Podcasts about elizabethan london

This week, Peter Holland treads the boards in Elizabethan London in search of Shakespeare before the Globe; and Muriel Zagha on a captivating tale of cheese-making in the Jura.'The dream factory: London's first playhouse and the making of William Shakespeare', by Daniel Swift'Holy Cow', a film by Louise CourvoisierProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

London today is a bustling, multicultural city. But what about in the past? Emily Briffett spoke to Dr John Gallagher to find out more about the vibrant and exciting melting pot of languages and cultures that was Elizabethan London, exploring what life looked like for the migrant population and those who lived alongside them. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Narrator: Thomas Jones

In this non-guided bedtime story, you'll meet Lucas an actor, who embarks on a journey back in time to the streets of medieval London, in Elizabethan times, where he meets Shakespeare in front of the grand theatre hall...

What did English satirists do after the archbishop of Canterbury banned the printing of satires in June 1599? They turned to the stage. Within months of the crackdown, the same satirical tricks Elizabethans had read in verse could be enjoyed in theatres. At the heart of the scene was Ben Jonson, who for many centuries has maintained a reputation as the refined, classical alternative to Shakespeare, with his diligent observance of the rules extracted from Roman comedy. In this episode, Colin and Clare argue that this reputation is almost entirely false, that Jonson was as embroiled in the volatile and unruly energies of late Elizabethan London as any other dramatist, and nowhere is this more on display than in his finest play, Volpone.This is an extract from the episode. To listen in full, and to all our other Close Readings series, sign up:Directly in Apple Podcasts: https://apple.co/3pJoFPqIn other podcast apps: lrb.me/closereadingsColin Burrow and Clare Bucknell are both fellows of All Souls College, Oxford.Get in touch: podcasts@lrb.co.uk Hosted on Acast. See acast.com/privacy for more information.

Kris's address today - "Well Donne", explores the life of the English poet, John Donne, a contemporary of Shakespeare, through the medium of his poetry, arguably, the most memorable and enduring of which is "No man is an island entire of itself..". Donne lived in dangerous times. Disadvantaged by the stigma of being born Catholic in Elizabethan London, Donne's life was flawed, conflicted, opportunistic - but lived - fully! Through his reading of Donne's poetry, Kris spans the full spectrum of John Donne's life - conflicted, ranging from the dissolute young man of his early poems, his sycophantic but successful search for patronage and privilege, his conversion to Anglicanism, culminating in his appointment as Dean of St Paul's. Listen on!

Sarah and returning Media-eval Doctor Who correspondent Lily Bonnemann are back to tackle their first episode of the New Series, in honor of the 60th Anniversary! Join us for our discussion of The Shakespeare Code, where we explore race, medical practices, and architecture in Elizabethan England. Further Reading: April Fool's! Love's Labour's Won at the Globe: https://www.shakespearesglobe.com/discover/blogs-and-features/2021/04/01/shakespeares-globe-uncovers-long-lost-shakespeare-play/ Deborah Harkness, “A View from the Streets: Women and Medical Work in Elizabethan London,” Bulletin of the History of Medicine 82:1 (2008): 52-85 Olivette Otele, African Europeans: An Untold History: https://www.hachettebookgroup.com/titles/olivette-otele/african-europeans/9781541619937/?lens=basic-books Social Media:
Twitter: twitter.com/mediaevalpod E-mail: media.evalpod@gmail.com Find Lily on Tumblr: www.tumblr.com/shadow-academic

Mat Osman's new book The Ghost Theatre is inspired by the true history of children being press ganged into London's Blackfriars Theatre in Elizabethan London. 

