In the heat of renaissance Italy two houses are at war. One son and one daughter from the opposing families break this bitter conflict by falling in love. Yet, in this whirlwind of enmity, Romeo and Juliet's passion agitates rather than unites the clashing houses, causing a trail of destruction. Locked in a burning embrace, the two young lovers are tragically doomed to live or die together. For the first time, the world-renowned Arden Shakespeare is producing Performance Editions, aimed specifically for use in the rehearsal room. Published in association with the Shakespeare Institute, the text features easily accessible facing page notes - including short definitions of words, key textual variants, and guidance on metre and pronunciation; a larger font size for easier reading; space for writing notes and reduced punctuation aimed at the actor rather than the reader. With editorial expertise from the worlds of theatre and academia, the series has been developed in association with actors and drama students. The Series Editors are distinguished scholars Professor Michael Dobson and Dr Abigail Rokison-Woodall and leading Shakespearean actor, Simon Russell Beale.

The essays in Playing Shakespeare's Villains trouble our assumptions of what-and who-constitutes "villainy" in Shakespeare's works, through probing and provocative analyses of the murky moral logics at play in the Bard's oeuvre. Shakespeare spreads before us a panoply of evil, villainy, and amorality-of characters doing bad things for good reasons, bad things for bad reasons, and bad things for no reason at all. How does Shakespeare handle culpability and consequence? How much does he justify his villains' actions? How much do we enjoy watching people get away with murder and mayhem? What are we to make of the moral universe that Shakesperare presents: a universe in which some villains are punished and others seem to be rewarded; where mischief can quickly turn violent; and where an entire world can be brought down by someone's willful insistence on having one's way? Questions like these animate the discussions in this lively volume, the second in the Playing Shakespeare's Characters series.

The most deviant forms of human behaviour can be disturbing, incomprehensible, and sometimes very frightening. Herschel Prins believes that even the most deviant-seeming behaviours have their counterparts in 'normality' and can often be seen as an extension of this. In Bizarre Behaviours he sets some extreme forms of behaviour, such as vampirism and amok, in their socio-cultural and psychological contexts. Originally published in 1990, this very accessible and readable book will interest not only all those who have to deal with bizarre behaviour in the course of their work, but also the general reader who is interested in the origins and the infinite variety of human behaviours.

In Migdalia Cruz's Macbeth, the Witches run the world. The Macbeths live out a dark cautionary tale of love, greed, and power, falling from glory into calamity as the Witches spin their fate. Translating Shakespeare's language for a modern audience, Nuyorican playwright Migdalia Cruz rewrites Macbeth with all the passion of the Bronx. This translation of Macbeth was presented in 2018 as part of the Play On! Shakespeare project, an ambitious undertaking from the Oregon Shakespeare Festival that commissioned new translations of 39 Shakespeare plays. These translations present the Bard's work in language accessible to modern audiences while never losing the beauty of Shakespeare's verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print-a new First Folio for a new era.

From the Royal Shakespeare Company - a definitive, fresh new look at Shakespeare's most compelling villain. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of Richard III in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with an actor, a director and a designer - Simon Russell Beale, Bill Alexander and Tom Piper - providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare's career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended - as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare's works for the twenty-first century.

Shakespeare Survey is a yearbook of Shakespeare studies and production. Since 1948, Survey has published the best international scholarship in English and many of its essays have become classics of Shakespeare criticism. Each volume is devoted to a theme, or play, or group of plays; each also contains a section of reviews of that year's textual and critical studies and of the year's major British performances. The theme for Volume 74 is 'Shakespeare and Education. The complete set of Survey volumes is also available online at https://www.cambridge.org/core/what-we-publish/collections/shakespeare-survey This fully searchable resource enables users to browse by author, essay and volume, search by play, theme and topic and save and bookmark their results.

'The most perfect specimen of the dramatic art existing in the world' Percy Bysshe Shelley Shakespeare's bleak and brutal tragedy begins when an ageing king, seeking a successor, rejects the young daughter who loves him and misplaces his trust in her malevolent sisters. In return they strip him of his power and condemn him to a wretched wasteland of horror and insanity. Set in a pitiless universe, King Lear is a towering, elemental masterpiece of fierce poetry and vast imaginative scope. Used and Recommended by the National Theatre General Editor Stanley Wells Edited by George Hunter Introduction by Kiernan Ryan

