The play takes us back to the middle of the twentieth century. Hitler comes to power, and the Second World War is brewing. A young Jewish man from Ukraine, hiding from the Stalinist repressions, finds refuge with a church minister in the outback of Russia. He puts on a cassock and works in the church. There, he falls in love with a country girl, but the outbreak of fighting separates them, and he goes to war. Unable to bear the separation, the girl goes to look for him.
Romeo and Juliet is one of the greatest plays ever written--but let's face it..if you don't understand it, then you are not alone. If you have struggled in the past reading Shakespeare, then we can help you out. Our books and apps have been used and trusted by millions of students worldwide. Plain and Simple English books, let you see both the original and the modern text (modern text is underneath in italics)--so you can enjoy Shakespeare, but have help if you get stuck on a passage.
"You are deluded, Romeo. Vampires do not have the capability to love. They are heartless." The Capulets and the Montagues have some deep and essential differences. Blood differences. Of course, the Capulets can escape their vampire fate, and the Montagues can try not to kill their undead enemies. But at the end of the day, their blood feud is unstoppable. So it's really quite a problem when Juliet, a vampire-to-be, and Romeo, the human who should be hunting her, fall desperately in love. What they don't realize is how deadly their love will turn out to be—or what it will mean for their afterlives. . . . This riotous twist on the ultimate tale of forbidden romance is simply to die for.
Kathryn Barker's Waking Romeo is a spectacularly genre-bending retelling of Romeo & Juliet asking the big questions about true love, fate, and time travel Year: 2083. Location: London. Mission: Wake Romeo. It’s the end of the world. Literally. Time travel is possible, but only forward. And only a handful of families choose to remain in the “now,” living off of the scraps left behind. Among them are eighteen-year-old Juliet and the love of her life, Romeo. But things are far from rosy for Jules. Romeo lies in a coma and Jules is estranged from her friends and family, dealing with the very real fallout of their wild romance. Then a mysterious time traveler, Ellis, impossibly arrives from the future with a mission that makes Juliet question everything she knows about life and love. Can Jules wake Romeo—and rewrite her future?
Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eve view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end. Tom Stoppard was catapulted into the front ranks of modem playwrights overnight when Rosencrantz and Guildenstern Are Dead opened in London in 1967. Its subsequent run in New York brought it the same enthusiastic acclaim, and the play has since been performed numerous times in the major theatrical centers of the world. It has won top honors for play and playwright in a poll of London Theater critics, and in its printed form it was chosen one of the “Notable Books of 1967” by the American Library Association.
"an anguished, angry, and tender meditation on the octane and ether of rock and roll and its many moons: sex, drugs, suicide, fame, and rage."--Jacket.
Examination Thesis from the year 2002 in the subject English Language and Literature Studies - Literature, grade: 1,3 (A), University of Trier (English Department Trier), language: English, abstract: The paper is organised in three main parts, theoretics, application and evaluation. The first part will deal with issues necessary to fully apprehend Shakespearean moviemaking. I will examine the history of it and explain what made the two films discussed herein possible and what eventually led to them. Furthermore, I will depict the two directors’ different backgrounds and how they lead on to their individual styles. I will consider some other films that have paved the way for Zeffirelli and Luhrmann. A chapter is dedicated to the filmic realisation, which will consider the cuts, rearrangements and general approach of the films and their directors. These issues will be confirmed by the secondary literature used herein. The second part will apply these issues to single and in my opinion particularly revealing film-scenes, which will be examined to perceive Zeffirelli’s and Luhrmann’s access to the characters, early and latter scientific reception and how Zeffirelli’s approach might differ due to the times his motion picture was made in and how both may or may not have succeeded in mirroring its times. The second part will thus rely on my interpretation and less on secondary literature. The third part will try to bring these perceptions to a conclusive evaluation. These are subjective and thus liable to objection. They cannot be universally valid, but since I am dealing with art, nothing is. Luhrmann was obviously firmly affected by Zeffirelli’s work, and moreover used it as a guiding line for his film, which gives rise to the question, if he was merely an epigone, or maybe rather struck by Zeffirelli’s scenic ideas as being plausible and practical. This is a question which I shall seek to respond to, if I cannot answer it, in the progress of this paper. Furthermore, I will try to point out Morris’s2 dictum, that Shakespeare movies are an art form and a genre in their own right and should not be confused with or compared to a theatrical production of Shakespeare, but have an aesthetic language of their own. [...] 2 Morris, Peter. Shakespeare On Film. Canadian Film Institute/Institut canadien du film. Ottawa: 1972
A lyrical story of star-crossed love perfect for readers of The Hate U Give, by National Ambassador for Children’s Literature Jacqueline Woodson--now celebrating its twentieth anniversary, and including a new preface by the author Jeremiah feels good inside his own skin. That is, when he's in his own Brooklyn neighborhood. But now he's going to be attending a fancy prep school in Manhattan, and black teenage boys don't exactly fit in there. So it's a surprise when he meets Ellie the first week of school. In one frozen moment their eyes lock, and after that they know they fit together--even though she's Jewish and he's black. Their worlds are so different, but to them that's not what matters. Too bad the rest of the world has to get in their way. Jacqueline Woodson's work has been called “moving and resonant” (Wall Street Journal) and “gorgeous” (Vanity Fair). If You Come Softly is a powerful story of interracial love that leaves readers wondering "why" and "if only . . ."
