Thomas Middleton, William Rowley ΟΙ ΑΛΛΟΠΑΡΜΕΝΟΙ

Posted on January 3, 2009. Filed under: Δαμάτης Κοραής, ΟΙ ΑΛΛΟΠΑΡΜΕΝΟΙ, Middleton Thomas, Rowley William |

alloparmenoi08Thomas Middleton, William Rowley ΟΙ ΑΛΛΟΠΑΡΜΕΝΟΙ

Μετάφραση Γιώργος Σεβαστίκογλου, σκηνοθεσία Κοραής Δαμάτης, σκηνικά-κοστούμια Κ. Δαμάτης, μάσκες Δήμητρα Καίσαρη – Κατερίνα Θεοφανοπούλου, σπαθογραφία Κωνσταντίνος Μπουμπούκης, εκγύμναση ηθοποιών Μαρίζα Τσίγκα. Διανομή: Σοφία Αθανασοπούλου,  Χρήστος Γεωργαλής, Δημήτρης Καραμπέτσης, Δημήτρης Μαύρος, Σήφης Πολυζωίδης, Μανώλης Χουρδάκης, Κορίνα Χρυσάιδου, Λεωνίδας Χρυσομάλλης.

Κοινωνικό. Διάρκεια 120′

ΑΓΓΕΛΩΝ ΒΗΜΑ, Σατωβριάνδου 36, Ομόνοια, 2105242211
Απόγ: Σάβ. (λαϊκή) 6.15 μ.μ., Κυρ. 7.15 μ.μ. Βραδ: Πέμ., Παρ., Σάβ. 9.15 μ.μ. € 20, φοιτ.: € 15. Διάρκεια: 120′

Έως 31/03/2009

Οι Αλλοπαρμένοι είναι μια τραγωδία της ιακωβινικής περιόδου που γράφτηκε στις 7 Μαΐου 1622, από τους  Thomas Middleton και  William Rowley και δημοσιεύθηκε αρχικά το 1653. Θεωρείται ένα από τα καλύτερα έργα της Αγγλικής Αναγέννησης. Είναι ένα μίγμα της βίας, του οικογενειακού καθήκοντος και του έρωτα. Η πλοκή του έργου εκτυλίσσεται σε δύο παράλληλα επίπεδα: το πρώτο στην αυλή των αριστοκρατών του Αλικάντε όπου η βία, το τυφλό πάθος και ο ανεξέλεγκτος ερωτισμός οδηγούν μία δαιμόνια γυναίκα στην καταστροφή και την αυτοκαταστροφή στην προσπάθειά της να αποκτήσει αυτό που, κάθε φορά, είναι το αντικείμενο του πόθου της και, το δεύτερο, σε ένα άσυλο φρενοβλαβών, στο οποίο δέχονται να εγκλεισθούν δηλώνοντας “τρελοί” διάφοροι νέοι της ίδια πόλης στην προσπάθειά τους να πλησιάσουν και να αποκτήσουν την εύνοια της πανέμορφης, αλλά πιστής συζύγου του ηλικιωμένου διευθυντή.  Ο μαστορικά καμωμένος συνδυασμός των δύο στοιχείων, τραγικού και γκροτέσκο, η μαεστρική εναλλαγή των τόπων δράσης, η υποβλητική ατμόσφαιρα και οι κινηματογραφικοί ρυθμοί δίνουν στην πλοκή του έργου ιδιαίτερη ένταση και υπογραμμίζουν τη σύγκρουση και τις διαφορές των δύο κόσμων, των γνωστικών και των τρελών, των αρχόντων και των παρακατιανών, των θυμάτων και των θυτών.

Thomas Middleton (c.1580-1627)

Portrait of Middleton Thomas Middleton was christened son of William Middleton and Anne Snow at St. Lawrence in the Old Jewry on April 18, 1580. As a lad in his teens he published The Wisdom of Solomon Paraphrased (1597) and Micro-Cynicon, Six Snarling Satires (1599), but meanwhile, in April, 1598, had matriculated at Queen’s College, Oxford. There is no record of his connection with the theater until May 22, 1602, when Henslowe records in his Diary a payment made to him together with Munday, Drayton, and Webster “in earnest of a book called Caesar’s Fall.” From this time almost to his death numerous references to his dramatic activity show that he sometimes wrote alone but more often with other well-known dramatists, notably Dekker and Rowley. Two satirical tales, The Black Book and Father Hubbard’s Tale, published in 1604, reveal his early interest in the seamy side of London life, which he was to turn to good account in his comedies of manners written between 1604 and 1611. Among these may be mentioned A Trick to Catch the Old One; A Mad World, My Masters; and Michaelmas Term–all dealing with the duping of an unsuspecting victim by London sharpers; Your Five Gallants which reveals the wiles of five different types of swindlers and ruffians; and that laughter-provoking farce, A Chaste Maid in Cheapside. Middleton’s one unaided tragedy, Women, Beware Women, written about 1612, was followed in 1613 by his first masque, The Triumphs of Truth; and until his death he was in demand as a writer of this type of entertainment. The temporary amalgamation of the companies of the companies of Princess Elizabeth and Prince Charles in 1614 or 1615 brought Middleton and Rowley together, and their period of collaboration began shortly thereafter … From 1620 until his death Middleton held the office of city chronologer. He was buried in the Newington Butts Parish Church on July 4, 1627.

