Hamlet, the Ghost and the Model Reader
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Chef by Sabrina Mahfouz
j Chef by Sabrina Mahfouz Underbelly Cowgate – Big Belly, 56 Cowgate, Edinburgh, EH1 1EG Thursday 31st July – Sunday 17th August 2014, 6.10pm Chef tells the gripping story of how one woman went from being a haute-cuisine head-chef to a convicted inmate running a prison kitchen. Sabrina Mahfouz's distinct award-winning lyrical style and Jade Anouka's mesmerising performance make this an extraordinary, must-see, new show. Leading us through her world of mouth-watering dishes and heart-breaking memories, Chef questions our attitudes to food, prisoners, violence, love and hope. Inspired by an interview Mahfouz conducted with Ollie Dabbous, Chef studies food as the ultimate art form taking stimulus from Dabbous’ obsession with simplicity and making something the best it can be. As the Michelin-star chef of the moment says, ‘language is a bit like a dish, you break it down into little parts and it suddenly becomes easier’. Chef is an explosively engaging character, leading us through her triumphs and tragedies with words as sharp as her knife: ‘The night is packed away into a black bin bag, tagged with a let's not talk of that again, tomorrow will be better and maybe we should just get pizza’. Directed by Kirsty Patrick Ward and produced by POP, Chef has been made possible through a Sky Academy Arts Scholarship. ‘a blistering way with language…this is how theatre can take you anywhere in your imagination’ ***** The Herald on Clean POP are also co-presenting John Berkavitch’s Shame. In this explosive work of spoken-word hiphop-theatre Berkavitch is joined by some of the country’s most innovative break-dancers as he explores the feeling of shame through a combination of narrative spoken-word, hip-hop, contemporary dance, illustration, animation and music. -
View in Order to Answer Fortinbras’S Questions
SHAKESPEAREAN VARIATIONS: A CASE STUDY OF HAMLET, PRINCE OF DENMARK Steven Barrie A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Dr. Stephannie S. Gearhart, Advisor Dr. Kimberly Coates ii ABSTRACT Dr. Stephannie S. Gearhart, Advisor In this thesis, I examine six adaptations of the narrative known primarily through William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark to answer how so many versions of the same story can successfully exist at the same time. I use a homology proposed by Gary Bortolotti and Linda Hutcheon that explains there is a similar process behind cultural and biological adaptation. Drawing from the connection between literary adaptations and evolution developed by Bortolotti and Hutcheon, I argue there is also a connection between variation among literary adaptations of the same story and variation among species of the same organism. I determine that multiple adaptations of the same story can productively coexist during the same cultural moment if they vary enough to lessen the competition between them for an audience. iii For Pam. iv ACKNOWLEDGMENTS I would like to thank my advisor, Stephannie Gearhart, for being a patient listener when I came to her with hints of ideas for my thesis and, especially, for staying with me when I didn’t use half of them. Her guidance and advice have been absolutely essential to this project. I would also like to thank Kim Coates for her helpful feedback. She has made me much more aware of the clarity of my sentences than I ever thought possible. -
Performing Shakespeare in Contemporary Taiwan
Performing Shakespeare in Contemporary Taiwan by Ya-hui Huang A thesis submitted in partial fulfilment for the requirements of the degree of Doctor of Philosophy at the University of Central Lancashire Jan 2012 Abstract Since the 1980s, Taiwan has been subjected to heavy foreign and global influences, leading to a marked erosion of its traditional cultural forms. Indigenous traditions have had to struggle to hold their own and to strike out into new territory, adopt or adapt to Western models. For most theatres in Taiwan, Shakespeare has inevitably served as a model to be imitated and a touchstone of quality. Such Taiwanese Shakespeare performances