DOCSLIB.ORG

11.1.2 Lesson 18

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
11.1.2 Lesson 18 NYS Common Core ELA & Literacy Curriculum Grade 11 • Module 1 • Unit 2 • Lesson 18 11.1.2 Lesson 18 Introduction In this lesson, students listen to a masterful reading of Act 4.4, lines 1–69 (from “Go, Captain, from me greet the Danish king” to “My thoughts be bloody or be nothing worth!”), and then analyze Hamlet’s final soliloquy in lines 34–56, in which he resolves to act on his vengeful thoughts. Students note how Shakespeare continues to develop Hamlet’s character in this passage, paying particular attention to the use of comparisons and Fortinbras’s role as a foil for Hamlet. Students first read closely for comprehension and then work in pairs to consider larger ideas developed in this soliloquy that relate to Hamlet’s character. Student learning is assessed via a Quick Write at the end of the lesson: How does the comparison of Hamlet to Fortinbras develop Hamlet’s character? For homework, students reread Act 4.4, lines 34–69 of Hamlet (from “How all occasions do inform against me” to “My thoughts be bloody or be nothing worth!”) and paraphrase lines 56–69. Standards Assessed Standard(s) RL.11-12.3 Analyze the impact of the author’s choices regarding how to develop and relate elements of a story or drama (e.g., where a story is set, how the action is ordered, how the characters are introduced and developed). Addressed Standard(s) SL.11-12.1.a-e Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively. a. Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas. b. Work with peers to promote civil, democratic discussions and decision-making, set clear goals and deadlines, and establish individual roles as needed. c. Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and File: 11.1.2 Lesson 18, v2 Date: 4/30/15 Classroom Use: Starting 5/2015 © 2015 Public Consulting Group. This work is licensed under a 1 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/ NYS Common Core ELA & Literacy Curriculum Grade 11 • Module 1 • Unit 2 • Lesson 18 creative perspectives. d. Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve contradictions when possible; and determine what additional information or research is required to deepen the investigation or complete the task. e. Seek to understand other perspectives and cultures and communicate effectively with audiences or individuals from varied backgrounds. L.11-12.5.b Demonstrate understanding of figurative language, word relationships, and nuances in word meanings. b. Analyze nuances in the meaning of words with similar denotations. Assessment Assessment(s) Student learning is assessed via a Quick Write at the end of the lesson. Students respond to the following prompt, citing textual evidence to support analysis and inferences drawn from the text. How does the comparison of Hamlet to Fortinbras develop Hamlet’s character? High Performance Response(s) A High Performance Response should: Identify an important aspect of Hamlet’s character (e.g., Hamlet’s indecisiveness, Hamlet’s self- pity, Hamlet’s concern with his own cowardice, etc.). Discuss the relationship of Hamlet’s character to Fortinbras (e.g., Fortinbras acts as a foil that emphasizes Hamlet’s self-pity, indecisiveness, and his concern with cowardice. Hamlet spends his monologue comparing himself to Fortinbras. Hamlet laments that while Fortinbras marches on Poland to avenge his father’s death, Hamlet has done nothing to avenge his own father’s death even though Hamlet has the “cause, and will, and strength, and means” (line 48) to kill Claudius. Hamlet, unlike Fortinbras, has been indecisive about avenging his father’s death, either because of mindlessness, or “craven scruple” (line 42), the cowardice brought on by thinking too much. Hamlet’s concern for his cowardice stands in stark contrast to Fortinbras’s willingness to risk so much for land as big and important as “an eggshell” (line 56).). Vocabulary Vocabulary to provide directly (will not include extended instruction) exhort (v.) – to urge, advise, or caution earnestly File: 11.1.2 Lesson 18, v2 Date: 4/30/15 Classroom Use: Starting 5/2015 © 2015 Public Consulting Group. This work is licensed under a 2 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/ NYS Common Core ELA & Literacy Curriculum Grade 11 • Module 1 • Unit 2 • Lesson 18 Vocabulary to teach (may include direct word work and/or questions) dull (adj.) – not sharp; blunt Additional vocabulary to support English Language Learners (to provide directly) occasions (n.) – particular times, especially as marked by certain circumstances or occurrences capability (n.) – the ability to do something puffed (adj.) – made larger than normal Lesson Agenda/Overview Student-Facing Agenda % of Lesson Standards & Text: Standards: RL.11.12.3, SL.11-12.1.a-e, L.11-12.5.b Text: Hamlet by William Shakespeare, Act 4.4: lines 34–56 (Masterful Reading: Act 4.4: lines 1–69) In order to provide additional context, the masterful reading extends beyond the lines students read and discuss during the lesson. Learning Sequence: 1. Introduction of Lesson Agenda 1. 