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Books > Language & Literature > Literature: texts > Drama texts, plays > 16th to 18th centuries
First Published in 1999. Routledge is an imprint of Taylor &
Francis, an informa company.
Pivotal Lines in Shakespeare and Others defines a pivotal line as
"a moment in the script that serves as a pathway into the larger
play ... a magnet to which the rest of the play, scenes before and
after, adheres." Homan offers his personal choices of such lines in
five plays by Shakespeare and works by Beckett, Brecht, Pinter,
Shepard, and Stoppard. Drawing on his own experience in the theatre
as actor and director and on campus as a teacher and scholar, he
pairs a Shakespearean play with one by a modern playwright as
mirrors for each other. One reviewer calls his approach
"ground-breaking." Another observes that his "experience with the
particular plays he has chosen is invaluable" since it allows us to
find "a wedge into such ironic texts." Academics and students alike
will find this volume particularly useful in aiding their own
discovery of a pivotal line or moment in the experience of reading
about, watching, or performing in a play.
Building Embodiment: Integrating Acting, Voice, and Movement to
Illuminate Poetic Text offers a collection of strategic and
practical approaches to understanding, analyzing, and embodying a
range of heightened text styles, including Greek Tragedy,
Shakespeare, and Restoration/Comedy of Manners. These essays offer
insights from celebrated teachers across the disciplines of acting,
voice, and movement, and are designed to help actors find deeper
vocal and physical connections to poetic text. Although each
dramatic genre offers a unique set of challenges, Building
Embodiment highlights instances where techniques can integrate and
overlap, and illustrates how the synthesis of body, brain, and word
results in a fuller sense of character experiencing for both the
actor and the audience. This book bridges the gap between academic
and professional application, and invites the student and
professional actor into a deeper experience of character and story.
'I pity the man who cannot enjoy Shakespeare' George Bernard Shaw
The beautiful and witty Katherina has sworn never to accept the
demands of any would-be husband. But when she is pursued by the
wily Petruchio, it seems that she has finally met her match. As he
meets her caustic words with capricious cruelty, Katherina is
forced to reconsider her position, in one of the greatest and most
contentious of all comic battles of the sexes. Used and Recommended
by the National Theatre General Editor Stanley Wells Edited by G.
R. Hibbard Introduction by M. J. Kidnie
William Shakespeare's Othello (1601-2) has delighted and disturbed theatre audiences for the past four centuries, and remains one of the most frequently performed and widely studied of his plays. This volume is a broad-ranging guide to Othello, providing an introduction to: * the contexts of the play, through a concise, accessible overview, a chronology and reprinted documents from the period * the range of critical responses to the play, through a brief critical history and reprinted critical texts, accompanied by explanatory headnotes; and * the play in performance, through a selection of clearly introduced readings on this topic, along with illustrations. The Sourcebook then examines key passages of the play in detail. Each passage is reprinted in full, along with a headnote and annotations offering crucial guidance to Shakespeare's language and the critical issues which surround the text. Throughout the volume, cross-references link together the contextual materials, critical responses and the play's text. If you are beginning to study Othello, this Routledge Literary Sourcebook is the one guide you cannot afford to be without.
(Applause Books). To celebrate the 20th anniversary of the Reduced
Shakespeare Company's classic farce, two of its original
writer/performers (Daniel Singer and Jess Winfield) have thoroughly
revised the show to bring it up to date for 21st-century audiences,
incorporating some of the funniest material from the numerous
amateur and professional productions that have been performed
around the world. The cultural touchstone that is The Complete
Works of William Shakespeare (abridged) was born when three
inspired, charismatic comics, having honed their pass-the-hat act
at Renaissance fairs, premiered their preposterous masterwork at
the Edinburgh Festival Fringe in 1987. It quickly became a
worldwide phenomenon, earning the title of London's
second-longest-running comedy after a decade at the Criterion
Theatre. The Complete Works of William Shakespeare (abridged) is
one of the world's most frequently produced plays, and has been
translated into several dozen languages. Featured are all 37 of
Shakespeare's plays, meant to be performed in 97 minutes, by three
actors. Fast paced, witty, and physical, it's full of laughter for
Shakespeare lovers and haters alike.
