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Hamlet-Production-Guide.Pdf
ASOLO REP EDUCATION & OUTREACH PRODUCTION GUIDE 2016 Tour PRODUCTION GUIDE By WILLIAM SHAKESPEARE ASOLO REP Adapted and Directed by JUSTIN LUCERO EDUCATION & OUTREACH TOURING SEPTEMBER 27 - NOVEMBER 22 ASOLO REP LEADERSHIP TABLE OF CONTENTS Producing Artistic Director WHAT TO EXPECT.......................................................................................1 MICHAEL DONALD EDWARDS WHO CAN YOU TRUST?..........................................................................2 Managing Director LINDA DIGABRIELE PEOPLE AND PLOT................................................................................3 FSU/Asolo Conservatory Director, ADAPTIONS OF SHAKESPEARE....................................................................5 Associate Director of Asolo Rep GREG LEAMING FROM THE DIRECTOR.................................................................................6 SHAPING THIS TEXT...................................................................................7 THE TRAGEDY OF HAMLET CREATIVE TEAM FACT IN THE FICTION..................................................................................9 Director WHAT MAKES A GHOST?.........................................................................10 JUSTIN LUCERO UPCOMING OPPORTUNITIES......................................................................11 Costume Design BECKI STAFFORD Properties Design MARLÈNE WHITNEY WHAT TO EXPECT Sound Design MATTHEW PARKER You will see one of Shakespeare’s most famous tragedies shortened into a 45-minute Fight Choreography version -
The Tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM
The tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM Log in / Sign Up SUBJECTS AUTHORS ADD A BOOK Search LISTS RECENTLY ABOUT US One web page for every book. Show only eBooks More search options Last edited anonymously The tragedie of Hamlet, Prince of Denmarke: a March 28, 2012 | History Edit study with the text of the folio of 1623 661 editions By William Shakespeare About the Book The play, set in the Kingdom of Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius for murdering the old King Hamlet, Claudius's own brother and Prince Hamlet's father, and then succeeding to the throne and marrying Gertrude, the King Hamlet's widow and mother of Prince Hamlet. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption. - Wikipedia SUBJECTS Drama, Princes, Hamlet (Legendary character), Revenge, Murder victims' families, Kings and rulers, Death, Fathers, Succession, Bibliography, Textual Criticism, Quartos, Plays, Regicides, Stage history, English literature, Sources, Juvenile drama, History and criticism, Motion pictures, Hamlet (Motion picture: 1948), Juvenile literature, Criticism and interpretation, Study and teaching, Production and direction, Tragedy, Adaptations, Translations into Russian, Translating into Russian, Collections, Inheritance and succession, Britons, Translations into French, Paper toy making, English Plays, Aging Manage Covers parents, Outlines, syllabi, Scripts, -
Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet's Uncl
Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet’s Uncle; he was recently crowned king of Denmark Gertrude – Queen of Denmark; Hamlet’s mother Polonius – Advisor to the King Ophelia – Hamlet’s love interest; Polonius’ daughter Laertes – Polonius’ son Ophelia’s brother Horatio – Hamlet’s best friend; voice of reason in the play Fortinbras – Prince of Norway; wants to regain land lost by his father Courtiers: Rosencrantz – Noblemen and acquaintances of Hamlet invited to cheer him Guildenstern – up Osric - Cornelius Voltemand – Ambassador charged with going to Norway Officers, Soldiers, and Servants: Francisco – Marcellus – Soldiers who first witness the ghost while on guard Bernardo – Reynaldo – Servant to Polonius Act One, Scene One 1. What is the setting for the play? Denmark; Elsinore Castle 2. What are Bernardo and Francisco doing at the beginning of the play? They are on watch waiting for their replacements. 3. What is going on that makes this necessary? There is a military threat from Norway, in the form of Young Fortinbras. 4. Why is Horatio summoned to the roof of the castle? The want him to witness and/or validate the appearance of the ghost of the dead king. 5. What decision does Horatio make after witnessing what he does? He decides to tell young Hamlet, because he thinks the ghost will speak to him. Act One, Scene Two 6. What has recently happened in Hamlet’s family? His father died and his mother married his uncle. 7. Why is Hamlet being scolded by his uncle? His uncle feels Hamlet has been mourning his father for too long. -
Hamlet and Emotions
