The major adaptation of Hilary Mantel's Booker Prize-winning novels Wolf Hall and Bring Up The Bodies starring Damian Lewis and Mark Rylance

Wolf Hall presents an intimate portrait of Thomas Cromwell, the brilliant consigliere to King Henry VIII, as he manoeuvres the corridors of power at the Tudor court. Directed by BAFTA award-Wwinner Peter Kosminsky, this powerful series follows the complex machinations and back room dealings of Cromwell - a pragmatic and accomplished power broker, from humble beginnings and with an enigmatic past.

Cromwell serves king and country while navigating deadly political intrigue, the King's tempestuous relationship with Anne Boleyn and the religious upheavals of the Protestant reformation.

Ten episodes from the children's animated show following three-year-old bunny Bing (voice of Elliot Kerley) and his friends as they experience everyday life. Among his companions are his sidekick Flop (Mark Rylance), his friends Sula and Pando (Eve Bentley and Shai Portnoy) and his cousins Coco and Charlie (Jocelyn MacNab and Poppy Hendley). The episodes are: 'Paddling Pool', 'Dressing Up', 'Something for Sula', 'Knack', 'Hearts', 'Giving', 'Hula Hoop', 'Big Boots', 'Bubbles' and 'Blankie'.

Francis Bacon's Contribution to Shakespeare advocates a paradigm shift away from a single-author theory of the Shakespeare work towards a many-hands theory. Here, the middle ground is adopted between competing so-called Stratfordian and alternative single-author conspiracy theories. In the process, arguments are advanced as to why Shakespeare's First Folio (1623) presents as an unreliable document for attribution, and why contemporary opinion characterised Shakspere [his baptised name] as an opportunist businessman who acquired the work of others. Current methods of authorship attribution are critiqued, and an entirely new Rare Collocation Profiling (RCP) method is introduced which, unlike current stylometric methods, is capable of detecting multiple contributors to a text. Using the Early English Books Online database, rare phrases and collocations in a target text are identified together with the authors who used them. This allows a DNA-type profile to be constructed for the possible contributors to a text that also takes into account direction of influence. The method brings powerful new evidence to bear on crucial questions such as the author of the Groats-worth of Witte (1592) letter, the identifiable hands in 3 Henry VI, the extent of Francis Bacon's contribution to Twelfth Night and The Tempest, and the scheduling of Love's Labour's Lost at the 1594-5 Gray's Inn Christmas revels for which Bacon wrote entertainments. The treatise also provides detailed analyses of the nature of the complaint against Shakspere in the Groats-worth letter, the identity of the players who performed The Comedy of Errors at Gray's Inn in 1594, and the reasons why Shakspere could not have had access to Virginia colony information that appears in The Tempest. With a Foreword by Sir Mark Rylance, this meticulously researched and penetrating study is a thought-provoking read for the inquisitive student in Shakespeare Studies.

Francis Bacon's Contribution to Shakespeare advocates a paradigm shift away from a single-author theory of the Shakespeare work towards a many-hands theory. Here, the middle ground is adopted between competing so-called Stratfordian and alternative single-author conspiracy theories. In the process, arguments are advanced as to why Shakespeare's First Folio (1623) presents as an unreliable document for attribution, and why contemporary opinion characterised Shakspere [his baptised name] as an opportunist businessman who acquired the work of others. Current methods of authorship attribution are critiqued, and an entirely new Rare Collocation Profiling (RCP) method is introduced which, unlike current stylometric methods, is capable of detecting multiple contributors to a text. Using the Early English Books Online database, rare phrases and collocations in a target text are identified together with the authors who used them. This allows a DNA-type profile to be constructed for the possible contributors to a text that also takes into account direction of influence. The method brings powerful new evidence to bear on crucial questions such as the author of the Groats-worth of Witte (1592) letter, the identifiable hands in 3 Henry VI, the extent of Francis Bacon's contribution to Twelfth Night and The Tempest, and the scheduling of Love's Labour's Lost at the 1594-5 Gray's Inn Christmas revels for which Bacon wrote entertainments. The treatise also provides detailed analyses of the nature of the complaint against Shakspere in the Groats-worth letter, the identity of the players who performed The Comedy of Errors at Gray's Inn in 1594, and the reasons why Shakspere could not have had access to Virginia colony information that appears in The Tempest. With a Foreword by Sir Mark Rylance, this meticulously researched and penetrating study is a thought-provoking read for the inquisitive student in Shakespeare Studies.

Eight episodes from the children's animated show following three-year-old bunny Bing (voice of Elliot Kerley) and his friends as they experience everyday life. Among his companions are his sidekick Flop (Mark Rylance), his friends Sula and Pando (Eve Bentley and Shai Portnoy) and his cousins Coco and Charlie (Jocelyn Macnab and Poppy Hendley). The episodes are: 'Show', 'Not Yours', 'Mine', 'Lunch', 'Woof!', 'Eggy Head', 'Toy Party' and 'Mobile Phone'.

On a frozen Minnesota lake, the ice is beginning to creak and groan. It's the end of the fishing season, and two old friends are out on the ice, angling for something big; something down there that is pure need. Something that might just swallow them whole. In Nice Fish, celebrated actor Mark Rylance draws on his own teenage years in the American Midwest in a unique collaboration with critically-acclaimed Minnesotan contemporary prose poet Louis Jenkins.