Episode 103:The story of the next phase of theatre building in Elizabethan London featuring the indoor and outdoor playhouses.The First Blackfriars TheatreThe CurtainPhilip HensloweThe Rose Francis LangleyThe SwanThe Second Blackfriars TheatreSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.ko-fi.com/thoetpwww.patreon.com/thoetpThis podcast uses the following third-party services for analysis: Chartable - https://chartable.com/privacy

(Lucy and Rachel) In the often-chaotic society of sixteenth-century England, many people enthusiastically consumed true crime narratives in songs, news, and theater plays. Then as now, true crime narratives often centered on community crime-solving as a way of dealing with sensational and upsetting violence. Whether in the form of domestic tragedies or elaborate revenge dramas, true crime played to packed houses in the theaters of Elizabethan London. Amid religious and political upheaval, the popularity of true crime attested not just to evolving habits of media consumption, but also to powerful desires for communal order and mutual responsibility. In this episode, Lucy and guest host Dr. Rachel Clark examine true love, strong hate, and swift revenge – and why audiences tend to love a good murder.

Mat Osman's new novel, The Ghost Theatre, takes us flying over the rooftops of Elizabethan London and down into the gritty lives of its child actors. A historical novel set in a vibrant and sensuously reimagined Elizabethan London, the book's main character is Shay, the daughter of a clairvoyant who lives among a community who worship birds. When Shay meets a charming young actor named Nonesuch, she is drawn into the world of the children's theater—that is, a theater whose actors and crew are all made up of young people, performing for an audience made of primarily of adults. Shay falls in love with performance and joins an immersive guerrilla theater troupe that gets tangled up in a violent political power struggle. Osman is more famous as the bass player in the British rock band Suede. To get the texture of Elizabethan life right in The Ghost Theatre, Osman researched as much as he could at the margins of history. Osman tells Barbara Bogaev about how he explored his young actors' lives, invented an early modern religious sect, and how his long career as a rock musician helped him write the novel.

In this third special episode of Not Just the Tudors celebrating the 400th anniversary of the publication of Shakespeare's First Folio, Professor Suzannah Lipscomb investigates the nature of theatre-going in Elizabethan London with Dr. Eoin Price. How were theatres built? What was the experience for the audience? Who went to plays and how did they choose what plays to see, in which theatre? Did they even care if Shakespeare's name was on the programme?This episode was edited by Joseph Knight and produced by Rob Weinberg.Discover the past on History Hit with ad-free original podcasts and documentaries released weekly presented by world renowned historians including Dan Snow, Suzannah Lipscomb, Lucy Worsley, Matt Lewis, Tristan Hughes and more. Get 50% off your first 3 months with code TUDORS. Download the app on your smart TV or in the app store or sign up here: http://access.historyhit.com/checkout?code=tudors&plan=monthly You can take part in our listener survey here.For more Not Just The Tudors content, subscribe to our Tudor Tuesday newsletter here. Hosted on Acast. See acast.com/privacy for more information.

Bestselling novelist, Catriona Ward, goes head to head in a war of the words with Suede co-founder, bassist and author, Mat Osman! They discuss their new novels - "Looking Glass Sound" and "The Ghost Theatre" - as well as recommending us some books they have read recently and loved. These include 'Orlando' by Virginia Wolf and 'Wide Sargasso Sea' by Jean Rhys. The authors also talk about being "shelved" in the right place, the horror genre, Stephen King, Elizabethan London and what one reads on a tour bus. THE BOOK OFF 'The Haunting Of Hill House' by Shirley JacksonVS 'You Only Live Twice' by Ian Fleming Hosted on Acast. See acast.com/privacy for more information.

Today's episode is a chat - a proper chat too - with Dr Eoin Price about Play going in Elizabethan London; how many plays might someone watch, what plays might to know about but never see, and just what you might watch on a Tuesday. A Senior Lecturer in the Department of English Literature and Creative Writing as Swansea University, specialising in the politics of playing and playgoing in sixteenth-and seventeenth-century London and in the afterlives of plays from this period in later centuries, including our own. Author of  ‘Public' and ‘Private' Playhouses in Renaissance England (Palgrave, 2015) For those listening to this upon release - Eoin is running a workshop at the Sam Wanamaker Playhouse on 17th May 2023 - Research in Action: Framing the Play - https://www.shakespearesglobe.com/whats-on/research-in-action-framing-the-play/ Our patrons received this episode in February 2023 - approx. 3 months early. The Beyond Shakespeare Podcast is supported by its patrons – become a patron and you get to choose the plays we work on next. Go to www.patreon.com/beyondshakespeare - or if you'd like to buy us a coffee at ko-fi https://ko-fi.com/beyondshakespeare - or if you want to give us some feedback, email us at admin@beyondshakespeare.org, follow us on Twitter, Facebook & Instagram @BeyondShakes or go to our website: https://beyondshakespeare.org You can also subscribe to our YouTube channel where (most of) our exploring sessions live - https://www.youtube.com/channel/UCLa4pXxGZFwTX4QSaB5XNdQ The Beyond Shakespeare Podcast is hosted and produced by Robert Crighton.

