Hamletmachine by Heiner Muller
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Something Rotten DISCUSSION GUIDE
Something Rotten DISCUSSION GUIDE “One thing was for sure. Something was rotten in Denmark, Tennessee, and it wasn't just the stink from the paper plant..” - Horatio Wilkes About the Book Denmark,Tennessee stinks.Bad.The smell hits Olivia Mendelsohn is determined to clean up the Horatio Wilkes the moment he pulls into town to river-and the Prince family that's been polluting it for visit his best friend, Hamilton Prince.And it's not just decades. Hamilton's mom,Trudy Prince, just married the paper plant and the polluted Copenhagen River her husband's brother, Claude, and signed over half that's stinking up Denmark: Hamilton's father has of the plant and profits.And then there's Ford N. been poisoned and the killer is still at large. Branff,Trudy's old flame, who's waging a hostile takeover of Elsinore Paper. Why? Because nobody believes Rex Prince was murdered. Nobody except Horatio and Hamilton. Motive, means, opportunity--they all have them. But They need to find the killer before someone else who among them has committed murder most foul? dies, but it won't be easy. It seems like everyone's a If high school junior Horatio Wilkes can just get past suspect. Hamilton's hot, tree-hugging ex-girlfriend the smell, he might get to the bottom of all this. Pre-reading Questions for Discussion Activity Comprehension Why is Horatio the main character in Something Rotten, and not Pulp Shakespeare Hamilton? The character of Horatio Wilkes is inspired by noir Horatio is big on promises.Which promises does he keep, and detectives like Philip Marlowe which does he abandon? What are his reasons? and Sam Spade. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
By William Shakespeare | Directed by Annie Lareau
By William Shakespeare | Directed by Annie Lareau All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Touring acting companies already had a long history in Shakespeare’s time. Before 1576, there were no theaters in England, and so all actors would travel from town to town to perform their plays. Travel was difficult in Elizabethan England. Not only was the travel slow, but there were dangers of getting attacked by thieves or of catching the plague! Traveling troupes of actors were sponsored by the nobility, who enjoyed the entertainment they provided. They would need a license from a Bailiff to be able to travel around England performing, and these licenses were only granted to the aristocracy for them to maintain their acting troupes. The actors also needed support from their patrons to be able to wear clothing of the nobility! England’s Sumptuary Laws prohibited anyone from wearing clothing above their rank unless they were given to them and approved by their noble patron. Today, much has changed in how we tour our Shakespearean plays, but there are still many similarities between our tour and those early acting troupes. We travel from town to town across the state of Washington, battling long drives, traffic, and snow in the mountain passes to get there safely and perform for the enjoyment of our audiences. We also could not do this tour without the generous support of our own sponsors, who help underwrite our travel, support scholarships for schools in need, and help us pay for costume and set upgrades. Just like the Elizabethan acting troupes, we could not do it without support from our generous, Shakespeare-loving patrons! Thank you for booking a Seattle Shakespeare Company touring show at your school. -
Poison and Revenge in Seventeenth Century English Drama
"Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 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 “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease. -
Shakespeare - Shylock - Mitterwurzer
