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Seminar paper from the year 2016 in the subject Didactics for the subject English - Literature, Works, grade: 1,3, University of Tubingen, language: English, abstract: In the following, the original play will be compared to the film adaptations by Roman Polanski in 1971 and by Justin Kurzel in 2015. Additionally, the most important scenes and essential details in all three will be analyzed. Although technological progress affords humanity new possibilities in all sectors, be it communication systems, the news, education, bank transactions, or entertainment, it is inconceivable to dispense with books, letters or newspapers. Especially in the entertainment category, movies today are what novels were decades and centuries ago. They tell stories, history, sciences, etc. and like books they are grouped into various genres. By this observation they seem quite similar and the obvious difference is the textual information transfer of books compared to the audio-visual of movies. Not only “Macbeth”, but most of Shakespeare’s plays have been turned into films. His plays are surprisingly relevant in contemporary life and school. They are an integral component of general knowledge. The significance of “Macbeth” is obvious when you see how often it was reused. Already by 1908, the director Stuart Blackton produced the first film version of Shakespeare’s tragedy whereon many more followed, the best known by Welles, Kurosawa and Polanski. But how could these two famous directors transfer Shakespeare’s stage play into movies? Is the content adopted accurately or is it falsified? And what changes were accidentally or deliberately made?
Seminar paper from the year 2016 in the subject English - Literature, Works, grade: 1,3, University of Tubingen, language: English, abstract: In the following, the original play will be compared to the film adaptations by Roman Polanski in 1971 and by Justin Kurzel in 2015. Additionally, the most important scenes and essential details in all three will be analyzed. Although technological progress affords humanity new possibilities in all sectors, be it communication systems, the news, education, bank transactions, or entertainment, it is inconceivable to dispense with books, letters or newspapers. Especially in the entertainment category, movies today are what novels were decades and centuries ago. They tell stories, history, sciences, etc. and like books they are grouped into various genres. By this observation they seem quite similar and the obvious difference is the textual information transfer of books compared to the audio-visual of movies. Not only "Macbeth," but most of Shakespeare's plays have been turned into films. His plays are surprisingly relevant in contemporary life and school. They are an integral component of general knowledge. The significance of "Macbeth" is obvious when you see how often it was reused. Already by 1908, the director Stuart Blackton produced the first film version of Shakespeare's tragedy whereon many more followed, the best known by Welles, Kurosawa and Polanski. But how could these two famous directors transfer Shakespeare's stage play into movies? Is the content adopted accurately or is it falsified? And what changes were accidentally or deliberately made?
Child characters feature more numerously and prominently in the Shakespearean canon than in that of any other early modern playwright. Focusing on stage and film productions from the past four decades, this study addresses how Shakespeare's child characters are reflected, refracted and reinterpreted in performance. By adopting an interdisciplinary approach that incorporates close reading, semiotics, childhood studies, queer theory and performance studies, Gemma Miller explores how a close analysis of Shakespeare's child characters, both in the text and in performance, can reveal often uncomfortable truths about contemporary ideas of childhood, as well as offer fresh insights into the plays. Among the works and productions analysed are stage productions of Richard III by Sean Holmes and Thomas Ostermeier; Jamie Lloyd's and Michael Boyd's stage productions of Macbeth and the films of Roman Polanski and Justin Kurzel; Deborah Warner's stage production of Titus Andronicus and filmed adaptations by Jane Howell and Julie Taymor; and stage productions of The Winter's Tale by Nicholas Hytner, and by Kenneth Branagh and Rob Ashford, and the ballet adaptation by Christopher Wheeldon.
Book of Abstracts from the Adaptation: Theory, Criticism, Pedagogy conference held at the Faculty of Humanities and Social Sciences, University of Osijek, Croatia, Feb. 23-25, 2017
For teachers and lovers of Shakespeare, ShakesFear and How to Cure It provides a comprehensive approach to the challenge and rewards of teaching Shakespeare and gives teachers both an overview of each of Shakespeare's 38 plays and specific classroom tools for teaching it. Written by a celebrated teacher, scholar and director of Shakespeare, it shows teachers how to use the text to make the words and the moments come alive for their students. It refutes the idea that Shakespeare's language is difficult and provides a survey of the plays by someone who has lived intimately with them on the page and on the stage.
