Exercise de Dramaturgie Américaine (Aut. 2012)\\

http://www.theatre.uqam.ca/

http://www.theatre.uqam.ca/

http://www.theatre.uqam.ca/

SomeAmericans

SomeAmericans

Catalogue de pièces américaines\\

SomeAmericans\\

SomeAmericans
Catalogue de pièces américaines
Modernes et Contemporaines.
École supérieure de théâtre de l’UQAM
http://www.estuqam.ca/

\\

Laboratoires de pratique théâtrale (Aut. 2008 / Hiv. 2009)\\

et Premiers jets du Projet Shakespeare (2004–07)

Exercice de Texte & Pratique de Jeu (Aut. 2009)\\

Laboratoire de pratique théâtrale (Aut. 2008 / Hiv. 2009)\\

Exercice de Texte & Pratique de Jeu (Automne 2009)\\

Laboratoire de pratique théâtrale (Automne 2008 / Hiver 2009)\\

ROGUE DRAMATURGY

DRAMATURGIE SAUVAGE

ROGUE DRAMATURGY//

DRAMATURGIESAUVAGE

ROGUEDRAMATURGY / DRAMATURGIESAUVAGE

9 Pièces Pédagogiques

CollectifHamlet

Rogue Dramaturgy / Dramaturgie Sauvage

Traduire Standjofski:\\

CollectifHamlet

Tradapter Shakespeare:
Laboratoire de pratique théâtrale
de l’École supérieure de théâtre de l’UQÀM
http://www.estuqam.ca/

Données numériques (TLN)
et Premiers jets du Projet Shakespeare

WilliamsWindow

WilliamsWindow\

Paramètres, données (numériques) et Premiers jets du Projet Shakespeare

Paramètres, données (numériques) et Premiers jets du Projet Shakespeare

Paramètres, données (numériques) et Premiers jets du Projet Shakespeare

Collectif Hamlet

Williams Window
!!!! Paramètres, données (numériques) et Premiers jets du Projet Shakespeare

9 Pièces Pédagogiques

A word from our sponsor!

Tradapter Standjofski:\\

Collectif Hamlet

9PiècesPédagogiques

Tradapter Standjofski:
Exercice de Texte & Pratique de Jeu\\

CollectifHamlet

Réécrire Shakespeare à vingt-six:\\

Réécrire Shakespeare à vingt-deux:\\

Laboratoire de pratique théâtrale
de l’École supérieure de théâtre de l’UQAM\\

http://www.estuqam.ca/

Williams Window\\

Un Laboratoire de pratique théâtrale de l’École supérieure de théâtre de l’UQAM\\

Réécrire Shakespeare à vingt-deux:
Un Laboratoire de pratique théâtrale de l’École supérieure de théâtre de l’UQAM

CollectifHamlet

CollectifHamlet\\

Williams Window\\

Réécrire Shakespeare à vingt-deux\\

Laboratoire de pratique théâtrale de l’École supérieure de théâtre de l’UQAM (http://www.estuqam.ca/)

Williams Window

Of Work in Progress (an Exagmination Round a Factification)

Of work in progress (Exagmination Round a Factification)

His Exagmination Round a Factification … of work in progress

His Exagmination Round a Factification for Incamination of work in progress

Réécrire Shakespeare à vingt-deux

His Exagmination Round a Factification for Incamination of Work in Progress

\\

\\

CollectifHamlet

[Collectif Hamlet]]

[Collectif Hamlet]]

Williams Window

A Window on Shakespeares Dramaturgy?

This site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623; Its purpose being to envision in as simple and compelling a manner as possible the technical performative structure (or formal outline) of each FOLIO play. Each play-graph represents a virtual “cue to cue” of its respective play by displaying the ENTRANCES and EXITS of characters in their order of appearance along the TLN (“Through Line Numbering”) lineation system developed by Charlton Hinman for his NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996).

This page, then, provides links to the raw (TLN) DATA of each play-graph.

• A first link (for ex. The Tempest) gives access to the data extracted from the FOLIO. This link also provides NOTES on chronology, structure and the purported nature of the FOLIO’s underlying copy of the play . These notes are based on a variety of sources but two in particular should be mentionned: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s WILLIAM SHAKESPEARE: A TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997).

CollectifHamlet

CollectifHamlet

Collectif Hamlet

The Comedies

The Histories

The Tragedies

The Data?

Williams Window

A Window on Shakespeare’s Dramaturgy

A Concordance of Artistic Terms Inthe First Folio

A Concordance of Theatrical Terms in the First Folio

A Concordance of Artistic Terms in the First Folio?

