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Outlining a classical 'rhetorical' system, this is the first serious overview of how European actors c.1550-1800 thought about acting.
The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater.
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.
Every reader is an actor according to Rosenberg. To prepare the actor-reader for insights, Rosenberg draws on major intepretations of the play worldwide, in theatre and in criticism, wherever possible from the first known performances to the present day. The book is rich and provocative on every question about the play.
The best-selling guide to acting Shakespeare in a new smaller and lighter handbook size. Shakespeare tells the actor when to go fast and when to go slow; when to pause, when to come in on cue and when to accent a word. His text is full of such clues. He tells the actor when but never tells him why or how. That is up to the actor. Much like bringing a musical score to life, Peter Hall guides us to 'speak the speech'. An essential text for classical training at drama school and an invaluable reference book for actors and directors working on Shakespeare productions. Peter Hall makes watching or reading Shakespeare a richer experience, for audiences as well as actors.
A New York Times Notable Book: “A loving testament to the enduring ability of Shakespeare’s play to connect in myriad ways across countries and cultures” (Pop Matters). For the 450th anniversary of Shakespeare’s birth, the Globe Theatre undertook an unparalleled journey: to take Hamlet to every country on the planet, to share this beloved play with the entire world. The tour was the brainchild of Dominic Dromgoole, artistic director of the Globe, and in Hamlet: Globe to Globe, Dromgoole takes readers along with him. From performing in sweltering deserts, ice-cold cathedrals, and heaving marketplaces, and despite food poisoning in Mexico, the threat of ambush in Somaliland, an Ebola epidemic in West Africa, and political upheaval in Ukraine, the Globe’s players pushed on. Dromgoole shows us the world through the prism of Shakespeare—what the Danish prince means to the people of Sudan, the effect of Ophelia on the citizens of Costa Rica, and how a sixteenth-century play can touch the lives of Syrian refugees. And thanks to this incredible undertaking, Dromgoole uses the world to glean new insight into this masterpiece, exploring the play’s history, its meaning, and its pleasures. “The Shakespearean equivalent of Bourdain’s TV series, Parts Unknown. . . . [Dromgoole’s] aesthetic principle, or unprincipled aesthetic, makes him a natural tour guide for global Shakespeare . . . A comic epic.” —The Washington Post
Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright. Together with Royal Shakespeare Company actors–among them Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet–John Barton demonstrates how to adapt Elizabethan theater for the modern stage. The director begins by explicating Shakespeare’s verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare’s most controversial creation, Shylock, from The Merchant of Venice. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students.
In the CliffsComplete guides, the novel's complete text and a glossary appear side-by-side with coordinating numbered lines to help you understand unusual words and phrasing. You'll also find all the commentary and resources of a standard CliffsNotes for Literature. CliffsComplete Hamlet covers details of the most widely produced and critiqued Shakespearean play. Written in poignant language, Hamlet contains all the elements necessary for a good tragedy, including a brave and daring hero who suffers a fatal flaw. Discover what happens to the complicated cast of characters — and save valuable studying time — all at once. Enhance your reading of Hamlet with these additional features: A summary and insightful commentary for each chapter Bibliography and historical background on the author, William Shakespeare A look at Early Modern England historical, intellectual, religious, and social context Insight into the play's classical elements and language A character map that graphically illustrates the relationships among the characters Review questions, a quiz, discussion guide, and activity ideas A Resource Center full of books, articles, films, and Web sites Streamline your literature study with all-in-one help from CliffsComplete guides!
"But in a fiction, in a dream of passion..." In an extended commentary on this passage this book offers a rationale for the excellence and primacy of this play among the tragedies. Throughout, emphasis is placed on Hamlet's fantasies and imaginations rather than on ethical criteria, and on the depiction of Hamlet as a revenge play through an exploration of its dark and mysterious aspects. The book stresses the importance of Passion and Its Fictions in the play and attempts to explore the very Pirandellian topic of Hamlet's passion and dream of passion. It goes on to examine the organization of dramatic energies in the play - the use Shakespeare makes of analogy and infinite regress and of scene rows, broken scenes and impacted scenes, and the significance of the exact middle of Hamlet. The final section is devoted to conventions of style, imagery, and genre in the play - what is the stage situation of asides, soliloguies, and offstage speech? How is the imagery of skin disease and sealing distinctive? In what sense is Hamlet a comedy, or does it use comedy significantly?