Celebrating Shakespeare's Plays

Total Page:16

File Type:pdf, Size:1020Kb

Celebrating Shakespeare's Plays Celebrating Shakespeare’s Plays Over 400 Years of Drama This is an Interactive Book List Click on the cover of each book to read descriptions and reviews on Amazon.com Search for these titles online at the San Diego Public Library, San Diego County Library or on the Libby app to read them for free. The Bard of Avon One of my sixth grade teachers introduced me to Shakespeare’s plays. I can still remember him telling my class that we were going to put on a really fun play called Hamlet. It had ghosts, murder and romance and that we’d get to learn how to sword fight. Putting on Hamlet was every bit as fun as he promised it would be. We all enjoyed it so much that our class put on The Taming of the Shrew during our Summer vacation. I know what you’re thinking. Why on Earth did 12 year old Ms. Furey give up her Summer break to put on a 400 year old play? That’s easy. Ghosts. Murder. Romance. Sword fighting! Shakespeare wrote plays that are amazingly fun to read, watch and perform. I hope this list will inspire you to give the Bard a try. I’m sure you’ll like him as as much as I do. --Ms. Furey Shakespearean Characters Thomas Stothard, painter (1755–1834) Tate Gallery, London, England Shakespeare’s Plays The Oxford The Complete The Complete All's Well That Shakespeare: The Works of Illustrated Ends Well Complete Works, Shakespeare Stratford (Folger 2nd Edition by William Shakespeare Shakespeare by William Shakespeare by William Library) Shakespeare Shakespeare by William Shakespeare Shakespeare’s Plays Antony and As You Like It The Comedy of Coriolanus Cleopatra (Folger Errors (Folger (Folger Shakespeare (Folger Shakespeare Shakespeare Library) Shakespeare Library) Library) by William Library) by William by William Shakespeare by William Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Cymbeline Hamlet Henry IV, Part I Henry IV, Part II (Folger (Folger Library (Folger (Folger Shakespeare Shakespeare) Shakespeare Shakespeare Library) by William Library) Library) by William Shakespeare by William by William Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Henry V Henry VI, Part I Henry VI, Part II Henry VI, Part III (Folger (Folger (Folger (Folger Shakespeare Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Henry VIII Julius Caesar King John King Lear (Folger (Folger (Folger (Folger Shakespeare Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Love's Labor's Macbeth Measure for The Merchant of Lost (Folger Measure Venice (Folger Shakespeare (Folger (Folger Shakespeare Library) Shakespeare Shakespeare Library) by William Library) Library) by William Shakespeare by William by William Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Merry Wives of A Midsummer Much Ado About Othello Windsor Night's Dream Nothing (Folger (Folger (Folger (Folger Shakespeare Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Pericles Richard II Richard III Romeo And Juliet (Folger (Folger (Folger (Folger Shakespeare Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare’s Plays The Taming of the The Tempest Timon of Athens Titus Andronicus Shrew (Folger (Folger (Folger (Folger Shakespeare Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Shakespeare’s Plays Troilus and Twelfth Night The Two Gentlemen Winter's Tale Cressida (Folger of Verona (Folger (Folger Shakespeare (Folger Shakespeare Shakespeare Shakespeare Library) Library) Library) Library) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare The Play Scene In Hamlet - Act III Scene 2 Edwin Austin Abbey, painter (1852-1911) Yale University, New Haven, CT Spanish Translations of Shakespeare’s Works Comedias (Obra Tragedias (Obra Dramas históricos Romances (Obra completa completa (Obra completa completa Shakespeare 1) Shakespeare 2) Shakespeare 3) Shakespeare 4) (Spanish Edition) (Spanish Edition) (Spanish Edition) (Spanish Edition) by William by William by William by William Shakespeare Shakespeare Shakespeare Shakespeare Spanish Translations of Shakespeare’s Works Poesías (Obra Romeo y Julieta El Libro de Las obras completas completa (Spanish Edition) Shakespeare de William Shakespeare 