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Comment on What’s so special about German theatre: Part 1 by Die Berliner Volksbühne: Ein Zentrum für politisches und experimentelles Theater - Kunst 101

Tue, 02 Sep 2025 15:13:34 +0000

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Comment on Shakespearean Mythbusting I: The Fantasy of the Unsurpassed Vocabulary by My Homepage

My Homepage — Sat, 24 May 2025 21:34:25 +0000

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Comment on My Trouble with Practice-as-Research by Premodern Performance-based Research: A Partial Bibliography – Alabama Shakespeare Project

Fri, 30 Jun 2023 14:15:33 +0000

[…] Syme, Holger. “My Trouble with Practice-as-Research.” Dispositio (blog), 26 March 2014. URL: dispositio.net/my-trouble-with-practice-as-research/. […]

Comment on Where is the Theatre in Original Practice? by Premodern Performance-based Research: A Partial Bibliography – Alabama Shakespeare Project

Fri, 30 Jun 2023 11:53:44 +0000

[…] Syme, Holger. “Where Is the Theatre in Original Practice?” Dispositio (blog), 25 July 2014. URL: dispositio.net/where-is-the-theatre-in-original-practice/. […]

Comment on Steven Moffat, Sherlock, and Neo-Victorian Sexism by Alex

Alex — Fri, 06 Aug 2021 18:25:14 +0000

In reply to Lillian. That is part of what makes Doyle's version even better. She was a sex worker (or mistress, depending on definitions), and she is still regarded as a person in her own right, admired by Holmes (who knows this and thinks the Prince not worthy of her), and she is rewarded for her competence and integrity with marriage to a good man that she loves, and who loves her. Moffat's version of A Scandal in Bohemia made me feel dirty. That's when I stopped watching Sherlock, and I wish I could unremember it.

Comment on Where is the Theatre in Original Practice? by Tim Keenan

Tim Keenan — Wed, 14 Jul 2021 11:25:14 +0000

Holger, I wish I had seen your article and the comments a few years earlier. I find myself fascinated by OP but equally sceptical for the reasons you eloquently outline. I wrote in a recent book (that was being written when your article was posted) about candlelight and it’s romantic associations for modern theatregoers. But such associations were unavailable to, say, 17th century audience members at the Blackfriars – you could either see something or you couldn’t. We can never see with 17th century eyes and we can never hear with 17th century ears, but long may experiments continue.

Comment on 1920s Berlin Theatre: Research Marginalia 1 by Holger Syme

Holger Syme — Mon, 03 May 2021 22:48:53 +0000

In reply to Sandra Cairns.

Dear Sandra,

that is fascinating — I would love to see that letter if you’d at all be willing to share it.

The production in question is bound to have been the one directed by Victor Barnowsky at the Lessing-Theater, with rising super-star Elisabeth Bergner as Rosalind, which had opened a month earlier and was in the middle of its run in May.

Comment on 1920s Berlin Theatre: Research Marginalia 1 by Sandra Cairns

Sandra Cairns — Fri, 30 Apr 2021 20:24:57 +0000

I have just come across in an old family letter a mention of a visit to a Berlin theatre to see “As you like it”, on Wednesday, May 23rd, 1923. The writer (an Englishman) was very enthusiastic (“I have never seen Shakespeare properly treated before”). He does not say which theatre. Have you any information about such a performance?

Comment on Rehearsal by Mariel

Mariel — Wed, 21 Oct 2020 05:31:25 +0000

I have a question Too many play hearsals before performance are time consuming and should be discouraged.True or False and why?

Comment on Shakespearean Mythbusting II: The Fantasy of Astonishing Erudition by Wilson’s Arte of Rhetorique – Gladly Wolde He

Wilson’s Arte of Rhetorique – Gladly Wolde He — Sun, 30 Aug 2020 18:42:17 +0000

[…] don’t survive: note “exsufflicate” (Othello 3.3.186), or two words in the line this my hand will rather / the multitudinous seas incarnadine (Macbeth 2.2.59-60). He also mocked pretension in characters such as Dogberry in Much Ado About […]