Reading Shakespeare through a Christian Lens Not only huge English literature fans or apologetics aficionados will be delighted by this special Advent issue of An Unexpected Journal. The aim is to interest the scholar, yes, but also the general reader who has no special knowledge of English literature, Shakespeare, or apologetics. The defense of the Christian faith believes that no domain of human experience. All areas, including the history of ideas political, philosophical, scientific, and social, are fair game for apologetic research and discussion. All that we express in literature (especially the dramatic arts) deals with our experience, and experience is tied to the One who Makes, Redeems, and Sanctifies experience. With features from guest editors: Joe Ricke: "A Guide to Reading this Volume," "Introduction," "Against Pessimism: As You Like It (or Not)" Sarah R.A. Waters: "Lewis, Lear, and The Four Loves" As well as contributions from Shakespearean Scholars: Jem Bloomfield: "Disclosures of Form" John D. Cox: "Paradoxia Shakespeareana" Jack Heller: "Dogberry’s Inscrutable Grace in Much Ado about Nothing" Laura Higgins: "Shakespeare’s Hidden Ghosts" Crystal Hurd: "Ophelia" Corey Latta: "Hamlet’s Father" and "Othello" Tony Lawton and Editors: "Shakespeare and Cultural Apologetics" Tracy Manning and Editors: "An Interview with Tracy Manning" Louis Markos: "Letters From Shakespeare: Love" and "Letters From Shakespeare: Fools" D.S. Martin: "A Poem Emerging From An Epigraph Concerning Hamlet’s Indirection" G. Connor Salter: "Adaptation and Cultural Apologetics" John Stanifer: "Authorship: A Poetic Meditation" Jennifer Woodruff Tait: "Scripture" and "Jaques Tells His Story" Grace Tiffany: “Who is’t can read a woman?” Gary L. Tandy: “O, I have ta’en too little care of this” Including excerpts from the works of William Shakespeare: "Sonnet 55" "Cordelia To Lear" "Isabella’s Speech (On Mercy)" "Bottom’s Dream + Biblical Source" "On Mercy and Prejudice" "Sonnet 116" And commentary from classic authors: "On Shakespeare" by George MacDonald "On MacBeth" by G.K. Chesterton Erasmus On Fools "On Shakespeare" by John Milton 250 pages Volume 5, Issue 4 (Advent 2022)
Shakespeare: A Playgoer's & Reader's Guide is your essential companion to all Shakespeare's extant works (as well as those known to be lost). Two of our most eminent Shakespeare scholars guide us through his sonnets, his poems, and his plays, providing the reader with detailed scene-by-scene plot synopses, cast lists, notes on the texts and sources, discussions of artistic features, and accounts of significant productions on stage and screen. Derived from the acclaimed Oxford Companion to Shakespeare, and fully updated to reflect the latest scholarship and most recent notable productions, it is the ideal compact guide for students and theatre-goers needing a helpful plot summary, or readers wishing to browse on fascinating background information.
Aimed at newcomers to literature and film, this book is a guide for the analysis of Shakespeare on film. Starting with an introduction to the main challenge faced by any director—the early-modern language—it presents case studies of the twelve films most often used in classroom teaching, including Romeo and Juliet, Macbeth, and The Tempest.
Literature provides teachers with accessible pedagogy and practical advice for using literature in the classroom in learner-centred ways Focuses on ways in which both language development and literature learning can be achieved through careful design of tasks. Provides numerous activity ideas for a wide range of classroom contexts and types of literature. Makes reference to recent publications as well as more familiar, well known works of literature. Includes topics such as choosing texts and approaches, working with genres, and working with literature and other media. Extra resources are available on the website:www.oup.com/elt/teacher/itc
"Murdering Ministers" integrates everything worth knowing about Shakespeare’s "Macbeth" from four centuries of criticism and performances, stage as well as film, in a scene-by-scene close reading that provides the reader with an exhaustive knowledge of the play and answers questions that have captivated us for centuries. Did Burbage, the first Macbeth, enter on horseback? When does the idea of regicide first occur to the Macbeths? Why does Macbeth withhold part of the witches’ prophecy from his wife? Is Banquo honest? Did Shakespeare believe in witchcraft? Why is the play cursed? What has happened to the baby that Lady Macbeth has given suck? Answers to this and much more come from actors, critics, and directors of countless productions since 1606. Moreover, "Murdering Ministers" is an expedition into the historical context of "Macbeth": the politico-religious turmoil of Jacobean England. It is hardly a coincidence that Shakespeare’s play of regicide and witchcraft followed hard upon an assassination attempt on James I, author of a manual on black magic and how to detect it – but did the playwright mean to praise or to provoke his king with the Scottish Play? Finally, the book questions the tradition of the play as an exclusively sombre tragedy with all humour confined to the brief appearance of the porter in Act II. Macbeth is, in fact, full of hilarious dramatic irony rarely explored or exploited since the early 19th century. Although it may be a stretch to call it a comedy, there is plenty to laugh at. It wouldn’t be Shakespeare otherwise.