from wiki- Henry Smith -ca. 1560 - 1591--- was an English clergyman, widely regarded as -the most popular Puritan preacher of Elizabethan London.- His sermons at St. Clement Danes drew enormous crowds, and earned him a reputation as -Silver Tongued- Smith. The collected editions of his sermons, and especially his tract, -God's Arrow Against Atheists,- were among the most frequently reprinted religious writings of the Elizabethan age.

1492 marked the beginning of the Colombian Exchange - the transfer of people, goods, ideas and commodities across the Atlantic between Europe and the Americas. We hear a lot about the conquistadors, the settlers, Jesuit priests and colonisers from Spain, Portugal and Britain whose success in the 'New World' was built on the help and enslavement of indigenous people. But what of the indigenous peoples who made the journey in the opposite direction? Many travelled to Europe, some as slaves, others as courtiers, diplomats and even tourists.Author and Britain's only Aztec historian Caroline Dodds Pennock joins Dan to tell the stories of the Maya who first brought chocolate to the court of Isabella and Ferdinand, the Algonquin diplomats who travelled with Walter Raleigh and took residence in Elizabethan London and the Brazilian King who stopped by Hampton Court palace to see Henry VIII.Caroline's new book is called 'On Savage Shores: How Indigenous Americans Discovered Europe'Produced by Mariana Des Forges and edited by Dougal Patmore.If you'd like to learn more, we have hundreds of history documentaries, ad-free podcasts and audiobooks at History Hit - subscribe to History Hit today!Download the History Hit app from the Google Play store.Download the History Hit app from the Apple Store. Hosted on Acast. See acast.com/privacy for more information.

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/medicine

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

William Shakespeare found dozens of different ways to kill off his characters, and audiences today still enjoy the same reactions – shock, sadness, fear – that they did more than 400 years ago when these plays were first performed. But how realistic are these deaths, and did Shakespeare have the knowledge to back them up? In the Bard's day death was a part of everyday life. Plague, pestilence and public executions were a common occurrence, and the chances of seeing a dead or dying body on the way home from the theatre were high. It was also a time of important scientific progress. Shakespeare kept pace with anatomical and medical advances, and he included the latest scientific discoveries in his work, from blood circulation to treatments for syphilis. He certainly didn't shy away from portraying the reality of death on stage, from the brutal to the mundane, and the spectacular to the silly. Elizabethan London provides the backdrop for Death By Shakespeare: Snakebites, Stabbings and Broken Hearts (Bloomsbury, 2020), as Dr. Kathryn Harkup turns her discerning scientific eye to the Bard and the varied and creative ways his characters die. Was death by snakebite as serene as Shakespeare makes out? Could lack of sleep have killed Lady Macbeth? Can you really murder someone by pouring poison in their ear? Dr. Harkup investigates what actual events may have inspired Shakespeare, what the accepted scientific knowledge of the time was, and how Elizabethan audiences would have responded to these death scenes. Death by Shakespeare will tell you all this and more in a rollercoaster of Elizabethan carnage, poison, swordplay and bloodshed, with an occasional death by bear-mauling for good measure. This interview was conducted by Dr. Miranda Melcher whose doctoral work focused on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

The first episode of Bill's audiobook, Land Thieves, which presents three family memoirs found in the heart of American sin. Robert Watkyns of Talgarth, Wales is born, grows up and finds his way to Elizabethan London's theatre scene...

