Titlebook: Early Modern Tragedy, Gender and Performance, 1984-2000; The Destined Livery Roberta Barker Book 2007 Palgrave Macmillan, a division of Mac

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Incumbent

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The Natural Father and the Imaginary Daughter: Patriarchy as Realism and Representation in ,een himself and his director over his performance of the play’s leading role. ‘Julie wanted a certain interpretation from me, especially with my daughter, Lavinia,’ he remarks:.Hopkins’ second adjective for the disputed gesture, ‘balletic, ’ suggests that much of the blame for this disagreement betw

Substitution

痛得哭了

Death and the Married Maiden: Gender Reproduction as Destruction in ,an Theatre began with a haunting before the character who appeared as a phantom was actually dead. In the production’s prologue, the spectator encountered Orgilus (Iain Glen), gaunt and black-clad, playing on a lute. He sang of the joys of marriage, of ‘Hearts by holy union wedded, / More than their

痛得哭了

Tricked Like a Bride: A New Traffic in ,lack dress contrasts with her bridal white veil and floral wreath lies spread-eagled between her brother and his arch-enemy as the former offers her to the latter. An adulterous wife discovered . by her husband collapses before him and his faithful retainer in a crumpled heap. These moments of abjec

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Death and the Married Maiden: Gender Reproduction as Destruction in ,bridal veil. Orgilus drew it aside to gaze at her face, but immediately his father Crotolon (Tony Britton) entered, speaking the first words of Ford’s playtext: ‘Dally not further’ (1.1.1). At this, Penthea turned from Orgilus and began to walk slowly upstage. Crotolon did not register her presence