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Friday, December 19

  1. page Group Six edited ... The Elizabethan period marks the rule of female monarch Queen Elizabeth I. The last of the Tud…
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    The Elizabethan period marks the rule of female monarch Queen Elizabeth I. The last of the Tudor monarch, Queen Elizabeth I reigned during the time of the English {tudorlondon.gif} Tudor London Renaissance. And it was at this particular era in England's history that many historians refer to as the "Golden Age". Elizabethan England gained much influence from the ideals and notions of the early Renaissance so after being hindered by the institution of the Catholic Church, Elizabethan theater was able to flourish. With the growing merchant class and the newly conceived notions of social mobility, Elizabethan theater was able to capitalize. However this type of social mobility expanded further beyond the realm of theater entering into the merchant class structure, even going as far to reach gender roles and constructions in terms of class and social mobility. {aaa-queen-elizabeth-1st.jpg} Queen Elizabeth In the scholarly article, written by Mihoko Suzuki, Gender, Class, and the Social Order in Late Elizabethan Drama she discusses the social movement within class and gender as enacted in Elizabethan theater. Mihoko Suzuki argues that in the late Elizabethan era there was an increase in social mobility as well as what Suzuki calls “gender instability” and that these issues were implemented in Elizabethan theater (32). When Suzuki discusses social mobility she directly touches upon the fact that social mobility was not only moving up a hierarchy but also it was losing class titles and moving down the hierarchical system. She states that this ambivalence of social mobility caused a certain scare among nobility and those of upper class. In addition to class Suzuki situates women and gender constructs as also being in accordance with the resulted anxiety of social mobility. Mihoko Suzuki uses three specific plays which were all written in the late fifteenth and early sixteenth centuries to prove her main argument. Suzuki states that Arden of Faversham, A Warning for Fair Women, and Twelfth Night are plays in which there was a dramatiza {thumbnail.jpg} tion of the anxiety felt by social mobility and the anxiety felt by gender instability (32). She discusses the roles, plots of social mobility and representations of women characters in these plays to argue that the anxiety felt by late Elizabethan society were one in the same. Much of Mihoko Suzuki addresses is in direct relation to Thomas Dekker’s play The Shoemaker’s Holiday. Written and performed just at the ending of the Elizabethan era, Dekker’s The Shoemaker’s Holiday demonstrated this type of social and gender hierarchy in his dramatization of these “anxiety raising” issues. For example, social identification was determined by exterior appearances, gender roles were clearly distinct and even a relatively thought of as lowly shoemaker could move up the social class latter. The Shoemaker’s Holiday brought attention to the concept that social and gender constructions were perhaps more so based on appearances and behavior rather than birth and divine power.
    Elizabethan Themes and Genres
    BeforeIt is called the Elizabethan era of Elizabethan drama, plays were often based on religious themes rather thantheater because during her tenure as queen, the crude sexual or comedic stylegenre of play. Elizabethan drama refers toplays had changed over time. Before the time when Queen Elizabeth reined England from 1558 until 1603. Elizabethan dramasera, the theater had focused more on the historical pastgenre of England’s rulersreligion. Morality plays were of the most popular such as Shakespeare’sthe play Everyman. Plays that focused on religion were used in an attempt to teach the audience the difference between right and wrong. However, the Elizabethan Era of theater is different because more genres were involved and the raunchier the plays were the better. The theater had become more of a bar scene where people went to let their inhibitions go freely. Three types of genres that gained significant interest by the audiences were historical plays, comedies and tragedies. Shakespeare was a huge player in the theater writing the historical plays of Richard III
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    V (1599). However, other popular genresHe had also written the tragedy of Romeo and Juliet. Although the time period were tragedies, Romero & Juliet (1590’s), as well as comedies.varies, it was written in the mid 1590’s. A comedy namedthat we dealt with was The Shoemakers Holiday that was written by Thomas Dekker and publishedDekker. Because of the Elizabethan era, plays in 1600. Audiences fled to the theater becausehad evolved to many types of the risqué style of play writes.genres that would suit different audiences.
    {http://www.enotes.com/images/topics/397_1192640268.jpg} Elizabethan Drama
    Elizabethan Fashion
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    12:35 pm