5% 2. Homework Accountability 2. 15% 3. Masterful Reading 3. 5% 4. Reading and Discussion 4. 45% 5. Small Group Discussion 5. 15% 6. Quick Write 6. 10% 7. Closing 7. 5% Materials Free audio resource: https://librivox.org/hamlet-by-william-shakespeare/ (8:25–12:52) Student copies of the Character Tracking Tool (refer to 11.1.2 Lesson 3)—students may need additional blank copies Student copies of the Central Ideas Tracking Tool (refer to 11.1.2 Lesson 7)—students may need additional blank copies Student copies of the 11.1 Speaking and Listening Rubric and Checklist (refer to 11.1.2 Lesson 7) File: 11.1.2 Lesson 18, v2 Date: 4/30/15 Classroom Use: Starting 5/2015 © 2015 Public Consulting Group. This work is licensed under a 3 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/ NYS Common Core ELA & Literacy Curriculum Grade 11 • Module 1 • Unit 2 • Lesson 18 Student copies of the Short Response Rubric and Checklist (refer to 11.1.1 Lesson 1) Copies of the Paraphrase Tool for each student Learning Sequence How to Use the Learning Sequence Symbol Type of Text & Interpretation of the Symbol 10% Percentage indicates the percentage of lesson time each activity should take. Plain text indicates teacher action. no Bold text indicates text dependent questions. symbol Italicized text indicates a vocabulary word. Indicates student action(s). Indicates possible student response(s) to teacher questions. Indicates instructional notes for the teacher. Activity 1: Introduction of Lesson Agenda 5% Begin by reviewing the agenda and the assessed standard for this lesson: RL.11-12.3. In this lesson, students listen to a masterful reading of the soliloquy. Students analyze the first half of the soliloquy through a whole-class discussion before working in small groups to examine how Shakespeare develops Hamlet’s character in this passage. Students look at the agenda. Activity 2: Homework Accountability 15% Instruct students to take out their responses to the first part of the previous lesson’s homework assignment. (Review the Dramatis Personae or “Character List,” Act 1.1, lines 1–190, and your notes and annotations from 11.1.2 Lesson 1 in order to gather information about the character of Fortinbras.) Instruct students to form pairs to discuss and share their homework responses. Student responses may include: o In the Dramatis Personae, Fortinbras is referred to as the Prince of Norway. o In lines 91–119, Horatio explains that Fortinbras’s father died in a battle against Denmark. The battle ended with Denmark gaining land from Norway. o In these lines, Horatio describes Fortinbras as being “Of unimprovèd mettle hot and full” (Act 1.1, line 108) and explains that Fortinbras is preparing for a battle against Poland. File: 11.1.2 Lesson 18, v2 Date: 4/30/15 Classroom Use: Starting 5/2015 © 2015 Public Consulting Group. This work is licensed under a 4 Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License http://creativecommons.org/licenses/by-nc-sa/3.0/ NYS Common Core ELA & Literacy Curriculum Grade 11 • Module 1 • Unit 2 • Lesson 18 Instruct students to take out their responses to the second part of the previous lesson’s homework assignment. (Reread Act 3.4, lines 1–240 and use the Central Ideas Tracking Tool to track the development of central ideas. Then respond briefly in writing to the following prompt: Identify a central idea from the play and explain how it is further developed in this scene.) Instruct student pairs to discuss their homework responses. Identify a central idea from the play and explain how it is further developed in this scene. See the Model Central Ideas Tracking Tool at the end of this lesson. Activity 3: Masterful Reading 5% Have students listen to a masterful reading of Act 4.4, lines 1–69 (from “Go, Captain, from me greet the Danish king” to “My thoughts be bloody or be nothing worth!”).
