Legally Blonde Jr Playbill
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Introduction: the Shakespeare Test
C H A P T E R O N E ᨰ Introduction: The Shakespeare Test That’s what I like about Shakespeare; it’s the pictures. —Al Pacino, Looking for Richard The making of Shakespeare films dates nearly from the start of commer- cial presentations of the cinematic medium. In the earliest screen adapta- tions from Shakespeare, there were palpable tensions at work, not only between aesthetic and financial objectives, but also between developing notions of what film is and does. One filmic impulse is to document, but with Shakespeare there are any number of subjects worth documenting: the playtext, a particular theatrical realization of that playtext, or the his- torical conditions reflected or represented in either playtext or stage ver- sion. Another filmic impulse is, of course, to tell a story: here, too, Shake- speare’s playtexts offer an embarassment of rich possibilities. Further complicating matters are the uneasy, inescapable relations that the genres of nonfictional and fictional film bear with one another. The problem of distinguishing between modes of representation and ways of manipulat- ing materials (Plantinga 9–12) is as old as narrative filmmaking itself, and Shakespeare very quickly became part of the developing dilemma. It was in the 1890s that Georges Méliès pioneered the practice of storytelling through the exciting new medium; he also pioneered the 1 2 SHAKESPEARE IN THE CINEMA practice of borrowing from familiar materials, such as the Faust legend in The Cabinet of Mephistopheles (1897) or Charles Perrault’s account of Cin- derella (1899). Méliès would later borrow from Shakespeare—an abridged Hamlet and a film, starring himself, about the composition of Julius Caesar, both in 1907—but his were not the first Shakespeare films. -
An Interview with Michael Maloney
An Interview with Michael Maloney An Interview with Michael Maloney Michael Maloney has played a wide range of classical roles over many years for some of the most famous theatre companies in the UK. At the Royal National Theatre, he has played Benjamin Britten and Lewis Carroll, as well as Hal in Henry IV parts 1 and 2. For the Royal Shakespeare Company (RSC), Michael has played Romeo in Romeo and Juliet and Edgar in King Lear, under the Japanese director Yukio Ninagawa. He has also played Hamlet twice in various theatres around the country and at the Barbican, the second production of which was for Yukio Ninagawa once again. On film, Michael played Rosencrantz in Mel Gibson’s version of Hamlet. He has also worked on many occasions with Kenneth Branagh: he played Laertes in Branagh’s version of Hamlet and took the lead role in Branagh’s film In the Bleak Midwinter, about a group of actors putting on Hamlet in a church hall. He has also starred alongside Branagh as the Dauphin in Shakespeare’s Henry V and played Roderigo in Othello. Michael has appeared in lead and supporting roles in more than 150 television shows and 200 radio programmes. He is best known for his role in Anthony Minghella’s Truly Madly Deeply and more recently for his roles in the English films Notes on a Scandal and Young Victoria. Michael plays the part of Macbeth in the Macmillan Readers series. When did you decide you wanted to be an actor and why did you decide this? My dad was in the Air Force and we moved house every eighteen months. -
A Midsummer Night's Dream