5) by William (Spanish Edition) Shakespeare (Spanish Edition) Shakespeare by DK (Spanish Kindle by William Edition) Shakespeare by William Shakespeare David Garrick as Richard III Othello, the Moor of Venice William Hogarth, painter (1697–1764) James Northcote, painter (1746–1831) Walker Art Gallery Manchester Art Gallery Full Cast Audios of Shakespeare’s Plays The GPA Library has full-cast audio editions of all of Shakespeare’s plays in .mp3 format. These can be emailed to any member of the GPA community upon request. Please send your request to Ms. Furey by email to: [email protected] Let her know the name of the play you want to listen to and the email address she should send the links to. Audio editions are stored on the Cloud and each one has multiple tracks. If you have trouble listening to a particular track, please let Ms. Furey know and she will cheerfully fix the problem. Scene from A Midsummer Night's Dream Sir Edwin Landseer, painter (1802-1873) National Gallery of Victoria Middle School Fiction Illustrated Stories Tales from King of Shadows Usborne Complete from Shakespeare Shakespeare by Susan Cooper Shakespeare by William by Charles & Mary by Maria Shakespeare Lamb Surducan Middle School Fiction Shakespeare's The Shakespeare Shakespeare's Shakespeare's Secret Stealer: Scribe: Spy: by Elise Broach Book 1 of 3 Book 2 of 3 Book 3 of 3 by Gary by Gary by Gary Blackwood Blackwood Blackwood Middle School Fiction A Stage Full of Pop-up Beautiful Stories Tales from Shakespeare Shakespeare: from Shakespeare Shakespeare Stories Every Play and for Children by Marcia Williams by Angela Poem in Pop-up 3-D by E. Nesbit and McAllister and by The Reduced Arthur Rackham Alice Lindstrom Shakespeare Co. Middle School Fiction OMG Shakespeare Stage Fright on a Secrets of Tower of the Five Boxed Set: YOLO Summer Night: Shakespeare's Orders: The Juliet; srsly Hamlet; Magic Tree House Grave: The Shakespeare Macbeth #killing it #25 Shakespeare Mysteries, Book 2 by Courtney by Mary Pope Mysteries, Book 1 by Deron R. Hicks Carbone Osborne by Deron R. Hicks Middle School Fiction The Invisible Cold Fire: William The Wednesday Hand: Shakespeare's Shakespeare's Wars Shakespeare's Moon, Act II Star Wars: Verily, by Gary D. Moon, Act I by James A New Hope Schmidt by James Hartley Book 4 of 9 Hartley by Ian Doescher Middle School Fiction Twenty Romeo & Juliet Othello Hamlet Shakespeare by Macaw Books by Macaw Books by Macaw Books Children's Stories by William Shakespeare and Macaw Books Middle School Fiction Poor Tom's Ghost The Black Canary The Long-Lost Elizabeth I: Red by Jane Louise by Jane Louise Secret Diary of Rose of the House Curry Curry the World’s Worst of Tudor, England, Shakespearean 1544 (The Royal Actor Diaries) by Tim Collins by Kathryn Lasky Miranda—The Tempest John William Waterhouse, painter (1849–1917) Private Collection High School Fiction The Year Noughts & Crosses Hamnet Ophelia Shakespeare (Royal by Maggie by Lisa Klein Ruined My Life Shakespeare O'Farrell by Dani Jansen Company/NHB Modern Plays) by Malorie Blackman High School Fiction Saving Hamlet Shakespeare's Red Velvet: The Book of Sand by Molly Booth Younger Sister (Modern Plays) and by Geoffrey Craig by Lolita Shakespeare's Chakrabarti Memory by Jorge Luis Borges High School Fiction Vinegar Girl: Hag-Seed: Dunbar: Shakespeare in William William William Love: A Screenplay Shakespeare's The Shakespeare's The Shakespeare's King by Marc Norman Taming of the Tempest Retold: A Lear Retold: A and Tom Stoppard Shrew Retold: A Novel Novel Novel by Margaret by Edward St. by Anne Tyler Atwood Aubyn High School Fiction Murder at I, Iago: These Violent William Macbeth A Novel Delights Shakespeare's by Susan Harper by Nicole Galland by Chloe Gong Much Ado About Mean Girls: Pop Shakespeare by Ian Doescher and Kent Barton High School Fiction William William The Great St That Way Shakespeare's Get Shakespeare's The Mary's Day Out: Madness Lies: Thee Back to the Taming of the A Chronicles of St 15 of Shakespeare's Mary's short story Future!: Pop Clueless: Pop Most Notable Shakespeare Shakespeare by Jodi Taylor Works Reimagined by Ian Doescher by Ian Doescher by Dahlia Adler High School Fiction YOLO Juliet: srsly Hamlet: A Midsummer Macbeth #killingit: OMG Shakespeare OMG Shakespeare Night #nofilter: OMG Shakespeare by William by William OMG Shakespeare by William Shakespeare and Shakespeare and by William Shakespeare and Brett Wright Courtney Carbone Shakespeare and Courtney Carbone Brett Wright Romeo and Juliet Romeo and Juliet Farewell Jennie Harbour, illustrator (1893-1959) Eleanor Fortescue-Brickdale, painter (1871-1945) Postcard Private Collection printed by Raphael Tuck & Sons Middle School Nonfiction What's So Special Shakespeare for The Shakespeare Eyewitness: About Every