Load more

Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
    The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers.
    [Show full text]
  • 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.
    [Show full text]
  • Tragic Excess in Hamlet JEFFREY WILSON Downloaded from by Harvard Library User on 14 August 2019
    107 Tragic Excess in Hamlet JEFFREY WILSON Downloaded from https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 by Harvard Library user on 14 August 2019 August 14 on user Harvard Library by https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 from Downloaded “Be thou familiar, but by no means vulgar,” the aging Polonius councils his son Laertes in William Shakespeare’s Hamlet (1.3.60). Polonius proceeds with several additional “precepts” (1.3.57) which similarly promote the Aristotelian ideal of the golden mean, a cultural commonplace of the early-moden age which valorized the perfect middle ground between two extremes: Beware Of entrance to a quarrel; but being in, Bear’t that the opposed may beware of thee.... Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy. (1.3.64–70) Polonius goes on (and on), but the principle is clear. Don’t be too hot, but don’t be too cold. Don’t be too hard, but don’t be too soft. Don’t be too fast, but don’t be too slow. In each of these formulations, there is no substantive ethical good other than moderation. Virtue is thus fundamentally relational, determined by the extent to which it balances two extremes which, as extremes, are definitionally unethical. “It is no mean happiness, therefore, to be seated in the mean,” as Shakespeare wrote in The Merchant of Venice (1.2.6–7).1 More generally, in Hamlet,ShakespeareparalleledthesituationsofHamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamletmovestooslowly,Laertestooswiftly— and they both die at the end of the play—but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes.
    [Show full text]
  • Figurative Design in Hamlet the Significance of the Dumb Show
    FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS $8.00 FIGURATIVE DESIGN IN HAMLET The Significance of the Dumb Show By Lee Sheridan Cox Critics have long debated the significance of the dumb show in Hamlet. There is a wide divergence of opinion on the matter of its importance: to one critic, it is ''only a mechanical necessity"; to another, "the keystone to the arch of the drama." In mod­ ern performances of Hamlet, it is frequently omitted, a decision vigorously protested by some critics as detrimental to the play scene. But the presence of the dumb show in the play scene has given rise to questions that evoke little unanimity of response even among its proponents. Why does the mime directly anticipate the subject matter of The Murder of Gonzago? Does Shakespeare preview Gonzago to provide necessary in­ formation? If not, is the dumb show then superfluous? And if superfluous, was the de­ vice forced on Shakespeare, or was it merely a politic catering to popular taste? Is the show foisted on Hamlet by the visiting players? If not, how does it serve his larger plan and purpose? What is its effect on the stage audience? Does Claudius see the pan­ tomimic prefiguring of Gonzago? What does his silence during and immediately alter the show signify? The search for answers to such questions is usually confined to the play scene. But Professor Cox maintains that the true na­ ture and function of the show can be ap­ FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW FIGURATIVE DESIGN IN HAMLET THE SIGNIFICANCE OF THE DUMB SHOW LEE SHERIDAN COX OHIO STATE UNIVERSITY PRESS Copyright © 1973 by the Ohio State University Press All Rights Reserved Manufactured in the United States of America Library of Congress Cataloging in Publication Data Cox, Lee Sheridan Figurative design in Hamlet Includes bibliographical references.