Middleton possesses no unusual poetic gifts, and his style is often uneven. His strength lies rather in his constructive skill, and in his fine dramatic sense, which enables him to give rapidity of movement and effectiveness to his scenes, and to make very real his pictures of low life in London. These features are well illustrated by A Trick to Catch the Old One, which was composed between 1604 and 1606, entered in the Stationer’s Register October 7, 1607, and issued in two quartos dated 1608, and again in 1616. The plot, ingeniously contrived save for the lack of moral justice in the dénouement, is presumably of Middleton’s own invention, and the materials of the play are drawn from the dramatist’s experience in London life.

The Changeling, the best of Middleton and Rowley’s joint efforts, although written between 1622 and the date of its performance at Whitehall on January 4, 1624, was not published until 1653. The story of Beatrice Joanna and Deflores is drawn from John Reynolds’ The Triumphs of God’s Revenge against the Crying and Execrable Sin of Murther, entered in the Stationer’s Register June 7, 1621, and published later the same year; and one episode in the story is derived from Leonard Digges’ translation of the Spanish novel of Cespedes, Gerardo, the Unfortunate Spaniard (1622). For the sub-plot, which gives the play its name, no source is known. According to Miss Pauline G. Wiggin (An Inquiry into the Authorship of the Middleton-Rowley Plays, Boston, 1897), “the first and last scenes, as well as the underplot” of the play are by Rowley. The play has been accorded high praise as a psychological tragedy and as one of the most successful plays written in collaboration in the whole range of Elizabethan drama.

†This article was originally published in Elizabethan and Stuart Plays Ed. Charles Read Baskervill. New York: Henry Holt and Company, 1934. pp. 1279-80.

Works and Criticism:

Asp, C. A Study of Thomas Middleton’s Tragicomedies (1974)
Bullen, A. H. Works of Thomas Middleton (8 vol., 1885–86)
Camoin, François André. The Revenge Convention in Tourneur, Webster, and Middleton (1972)
Heinemann, Margot. Puritanism and Theatre : Thomas Middleton and Opposition Drama
Under the Early Stuarts (1980)
Howard-Hill, T.H. Middleton’s ‘Vulgar Pasquin’ : Essays on A Game at Chess (1995)
Kistner, A. L Middleton’s Tragic Themes (1984)
Mulryne, J. R. Thomas Middleton (1979)
Steen, Susan Jayne. Ambrosia in an Earthern Vessel : Three Centuries of Audience and Reader
Response to the Works of Thomas Middleton (1993)
White, Martin. Middleton and Tourneur (1992)

William Rowley

William Rowley [born 1585?, London, Eng. buried February 1626, London]. English dramatist and actor who collaborated with several Jacobean dramatists, notably Thomas Middleton. Rowley became an actor before 1610. He met Middleton about 1614 but was already writing plays for his company, Prince Charles’s Men, in 1612–13. He later joined Lady Elizabeth’s Men and then the King’s Men, serving as both playwright and actor. Rowley’s large girth and flair for comedy led to appearances as Plumporridge in The Inner Temple Masque (1619) and as the Fat Bishop in A Game at Chess (1625), both plays by Middleton. In his own writings, Rowley often included oversized comic characters for his performance. Of some 20 plays known to have been written by Rowley alone or in collaboration, relatively few are extant. His most important solitary effort is All’s Lost by Lust (performed 1619; published 1633), a romantic tragedy with a strong strain of dramatic morality, written in harsh but powerful verse. His other extant plays are comedies and include A New Wonder, A Woman Never Vext (c. 1610; published 1632), A Match at Mid-Night (c. 1607; published 1633), and A Shoo-maker a Gentleman (c. 1608; published 1638). Plays written with Middleton include The Old Law (performed c. 1615), on which Philip Massinger also collaborated; A Faire Quarrell (c. 1616, published 1617) and The Changeling (1622; published 1653), in both of which Rowley wrote the subplot and helped with the plan of the whole; Wit at Several Weapons (c. 1616), incorrectly attributed to John Fletcher; and The World Tost at Tennis (1620).

Other plays in which Rowley collaborated are Fortune by Land and Sea (c. 1609) with Thomas Heywood; The Witch of Edmonton (1621) with Thomas Dekker and John Ford; The Maid in the Mill (1623) with Fletcher; and The Birth of Merlin, or: The Child Hath Found His Father (1662), the title page of which wrongly attributes part authorship to William Shakespeare.

Κοραής Δαμάτης

Ο Κοραής Δαμάτης έχει σκηνοθετήσει τα έργα: Η δολοφονία του Μαρά (1989) Φουέντε Οβεχούνα (1990) Η μάνα Κουράγιο και τα παιδιά της (1991) Οι δούλες (1991) Η παρεξήγηση (1991) Ο βασιλιάς πεθαίνει (1992) Η τιμή του Σούδερμαν (1994) Νεφέλες (1994) Προς Ελευσίνα (1995) Ξαφνικά πέρσι το καλοκαίρι (1999) Οι φάλαινες του Αυγούστου (2001) Η τρελή του Σαγιώ (2003). Έχει παίξει ως ηθοποιός στα έργα: Άλκηστις – Κύκλωψ (1974) | Χορός Η τρελή του Σαγιώ (2003) | Φωνή των Αντολφ Μπερτώ όλου του κόσμου. Επιμελήθηκε τα κοστούμια και τα σκηνικά στην παράσταση του έργου Προς Ελευσίνα (1995), την Κίνηση στην παράσταση Φουέντε Οβεχούνα (1990), τους στίχους των τραγουδιών στην Τρελή του Σαγιώ (2003) και στο Φουέντε Οβεχούνα, (1990), και τη χορογραφία στις παραστάσεις των έργων Νεφέλες (1994) και Η τρελή του Σαγιώ (2003)

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