Recommended publications
  • Miranda: a Pinnacle of Femininity and Object of Patriarchal Power (A Study of Shakespeare‘S ―The Tempest‖) Mrs
    Special Issue Published in International Journal of Trend in Research and Development (IJTRD), ISSN: 2394-9333, www.ijtrd.com Miranda: A Pinnacle of Femininity and Object of Patriarchal Power (A Study of Shakespeare‘s ―The Tempest‖) Mrs. Divya K.B, Associate Professor, Dept of English, Jindal First Grade College For WomenJindalnagar, Bangalore, India Abstract: Shakespeare was not of an age but for all times because his characters are true to the eternal aspects of human life and not limited to contemporary society. Shakespeare was also the soul of his age. By its very nature drama is a mirror of its times. He wrote for Elizabethan audience and he conditioned his art to suit the tastes of the people and the limitations of the age. Shakespeare‘s greatness, one critic said lay in his comprehensive soul. That is the most poetic summation of a dramatic genius that has never been equaled. No dramatist can create live characters save by bequeathing the best of himself into his work of art, scattering among them a largess of his own qualities, his own wit, his comprehensive cogent philosophy, his own rhythm of action and the simplicity or complexity of his own nature. Shakespeare excelled in all of them all the time, or at least majority of times, as he teased and tormented his readers with his exquisite wit on one scale and sublimated them with his deep insight into human psyche on another. Shakespeare wrote in the age outstanding in literary history and its vitality of language. During the time of Shakespeare, there was a social construct of daughter Miranda to her rightful place using illusion and skilful gender and sexuality norms just as there are today.
    [Show full text]
  • Language and the Internet
    This page intentionally left blank Language and the Internet David Crystal investigates the nature of the impact which the Internet is making on language. There is already a widespread popular mythology that the Internet is going to be bad for the future of language – that technospeak will rule, standards be lost, and creativity diminished as globalization imposes sameness. The argument of this book is the reverse: that the Internet is in fact enabling a dramatic expansion to take place in the range and variety of language, and is providing unprecedented opportunities for personal creativity. The Internet has now been around long enough for us to ‘take a view’ about the way in which it is being shaped by and is shaping language and languages, and there is no one better placed than David Crystal to take that view. His book is written to be accessible to anyone who has used the Internet and who has an interest in language issues. DAVID CRYSTAL is one of the world’s foremost authorities on language, and as editor of the Cambridge Encyclopedia database he has used the Internet for research purposes from its earliest manifestations. His work for a high technology company involved him in the development of an information classification system with several Internet applications, and he has extensive professional experience of Web issues. Professor Crystal is author of the hugely successful Cambridge Encyclopedia of Language (1987; second edition 1997), Cambridge Encyclopedia of the English Language (1995), English as a Global Language (1997), and Language Death (2000). An internationally renowned writer, journal editor, lecturer and broadcaster, he received an OBE in 1995 for his services to the English language.