    [Show full text]
  • Shakespeare, Madness, and Music
    45 09_294_01_Front.qxd 6/18/09 10:03 AM Page i Shakespeare, Madness, and Music Scoring Insanity in Cinematic Adaptations Kendra Preston Leonard THE SCARECROW PRESS, INC. Lanham • Toronto • Plymouth, UK 2009 46 09_294_01_Front.qxd 6/18/09 10:03 AM Page ii Published by Scarecrow Press, Inc. A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc. 4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706 http://www.scarecrowpress.com Estover Road, Plymouth PL6 7PY, United Kingdom Copyright © 2009 by Kendra Preston Leonard All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without written permission from the publisher, except by a reviewer who may quote passages in a review. British Library Cataloguing in Publication Information Available Library of Congress Cataloging-in-Publication Data Leonard, Kendra Preston. Shakespeare, madness, and music : scoring insanity in cinematic adaptations, 2009. p. cm. Includes bibliographical references and index. ISBN 978-0-8108-6946-2 (pbk. : alk. paper) — ISBN 978-0-8108-6958-5 (ebook) 1. Shakespeare, William, 1564–1616—Film and video adaptations. 2. Mental illness in motion pictures. 3. Mental illness in literature. I. Title. ML80.S5.L43 2009 781.5'42—dc22 2009014208 ™ ϱ The paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI/NISO Z39.48-1992. Printed
    [Show full text]
  • To Be Or Not to Be (Dangerous): Mental Instability in Branaghâ•Žs and Almereydaâ•Žs Film Adaptations of *Hamlet*
    Coastlines To Be or Not to Be (Dangerous): Mental Instability in Branagh’s and Almereyda’s Film Adaptations of Hamlet by Cory Joiner Just as Hamlet is one of Shakespeare’s most popular plays, so, too might prince Hamlet be one of his most controversial characters. Many of the questions central to Shakespeare’s original play revolve around the sanity of the play’s eponymous character, and the danger which he may or may not pose to his fellow constituents of the court of Denmark. Much of Hamlet’s character is, however, left open to interpretation, as Shakespeare’s play can be read in a myriad of different ways. So, too, can Hamlet be adapted to film variously, with just as many different versions on the possibly-insane Danish prince. Filmic adaptations of the play may choose to portray Hamlet in a traditional manner by closely following the original text, or may choose to firmly cement his character as being either quite sane or entirely deranged. These filmic visions of Prince Hamlet are, as representations of the director’s vision for the film, a sort of interpretive depiction of Shakespeare’s play (or, in some cases, interpretive depictions of a staging of the play). Two such adaptations of Shakespeare’s Hamlet – one directed by Kenneth Branagh (1996), and the other directed by Michael Almereyda (2000) – present entirely different interpretive visions of the Shakespeare’s play, especially in regards to the depiction of Hamlet himself. Almereyda’s film presents a genuinely dangerous and highly unstable Hamlet, while Branagh’s film, in more closely following the intricacies of the original text, chooses to focus instead on Hamlet’s performance of insanity while still presenting the Prince as conflicted and at least somewhat disturbed.
    [Show full text]
  • Hamlet 1/31/01 Cx and © Web Copy
    HAMLET PRINCE OF DENMARK Adapted by Peggy L. Anderson & Judith D. Anderson High Noon Books A division of Academic Therapy Publications 20 Commercial Boulevard Novato, CA 94949-6191 www.HighNoonBooks.com Table of Contents About William Shakespeare . .v The Story . .7 Prologue . .9 Act I . .11 Act II . .25 Act III . .31 Act IV . .41 Act V . .53 The Play . .63 Cast of Characters . .65 Act I . .67 Act II . .81 Act III . .87 Act IV . .99 Act V . .115 Globe Theatre . .125 About the Editors . .127 ABOUT WILLIAM SHAKESPEARE (1564-1616) illiam Shakespeare was born in Stratford-upon- Avon, a market town about eighty miles Wnorthwest of London. His father was a glovemaker and a trader in wool, hides, and grain. The family, which had eight children, while not rich, led a comfortable life. William was the third child in the family, and it is thought that he attended the Stratford grammar school where classes started at six or seven in the morning and lasted until five or six in the late afternoon. When the family’s finances declined, it became necessary for him to leave school to go to work for a local tradesman. He married Anne Hathaway when he was eighteen and she was twenty-six. They had three children, including twins. It is not known exactly when or why Shakespeare left Stratford and moved to London where he quickly became involved in the theater both as an actor and a playwright. Theaters in London were closed from 1592 to 1594 because of the terrifying plague that swept throughout Europe, so Shakespeare spent his time writing plays and publishing two long narrative poems that immediately became popular and started him on the road to fame.
