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Thirteen leading actors take us behind the scenes, each recreating in detail a memorable performance in one of Shakespeare's major roles. * Brian Cox on Titus Andronicus in Deborah Warner's visceral RSC production * Judi Dench on being directed by Franco Zeffirelli as a twenty-three-year-old Juliet * Ralph Fiennes on Shakespeare's least sympathetic hero Coriolanus * Rebecca Hall on Rosalind in As You Like It, directed by her father, Sir Peter * Derek Jacobi on his hilariously poker-backed Malvolio for Michael Grandage * Jude Law on his Hamlet, a palpable hit in the West End and on Broadway * Adrian Lester on a modern-dress Henry V at the National, during the invasion of Iraq * Ian McKellen on his Macbeth, opposite Judi Dench in Trevor Nunn's RSC production * Helen Mirren on a role she was born for, and has played three times: Cleopatra * Tim Pigott-Smith on Leontes in Peter Hall's Restoration Winter's Tale at the National * Kevin Spacey on his high-tech, modern-dress Richard II * Patrick Stewart on Prospero in Rupert Goold's arctic Tempest for the RSC * Penelope Wilton on Isabella in Jonathan Miller's 'chamber' Measure for Measure The actors discuss their characters, working through the play scene by scene, with refreshing candour and in forensic detail. The result is a masterclass on playing each role, invaluable for other actors and directors, as well as students of Shakespeare - and fascinating for audiences of the plays. Together, the interviews give one of the most comprehensive pictures yet of these characters in performance, and of the choices that these great actors have made in bringing them thrillingly to life. 'These passages of times remembered contribute vividly to the sense of a teemingly creative period when Shakespeare seemed to have been rediscovered.' Trevor Nunn, from his Foreword
This volume offers a lively introduction to the major issues of the stage and print history of the plays, and discusses what a Shakespeare play actually is.
How do performances of Shakespeare change the meanings of the plays? In this controversial new book, Sarah Werner argues that the text of a Shakespeare play is only one of the many factors that give a performance its meaning. By focusing on The Royal Shakespeare Company, Werner demonstrates how actor training, company management and gender politics fundamentally affect both how a production is created and the interpretations it can suggest. Werner concentrates particularly on: The influential training methods of Cicely Berry and Patsy Rodenburg The history of the RSC Women's Group Gale Edwards' production of The Taming of the Shrew She reveals that no performance of Shakespeare is able to bring the plays to life or to realise the playwright's intentions without shaping them to mirror our own assumptions. By examining the ideological implications of performance practices, this book will help all interested in Shakespeare's plays to explore what it means to study them in performance.
Step on to a stage full of stories with this beautiful anthology of 12 stories from Shakespeare, retold to be accessible for children. Get lost in Shakespeare's most loved stories with this beautiful anthology of some of the most popular stories in the world. Introduce the children in your life to a collection of the most important stories every written, collected and retold by the much-loved author Angela McAllister. Featuring classics such as The Tempest, A Midsummer Night's Dream, Romeo and Juliet, Hamlet, and Othello, each story is rewritten in a comprehensive way that is accessible for children. This perfectly sized anthology is stunningly illustrated by collage artist Alice Lindstrom whose incredible artwork makes these stories dance to life before your very eyes. This lavish follow-up to A Year Full of Stories and A World Full of Animal Stories is the perfect gift for book lovers young and old. The World Full of... series is a collection of beautiful hardcover story treasuries. Discover folktales from all around the world or be introduced to some of the world's best-loved writers with these stunning gift books, the perfection addition to any child's library. Also available from the series: A Year Full of Stories, A World Full of Animal Stories, A World Full of Dickens Stories, A World Full of Spooky Stories, A Year Full of Celebrations and Festivals, and A Bedtime Full of Stories.
The professional Yiddish theatre started in 1876 in Eastern Europe; with the assassination of Tsar Alexander II in 1881, masses of Eastern European Jews began moving westward, and New York—Manhattan’s Bowery and Second Avenue—soon became the world’s center of Yiddish theatre. At first the Yiddish repertoire revolved around comedies, operettas, and melodramas, but by the early 1890s America's Yiddish actors were wild about Shakespeare. In Shakespeare on the American Yiddish Stage, Joel Berkowitz knowledgeably and intelligently constructs the history of this unique theatrical culture. The Jewish King Lear of 1892 was a sensation. The year 1893 saw the beginning of a bevy of Yiddish versions of Hamlet; that year also saw the first Yiddish production of Othello. Romeo and Juliet inspired a wide variety of treatments. The Merchant of Venice was the first Shakespeare play published in Yiddish, and Jacob Adler received rave reviews as Shylock on Broadway in both 1903 and 1905. Berkowitz focuses on these five plays in his five chapters. His introduction provides an orientation to the Yiddish theatre district in New York as well as the larger picture of Shakespearean production and the American theatre scene, and his conclusion summarizes the significance of Shakespeare’s plays in Yiddish culture.