EDITED BY PAUL MEGNA, BRÍD PHILLIPS, AND R . S . WHITE Hamlet and Emotions palgrave shakespeare studies General Editors: Michael Dobson and Dympna Callaghan Paul Megna · Bríd Phillips R. S. White Editors Hamlet and Emotions Editors Paul Megna R. S. White ARC Centre of Excellence ARC Centre of Excellence for the History of Emotions for the History of Emotions The University of Western Australia The University of Western Australia Crawley, WA, Australia Crawley, WA, Australia Bríd Phillips ARC Centre of Excellence for the History of Emotions The University of Western Australia Crawley, WA, Australia Palgrave Shakespeare Studies ISBN 978-3-030-03794-9 ISBN 978-3-030-03795-6 (eBook) https://doi.org/10.1007/978-3-030-03795-6 Library of Congress Control Number: 2018962246 © The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG, part of Springer Nature 2019 This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifcally the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microflms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed. The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specifc statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use. The publisher, the authors, and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. -
Metacriticism in Salman Rushdie's Short Story Yorick*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Hacettepe University Journal of Faculty of Letters Cilt/Volume: 35 Sayı/Number:1 Haziran/June 2018 doi:10.32600/huefd.438142 Metacriticism in Salman Rushdie’s Short Story Yorick* Salman Rushdie’nin Yorick Adlı Kısa Öyküsünde Üsteleştiri Seda ARIKAN** Abstract Salman Rushdie is mostly known for his usage of new techniques especially those of postmodernism. In his short story collection East, West, besides many postmodern techniques such as pastiche, parody, and metafiction, his focus on metacriticism is apparent in the short story titled “Yorick”. Rushdie’s “Yorick” that is based on an invented story about the character Yorick, the dead clown whose skull Prince Hamlet handles and makes his famous speech in Hamlet, appears as an example of creative metacriticism that depicts the place and function of literary criticism in a fictional work. Referring to theoretical criticisms of Hamlet, such as psychoanalysis and social theories, Rushdie uses criticism of literary criticism in his short story “Yorick”. Thus, he adds his postmodern interpretation into the analyses of literary criticism since antiquity. This study will firstly focus on the theoretical background of metacriticism, in general, and creative metacritcism, in particular. Later on, it will try to find out the traces of creative metacriticism in Rushdie’s short story “Yorick” in which he also deals with metafiction, the role of the writer, the function of the reader, writer- critic-reader collaboration, the objectivity or subjectivity of literary criticism, creative writing or creative reading, and the truth in storytelling. Analysing how metacriticism operates in the story, finally Rushdie’s ideas on what literary criticism is and should be will be clarified. -
Identity and Role-Playing in Shakespeare's Hamlet
The Mask of Madness: Identity and Role-playing in Shakespeare’s Hamlet Treball de Fi de Grau Grau en Estudis Anglesos Supervisor: Dr Jordi Coral Escola Anna Fluvià Sabio June 2016 Acknowledgments Throughout the writing of this TFG, I have benefited from the advice of Dr Jordi Coral Escola. I am very grateful for his constant support, suggestions and corrections. I would also like to thank my family and friends for having been extremely supportive and encouraging during this process. Table of Contents Introduction ...................................................................................................................... 2 Madness as a Key Theme in Elizabethan Drama.......................................................... 3 The Spanish Tragedy and Hamlet ................................................................................. 4 Chapter 1: Madness .......................................................................................................... 6 1.1 Origins of his Madness ........................................................................................... 6 1.2 Assuming the Role of the Madman ...................................................................... 10 Chapter 2: Theatricality .................................................................................................. 13 2.1 Hamlet’s Role ....................................................................................................... 13 2.2 Metadramatic Elements in the Play ..................................................................... -
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. -
Alas Poor Yorick. Hamlet and Kristeva's Maginary Father