A Window on Shakespeare’s Dramaturgy

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires the installation of Adobe’s SVG viewer (http://www.adobe.com/svg/viewer/install/main.html). Our purpose is to envision in as simple and compelling a manner as possible the technical performative structure (or the formal outline) of each FOLIO play. As such, each play-graph (there are thirty-six of them) represents a virtual “cue to cue” of its respective play. Each graph displays the ENTRANCES and EXITS of characters in their order of appearance along the TLN (“Through Line Numbering”) lineation system developed by Charlton Hinman for his NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO.

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires the installation of Adobe’s SVG viewer (http://www.adobe.com/svg/viewer/install/main.html). Our purpose was to envision in as simple and compelling a manner as possible the technical performative structure (or the formal outline) of each FOLIO play. As such, each play-graph (there are thirty-six of them) represents a virtual “cue to cue” of its respective play. Each graph displays the ENTRANCES and EXITS of characters in their order of appearance along the TLN (“Through Line Numbering”) lineation system developed by Charlton Hinman for his NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO.

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires the installation of Adobe’s SVG viewer (http://www.adobe.com/svg/viewer/install/main.html). Our purpose is to envision in as simple and compelling a manner as possible the technical performative structure (or the formal outline) of each FOLIO play. As such, each play-graph (there are thirty-six of them) represents a virtual “cue to cue” of its respective play. Each graph displays the ENTRANCES and EXITS of characters in their order of appearance along the TLN (“Through Line Numbering”) lineation system developed by Charlton Hinman for his NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO.

The plays are arranged according to the FOLIO’s three play categories of COMEDIES, HISTORIES, & TRAGEDIES. The order of plays exactly reproduces that of the FOLIO. For each individual play, we provide two links:

• A first link (for ex. The Tempest) gives access to the raw TLN data extracted from the FOLIO. This link also provides NOTES on chronology, structure and the purported nature of the FOLIO’s underlying copy of the play . These notes are based on a variety of sources but two in particular should be mentionned: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s WILLIAM SHAKESPEARE: A TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997).

• A second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself. PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s FOLIO lineation (in the case of THE TEMPEST, 2342 TLN lines). Small crosses (†) indicate when characters are deceased. We indicate ACT BREAKS either by solid or broken vertical lines. When the FOLIO provides the act breaks, the lines are solid; when it does not, we then relied either on contemporaneous QUARTOS (if available) or a subsequent editions to establish these breaks, but their lines are then broken.

An added feature, which provides a further perspective on the plays, is our displaying METATHEATRICAL devices such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” (4.1.59–138sd / TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (3.3.52sd −82sd / TLN 1583 to1616) is, likewise, indicated as such on the graph.

It is our hope that these graphic analyses may provide — both individually and as a whole — a pragmatic window on the working evolution of Shakespeare’s dramaturgy, as well as a view on his performer’s “sense of theatre” .

Stéphane Zarov/ Stéphane Volet

The Comedies

The Histories

The Tragedies

A word from our sponsor!

Here are some useful default pages installed along with the PmWiki software:

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires the installation of Adobe’s SVG viewer (http://www.adobe.com/svg/viewer/install/main.html).

Our purpose was to envision in as simple and compelling a manner as possible the technical performative structure (or the formal outline) of each FOLIO play. As such, each play-graph (there are thirty-six of them) represents a virtual “cue to cue” of its respective play. Each graph displays the ENTRANCES and EXITS of characters in their order of appearance along the TLN (“Through Line Numbering”) lineation system developed by Charlton Hinman for his NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO.

The plays are arranged according to the FOLIO’s three play categories of COMEDIES, HISTORIES, & TRAGEDIES. The order of plays exactly reproduces that of the FOLIO. For each individual play, we provide two links:

• A first link (for ex. The Tempest) gives access to the raw TLN data extracted from the FOLIO. This link also provides NOTES on chronology, structure and the purported nature of the FOLIO’s underlying copy of the play . These notes are based on a variety of sources but two in particular should be mentionned: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997).

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s FOLIO lineation (in the case of THE TEMPEST, 2342 TLN lines). Small crosses (†) indicates when a character is deceased. Though SCENES are not indicated on the graphs, ACTS are. When these are found in the FOLIO, the ACT line is solid; when ACTS are not in the FOLIO but stem from either a contemporaneous QUARTO or a subsequent edition, the ACT line is broken.