    [Show full text]
  • Hamlet— a Brief Review of Acts 1-2
    Hamlet— A Brief Review of Acts 1-2 Act One, Scene One Francisco, a soldier standing watch outside the gates of Elsinore Castle in Denmark, is met by Barnardo who has arrived to replace him. They are soon joined by Marcellus, another guard, and Horatio. Horatio is a scholar, and he has been brought along because Barnardo and Marcellus claim they have seen a ghost. While Barnardo describes to Horatio exactly what he has seen, the ghost appears in front of them. Horatio tries to speak with the ghost in Latin, but the ghost remains silent and then leaves. Horatio tells Barnardo that the ghost looks like the deceased King Hamlet, also known as Old Hamlet. Horatio sees that the ghost was dressed the same way as King Hamlet was when he defeated King Fortinbras of Norway. The story is that King Hamlet went to Norway and fought Fortinbras in combat. The loser agreed to yield all his land to the other king. King Hamlet beat Fortinbras and took all his lands. However, in the time since King Hamlet died, the son of King Fortinbras, known as young Fortinbras, has been gathering together troops and is threatening to attack Denmark. He wants to get his father’s lands back. The ghost enters a second time and Horatio again begs it to speak to him. Just as it seems the ghost is about to say something, a cock crows and the ghost disappears. Horatio tells Marcellus that he will inform young Hamlet, the Prince of Denmark and the son of King Hamlet, that a ghost keeps appearing in the shape of his father.
    [Show full text]
  • Kenneth Branagh's Hamlet: Twenty Years On. Produced by David Barron. Adapted for the Screen and Directed by Kenneth Branagh
    1 Kenneth Branagh’s Hamlet: Twenty Years On. A Review by Garry Victor Hill Produced by David Barron. Adapted for the screen and directed by Kenneth Branagh. Production Design: Tim Harvey. Editing: Neil Farrell. Photography: Alex Thomson. Music: Patrick Doyle. Length: 242 minutes. A Castle Rock Entertainment Feature. Warner Brothers Distribution. BBC and Turner Inc. Cinematic Release: 1996 Rated PG “Parents Strongly Cautioned” Rating ********* 90% Available on video and DVD in both full and edited versions. Cast Hamlet: Kenneth Branagh Ophelia: Kate Winslet Gertrude: Julie Christie 2 Claudius: Derek Jacobi Polonius: Richard Briers Laertes : Michael Maloney Horatio: Nicholas Farrell Marcellus: Jack Lemmon Bernardo: Ian McElhinney The Player King: Charleton Heston The Player Queen: Rosemary Harris Rosenencrantz: Tmothy Spall Guilderstein: Reece Dinsdale Fortinbras: Rufus Sewell The Ghost: Brian Blessed The First Gravedigger: Billy Crystal The Second Gravedigger: Simon Russell Beale Osric: Robin Williams Reynaldo: Gerard Depardieu The English Ambasador: Richard Attenborough Fransisco: Ray Fearnon Cornelius: Ravil Isyanov The Norwegian Captain: John Spencer-Churchill. Anthony: Denzil Washington (?) unbilled Also appearing in brief flashbacks are Judy Dench, John Gelgud, Ken Dodd and John Mills Twenty years makes a good timespan to judge the merits of a film. Publicity, contemporary reviews, awards and commercial results have all faded and no longer 3 clutter what we see: the film stands on its merits and hopefully stands above the things that usually date the transient, the trendy and the shallow. This is not a perfect film, but it has great lasting value and stands above its time. Somebody very wise (if now forgotten) originated the comment that anybody who plays Hamlet cannot totally succeed, but they cannot totally fail either.
