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A TASTE of SHAKESPEARE: MACBETH a 52 Minute Video Available for Purchase Or Rental from Bullfrog Films
A TASTE OF SHAKESPEARE MACBETH Produced by Eugenia Educational Foundation Teacher’s Guide The video with Teacher’s Guide A TASTE OF SHAKESPEARE: MACBETH a 52 minute video available for purchase or rental from Bullfrog Films Produced in Association with BRAVO! Canada: a division of CHUM Limited Produced with the Participation of the Canadian Independent Film & Video Fund; with the Assistance of The Department of Canadian Heritage Acknowledgements: We gratefully acknowledge the support of The Ontario Trillium Foundation: an agency of the Ministry of Culture The Catherine & Maxwell Meighen Foundation The Norman & Margaret Jewison Foundation George Lunan Foundation J.P. Bickell Foundation Sir Joseph Flavelle Foundation ©2003 Eugenia Educational Foundation A Taste of Shakespeare: Macbeth Program Description A Taste of Shakespeare is a series of thought-provoking videotapes of Shakespeare plays, in which actors play the great scenes in the language of 16th and 17th century England, but comment on the action in the English of today. Each video is under an hour in length and is designed to introduce the play to students in high school and college. The teacher’s guide that comes with each video gives – among other things – a brief analysis of the play, topics for discussion or essays, and a short list of recom- mended reading. Production Notes At the beginning and end of this blood- soaked tragic play Macbeth fights bravely: loyal to his King and true to himself. (It takes nothing away from his valour that in the final battle King and self are one.) But in between the first battle and the last Macbeth betrays and destroys King, country, and whatever is good in his own nature. -
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. -
The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM
Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM ISSN 1554-6985 VOLUME XI · (/current) NUMBER 2 SPRING 2018 (/previous) EDITED BY (/about) Christy Desmet and Sujata (/archive) Iyengar CONTENTS On Gottfried Keller's A Village Romeo and Juliet and Shakespeare Adaptation in General (/783959/show) Balz Engler (pdf) (/783959/pdf) "To build or not to build": LEGO® Shakespeare™ Sarah Hatchuel and the Question of Creativity (/783948/show) (pdf) and Nathalie (/783948/pdf) Vienne-Guerrin The New Hamlet and the New Woman: A Shakespearean Mashup in 1902 (/783863/show) (pdf) Jonathan Burton (/783863/pdf) Translation and Influence: Dorothea Tieck's Translations of Shakespeare (/783932/show) (pdf) Christian Smith (/783932/pdf) Hamlet's Road from Damascus: Potent Fathers, Slain Yousef Awad and Ghosts, and Rejuvenated Sons (/783922/show) (pdf) Barkuzar Dubbati (/783922/pdf) http://borrowers.uga.edu/7168/toc Page 1 of 2 Borrowers and Lenders: The Journal of Shakespeare and Appropriation 11/14/19, 1'39 PM Vortigern in and out of the Closet (/783930/show) Jeffrey Kahan (pdf) (/783930/pdf) "Now 'mongst this flock of drunkards": Drunk Shakespeare's Polytemporal Theater (/783933/show) Jennifer Holl (pdf) (/783933/pdf) A PPROPRIATION IN PERFORMANCE Taking the Measure of One's Suppositions, One Step Regina Buccola at a Time (/783924/show) (pdf) (/783924/pdf) S HAKESPEARE APPS Review of Stratford Shakespeare Festival Behind the M. G. Aune Scenes (/783860/show) (pdf) (/783860/pdf) B OOK REVIEW Review of Nutshell, by Ian McEwan -
Actes Des Congrès De La Société Française Shakespeare
Actes des congrès de la Société française Shakespeare 35 | 2017 Shakespeare après Shakespeare Alien Shakespeares 2.0 Christy Desmet Electronic version URL: http://journals.openedition.org/shakespeare/3877 DOI: 10.4000/shakespeare.3877 ISSN: 2271-6424 Publisher Société Française Shakespeare Electronic reference Christy Desmet, « Alien Shakespeares 2.0 », Actes des congrès de la Société française Shakespeare [Online], 35 | 2017, Online since 01 February 2017, connection on 01 May 2019. URL : http:// journals.openedition.org/shakespeare/3877 ; DOI : 10.4000/shakespeare.3877 This text was automatically generated on 1 May 2019. © SFS Alien Shakespeares 2.0 1 Alien Shakespeares 2.0 Christy Desmet 1 “Shakespeare,” under the sign of Web 2.0, has remained a divided field or doubled object of interpretation. New Media Shakespeares, of which YouTube is the most popular example, tend to be brief, quixotic, and lacking in high seriousness. We need look no further than the recent spate of Hamlet school parodies, of varying poetic and narratological merits, which set the plot of Shakespeare’s tragedy to Miley Cyrus’s song “Wrecking Ball.”1 Digital Humanities approaches to the Shakespearean text, as exemplified by textual corpora and authorship studies, work on a grand scale and are marked by methodological rigor. Emphasizing the material differences between these two kinds of digital work, however, obscures similarities that could let us see digitized Shakespeares of different kinds as co-existing along a continuum. In this essay, I suggest a possible -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
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. -
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 -
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. -
Macbeth and the Twists of the Soul