One of Shakespeare's later plays, best described as a tragic-comedy, the play falls into two distinct parts. In the first Leontes is thrown into a jealous rage by his suspicions of his wife Hermione and his best-friend, and imprisons her and orders that her new born daughter be left to perish. The second half is a pastoral comedy with the "lost" daughter Perdita having been rescued by shepherds and now in love with a young prince. The play ends with former lovers and friends reunited after the apparently miraculous resurrection of Hermione. John Pitcher's lively introduction and commentary explores the extraordinary merging of theatrical forms in the play and its success in performance. As the recent Sam Mendes production at the Old Vic shows, this is a play that can work a kind of magic in the theatre. For more than a century educators, students and general readers have relied on The Arden Shakespeare to provide the very best scholarship and most authoritative texts available.
The Third Series editions' added emphasis on all aspects of Shakespeare performance extended the Arden editions readership to also become the preferred text for theatre professionals.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Coriolanus, edited by Lee Bliss, provides a thorough reconsideration of what was probably Shakespeare's last tragedy. In the introduction, Bliss situates the play within its contemporary social and political contexts and pays particular attention to Shakespeare's manipulation of his primary source in Plutarch's Lives. The edition is alert to the play's theatrical potential, while the stage history also attends to the politics of performance from the 1680s onwards, including European productions following the Second World War. A new introductory section by Bridget Escolme accounts for recent theatrical productions as well as scholarly criticism of the last decade, with particular emphasis on gender and politics.

In Julius Caesar, William Shakespeare uses the most notorious murder in classical history to tell a tragic tale of friendship, ambition and betrayal. 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. As the greatest figures of the Roman Republic are swept along on the tide of a terrifying conspiracy, a touchingly human story is revealed in some of the most beautiful poetry ever written.

The authoritative edition of Coriolanus from The Folger Shakespeare Library, the trusted and widely used Shakespeare series for students and general readers. Set in the earliest days of the Roman Republic, Coriolanus begins with the common people, or plebeians, in armed revolt against the patricians. The people win the right to be represented by tribunes. Meanwhile, there are foreign enemies near the gates of Rome. The play explores one reason that Rome prevailed over such vulnerabilities: its reverence for family bonds. Coriolanus so esteems his mother, Volumnia, that he risks his life to win her approval. Even the value of family, however, is subordinate to loyalty to the Roman state. When the two obligations align, the combination is irresistible. Coriolanus is so devoted to his family and to Rome that he finds the decision to grant the plebians representation intolerable. To him, it elevates plebeians to a status equal with his family and class, to Rome's great disadvantage. He risks his political career to have the tribunate abolished--and is banished from Rome. Coriolanus then displays an apparently insatiable vengefulness against the state he idolized, opening a tragic divide within himself, pitting him against his mother and family, and threatening Rome's very existence. This edition includes: -Freshly edited text based on the best early printed version of the play -Full explanatory notes conveniently placed on pages facing the text of the play -Scene-by-scene plot summaries -A key to the play's famous lines and phrases -An introduction to reading Shakespeare's language -An essay by a leading Shakespeare scholar providing a modern perspective on the play -Fresh images from the Folger Shakespeare Library's vast holdings of rare books -An annotated guide to further reading Essay by Heather James The Folger Shakespeare Library in Washington, DC, is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs. For more information, visit Folger.edu.

No Fear Shakespeare gives you the complete text of the "Sonnets "on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains

• The complete text of the original play
• A line-by-line translation that puts Shakespeare into everyday language
• A complete list of characters with descriptions
• Plenty of helpful commentary

Series Description Read Shakespeare in all its brilliance and actually understand what it means. Each No Fear Shakespeare contains the complete text of the original play, a line-by-line translation, a complete list of characters, and plenty of helpful commentary. No Fear Shakespeare gives you the complete text of "Antony and Cleopatra" on the left-hand page, side-by-side with an easy-to-understand translation on the right. Each No Fear Shakespeare contains

• The complete text of the original play
• A line-by-line translation that puts Shakespeare into everyday language
• A complete list of characters with descriptions
• Plenty of helpful commentary

Described by the TLS as 'a formidable bibliographical achievement ... destined to become a key reference work for Shakespeareans', Shakespeare in Print is now issued in a revised and expanded edition offering a wealth of new material, including a chapter which maps the history of digital editions from the earliest computer-generated texts to the very latest digital resources. Murphy's narrative offers a masterful overview of the history of Shakespeare publishing and editing, teasing out the greater cultural significance of the ways in which the plays and poems have been disseminated and received over the centuries from Shakespeare's time to our own. The opening chapters have been completely rewritten to offer close engagement with the careers of the network of publishers and printers who first brought Shakespeare to print, additional material has been added to all chapters, and the chronological appendix has been updated and expanded.

David Scott Kastan lucidly explores the remarkable richness and the ambitious design of King Henry IV Part 1 and shows how these complicate any easy sense of what kind of play it is. Conventionally regarded as a history play, much of it is in fact conspicuously invented fiction, and Kastan argues that the non-historical, comic plot does not simply parody the historical action but by its existence raises questions about the very nature of history. The full and engaging introduction devotes extensive discussion to the playas language, indicating how its insistent economic vocabulary provides texture for the social concerns of the play and focuses attention on the central relationship between value and political authority.

