DOCSLIB.ORG

Shakespeare DT Vrs.2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Shakespeare DT Vrs.2 William Shakespeare (1564-1616) William Shakespeare is considered the greatest playwright of all time, and his writings have been celebrated for over 400 years.. He was an English poet, playwright and actor. Although his plays are what he is known for best, he also wrote poems that are still popular today. Shakespeare’s Family Life Shakespeare was born in Stratford-upon-Avon, England, about 100 miles away from London. He was the child of John Shakespeare, a leather merchant, and Mary Arden, a local land heiress. Shakespeare had two older sisters, Joan and Judith, and three younger brothers, Gilbert, Richard and Edmund. In 1582 Shakespeare married Anne Hathaway. Hathaway was from Shottery, a small village a mile from Stratford. Together they had 8 children. Shakespeare in London After he and Anne had twins in 1585, there are no records of the next several years of his life. Historians often refer to these years as the "lost years." There are lots of theories and stories about what Shakespeare was doing during this time. He and his family eventually ended up in London where Shakespeare was working at the theatre. During his time in London, Shakespeare’s first printed works were published. He also became a founding member of The Lord Chamberlain’s Men, a company of actors. Shakespeare was the company's main playwright, producing about two plays a year, for almost twenty years. An acting company in England at this time would worked together to put on plays.There were typically around ten actors in a company including a lead actor, character actors, and some comedians. Young boys typically played women's roles because women were not allowed to act. Shakespeare remained with the company for the rest of his career, during which time it turned into The King’s Men under the patronage of King James I. Shakespeare's Works Altogether Shakespeare's works include 38 plays, 154 sonnets, and many different poems. His plays were mainly centered around these themes: histories, tragedies, comedies and tragicomedies. Shakespeare’s plays became very popular in London and soon the Lord Chamberlain's Men were one of the most popular acting companies in the city. Some of Shakespeare's early plays include The Taming of the Shrew, Romeo and Juliet, and A Midsummer Night's Dream. These early plays were put on at a theater called the "Theatre". While Lord Chamberlain's Men owned the Theatre, the land was owned by Giles Allen. In 1597 Allen decided he wanted to tear the Theatre down so he locked it up and refused to let the actors perform. One night, several members of the company took down the Theatre and moved the timber across the Thames River to another spot. There they built a new theatre called the Globe Theater. The Globe Theatre became the place to be in London. It could hold up to 3,000 spectators and had a uniquely designed stage with a painted ceiling, columns, and stage wall. They even had specially trained musicians who made special effect noises during the plays. Many of Shakespeare's greatest plays were written in the last half of his career, in the 1600s. These included Hamlet, Othello, King Lear, and Macbeth. Many of his plays have been made into ballets including: Romeo and Juliet, A Midsummer Night's Dream, Hamlet, Othello, and the Tempest. Fun Facts: - His works are the second most frequently quoted after the Bible. - The lead actor and star of many of Shakespeare's plays was Richard Burbage. - The original Globe Theatre burned down in 1613. It was rebuilt in 1614, but was then closed in 1642 - A modern reconstruction of the Globe was built in London in 1997 - Through his works, he is credited with introducing nearly 3,000 words to the English language including: Bandit Critic Dauntless Dwindle Elbow (as a verb) Green-Eyed (to describe jealousy) Lackluster Lonely Skim-milk Swagger (first used in Midsummer Night’s Dream.) Quotes from Shakespeare Plays: ‘All the world's a stage, And all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts.' — As you Like It ‘To be, or not to be: that is the question. Whether ‘tis nobler in the mind to suffer; The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles’ ‘The lady doth protest too much, methinks‘ —Hamlet ‘But, soft! what light through yonder window breaks? It is the east, and Juliet is the sun.‘ —Romeo and Juliet ‘Love looks not with the eyes, but with the mind; and therefore is winged Cupid painted blind.’ ‘The course of true love never did run smooth.’ —A Midsummer Night’s Dream ‘Be not afraid of greatness: some are born great, some achieve greatness, and some have greatness thrust upon them.’ —Twelfth Night HOMEFUN: Over the next 2 weeks: 1) Watch the movie Midsummer Night’s Dream (1999): https://www.amazon.com/William-Shakespeares-Midsummer-Nights- Dream/dp/B001M3T7KI 2) Watch the ballet Midsummer Night’s Dream: NYC Ballet -full ballet: https://www.youtube.com/watch?v=ZrfiusNHCls ABT -the Dream: https://www.youtube.com/watch?v=s3APvyV9q2Q This week: 3) Read one page from the link below that translates MND into simpler language anyone can understand: https://uacmwillshakespeare.files.wordpress.com/2011/03/a- midsummer-nights-dream.pdf.
