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COMMENTS 

Britain has lost a role, and failed to find an empire

Benjamin Martill argues Theresa May's long-awaited Brexit speech must be understood as an aspiration, rather than a roadmap, since its realisation requires the consent of other parties and the removal of important contradictions.
17 January 2017
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Starts: Jan 17, 2017 12:00:00 AM

The aftermath of Berlin: what implications for German politics?

Uta Staiger, Executive Director of the European Institute, comments on the German political and media responses after the Christmas market attacks, in a piece originally published by the New Statesman.
20 December 2016
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Starts: Dec 20, 2016 12:00:00 AM

What will Brexit mean for London's digital entrepreneurs?

Oliver Patel, Research Assistant at the European Institute, offers three reasons why the Brexit vote is worrying for London's tech community.
Oliver Patel (UCL European Institute)
19 December 2016
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Starts: Dec 19, 2016 12:00:00 AM

Samuel Daniel's Tragedie of Cleopatra

Publication date: Jan 25, 2013 12:00 AM

Start: Mar 03, 2013 02:00 PM
End: Mar 03, 2013 09:00 PM

3 March 2013

When
3 March 2013, 2.00pm
(Seating 1.45pm)

Where
Goodenough College
Mecklenburgh Square
London WC1N 2AB 

Please visit Eventbrite to register


Cleopatra

Samuel Daniel’s Tragedie of Cleopatra (1594) is the first English drama about Cleopatra and a source for Shakespeare’s Antony and Cleopatra. This production arises from the PhD research of Yasmin Arshad (UCL, English) and brings together a talented production team from a wide range of UCL departments.

The production will explore early modern attitudes to race and national identity. The play centres on tensions between Egypt and Rome and on a non-European heroine who is fascinatingly different from Shakespeare’s Cleopatra in her nobility and stoicism. It is a sequel to Mary Sidney’s translation of Robert Garnier’s Antonie, making it an English play about an Egyptian queen inspired by a translation from French of a neo-Senecan tragedy. As such it demonstrates that cultural dialogue across and beyond Europe was the engine of artistic and intellectual innovation in the early modern period. 

The production will also overturn the widespread perception that women did not participate in drama in Shakespeare’s time. Although female roles were taken by boys in commercial playhouses such as the Globe, Daniel’s play belongs to a genre (sometimes called ‘closet drama’) performed in country house settings with actors including women. Excitingly, Yasmin Arshad has discovered a portrait of a Jacobean lady in costume as Cleopatra, inscribed with lines from Daniel’s play.

By investigating the history of relations between performance, race, and gender in early modern Europe this production will enhance our understanding of these issues in the present.

This project is supported by UCL European Institute's call for proposals 2012-13