CLASSIC DRAMA UNABRIDGED William Shakespeare A Midsummer Night’s Dream With Warren Mitchell Michael Maloney Sarah Woodward and full cast 1 Music and opening announcement 1:21 2 Act 1 Scene 1 6:20 3 Act 1 Scene 1: LYSANDER How now my love, why is your cheek so pale? 5:11 4 Act 1 Scene 1: HELENA How happy some o’er other some can be! 1:51 5 Musical interlude 0:49 6 Act 1 Scene 2 6:05 7 Musical interlude 1:06 8 Act 2 Scene 1 2:50 9 Act 2 Scene 1: OBERON Ill met by moonlight, proud Titania! 4:43 10 Act 2 Scene 1: OBERON Well, go thy way. Thou shalt not from this grove 2:20 11 Act 2 Scene 1: DEMETRIUS I love thee not, therefore pursue me not. 3:10 12 Act 2 Scene 1: OBERON I know a bank where the wild thyme blows 1:09 13 Musical interlude 1:43 14 Act 2 Scene 2 4:50 15 Act 2 Scene 2: PUCK Through the forest have I gone… 1:12 16 Act 2 Scene 2: HELENA Stay though thou kill me, sweet Demetrius! 3:32 2 17 Act 2 Scene 2: HERMIA Help me Lysander, Help me! 1:08 18 Closing music 1:49 19 Opening music 0:50 20 Act 3 Scene 1 7:29 21 Act 3 Scene 1: BOTTOM I see their knavery. This is to make an ass of me 5:16 22 Act 3 Scene 2 2:14 23 Act 3 Scene 2: DEMETRIUS O, why rebuke you him that loves you so? 2:38 24 Act 3 Scene 2: OBERON What hast thou done? Thou hast mistaken… 1:44 25 Act 3 Scene 2: LYSANDER Why should you think that I should woo… 3:52 26 Act 3 Scene 2: HELENA Lo, she is one of this confederacy 8:41 27 Act 3 Scene 2: OBERON This is thy negligence. -
Gabriel Egan
EnterText 1.2 GABRIEL EGAN Introduction to the Proceedings of the Conference “Hamlet on Screen” held at Shakespeare's Globe, London, on 28 April 2001 The play Hamlet is at or near the centre of the intellectual and commercial domain which is the “Shakespeare” construct. It is the only one to which an entire academic journal is devoted (Hamlet Studies), it contains the best-known lines of all dramatic literature – perhaps of all literature – and its imagery (especially of contemplation of a skull) is frequently employed synecdochically to connote Shakespeare and his works generally. The centrality of Hamlet is arguably a Romantic phenomenon – John Keats and S. T. Coleridge were typical in finding in themselves something of the indecisive prince – and the ageing Western world population of the twenty-first century might find King Lear more relevant. On 28 April 2001 a project intimately concerned with Shakespeare’s original theatrical context, the International Shakespeare Globe Centre in London, in conjunction with King’s College London, convened a conference for scholars to explore how this currently central work, Hamlet, has been represented on the cinema and television screen. The papers in this issue of EnterText comprise the published proceedings of that “Hamlet on Screen” conference. Gabriel Egan: Introduction to “Hamlet on Screen” Proceedings171 EnterText 1.2 As Mark Robson observes in his paper, every Hamlet since the first one is a repetition, and a common theme of papers was the way in which these repetitions engage in other contexts, many quite alien to the original performances; from these engagements new meanings are generated. -
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. -
Download PDF Booklet
The Great Poets Rudyard Kipling Read by Robert Hardy POETRY Robert Glenister • Michael Maloney NA147412D (including first book publication and date) 1 Gunga Din Barrack-Room Ballads (1892) read by Robert Glenister 4:08 2 The Virginity The Years Between (1919) read by Robert Hardy 1:31 3 The Ballad of East and West Ballads and Barrack-Room Ballads (1899) read by Michael Maloney 7:20 4 Tommy Barrack-Room Ballads (1892) read by Robert Glenister 3:08 5 The Roman Centurion’s Song A School History of England (1911) read by Michael Maloney 2:47 6 Gentlemen Rankers Barrack-Room Ballads (1892) read by Robert Hardy 3:06 2 7 Boots The Five Nations (1903) read by Robert Glenister 1:36 8 The Conundrum of the