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This study simultaneously supports and challenges Shakespeare's universality. It does this by showing that Shakespeare is not universal insofar as his poetry speaks to all people of all classes, beyond class distinctions, but by demonstrating just how deeply entrenched Shakespeare is across a spectrum of socioeconomic structures and class, gender and ethnic struggles. The subjects of these essays range from Shakespeare's own appropriation of the sonnet form from Elizabethan couriers to reinterpretations of Shakespeare's plays in 19th-century African theatre to Brecht's political reworkings of Shakespeare's plays to pedagogical uses of Shakespeare in cultural studies courses to adaptations of Shakespeare in gay porn films.
As a high school and college student, Mary Janell Metzger sat through old-school lectures that swamped Shakespeare in literary tradition and form, leaving no breathing room for individual interpretation. As a teacher, she yearned to connect students to Shakespeare's plays, and in Shakespeare Without Fear she tells you how she finally removed the barrier between text and inquiry by focusing on the rich interactive possibilities between student, teacher, and bard. Shakespeare Without Fear offers methods that will get students emotionally and imaginatively involved with the plays while developing their capacity for critical judgment. Ideal for the experienced teacher as well as for the English Education methods course, Shakespeare Without Fear first debunks the idolatry and polarizing academic politics surrounding the study of Shakespeare and then allays reader anxieties by setting up the plays as engaging historical works instead of items to check off a cultural literacy list. Next Metzger takes you into real classrooms for a complete look at how she and other educators teach several major works, including Romeo and Juliet and Hamlet, offering both a framework for teaching any Shakespearean drama and play-specific essential questions for teaching ten of his other most popular plays. Covering topics like teaching to standards, the challenges nonnative speakers face reading Shakespeare, and formatting lessons for AP instruction, Shakespeare Without Fear will help you create conditions where Shakespeare explodes off the page and into the imaginations of your students.
Romeo and Juliet, one of the greatest love stories ever told . . . in texts?! Imagine: What if those star-crossed lovers Romeo and Juliet had smartphones? A classic is reborn in this fun and funny adaptation of one of Shakespeare’s most famous plays! Two families at war. A boy and a girl in love. A secret marriage gone oh-so-wrong. 3h8. The classics just got a whole lot more interesting. ;) tl;dr A Shakespeare play told through its characters texting with emojis, checking in at certain locations, and updating their relationship statuses. The perfect gift for hip theater lovers and teens. A glossary and cast of characters are included for those who need it. For example: tl;dr means too long; didn’t read.
“[Ron Rosenbaum] is one of the most original journalists and writers of our time.” –David Remnick In The Shakespeare Wars, Ron Rosenbaum gives readers an unforgettable way of rethinking the greatest works of the human imagination. As he did in his groundbreaking Explaining Hitler, he shakes up much that we thought we understood about a vital subject and renews our sense of excitement and urgency. He gives us a Shakespeare book like no other. Rather than raking over worn-out fragments of biography, Rosenbaum focuses on cutting-edge controversies about the true source of Shakespeare’s enchantment and illumination–the astonishing language itself. How best to unlock the secrets of its spell? With quicksilver wit and provocative insight, Rosenbaum takes readers into the midst of fierce battles among the most brilliant Shakespearean scholars and directors over just how to delve deeper into the Shakespearean experience–deeper into the mind of Shakespeare. Was Shakespeare the one-draft wonder of Shakespeare in Love? Or was he rather–as an embattled faction of textual scholars now argues–a different kind of writer entirely: a conscientious reviser of his greatest plays? Must we then revise our way of reading, staging, and interpreting such works as Hamlet and King Lear? Rosenbaum pursues key partisans in these debates from the high tables of Oxford to a Krispy Kreme doughnut shop in a strip mall in the Deep South. He makes ostensibly arcane textual scholarship intensely seductive–and sometimes even explicitly sexual. At an academic “Pleasure Seminar” in Bermuda, for instance, he examines one scholar’s quest to find an orgasm in Romeo and Juliet. Rosenbaum shows us great directors as Shakespearean scholars in their own right: We hear Peter Brook–perhaps the most influential Shakespearean director of the past century–disclose his quest for a “secret play” hidden within the Bard’s comedies and dramas. We listen to Sir Peter Hall, founder of the Royal Shakespeare Company, as he launches into an impassioned, table-pounding fury while discussing how the means of unleashing the full intensity of Shakespeare’s language has been lost–and how to restore it. Rosenbaum’s hilarious inside account of “the Great Shakespeare ‘Funeral Elegy’ Fiasco,” a man-versus-computer clash, illustrates the iconic struggle to define what is and isn’t “Shakespearean.” And he demonstrates the way Shakespearean scholars such as Harold Bloom can become great Shakespearean characters in their own right. The Shakespeare Wars offers a thrilling opportunity to engage with Shakespeare’s work at its deepest levels. Like Explaining Hitler, this book is destined to revolutionize the way we think about one of the overwhelming obsessions of our time.