Sunday, December 14

  1. page Group Eight edited ... Gassner describes the evolution of the performance space; he states, "even after the earl…
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    Gassner describes the evolution of the performance space; he states, "even after the early drama left the church building, the main objective was to make a ceremony of play-going and play-production such as prevails in ritualistic performances" (xiv). In this endeavor, there were several ways to accomplish the festival performance within the spaces means. One type of performance space was the round. Gassner describes the round as, "a raised earthen (or occasionally stone) amphitheater" (xiv). The round would encompass a central place, the perimeter of a plain. In the first picture of this Wiki one can see a developed, round style, amphitheater. The mound, which was used for seating (in the picture this area has been developed to include seats), surrounded the round. The very front of the round was used for the plays action and kept free from the audience. Except for this one area which was reserved for the actors, the rest of the area was free for spectators, making the round style theater one of the most accessible and functional styles of early performance space.
    {pageant281.jpg} A Pageant WagonThe pageant style of production was also an accessible and functional performance space–as Gassner states; the pageant system was, "A peoples’ theater in the fullest sense–a festival lasting several days or longer inspired by epic or "universal" matter" (xvi). The pageant system is recorded as following the cycle productions or performances. This is fitting considering the pageant wagons moved throughout the city; one wagon after another, the beginning of the play may begin at the first wagon at the first stop in the city, and the end of the play would conclude at the last wagon at the last stop in the city. The pageant performance space needed large casts and often participated with the public. For these reasons, the pageant system was largely successful, and it belongs as one of the great historic festivals of the performance space.
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    "mansion" form as evolved in
    The theater goer was as much apart of the performance space as the stage itself. As seen in the picture below, the "groundlings" seated closest to the stage would often see the action spill over, off the stage. The common theater goer often became part of the play as performers ran into the audience; similar to the pageant performance, the audience became part of the show. The bourgeoisie would be seated in the grandstand.
    This truly was the beginning of modern performance spaces!
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    10:26 am

Wednesday, December 10

  1. page Group Eight edited ... Alchin, Linda. "Elizabethan Era". www.elizabethan-era.org.uk. Bevington, David. Mau…
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    Alchin, Linda. "Elizabethan Era". www.elizabethan-era.org.uk.
    Bevington, David. Maus, Katharine, Eisaman. "General Introduction: Performance and Print." English Renaissance Drama. Eds. Bevington. Engle. Maus. Rasmussen. New York: Norton, 2002.
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    Kang, J. I gave you the hard copy (with the cite info on it"Acoustic evolution of ancient Greek and can't re-find it in the PAC). “Elizabethan Music.” Elizabethan Era. Ed. Linda Alchin. Update Unknown. 14 September 2008. <http.www.elizabethan-era.org.uk/elizabethan-music.htm>Roman theatres." School of Architecture, University of Sheffield Press:
    UK, 2006.