Workshops Barrack-Room Ballads (1892) read by Michael Maloney 2:47 9 Smuggler’s Song Puck of Pook’s Hill (1906) read by Robert Hardy 2:29 10 Mandalay Barrack-Room Ballads (1892) read by Robert Glenister 4:23 11 The Gods of the Copybook Headings Inclusive Edition (1927) read by Michael Maloney 3:11 12 The Betrothed Departmental Ditties and Other Verses (1886) read by Robert Hardy 4:07 3 13 ‘Fuzzy Wuzzy’ Barrack-Room Ballads (1892) read by Robert Glenister 3:25 14 The Return The Five Nations (1903) read by Robert Hardy 3:43 15 The White Man’s Burden The Five Nations (1903) read by Michael Maloney 2:12 16 Danny Deever Barrack-Room Ballads (1892) read by Robert Glenister 2:38 17 The Female of the Species The Years Between (1919) read by Michael Maloney 3:54 18 The Thousandth Man Rewards and Fairies (1910) read by Robert Hardy 1:41 4 19 The Glory of -
Elsie Walker
EnterText 1.2 ELSIE WALKER A “Harsh World” of Soundbite Shakespeare: Michael Almereyda’s Hamlet (2000) There has been an explosion of Shakespearean films since the mid-1990s: Richard Loncraine’s Richard III (1995), Oliver Parker’s Othello (1995), Adrian Noble’s A Midsummer Night’s Dream (1996), Baz Luhrmann’s Romeo + Juliet (1997), Michael Hoffman’s A Midsummer Night’s Dream (1999), Kenneth Branagh’s Hamlet (1997) and Love’s Labour’s Lost (2000), Julie Taymor’s Titus (2000) and Michael Almereyda’s Hamlet (2000) to name a few. Mark Thornton Burnett and Ramona Wray attribute this phenomenon in part to fin-de-siècle nostalgia.1 Some of these adaptations of ‘classic’ works are an antidote for the anxieties of the present: thus, many of the films (such as Hoffman’s Dream, Kenneth Branagh’s films) take place in an unspecified, romanticised past. However Luhrmann’s Walker: A “Harsh World” of Soundbite Shakespeare 317 EnterText 1.2 Romeo + Juliet and Almereyda’s Hamlet both feature a modern mise-en-scène, and they are more self-conscious re-evaluations of and dialogues with the past in the light of the present.2 In Luhrmann’s film, there is a central conflict between postmodernism and Romanticism. Luhrmann’s setting for Romeo + Juliet is an antagonistic, voracious city in which different cultures, texts, architectures, and personalities clash and jostle for supremacy. Romantic, metaphysical absolutes, like the love Romeo and Juliet seek to create and preserve, can not endure in this cinematic world. There is seemingly no possibility of an absolute, enduring ‘positive’ to counteract all the ‘negatives’ Luhrmann presents in his collage city of gangs, drugs, violence, oppressive media, intergenerational conflict, warring corporate owners, faithlessness, fragmentation, chaos and despair.3 Within Almereyda’s Hamlet there is a similar tension: Shakespeare’s words embody the kind of idealism and integrity that is impermissible or unbelievable in a broken, postmodern world. -
Film Worksheet 2.2 U C O
y r Section 2 a Literature for Life t n e m Film Worksheet 2.2 u c o D Hamlet d n a m l Knowledge 1. Review your knowledge of the play. i F base r a. Read the brief summary of the storyline. o f b. Say who is dead, who Hamlet is disgusted with and who Hamlet wants to kill and why. s t e e h s Summary k r Prince Hamlet’s father, the King of Denmark, has died and his mother, much to Hamlet’s o disgust, has married her brother-in-law, Claudius, who has ascended to the throne. Hamlet is W visited by his father’s ghost who tells him that his death was not of natural causes but murder at the hands of Claudius and that Hamlet must avenge his killing. Hamlet swears to take revenge but wants to make sure that he is acting morally despite the corruption that surrounds him. He ascertains Claudius’ guilt by using a play scene as bait and also tries to tempt his mother away from her new husband’s bed. Claudius, fearing Hamlet, plots to have him put to death in England but his plan fails when Hamlet escapes and returns to Elsinore. In the final catastrophe, Hamlet succeeds in killing Claudius but not before he, himself, is fatally injured and his mother is also slain. 2. The clip you will watch concerns the moment when Hamlet discovers that his father did not die of natural causes. a. Which characters appear in the scene? b. -
