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• W301866970 abstract "Tamburlaine the Great, Parts I and II Staged Readings presented at the Globe Education Centre Theatre, London. March 14 (Part I) and 28 (Part II), 2004. Coordinated by Ellie Jones (Part I) and Joyce Branagh (Part II). With Adrian Schiller (Tamburlaine, Part I), Aden Gillet (Tamburlaine, Part II), Lucy Black (Zenocrate, Prologue to Part II, concubine), Jeffery Kissoon (Bajazeth), Sarah Paul (Zabina), Anthony Kernan (Techelles), Paul Mohan (Usumcasane), Alisdair Simpson (Theridamas, Part I), Conrad Nelson (Theridamas, Part II), Paul Bentall (Mycetes), Orlando Wells (Cosroe and others), Timothy West (Soldan of Egypt), Edward Hogg (Calyphas and others), Smart McLaughlin (Celebinus), Christopher Kinread (Amyras), David Burke (Orcanes), David Fielder (Sigismund and others), Sean Francis (Callapine), and Noni Lewis (Olympia, concubine). The Globe readings of Marlowe's Tamburlaine plays formed part of the theatre's annual Read not Dead series. They were chosen along with William Rowley's All's Lost by Lust (1619) and George Peele's The Battle of Alcazar (1598) as plays rarely performed and relevant to the educational theme for Spring 2004: Shakespeare and Islam. The performances were interesting both as staged readings and interpretations of Tamburlaine. Although minimal use was made of props and the actors performed in their own clothes, the coordinators were sensitive to Marlowe's use of visual symbolism. Hence, although Adrian Schiller's Tamburlaine sported jeans and a leather jacket, rather than a shepherd's garb, in Part I, he did unveil himself, as in the text, first appearing wrapped in a brown woolen blanket. Likewise, he wore a red and then a black blanket over his clothes during the three-day siege of Damascus, following the costume changes called for textually. Marlowe's color symbolism was extended too, the coordinators distinguishing the play's competing factions through the use of different colored ribbon sashes (light blue for the Scythians, yellow for the Egyptians, royal blue for the Persians, purple for the Turks, and so on). Changes of allegiance could thus be indicated visually. Theridamas's forsaking of Mycetes in favor of Tamburlaine was matched by his swapping of his Persian sash for a light blue one; and Zenocrate's conversion from unhappy captive to loyal follower of Tamburlaine was suggested when she appeared in 3.2 wearing a blue Scythian sash rather than her yellow Egyptian one. Both coordinators picked up on the symbolic qualities of Marlowe's dramaturgy. Hence, rival factions entered through opposing doors and occupied different halves of the stage; this polarized use of the space providing a way of symbolically reflecting and suggesting the antagonism between the various opponents. In Part I the effect was especially striking during the scene of Tamburlaine's confrontation with Bajazeth, Tamburlaine and his followers occupying stage left, while the Turk and his men occupied stage right. Bajazeth is Tamburlaine's most serious opponent in Part I and the stage directions for the scene make it clear that the two factions are to be seen as evenly matched. …" @default.
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• W301866970 date "2004-12-22" @default.
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• W301866970 title "Review of Lloyd Davis, ed., Shakespeare Matters: History, Teaching, Performance" @default.
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