prove to be much more than merely a combination of Shakespeare and Taiwan, constituting a new fusion which shows Taiwan as hospitable to foreign influences and unafraid to modify them for its own purposes. Nonetheless, Shakespeare performances in contemporary Taiwan are not only a demonstration of hybridity of Westernisation but also Sinification influences. Since the 1945 Kuomintang (Chinese Nationalist Party, or KMT) takeover of Taiwan, the KMT’s one-party state has established Chinese identity over a Taiwan identity by imposing cultural assimilation through such practices as the Mandarin-only policy during the Chinese Cultural Renaissance in Taiwan. Both Taiwan and Mainland China are on the margin of a “metropolitan bank of Shakespeare knowledge” (Orkin, 2005, p. 1), but it is this negotiation of identity that makes the Taiwanese interpretation of Shakespeare much different from that of a Mainlanders’ approach, while they share certain commonalities that inextricably link them. This study thus examines the interrelation between Taiwan and Mainland China operatic cultural forms and how negotiation of their different identities constitutes a singular different Taiwanese Shakespeare from Chinese Shakespeare. -
Love's Labour's Lost
CAL PERFORMANCES PRESENTS CAST Wednesday, November 4, 2009, 8pm Love’s Labour’s Lost Thursday, November 5, 2009, 7pm Friday, November 6, 2009, 8pm Saturday, November 7, 2009, 2pm & 8pm Sunday, November 8, 2009, 3pm Zellerbach Hall Shakespeare’s Globe in Love’s Labour’s Lost John Haynes CAST by William Shakespeare Ferdinand, King of Navarre Philip Cumbus Berowne Trystan Gravelle Artistic Director for Shakespeare‘s Globe Dominic Dromgoole Longaville William Mannering Dumaine Jack Farthing Director Set and Costume Designer Composer The Princess of France Michelle Terry Dominic Dromgoole Jonathan Fensom Claire van Kampen Rosaline Thomasin Rand Choreographer Fight Director Lighting Designer Maria Jade Anouka Siân Williams Renny Krupinski Paul Russell Katherine Siân Robins-Grace Text Work Movement Work Voice Work Boyet, a French lord in attendance on the Princess Tom Stuart Giles Block Glynn MacDonald Jan Haydn Rowles Don Adriano de Armado, a braggart from Spain Paul Ready Moth, his page Seroca Davis Holofernes, a schoolmaster Christopher Godwin Globe Production Manager U.S. Production Manager Paul Russell Bartolo Cannizzaro Sir Nathaniel, a curate Patrick Godfrey Dull, a constable Andrew Vincent U.S. Press Relations General Management Richard Komberg and Associates Paul Rambacher, PMR Productions Costard, a rustic Fergal McElherron Jaquenetta, a dairy maid Rhiannon Oliver Executive Producer, North America Executive Producer for Shakespeare’s Globe Eleanor Oldham and John Luckacovic, Conrad Lynch Other parts Members of the Company 2Luck Concepts Musical Director, recorder, shawms, dulcian, ocarina, hurdy-gurdy Nicholas Perry There will be one 20-minute intermission. Recorders, sackbut, shawms, tenor Claire McIntyre Viol, percussion David Hatcher Cal Performances’ 2009–2010 season is sponsored by Wells Fargo. -
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare
HAMLET: PRESS RESPONSES Almeida & West End (2017) Shakespeare www.roberticke.com FINANCIAL TIMES Ian Shuttleworth ★★★★★ I have been privileged to see several first-class Hamlets this century: Simon Russell Beale, Samuel West, David Tennant, Rory Kinnear, Maxine Peake, arguably Lars Eidinger. Andrew Scott is at least as outstanding as any of those, and right now I’m inclined to rank him in front. His Prince is almost always self-aware, but not self-understanding; on the contrary, his keynote is a kind of bemused wonder at goings-on both within and beyond his skin. The great soliloquies seem new-minted, every word a separate question. The playfulness at which Scott so excels (most notably as Moriarty in BBC-TV’s Sherlock) is here kept under a rigorously tight rein. I did not see this production when it opened at the Almeida a few months ago, but my impression is that neither Scott’s nor anyone else’s performance has been ramped up for a venue two and half times the size; the consequent occasional intelligibility problems are far outweighed by the sense of human scale. For this is the glory of Robert Icke’s production. It does not consist of a superlative Prince Hamlet, a clutch of fine supporting performances and a number of sharp directorial ideas stitched together into a plausible fabric; rather, it is whole and entire of itself. Angus Wright’s cool, disciplined Claudius, Juliet Stevenson’s besotted-then-horrified Gertrude, Jessica Brown Findlay’s Ophelia (at first at sea like Hamlet, finally psychologically shattered in a wheelchair), David Rintoul’s doubling of the Ghost and the Player King . -