LISA HOPKINS “Denmark's a Prison”: Branagh's Hamlet and The
EnterText 1.2 LISA HOPKINS “Denmark’s a prison”: Branagh’s Hamlet and the Paradoxes of Intimacy At the opening of Kenneth Branagh’s film of Hamlet, a gate with the name “Hamlet” written on it slides away to show us a guard profiled against a grille. The effect is of entering the frame, of penetrating to ever greater degrees of intimacy, and it inaugurates a pattern of closing and opening of doors which pertains throughout the film. Branagh is fond of this door motif, and, I think, uses it with considerable success elsewhere in his oeuvre, as at the opening of his Henry V (1988) where the two clergymen indicate the conspiratorial nature of their conversation by shutting the door (and including us in with them) before the memorable shot where Branagh’s Henry himself first appears framed and silhouetted in a doorway and looking for all the world “like some medieval version of Darth Vader.”1 Its reuse here appears to suggest that Hamlet is going to offer the same sort of experience as Branagh’s previous Shakespeare films. I am going to argue, though, that it doesn’t do so, and that the primary reason for that is that Branagh’s conception of this play has its roots in the theatre and never breaks free of the concept of stage space. Branagh himself had been a famous stage Hamlet in Lisa Hopkins: Denmark’s a prison 226 EnterText 1.2 the 1988 Renaissance Theatre Company production and in Adrian Noble’s 1992 Royal Shakespeare Company one; moreover, when interviewed about his direction of the play on screen, his first remark was that Hamlet was the first play he had ever seen in the theatre, when he was fifteen,2 and he has reused here the actor he saw in the role, Derek Jacobi. -
Sounds Like Home: Bluegrass Music and Appalachian Migration in American
Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 A Dissertation submitted to the Graduate School of the University of Cincinnati in partial FulFillment oF the requirements oF the degree oF Doctor of Philosophy in the Department oF History oF the College oF Arts and Sciences By Nathan McGee M.A., University oF Cincinnati, 2011 B.A., Eastern Kentucky University, 2006 Committee Chair: David Stradling i Abstract Sounds Like Home: Bluegrass Music and Appalachian Migration in American Cities, 1945-1980 By Nathan McGee Bluegrass music has long had strong associations with rural America and the Appalachian mountains in particular. The music itselF, while oFten based on an idealized vision oF rural America, developed in the urban milieu oF the post World War II era. White Appalachians joined millions oF other southerners in Flooding north into urban cities in the 20th century. They brought with them some general cultural traits that oFten became eXacerbated in the urban communities they joined. In short, as mountain migrants came north they oFten became more “southern” and more “Appalachian” as these character traits became identiFied by various urban groups. When migrants settled in cities, musical communities emerged that provided a sort oF upliFt For migrants and became a cultural marker For Appalachian- ness in many instances. This process did not develop in a vacuum, but rather the identiFication oF the music with Appalachia became oFten a conscious choice by musicians, Fans, reFormers, and general residents in the urban communities. Cities like Cincinnati and Dayton, Ohio, Baltimore, Maryland, and Washington D.C. -