Macbeth and the twists of the soul Rafael Campos Oliven Submetido em 03 de Outubro de 2014. Aceito para publicação em 07 de Dezembro de 2014. Cadernos do IL, Porto Alegre, n.º 49, Dezembro de 2014. p. 143-158 ______________________________________________________________________ POLÍTICA DE DIREITO AUTORAL Autores que publicam nesta revista concordam com os seguintes termos: (a) Os autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista. (b) Os autores têm autorização para assumir contratos adicionais separadamente, para distribuição não exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. (c) Os autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado. (d) Os autores estão conscientes de que a revista não se responsabiliza pela solicitação ou pelo pagamento de direitos autorais referentes às imagens incorporadas ao artigo. A obtenção de autorização para a publicação de imagens, de autoria do próprio autor do artigo ou de terceiros, é de responsabilidade do autor. Por esta razão, para todos os artigos que contenham imagens, o autor deve ter uma autorização do uso da imagem, sem qualquer ônus financeiro para os Cadernos do IL. -
ANNE BARTON Anne Barton 1933–2013
ANNE BARTON Anne Barton 1933–2013 IN 1953 SHAKESPEARE QUARTERLY, then, as now, one of the two leading academic Shakespeare journals in the world, published an article concisely titled ‘Love’s Labour’s Lost’.1 The list of contributors identified the author as ‘Miss Bobbyann Roesen, a Senior at Bryn Mawr’, who ‘is the first under- graduate to contribute an essay to Shakespeare Quarterly. She attended the Shakespeare Institute at Stratford-upon-Avon in the summer of 1952 and hopes to pursue graduate studies in Renaissance literature at Oxford or Cambridge.’2 Looking back forty years later, the former Miss Roesen, now Anne Barton, had ‘a few qualms and misgivings’ about reprinting the article in a collection of some of her pieces. As usual, her estimate of her own work was accurate, if too modest: As an essay drawing fresh attention to a play extraordinarily neglected or mis- represented before that date, it does not seem to me negligible. Both its high estimate of the comedy and the particular reading it advances are things in which I still believe. But, however influential it may have been, it is now a period piece, written in a style all too redolent of a youthful passion for Walter Pater.3 Undoubtedly influential and far from negligible, the article not only continues to read well, for all its Paterisms, but also continues to seem an extraordinary accomplishment for an undergraduate. There is, through- out, a remarkable ability to close-read Shakespeare carefully and with sus- tained sensitivity, to see how the language is working on the page and how 1 Bobbyann Roesen, ‘Love’s Labour’s Lost’, Shakespeare Quarterly, 4 (1953), 411–26. -
Making Shakespeare Accessible to the High School Student: a Study of Language and Relationships in Hamlet and the Taming of the Shrew
Making Shakespeare Accessible to the High School Student: A Study of Language and Relationships in Hamlet and The Taming of the Shrew Virginia Kay Jones INTRODUCTION Having taught for over thirty years at an inner city high school, I have tried not only to shape my curriculum to my students‘ needs but also to make the study of British literature relevant to my students‘ lives. The teaching of Shakespeare is always a challenge. I have taught Romeo and Juliet, Julius Caesar, Macbeth, The Taming of the Shrew, A Midsummer Night’s Dream, and Hamlet—all with varying degrees of success. For the past few years, Hamlet has been my focal point for the spring semester of senior English. Although my students enjoy the play—often stating that it is the first Shakespearean play that they have liked—I feel that I can do more than what I am doing. By just reading and discussing a play, a student cannot appreciate the essence of the work. My students love language. They can improvise rap and create beautiful poetry with little prompting. However, they are afraid to tackle Shakespeare. I intend to design a unit that will make the study of Shakespeare more accessible to my students by helping them ―come to terms‖ with the language. My students also love to act, so I want to teach Shakespeare with a more performance-based approach. Additionally, I want to expose my students to Shakespearean comedy as well as tragedy. A unit designed around the theme of relationships (male-female, sibling, and parent-child) is the thread to connect Hamlet and The Taming of the Shrew and make them more relevant to today‘s students. -
Macbeth and Lady Macbeth Page 14 What Is It to Be a Man? Page 15
MACBETH Introduction WILLIAM SHAKESPEARE The activities in this pack are inspired by the rehearsal room process and have been created around Michael Boyd's 2011 production of Macbeth. The activities can work in a classroom (or hall or studio space), either as stand-alone practical approaches to the text or as supporting activities for students seeing the production They have been designed with KS3 and KS4 students in mind, but can be adapted for other age groups. More activities on Macbeth are available in The RSC Shakespeare Toolkit for Teachers, available online in the RSC Shop These symbols are used CONTENTS throughout the pack: Macbeth's ambition Page 2 Making a start Page 3 READ - contextual notes from the rehearsal room Malcolm – The young king Page 6 Banquo's ambition for his son Page 9 ACTIVITY – Get on your feet for a classroom activity Fleance flash forward Page 11 Macduff and his family Page 12 WATCH - video Macbeth and Lady Macbeth Page 14 What is it to be a man? Page 15 ABOUT RSC EDUCATION We want children and young people to enjoy the challenge of Shakespeare and achieve more as a result of connecting with his work. Central to our education work is our manifesto for Shakespeare in schools; Stand up for Shakespeare. We know that children and young people can experience Shakespeare in ways that excite, engage and inspire them. We believe that young people get the most out of Shakespeare when they: Do Shakespeare on their feet – exploring the plays actively as actors do See it Live – participate as members of a live audience Start it Earlier – work on the plays from a younger age As an organisation, the RSC has four values.