query: who was the shrew in taming ofthe shrew

pos: The Taming of the Shrew as keeping her from eating and drinking, until she becomes a desirable, compliant, and obedient bride. The subplot features a competition between the suitors of Katherina's younger sister, Bianca, who is seen as the "ideal" woman. The question of whether the play is misogynistic or not has become the subject of considerable controversy, particularly among modern scholars, audiences, and readers. "The Taming of the Shrew" has been adapted numerous times for stage, screen, opera, ballet, and musical theatre; perhaps the most famous adaptations being Cole Porter's "Kiss Me, Kate" and the 1967 film of the play, starring Elizabeth Taylor and

pos: The Taming of the Shrew 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

pos: The Taming of the Shrew 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.

pos: The Taming of the Shrew bad quarto. Instead, he argues it is an adaptation by someone other than Shakespeare. Miller believes Alexander's suggestion in 1969 that the reporter became confused is unlikely, and instead suggests an adapter at work; "the most economic explanation of indebtedness is that whoever compiled "A Shrew" borrowed the lines from Shakespeare's "The Shrew", or a version of it, and adapted them." Part of Miller's evidence relates to Gremio, who has no counterpart in "A Shrew". In "The Shrew", after the wedding, Gremio expresses doubts as to whether or not Petruchio will be able to tame Katherina. In "A Shrew", these

pos: The Taming of the Shrew on screen 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

pos: Shrew (stock character) influence on humans exposed to them, the term was applied metaphorically to a person of either sex thought to have a similar disposition, but by the 14th century, it was applied to women alone. This also led to a now obsolete verb usage, "to shrew" meaning 'to scold'. In Elizabethan England, "shrew" was widely used to refer to women and wives who did not fit into the social role that was expected of them. In William Shakespeare's "The Taming of the Shrew", Katherina "has a scolding, shrewish tongue," thus prompting Petruchio to try and tame her. By the middle 16th

pos: The Taming of the Shrew 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

pos: The Taming of the Shrew 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

pos: The Taming of the Shrew 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"

pos: The Taming of the Shrew in performance Taming of the Shrew: A Comedy". This version inconsistently anglicised the character names and recast the play in prose. Lacy also expanded the part of Grumio into the title role Sauny (who speaks in a heavy Scottish brogue), which he played himself. Sauny is an irreverent, cynical companion to Petruchio, and is comically terrified of his master's new bride. Lucentio was renamed Winlove, Baptista became Lord Beaufoy and Katherina was renamed Meg. In "Sauny", Petruchio is much more vicious, threatening to whip Meg if she doesn't marry him, then telling everyone she is dead, and tying her to a bier.

pos: The Taming of the Shrew on screen is hosted by an actor discussing their favourite Shakespearean play with other actors and theatrical professionals. Scholars are also interviewed in each episode, and clips from various productions are shown, as well as scenes shot specifically for the show at Shakespeare's Globe. "The Taming of the Shrew" episode is hosted by Morgan Freeman, who had played Petruchio in 1990 at the Delacorte Theater. Interviewees include Tracey Ullman (who played Katherina to Freeman's Petruchio), Sinéad Cusack (Barry Kyle's 1982 production at the Barbican), Brian Cox and Fiona Shaw (Jonathan Miller's 1987 RSC production), Julie Taymor (directed a 1988 production at the

pos: The Taming of the Shrew in performance 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

pos: The Taming of the Shrew 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

pos: EunWon Lee of Katherina in John Cranko's "Taming of the Shrew" as her last performance with Korea National Ballet. In 2016 she moved to the United States and joined The Washington Ballet under the new artistic leadership of Julie Kent. Her debut with The Washington Ballet was the ballet "Giselle". She has danced the leading roles in "Romeo and Juliet", "The Taming of the Shrew", "Giselle", "Swan Lake", "Don Quixote", "La Bayadère", "Spartacus", "Raymonda", "L'Arlésienne", "The Nutcracker", "The Seventh Symphony", "The Sleeping Beauty", "Prince Ho Dong", "Holberg Pas de deux", "Tchaicovsky" and "Poise". EunWon Lee EunWon Lee is a South Korean ballet

pos: The Taming of the Shrew in performance "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