Load more

Recommended publications
  • Shakespeare Wrote Shakespeare
    OPEN FORUM The Pages of The Oxfordian are open to all sides of the Authorship Question Shakespeare Wrote Shakespeare David Kathman or the vast majority of Shake- speare scholars, there is no ‘au- thorship question’; they agree that F the works of William Shake- speare were written by William Shake- speare of Stratford-upon-Avon (allow- ing for some collaboration), and tend to ignore or dismiss anyone who claims oth- erwise. In the following pages I will try to explain, from the perspective of a Shake- speare scholar, why the Stratford Shakespeare’s authorship is so generally ac- cepted by historians, and why those historians do not take seriously the various attempts to deny that attribution. I realize from experience that this explanation is not likely to convince many committed antistratfordians, but at the very least I hope to correct some misconceptions about what Shakespeare scholars actually believe. For the purposes of argument, we can distinguish among three main strands of William Shakespeare’s biography, which I will call Stratford Shakespeare, Actor Shakespeare, and Author Shakespeare. Stratford Shakespeare was baptized in Stratford-upon-Avon in 1564, married Anne Hathaway in 1582, had three children with her, bought New Place in 1597 and various other properties in and around Stratford over the following decade, and was buried in there in 1616. Actor Shakespeare was a member of the Lord Chamberlain’s/King’s Men, the leading acting company in London from 1594 on, and an original sharer in the Globe and Blackfriars playhouses. Author Shakespeare signed the dedications of Venus and Adonis (1593) and The Rape of Lucrece (1594), and over the next twenty years was named on title 13 THE OXFORDIAN Volume XI 2009 Kathman pages as the author of numerous plays and poems, and was praised by such crit- ics as Francis Meres and Gabriel Harvey.
    [Show full text]
  • Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
    a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts.
    [Show full text]
  • The Dramatic Space of Hamlet's Theatre
    Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et.
    [Show full text]
  • THEATRE of the ENGLISH and ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance
    THEATRE OF THE ENGLISH AND ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance Edited by J. R. MULRYNE Professor of English and Comparative Literary Studies and Chairman, Graduate School of Renaissance Studies, University of Warwick and MARGARET SHEWRING Lecturer in Theatre Studies and Course DirectoT, Graduate School of Renaissance Studies, University of Warwick Palgrave Macmillan ISBN 978-1-349-21738-0 ISBN 978-1-349-21736-6 (eBook) DOI 10.1007/978-1-349-21736-6 © J. R. Mulryne and Margaret Shewring 1991 Softcover reprint ofthe hardcover 1st edition 1991 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 ISBN 978-0-312-06771-7 Library of Congress Cataloging-in-Publication Data Theatre of the English and Italian Renaissance / edited by J. R. Mulryne and Margaret Shewring. p. cm. Revised papers from a Seminar on 'English and ltalian Renaissance Theatre' held at the University of Warwick, May 1987. Inc1udes bibliographical references and index. ISBN 978-0-312-06771-7 1. Italian drama-To 17OQ-History and criticism-Congresses. 2. English drama-Early modem and Elizabethan, 1500-1600-History and criticism-Congresses. 3. Theater-ltaly-History-16th century-Congresses. 4. Theater-England-History-16th century­ -Congresses. I.Mulryne. J.R. 11. Shewring, Margaret. 111. Seminar on 'English and Italian Renaissance Theatre' (1987: University ofWarwick) PQ4139.T54 1991 352'.409-dc20 91-21021
    [Show full text]
  • CYMBELINE" in the Fllii^Slhi TI CENTURY
    "CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production.
    [Show full text]
  • Shakespeare's Globe Theatre the Globe Theatre Was Constructed in 1599, out of Timber Taken from the Theatre
    Shakespeare's Globe Theatre The Globe Theatre was constructed in 1599, out of timber taken from the Theatre. It stood next to the Rose, on the south side of the Thames, and was the most elaborate and attractive theatre yet built. The Globe was designed and constructed for the Chamberlain's Men by Cuthbert Burbage, son of the Theatre's creator, James Burbage. The lease for the land on which the Globe stood was co-owned by Burbage and his brother Robert, and by a group of five actors -- Will Kempe, Augustine Phillips, John Heminge, Thomas Pope, and William Shakespeare. Much of Shakespeare's wealth came from his holdings in the Globe. The Globe was the primary home of Shakespeare's acting company beginning in late 1599, and it is a possibility that As You Like It was written especially for the occasion. On June 29, 1613, during a performance of Henry VIII, a misfired canon ball set the Globe's thatched roof on fire and the whole theatre was consumed. Swift reconstruction did take place and the Globe reopened to the public within a year, with the addition of a tiled roof. The new Globe theatre lasted until 1644, at which time it was demolished, and housing was quickly built where it once stood. Recent attempts have been made to re-create the Globe, and replicas have been built in Tokyo and in London. The Globe Stage The stage had two primary parts: 1) The outer stage, which was a rectangular platform projecting into the courtyard, from the back wall.