    [Show full text]
  • King and Country: Shakespeare’S Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company
    2016 BAM Winter/Spring #KingandCountry Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board BAM, the Royal Shakespeare Company, and Adam E. Max, Vice Chairman of the Board The Ohio State University present Katy Clark, President Joseph V. Melillo, Executive Producer King and Country: Shakespeare’s Great Cycle of Kings Richard II • Henry IV Part I Henry IV Part II • Henry V Royal Shakespeare Company BAM Harvey Theater Mar 24—May 1 Season Sponsor: Directed by Gregory Doran Set design by Stephen Brimson Lewis Global Tour Premier Partner Lighting design by Tim Mitchell Music by Paul Englishby Leadership support for King and Country Sound design by Martin Slavin provided by the Jerome L. Greene Foundation. Movement by Michael Ashcroft Fights by Terry King Major support for Henry V provided by Mark Pigott KBE. Major support provided by Alan Jones & Ashley Garrett; Frederick Iseman; Katheryn C. Patterson & Thomas L. Kempner Jr.; and Jewish Communal Fund. Additional support provided by Mercedes T. Bass; and Robert & Teresa Lindsay. #KingandCountry Royal Shakespeare Company King and Country: Shakespeare’s Great Cycle of Kings BAM Harvey Theater RICHARD II—Mar 24, Apr 1, 5, 8, 12, 14, 19, 26 & 29 at 7:30pm; Apr 17 at 3pm HENRY IV PART I—Mar 26, Apr 6, 15 & 20 at 7:30pm; Apr 2, 9, 23, 27 & 30 at 2pm HENRY IV PART II—Mar 28, Apr 2, 7, 9, 21, 23, 27 & 30 at 7:30pm; Apr 16 at 2pm HENRY V—Mar 31, Apr 13, 16, 22 & 28 at 7:30pm; Apr 3, 10, 24 & May 1 at 3pm ADDITIONAL CREATIVE TEAM Company Voice
    [Show full text]
  • Education Pack
    Education Pack 1 Contents Introduction ..................................................................................................................... 3 Section 1: Shakespeare and the Original Twelfth Night ..................................................... 4 William Shakespeare 1564 - 1616 ...................................................................................... 5 Elizabethan and Jacobean Theatre ..................................................................................... 6 Section 2: The Watermill’s Production of Twelfth Night .................................................. 10 A Brief Synopsis .............................................................................................................. 11 Character Map ................................................................................................................ 13 1920s and Twelfth Night.................................................................................................. 14 Meet the Cast ................................................................................................................. 16 Actor’s Blog .................................................................................................................... 20 Two Shows, One Set ........................................................................................................ 24 Rehearsal Diary ............................................................................................................... 26 Rehearsal Reports ..........................................................................................................
    [Show full text]
  • Shakespearean Tragedy's
    SHAKESPEAREAN TRAGEDY’S SHAKESPEAREAN TRAGEDY’S: A CRITICAL STUDY Rameshsingh M.Chauhan Assistant Professor, ISSN 2277-7733 Sardar Vallabhbhai Vanijya Mahavidyalaya, Ahmedabad Volume 6 Issue 4, March 2018 Abstract Shakespearean say that tragedy is nothing but a sad play is not accurate the plays often involve the fall of noble stature. The character always has a fatal that leads to their downfall. Their downfall is usually set into motion by external forces that the characters have little or no control over. The tragedies are also characterized by a great deal of death. The tone is usually very somber from the onset of the play. The plays are meant to examine human nature. The elements below can be found in Shakespeare tragedies, how well do they match the play know? They end with the death of the tragic heroes. The deaths of the heroes have a big impact on the people around them. And the larger community other person dies as part of the tragic chain of events. The heroes reach a pack in the day of happiness or achievement. Macbeth becomes King Romeo and Juliet get married. This usually happens about through. After this peak, there is a peripateia where events take a terrible turn for the worse. The heroes are in some part responsible for this change of fortunes. The paper critically analyses the Shakespearean tragedy. Key words: criticism, critical study, shakespeare, tragedy William Shakespeare is the greatest English writer. He was born on April 23, 1564 in Stratford upon even Shakespeare was the most documented Elizabethan play write.
    [Show full text]
  • What Next Miranda?: Marina Warner's Indigo
    Kunapipi Volume 16 Issue 3 Article 13 1994 What Next Miranda?: Marina Warner's Indigo Chantal Zabus Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Zabus, Chantal, What Next Miranda?: Marina Warner's Indigo, Kunapipi, 16(3), 1994. Available at:https://ro.uow.edu.au/kunapipi/vol16/iss3/13 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] What Next Miranda?: Marina Warner's Indigo Abstract Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century. Such texts serve as pre-texts to others; they underwrite them. Yet, in its nearly four centuries of existence, The Tempest has washed ashore more alluvial debris than any other text: parodies, rewritings and adaptations of all kinds. Incessantly, we keep revisiting the stage of Shakespeare's island and we continue to dredge up new meanings from its sea-bed. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol16/iss3/13 What Next Miranda?: Marina Warner's Indigo 81 CHANTAL ZABUS What Next Miranda?: Marina Warner's Indigo 1 'What next I wonder?' Iris Murdoch, The Sea, the Sea Each century seems to have its own interpellative dream-text: The Tempest for the 17th century; Robinson Crusoe for the 18th century; Jane Eyre for the 19th century; Heart of Darkness for the turn of this century.
