Arden of Faversham , presented by the Royal Shakespeare Company at the Swan Theatre, Stratford on Avon, June to October, 2014
Notice bibliographique
Résumé
Directed by Polly Findlay. With Sharon Small (Alice Arden), Ian Redford (Arden), Keir Charles (Mosby), Elspeth Brodie (Susan), Geoffrey Freshwater (Franklin), Ian Bonar (Michael), Christopher Middleton (Clarke), Jay Simpson (Will), Tony Jayawardena (Shakebag), Joe Bannister (Lord Cheyne).The title of this anonymous play, published in its first Quarto edition in 1592, unequivocally refers to the man whose scandalous murder is its main event. Structurally, however, the central figure is his wife. She it is who wants his death so that she can have unlimited access to his wealth; she it is who plans the murder with her lover Mosby; and she it is who eventually succeeds, only to experience remorse when she realizes the gravity of her crime. So much is she the central figure of the play that the Royal Shakespeare Company included it in its season of plays for the Swan Theatre in 2014 entitled 'Roaring Girls', four plays with 'powerful, fascinating women at their heart',1 which also included The Roaring Girl, The Witch of Edmonton and The White Devil.The production at the Swan updated the story to the present and made vulgarity the dominant note of its modern dress approach. In the original play, Arden is a greedy landlord profiting from the chance to own land after the dissolution of the monasteries. The play turns on the way land has become a commodity, and Arden deprives several people of their living by appropriating their land. In the production, all that survived of that realistic representation of Elizabethan middle-class life was the world of commodity (the printed programme contained a discourse on the subject, quoting Marx). Arden (Ian Redford) was a businessman selling tacky imported Japanese cats as good luck charms, items you might find in Poundland. These grotesque figures actually waved their paws in what came to seem an 'I'm gonna get you' gesture, and the play ended with a back wall of them waving collectively in a gothic horror of retribution. Everything in this world was cheap and fake and changeable, much like the marriage vows of fickle Alice (Sharon Small in a vulgar short skirt and suburban attitude), and the bling that marked her lover, Mosby (Keir Charles as an upwardly mobile, streetwise and thuggish charmer).The cats represented a world of celebrity and commodity culture where all is cheap fantasy. They suggested the world of the reality TV show The Apprentice, where what counts - all that counts - is self-presentation: Arden had become Alan Sugar (or Donald Trump in the US version). Ian Redford captured the cruelty and greed of that kind of ruthless businessman who thoroughly deserves what he gets, but the complications of the character, especially his oddly passive devotion to his wife in spite of her dalliance with Mosby, got rather lost. At the end, though, real morality somewhat oddly broke through and we heard of the Elizabethan cruelty of burning traitors and witches at the stake.The programme included a long disquisition on 'Femininity Disturbed' which reviewed the cases of modern women who commit murder, including Myra Hindley, Rose West, Joanna Dennehy and Amanda Knox. The murdering Alice of this production did not, fortunately, evoke any of those parallels, except in that she certainly had power over the men in her life: she was able as in the text of the original play, to allay her husband's suspicions about her affair with Mosby several times, even when he hears her uttering his name in her sleep - thinking quickly she first says ''Tis like I was asleep when I named him / For being awake he comes not in my thoughts' (1.67-68).2 Her husband then tells her she started up and instead of him, 'caught me about the neck' (70), but she manages to make him think that since he was the only one there, the hug was meant for him, and that in any case it was only a dream. …
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,001 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,001 | 0,000 |
| Intégrité de la recherche | 0,000 | 0,000 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,000 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».