    [Show full text]
  • “Revenge in Shakespeare's Plays”
    “REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”.
    [Show full text]
  • The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries
    The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries by Luke Prodromou his essay is a response to the fascinating collection of articles on the Shakespeare Authorship Question that appeared in the Winter 2019 Tissue of the journal Critical Stages (critical-stages.org/18/). Read together, those articles not only confirm that there really is a case for rea- sonable doubt about the Stratford man as the author of the works; they also suggest that pursuing this question can actually be an effective critical tool for a better understanding of those works. As a graduate of the Shakespeare Institute, Birmingham, I have often won- dered, from a scholarly point of view, why the eddies under Clopton Bridge in Stratford have seemed to arouse more curiosity as evidence linking the man from Stratford to the plays and poems of “Shakespeare” than do the growing number of details of a historical or cultural nature, which seem to me more enlightening. Scrutinizing Shakespearean texts for evidence of the author’s possible links to glove-making has consumed more scholarly energy than the abundant indications that our elusive author seems to have actually known Italy and Italian culture at first-hand and Elizabethan court life with an insider’s confidence. Even Stratfordian scholars have noticed that “the extent and loudness of the documentary silence are startling” (Worden, 2006: 24). Indeed, the chal- lenge of teasing out an explanation for this startling silence has been left to non-Stratfordians like Diana Price (see her volume, excerpted in CS 18, THE OXFORDIAN Volume 21 2019 13 The Shakespeare Authorship Debate Continued: Uncertainties and Mysteries Shakespeare’s Unorthodox Biography, 2012).
    [Show full text]
  • "A Sharers' Repertory." Rethinking Theatrical
    Syme, Holger Schott. "A Sharers’ Repertory." Rethinking Theatrical Documents in Shakespeare’s England. Ed. Tiffany Stern. London: The Arden Shakespeare, 2020. 33–51. Bloomsbury Collections. Web. 26 Sep. 2021. <http://dx.doi.org/10.5040/9781350051379.ch-002>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 26 September 2021, 08:28 UTC. Copyright © Tiffany Stern and contributors 2020. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 2 A Sharers’ Repertory Holger Schott Syme Without Philip Henslowe, we would know next to nothing about the kinds of repertories early modern London’s resident theatre companies offered to their audiences. As things stand, thanks to the existence of the manuscript commonly known as Henslowe’s Diary , scholars have been able to contemplate the long lists of receipts and expenses that record the titles of well over 200 plays, most of them now lost. The Diary gives us some sense of the richness and diversity of this repertory, of the rapid turnover of plays, and of the kinds of investments theatre companies made to mount new shows. It also names a plethora of actors and other professionals associated with the troupes at the Rose. But, because the records are a fi nancier’s and theatre owner’s, not those of a sharer in an acting company, they do not document how a group of actors decided which plays to stage, how they chose to alternate successful shows, or what they, as actors, were looking for in new commissions.
