Folger Shakespeare Library The world's leading center for Shakespeare studies Each edition includes: ? Freshly edited text based on the best early printed version of the play ? Full explanatory notes conveniently placed on pages facing the text of the play ? Scene-by-scene plot summaries ? A key to famous lines and phrases ? An introduction to reading Shakespeare's language ? An essay by an outstanding scholar providing a modern perspective on the play ? Illustrations from the Folger Shakespeare Library's vast holdings of rare books Essay by Gail Kern Paster The Folger Shakespeare Library in Washington, D.C., is home to the world's largest collection of Shakespeare's printed works, and a magnet for Shakespeare scholars from around the globe. In addition to exhibitions open to the public throughout the year, the Folger offers a full calendar of performances and programs.
No Fear Shakespeare gives you the complete text of Much Ado About Nothing on the left-hand page, side-by-side with an easy-to-understand translation on the right.Each No Fear Shakespeare contains The complete text of the original playA line-by-line translation that puts Shakespeare into everyday languageA complete list of characters with descriptionsPlenty of helpful commentary
The only series for MYP 4 and 5 developed in cooperation with the International Baccalaureate (IB) Develop your skills to become an inquiring learner; ensure you navigate the MYP framework with confidence using a concept-driven and assessment-focused approach to Language and Literature presented in global contexts. - Develop conceptual understanding with key MYP concepts and related concepts at the heart of each chapter. - Learn by asking questions with a statement of inquiry in each chapter. - Prepare for every aspect of assessment using support and tasks designed by experienced educators. - Understand how to extend your learning through research projects and interdisciplinary opportunities. This title is also available in two digital formats via Dynamic Learning. Find out more by clicking on the links at the top of the page.
This book explores the appropriation of Shakespeare by youth culture and the expropriation of youth culture in the manufacture and marketing of 'Shakespeare'. Considering the reduction, translation and referencing of the plays and the man, the volume examines the confluence between Shakepop and rock, rap, graphic novels, teen films and pop psychology.
Hamlet, Romeo and Juliet, King Lear, A Midsummer Night's Dream, Macbeth, The Tempest, Othello, As You Like It, Julius Caesar, The Taming of the Shrew & Much Ado About Nothing
Author: William Shakespeare
Category: Biography & Autobiography
William Shakespeare wrote numerous plays but it's definite which of them is distinctly the most famous. However, 'Romeo and Juliet', 'Macbeth', 'Othello' and 'Midsummer Nights Dream' stand out as among his most famous works. Here is a collection of his eleven famous unabridged plays. Table of Contents: Hamlet Romeo and Juliet King Lear A Midsummer Night's Dream Macbeth The Tempest Othello As You Like It Julius Caesar The Taming of the Shrew Much Ado About Nothing William Shakespeare (1564 – 1616) was an English poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist. He is often called England's national poet and the "Bard of Avon". His extant works, including some collaborations, consist of about 38 plays, 154 sonnets, two long narrative poems, and a few other verses, the authorship of some of which is uncertain.
Explores the place of Shakespeare in relation to artistic practices and activities, past and presentThis substantial reference work explores the place of Shakespeare in relation to cultural processes that take in publishing, exhibiting, performing, reconstructing and disseminating.The 30 newly commissioned chapters are divided into 6 sections: * Shakespeare and the Book* Shakespeare and Music* Shakespeare on Stage and in Performance* Shakespeare and Youth Culture* Shakespeare, Visual and Material Culture* Shakespeare, Media and Culture. Each chapter provides both a synthesis and a discussion of a topic, informed by current thinking and theoretical reflection.
This collection offers an overview of the ways in which space has become relevant to the study of Shakespearean drama and theatre. It distinguishes various facets of space, such as structural aspects of dramatic composition, performance space and the evocation of place, linguistic, social and gendered spaces, early modern geographies, and the impact of theatrical mobility on cultural exchange and the material world. These facets of space are exemplified in individual essays. Throughout, the Shakespearean stage is conceived as a topological ‘node’, or interface between different times, places and people – an approach which also invokes Edward Soja’s notion of ‘Thirdspace’ to describe the blend between the real and the imaginary characteristic of Shakespeare’s multifaceted theatrical world. Part Two of the volume emphasises the theatrical mobility of Hamlet – conceptually from an anthropological perspective, and historically in the tragedy’s migrations to Germany, Russia and North America.
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).
What kinds of critical insights are made possible only or especially via creative strategies? This volume examines how creative modes of writing might facilitate or inform new ways to critically engage with Shakespeare. Creative writing, demonstrated in a series of essays, reflections, stories and scenes, operates as a vehicle for exploring and articulating critical and theoretical ideas. In doing so, Shakespeare’s enduring creative and critical appeal is newly understood and critiqued.
Publisher: Macmillan International Higher Education
Category: Literary Criticism
Much Ado About Nothing shows the violence of desire as well as its drive towards creative plotting or matchmaking. In this Handbook, Alison Findlay examines the play's comic and tragic potential in the theatre; its attempts to harmonise love and war, attraction and repulsion. The volume: * explores the play's resonance in early performances with reference to the crisis over fast-changing fashions, gendered notions of honour, and the changing personnel of Shakespeare's company * analyses the play from a performance point of view scene by scene, considering the interactions between spectators and actors * surveys key productions and films, including Barry Jackson's radical modernist production of 1919, the recently-rediscovered television film of Zeffirelli's 1965 National Theatre Production, and Kenneth Branagh's 1993 film version * outlines the play's critical history from the eighteenth century to the present day, with a focus on contemporary concerns such as genre hybridity, sources and intertexts, and the instability of signs and appearances.
What does it signify when a Shakespearean character forgets something or when Hamlet determines to 'wipe away all trivial fond records'? How might forgetting be an act to be performed, or be linked to forgiveness, such as when in The Winter's Tale Cleomenes encourages Leontes to 'forget your evil. / With them, forgive yourself'? And what do we as readers and audiences forget of Shakespeare's works and of the performances we watch? This is the first book devoted to a broad consideration of how Shakespeare explores the concept of forgetting and how forgetting functions in performance. A wide-ranging study of how Shakespeare dramatizes forgetting, it offers close readings of Shakespeare's plays, considering what Shakespeare forgot and what we forget about Shakespeare. The book touches on an equally broad range of forgetting theory from antiquity through to the present day, of forgetting in recent novels and films, and of creative ways of making sense of how our world constructs the cultural meaning of and anxiety about forgetting. Drawing on dozens of productions across the history of Shakespeare on stage and film, the book explores Shakespeare's dramaturgy, from characters who forget what they were about to say, to characters who leave the stage never to return, from real forgetting to performed forgetting, from the mad to the powerful, from playgoers to Shakespeare himself.
Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations, and remember just how non-realistic and presentational Shakespeare’s plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic—the very definition of outrageous. With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! helps actors use the words Shakespeare wrote as a tool to perform him, and to create exciting and moving performances.
We Do Language builds on the authors' highly acclaimed first collaboration, Understanding English Language Variation in U.S. Schools, and examines the need to integrate linguistically informed teaching into the secondary English classroom. The book includes specific information about the language varieties students bring with them to school so that educators can better assist students in developing the literacy skills necessry for the Common Core State Standards. This resource features concrete strategies, models, and vignettes, as well as classroom materials developed by English educators for English educators.