William Shakespeare's Play in Film Adaptation
UNIVERZITA KARLOVA V PRAZE – FILOZOFICKÁ FAKULTA ÚSTAV ANGLOFONNÍCH LITERATUR A KULTUR BAKALÁŘSKÁ PRÁCE Tetiana Kurtiak Hamlet on Screen: William Shakespeare's Play in Film Adaptation Vedoucí bakalářské práce: PhDr. Soňa Nováková, CSc., M.A.. Praha, Srpen 2015 Declaration: Prohlašuji, že jsem tuto bakalářskou práci vypracovala samostatně, že jsem řádně citovala všechny použité prameny a literaturu a že práce nebyla využita v rámci jiného vysokoškolského studia či k získání jiného či stejného titulu. Souhlasím se zapůjčením bakalářské práce ke studijním účelům. Prohlášení: I declare that the following BA thesis is my own work for which I used only the sources and literature mentioned, and that this thesis has not been used in the course of other university studies or in order to acquire the same or another type of diploma. I have no objections to the BA thesis being borrowed and used to study purposes. V Praze dne …………… …………… Acknowledgement: I would like to express my sincere gratitude to PhDr. Soňa Nováková, CSc., M.A., my supervisor, for her support, encouragement, valuable guidance, and most importantly patience throughout my studies. Keywords: William Shakespeare, Hamlet, film adaptation, Laurence Olivier, Kenneth Branagh, Franco Zeffirelli, Michael Almereyda, theatre, film. Klíčová slova: William Shakespeare, Hamlet, filmová adaptace, Laurence Olivier, Kenneth Branagh, Franco Zeffirelli, Michael Almereyda, divadlo, film. Abstract: The purpose of my thesis is to study the process of a play-to-film adaptation of William Shakespeare’s Hamlet, the Prince of Denmark. It deals with the issues concerning film adaptation, the complexity of transferring drama onto the screen, and, consequently, analyses the individual filmic readings of Shakespeare’s play. -
King Richard III CD Booklet
William Shakespeare King Richard III Performed by Kenneth Branagh • Geraldine McEwan CLASSIC Nicholas Farrell • Stella Gonet • Michael Maloney and full cast DRAMA NA321712D 1 Act 1 Scene 1, Part 1 3:45 2 Act 1 Scene 1, Part 2 3:30 3 Act 1 Scene 1, Part 3 0:56 4 Act 1 Scene 1, Part 4 1:17 5 Act 1 Scene 2, Part 1 1:59 6 Act 1 Scene 2, Part 2 10:27 7 Act 1 Scene 2, Part 3 2:05 8 Act 1 Scene 3, Part 1 7:00 9 Act 1 Scene 3, Part 2 8:37 10 Act 1 Scene 3, Part 3 0:47 11 Act 1 Scene 3, Part 4 0:49 12 Act 1 Scene 4, Part 1 5:13 13 Act 1 Scene 4, Part 2 8:45 14 Act 2 Scene 1, Part 1 5:47 15 Act 2 Scene 2, Part 2 3:23 16 Act 2 Scene 2 8:45 17 Act 2 Scene 3 2:52 18 Act 2 Scene 4 3:40 19 Act 2 Scene 1, Part 1 4:42 20 Act 3 Scene 1, Part 2 2:36 21 Act 3 Scene 1, Part 3 2:52 22 Act 3 Scene 2 5:36 2 23 Act 3 Scene 3 1:28 24 Act 3 Scene 4, Part 1 4:07 25 Act 3 Scene 4, Part 2 1:55 26 Act 3 Scene 5, Part 1 3:47 27 Act 3 Scene 5, Part 2 1:50 28 Act 3 Scene 6 1:12 29 Act 3 Scene 7, Part 1 2:09 30 Act 3 Scene 7, Part 2 1:54 31 Act 3 Scene 7, Part 3 8:36 32 Act 4 Scene 1 6:02 33 Act 4 Scene 2, Part 1 3:14 34 Act 4 Scene 2, Part 2 2:24 35 Act 4 Scene 2, Part 3 0:43 36 Act 4 Scene 2, Part 4 0:36 37 Act 4 Scene 3, Part 1 1:59 38 Act 4 Scene 3, Part 2 0:32 39 Act 4 Scene 3, Part 3 1:22 40 Act 4 Scene 4, Part 1 9:27 41 Act 4 Scene 4, Part 2 3:17 42 Act 4 Scene 4, Part 3 12:00 43 Act 4 Scene 4, Part 4 5:08 44 Act 4 Scene 5 1:19 3 45 Act 5 Scene 1 2:09 46 Act 5 Scene 2 1:21 47 Act 5 Scene 3, Part 1 1:06 48 Act 5 Scene 3, Part 2 1:16 49 Act 5 Scene 3, Part 3 1:20