Hamlet. Romeo and Juliet. Henry V. Macbeth. A Midsummer Night's
Dream. King Lear. Lovers of literature will immediately recognise
these as signature works of William Shakespeare, whose plays still
rank as the greatest dramas ever produced in the English language
four centuries after they were written. The Complete Works of
William Shakespeare collects all thirty-seven of the immortal
Bard's comedies, tragedies, and historical plays in a beautiful
edition. This volume also features Shakespeare's complete poetry,
including the sonnets. With this beautiful edition, you can enjoy
Shakespeare's enduring literary legacy again and again. The
Complete Works of William Shakespeare is one of Barnes &
Noble's Leatherbound Editions. Each volume presents classic works
by the world's best-loved authors in a beautifully designed edition
bound in bonded leather. The attractive covers are embossed with
colourful foils and the books have many special details including
decorative endpapers, gilded edges, and ribbon markers. Elegant and
affordable, these volumes are cornerstones for any home library.
Shakespeare and Cultural Appropriation pushes back against two
intertwined binaries: the idea that appropriation can only be
either theft or gift, and the idea that cultural appropriation
should be narrowly defined as an appropriative contest between a
hegemonic and marginalized power. In doing so, the contributions to
the collection provide tools for thinking about appropriation and
cultural appropriation as spectrums constantly evolving and
renegotiating between the poles of exploitation and appreciation.
This collection argues that the concept of cultural appropriation
is one of the most undertheorized yet evocative frameworks for
Shakespeare appropriation studies to address the relationships
between power, users, and uses of Shakespeare. By robustly
theorizing cultural appropriation, this collection offers a
foundation for interrogating not just the line between exploitation
and appreciation, but also how distinct values, biases, and
inequities determine where that line lies. Ultimately, this
collection broadly employs cultural appropriation to rethink how
Shakespeare studies can redirect attention back to power
structures, cultural ownership and identity, and Shakespeare's
imbrication within those networks of power and influence.
Throughout the contributions in this collection, which explore
twentieth and twenty-first century global appropriations of
Shakespeare across modes and genres, the collection uncovers how a
deeper exploration of cultural appropriation can reorient the
inquiries of Shakespeare appropriation studies. This collection
will be of great interest to students and scholars in theatre and
performance studies, Shakespeare studies and adaption studies.
This book analyses the epistemological problems that Shakespeare
explores in Othello. In particular, it uses the methods of analytic
philosophy, especially the work of the later Wittgenstein, to
characterize these problems and the play.
This book lays bare the dialogue between Shakespeare and critics of
the stage, and positions it as part of an ongoing cultural,
ethical, and psychological debate about the effects of performance
on actors and on spectators. In so doing, the book makes a
substantial contribution both to the study of representations of
theatre in Shakespeare's plays and to the understanding of ethical
concerns about acting and spectating-then, and now. The book opens
with a comprehensive and coherent analysis of the main early modern
English anxieties about theatre and its power. These are read
against 20th- and 21st-century theories of acting, interviews with
actors, and research into the effects of media representation on
spectator behaviour, all of which demonstrate the lingering
relevance of antitheatrical claims and the personal and
philosophical implications of acting and spectating. The main part
of the book reveals Shakespeare's responses to major antitheatrical
claims about the powerful effects of poetry, music, playacting, and
playgoing. It also demonstrates the evolution of Shakespeare's view
of these claims over the course of his career: from light-hearted
parody in A Midsummer Night's Dream, through systematic
contemplation in Hamlet, to acceptance and dramatization in The
Tempest. This study will be of great interest to scholars and
students of theatre, English literature, history, and culture.
I Was There... is a perfect introduction for younger readers into
stories from the past, allowing children to imagine that they were
really there. I Was There... Ira Aldridge tells the exciting story
of the African-American actor, Ira Aldridge, who rose to fame on
the London stage. Brilliantly imagined, readers aged 7+ will love
this first-hand account of a child's experience of
nineteenth-century London and the vibrant life of the theatre.
Amazing black-and-white illustrations throughout bring the story to
life! Perfect stories for children who are struggling with their
reading
Shakespeare's gentle melancholy, enlivened by a comic sub-plot of
considerable accomplishment, has long made Twelfth Night a
favourite with Shakespearian audiences. Part of the Macmillan
Collector's Library; a series of stunning, clothbound, pocket sized
classics with gold foiled edges and ribbon markers. These beautiful
books make perfect gifts or a treat for any book lover. This
edition is illustrated throughout by Sir John Gilbert, and includes
an introduction by Dr Robert Mighall. Separated from her twin
brother Sebastian after a shipwreck, Viola disguises herself as a
boy to serve the Duke of Illyria. Wooing a countess on his behalf,
she is stunned to find herself the object of his beloved's
affections. With the arrival of Viola's brother, and a trick played
upon Malvolio, the countess's steward, confusion reigns in this
romantic comedy of mistaken identity.
