Katherina is initially described as a shrew because of her harsh language to those around her. Shakespeare's The Taming of the Shrew acts as a comedic roadmap for reconfiguring these emergent modes of "skillful" and civilised dominance for gentlemen, that is, for subordinating a wife without resorting to the "common" man's brute strength. Using the music of Alessandro Scarlatti, it was originally performed by the Ballet de l'Opéra de Paris in 1954. [11], In 1964, Richard Hosley suggested the main source for the play may have been the anonymous ballad "A merry jeste of a shrewde and curst Wyfe, lapped in Morrelles Skin, for her good behauyour". In Verona, Petruchio begins the "taming" of his new wife. Arabian Nights was not translated into English until the mid 18th century, although Shakespeare may have known it by word of mouth. Rehearsals for the premier began in Smock Alley in October 1731, but sometime in November or December, the show was cancelled. [4][5] The story of a headstrong woman tamed by a man was well known, and found in numerous traditions. As morning roses newly washed with dew. Taming of the Shrew William Shakespeare. He is recovered being dressed like a lord and convinced that he had been sleeping for close to 15 years. Once they are gone, Gremio and Tranio (disguised as Lucentio) formally bid for Bianca, with Tranio easily outbidding Gremio. Love and marriage are the concerns of Shakespeare’s The Taming of the Shrew. [114] Speaking of Jonathan Miller's BBC Television Shakespeare adaptation of 1980, which omitted the Induction, Stanley Wells wrote "to omit the Christopher Sly episodes is to suppress one of Shakespeare's most volatile lesser characters, to jettison most of the play's best poetry, and to strip it of an entire dramatic dimension. Jonathan Miller, director of the 1980 BBC Television Shakespeare adaptation, and several theatrical productions, argues that although the play is not misogynistic, neither is it a feminist treatise: I think it's an irresponsible and silly thing to make that play into a feminist tract: to use it as a way of proving that women have been dishonoured and hammered flat by male chauvinism. Zumeist ist dies, obwohl es einen wesentlichen Aspekt berührt, als eine vorsichtige Distanzierung vom Inhalt des Stückes zu verstehen. PETRUCHIO Petruchio, however, attempts to tame her – and thus her language – with rhetoric that specifically undermines her tempestuous nature; Say that she rail, why then I'll tell her plain It is a toss of the coin to see which way she will go: to the old man with a certain amount of money, or to the young man, who is boasting that he's got so many ships. "[149] Detmer goes on to read the play in light of modern psychological theories regarding women's responses to domestic violence, and argues that Katherina develops Stockholm syndrome: a model of domestic violence that includes tactics other than physical violence gives readers a way in which to understand Kate's romanticised surrender at the end of the play as something other than consensual, as, in fact, a typical response to abuse [...] Like a victim of the Stockholm syndrome, she denies her own feelings in order to bond with her abuser. Lombardy is the garden of the world. [177][178] The musical opened on Broadway at the New Century Theatre in 1948, running for a total of 1,077 performances. Schließlich gibt Katharina nach, worauf Petruchio behauptet, es sei die Sonne. At last they laid a wager of a dinner, agreeing that the one whose wife should prove the least obedient should pay for the dinner. The Taming of the Shrew Themes. "[72] Hickson, who believed Marlowe to have written A Shrew, had hinted at this theory in 1850; "though I do not believe Shakspeare's play to contain a line of any other writer, I think it extremely probable that we have it only in a revised form, and that, consequently, the play which Marlowe imitated might not necessarily have been that fund of life and humour that we find it now. [199] In 1941, NBC Blue Network aired a sixty-minute adaptation as part of their Great Plays series, written by Ranald MacDougall, directed by Charles Warburton, and