pos: The Taming of the Shrew (1967 film) According to Harold Bloom's take on the play, Katherina is “advising women how to rule absolutely, while feigning obedience”. The film was originally intended to be a vehicle for Sophia Loren and Marcello Mastroianni. Taylor and Burton put over a million dollars into the production and, instead of a salary, took a percentage of profits. The film made $12 million worldwide and was generally liked by the critics. "The Taming of the Shrew" grossed $8 million in North America, earning $3,540,000 in theatrical rentals during 1967, making it the 25th highest grossing picture of 1967. The film grossed $12 million

pos: The Taming of the Shrew an adaptation of Lacy's "Sauny the Scot" rather than Shakespeare's original "Taming of the Shrew". Petruchio was renamed Manly, and Katherina was renamed Margaret (nicknamed Peg). At the end, there is no wager. Instead, Peg pretends she is dying, and as Petruchio runs for a doctor, she reveals she is fine, and declares "you have taught me what 'tis to be a Wife, and I shall make it my Study to be obliging and obedient," to which Manly replies "My best Peg, we will exchange Kindness, and be each others Servants." After the play has finished, the actress playing Peg

pos: The Taming of the Shrew it is not taken seriously by Sly. As such, questions of the seriousness of what happens within it are rendered irrelevant. Language itself is a major theme in the play, especially in the taming process, where mastery of language becomes paramount. Katherina is initially described as a shrew because of her harsh language to those around her. Brown University Professor Karen Newman points out, "from the outset of the play, Katherine's threat to male authority is posed through language: it is perceived by others as such and is linked to a claim larger than shrewishness – witchcraft – through the

pos: The Taming of the Shrew his property and tames her into accepting a patriarchal economic worldview. Vital in this reading is Katherina's final speech, which Korda argues "inaugurates a new gendered division of labour, according to which husbands "labour both by sea and land" while their wives luxuriate at home [...] In erasing the status of housework as work, separate-sphere ideology renders the housewife perpetually indebted to her husband [...] "The Taming of the Shrew" marks the emergence of the ideological separation of feminine and masculine spheres of labour." In a different reading of how gender politics are handled in the play, David Beauregard reads

pos: The Taming of the Shrew 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

neg: The Taming of the Shrew 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,

neg: The Taming of the Shrew on screen 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

neg: The Taming of the Shrew 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

neg: Shrew (stock character) 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew "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

neg: The Taming of the Shrew (1929 film) 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

neg: The Taming of the Shrew (ballet) 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

neg: The Taming of the Shrew in performance 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

neg: The Taming of the Shrew on screen 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew a memorial reconstruction of "Ur-Shrew", a now lost early draft of "The Shrew"; ""A Shrew" is substantially a memorially constructed text and is dependent upon an early "Shrew" play, now lost. "The Shrew" is a reworking of this lost play." Hickson, who believed Marlowe to have written "A Shrew", had hinted at this theory in 1850; "though I do not believe Shakspeare's play to contain a line of any other writer, I think it extremely probable that we have it only in a revised form, and that, consequently, the play which Marlowe imitated might not necessarily have been that fund

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew 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

neg: Catharine and Petruchio 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew 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)

neg: The Taming of the Shrew in performance 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew (1929 film) 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew (Giannini) 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

neg: The Taming of the Shrew (Giannini) 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

neg: The Taming of the Shrew (Shebalin) 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

neg: The Taming of the Shrew (Giannini) 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

neg: The Taming of the Shrew (ballet) 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

neg: The Taming of the Shrew on screen 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

neg: The Taming of the Shrew (1967 film) 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

neg: The Taming of the Shrew (1967 film) 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew (Shebalin) 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

neg: The Taming of the Shrew (ballet) 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

neg: The Taming of the Shrew 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

neg: Shrew (stock character) were usually meant to humiliate the guilty party. They included the imposition of the ducking stool, pillory, jougs, a shrew's fiddle, or a scold's bridle. "Scold" or "shrew" was a term which could be applied with different degrees of reprobation, and one early modern proverb allowed that "a shrew profitable may serve a man reasonable". Shrew (stock character) The shrew – an unpleasant, ill-tempered woman characterised by scolding, nagging, and aggression – is a comedic, stock character in literature and folklore, both Western and Eastern. The best-known work with this theme is probably Shakespeare's play "The Taming of the Shrew".