English teacher Mrs Steele gives Greg and Bella a lesson about just how gross life was in Shakespeare's day. Greg and Bella will work out if they could survive a day in Elizabethan London; hear about the crazy ideas that informed early medicine and their unlikely cures; find out how women's health was treated differently and see how all these ideas played out in the theatre of the day. Bad students of all ages are welcome. Expect brilliant teachers, captivating subjects but absolutely no homework. Get in touch with your funny school stories - email us at teachme@bbc.co.uk

Thomas Dabbs speaks with Tiffany Stern of the Shakespeare Institute, University of Birmingham. The Shakespeare Institute is located in Stratford-upon-Avon and has become a beacon of scholarship in studies of Shakespearean performance and texts. In this talk, Professor Stern's work on Shakespearean performance and documents are discussed along with how Shakespearean drama related to the common person in Elizabethan London and in England during Shakespeare's time. Stern also talks about her forthcoming work on fairgrounds during the Shakespearean period and on broadside ballads and how popular songs appear throughout Shakespeare's plays. Stern also describes her work as a general editor of plays in the Arden Shakespeare series.SEGMENTS:0:00:00 - Intro and greetings0:02:54 - Summary of Tiffany Stern's research0:14:23 - The Shakespeare Institute0:19:06 - Fairgrounds and Shakespeare0:30:50 - Broadside Ballads0:36:54 - The art of insult, the 4th wall audience response0:45:25 - Shakespeare beyond Performance0:54:58 - Textual Editing, Arden, Hard Copy vs Digital1:04:29 - Shakespearean adaption: Novels, Manga, Anime1:07:12 - Beyond performance. beyond text, clowns1:13:50 - Closing remarks, recent scholarship, chronologyTOPICS:#shakespeare#shakespeareantheatre#shakespeareanperformance#shakespearescontemporaries#editingshakespeare#renaissancedrama#earlymoderndrama#digitalhumanities#teachingshakespeare​

In the 1950s when Shakespeare's Romeo and Juliet was adapted into West Side Story, popular culture in the US resonated with the gang culture and street fighting depicted on stage because the brass knuckled “rumbles” taking place on streets like those in New York City were current events of the day. Turns out, historically, these gang fights were a real issue for Shakespeare's lifetime as well, and scenes like Mercutio and Romeo fighting in the streets of Verona, the mob that goes after Cinna the Poet in Shakespeare's Julius Caesar, and the tavern brawls that break out in several scenes across Shakespeare's works would have been viewed by Shakespeare's 16th century audience as a reflection of their current events and realities of life on the streets of Elizabethan London. Here this week to help us explore the 16th century history, current events, street fights and even gangs that were present during Shakespeare's lifetime as he wrote about the Capulets and Montagues being “warring families” duking it out in the streets of Verona, is our guest and expert in Elizabethan street crime and one of the Washington, DC, area's most sought-after fight coaches for stage plays, Casey Kaleba.

Two peas or not Two peas, that is the question... Or is it? Luke McDonagh, scholar of Intellectual Property Law at the London School of Economics, joins Lee and Gwilym to talk about his new book on theatre and copyright, beginning in Elizabethan London and taking us through to present day litigation. Luke talks about how copyright of theatrical work emerged, the intersection of law and theatre and how theatre changed it's response to copyright law over the centuries.Luke's book, Performing Copyright; Law, Theatre and Authorship is available now: https://www.bloomsburyprofessional.com/uk/performing-copyright-9781509927043/

"make sure you turn the girl into money"

PART OF OUR BLACK HISTORY MONTH SERIESDr Kaufmann tells the intriguing tales of three Africans living in Tudor England - Jacques Francis, a diver employed by Henry VIII to recover guns from the wreck of the Mary Rose; Mary Fillis, a Moroccan woman baptized in Elizabethan London; and Edward Swarthye, a porter who whipped a fellow servant at their master's Gloucestershire manor house. Their stories illuminate key issues: - how did they come to England? What were their lives like? How were they treated by the church and the law? Most importantly: were they free?A lecture by Dr Miranda Kaufmann, Senior Research Fellow at the Institute of Commonwealth Studies 17 OctoberThe transcript and downloadable versions of the lecture are available from the Gresham College website: https://www.gresham.ac.uk/lectures-and-events/black-tudorsGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 2,000 lectures free to access or download from the website.Website: http://www.gresham.ac.uk Twitter: http://twitter.com/GreshamCollege Facebook: https://www.facebook.com/greshamcollege Instagram: http://www.instagram.com/greshamcollege

