Instead, his "French English" contributes an example along the continuum of English, both then and now.
If 'Hamlet' is a translational act, then Shakespeare’s "Englishness" can be somewhat decentralised. Furthermore, the Renaissance printing industry is testament to the ways in which dialectical aspects of English were not limited to Shakespeare’s work. English worked – and perhaps still works – as a language between languages “based on a system of double derivation…at once Germanic and Romance” (George Watson, ‘Shakespeare and the Norman Conquest’, 617). In light of Ardis Butterfield’s extensive work on Chaucer’s multiple vernaculars, this paper conceptualises Shakespeare’s English as a French dialect of the language.
Only a hundred or so years earlier, Anglo-Norman was still a widely-spoken dialect on English soil. Putting aside any questions about an ‘ur-Hamlet’, the Shakespearean "translation" of this tale exists in multiple iterations that appear to respond to a second francophone source: the 'Essais' of Michel de Montaigne. This is most likely to have reached Shakespeare via a French translation of a Latin collection of tales by a Danish academic: 'Les Histoires Tragiques' by François de Belleforest. Beneath the question of this play’s three texts and their chronology is a question of origin, which is made more interesting in light of the play’s narrative source, the Amleth myth. This paper considers Shakespeare’s use of non-Anglophone sources and dialect within 'Hamlet'. Presented as part of 'Playing With Source Materials: Alterations and Shakespeare's Creative Fabric' at the NeMLA 'Global Spaces, Local Landscapes, and Imagined Worlds' conference, Omni William Penn Hotel, Pittsburgh, PA, April 12, 2018. For more information, go to contact me if you wish to read any of this work directly. A performance of “Calliope Rose” will be live-streamed on Aug. Studio Space is located at 112 Woodland Ave. Includes Age, Location, Address History for Bill Sterritt. The company was incorporated in California seventeen years ago and is no longer active. Tickets are $20 in advance on or at the door. Bill Sterritt has been associated with one company, according to public records. “Calliope Rose” is “an edgy, conceptual work suggesting that our civilization cannot survive a total rupture from its past,” according to Hugh Hunter of the Philadelphia Inquirer (review: July 2018), while Mary Crawford of Exit Zero said this of the play (review: July 2018), “Sterritt’s witty dialogue starkly illuminates the conflict between the ancient ideals of beauty and honor versus the grubby materialism of the modern day.” In 2018, the show was mounted at the Cape May Airport during the Cape May Fringe Festival. It was a semi-finalist at the Sundance Institute’s Playlabs. Sterritt will also make a cameo appearance in this production. The ending is left open to interpretation on purpose – we want to make you think.”Īctors Cheney, Brandford-Altsher, and Polgar have been seen in recent SPQR productions at Studio Space such as “Derby Day,” “Magic Flowers,” and a weekend of original one-acts. “There’s a love triangle, a little mystery, some laughs … but best of all, the play is unlike anything else you’ll see here in South Jersey. “’Calliope Rose’ has something for everyone,” said Sterritt.
Both mom and daughter are smitten by the handsome man, and the makings of an authentic Greek comedy ensue. “Calliope Rose” is about an eccentric mother, Rose, played by Strathmere’s Ruthellen Cheney, who wishes for her daughter Athena, portrayed by Evie Brandford-Altsher, to adopt the “Greek ideal.” As mom waxes poetic and daughter schemes to turn a lighthouse into a money-making tourist trap, a ship suspiciously sinks nearby causing Dexter, a government official played by Dave Polgar, to investigate. Shows will take place at Studio Space in Somers Point on Aug. “Calliope Rose,” the mythological mystery comedy by Cape May playwright Bill Sterritt, will return to South Jersey for four weekends in August.
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