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                  <text>This Collection analyses popular medievalism in material and public culture from the mid-nineteenth century to the present, with an emphasis on popular medievalist theatre, parades and public spectacles, as well as recreational, literary and political associations. It explores the ways in which medievalism was not simply derivative but also local and disctinctive. In this Collection you will find items relating to medievalism in public contexts and popular culture, and the revisitation or reenactment of the Middle Ages by groups such as the Society for Creative Anachronism.</text>
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              <text>&lt;p&gt;&lt;a href="http://www.leatherwoodonline.com/index.php/weblog/comments/living-by-the-sword/"&gt;http://www.leatherwoodonline.com/index.php/weblog/comments/living-by-the-sword/&lt;/a&gt;&lt;/p&gt;</text>
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                <text>&lt;p&gt;The anonymous online article &amp;lsquo;Living by the sword&amp;rsquo; appears in volume 4 of the Leatherwood Online &amp;ndash; Tasmania&amp;rsquo;s Journal of Discovery website and was posted in June/July 2007. It is about professional swordsman Stephen Hand of Hobart, Tasmania. Stephen teaches writes about, performs, and choreographs medieval and Elizabethan sword fighting. His technique is based on the late sixteenth-century works by Italian rapier master&lt;br /&gt;Vincentio Saviolo and the Englishman George Silver who favoured a more traditional backsword. Stephen helped establish the Stocatta School of Defence in Sydney in 1998 and a Hobart branch in 2004, and also teaches adult education classes. &amp;nbsp;&amp;nbsp;&lt;/p&gt;&#13;
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                <text>This series of photographs were taken at the performance of the play Henry IV Part I by William Shakespeare at the New Fortune Theatre at the University of Western Australia on September 16, 2011. The free performance was part of the three-day Collaboratory â€˜Performing Old Emotions on the New Fortune Stageâ€™ hosted by the ARC Centre of Excellence for the History of Emotions. The cast was from La Trobe Theatre and Drama School, La Trobe University, and directed by Rob Cronkie. The performance drew on â€˜original staging practicesâ€™ and was performed in an Elizabethan-style theatre, based on the layout of the Fortune Theatre/Fortune Playhouse built in London in 1599-1600. Like the Fortune, the New Fortune Theatre is square, has three covered levels plus open-air pit, and an open stage. The theatre opened in 1964. Authentic aspects of the performance of Henry IV Part I, other than the venue, included an all-male cast of only five actors who played multiple roles, including those of female characters, a minimal set and stage props, interaction with the audience including resident peacocks, and a partly transient audience wandering in and out at will (it was a free performance).&#13;
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                <text>This series of photographs were taken at the performance of the play Henry IV Part I by William Shakespeare at the New Fortune Theatre at the University of Western Australia on September 16, 2011. The free performance was part of the three-day Collaboratory â€˜Performing Old Emotions on the New Fortune Stageâ€™ hosted by the ARC Centre of Excellence for the History of Emotions. The cast was from La Trobe Theatre and Drama School, La Trobe University, and directed by Rob Cronkie. The performance drew on â€˜original staging practicesâ€™ and was performed in an Elizabethan-style theatre, based on the layout of the Fortune Theatre/Fortune Playhouse built in London in 1599-1600. Like the Fortune, the New Fortune Theatre is square, has three covered levels plus open-air pit, and an open stage. The theatre opened in 1964. Authentic aspects of the performance of Henry IV Part I, other than the venue, included an all-male cast of only five actors who played multiple roles, including those of female characters, a minimal set and stage props, interaction with the audience including resident peacocks, and a partly transient audience wandering in and out at will (it was a free performance).&#13;
&#13;
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