    [Show full text]
  • Othello Theme: the Challenges of Staging the Play
    Discovering Literature www.bl.uk/shakespeare Teachers’ Notes Curriculum subject: English Literature Key Stage: 4 and 5 Author / Text: William Shakespeare, Othello Theme: The challenges of staging the play Rationale These activities encourage young people to join the debate about how to stage and cast Othello. Students will consider the sensitive question of who should play the central roles – black or white actors, men or women. Using controversial paintings, playbills and production photos, they will explore how changing social contexts have shaped the way Othello has been staged over the course of four centuries. They will debate the pros and cons of different productions, and plan how they would stage the play if they could do so themselves. Content Literary and historical sources from the site: Portrait of Richard Burbage (early 17th century) The first illustrated works of Shakespeare edited by Nicholas Rowe (1709) Painting of Ira Aldridge as Othello (1826) Playbill advertising Ira Aldridge’s appearance as Othello in Northampton (1831) Playbill advertising Ira Aldridge’s appearance as Othello, Richard III and Shylock in Newcastle (1845) Paul Robeson as Othello and Uta Hagen as Desdemona (1943–44) Postcard of Olivier as Othello (1964) Photograph of Hugh Quarshie and Lucian Msamati in Othello (2015) Photograph of Joanna Vanderham and Hugh Quarshie in Othello (2015) Recommended reading (short articles): Playing Othello: Hugh Quarshie Othello, the role that entices and enrages actors of all skin colours: Andrew Dickson External
    [Show full text]
  • Richard Burbage and William Shakespeare
    detail of the sketch showing the head of Tamora (fig. 3) was compared with two authentic portraits of the actor,1 one of which is here reproduced in part (fig. 4). Optical resemblances emerged in six respects: (1) medium-high, sloping forehead, (2) prominent nose, (3) nostrils (curved lower edge of the left nostril), (4) thin outside upper lip, (5) thin outside lower lip, (6) low chin. No divergences were detected. According to the expert opinion, this result suggests that the persons depicted in the Titus sketch (as Tamora) and in the Burbage portraits are identical. In the case of the actor playing Titus, whom I believe to be William Shakespeare, it was not possible for the Bundeskriminalamt experts to make a forensic pictorial comparison, as a considerable portion of the head is concealed – the forehead by a broad laurel wreath and much of the face by a beard, sideburns and a moustache (fig. 5). However, identification of Richard Burbage in the Peacham sketch does not only constitute evidence that Peacham drew it directly from an Elizabethan performance and that the first great Shakespearean actor was presumably depicted here for the first time. In view of the close cooperation and joint appearances of Burbage and Shakespeare as the main actors in the Lord Chamberlain's Men, it also allows us to conclude that this 1594 drawing of the opening scene of William Shakespeare’s early revenge play Titus Andronicus shows the playwright himself in the role of the eponymous hero (cf. fig. 5).2 In her essay "Rereading the Peacham Drawing" June Schlueter propounds the thesis that "the Peacham drawing depicts a sequence from Eine sehr klägliche Tragœdia von Tito Andronico und der hoffertigen Käyserin (A very Lamentable Tragedy of Titus Andronicus and the Haughty Empress), a play perfomed in Germany by English actors which survives, in German, in a volume published in Leipzig in 1620 as Engelische Comedien und Tragedien" (Schlueter 1999, 171).
    [Show full text]
  • Preservation and Innovation in the Intertheatrum Period, 1642-1660: the Survival of the London Theatre Community
    Preservation and Innovation in the Intertheatrum Period, 1642-1660: The Survival of the London Theatre Community By Mary Alex Staude Honors Thesis Department of English and Comparative Literature University of North Carolina at Chapel Hill 2018 Approved: (Signature of Advisor) Acknowledgements I would like to thank Reid Barbour for his support, guidance, and advice throughout this process. Without his help, this project would not be what it is today. Thanks also to Laura Pates, Adam Maxfield, Alex LaGrand, Aubrey Snowden, Paul Smith, and Playmakers Repertory Company. Also to Diane Naylor at Chatsworth Settlement Trustees. Much love to friends and family for encouraging my excitement about this project. Particular thanks to Nell Ovitt for her gracious enthusiasm, and to Hannah Dent for her unyielding support. I am grateful for the community around me and for the communities that came before my time. Preface Mary Alex Staude worked on ​Twelfth Night​ 2017 with Alex LaGrand who worked on ​King Lear​ 2016 with Zack Powell who worked on ​Henry IV Part II ​2015 with John Ahlin who worked on ​Macbeth​ 2000 with Jerry Hands who worked on ​Much Ado About Nothing​ 1984 with Derek Jacobi who worked on ​Othello ​1964 with Laurence Olivier who worked on ​Romeo and Juliet​ 1935 with Edith Evans who worked on ​The Merry Wives of Windsor​ 1918 with Ellen Terry who worked on ​The Winter’s Tale ​1856 with Charles Kean who worked on ​Richard III 1776 with David Garrick who worked on ​Hamlet ​1747 with Charles Macklin who worked on Henry IV​ 1738 with Colley Cibber who worked on​ Julius Caesar​ 1707 with Thomas Betterton who worked on ​Hamlet​ 1661 with William Davenant who worked on ​Henry VIII​ 1637 with John Lowin who worked on ​Henry VIII ​1613 with John Heminges who worked on ​Hamlet​ 1603 with William Shakespeare.
    [Show full text]