starring Grace Coppin and Herbert Rudley. [121] A further aspect of Petruchio's taming rhetoric is the repeated comparison of Katherina to animals. Komödien: At the end, there is no wager. So wurde in der Rezeptionsgeschichte des Werkes erstmals bereits Ende des 18. Ultimately, the couple return to the family house, where the now tamed woman lectures her sister on the merits of being an obedient wife. [196] In 2000, BBC Radio 3 aired another full-length production (without the Induction) as part of their Shakespeare for the New Millennium series, directed by Melanie Harris, and starring Ruth Mitchell and Gerard McSorley. Es lassen sich grundsätzlich drei mögliche Hypothesen aufstellen, die in verschiedenen Varianten in der bisherigen Forschungsgeschichte vertreten wurden: (1) bei A Shrew handelt es sich um eine Vorstufe von Shakespeares The Shrew, die entweder von einem anderen Autor verfasst wurde oder von Shakespeare in jüngeren Jahren selbst geschrieben wurde; (2) trotz des früheren Erscheinungsdatums stellt A Shrew eine abgeleitete Version von The Shrew dar, möglicherweise eine Rekonstruktion aus dem Gedächtnis, mithin eine Art bad quarto, bei der umfangreichere Teile neu abgefasst wurden; (3) die beiden Stücken gehen auf eine verloren gegangene gemeinsame Urfassung zurück.[6]. She could end up with the old impotent fool, or the young 'eligible' man: what sort of life is that to look forward to? Als Schlau zu sich kommt, liegt er sauber gewaschen und parfümiert in einem reinen Bett, mit Dienerschaft um sich herum. And well we may come there by dinner-time. [131] Along similar lines, Philippa Kelly says "the body of the boy actor in Shakespeare's time would have created a sexual indeterminacy that would have undermined the patriarchal narrative, so that the taming is only apparently so. Even such a woman oweth to her husband; Diese Popularität wurde von verschiedenen Nachahmern oder Fortsetzern anschließend ausgiebig genutzt.[8]. "[80] Miller cites plays such as Robert Greene's Friar Bacon and Friar Bungay and Fair Em as evidence of the popularity of such plays. When I shall ask the banns, and when be marrièd. [83][40][74] These revisions, Oliver says, relate primarily to the character of Hortensio, and suggest that in an original version of the play, now lost, Hortensio was not a suitor to Bianca, but simply an old friend of Petruchio. Furthermore, Petruchio is encouraged to woo Katherina by Gremio, Tranio (as Lucentio), and Hortensio, who vow to pay him if he wins her, on top of Baptista's dowry ("After my death, the one half of my lands, and in possession, twenty thousand crowns"). In particular, he is prone to comparing her to a hawk (2.1.8 and 4.1.177–183), often employing an overarching hunting metaphor; "My falcon now is sharp and passing empty,/And till she stoop she must not be full-gorged" (4.1.177–178). The earliest record of … [172] Dominick Argento's Christopher Sly (1962), with libretto by John Manlove, is a comic opera in two scenes and an interlude, first performed in the University of Minnesota. Once upon a time there was an wealthy merchant called Baptista Minola who lived in the Italian city of Padua. Of this scene, Kidnie argues "what he 'says' must take priority over what Katherina 'knows'. In a farce, plotting takes precedence over characterization. Vor allem seine Frau – ein hübscher junger Diener, der flugs in Frauenkleider gesteckt wurde – sei nun glücklich, ihren Liebsten wieder bei sich zu wissen. Wie es euch gefällt | The play begins with a framing device, often referred to as the induction, in which a mischievous nobleman tricks a drunken tinker named Christopher Sly into believing he is actually a nobleman himself. Elam's arguments suggest The Shrew must have been written by 1591, which places the date of composition around 1590–1591. It was first performed at the original National Theatre Mannheim. Diese Seite wurde zuletzt am 3. In the English countryside, a poor tinker named Christopher Sly becomes the target of a prank by a local lord. (1.1.1–4). Jahrhunderts das Stück in einer Bühnenfassung präsentiert, die das Klamaukhafte in den Vordergrund der Inszenierung