Bob talks with Dr. Lauren Kassell about Astrologaster. Topics include Elizabethan London, Medical Astrology, Forman and Napier's Casebooks, and consulting on historical games. To learn more about Simon Forman and to see his casebooks, visit https://casebooks.lib.cam.ac.uk/ Please consider supporting us on Patreon! www.patreon.com/historyrespawned Music is Symphony 40 in G minor by texasradiofish (c) 2015 Licensed under a Creative Commons Attribution Noncommercial (3.0)license.dig.ccmixter.org/files/texasr…iofish/49560 Ft: W. A. Mozart, Big Bonobo Combo

Show host Chris O'Regan talks to returning guest Jennifer Schneidereit of Nyamyam Games about the excellent Astrologaster It's not often that you get to play games that are actually funny by design. Least of all when they are set in plague ridden Elizabethan London. Yet that is exactly what we have with Astrologaster. An adventure game made by Nyamyam Games that mixes astrology with medical diagnosis. http://media.blubrry.com/caneandrinse/caneandrinse.com/sausage/TSF_Episode231.mp3   The Sausage Factory 231 was produced and edited by Chris O'Regan

As You Like It. Act II, Scene 7. Jacques May 29, 2019 Shakespeare in Qatar How is Doha, Qatar like Elizabethan London? David Pearson is 7200 miles from where he grew up and 3200 miles from where Shakespeare lived. How did he end up in Qatar and how do they do Shakespeare in this small desert country? The answers are amazing. Click here to follow along with the text. Click here for a scanned version of the text.

SON ch 25Just when Diana was making Elizabethan London her home, someone is telling her it's best that she leaves! We meet Matthew's boss, William Cecil (nicknamed The Old Fox), and he brings with him advice for Diana; go back to Woodstock, and wait out the incoming storm. That storm has a name: Queen Elizabeth I. Instead, Matthew and Diana choose to stay and weather it with help from members of the School of Night, and Mary -- who arms Diana for battle during an epic closet raid! This is a long episode, so you know what to do. Indulge in shifts, take that extra long walk, or be covered for both ends of your commute! You choose! Enjoy!See full show notes: go.DaemonsDiscuss.com/52Join us on Patreon (as little as $2 monthly will gain you access to extra episodes + different level incentives for those who join at higher tiers!)A Discovery of Witches TV News info (Continually updated; scenes, sets, trailer video, official photographs, casting + more)Become a Discusser (contact info located there as well), or for US listeners: text ADOW to 444999Email us directly: DaemonsDiscuss@gmail.comCall & Leave a voicemail! 1 (360) 519-7836 or hit us up on SpeakPipe Our Podcast Page: DaemonsDiscuss.com Our Main Site: DaemonsDomain.com Join our Facebook Group: Daemonic Discussers (the word is "F***ing Firedrake" - be sure to answer the second question as well. We are increasing screening to discourage unwanted lurking/monitoring by people who don't actually listen to/enjoy this show. The group is for listeners - like YOU!)Social Media: Twitter - @DaemonsDiscuss, Facebook - Daemons Discuss & Instagram - @daemonsdiscussInformational links:All Souls Con Tickets -- there are a few left! Get them while you can!Our Redbubble Store, Featuring the FTSIO shirt! Pretty link: go.DaemonsDiscuss.com/shopWilliam Cecil (aka The Old Fox) The Shirley Family (of the motto, honor virtutis praemium)Harry WinstonElizabeth (Bess) ThrockmortonThe TudorsThe Feast of St. BrigidPurple Notebook Answers (click to submit your guess). A Discovery of Witches Q&A — Louise Brealey (Gillian Chamberlain)Witch Wind - Behind the Scenes Witch Water - Behind the ScenesRTR Calendar from The Tenth KnotRTR on Time's Convert currently happening at the All Souls Discussion GroupCredits/Copyright Information * Intro music: "Ghost Dance" (edited down to second chorus) by Kevin Macleod, licensed for use by Creative Commons.* Outro music: Rimsky-Korsakov - "Scheherazade Symphonic Suite for Orchestra Op.35 - IV. Allegro molto," Public domain/copyright-free. * "Save it for the Show" segment introduction voiceover by Devyn Grendell * Cover art (+ all variations associated w/ it): © Daemons Domain * The term "unofficial" is explained in our disclaimer located in Terms of Use - item 14.* The Daemons Discuss podcast is hosted and produced by the owners (Angela, Jean and Valerie) of Daemons Domain and can also be found by entering the url http://www.DaemonsDiscuss.com in your browser, (listed on the various podcast syndicates like Apple Podcasts, Stitcher, etc.) which will redirect you back to the parent site, Daemons Domain.* This podcast is intended for personal download/consumption. Please see our Terms of Use; item 3.* Our episode titles are a loving tribute to the show "Friends" just 'cause we love Friends and - let's face it - it's easier! Here's how one of the show creators explains their reasoning:Jeff Greenstein: "When Marta & David & Jeff & I did 'Dream On', we used to spend a lot of time thinking about titles, because they were on-screen at the top of each episode. On "Friends", we decided that was a waste of time. We figured, why not name each episode after the thing that people will ostensibly be talking about around the water-cooler the next day?" See acast.com/privacy for privacy and opt-out information.

