Abstract: 'Performing the City: Marston’s London 1605 and Toronto 2019’ (Lior)
Dublin Core
Title
Abstract: 'Performing the City: Marston’s London 1605 and Toronto 2019’ (Lior)
Subject
The Dutch Courtesan, "Marston, John", Dutch Courtesan 2019, Toronto Dutch Courtesan, conference abstract, early modern drama, non-Shakespearean drama, the city, cosmopolitanism, otherness, xenophobia, diversity
Description
Abstract for Noam Lior's 'Performing the CIty: Marston's London 1605 and Toronto 2019'. Includes biography for Lior.
Creator
"Lior, Noam"
Date
2019-03-23, 1605, 17th century, 21st century
Contributor
Dutch Courtesan 2019 project team
Relation
The Dutch Courtesan, Toronto Dutch Courtesan production
Format
.pdf (104KB)
Language
en-CA
Type
Text Object
Identifier
DC2019-0008
Coverage
Toronto (CA), London (UK), 2019-03-22-23, 1605, 17th century, 21st century
Date Available
2019-06-30
Date Created
2019-03
References
The Dutch Courtesan, Toronto Dutch Courtesan production
Extent
104KB
Medium
Digital PDF
Bibliographic Citation
Lior, Noam. 'Performing the City: Marston’s London 1605 and Toronto 2019'. 'Abstract. 'Strangers and Aliens in London and Toronto: Sex, Religion, and Xenophobia in John Marston's The Dutch Courtesan'. DC2019-0007. Dutch Courtesan 2019. Toronto, March 2019. https://dutchcourtesan2019.library.utoronto.ca/items/show/41
Spatial Coverage
Toronto (CA), London (UK)
Temporal Coverage
2019-03-23, 1605, 17th century, 21st century
Accrual Method
Materials solicited by the Dutch Courtesan project team.
Accrual Periodicity
Infrequently updated after 2019.
Audience
researchers, researchers of early modern drama, university instructors, undergraduate students, graduate students, actors
Audience Education Level
Post-Secondary, Graduate, Post-Graduate
Text Item Type Metadata
Text
‘Performing the City: Marston’s London 1605 and Toronto 2019’ (Panel 4: Learning From
Rehearsal and Production – 2:15-3:30PM, 23 March 2019)
Noam Lior (University of Toronto)
Marston’s The Dutch Courtesan, like many city comedies, presents a paradoxical view of London. On the one hand, the city is proudly cosmopolitan and international, multi-cultural and multilinguistic.
On the other hand, the city is deeply anxious about its identity, and which influences are to be seen as invasive or corrupting. Franceschina, the eponymous courtesan, is othered through her nationality and accent, while other characters are othered through affiliation with a minority
religion. Identity and otherness form the framework of the comedy, in which laughter often signals a distinction between ‘us’ and ‘them’. This paper sketches out the play’s concerns with identity and otherness as a link between 17th century London and 21st century Toronto, a link which forms the
basis for our production.
Noam is one of the co-founders of Shakespeare at Play, and works as the project's dramaturge, editor, annotator, and occasional performer (playing older male roles when better actors are not
available). Noam is an alumnus of the University College Drama Program and the Centre for Drama, Theatre, and Performance Studies at the University of Toronto, where his dissertation focused on digital multimedia Shakespeare editions. He also works as a director and dramaturge
(sometimes even on non-Shakespeare plays!), is serving as dramaturge and judge for Spur-of-the-Moment Shakespeare Company's ShakesBeers Showdown. He is also Finance and Publications Co-ordinator for the Centre for Reformation and Renaissance Studies.
Rehearsal and Production – 2:15-3:30PM, 23 March 2019)
Noam Lior (University of Toronto)
Marston’s The Dutch Courtesan, like many city comedies, presents a paradoxical view of London. On the one hand, the city is proudly cosmopolitan and international, multi-cultural and multilinguistic.
On the other hand, the city is deeply anxious about its identity, and which influences are to be seen as invasive or corrupting. Franceschina, the eponymous courtesan, is othered through her nationality and accent, while other characters are othered through affiliation with a minority
religion. Identity and otherness form the framework of the comedy, in which laughter often signals a distinction between ‘us’ and ‘them’. This paper sketches out the play’s concerns with identity and otherness as a link between 17th century London and 21st century Toronto, a link which forms the
basis for our production.
Noam is one of the co-founders of Shakespeare at Play, and works as the project's dramaturge, editor, annotator, and occasional performer (playing older male roles when better actors are not
available). Noam is an alumnus of the University College Drama Program and the Centre for Drama, Theatre, and Performance Studies at the University of Toronto, where his dissertation focused on digital multimedia Shakespeare editions. He also works as a director and dramaturge
(sometimes even on non-Shakespeare plays!), is serving as dramaturge and judge for Spur-of-the-Moment Shakespeare Company's ShakesBeers Showdown. He is also Finance and Publications Co-ordinator for the Centre for Reformation and Renaissance Studies.
Original Format
PDF
Files
Citation
"Lior, Noam", “Abstract: 'Performing the City: Marston’s London 1605 and Toronto 2019’ (Lior),” Dutch Courtesan 2019, accessed November 18, 2024, https://dutchcourtesan2019.library.utoronto.ca/items/show/41.
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