neg: The Taming of the Shrew transcribe it for resale; "underpinning the notion of a 'Shakespearean bad quarto' is the assumption that the motive of whoever compiled that text was to produce, differentially, a verbal replica of what appeared on stage." Miller believes that Chambers and Kirschbaum successfully illustrate "A Shrew" does not fulfil this rubric. Alexander's theory continued to be challenged as the years went on. In 1942, R.A. Houk developed what came to be dubbed the "Ur-Shrew" theory; both "A Shrew" and "The Shrew" were based upon a third play, now lost. In 1943, G.I. Duthie refined Houk's suggestion by arguing "A Shrew" was

neg: The Taming of the Shrew evidence for an "Ur-Shrew", to argue that the reporter of "A Shrew" attempted to recreate the complex subplot from "The Shrew" but got confused; "the compiler of "A Shrew" while trying to follow the subplot of "The Shrew" gave it up as too complicated to reproduce, and fell back on love scenes in which he substituted for the maneuvers of the disguised Lucentio and Hortensio extracts from "Tamburlaine" and "Faustus", with which the lovers woo their ladies." After little further discussion of the issue in the 1970s, the 1980s saw the publication of three scholarly editions of "The Shrew", all

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew 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

neg: Christopher Sly 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

neg: The Taming of the Shrew on screen 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

neg: Love's Labour's Won 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

neg: The Taming of the Shrew on screen 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

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew Shrew" and "A Knack to Know a Knave" as supporting a date of composition prior to June 1592. Stephen Roy Miller, in his 1998 edition of "A Shrew" for the New Cambridge Shakespeare, agrees with the date of late 1591/early 1592, as he believes "The Shrew" preceded "A Shrew" (although he rejects the reported text theory in favour of an adaptation/rewrite theory). Keir Elam, however, has argued for a "terminus post quem" of 1591 for "The Shrew", based on Shakespeare's probable use of two sources published that year; Abraham Ortelius' map of Italy in the fourth edition of "Theatrum Orbis

neg: The Taming of the Shrew in performance 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

neg: The Taming of the Shrew in performance 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

neg: The Taming of the Shrew in performance at newing ton my Lord Admeralle men & my Lorde chamberlen men as ffolowethe [...] 11 of June 1594 Rd at the tamynge of A Shrowe." This could have been either "A Shrew" or "The Shrew", but as the Lord Chamberlain's Men were sharing the theatre at the time, and as such Shakespeare himself would have been there, scholars tend to assume it was "The Shrew". The earliest definite performance of "The Shrew" was at court before Charles I and Henrietta Maria on 26 November 1633, where it was described as being "likt". Aside from the court performance, evidence of

neg: The Taming of the Shrew believed this represents an example of a "reporter" forgetting details and becoming confused, which also explains why lines from other plays are used from time to time; to cover gaps which the reporter knows have been left. He also argued the subplot in "The Shrew" was closer to the plot of "I Suppositi"/"Supposes" than the subplot in "A Shrew", which he felt indicated the subplot in "The Shrew" must have been based directly on the source, whereas the subplot in "A Shrew" was a step removed. In their 1928 edition of the play for the New Shakespeare, Arthur Quiller-Couch and

neg: Shrew (stock character) Shrew (stock character) The shrew – an unpleasant, ill-tempered woman characterised by scolding, nagging, and aggression – is a comedic, stock character in literature and folklore, both Western and Eastern. The best-known work with this theme is probably Shakespeare's play "The Taming of the Shrew". The figure represents insubordinate female behaviour in a marital system of polarised gender roles, that is male-dominated in a moral hierarchy. In 30 cultural groups in the middle 20th century, the folklorist Jan Harold Brunvand collected over 400 literary and oral version of shrew stories, in Europe alone. This stereotype or cliché was common in

neg: The Taming of the Shrew upon returning to London in September, nor would they have taken possession of any new material at that time. Ann Thompson considers "A Shrew" to be a reported text in her 1984 and 2003 editions of the play for the New Cambridge Shakespeare. She focuses on the closure of the theatres on 23 June 1592, arguing that the play must have been written prior to June 1592 for it to have given rise to "A Shrew". She cites the reference to "Simon" in "A Shrew", Anthony Chute's allusion to "The Shrew" in "Beauty Dishonoured" and the verbal similarities between "The

neg: The Taming of the Shrew Nevertheless, in the present century, the movement has unquestionably been towards an acceptance of the Bad Quarto theory, and this can now be accepted as at least the current orthodoxy." Morris himself, and Thompson, supported the bad quarto theory, with Oliver tentatively arguing for Duthie's bad quarto/early draft/"Ur-Shrew" theory. Perhaps the most extensive examination of the question came in 1998 in Stephen Roy Miller's edition of "A Shrew" for the New Cambridge Shakespeare: The Early Quartos series. Miller agrees with most modern scholars that "A Shrew" is derived from "The Shrew", but he does not believe it to be a