    "Costumes." Shakespeare's World and Work. Ed. John F. Andrews. 2001. Charles Scribner's Sons, New York. eNotes.com. December 2005. 5 October 2008. http://www.enotes.com/shakespeare-masters/47652.
    Dekker, Thomas. The Shoemaker’s Holiday. English Renaissance Drama. Eds. Bevington. Engle. Maus. Rasmussen. New York: Norton, 2002.
    “Elizabethan Music.” Elizabethan Era. Ed. Linda Alchin. Update Unknown. 14 September 2008. <http.www.elizabethan-era.org.uk/elizabethan-music.htm>
    Garner, Shirley Nelson. "Let Her Paint an Inch Thick: Painted Ladies in Renaissance Drama and Society." Renaissance Drama. Ed. Mary Beth Rose. Northwestern University Press,1990.123-40.
    Gassner, John. Medieval And Tudor Drama. New York: Applause, 1987.
    (view changes)
    6:14 pm
  2. msg why? message posted why? are you trying to make the rest of the class look bad with all of your sources? you wiki looks grea…
    why?
    are you trying to make the rest of the class look bad with all of your sources? you wiki looks great. if i needed to write a paper on medieval drama i could use your wiki for my research.
    10:17 am
  3. msg awesome message posted awesome i really like how in depth everyone went with their research. if i knew nothing about medieval thea…
    awesome
    i really like how in depth everyone went with their research. if i knew nothing about medieval theater i could read your page and feel content with my new found knowledge.
    10:14 am
  4. msg good intro message posted good intro in all of the other wiki none of us are remembering that this is going on the internet. it's like w…
    good intro
    in all of the other wiki none of us are remembering that this is going on the internet. it's like we think only the people in the class will see it, but your first lines show that you have a wider audience in mind.
    10:08 am
  5. msg flow message posted flow your wiki flows very well. it doesn't feel like most of the others in that it's broken up into rigi…
    flow
    your wiki flows very well. it doesn't feel like most of the others in that it's broken up into rigid sections.
    10:05 am
  6. msg lute=metal message posted lute=metal i really like how all of you are making the sections your own by adding creative flairs to them. …
    lute=metal
    i really like how all of you are making the sections your own by adding creative flairs to them.

    p.s. the house pic is kinda creepy
    10:02 am

Monday, December 8

  1. msg good presentation message posted good presentation good job with the final project and presentation of the video. I enjoyed it very much.
    good presentation
    good job with the final project and presentation of the video. I enjoyed it very much.
    10:09 pm
  2. page Group Six edited ... Possible Interpretations and Production Plans of The Shoemaker's Holiday Instead of shoemaker…
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    Possible Interpretations and Production Plans of The Shoemaker's Holiday
    Instead of shoemakers, a modern audience can relate to the topic of class differences trough a line of workers in restaurants. The concept of social classes can be better comprehended by audiences if set in southern California. The contrast between the two social classes would be better understood if the concept of race was present. To cast a modern The Shoemaker’s Holiday, it would be best to hire Caucasian and Hispanics. For example, Lacy can be played by Tom Cruise whereas Rose can be played by Jennifer Lopez. Interracial love would add to the drama of the play. Other important factors that can reiterate the theme of class differences and the want to maintain norms can be the use of music. Music is an aspect that can easily give audiences a feeling of different social standing. --Jose Cadena
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    of the play--Jazminplay. Both make up and hair would be somewhat minimalist , yet costumes would abide the Shakespearean aspect which would help provide the aesthetics of social class and its distinction.--Jazmin Colin
    As opposed to keeping the traditional location of England I see my play taking place in modern day Mexico, preferably a border city like Tijuana which is as busy as London would have been. As opposed to having my actors portray shoemakers I would have them changed to the noble trade of the taquero, otherwise known as the taco vendor. In order to maintain the class structure Simon Eyre would be the owner of multiple carts which his apprentices operate; Sir Oately would be a grocer as he is in the play while the Earl of Lincoln is a wealthy land owning alfalfa farmer. There would have to be a massive overhaul on the language not only to make it fit the era but also the locale . It would be a mix of English-Spanish and contain a lot of slang in order to maintain the bawdy references of the original play. --Noel Zavala
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    differences. I truelytruly believe Dekker
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    the standard elizabethanElizabethan fashion according
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    throughout the differnetdifferent scenes in
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    cannot escape eachother,each other, even when
    Krystle Marshall
    5. If I had the opportunity to put a new twist on the Shoemakers Holiday, I would like it to involve the fans of two rival sports teams. To incorporate the difference in class, I would pick the fans of the San Diego Chargers being the upper class, while fans of the Oakland Raiders would be the lower class. It would take place in the parking lot after a game because this is when emotions are at their highest. It would still have the resemblance of how Thomas Dekker wanted social classes to be addressed.
    (view changes)
    10:07 pm

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