Examines the BBC productions of all thirty-seven Shakespeare plays, discussing how the plays were adapted for television and the different approaches taken by each play's director
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.
Considering both Shakespeare's fellow writers as well as members of his acting company Shakespeare in Company offers a unique insight into the company kept by William Shakespeare and how it impacted on his writing.
Towards the end of the 1980s it looked as if television had displaced cinema as the photographic medium for bringing Shakespeare to the modern audience. In recent years there has been a renaissance of Shakespearian cinema, including Kenneth Branagh's Henry V and Much Ado About Nothing, Franco Zeffirelli's Hamlet, Peter Greenaway's Prospero's Books and Christine Edzard's As You Like It. In this volume a range of writers study the best known and most entertaining film, television and video versions of Shakespeare's plays. Particular attention is given to the work of Olivier, Zeffirelli and Kurosawa, and to the BBC Television series. In addition the volume includes a survey of previous scholarship and an invaluable filmography.
Is King Lear an autonomous text, or a rewrite of the earlier and anonymous play King Leir? Should we refer to Shakespeare’s original quarto when discussing the play, the revised folio text, or the popular composite version, stitched together by Alexander Pope in 1725? What of its stage variations? When turning from page to stage, the critical view on King Lear is skewed by the fact that for almost half of the four hundred years the play has been performed, audiences preferred Naham Tate's optimistic adaptation, in which Lear and Cordelia live happily ever after. When discussing King Lear, the question of what comprises ‘the play’ is both complex and fragmentary. These issues of identity and authenticity across time and across mediums are outlined, debated, and considered critically by the contributors to this volume. Using a variety of approaches, from postcolonialism and New Historicism to psychoanalysis and gender studies, the leading international contributors to King Lear: New Critical Essays offer major new interpretations on the conception and writing, editing, and cultural productions of King Lear. This book is an up-to-date and comprehensive anthology of textual scholarship, performance research, and critical writing on one of Shakespeare's most important and perplexing tragedies. Contributors Include: R.A. Foakes, Richard Knowles, Tom Clayton, Cynthia Clegg, Edward L. Rocklin, Christy Desmet, Paul Cantor, Robert V. Young, Stanley Stewart and Jean R. Brink
Almost 400 years after his death, William Shakespeare is still acclaimed as the world's greatest writer, and yet the man himself remains shrouded in mystery. In this absorbing historical detective story, the acclaimed broadcaster and historian Michael Wood takes a fresh approach to Shakespeare's life, brilliantly recreating the turbulent times through which the poet lived: the age of the Reformation, the Spanish Armada, the Gunpowder Plot and the colonization of the Americas. Drawing on an extensive range of sources, Michael Wood takes us back into Elizabethan England to reveal a man who is the product of his time - a period of tremendous upheaval that straddled the medieval and modern worlds. Using a wealth of unexplored archive evidence the author vividly conjures up the neighbourhoods of the Elizabethan London where Shakespeare lived and worked during his glittering career. Full of fresh insights and fascinating new discoveries, this book presents us with a Shakespeare for the twenty-first century: a man of the theatre, a thinking artist, playful and cunning who held up a mirror to his age, but who was also, as his friend Ben Jonson said, 'not of an age, but for all time'.
"... The author continues his association with Hamlet by taking the most famous and best loved lines from Shakespeare's play and condensing them into a hilarious thirteen minute version. This miraculous feat is followed by an encore which consists of a two-minute version of the play! The vast multitude of characters are played by six actors with hectic doubling, and the action takes place at a shortened version of Elshore Castle."--Publisher description.