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. -
STUDY GUIDE Introductiontable of Contentspg
STUDY GUIDE IntroductionTABLE OF CONTENTSPg. 3 Pg. 4 Top Ten Things to Know About Going to the Theatre Cast and Creative Team Credits Pg. 5 Mysterious Shakespeare Pg. 6 Inside Vertigo Theatre- An Interview with Anna Cummer Pg. 8 Pre-Show Projects and Discussion Questions Pg. 10 Ghostly Appearances It's Time To Soliloquize Your Burning Questions Pre-Show Activities- To Get You Up On Your Feet Pg. 15 Making Up Meter The Dumbshow Post Show Discussion Questions Pg. 20 The Art of The Theatre Review Pg. 21 About Vertigo Theatre Pg.22 Vertigo Theatre is committed to creating a welcoming atmosphere for schools and to assisting teachers and parent chaperones with that process. It is our wish to foster and develop our relationship with our student audience members. It is our intention to create positive theatre experiences for young people by providing study guides and post-show talk backs with our actors and theatre personnel, in order to enrich students’ appreciation of theatre as an art form and enhance their enjoyment of our plays. IntroductionWelcome to the Study Guide for Vertigo Theatre's, The Shakespeare Company and Hit & Myth's production of Hamlet: A Ghost Story by William Shakespeare, adapted by Anna Cummer. In this guide you will find information about this new adaptation of Hamlet and Shakespeare’s connection to mystery theatre. It also includes information about the creative team and performers involved in the production, as well as a variety of activities to do with your class before and after the show. There are topics suitable for class discussion, individual writing projects, as well as games and exercises that get students moving around and learning on their feet. -
Remembrance of Things Past: Shakespeare’S Comedies on French Television
Remembrance of Things Past: Shakespeare’s Comedies on French Television Sarah HATCHUEL and Nathalie VIENNE -GUERRIN This essay explores how Shakespeare’s comedies were adapted, appropriated and transformed by French television, with a focus on the early days of television. The first striking fact is that, if one is to except stage productions that were filmed and then broadcast, Shakespeare has not been adapted for French television since 1980. In other words, it has been twenty-eight years since a Shakespeare play was last translated, directed and performed for the exclusive benefit of TV viewers. Shakespeare on French television is not our contempor- ary 1. Through the documentary research for this essay, we went back to a time when the mingling of Shakespeare with television seemed to be less daunting and more economically viable than it is today. From the end of the fifties to the seventies, French television offered a substantial cycle: Twelfth Night was directed by Claude Loursais in 1957, then by Claude Barma in 1962; Othello (dir. Claude Barma) appeared on the TV screens in 1962, soon to be followed by Much Ado About Nothing (dir. Pierre Badel), The Merry Wives of Windsor (dir. Roger Iglesis) and The Taming of the Shrew (dir. Pierre Badel) in 1964, by King Lear (dir. Jean Kerchbron) in 1965, and by Antony and Cleopatra (dir. Jean Prat) in 1967. The seventies saw the broadcast of Measure for Measure (dir. Marcel Bluwal, 1971), As You Like It (dir. Agnès Delarive, 1972) and Romeo and Juliet (dir. Claude Barma, 1973). This cycle of French TV Shakespeare stopped short in 1980 _____ 1. -
CASTING ANNOUNCED for the GREATEST WEALTH in Celebration of the NHS