Drottningarnas drottning, den evigt unga Elisabet I regerade med fast hand i 45 år ensam. Hon vägrade gifta sig med en makthungrig man. För Elisabets enda make var plikten: att styra sitt England. I P3 Historia leder Cecilia Düringer lyssnarna genom världshistoriens vindlande berättelser. Vid sin sida har hon skådespelaren Pablo Leiva Wenger som förhöjer dramatiken med scener ur historien. Varje avsnitt handlar om ett historiskt skeende, med en historisk person i fokus. Vill du veta mer om Elisabet I och 1500-talets England? Läs någon av följande böcker: Elisabet I historien om drottningen och hennes förtrogna av Anna Whitelock The Tudors av Neville Williams och Antonia Fraser Elizabeth's London everyday life in Elizabethan London av Liza Picard Elizabeth I av Anne Somerset Furstinnan och stjärntydaren berättelsen om tre renässansregenter och deras astrologer av Anna Carlstedt Redaktionen för detta avsnitt består av: Cecilia Düringer - programledare, manus & research Pablo Leiva Wenger - scenuppläsare Nils Svennem Lundberg - ljuddesign & slutmix David Rune - producent Medverkar gör även Anna Carlstedt, forskare och författare. P3 Historia görs av produktionsbolaget Munck.

Head was the second episode of Blackadder II and features a new course of employment for Lord Blackadder and a couple of cracking impersonations.  In this podcast Gerry and Iain take a look at life working on death row in Elizabethan London.     Alongside the six series regulars this episode featured key contributions from Bill Wallis as Gaoler Ploppy, Linda […] The post Head – Episode 2 appeared first on Blackadder Podcast.

Bells was the first episode of Blackadder II as the show returned after the two-and-a-half year hiatus that followed The Black Adder. This series is set in Elizabethan London and re-introduced audiences to Rowan Atkinson and Tony Robinson in their now-familiar roles as Blackadder and Baldrick.  In this podcast Gerry and Iain take a look at the plot, characters, […] The post Bells – Episode 1 appeared first on Blackadder Podcast.