A fascinating, witty and characteristically exuberant dramatic exploration of the Shakespeare authorship debate. Is it possible that the son of an illiterate tradesman, from a small market town in Warwickshire, could have written the greatest dramatic works the world has ever seen? It's a question that has puzzled scholars, theatre practitioners and theatregoers for many years. The philosopher, Francis Bacon; the Earl of Oxford, Edward de Vere; and Mary Sidney, Countess of Pembroke: all of them have been put forward as the real author of the plays. But why would they hide behind an anonymous actor? Who was the real Bard of Stratford? Why should we care? Mark Rylance is one of a number of leading actors who seriously question the idea that William Shakespeare was the man behind the thirty-seven plays that have moved, inspired and amazed generations. First performed at the Minerva Theatre, Chichester, in 2007, and subsequently on tour, Rylance's provocative play introduces us to four candidates and their respective claims - whilst asking fundamental questions about what makes a genius, and why it all matters anyway.

Francesco da Mosto presents this two-part documentary about William Shakespeare and his use of Italy as a backdrop for many of his works. With input from actors, including Emma Thompson, Ciarán Hinds and Mark Rylance, Francesco visits locations such as Venice, Rome and Stromboli as he considers the plays, 'Romeo and Juliet', 'The Merchant of Venice', 'Julius Caesar' and 'The Tempest', among others.

The first full-length live action feature from the Brothers Quay, usually famed for their surreal animated shorts. A young, modest man (Mark Rylance) enrols in the strange, dilapidated Institute Benjamenta, a boarding school for the training of servants. He becomes fascinated by the secret world of the owners of the institute and becomes obsessed with Lisa Benjamenta (Alice Krige). But then, slowly, the school starts to disintegrate.

Live performance of Shakespeare's comedy, recorded at the reconstucted Globe Theatre. The play follows the story of the shipwrecked Viola (Johnny Flynn) who disguises herself as a man named Cesario to work for the charming Duke Orsino (Liam Brennan). She soon falls for the Duke but he is in love with Countess Olivia (Mark Rylance), who in turn develops feelings for Cesario. The situation is further complicated when Viola's twin brother Sebastian (Samuel Barnett) shows up. The all-male production also stars Stephen Fry as Olivia's arrogant steward Malvolio.

Steven Spielberg directs this adaptation of Roald Dahl's novel starring Mark Rylance as the Big Friendly Giant. The film follows Sophie (Ruby Barnhill) as she is whisked away from her orphanage by the BFG and taken to Giant Country where she is immediately at risk of being eaten by the other, larger giants, including Fleshlumpeater (Jemaine Clement) and Bloodbottler (Bill Hader). Together, Sophie and the BFG go on an adventure to Dream Country where they capture dreams for the BFG to give to all of the human world's sleeping children. After coming up with a cunning plan, the pair head back to London to see if the Queen (Penelope Wilton) can help them tackle the problem of the bullying, child-eating giants.

Why does Shakespeare write in the way he does? And how can actors and directors get the most out of his incomparable plays?
In "Speaking the Speech," Giles Block - 'Master of the Words' at Shakespeare's Globe - sets out to answer these two simple questions. The result is the most authoritative, most comprehensive book yet written on speaking Shakespeare's words.
Throughout the book, the author subjects Shakespeare's language to rigorous examination, illuminating his extraordinary ability to bring his characters to life by a simple turn of phrase, a breath or even a pause. Block shows how we can only fully understand these characters, and the meaning of the plays, by speaking the words out loud.
Drawing on characters from across all of Shakespeare's plays - and looking in detail at "Macbeth," "The Winter's Tale," "Hamlet," "The Merchant of Venice" and "Much Ado About Nothing" - Block covers everything the actor needs to know, including: the essential distinctions between prose, rhymed verse and unrhymed verse, and the different strategies to be used when speaking them; the difference between 'you' and 'thou'; Shakespeare's use of silence; and the vital importance of paying attention to Shakespeare's 'original' punctuation.
"Speaking the Speech" is a book for actors and directors who want to improve their understanding of Shakespeare's language in order to speak it better. It is also a fascinating read for anyone who wants to deepen their appreciation of Shakespeare's language and the way it comes to life when spoken aloud.

Shortlisted for The Society for Theatre's Research's 2013 Theatre Book Prize. Winner to be announced May 9, 2014.
"We call Giles our 'Text Guru' at the Globe, partly in jest, and partly out of respect for the depth of his knowledge, the gentleness of his teaching, and the sudden illuminations he can throw across a play. If this book can afford even a small part of the pleasure and insight Giles can provide in person, then it will be a great asset." Dominic Dromgoole, Artistic Director, Shakespeare's Globe
"Giles deepened my love for Shakespeare and for the way we all speak. I trust you will have a similar experience reading his book." Mark Rylance, from his Foreword

Tom Hanks stars in this historical drama, set during the Cold War, directed by Steven Spielberg. When Rudolf Abel (Mark Rylance) sits down on a park bench in Brooklyn, New York, a secret message left for him causes the FBI to arrest him under suspicion of being a Soviet spy. When insurance lawyer James B. Donovan (Hanks) is assigned to Abel's defence, he finds his new challenge increasingly difficult as the defendent refuses to co-operate. The cast also includes Amy Ryan, Alan Alda and Domenick Lombardozzi.

Blackport-on-Dwindle - 'all granite, fog and female fiction' - has been the Gedges' dull hometown for some years. They leap, therefore, at the invitation to become the live-in guardians of the birthplace of the nation's literary hero. Anticipating romance and inspiration - all that has been lacking in their lives to date - they find, instead, that the house casts an altogether more sinister spell. In The Birthplace, James displays his eye for character and a wry appreciation of pretension and the absurd. As is famously recorded, James doubted Shakespeare's authorship of the plays ascribed to him and The Birthplace illustrates his cynical attitude towards the cult of the Bard and the visitor industry that it had engendered. The Birthplace is published here alongside The Private Life, another little-known work in which James again considers the relevance of the artist's persona - a theme with continued relevance in literature and the arts.