A Window on Shakespeare’s Dramaturgy

Williams Window

A Window on Shakespeare’s Dramaturgy

Williams Window A Window on Shakespeare’s Dramaturgy

Williams Window

A Window on Shakespeare’s Dramaturgy

Introduction

More information about PmWiki can be found at http://www.pmichaud.com/pmwiki.

A Window on Shakespeare’s Dramaturgy

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623. The thirty-six plays that make up the FOLIO are arranged, below, into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO. Our project is an attempt to envision in as simple and compelling a manner as possible the performative structure (or formal outline) of each FOLIO play. As such, each graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play, since it visually displays the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING lineation system (or TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (1968; 2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) requires the installation of Adobe’s SVG viewer (http://www.adobe.com/svg/viewer/install/main.html) and gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s FOLIO lineation (in the case of THE TEMPEST, 2342 TLN lines). Also, a small cross (†) indicates when a character is deceased. Though SCENES are not indicated on the graphs, ACTS are. When these are found in the FOLIO, the ACT line is solid; when ACTS are not in the FOLIO but stem from either a contemporaneous QUARTO or a subsequent edition, the ACT line is broken.

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires installing Adobe’s SVG viewer : http://www.adobe.com/svg/viewer/install/main.html.

The thirty-six plays that make up the FOLIO are arranged, below, into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO. Our project is an attempt to envision in as simple and compelling a manner as possible the performative structure of each FOLIO play. As such, each graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play, since it visually displays the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING lineation system (or TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623 and requires installing Adobe’s SVG viewer : <http://www.adobe.com/svg/viewer/install/main.html>. The thirty-six plays that make up the FOLIO are arranged, below, into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO.

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623. Hence, the thirty-six plays that make up the FOLIO are here also arranged into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO. Viewing the graphs requires installing Adobe’s SVG viewer available at <http://www.adobe.com/svg/viewer/install/main.html>.

Introduction

Williams Window

Williams Window

The Introduction

The Prolegomena

\\

\\

William’sWindow

Our project is an attempt to envision in as simple and compelling a manner as possible the performative structure of each FOLIO play. As such, each graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play, since it visually displays the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING lineation system (or TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

The graphs themselves are an attempt at envisionning in as simple and compelling a manner as possible the performative structure of each FOLIO play. As such, each graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play, since it displays visually the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING (TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s FOLIO lineation (in the case of THE TEMPEST, 2342 TLN lines). Also, a small cross (†) indicates when a character is deceased. Though SCENES are not indicated on the graphs, ACTS are. When these are found in the FOLIO, the ACT line is solid; when ACTS are not in the FOLIO but stem from either a contemporaneous QUARTO or a subsequent edition, the ACT line is broken.

An added feature, which provides a further perspective on the plays, is the displaying of certain METATHEATRICAL events such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” (4.1.59–138sd / TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (3.3.52sd −82sd / TLN 1583 to1616) is, likewise, indicated as such on the graph.

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1623. Hence, the thirty-six plays that make up the FOLIO are here also arranged into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO.

Stéphane Zarov

with Stéphane Volet

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1263. Hence, the thirty-six plays that make up the FOLIO are here also arranged into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO.

The graphs themselves are an attempt at envisionning in as simple and compelling a manner as possible the performative structure of each FOLIO play. As such, each graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play that visually displays the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING (TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

An added feature, which provides a further perspective on the plays, is the displaying of certain METATHEATRICAL events, such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” (4.1.59–138sd / TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (3.3.52sd −82sd / TLN 1583 to1616) is, likewise, indicated as such on the graph.

\\

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s lineation (in the case of THE TEMPEST, 2342 TLN lines). Though SCENES are not indicated on the graphs, ACTS are. When these are found in the FOLIO, the ACT line is solid; when ACTS are not in the FOLIO but stem from either a contemporaneous QUARTO or a subsequent edition, the ACT line is broken.

An added feature which provides a further perspective on the plays is the displaying of certain METATHEATRICAL events, such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” (4.1.59–138sd / TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (3.3.52sd −82sd / TLN 1583 to1616) is, likewise, indicated as such on the graph.

It is our hope that these graphic analyses may provide — both individually and as a whole — a pragmatic window on the working evolution of Shakespeare’s dramaturgy, as well as a view on his performer’s “sense of theatre” .

\\

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1263. Hence, the thirty-six plays that make up the FOLIO are arranged into COMEDIES, HISTORIES, & TRAGEDIES, their order exactly reproducing that of the FOLIO.