    [Show full text]
  • Reimagining a Midsummer Night's Dream
    TABLE OF CONTENTS Preface 1 Art That Lives 2 Bard’s Bio 2 The First Folio 3 Shakespeare’s England 4 The Renaissance Theater 5 Barbara Gaines Criss Henderson Courtyard-style Theater 6 Artistic Director Executive Director On the Road: A Brief History of Touring Shakespeare 8 Timeline 10 Chicago Shakespeare Theater is Chicago’s professional theater dedi- cated to the works of William Shakespeare. Founded as Shakespeare Shakespeare’s Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style courtyard theater, 500 seats on three A Midsummer Night's Dream levels wrap around a deep thrust stage—with only nine rows separating the farthest seat from the stage. Chicago Shakespeare also features a Dramatis Personae 12 flexible 180-seat black box studio theater, a Teacher Resource Center, and The Story 13 Who's Who: What's in a Name? 13 a Shakespeare specialty bookstall. Act-by-Act Synopsis 14 Now in its twenty-seventh season, the Theater has produced nearly the en- Something Borrowed, Something New… tire Shakespeare canon: All’s Well That Ends Well, Antony and Cleopa- Shakespeare's Sources 15 tra, As You Like It, The Comedy of Errors, Cymbeline, Hamlet, Henry The Nature of Comedy 17 IV Parts 1 and 2, Henry V, Henry VI Parts 1, 2 and 3, Henry VIII, Julius A History of Dreams 18 Caesar, King John, King Lear, Love’s Labor’s Lost, Macbeth, Measure Scholars’ Perspectives for Measure, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Much Ado About Nothing, Othello, Pericles, Spirits of Another Sort 20 Richard II, Richard III, Romeo and Juliet, The Taming of the Shrew, The What the Critics Say 21 Tempest, Timon of Athens, Troilus and Cressida, Twelfth Night, The Two Gentlemen of Verona, The Two Noble Kinsmen, and The Winter’s Tale.
    [Show full text]
  • The Tempest Summary: a Magical Storm
    The Tempest Summary: A Magical Storm The Tempest begins on a boat, tossed about in a storm. Aboard is Alonso the King of Naples, Ferdinand (his son), Sebastian (his brother), Antonio the usurping Duke of Milan, Gonzalo, Adrian, Francisco, Trinculo and Stefano. Miranda, who has been watching the ship at sea, is distraught at the thought of lost lives. The storm was created by her father, the magical Prospero, who reassures Miranda that all will be well. Prospero explains how they came to live on this island: they were once part of Milan’s nobility – he was a Duke and Miranda the baby princess. However, Prospero’s brother (Antonio) exiled them – they were placed on a boat and banished, never to be seen again. Prospero summons Ariel, his servant spirit. Ariel explains that he has carried out Prospero’s orders: he destroyed the ship and dispersed its passengers across the island. Prospero instructs Ariel to be invisible and spy on them. Ariel asks when he will be freed and Prospero chastises him for being ungrateful, promising to free him soon, when his work is done. Caliban: Man or Monster? Prospero decides to visit his other servant, Caliban, but Miranda is reluctant, describing him as a monster. Prospero agrees that Caliban can be rude and unpleasant, but is invaluable for the menial tasks he performs for them. When Prospero and Miranda meet Caliban, we learn that he is native to the island, but Prospero turned him into a slave raising issues about morality and fairness in the play. Love at First Sight Ferdinand stumbles across Miranda and they fall in love and decide to marry.
