to have the full
physical experience
sight and hearing are given equal importance
includes the experience of embodiment
feelings described conjecture with what we imagine
playing companies had a manager in charge of the business
the queen's men (1583)
lord chamberlain's men (1594) = the theatre in Shoreditch, a suburb in London;
Shakespeare’s early company and theatre; became king's men in 1603 under James 1;
replaced by the globe in 1598 which was the first playhouse to be owned by players
ceremonial canon that burnt the globe in 1613 and rebuilt later
lord admiral's men (1594) = the rose
Audience:
everybody went - women, aristocrats, mixing of discreet class divisions
rich, poor
gender, class, and size were mixed and varied
Performances and the senses:
scope of the performance were aided by smell in the theatre
Ex: sulphur and brimstone was used in Macbeth for a hellish landscape in the witch
scenes; music used too
Metatheatre:
play within a play
calls to attention to the art of performance
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