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the graph’s vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS representing the play’s lineation (in the case of THE TEMPEST, 2342 TLN lines). An added feature which provides a further perspective on the plays is the displaying of certain METATHEATRICAL events, such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” ( from TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (from TLN 1583 to1616) is, likewise, indicated as such on the graph.

It is our hope that these graphic analyses may provide — both individually and as a whole — a pragmatic window on the working evolution of Shakespeare’s dramaturgy as well as on his performer’s “sense of theatre” .

This ZBOING sub-site is dedicated to the graphic analysis of Shakespeare’s FIRST FOLIO of 1263. Hence, the thirty-six plays that make up the FOLIO are arranged into COMEDIES, HISTORIES, & TRAGEDIES and their order exactly reproduces that of the FOLIO.

The graphs themselves are an attempt at envisionning in as simple and compelling a manner as possible the performative structure of each FOLIO play. As such, each play-graph (there are thirty-six of them) is a virtual “cue to cue” of its respective play and visually displays the ENTRANCES and EXITS of principal characters (in their order of appearance) along the THROUGH-LINE-NUMBERING (TLN) of Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’ work on the FOLIO and his TLN system. Consequently, each play has two links:

• The first link (for ex. The Tempest) gives access to the raw DATA extracted from the FOLIO upon which said play’s graph is based. This link also provides NOTES on chronology, structure and the purported nature of the FOLIO’s underlying copy of the play . Notes on chronology and copy are drawn from two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). Notes on the historical establishment of the plays’ structural subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly drawn from the RIVERSIDE SHAKESPEARE’s own copious notes on the subject

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself, wherein PRINCIPAL CHARACTERS (as well as some significant SECONDARY or MINOR characters) are listed on the vertical Y AXIS, while their ENTRANCES and EXITS appear along the horizontal X AXIS of the play’s full TLN lineation (in the case of THE TEMPEST, 2342 lines). An added feature which provides a further perspective on the plays is the displaying of certain METATHEATRICAL events, such as PLAYS-WITHIN-THE-PLAYS (which appear as vertical FRAMES in the graphs) and DISGUISED CHARACTERS (which appear as smaller horizontal FRAMES around individual characters). For instance, in THE TEMPEST the “Masque of Juno” ( from TLN 1707 to 1806) is framed as a Play-within-the-play, while the character of ARIEL who briefly appears disguised as a “Harpy “ (from TLN 1583 to1616) is, likewise, indicated as such on the graph.

It is our hope that — both individually and as a whole — these graphic analyses may provide a window into the working evolution of Shakespeare’s dramaturgy, as well as a pragmatic view on his performer’s “sense of theatre” .

It is our hope that these graphic analyses may provide a window into the evolution of Shakespeare’s dramaturgy and “sense of theatre” . Accordingly, our next step will be to indicate on the graphs themselves all clear occurrences of METATHEATRE such as PLAY WITHIN THE PLAY (including PAGEANTS and MASKS) and DISGUISE.

• The first link (for ex. The Tempest) gives access to the notes and the raw data upon which said play’s graphic analysis is based. The data itself was extracted from Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’s THROUGH-LINE-NUMBERING system (or TLN) to which our graphs invariably refer. Notes regarding the chronology and underlying copy of each FOLIO text are based on two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). In the notes, the later pair of scholars are often referred to as “the Oxford editors”. Notes regarding the historical establishment of the plays’ subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly based on the RIVERSIDE SHAKESPEARE.

This page provides links to DATA and GRAPHS drawn from the thirty-six plays of Shakespeare’s FIRST FOLIO of 1623. Their arrangement (below) into COMEDIES, HISTORIES and TRAGEDIES (as well as the order of plays in each section) exactly reproduces that of the FOLIO.

Each play has two links:

• The first link (for ex. THETEMPEST) gives access to the notes and the raw data upon which said play’s graphic analysis is based. The data itself was extracted from Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’s THROUGH-LINE-NUMBERING system (or TLN) to which our graphs invariably refer. Notes regarding the chronology and underlying copy of each FOLIO text are based on two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). In the notes, the later pair of scholars are often referred to as “the Oxford editors”. Notes regarding the historical establishment of the plays’ subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly based on the RIVERSIDE SHAKESPEARE.

It is our hope that these graphic analyses may provide a window into the evolution of Shakespeare’s dramaturgy and “sense of theatre” . Accordingly, our next step will be to indicate on the graphs themselves all occurrences of PLAY WITHIN THE PLAY (including PAGEANTS and MASKS) as well as all occurences of DISGUISED CHARACTERS.