Cette uvre (edition relie) fait partie de la serie TREDITION CLASSICS. La maison d'edition tredition, basee a Hambourg, a publie dans la serie TREDITION CLASSICS des ouvrages anciens de plus de deux millenaires. Ils etaient pour la plupart epuises ou uniquement disponible chez les bouquinistes. La serie est destinee a preserver la litterature et a promouvoir la culture. Avec sa serie TREDITION CLASSICS, tredition a comme but de mettre a disposition des milliers de classiques de la litterature mondiale dans differentes langues et de les diffuser dans le monde entier.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This third edition of Twelfth Night retains the text edited and annotated by Elizabeth Story Donno for the first edition of 1985, and features an updated introduction by Penny Gay, which focuses on recent scholarship and performance history. Building on her Introduction to the second edition, Gay stresses the play's theatricality, its elaborate linguistic games and its complex use of Ovidian myths. She analyses the delicate balance Shakespeare strikes in Twelfth Night between romance and realism, and explores representations of gender, sexuality and identity in the text. A selection of new photographs completes the edition.

Originally published in 1923, this book addresses the old controversy regarding the exact location of the Globe Theatre. Through a wealth of evidence extracted from the records concerning Shakespeare's London, this book is a direct response to William Westmoreland Braines's pamphlet, issued by the London County Council in 1921, in which Braines demonstrated that the theatre must have stood to the south of Maiden Lane in Southwark. George Hubbard, unconvinced by Braines's theory, presents one of the most important and compelling cases of evidence for placing the site of Shakespeare's playhouse to the north of Maiden Lane. This exchange is the culmination of the controversy over the precise site of the Globe Theatre, which dominated the earlier part of the twentieth century. Detailed maps of London are included. This book will be of considerable value to scholars of Shakespeare as well as to anyone with an interest in theatre.

Michael Hattaway's Introduction to this bestselling edition of As You Like It accounts for what makes this popular play both innocent and dangerous. This third edition includes a new section on recent critical interpretations, including sections on ecocriticism, peace studies, and myths of gender, on recent as well as past stage productions and films of the play, as well as fresh illustrations. An appendix on an early court performance in 1599, commentary on the play's language, the book trade, and the discursive cultures of its time, as well as an updated reading list are also included.

What is the role of disgust or revulsion in early modern English literature? How did early modern English subjects experience revulsion and how did writers represent it in poetry, plays, and prose? What does it mean when literature instructs, delights, and disgusts? This collection of essays looks at the treatment of disgust in texts by Spenser, Shakespeare, Donne, Jonson, Herrick, and others to demonstrate how disgust, perhaps more than other affects, gives us a more complex understanding of early modern culture. Dealing with descriptions of coagulated eye drainage, stinky leeks, and blood-filled fleas, among other sensational things, the essays focus on three kinds of disgusting encounters: sexual, cultural, and textual. Early modern English writers used disgust to explore sexual mores, describe encounters with foreign cultures, and manipulate their readers' responses. The essays in this collection show how writers deployed disgust to draw, and sometimes to upset, the boundaries that had previously defined acceptable and unacceptable behaviors, people, and literatures. Together they present the compelling argument that a critical understanding of early modern cultural perspectives requires careful attention to disgust.

Theatre Design involves everything seen on stage: not only scenery but costumes, wigs, makeup, properties, lighting, sound, even the shape and material of the stage itself. Designers' Shakespeare presents and analyses the work of a half-dozen leading practitioners of this specialist art. By focusing specifically on their Shakespearean work, it also offers a fresh, exciting perspective on some of the best-known drama of all time. Shakespeare's plays offer an unusual range of opportunities to designers. As they were written for a theatre which gave no opportunity for scenic support or embellishment, designers are freed from any compulsion to imitate original practices. This has resulted in the extraordinarily diverse range of works presented in this volume, which considers among others the work of Josef Svoboda, Karl-Ernst Herrmann, Ming Cho Lee, Alison Chitty, Robert Wilson, Societas Raffaello Sanzio, Filter Theatre, Catherine Zuber, John Bury , Christopher Morley, Ralph Koltai and Sean Kenny. Designers' Shakespeare joins Actors' Shakespeare and Directors' Shakespeare as essential reading for lovers of Shakespeare from theatre-goers and students to directors and theatre designers.

"Much Ado About Nothing "presents a battle of the sexes in more ways than one: as both a lightning-fast skirmish of wits between two famously disputatious lovers, and a near-deadly conflict built on conventions of gender and male rivalry. Claire McEachern's new introduction brings this best-seller right up to date, analysing recent developments in criticism and the latest productions of this comedy.

Edited, introduced and annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex. The Wordsworth Classics' Shakespeare Series presents a newly-edited sequence of William Shakespeare's works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal. Romeo and Juliet is the world's most famous drama of tragic young love. Defying the feud which divides their families, Romeo and Juliet enjoy the fleeting rapture of courtship, marriage and sexual fulfilment; but a combination of old animosities and new coincidences brings them to suicidal deaths. This play offers a rich mixture of romantic lyricism, bawdy comedy, intimate harmony and sudden violence. Long successful in the theatre, it has also generated numerous operas, ballets and films; and these have helped to make Romeo and Juliet perennially topical.