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Macbeth
(Paperback)
Joseph Pearce, William Shakespeare
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R226
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The Winter's Tale is one of Shakespeare's most varied, theatrically
self-conscious, and emotionally wide-ranging plays. This 2007
edition provides a newly-edited text, a comprehensive introduction
that takes into account current critical thinking, and a detailed
commentary on the play's language designed to make it easily
accessible to contemporary readers. Much of the play's copiousness
inheres in its generic intermingling of tragedy, comedy, romance,
pastoral, and the history play. In addition to dates and sources,
the introduction attends to iterative patterns, the nature and
cause of Leontes' jealousy, the staging and meaning of the bear
episode, and the thematic and structural implications of the figure
of Time. Special attention is paid to the ending and its tempered
happiness. Performance history is integrated throughout the
introduction and commentary. Textual analysis, four appendices -
including the theatrical practice of doubling, and a select
chronology of performance history - and a reading list complete the
edition.
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Romeo and Juliet
(Paperback, Ed)
William Shakespeare; Introduction by Adrian Poole; Revised by Adrian Poole
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'Shakespeare invented the human as we continue to know it' Harold
Bloom Set in a city torn apart by feuds and gang warfare,
Shakespeare's immortal drama tells the story of star-crossed
lovers, rival dynasties and bloody revenge. Romeo and Juliet is a
hymn to youth and the thrill of forbidden love, charged with sexual
passion and violence, but also a warning of death: a dazzling
combination of bawdy comedy and high tragedy. Used and Recommended
by the National Theatre General Editor Stanley Wells Edited by T.
J. B. Spencer Introduction by Adrian Poole
This volume takes a deep dive into the philosophical hermeneutics
of Shakespearean tradition providing insight into the foundations,
theories, and methodologies of hermeneutics in Shakespeare. Central
to this research, this volume investigates fundamental questions
including: what is philosophical hermeneutics, why philosophical
hermeneutics, what do literary and cultural Hermeneutics do, and in
what ways can literary and cultural hermeneutics benefit the
interpretation of Shakespearean plays? Hermeneutic Shakespeare
guides the readers through two main discussions. Beginning with the
understanding of "Philosophical Hermeneutics," and the general
principles of literary and cultural Hermeneutics, the volume
includes philosophers such as Fredrich Ast, Daniel Friedrich
Schleiermacher, and Wilhelm Dilthey, as well as Ludwig
Wittgenstein, Martin Heidegger, Hans-Georg Gadamer, and more
recently, Steven Connor. Part two of this volume applies universal
principles of philosophical hermeneutics to explicate the
historical, philosophical, acquired, and applied literary
interpretations through the critical practices of Shakespeare's
plays or their adaptations, including The Merchant of Venice,
Hamlet, and Comedy of Errors. Aimed at scholars and students alike,
this volume aims to contribute to contemporary understanding of
Shakespeare and literature hermeneutics.
Exam board: AQA B, Edexcel, Eduqas, Cambridge Assessment
International Education Level & Subject: AS and A level English
Literature First teaching: September 2015; September 2019 First
examination: June 2017; June 2021/2/3 This edition of King Lear is
perfect for A-level students, with the complete play in an
accessible format, on-page notes, introduction setting the context,
timeline, character and theme indexes. Affordable high quality
complete play for King Lear Demystify vocabulary with notes on the
page and concise commentary Set the scene with perfectly pitched
introductions that introduce key contexts, concerns and stylistic
features, and examine different performances and interpretations
Recall plot summaries at the beginning of each scene Support A
Level revision and essay writing with theme and character indexes
Help with social, historical and literary context with the bespoke
timeline of Shakespeare's life and times
This innovative work challenges normative binaries in contemporary
translation studies and applies frameworks from queer
historiography to the discipline in order to explore shifting
perceptions of same-sex love and desire in translations and
retranslations of William Shakespeare's Sonnets. The book brings
together perspectives from poststructuralism, queer theory, and
translation history to set the stage for an in-depth exploration of
a series of retranslations of the Sonnets from the Czech Republic
and Slovakia. The complex and poetic language of the Sonnets,
frequently built around era-specific idioms and allusions, has
produced a number of different interpretations of the work over the
centuries, but questions remain as to how the translation process
may omit, retain, or enhance elements of same-sex love in
retranslated works across time and geographical borders. In
focusing on target cultures which experienced dramatic
sociopolitical changes over the course of the twentieth century and
comparing retranslations originating from these contexts,
Spisiakova finds the ideal backdrop in which to draw parallels
between changing developments in power and social structures and
shifting translation strategies related to the representation of
gender identities and sexual orientations beyond what is perceived
to be normative. In so doing, the book advocates for a queer
perspective on the study of translation history and encourages
questioning traditional boundaries prevalent in the discipline,
making this key reading for students and researchers in translation
studies, queer theory, and gender studies, as well as those
interested in historical developments in Central and Eastern
Europe.