neg: Christopher Sly Christopher Sly Christopher Sly is a minor character in William Shakespeare's "The Taming of the Shrew." He is a drunken peddlar who is easily dominated by women, set up as a foil to Petruchio, the central male character in the play. "The Taming of the Shrew" is a play within a play. The frame play, where the action opens (called the "Induction," just prior to Act One), shows a drunk Christopher Sly being ejected from a bar by its hostess. A wealthy lord arrives, finds Sly in a drunken stupor, and decides to play a joke on him. With Sly

neg: RCA Records several spoken word albums in the 1950s and 60s, notably the soundtracks of the films "Richard III", "A Man for All Seasons" and "The Taming of the Shrew", as well as complete versions of the National Theatre of Great Britain stage productions of "Othello" (starring Laurence Olivier) and "Much Ado About Nothing" (starring Maggie Smith, who also played Desdemona in the Olivier "Othello"). None of these albums have appeared on compact disc, but the films of "Richard III", "A Man For All Seasons", "The Taming of the Shrew" and the filmed version of Olivier's "Othello" have all been issued on

neg: The Taming of the Shrew analogy to that of other 'bad Quartos' to the legitimate texts from which they were memorised. The nomenclature, which at least a memoriser can recall, is entirely different. The verbal parallels are limited to stray phrases, most frequent in the main plot, for which I believe Shakespeare picked them up from "A Shrew"." He explained the relationship between "I Suppositi"/"Supposes" and the subplots by arguing the subplot in "The Shrew" was based upon both the subplot in "A Shrew" and the original version of the story in Ariosto/Gascoigne. In 1938, Leo Kirschbaum made a similar argument. In an article listing

neg: The Taming of the Shrew texts are substantial and coherent enough to establish that there was deliberate revision in producing one text out of the other; hence "A Shrew" is not merely a poor report (or 'bad quarto') of "The Shrew"." Character names are changed, basic plot points are altered (Kate has two sisters for example, not one), the play is set in Athens instead of Padua, the Sly framework forms a complete narrative, and entire speeches are completely different, all of which suggests to Miller that the author of "A Shrew" thought they were working on something different from Shakespeare's play, not attempting to

neg: The Taming of the Shrew 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

neg: Shrew (stock character) the underlying theme of consequences of female disagreeableness, but often giving the "shrew" much more agency, and portraying some "shrewish" traits in a positive light, blending with the stock character of the virago. Some of these include: "Frivolous Wife", a 2008 South Korean film, in which the "shrew" attempts to change herself to become better accepted by her inlaws; "ShakespeaRe-Told: The Taming of the Shrew", a 2005 British film, in which a politician seeks to reform her Public relations image as an abrasive woman by getting married, but finds this challenging; "Deliver Us from Eva", a 2003 American romantic comedy

neg: The Taming of the Shrew argues that scholars tend to dismiss the idea that "A Shrew" is Shakespearean because "the women are not as satisfactorily tamed as they are in "The Shrew"." She also points out that if "A Shrew" is an early draft, it suggests Shakespeare "may have increased rather than decreased the patriarchal violence of his materials", something which, she believes, scholars find difficult to accept. However, others see the play as an example of a pre-feminist condemnation of patriarchal domination and an argument for modern-day "women's lib". For example, director Conall Morrison, wrote in 2008: Philippa Kelly makes this point: Elizabeth Kantor

neg: Sakalakala Vallavan Coimbatore, Kodambakkam in Madras (now Chennai), and the AVM Garden Villa in Madras. "Sakalakala Vallavan" follows the "taming of the shrew" paradigm that was popular in Tamil cinema as early as the 1960s: "the city-bred girl making fun of the rustic and the latter turning the tables on her". Film producer and writer G. Dhananjayan compared the film to the William Shakespeare play "The Taming of the Shrew" for following the same concept. The music was composed by Ilaiyaraaja, with lyrics by Vaali. The song "Nila Kayuthu" is set in the carnatic raga known as Madhyamavati. "Ilamai Edho Edho" remains

neg: The Taming of the Shrew 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

