Have you ever wondered what might be hiding between the lines of a play? Writ in the Margins investigates dramaturgical mysteries from early modern (and early modern adjacent) plays. Season 1 focused on The Witch of Edmonton, FuenteOvejuna, Convent of Pleasure, and House of Desires. In Season 2, we turn to El muerto disimulado or Presumed Dead by Ângela de Azevedo, The Antipodes by Richard Brome, The Island Princess by John Fletcher, Loa to the Divine Narcissus by Sor Juana Inés de La Cruz, and Life is a Dream by Pedro Calderón de la Barca. As we embark on Season 3, we're tackling Iphigenia at Aulis by Lady Jane Lumly, Tragedy of Mariam by Elizabeth Cary, The Phantom Lady by Pedro Calderón de la Barca, Tartuffe by Molière, and even Pericles by Shakespeare and George Wilkins. Using various modern theories as our lenses, we will explore these old texts and share the insights we find within-- all while drawing attention to the international canon of early modern theatre. From translations to interviews, with live music and script readings, join us to discover exactly what we have Writ in the Margins.
This podcast was created by the graduate students enrolled in REN670: Dramaturgy in the Shakespeare and Performance program at Mary Baldwin University. Writ in the Margins is produced in collaboration with course convener Prof. Molly Seremet.
Hosted on Acast. See acast.com/privacy for more information.
Have you ever wondered what might be hiding between the lines of a play? Writ in the Margins investigates dramaturgical mysteries from early modern (and early modern adjacent) plays. Season 1 focused on The Witch of Edmonton, FuenteOvejuna, Convent of Pleasure, and House of Desires. In Season 2, we turn to El muerto disimulado or Presumed Dead by Ângela de Azevedo, The Antipodes by Richard Brome, The Island Princess by John Fletcher, Loa to the Divine Narcissus by Sor Juana Inés de La Cruz, and Life is a Dream by Pedro Calderón de la Barca. As we embark on Season 3, we're tackling Iphigenia at Aulis by Lady Jane Lumly, Tragedy of Mariam by Elizabeth Cary, The Phantom Lady by Pedro Calderón de la Barca, Tartuffe by Molière, and even Pericles by Shakespeare and George Wilkins. Using various modern theories as our lenses, we will explore these old texts and share the insights we find within-- all while drawing attention to the international canon of early modern theatre. From translations to interviews, with live music and script readings, join us to discover exactly what we have Writ in the Margins.
This podcast was created by the graduate students enrolled in REN670: Dramaturgy in the Shakespeare and Performance program at Mary Baldwin University. Writ in the Margins is produced in collaboration with course convener Prof. Molly Seremet.
Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.
In our final episode of Season 4, hosts Emily Bassett and Cole Graham zoom in on the figure of Jupiter inside of Lyly's Woman in the Moon specifically and in the context of early modern drama more generally. What does it mean when a major god like Jupiter shows up in your play? What kind of (mostly bad) behavior should the audience expect? And how do productions of these plays handle divine spectacle in practical terms? Join Emily and Cole for an excavation of performance choices and a close-reading of Woman in the Moon's concentrated production history. Featuring a scene from the plays as performed by guest actors Jake Raiter and Joan Raube-Wilson
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Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.
In this episode, intrepid host Trent Stephens is joined by guest expert Dr. Barbara Fuchs. Dr. Fuchs is Distinguished Professor of Spanish and English at UCLA and director of the Working Group on the Comedia in Translation and Performance and the Diversifying the Classics project. Dr. Fuchs shares details on the process of collaborative translation used to create the first English translation of Caro's play. Together, Stephens and Fuchs then unpack connections between English Renaissance drama and Spanish Golden Age plays, with an emphasis on the role of actress on the Spanish stage and look at how Caro converses with her contemporaries.
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Hosted on Acast. See acast.com/privacy for more information.
In this episode, our hosts Gray Casterline and Scarlet Frishman Darling excavate the main plot of Thomas Middleton's The Changeling through the lens of both onstage violence and intimacy, using gender studies and queer theory as their guides. They close read key staging moments in the play across several productions to think about the staging required by the text and that which is implied by the story's context. Then, they talk with Charlene V. Smith, the Artistic Director of Brave Spirits Theatre in Washington, DC about the stellar production she directed for the company in 2018.
A note on content: This episode includes discussions sexual violence, intimacy, concept of virginity, purity culture, and violence including the severing of limbs.
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In this episode, our hosts Aubree Gray and Grayson Fulp ford the murky streams of The Changeling's B-plot, through a deep dive into the context of mental illness, madness, and asylums in the early modern period. Through historical research, their deployment of disability studies, and a very depressing game of true or false, they ask critical and insightful questions about how to responsibly work with this challenging subplot in production today.
A note on content: This episode includes in-depth discussion of mental illness, specifically madness, in the early modern period, including details on the mistreatment of the mentally ill, violence against women, and use of loaded language.