    [Show full text]
  • Notes on the Bacon-Shakespeare Question
    NOTES ON THE BACON-SHAKESPEARE QUESTION BY CHARLES ALLEN BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY ftiucrsi&c press, 1900 COPYRIGHT, 1900, BY CHARLES ALLEN ALL RIGHTS RESERVED GIFT PREFACE AN attempt is here made to throw some new light, at least for those who are Dot already Shakespearian scholars, upon the still vexed ques- tion of the authorship of the plays and poems which bear Shakespeare's name. In the first place, it has seemed to me that the Baconian ar- gument from the legal knowledge shown in the plays is of slight weight, but that heretofore it has not been adequately met. Accordingly I have en- deavored with some elaboration to make it plain that this legal knowledge was not extraordinary, or such as to imply that the author was educated as a lawyer, or even as a lawyer's clerk. In ad- dition to dealing with this rather technical phase of the general subject, I have sought from the plays themselves and from other sources to bring together materials which have a bearing upon the question of authorship, and some of which, though familiar enough of themselves, have not been sufficiently considered in this special aspect. The writer of the plays showed an intimate M758108 iv PREFACE familiarity with many things which it is believed would have been known to Shakespeare but not to Bacon and I have to collect the most '; soughtO important of these, to exhibit them in some de- tail, and to arrange them in order, so that their weight may be easily understood and appreci- ated.
    [Show full text]
  • Killing Shakespeare's Children: the Cases of Richard III and King John Joseph Campana
    Campana, J. (2007). Killing Shakespeare’s Children: The Cases of Richard III and King John. Shakespeare, 3(1), 18–39. doi:10.1080/17450910701252271 Killing Shakespeare's Children: The Cases of Richard III and King John Joseph Campana This essay explores a series of affective, sexual and temporal disturbances that Shakespeare's child characters create on the early modern stage and that lead these characters often to their deaths. It does so by turning to the murdered princes of Richard III and the ultimately extinguished boy-king Arthur of King John. A pervasive sentimentality about childhood shapes the way audiences and critics have responded to Shakespeare's children by rendering invisible complex and discomfiting erotic and emotional investments in childhood innocence. While Richard III subjects such sentimentality to its analytic gaze, King John explores extreme modes of affect and sexuality associated with childhood. For all of the pragmatic political reasons to kill Arthur, he is much more than an inconvenient dynastic obstacle. Arthur functions as the central node of networks of seduction, the catalyst of morbid displays of affect, and the signifier of future promise as threateningly mutable. King John and Richard III typify Shakespeare's larger dramatic interrogation of emergent notions of childhood and of contradictory notions of temporality, an interrogation conducted by the staging of uncanny, precocious, and ill-fated child roles. Keywords: Children; childhood; seduction; sexuality; affect; temporality; Richard III; King John If it is fair to say that Shakespeare included in his plays more child roles than did his contemporaries (Ann Blake counts thirty; Mark Heberle counts thirty-nine), it is also fair to say Shakespeare provided a wide range of parts for those children: from pivotal roles in royal succession to trace presences as enigmatic markers of symbolic equations never perhaps to be solved.
    [Show full text]
  • King John Take Place in the Thirteenth Century, Well Before Shakespeare’S Other English History Plays
    Folger Shakespeare Library https://shakespeare.folger.edu/ Get even more from the Folger You can get your own copy of this text to keep. Purchase a full copy to get the text, plus explanatory notes, illustrations, and more. Buy a copy Contents From the Director of the Folger Shakespeare Library Front Textual Introduction Matter Synopsis Characters in the Play ACT 1 Scene 1 ACT 2 Scene 1 Scene 1 Scene 2 ACT 3 Scene 3 Scene 4 Scene 1 ACT 4 Scene 2 Scene 3 Scene 1 Scene 2 Scene 3 ACT 5 Scene 4 Scene 5 Scene 6 Scene 7 From the Director of the Folger Shakespeare Library It is hard to imagine a world without Shakespeare. Since their composition four hundred years ago, Shakespeare’s plays and poems have traveled the globe, inviting those who see and read his works to make them their own. Readers of the New Folger Editions are part of this ongoing process of “taking up Shakespeare,” finding our own thoughts and feelings in language that strikes us as old or unusual and, for that very reason, new. We still struggle to keep up with a writer who could think a mile a minute, whose words paint pictures that shift like clouds. These expertly edited texts are presented to the public as a resource for study, artistic adaptation, and enjoyment. By making the classic texts of the New Folger Editions available in electronic form as The Folger Shakespeare (formerly Folger Digital Texts), we place a trusted resource in the hands of anyone who wants them.
    [Show full text]
  • Gesture and Movement in Silent Shakespeare Films
    Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M.
    [Show full text]