neg: The Taming of the Shrew on screen her performance, "Instead of being a forceful tiger-cat, I was a spitting little kitten." The next cinematic adaptation was Franco Zeffirelli's 1967 "The Taming of the Shrew", starring Elizabeth Taylor and Richard Burton. This version omits the Induction; however, some critics have commented that the title sequence offers a modern 'replacement' for the Induction. The film begins with Lucentio (Michael York) and Tranio (Alfred Lynch) arriving in Padua in the middle of what appears to be a funeral. However, after a moment, the funeral suddenly transforms into a colourful party which moves from the church through the streets as the

neg: The Taming of the Shrew (1929 film) 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

neg: Pendley Open Air Shakespeare Festival The Taming of the Shrew & Julius Caesar 1978 The Winter's Tale & As You Like It 1979 Much Ado About Nothing & Macbeth 1980 Love's Labour's Lost & The Merry Wives of Windsor 1981 The Merchant of Venice & Two Gentlemen of Verona 1982 A Midsummer Night's Dream & King Henry IV; part I 1983 Twelfth Night & Romeo and Juliet 1984 Much Ado About Nothing & The Tempest 1985 Richard III & The Taming of the Shrew 1986 As You Like It & King Lear 1987 Macbeth & A Midsummer Night's Dream 1988 No Festival 1989 The Merchant

neg: The Taming of the Shrew (ballet) an obedient wife. Shakespeare chose his title to signify to his audiences that the play was about the marriage of a man to an ill-tempered woman given to scolding, nagging, and aggression. Such a woman, especially a wife, was known in the sixteenth century as a shrew, so called after a tiny rodent with a notoriously hostile and unpleasant nature. A woman convicted in court for being a shrew was often punished in Shakespeare's day by being confined to stocks on the village green or repeatedly dunked in a nearby pond or lake. The setting is Padua, a city in

neg: The Taming of the Shrew to the family house, where the now tamed woman lectures her sister on the merits of being an obedient wife. The taming in this version is much more physical than in Shakespeare; the shrew is beaten with birch rods until she bleeds, and is then wrapped in the salted flesh of a plough horse (the Morrelle of the title). "Merry Jest" was not unknown to earlier editors of the play, and had been dismissed as a source by A.R. Frey, W.C. Hazlitt, R. Warwick Bond and Frederick S. Boas. Modern editors also express doubt as to Hosley's argument. In 1966,

neg: The Taming of the Shrew Although Fletcher's sequel is often downplayed as merely a farce, some critics acknowledge the more serious implications of such a reaction. Lynda Boose, for example, writes, "Fletcher's response may in itself reflect the kind of discomfort that "Shrew" has characteristically provoked in men and why its many revisions since 1594 have repeatedly contrived ways of softening the edges." With the rise of the feminist movement in the twentieth century, reactions to the play have tended to become more divergent. For some critics, "Kate's taming was no longer as funny as it had been [...] her domination became, in George Bernard

neg: Maynardville Open-Air Theatre 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

neg: Oscar Asche 1902, and in 1903 he played Benedick in "Much Ado About Nothing" opposite the Beatrice of Ellen Terry. Other parts were Bolingbroke in "Richard II", Christopher Sly and Petruchio in "The Taming of the Shrew", Bottom in "A Midsummer Night's Dream", and Angelo in "Measure for Measure". In 1904, Asche and his wife became managers of the Adelphi Theatre. Their productions included "The Prayer of the Sword", "A Midsummer Night's Dream", "The Taming of the Shrew", "Measure for Measure", "Count Hannibal" (which he wrote with F. Norreys Connell), and Rudolf Besier's "The Virgin Goddess". In 1906 he played King Mark

neg: Mikhail Shuisky (baritone) range, and may be considered the successor of the glorious Chaliapin." After a concert in Vienna, where he sang an aria as Petruchio in "The Taming of the Shrew", critics wrote "...Mr. Mikhail Shuisky played Petruchio in 'The Taming of the Shrew' with amazing skill." In the newspaper "Novoye Vremya" of May 1910, critics wrote "Mikhail Shuisky has unique qualities as an opera singer. His baritone voice has a wonderful soft timbre and a wide range. Today, he can be compared only with Mattia Battistini. From everything we've heard at concerts, it can be assumed that M. Shuisky will take

neg: The Taming of the Shrew in performance 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,