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Wissenschaftliches Jahrbuch der Tiroler Landesmuseen Jahr/Year: 2016 Band/Volume: 9 Autor(en)/Author(s): Rabanser Hansjörg Artikel/Article: Shakespeare - Shylock - Mitterwurzer. Eine Tirolensie zum 400. Todestag von William Shakespeare 197-231 © Tiroler Landesmuseum Ferdinandeum, Innsbruck download unter www.zobodat.at Abb. 1: Theaterfigurine: Friedrich Mitterwurzer als Jude Shylock. Kolorierte Tuschfederzeichnung von Recht, 1875. TLMF, Bibliothek: W 24244. Foto: TLM. © Tiroler Landesmuseum Ferdinandeum, Innsbruck download unter www.zobodat.at SHAKESPEARE – SHYLOCK – MITTERWURZER. EINE TIROLENSIE ZUM 400. TODESTAG VON WILLIAM SHAKESPEARE Hansjörg Rabanser ABSTRACT Samstag, 23. April 1616: Nach längerer Bewusstlosigkeit aufgrund eines diabetischen Komas stirbt in Madrid der In 1875 the actor Friedrich Mitterwurzer (1844–1897) played Schriftsteller Miguel de Cervantes Saavedra (1547–1616), the part of the Jew Shylock in a performance of „The Mer- der kurz darauf im Convento de las Trinitarias Descalzas de chant of Venice“ by William Shakespeare (1564–1616) at San Ildefonso bestattet wird. Bis heute gilt er als spanischer the Burgtheater in Vienna. The library of the Tiroler Landes- Nationaldichter, der zumindest mit einem Werk seines museum Ferdinandeum has in its collection a drawing that reichhaltigen Œuvres die Unsterblichkeit erreicht hat: „El portrays Mitterwurzer in this role. ingenioso hidalgo Don Quixote de la Mancha“ (1608), der This object marks the starting point of a closer investiga- parodistischen Geschichte des Don Quijote von der Mancha, tion of the early reception of Shakespeare and his works des Ritters von der traurigen Gestalt.1 in German speaking countries, especially Tyrol, where Dienstag, 23. -
Hamlet As Shakespearean Tragedy: a Critical Study
SHAKESPEAREAN TRAGEDY HAMLET AS SHAKESPEAREAN TRAGEDY: A CRITICAL STUDY Rameshsingh M.Chauhan ISSN 2277-7733 Assistant Professor, Volume 8 Issue 1, Sardar Vallabhbhai Vanijya Mahavidyalaya,Ahmedabad June 2019 Abstract Hamlet is often called an "Elizabethan revenge play", the theme of revenge against an evil usurper driving the plot forward as in earlier stage works by Shakespeare's contemporaries, Kyd and Marlowe, as well as by the .As in those works avenging a moral injustice, an affront to both man and God. In this case, regicide (killing a king) is a particularly monstrous crime, and there is no doubt as to whose side our sympathies are disposed. The paper presents the criticism of Hamlet as Shakespearean tragedy. Keywords: Hamlet, Tragedy, Shakespeare, Shakespearean Tragedy As in many revenge plays, and, in fact, several of Shakespeare's other tragedies (and histories), a corrupt act, the killing of a king, undermines order throughout the realm that resonates to high heaven. We learn that there is something "rotten" in Denmark after old Hamlet's death in the very first scene, as Horatio compares the natural and civil disorders that occurred in Rome at the time of Julius Caesar's assassination to the disease that afflicts Denmark. These themes and their figurative expression are common to the Elizabethan revenge play genre in which good must triumph over evil.Throughout Hamlet we encounter a great deal of word play, Shakespeare using a vast number of multivalent terms ranging from gross puns to highly-nuanced words that evoke a host of diverse associations and images. While Hamlet can tell this difference between a "hawk and a handsaw," the play challenges the assumption that language itself can convey human experience or hold stable meaning. -
TEACHING IMAGE PATTERNS in HAMLET HILARY SEMPLE, Former Lecturer at the University of the Witwatersrand
TEACHING IMAGE PATTERNS IN HAMLET HILARY SEMPLE, former lecturer at the University of the Witwatersrand (originally published in CRUX, May 1993) In her fascinating study of Shakespeare’s imagery Caroline Spurgeon writes: The greater and richer the work the more valuable and suggestive become the images, so that in the case of Shakespeare I believe one can scarcely overrate the possibilities of what may be discovered through a systematic examination of them.' A systematic examination involving complete coverage is not possible in class or tutorial room, but many of the difficulties experienced by pupils or students in the study of Hamlet may be resolved by an analysis of some or the main image patterns in the play. First, the question, ‘what is an image?’ needs to be addressed, and the answer need not be one of great sophistication or subtlety. Many literary glossaries give the teacher a variety of definitions with which to work. The students need to grasp the fundamental idea that the dramatist creates many ‘mental pictures’ 2 in order to present ideas and concepts descriptively"3. After the group has agreed on a few working definitions of the image, pupils or students should be invited to create their own mental picture — to visualize a train travelling rapidly, kept on track, and given direction by its rails. This is to be kept in mind as a rough analogy for the movement of the play, which is kept ‘on track‘ and given direction by the image patterns created by the dramatist. In other words, the image patterns support and accompany the play’s action and plot like the rails do a train. -