stellte. As Gremio does have a counterpart in I Suppositi, Miller concludes that "to argue the priority of A Shrew in this case would mean arguing that Shakespeare took the negative hints from the speeches of Polidor and Phylema and gave them to a character he resurrected from Supposes. Quick The Taming of the Shrew Info. Der Widerspenstigen Zähmung (engl. It ran for 501 performances. Der Widerspenstigen Zähmung | [187] In 1927, a forty-three-minute truncation of the play was broadcast on BBC National Programme, with Barbara Couper and Ian Fleming. For example, although not specifically mentioned by Detmer, Michael West writes "the play's attitude was characteristically Elizabethan and was expressed more humanly by Shakespeare than by some of his sources. Katherina (Kate) ist die älteste Tochter von Baptista Minola von Padua. Apart from undermining her language, Petruchio also uses language to objectify her. Aufgrund der misogynen Handlung gilt das Werk spätestens seit dem ausgehenden 19. And so it shall be so for Katherine. Other scenes take place in Petruchio’s country house and on the road between there and Lucentio’s house. One is that a careful reading of the lines will show that most of them have to be taken literally; only the last seven or eight lines can be read with ironic overtones [...] The second is that some forty lines of straight irony would be too much to be borne; it would be inconsistent with the straightforwardness of most of the play, and it would really turn Kate back into a hidden shrew whose new technique was sarcastic indirection, sidemouthing at the audience, while her not very intelligent husband, bamboozled, cheered her on.[142]. Called The Cobler of Preston's Opera, the piece was anonymously written, although William Dunkin is thought by some scholars as a likely candidate. [54] By the end of the eighteenth century, the predominant theory had come to be that A Shrew was a non-Shakespearean source for The Shrew, and hence to include extracts from it was to graft non-authorial material onto the play. He explains to Hortensio, an old friend of his, that since his father's death he has set out to enjoy life and wed. Will you similarly be able to control your proto-shrews? It was first performed at the Cincinnati Music Hall, starring Dorothy Short and Robert Kircher. Bianca, aware of the deception, then secretly elopes with the real Lucentio to get married. Taming of the Shrew: First Quarto of "Taming of a Shrew" im Zustand Gebraucht kaufen. And in no sense is meet or amiable. Als Quelle diente ihm neben volkstümlichen Motiven und Überlieferungen auch George GascoignesKomödie The Supposes (1566). De Taming of the Shrew onthult een plot van rechters om met de jongere zus te trouwen, zodra de oudere en meer opzettelijke zus eerst getrouwd is; Ze slaagden erin om haar een pleitbezorger te vinden en de affecties van de jongere zus te winnen achter haar vader's rug. ownership of one constituted ownership of the other, and when Smethwick purchased the rights from Ling in 1609 to print the play in the First Folio, Ling actually transferred the rights for A Shrew, not The Shrew.[40][41]. And it's all about money and the level of power. Back in Padua, Lucentio and Tranio convince a passing pedant to pretend to be Vincentio and confirm the dowry for Bianca. In ihr erscheint die Rahmenhandlung mit dem betrunkenen Schlau nicht nur als Prolog, sondern auch als Epilog. My mind hath been as big as one of yours, The earliest record of … [171] Vittorio Giannini's The Taming of the Shrew (1953) is an opera buffa, with libretto by Giannini and Dorothy Fee. However, when Vincentio reaches Padua, he encounters the pedant, who claims to be Lucentio's father. In token of which duty, if he please, Directed by John C. Wilson with choreography by Hanya Holm, it starred Patricia Morison and Alfred Drake. A young harridan MP marries a title in order to advance towards her … The means by which this self-interrogation is accomplished is that complex theatrical device of the Sly-framework [...] without the metadramatic potentialities of the Sly-framework, any production of Shrew is thrown much more passively at the mercy of the director's artistic and political ideology. [38] The only quarto version of The Shrew was printed by William Stansby for John Smethwick in 1631 as A Wittie and Pleasant comedie called The Taming of the Shrew, based on the 1623 folio text. When the London theatres were closed on 23 June 1592 due to an outbreak of plague, Pembroke's Men went on a regional tour to Bath and Ludlow. Oliver suggests the play was composed no later than 1592. Shakespeare's celebration of the limits that define us – of our natures as men and women – upsets only those folks who find human nature itself upsetting.