Each individual play has two links:

• The first (for ex. THETEMPEST) gives access to the notes and the raw data upon which said play’s graphic analysis is based. The data itself was extracted from Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’s THROUGH-LINE-NUMBERING system (or TLN) to which our graphs invariably refer. Notes regarding the chronology and underlying copy of each FOLIO text are based on two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). In the notes, the later pair of scholars are often referred to as “the Oxford editors”. Notes regarding the historical establishment of the plays’ subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly based on the RIVERSIDE SHAKESPEARE.

• The second link (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) accesses the graph itself. These graphs provide, for each FOLIO play, a visual display of the ENTRANCES & EXITS of principal characters according to the play’s TLN lineation. Each graph is therefore a map of its given play’s general performance structure.

It is our hope that these graphic analyses may provide a window into the evolution of Shakespeare’s dramaturgy and “sense of theatre” . Accordingly, our next step will be to indicate on the graphs themselves all occurrences of PLAY WITHIN THE PLAY (including PAGEANTS and MASKS) as well as all occurences of DISGUISES.

Each individual play has two links. The first (for ex. THETEMPEST) gives access to the notes and the raw data upon which said play’s graphic representation is based. While the second (for ex. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) accesses the graph itself. These Cartesian graphs visually display for each given play the ENTRANCES & EXITS of principal characters along the play’s lineation and thus should reveal something of the play’s general performance structure. It is our hope that, taken as a whole, these graphs may provide a window into Shakespeare’s dramaturgy. For the actual production of these graphs, I am of course immensely indebted to our “host” Stephane Volet.

Our next step will be to indicate on the graphs themselves all occurrences of PLAY WITHIN THE PLAY (including PAGEANTS and MASKS) and DISGUISE. This, in the hope of perhaps shedding further light on Shakespeare’s “sense of theatre” (to borrow Dessen’s phrase) as well as on his “metatheatrical” strategies.

The final step, with regards this graphic apparatus, will be to generate two sets of concordances: one concerning Shakespeare’s use of a THEATRICAL vocabulary (through terms such as “player”, “part”, “scene”, “act” etc.); the other concerning his use of an ARTISTIC cum mimetic vocabulary (through terms such as “art”, “painting”, “picture”, “perspective” etc.). In the “hard” (or “paper”) version of GRAPHING SHAKESPEARE these two sets of concordances will be juxtaposed to the graphs so that the exact use & location of each term (as well as their prevalence or scarcity) will also be laid-out chronologically throughout the plays of Shakespeare’s editio princeps.

Each individual play has two links. The first (i.e. The Tempest) gives access to the notes and the raw data upon which said play’s graphic representation is based. While the second (i.e. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself. These Cartesian graphs visually display for each given play the ENTRANCES & EXITS of principal characters along the play’s lineation and thus reveal something of the play general performance structure. It is our hope that, taken as a whole, these graphs may provide a window into Shakespeare’s dramaturgy.

Each individual play has two links. The first (i.e. The Tempest) gives access to the notes and the raw data upon which said play’s graphic representation is based. While the second (i.e. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself. These Cartesian graphs visually display for each given play the ENTRANCES & EXITS of principal characters along a play’s lineation and thus reveal something of the play general performance structure. It is our hope that, taken as a whole, these graphs may provide a window into Shakespeare’s dramaturgy.

This page provides links to DATA and GRAPHS drawn from the thirty-six plays of Shakespeare’s FIRST FOLIO of 1623. Their arrangement into COMEDIES, HISTORIES and TRAGEDIES (as well as the order of plays in each section) exactly reproduces that of the FOLIO.

Each individual play has two links. The first (i.e. THETEMPEST) gives access to the notes and the raw data upon which said play’s graphic representation is based. While the second (i.e. http://zboing.ca/shakespeare/svg/Comedies/TheTempest) gives access to the graph itself. These Cartesian graphs visually display for each given play the ENTRANCES & EXITS of principal characters along a play’s lineation and thus reveal something of the play general performance structure. It is our hope that, taken as a whole, these graphs may provide a window into Shakespeare’s dramaturgy.

Notes regarding the chronology and underlying copy of each FOLIO text are based on two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). In the notes, the later pair of scholars are often referred to as “the Oxford editors”. Notes regarding the historical establishment of the plays’ subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly based on the RIVERSIDE SHAKESPEARE.