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In this episode, our hosts Rose Herold, Ella Pellegrino, and Julia Sommer explore the wild world of Molière's farce Tartuffe through the lens of censorship and (self) adaptation. How did the tension between Moliére, King Louis XIV, and the French Roman Catholic Church impact reception of Tartuffe? What revisions did the playwright make to appease Church and state? And why the introduction of a king ex machina, dude? All this and a look at Tartuffe is contemporary production and resonance in our current cultural moment too! Music for this episode was created using Online Sequencer. Online Sequencer is the creation and property of Jacob Morgan and George Burdell (https://onlinesequencer.net/).
A note on content -- This episode includes discussion of sexual harassment and sexual assault.
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In the final episode of Season 3, hosts Jovita Roselene and John Williams apply feminist theory to Molière's Tartuffe, using Taylor Swift as their guide! They unpack what Taylor's struggle to gain control of her own musical catalog might have in common with the censorship Molière experienced in his lifetime. Then, they turn to thinking about feminist theory and how applying it to Tartuffe allows us to center Dorine's agency inside of the plot. John explains the plot of the play in under a minute and our hosts then experiment with aligning the female characters in the play with an anthem from TSwift's ouevre.
A note on content: This episode includes one instance of the f-word. It is the very first word of the episode because Prof. Seremet told the class they could use it *once* inside an episode. Prof. Seremet acknowledges that this was her error and commends the hosts for their chutzpah.
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In this episode, hosts Kyle Showalter and Katie Mestres dig into the depths of early modern misogyny and its impact on the world of The Phantom Lady. In both England and on the Continent, widows caused massive anxiety for the patriarchy in the Renaissance. Showalter and Mestres explore the history and context of the widow in both real-life and dramatic contexts, with a tight focus on the character of Doña Angela from The Phantom Lady. They then open the aperture to think about misogyny more broadly in the period through an examination of Renaissance anti-woman pamphlet wars. This episode features dramatized readings from the play with the help of actors Matthias Bolon, Abigail Olshin, Emily Bassett, and John Williams.
A note on content: This episode includes discussions of misogynistic language and mistreatment/violence towards women. There is also one usage of the f-word in context.
Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.
In this episode, hosts Anna Bigham and Cece Richardson hone in on the episodic plot of Pericles through an ecofeminist lens. They take us on a voyage to understand the links between Marina and the ocean across the play by investigating the liminality of location and character. They introduce us to Marina as a monstrous in-between figure and -- plot twist! -- reveal why that is a very, very good thing!
A note on content: This episode includes discussion of prostitution, references to sexism, and mention of implied threat of sexual assault in the context of Pericles.
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In this episode, our hosts Godfred Ogoe and Jim Drake take a deep dive into the plot of Pericles, using an ecocritical lens to think about the play's shifts from verse to prose. They then explore the ways in which the atmospheric and weather shifts that impact the play's environments reveal emotional storms within the characters. This episode features dramatized excerpts from the play.
A note on content: This episode includes mention of sex work, incest, and misogyny as well as brief discussions of physical violence.
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In this episode, hosts Ethan Goodmansen, Margaret Levin, and Molly Minter dig into the complicated history and context of Elizabeth Cary's Tragedy of Mariam. They first unpack key events from Cary's own life and think through the implications her biography might carry inside of her dramatic work. Then, they examine Cary's play by thinking through the anti-Semitic and Islamophobic language Cary uses and the ways in which white Eurocentric beauty standards impact the play's representations of characters like Salome and Mariam. Finally, our hosts consider Mariam's place on the page and stage in connection to ethics of performance and representation.
A note on content: This episode includes discussions of anti-Semitic, Islamophobic, racist, and misogynistic language in the context of Cary’s play.
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In this episode, hosts Abigail Olshin and Ashley Wright take us deeper into the terrain of Lady Jane Lumley's Iphigenia at Aulis through a close look at the historical contexts of human sacrifice in Greek drama and the application of an ecocritical lens. Olshin and Wright ask us to consider the function of including performances of sacrificial moments in contemporary productions of these classical plays and think through the ways modern performance concepts are complicated by these plot events.
A note on content: This episode includes discussions of human sacrifice, death, and child death.
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In the first episode of Season 3, hosts Katy Shinas and Anna Taylor take us into the world of Lady Jane Lumley's translation of Iphigenia at Aulis. Their dramaturgical work focuses on the interconnectedness of translation and adaptation, which they wake up in their analysis of Lumley's version of the play in conversation with Euripides's original and Racine's French language translation. Shinas and Taylor take us on a tour of the Iphigenia multiverse, including a multilingual dramatization! Shinas and Taylor note the feminist potential of "tradaptation" in Lumley's work and beyond.
A note on content: This episode includes a brief mentions of suicide, human sacrifice, homicide, and coerced marriage. It also includes discussions and usages of misogynistic language in the episode's dramatized scenework.
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In this episode, hosts Jess Snellings and RIley Tate apply their analytical muscle to unpacking key themes of gender and honor at work in Life is a Dream. They set the stage with close reading and key historical context of the Spanish Golden Age. Then, they put the play in conversation with an example from contemporary media, Michael Dante DiMartino and Bryan Konietzko’s animated television series Avatar: The Last Airbender. In this examination, they focus on resonances of gender and feminist theory in both works. This episode features guest performances from Molly Martinez-Collins as Rosaura and Chris Johnston as Clotaldo.
Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.
Hosted on Acast. See acast.com/privacy for more information.