[106]. The Taming of the Shrew, comedy in five acts by William Shakespeare, written sometime in 1590–94 and first printed in the First Folio of 1623. "[108] For example, Geoffrey Bullough argues the three plots "are all linked in idea because all contain discussion of the relations of the sexes in marriage. George Gascoigne's English prose translation Supposes was performed in 1566 and printed in 1573. Das erste überlieferte Aufführungsdatum geht aus einem Eintrag in Henslowes Tagebuch vom Juni 1594 hervor. Y'are a baggage, the Slies are no Rogues. So gab es in England massenhaft Balladen wie etwa A Merry Jest of a Shrewed and Cursed Wife (um 1550), Geschichten und Witze über die shrew, eine zänkische und widerborstige Frau oder einen „Weibsteufel“. He shows women used as commodities, not allowed to choose for themselves. Er bleibt auf der Straße liegen und schläft ein. Es ist in zahlreichen Balladen überliefert und wird später beispielsweise in Gerhart Hauptmanns Komödie Schluck und Jau (1899) wieder aufgenommen.[1]. … Inhalt: Der reiche Kaufmann Baptista möchte seine jüngere Tochter, die sanfte Bianca, erst dann verheiraten, wenn er für die ältere, die kratzbürstige Katharina, auch einen Bräutigam gefunden hat. Sly passes out on the ground and, when a local Lord happens along, he decides to teach Sly a lesson. Eine genaue Datierung der Werkentstehung ist bis heute fraglich, da die Überlieferungsgeschichte des Stückes bislang nicht eindeutig geklärt werden konnte. For example, Act 4, Scene 5 ends with the narrator musing "We know that Katherina obeys her husband, but has her spirit been really tamed I wonder? A terminus ante quem for A Shrew seems to be August 1592, as a stage direction at 3.21 mentions "Simon," which probably refers to the actor Simon Jewell, who was buried on 21 August 1592. Some scholars believe it may have been his first work written for the stage as well as his first comedy (Shakespearean 310). [52] Subsequent editors followed suit, adding some or all of the Sly framework to their versions of The Shrew; Lewis Theobald (1733), Thomas Hanmer (1744), William Warburton (1747), Samuel Johnson and George Steevens (1765) and Edward Capell (1768). The 1999 high school comedy film 10 Things I Hate About You is also loosely based on the play. The Source for The Taming of the Shrew. [48], Perhaps the most extensive examination of the question came in 1998 in Stephen Roy Miller's edition of A Shrew for the New Cambridge Shakespeare: The Early Quartos series. The story in Ten Scenes (2019) The activity can be found on pages 3-4 and takes approximately 30 minutes. Empson argues that the point is not that Katherina is, as a woman, weak, but that she is not well cast in the role in life which she finds herself having to play. Thus, Lucentio and Hortensio attempt to woo Bianca while pretending to be the tutors Cambio and Litio. Lucentio verliebt sich in Bianca, die jüngere der beiden Töchter Baptistas. And they're betting on the women as though they are dogs in a race or horses. [197], In the United States, the first major radio production was in July 1937 on NBC Blue Network, when John Barrymore adapted the play into a forty-five-minute piece, starring Elaine Barrie and Barrymore himself. [74], Alexander returned to the debate in 1969, re-presenting his bad quarto theory. Then I'll commend her volubility Widely reputed throughout Padua to be a shrew, Katherine is foul-tempered and sharp-tongued at the start of the play. "[16][17] Most contemporary critics accept Brunvand's findings.