neg: The Taming of the Shrew in performance ultimately decided against it "because the actual words in the old edition are so corrupt as to be illiterate." In a 1935 production starring Catherine Lacey and Neil Porter, director Ben Iden Payne became the first to use the "A Shrew" epilogue in a performance of "The Shrew" at the Shakespeare Memorial Theatre, with Roy Byford initially playing Sly, followed by Jay Laurier. Both actors received excellent reviews for their performances. The most successful early-twentieth century staging was the 1935/1936 Theatre Guild production, which began on Broadway and subsequently toured all over North America. Starring husband and wife Alfred Lunt

neg: The Philadelphia Shakespeare Festival "The Taming of the Shrew" 2006 "The Tempest", "Much Ado About Nothing", "The Complete Works of William Shakespeare (Abridged) " 2005 "Hamlet", "As You Like It" 2004 "Julius Caesar", "The Complete Works of William Shakespeare (Abridged)" 2003 "Othello", "Macbeth" 2002 "A Midsummer Night’s Dream", "King Lear", "Cymbeline" 2001 "Twelfth Night", "Measure for Measure", "Romeo and Juliet" 2000 "The Taming of the Shrew", "The Winter's Tale", "Hamlet" The Philadelphia Shakespeare Festival The Philadelphia Shakespeare Festival is an annual Shakespearean theatre festival in Philadelphia. Every year, The Festival produces two or three productions of Shakespeare's plays. Starting out as the Red Heel

neg: The Taming of the Shrew such plays. He points to the fact that in "The Shrew", there is only eleven lines of romance between Lucentio and Bianca, but in "A Shrew", there is an entire scene between Kate's two sisters and their lovers. This, he argues, is evidence of an adaptation rather than a faulty report; Miller believes the compiler "appears to have wished to make the play shorter, more of a romantic comedy full of wooing and glamorous rhetoric, and to add more obvious, broad comedy." H.J. Oliver argues the version of the play in the 1623 "First Folio" was likely copied not from

neg: The Taming of the Shrew (1929 film) to come." Vance also sees the film as a window into the Pickford-Fairbanks marriage: "As a reenactment of the Pickford-Fairbanks marriage, "Taming of the Shrew" continues to fascinate as a rather grim comedy. The two willful, larger-than-life personalities working at cross-purposes and conveying their resentment and frustration to each other through blatant one-upmanship and harsh wounds is both the movie and the marital union." After many years out of circulation, the film was re-released in 1966 in a new cut supervised by Pickford herself. New sound effects and music were added throughout, much of the voice dubbing was enhanced with

neg: Valentine Simmes For the bookseller Andrew Wise, Simmes printed: For Wise and William Aspley, Simmes printed: For Thomas Millington, Simmes printed: For Nicholas Ling and John Trundell, Simmes printed: For Matthew Law, Simmes printed: Also for Nicholas Ling, Simmes printed Q3 of "The Taming of a Shrew" (1607), the alternative version of Shakespeare's "The Taming of the Shrew." (Scholars dispute the exact nature of the relationship between the two versions.) And for Thomas Pavier, Simmes printed Q1 of "Sir John Oldcastle" (1600), a play of the Shakespeare Apocrypha. For "the Widow Newman," Simmes printed the second, 1607 edition of Lawrence Twine's "The

neg: Central Dauphin East High School honorable mention at the Hershey Theater Apollo Awards. Jurdan Payne received one for "outstanding supporting actor in a play" for his performance in William Shakespeare's "Taming of the Shrew" in the school's 2009 fall play. Damon McToy tied with Jurdan Payne for "outstanding supporting actor in a musical" for the spring 2010 musical "Urinetown". James Wright received an honorable mention from the Hershey Apoollo Awards for his performance as Gremio in "Taming of the Shrew". In 2011, Joy Christian won "Outstanding Actress in a Musical" in the "Wiz". Benton Felty also won "Outstanding Supporting Actor in a Musical" in the

neg: Four Plays in One not unknown in Fletcher's time. The Induction and frame-play structure can be found in several works, including the anonymous "The Taming of A Shrew" and Shakespeare's "The Taming of the Shrew," both from the early 1590s, and Francis Beaumont's "The Knight of the Burning Pestle" of 1607, among other examples. And the idea of a group of short plays presented as a unit can be traced back to "Three Plays in One" and "Five Plays in One" (both 1585) and an earlier "Four Plays in One" (1591); the two-part play "The Seven Deadly Sins" (c. 1585) shared the same type

neg: An Grianán Theatre 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

neg: The Taming of the Shrew 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