This 2002 Companion is designed for readers interested in past and present productions of Shakespeare's plays, both in and beyond Britain. The first six chapters describe aspects of the British performing tradition in chronological sequence, from the early staging of Shakespeare's own time, through to the present day. Each relates Shakespearean developments to broader cultural concerns and adopts an individual approach and focus, on textual adaptation, acting, stages, scenery or theatre management. These are followed by three explorations of acting: tragic and comic actors and women performers of Shakespeare roles. A section on international performance includes chapters on interculturalism, on touring companies and on political theatre, with separate accounts of the performing traditions of North America, Asia and Africa. Over forty pictures illustrate peformers and productions of Shakespeare from around the world. An amalgamated list of items for further reading completes the book.
Bill Bryson’s bestselling biography of William Shakespeare takes the reader on an enthralling tour through Elizabethan England and the eccentricities of Shakespearean scholarship—updated with a new introduction by the author to commemorate the 400th anniversary of Shakespeare’s death William Shakespeare, the most celebrated poet in the English language, left behind nearly a million words of text, but his biography has long been a thicket of wild supposition arranged around scant facts. With a steady hand and his trademark wit, Bill Bryson sorts through this colorful muddle to reveal the man himself. His Shakespeare is like no one else's—the beneficiary of Bryson's genial nature, his engaging skepticism, and a gift for storytelling unrivaled in our time.
This collection of essays considers what constituted contagion in the minds of early moderns in the absence of modern germ theory. In a wide range of essays focused on early modern drama and the culture of theater, contributors explore how ideas of contagion not only inform representations of the senses (such as smell and touch) and emotions (such as disgust, pity, and shame) but also shape how people understood belief, narrative, and political agency. Epidemic thinking was not limited to medical inquiry or the narrow study of a particular disease. Shakespeare, Thomas Middleton, Ben Jonson, Thomas Dekker and other early modern writers understood that someone might be infected or transformed by the presence of others, through various kinds of exchange, or if exposed to certain ideas, practices, or environmental conditions. The discourse and concept of contagion provides a lens for understanding early modern theatrical performance, dramatic plots, and theater-going itself.
Today, debates about the cultural role of the humanities and the arts are roiling. Responding to renewed calls to reassess the prominence of canonical writers, Shakespeare On Stage and Off introduces new perspectives on why and how William Shakespeare still matters. Lively and accessible, the book considers what it means to play, work, and live with Shakespeare in the twenty-first century. Contributors - including Antoni Cimolino, artistic director of the Stratford Festival - engage with contemporary stagings of the plays, from a Trump-like Julius Caesar in New York City to a black Iago in Stratford-upon-Avon and a female Hamlet on the Toronto stage, and explore the effect of performance practices on understandings of identity, death, love, race, gender, class, and culture. Providing an original approach to thinking about Shakespeare, some essays ask how the knowledge and skills associated with working lives can illuminate the playwright's works. Other essays look at ways of interacting with Shakespeare in the digital age, from Shakespearean resonances in Star Trek and Indian films to live broadcasts of theatre performances, social media, and online instructional tools. Together, the essays in this volume speak to how Shakespeare continues to enrich contemporary culture. A timely guide to the ongoing importance of Shakespearean drama, Shakespeare On Stage and Off surveys recent developments in performance, adaptation, popular culture, and education. Contributors include Russell J. Bodi (Owens State Community College), Christie Carson (Royal Holloway University of London), Brandon Christopher (University of Winnipeg), Antoni Cimolino (Stratford Festival), Jacob Claflin (College of Eastern Idaho), Lauren Eriks Cline (University of Michigan), David B. Goldstein (York University), Gina Hausknecht (Coe College), Peter Holland (University of Notre Dame), R.W. Jones (University of Texas), Christina Luckyj (Dalhousie University), Julia Reinhard Lupton (University of California, Irvine), Linda McJannet (Bentley University), Roderick H. McKeown (University of Toronto), Hayley O'Malley (University of Michigan), Amrita Sen (University of Calcutta), Eric Spencer (The College of Idaho), Lisa S. Starks (University of South Florida St Petersburg), and Jeffrey R. Wilson (Harvard University).