Usage terms Folger ART Box S534 no.30 part 1 (size S) (Digital Image filenames: 35176; 35177; 35178; 3139; 35179; 35180; 35181).Used by permission of the Folger Shakespeare Library under a Creative Commons Attribution-Share Alike 4.0 International License.Rejecting male dominance within the couple unit, Jean-Christophe Maillot chose to focus on what’s vital in a romantic relationship.
Gregory Doran’s 2003 production showed ‘Kate trying to rescue a madman she genuinely loves’.
Phyllida Lloyd has has cast only women in her 2016 production to caricature the brutality of men enabling the actors ‘to throw the behavior of the men into a particular relief, and be playful [with that aspect of the play in a] larger than life way’.
Their conversation about the hunt seamlessly becomes a conversation about Christopher Sly lying drunk and dead to the world in front of them.
The Lord describes him in a dehumanising way, calling him a ‘monstrous beast’ and comparing him to a ‘swine’.
advocate sexual inequality or does it show and critique men’s attempts to subordinate women?
Rachel De Wachter discusses how we should think about relations between the sexes in the play, and examines how writers, directors and actors have explored this question over the past four centuries. This question has echoed around the play since it was first performed.
Caroline Byrne’s 2016 Globe Theatre production presents a darkly violent relationship between the protagonists set against a desperate and brutal political backdrop, with references to the 1916 Easter rising suggesting a common cause between feminism and Irish nationalism.
While these different ways of presenting the play offer different insights into its meaning, one fundamental question haunts every interpretation: is this a play that advocates sexual inequality or does it show and critique men’s attempts to subordinate women? 1611) – which concludes with the lesson that men ‘should not reign as Tyrants o’er their wives’ (Epilogue, l. Indeed Fletcher’s play aims ‘to teach both Sexes due equality / And as they stand bound, to love mutually (Epilogue, ll.
The language of hunting is a recurring motif in the play and warrants consideration as a larger metaphor beyond its role as a mere social backdrop to the action.