London, December 1563. Elizabeth I–Gloriana, the Virgin Queen–has ruled England for five years, but her throne is far from secure. Even though Elizabeth succeeded her half-sister Mary, the idea of a woman sovereign still troubles much of the populace. And although the burnings of Protestants at Smithfield ceased with Elizabeth’s accession, religion remains a source of dissatisfaction and uncertainty. Catholics, once protected by the crown, find themselves subject to unwarranted search and seizure, to having their ears nailed to the pillory or sliced from their heads, to arrest and confinement in the Tower on the merest suspicion of intent to foment unrest. Not all the plots are imaginary, either: several rebellions with religious overtones punctuate Elizabeth’s reign. Amid this atmosphere of mistrust, William Harley, Clarenceux King of Arms, sits in the light of a single candle, listening to the rain outside his study window, his robe pulled tight against the December chill. A knock on the door sparks in him the fear that would later be familiar to victims of the Soviet secret police: who would demand entrance after curfew other than government troops bent on hauling him in for his allegiance to the pope? But the queen’s forces cannot be denied, so with considerable trepidation Clarenceux orders his servant to open the door. In fact, his visitor is a friend, a betrayed man facing death and determined to pass on his secret mission to Clarenceux. In accepting, Clarenceux has no idea that the mission places at risk his life, his health, his family, his friends, and the safety of the realm. The price of loyalty is high, and betrayal lurks in every corner. The Clarenceux Trilogy, which continues with The Roots of Betrayal and The Final Sacrament, is the work of James Forrester, the pen name of the historian Ian Mortimer, author of The Time Traveler’s Guide to Elizabethan England. His novels wear their history with lightness and panache: Sacred Treason (Sourcebooks, 2012) will pull you into Elizabethan London, and you will not want to leave. Enjoy the ride. Learn more about your ad choices. Visit megaphone.fm/adchoices

London, December 1563. Elizabeth I–Gloriana, the Virgin Queen–has ruled England for five years, but her throne is far from secure. Even though Elizabeth succeeded her half-sister Mary, the idea of a woman sovereign still troubles much of the populace. And although the burnings of Protestants at Smithfield ceased with Elizabeth’s accession, religion remains a source of dissatisfaction and uncertainty. Catholics, once protected by the crown, find themselves subject to unwarranted search and seizure, to having their ears nailed to the pillory or sliced from their heads, to arrest and confinement in the Tower on the merest suspicion of intent to foment unrest. Not all the plots are imaginary, either: several rebellions with religious overtones punctuate Elizabeth’s reign. Amid this atmosphere of mistrust, William Harley, Clarenceux King of Arms, sits in the light of a single candle, listening to the rain outside his study window, his robe pulled tight against the December chill. A knock on the door sparks in him the fear that would later be familiar to victims of the Soviet secret police: who would demand entrance after curfew other than government troops bent on hauling him in for his allegiance to the pope? But the queen’s forces cannot be denied, so with considerable trepidation Clarenceux orders his servant to open the door. In fact, his visitor is a friend, a betrayed man facing death and determined to pass on his secret mission to Clarenceux. In accepting, Clarenceux has no idea that the mission places at risk his life, his health, his family, his friends, and the safety of the realm. The price of loyalty is high, and betrayal lurks in every corner. The Clarenceux Trilogy, which continues with The Roots of Betrayal and The Final Sacrament, is the work of James Forrester, the pen name of the historian Ian Mortimer, author of The Time Traveler’s Guide to Elizabethan England. His novels wear their history with lightness and panache: Sacred Treason (Sourcebooks, 2012) will pull you into Elizabethan London, and you will not want to leave. Enjoy the ride. Learn more about your ad choices. Visit megaphone.fm/adchoices

Neil MacGregor, Director of the British Museum, continues his new object-based history. Taking artefacts from William Shakespeare's time, he explores how Elizabethan and Jacobean playgoers made sense of the unstable and rapidly changing world in which they lived. With old certainties shifting around them, in a time of political and religious unrest and economic expansion, Neil asks what the plays would have meant to the public when they were first performed. He uses carefully selected objects to explore the great issues of the day that preoccupied the public and helped shape the works, and he considers what they can reveal about the concerns and beliefs of Shakespearean England. Programme 5. SWORDPLAY AND SWAGGER - The essential accoutrements of any self-respecting gentleman illustrate the extent of violence in Elizabethan London - both onstage and off. Producer: Paul Kobrak.