E. Denbo / PsyArt 21 (2017) 143–158 ‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father Elise Denbo Queensborough Community College City University of New York Most psychological approaches interpret Shakespeare’s Hamlet within a Lacanian/Oedipal revenge narrative. This paper, however, explores Shakespeare’s Hamlet through theories of Julia Kristeva, who develops a term called ‘the imaginary father,’ which she revisions from Freud’s ‘father of individual prehistory.’ The notion of an archaic/imaginary father as a hybrid locus (a mother-father amalgam) within the semiotic domain not only introduces new perspectives to consider the role of fatherhood but also the affective (and material) nature of transference/countertransference in Shakespeare’s plays. The dramatization of Hamlet’s “inner mystery” as opposed to his outer “show” has not been explored as an intrapsychic activity regarding an archaic father of imaginary ambivalence. Despite the scene’s brevity (5.1), considering Yorick as Hamlet’s father of individual prehistory reconfigures symbolic mastery to explore the unfolding development of Shakespearean character as a metaphorical process, a presymbolic activity rather than fixed representation, dramatizing the corporeal struggle for psychic and creative space. To cite as Denbo, E., 2017, ‘‘Alas Poor Yorick!’: Hamlet and Kristeva’s Imaginary Father’, PsyArt 21, pp. 143–158. Most playgoers are familiar with the unique encounter between Hamlet and Yorick, the long departed court jester unearthed from his grave, that Shakespeare positions in counterpoint to the early appearance of King Hamlet’s ghost, an event which combined with his mother’s sudden marriage to his uncle sets the play in motion. -
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. -
Jesting with Death: Hamlet in the Graveyard
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RERO DOC Digital Library To be published in: Textual practice, 2010, 24(6), 1003-1018 which should be cited to refer to this work. Indira Ghose Jesting with Death: Hamlet in the Graveyard When Eric Morecambe appeared on stage dressed entirely in black, nursing a skull, even the slightly obtuse Ernie immediately realized what was in the offing: Shakespeare’s Hamlet. The image of Hamlet holding a skull has become iconic for the play itself. In popular memory, it is linked to the other signpost of the play, the tagline ‘To be or not to be’. What is often forgotten is the fact that the skull only surfaces in the graveyard scene, in which the Prince meditates on death and engages in a battle of wits with a gravedigger. Ironically, it is precisely the graveyard episode that drew the ire of generations of critics. Voltaire’s comments on the scene are devastating. In his Dissertation sur la tragédie ancienne et moderne he writes, ‘[A] grave is dug on the stage; some gravediggers, holding skulls in their hands, make bad puns worthy of their sort; to their abominable scurrilities, Prince Hamlet makes nonsensical replies that are no less disgusting’.1 For critics like Voltaire, macabre humour was a breach of decorum, an unforgivable transgression of the aesthetic code that called for a rigid divide between the genres of comedy and tragedy. Long before Voltaire, neoclassical critics such as Sir Philip Sidney had patrolled the boundaries between both genres, deploring the insertion of comic matter in tragedies as vulgar. -
HAMLET Hamlet William Shakespeare’S William Shakespeare's Hamlet
HAML ET hamlet william shakespeare’s william shakespeare's Hamlet directors Cecily Pincsak, Greg Schiedler, & Kathy Wiseman designers Laura Dixon & Cecily Pincsak Directors' Note dead father, who informs his son that Claudius murdered him. Faced with hamlet is widely recognized as one of this heartbreaking knowledge, Hamlet begins to plot against Claudius to take william shakespeare’s darker tragedies, so when we were initially revenge as his father instructed. Paranoid and unsure of whom he should discussing how to stage the play we decided to take a slightly more humorous trust, Hamlet chooses to depend on and trust one man only: his closest approach to the story. It is not intended to be satirical by any means, but friend, Horatio. Others who are drawn into the feud between Hamlet and we tried to lighten up some of the darker lines in one of the play’s most Claudius include a family close to the royals, consisting of Polonius and his somber scenes through the actions and reactions of our actors. We also two children, Laertes and Ophelia. They are all directly affected by the results understand that Shakespearean language can be hard to comprehend for a of both Claudius’ and Hamlet’s actions. Ophelia is in love with Hamlet, and modern audience, so if the actions of the actors do not immediately grab while Hamlet does appear to have feelings for her as well, he is forced to viewers’ interest there is a chance they will become confused or bored very manipulate those feelings in order to exact his revenge. -
To Be Or Not to Be (Dangerous): Mental Instability in Branagh╎s and Almereyda╎s 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.