Explores the manner in which Shakespeare acquired a working-class readership during the nineteenth century.
An electrifying new study that investigates the challenges of the Bard’s inconsistencies and flaws, and focuses on revealing—not resolving—the ambiguities of the plays and their changing topicality A genius and prophet whose timeless works encapsulate the human condition like no other. A writer who surpassed his contemporaries in vision, originality, and literary mastery. A man who wrote like an angel, putting it all so much better than anyone else. Is this Shakespeare? Well, sort of. But it doesn’t tell us the whole truth. So much of what we say about Shakespeare is either not true, or just not relevant. In This Is Shakespeare, Emma Smith—an intellectually, theatrically, and ethically exciting writer—takes us into a world of politicking and copycatting, as we watch Shakespeare emulating the blockbusters of Christopher Marlowe and Thomas Kyd (the Spielberg and Tarantino of their day), flirting with and skirting around the cutthroat issues of succession politics, religious upheaval, and technological change. Smith writes in strikingly modern ways about individual agency, privacy, politics, celebrity, and sex. Instead of offering the answers, the Shakespeare she reveals poses awkward questions, always inviting the reader to ponder ambiguities.
Shakespeare Without Women is a controversial study of female impersonation, and the connections between dramatic and political representation in Shakespeare's plays. In this original and challenging book, Callaghan argues that Shakespeare did not include women, and that his transvestite actors did not represent women, and were not, furthermore, meant to do so. All Shakespeare's actors were, of historical necessity, (white) males which meant that the portrayal of women and racial others posed unique problems for his theatre. What is important, Shakespeare Without Women claims, is not to bemoan the absence of women, Africans, or the Irish, but to determine what such absences meant in their historical context and why they matter today. Callaghan focuses in the implications of absence and exclusion in several of Shakespeare's works: * the exclusion of the female body fromTwelfth Night * the impersonation of the female voice in the original performances of the plays * racial impersonation in Othello * echoes of removal of the Gaelic Irish in The Tempest * the absence of women on stage and in public life as shown in A Midsummer Night's Dream.
The New York Times Best Seller Experience the Star Wars saga reimagined as an Elizabethan drama penned by William Shakespeare himself, complete with authentic meter and verse, and theatrical monologues and dialogue by everyone from Darth Vader to R2D2. Return once more to a galaxy far, far away with this sublime retelling of George Lucas’s epic Star Wars in the style of the immortal Bard of Avon. The saga of a wise (Jedi) knight and an evil (Sith) lord, of a beautiful princess held captive and a young hero coming of age, Star Wars abounds with all the valor and villainy of Shakespeare’s greatest plays. Authentic meter, stage directions, reimagined movie scenes and dialogue, and hidden Easter eggs throughout will entertain and impress fans of Star Wars and Shakespeare alike. Every scene and character from the film appears in the play, along with twenty woodcut-style illustrations that depict an Elizabethan version of the Star Wars galaxy. Zounds! This is the book you’re looking for.
The complete text with explanations and an easy translation to help you understand the play.