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On Thursday night, for the third time since January 2015, President François Hollande was faced with a mass murder on French soil. An ashen-faced Hollande, almost looking like a broken man, appeared on television on Friday at 4am and declared: “This is undoubtedly a terrorist attack; the whole of France is under the threat of an Islamic terrorist attack”.
18 July 2016 More...
Starts: Jul 18, 2016 12:00:00 AM
In addition to marking a politically decisive moment in British history, the campaigns in advance of the referendum on the UK’s membership in the EU were exciting objects of study for Classicists in terms of the political use of oratory.
11 July 2016 More...
Starts: Jul 11, 2016 12:00:00 AM
The left has good reasons to be critical of the EU in its current form.
But its problem was not that Labour and the unions didn’t address the question of immigration. Rather, they went into this battle with no vision, no plan and no ideas.
6 July 2016
Philippe Marlière More...
Starts: Jul 6, 2016 12:00:00 AM
Samuel Daniel's Tragedie of Cleopatra
Publication date: Jan 25, 2013 12:00 AM
Mar 03, 2013 02:00 PM
End: Mar 03, 2013 09:00 PM
3 March 2013
Please visit Eventbrite to register
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