603-357-2100 ~ Dear Something's Rotten In
Dear Something’s Rotten in the State of Denmark Cast, Outstanding auditions everyone! I am so impressed with the talent that was in the room. You should all be proud of your work. You developed unique characters, mastered some challenging text, and most importantly, made us all laugh! You may not have received the part(s) that you wanted and feeling disappointed is ok. You were each placed in the role that will best benefit the show, highlight your many talents, and challenge you. Feel proud of yourselves and your castmates because together you will make a wonderful show. Please be sure to bring a pencil to class. We are adding and redistributing lines so that all of you can showcase your talents. On Thursday, we will do a read through and I will let you know of some changes we’re making to lines. I look forward to working with all of you! Congratulations! Laura “Transforming lives through movement and creative expression.” MoCo Arts ~ 40 Roxbury Street ~ Keene NH 03431 ~ 603-357-2100 ~ www.moco.org Something’s Rotten in the State of Denmark Cast List Character Student Fortinbras Kaylee Wigart Director Ciera Bailey Tom/Hamlet Chase Johnson Sound Tech Kennedy Smith Fairie Kaylah Johnson Bernardo Abby Morse Francisco Sophie Headings Marcellus Lily Fitzpatrick Horatio Alex Clayton Ghost Alexis Harvey King Claudius Hannah Driscoll-Carignan Laertes Maggie Shepherd Queen Gertrude Iris Kilton Polonius Eben Watson Ophelia Mia Plaskiewicz Messenger Kiera Keating Player 1 (King Claudius Double) Kaylee Wigart Player 2 (Queen Gertrude Double) Kennedy Smith Player 3 (King Hamlet Double) Cora Haines Rabbit Kaylah Johnson Old Lady Ciera Bailey Child Lily Fitzpatrick Royal Attendants Cora Haines, Kennedy Smith Referee Kennedy Smith Kaylee Wigart, Ciera Bailey, Kaylah Johnson, Kiera Keating, Abby Morse, Court Lily Fitzpatrick, Sophie Headings . -
1 Shakespeare and Film
Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. -
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 -
Irreverence and Play in Shakespearean Adaptations
Irreverence and Play in Shakespearean Adaptations Edited by Marina Gerzic (The University of Western Australia) and Aidan Norrie (The University of Warwick) Four hundred years after William Shakespeare’s death, his work continues to not only fill playhouses around the world, but also be adapted for various forms of popular culture, including film, television, comics and graphic novels, digital media, and fan cultures. These adaptations introduce a whole new generation of audiences to the work of Shakespeare, and are often fun, playful, engaging, and “irreverent, broadly allusive, and richly reimagined takes on their source material” (Cartelli and Rowe, New Wave Shakespeare on Screen, 2007, 1). Proposals are invited for chapters that engage with the various ways irreverence and play are used in Shakespearean adaptations. Accepted authors will draw out existing humour in Shakespeare works and/or, and as a pedagogical aid used to help explain complex language, themes, and emotions found in Shakespeare’s works, and more generally make Shakespeare ‘relatable’, and entertaining for twenty-first century audiences. Topics could include, but are not limited to: • Irreverence and play in media related to the “Shakespeare 400” celebrations in 2016: e.g. Shakespeare Live! “To Be, or Not to Be” skit; Horrible Histories: ‘Sensational Shakespeare.’ • Irreverence and play in “biographical” Shakespeare adaptations on stage and screen: e.g. Shakespeare in Love (1998); Bill (2015); Something Rotten! (2015); Upstart Crow (2016). • Irreverence and play in Shakespearean adaptations for the theatre: e.g. Andy Griffith's, Just Macbeth!; The Listies’, Hamlet: Prince of Skidmark; Reduced Shakespeare Company; Shit Faced Shakespeare; Something Rotten! • Irreverence and play in Shakespeare adaptations in children's and YA literature: e.g.