Measure for Measure Extra

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CONTEXT Shakespeare was familiar with London life
Both the corrupt and respected parts- like Lucio
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CONTEXT be broke laws for sex outside marriage and pregnancy, like Lucio and Claudio
He got his Fiance, Anne Hathaway, pregnant
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CONTEXT 1600-1604 – Measure for Measure and ‘Hamlet’ ect all show...
sexuality/sexual disgust/bawdry in common – also cynical spokesmen/points of view and unconventional heroes/heroines
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CONTEXT #MeeToo Movement
Modern day movement aimed to abolish sexual abuse of woman in Hollywood, not seen as acceptable
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CONTEXT James I like the Duke
James was also known to be reluctant to appear in public
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CONTEXT The Duke
Is he a Machiavellian Villain Christ-like figure
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CONTEXT The Plague
1603- many houses pulled down in suburbs of London Pompey Act 1
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CONTEXT Problem Play
Comedy elements- end marriages and bed trick vs decpetion
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CONTEXT Title Measure for Measure
The idea that theice and mercyre must be a balance of just
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CONTEXT role of Women
Decreases through the play, especially Isabella
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CRITICS Samuel Johnson (Angelo)
‘every reader feels some indignation when he finds Angelo spared’
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CRITICS Pater (Angelo)
‘is psychologically possible’
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Chris Abomeli, who played Angelo in the Theatre de Complicite 2004 production
‘a young zealot driven by moral righteousness.’
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CRITICS Chambers (Angelo)
’ a cold-hearted, self-righteous prig’
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CRITICS Bloom (Isabella)
'Isabella is the human soul destined to marry the Duke and become the Bride of Christ’
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CRITICS Clarke (Isabella)
- ‘Isabella grows in confidence and self-assertion. In her soliloquy she is not full of self-doubt like Angelo’
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CRITICS Clarke (Isabella)
: ‘Isabella allows herself to be used as a commodity by the Duke’
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CRITICS Hazlitt (Duke)
Duke ‘more absorbed in his own plots and gravity than anxious for the welfare of the state’
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CRITICS Bloom (Duke)
‘weirdly motivated’
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CRITICS Wilson-Knight (Play is a religious allegory)
Isabella is ‘sainted purity’ Angelo ‘Pharisaical righteousness’ and the Duke a Christ-figure
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CRITICS Hazlitt (Corruption)
‘defiantly amoral character of Barnadine’
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CRITICS Pater (tyranny)
‘the tyranny of nature and circumstance over human action’
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CRITICS Bloom (Lucio)
‘Lucio, the fantastic, is saner than anyone else on stage’
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Performances Royal Shakespeare Company 1950 (Angelo)
wasn't born a hypocrite but a man with a steady moral outlook who was genuinely shaken by desire
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Performances Royal Shakespeare Company 1950 (Underworld)
The grimy, underworld of sleazy of Vienna and Mistress Overdone, Pompey and Lucio own the stage- populated with beggars, prostitutes and degenerates
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Performances Royal Shakespeare Company 1950 (control)
Those who sought control seemed detached and out of depth
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Performances The National Theatre 2004 (Angelo)
Centred around Angelo's psychological journey which ended in a break down
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Performances The National Theatre 2004 (Angelo and Isabella)
Angelo and Isabella end the play next to one another showing how the should be together as they are so alike
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Performances The National Theatre 2004 (Angelo's attraction)
Angelo genuinely likes Isabella because she is distorted refection of is own
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Performances The National Theatre 2004 (Angelo 's Mental health)
Angelo seduction was sexually abusive using the razor blade to cut away her clothes as he uses to self-harm
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Performances The National Theatre 2004 (Sex)
The Duke's attendant's watch **** and were self satisfied customers of abused, emotionally, dead prostitutes
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Performances Royal Shakespeare Company 2003 (Duke)
Places it's focus on the Duke - a man with great ideas unaware of his own faults who manipulate everything
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Performances Royal Shakespeare Company 2003 (Duke ending)
He is expected to become the great hero but pubically crumbed when his people failed to give him adulation
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Performances Royal Shakespeare Company 2003 (Isabella and The Duke)
The play suggests genuine attraction between Isabella and the Duke
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Domar Warehouse 2003, 2018 (Act 1)
Al the play in one act- at the end Isabella screaming in the Duke's face and the stage goes blank
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Domar Warehouse 2003, 2018 (Act 2)
Characters dressed in lawyers/ judges outfits- role reversal, Duke leaves Isabella in charge and Isabella and the Duke sexually exploit Angelo
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Domar Warehouse 2003, 2018 (Rourke-Director)
"measuring our own standards against happens when a man says something to when a woman says the same thing"
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Domar Warehouse 2003, 2018 (End of Act 2)
Returns back to traditional setting and Isabella says the famous line "I come to know your pleasures" to the Duke
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Other cards in this set

Card 2

Front

He got his Fiance, Anne Hathaway, pregnant

Back

CONTEXT be broke laws for sex outside marriage and pregnancy, like Lucio and Claudio

Card 3

Front

sexuality/sexual disgust/bawdry in common – also cynical spokesmen/points of view and unconventional heroes/heroines

Back

Preview of the back of card 3

Card 4

Front

Modern day movement aimed to abolish sexual abuse of woman in Hollywood, not seen as acceptable

Back

Preview of the back of card 4

Card 5

Front

James was also known to be reluctant to appear in public

Back

Preview of the back of card 5
View more cards

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