PRESS RELEASE WED 13 JUN CASTING ANNOUNCED FOR THE GREATEST WEALTH In celebration of the NHS One Voice: Monologues funded by the TS Eliot Estate Curated by Lolita Chakrabarti Directed by Adrian Lester The NHS from the 1940s-1970s: Monday 25 June, 8.30pm The NHS from the 1980s-present: Tuesday 26 June, 8.30pm The NHS from the 1940s-present (double bill): Friday 29 June, 8pm ‘No society can legitimately call itself civilised if a sick person is denied medical aid because of lack of means.’ Aneurin Bevan The Old Vic is pleased to announce casting for The Greatest Wealth, curated by Lolita Chakrabarti and directed by Adrian Lester to celebrate 70 years of the National Health Service. Jade Anouka, Louise English, Dervla Kirwan, Ruth Madeley, Art Malik, Meera Syal, Sophie Stone and David Threlfall will perform monologues written by Moira Buffini, Lolita Chakrabarti, Seiriol Davies, Matilda Ibini, Courttia Newland, Meera Syal, Jack Thorne and Paul Unwin in response to each decade since Aneurin Bevan launched the NHS at Park Hospital, Manchester, on 5 July 1948. Each evening will also include music performed by Gloria Obianyo. Lolita Chakrabarti said: ‘I am thrilled to be curating this One Voice for The Old Vic and delighted that so many talented and accomplished actors will be a part of it. To see how inventive but truthful each writer has been and then to realise their work with this calibre of actor is fantastic. This is going to be a very special event.’ The full line up is as follows: 1940s: Boo, by Jack Thorne, performed by Sophie Stone -
Rosencrantz and Guildenstern Are Dead the Play
Rosencrantz and Guildenstern Are Dead The Play Act One Two ELIZABETHANS passing time in a place without any visible character. They are well-dressed - hats, cloaks, sticks and all. Each of them has a large leather money bag. Guildenstern's bag is nearly empty. Rosencrantz's bag is nearly full. The reason being: they are betting on the toss of a coin, in the following manner: Guildenstern (hereafter 'GUIL') takes a coin out of his bag, spins it, letting it fall. Rosencrantz (hereafter 'ROS') studies it, announces it as "heads" (as it happens) and puts it into his own bag. Then they repeat the process. They have apparently been doing it for some time. The run of "heads" is impossible, yet ROS betrays no surprise at all - he feels none. However he is nice enough to feel a little embarrassed attaking so much money off his friend. Let that be his character note. GUIL is well alive to the oddity of it. He is not worried about the money, but he is worried by the implications ; aware but not going to panic about it - his character note. GUIL sits. ROS stands (he does the moving, retrieving coins). GUIL spins. ROS studies coin. ROS: Heads. (He picks it up and puts it in his money bag. The process is repeated.) Heads. (Again.) ROS: Heads. (Again.) Heads. (Again.) Heads. GUIL (flipping a coin): There is an art to the building up of suspense. ROS: Heads. GUIL (flipping another): Though it can be done by luck alone. ROS: Heads. GUIL: If that's the word I'm after. -
Hamlet on the Screen Prof
Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting. -
Sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès
Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory Celine Savatier-Lahondès To cite this version: Celine Savatier-Lahondès. Transtextuality, (Re)sources and Transmission of the Celtic Culture Trough the Shakespearean Repertory. Linguistics. Université Clermont Auvergne; University of Stirling, 2019. English. NNT : 2019CLFAL012. tel-02439401 HAL Id: tel-02439401 https://tel.archives-ouvertes.fr/tel-02439401 Submitted on 14 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. University of Stirling – Université Clermont Auvergne Transtextuality, (Re)sources and Transmission of the Celtic Culture Through the Shakespearean Repertory THESIS SUBMITTED IN FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PH.D) AND DOCTEUR DES UNIVERSITÉS (DOCTORAT) BY CÉLINE SAVATIER LAHONDÈS Co-supervised by: Professor Emeritus John Drakakis Professor Emeritus Danièle Berton-Charrière Department of Arts and Humanities IHRIM Clermont UMR 5317 University of Stirling Faculté de Lettres et Sciences