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Hamlet is arguably the most famous play on the planet, and the greatest of all Shakespeare's works. Its rich story and complex leading role have provoked intense debate and myriad interpretations. To play such a uniquely multi-faceted character as Hamlet represents the supreme challenge for a young actor. Performing Hamlet contains Jonathan Croall's revealing in-depth interviews with five distinguished actors who have played the Prince this century: Jude Law: 'You get to speak possibly the most beautiful lines about humankind ever given to an actor.' Simon Russell Beale: 'Hamlet is a very hospitable role: it will take anything you throw at it.' David Tennant: 'No other part has been so satisfying. It was tough, but utterly compelling.' Maxine Peake: 'Hamlet was a way of accessing bits of me as an actress I've not been able to access before.' Adrian Lester: 'Working with Peter Brook on Hamlet changed me as an actor, and for the better.' The book benefits from the author's interviews with six leading directors of the play during these years: Greg Doran, Nicholas Hytner, Michael Grandage, John Caird, Sarah Frankcom and Simon Godwin. Many other productions are described, from those starring Michael Redgrave, Alec Guinness and Paul Scofield in the 1950s, to the performances of Benedict Cumberbatch, Andrew Scott and Paapa Essiedu in recent times. The volume also includes an updated text of the author's earlier book Hamlet Observed, and an account of actors' experiences of performing at Elsinore.
The first quarto of Hamlet is radically different from the second quarto and Folio versions of the play, and about half their length. But despite its uneven verbal texture and simpler characterisation, the first quarto presents its own workable alternatives to the longer texts, reordering and combining key plot elements, and even including a unique scene between Horatio and the Queen. This new critical edition is designed for students, scholars and actors who are intrigued by the first printed text of Shakespeare's Hamlet. Although the first quarto has been reprinted many times, there is no other modernised edition in print. Irace's introduction outlines views of its origins, its special features, and its surprisingly rich performance history; her textual notes point out differences between the first quarto and the longer second quarto and Folio versions and offer alternatives which actors or directors might choose for specific productions.
'Kidnie's study presents original, sophisticated, and profoundly intelligent answers to important questions.' - Lukas Erne, University of Geneva 'This is a fine and productive book, one that will surely draw significant attention and commentary well beyond the precincts of Shakespeare studies.' - W.B. Worthen, Columbia University Shakespeare’s plays continue to be circulated on a massive scale in a variety of guises – as editions, performances, and adaptations – and it is by means of such mediation that we come to know his drama. Shakespeare and the Problem of Adaptation addresses fundamental questions about this process of mediation, making use of the fraught category of adaptation to explore how we currently understand the Shakespearean work. To adapt implies there exists something to alter, but what constitutes the category of the ‘play’, and how does it relate to adaptation? How do ‘play’ and ‘adaptation’ relate to drama’s twin media, text and performance? What impact might answers to these questions have on current editorial, performance, and adaptation studies? Margaret Jane Kidnie argues that ‘play’ and ‘adaptation’ are provisional categories - mutually dependent processes that evolve over time in accordance with the needs of users. This theoretical argument about the identity of works and the nature of text and performance is pursued in relation to diverse examples, including theatrical productions by the Royal Shakespeare Company, the BBC’s ShakespeaRe-Told, the Reduced Shakespeare Company, and recent print editions of the complete works. These new readings build up a persuasive picture of the cultural and intellectual processes that determine how the authentically Shakespearean is distinguished from the fraudulent and adaptive. Adaptation thus emerges as the conceptually necessary but culturally problematic category that results from partial or occasional failures to recognize a shifting work in its textual-theatrical instance.
16. Holding On -- 17. Civil War -- 18. The Final Chapter -- Notes -- Appendix A: The Human Cost -- Appendix B: Reflections -- Bibliography -- Index
This four-volume Companion to Shakespeare's Works, compiled as a single entity, offers a uniquely comprehensive snapshot of current Shakespeare criticism. Brings together new essays from a mixture of younger and more established scholars from around the world - Australia, Canada, France, New Zealand, the United Kingdom, and the United States. Examines each of Shakespeare’s plays and major poems, using all the resources of contemporary criticism, from performance studies to feminist, historicist, and textual analysis. Volumes are organized in relation to generic categories: namely the histories, the tragedies, the romantic comedies, and the late plays, problem plays and poems. Each volume contains individual essays on all texts in the relevant category, as well as more general essays looking at critical issues and approaches more widely relevant to the genre. Offers a provocative roadmap to Shakespeare studies at the dawning of the twenty-first century. This companion to Shakespeare’s tragedies contains original essays on every tragedy from Titus Andronicus to Coriolanus as well as thirteen additional essays on such topics as Shakespeare’s Roman tragedies, Shakespeare’s tragedies on film, Shakespeare’s tragedies of love, Hamlet in performance, and tragic emotion in Shakespeare.