    [Show full text]
  • The Globe to Globe Hamlet Tour: a Celebratory Performance in Elsinore
    SEDERI Yearbook ISSN: 1135-7789 [email protected] Spanish and Portuguese Society for English Renaissance Studies España Perni, Remedios The Globe to Globe Hamlet Tour: A Celebratory Performance in Elsinore. Elsinore Conference 2016 Shakespeare, The Next 400 Years Kronborg Castle, Helsingør 21 April 2016 SEDERI Yearbook, núm. 27, 2017, pp. 273-277 Spanish and Portuguese Society for English Renaissance Studies Valladolid, España Available in: http://www.redalyc.org/articulo.oa?id=333553631018 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative * PERFORMANCE REVIEWS The Globe to Globe Hamlet Tour: A Celebratory Performance in Elsinore. Elsinore Conference 2016 Shakespeare, The Next 400 Years Kronborg Castle, Helsingør 21 April 2016 Remedios Perni Universidad de Alicante, Spain CAST AND CREATIVE TEAM Cast: Keith Bartlett, John Dougall, Ladi Emeruwa, Phoebe Fildes, Miranda Foster, Naeem Hayat, Beruce Khan, Tom Lawrence, Jennifer Leong, Rãwiri Paratene, Matthew Romain, Amanda Wilkin. Directors: Dominic Dromgoole and Bill Buckhurst. Designer: Jonathan Fensom. Music: Laura Forrest, Bill Barclay. Produced by Shakespeare’s Globe. This production of Globe to Globe Hamlet at Hamlet’s castle in Elsinore was the concluding show of the two-year-long tour of the Shakespeare’s Globe project before the company’s return to the Globe in London, where the tour had opened on 23 April 2014. Sixteen actors and actresses had travelled across the seven continents * Sederi collaborates with www.ReviewingShakespeare.com, the first website devoted to scholarly reviews of and writing about worldwide Shakespearean performance (theatre, film, TV) for a general audience.
    [Show full text]
  • Hamlet and the History of Denmark
    HamletHamlet andand thethe HistoryHistory ofof DenmarkDenmark According to William Shakespeare TwoTwo KingsKings Norway:Norway: OldOld FortinbrasFortinbras OneOne son:son: FortinbrasFortinbras OneOne (younger)(younger) brotherbrother KilledKilled byby KingKing HamletHamlet HisHis brotherbrother takestakes over,over, notnot hishis sonson andand rightfulrightful heirheir Denmark:Denmark: OldOld HamletHamlet OneOne son:son: HamletHamlet OneOne youngeryounger brother:brother: ClaudiusClaudius KilledKilled byby hishis brotherbrother HisHis brotherbrother takestakes over,over, notnot hishis sonson andand rightfulrightful heirheir TwoTwo PrincesPrinces NorwayNorway FortinbrasFortinbras becomesbecomes angryangry GathersGathers aa groupgroup ofof thugsthugs andand criminalscriminals behindbehind hishis uncle’suncle’s backback ThreatensThreatens toto invadeinvade DenmarkDenmark IsIs toldtold offoff byby hishis uncleuncle GoesGoes againstagainst PolandPoland insteadinstead DenmarkDenmark HamletHamlet becomesbecomes angryangry DecidesDecides toto killkill hishis uncleuncle ThenThen doesdoes nothingnothing forfor aa veryvery longlong timetime exceptexcept getget aa lotlot ofof innocentinnocent peoplepeople killedkilled TheThe DanishDanish RoyalRoyal FamilyFamily GhostGhost == OldOld Hamlet,Hamlet, KingKing ofof DenmarkDenmark GertrudeGertrude HamletHamlet Claudius,Claudius, KingKing ofof DenmarkDenmark TheThe PoloniusPolonius FamilyFamily Polonius,Polonius, advisoradvisor toto thethe DanishDanish KingKing LaertesLaertes OpheliaOphelia TheThe FriendsFriends
    [Show full text]