The data itself was extracted from Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). This project is therefore something of an homage to Hinman’s THROUGH-LINE-NUMBERING system (or TLN) to which our graphs invariably refer.

Beyond the actual production of these graphs (a task for which I am immensely indebted to our “host” Stephane Volet), my next step will be to provide two sets of concordances: one concerning Shakespeare’s use of an “artistic” or mimetic vocabulary (through terms such as “painting”, “picture”, “perspective” etc.), the other concerning his use of a theatrical vocabulary (through terms such as “player”, “part”, “scene”, “act” etc.).

In the “hard” (or “paper”) version of GRAPHING SHAKESPEARE these two sets of concordances will be juxtaposed to the graphs so that the exact use & location of each term (as well as their prevalence or scarcity) will also be laid-out chronologically throughout the plays of Shakespeare’s editio princeps.

A word from our TheTechCorner sponsor?!

A word from our {{sponsor The Tech Corner}}!

Stéphane Zarov

Stéphane Zarov

\\

For the present, what you’ll find in the play-by-play links below is the raw DATA upon which the thirty-six graphs of the structural part of WILLIAM’S WINDOW will be based. (These graphs will be posted here as they become available.)

The arrangement into COMEDIES, HISTORIES and TRAGEDIES, as well as the order of plays in each section, exactly reproduces that of the 1623 FIRST FOLIO. (Whereas the arrangement of the paper — or “hard” — version of WILLIAM’S WINDOW will be chronological.)

Notes regarding the chronology and underlying copy of each FOLIO text are based on two principal sources: G. Blakemore Evans’ & J.M.M. Tobins’ RIVERSIDE SHAKESPEARE (2nd ed. 1997), and Stanley Wells’ & Gary Taylor’s TEXTUAL COMPANION (Oxford, 1987; reprinted by Norton, 1997). The later pair of scholars are often referred to as “the Oxford editors”. Notes regarding the historical establishment of the plays’ subdivision into Acts & Scenes (when these are not in the FOLIO) are mostly based on the RIVERSIDE SHAKESPEARE.

The data itself was extracted from Charlton Hinman’s NORTON FACSIMILE OF THE FIRST FOLIO OF SHAKESPEARE (2nd ed. 1996). In fact, the entire structural part of WILLIAM’S WINDOW is something of an homage to Hinman’s THROUGH-LINE-NUMBERING system (or TLN) to which the graphs invariably refer.

Beyond the actual production of these graphs (a task for which I am immensely indebted to our “host” Stephane Volet), my next step will be to generate (and post) two sets of concordances: one concerning Shakespeare’s use of an “artistic” vocabulary (through terms such as “painting”, “picture”, “perspective” etc.), the other concerning his use of a theatrical vocabulary (through terms such as “player”, “part”, “scene”, “act” etc.).

In the “hard” version of WILLIAM’S WINDOW these two sets of concordances will be juxtaposed to the graphs so that the exact use & location of each term (as well as their prevalence or scarcity) will also be laid-out chronologically throughout the plays of Shakespeare’s editio princeps.

To be continued …

Stéphane Zarov

I suggest to first offload some materials and then move it around where things will seem to want to fit…

Protocols etc.

I suggest to first offload some materials and then move it around where things will seem to want to fit… For example : King John

Introduction

The Comedies

The Histories

The Tragedies

For example : King John

Wiki gardening

You’ll have to settle on how you’ll want to organize stuff around here. You can, for instance, choose to create broad categories (ex.: Comedies, Histories, Romances, Tragedies) that would correspond to the Main part you see above the page title.

I suggest to first offload some materials and then move it around where things will seem to want to fit…

Uploads

Caveat emptor

Attach:SomeFilename.jpg

Caveat emptor

Attach:SomeFilename.jpg

and click on the question mark to upload the picture!

Then you can place the following markup :

Attach:SomeFilename.jpg and click on the question mark to upload the picture!

as in …

Caveat emptor

The pictures need to remain small < 250K (I’ve had screw ups with larger ones!.. and small pictures are preferable anyways!)

Shirted Shakes?.jpg

DickRichard around, try things out…

DickRichard around, try things…

DickRichard around, try thing…

This is it!

This is it!

Dick around, try thing…

I’ll be soon changing the look and feel …

To test uploads… you’ll need the username and password sent via email.

Then you just have to hack on ?action=upload to the URL of the page you want to attach a file to… Convoluted? … why yes! .. that’s one of the things that’ll be simplified in the new layout.

More information about PmWiki can be found at http://www.pmichaud.com/pmwiki.