The Self-Centred Art is a study of the plays of Ben Jonson and the
actors who first performed in them. Jakub Boguszak shows how the
idiosyncrasies of Jonson's comic characters were thrown into relief
in actors' part-scripts-scrolls containing a single actor's lines
and cues-some five hundred of which are reconstructed here from
Jonson's seventeen extant plays. Reading Jonson's spectating parts,
humorous parts, apprentice parts, and plotting parts, Boguszak
argues that the kind of self-absorption which defines so many of
Jonson's famous comic creations would have come easily to actors
relying on these documents. Jonson's actors would have moreover
worked on their cues, studied their speeches, and thought about the
information excluded from their parts differently, depending on the
type they had to play. Boguszak thus shows that Jonson brilliantly
adapted his comedies to the way the actors worked, making the
actors' self-centredness serve his art. This book addresses
Jonson's dealings with the actors as well as the printers of his
plays and supplements the discussion of different types of parts
with a colourful range of case studies. In doing so, it presents a
new way of understanding not just Ben Jonson, but early modern
theatre at large.
This book provides a thorough analysis of terpsichorean lexis in
Renaissance drama. Besides considering not only the Shakespearean
canon but also the Bard's contemporaries (e.g., dramatists as John
Marston and Ben Jonson among the most refined Renaissance dance
aficionados), the originality of this volume is highlighted in both
its methodology and structure. As far as methods of analysis are
concerned, corpora such as the VEP Early Modern Drama collection
and EEBO, and corpus analysis tools such as #LancsBox are used in
order to offer the widest range of examples possible from early
modern plays and provide co-textual references for each dance.
Examples from Renaissance playwrights are fundamental for the
analysis of connotative meanings of the dances listed and their
performative, poetic and metaphoric role in sixteenth- and
seventeenth-century drama. This study will be of great interest to
Renaissance researchers, lexicographers and dance historians.
Shakespeare's skillful manipulation of events and people makes
Richard III a chilling incarnation of the lure of evil and the
temptation of power. Part of the Macmillan Collector's Library; a
series of stunning, clothbound, pocket sized classics with gold
foiled edges and ribbon markers. These beautiful books make perfect
gifts or a treat for any book lover. This edition is illustrated
throughout by Sir John Gilbert, and includes an introduction by Ned
Halley. Richard, Duke of Gloucester - the bitter, deformed brother
of the King - is secretly plotting to seize the throne of England.
Charming and duplicitous, powerfully eloquent and viciously cruel,
he is prepared to go to any lengths to achieve his goal.
PLAY AND LEARN: learn Shakespeare as you play this new board game
for all the family SCREEN-FREE FUN for 2-5 players aged 8 and up
SOMETHING TO TREASURE: this is a quality product made to last, with
bespoke illustration and sleek and stylish packaging EXPLORE THE
ENTIRE SERIES: this game is part of our bestselling Shakespeare
range illustrated by Adam Simpson, including The World of
Shakespeare: 1000-piece Jigsaw Puzzle and Shakespeare Playing Cards
Journey from Stratford to London in the footsteps of the world's
best loved playwright, collect characters and race round London's
theatres to put on as many plays as you can before other
playwrights steal your ideas, burn down your theatres or spread the
plague! In this fun family board game, you will absorb details of
Elizabethan England as well as learn loads of references to
Shakespeare's plays. The winner is the player whose plays take the
most money at the box office, and the fastest in the race to fame
and glory.
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