Hamlet and Macbeth : to Be Or Not to Be a Procrastinator
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Teaching Shakespeare: Text Clues 101
Teaching Romeo and Juliet Workshop Saturday, October 26, 2019 Instructor: Kevin Long Teaching Shakespeare: Text Clues 101 ...everyone according to his cue. A Midsummer Night’s Dream Definitions Know exactly what you are saying at all times. Use the Lexicons, Shakespeare’s Words, Shakespeare A to Z, Shakespeare’s Bawdy, and footnotes. Anoint two dueling “Lexicon Masters” each day. Make dictionary work COOL! Verse & Prose Shakespeare is about 75% verse (poetic line form) and 25% prose form. The form of writing might indicate a clue as to the type of character you are playing. Prose is sometimes an indication that the character might be of a lower class, comic or mad, while verse might indicate that your character is of higher class, intelligent, clever, etc. Pay particular attention to when a character switches from poetry to prose and visa versa. This is a major clue from Shakespeare. Verse PRINCE And for that offence Immediately we do exile him hence. I have an interest in your hearts’ proceeding: My blood for your rude brawls doth lie a-bleeding; But I’ll amerce you with so strong a fine That you shall all repent the loss of mine. I will be deaf to pleading and excuses, Nor tears nor prayers shall purchase out abuses: Therefore use none. Let Romeo hence in haste, Else, when he is found, that hour is his last. Bear hence this body, and attend our will: Mercy but murders, pardoning those that kill. Romeo and Juliet, Act 3, scene 1 Prose NURSE Well, you have made a simple choice, you know not how to choose a man: Romeo? no, not he; though his face be better than any man’s, yet his leg excels all men’s, and for a hand and a foot and a body, though they be not to be talked on, yet they are past compare. -
Macbeth on Three Levels Wrap Around a Deep Thrust Stage—With Only Nine Rows Dramatis Personae 14 Separating the Farthest Seat from the Stage
Weird Sister, rendering by Mieka Van Der Ploeg, 2019 Table of Contents Barbara Gaines Preface 1 Artistic Director Art That Lives 2 Carl and Marilynn Thoma Bard’s Bio 3 Endowed Chair The First Folio 3 Shakespeare’s England 5 Criss Henderson The English Renaissance Theater 6 Executive Director Courtyard-Style Theater 7 Chicago Shakespeare Theater is Chicago’s professional theater A Brief History of Touring Shakespeare 9 Timeline 12 dedicated to the works of William Shakespeare. Founded as Shakespeare Repertory in 1986, the company moved to its seven-story home on Navy Pier in 1999. In its Elizabethan-style Courtyard Theater, 500 seats Shakespeare's Macbeth on three levels wrap around a deep thrust stage—with only nine rows Dramatis Personae 14 separating the farthest seat from the stage. Chicago Shakespeare also The Story 15 features a flexible 180-seat black box studio theater, a Teacher Resource Act by Act Synopsis 15 Center, and a Shakespeare specialty bookstall. In 2017, a new, innovative S omething Borrowed, Something New: performance venue, The Yard at Chicago Shakespeare, expanded CST's Shakespeare’s Sources 18 campus to include three theaters. The year-round, flexible venue can 1606 and All That 19 be configured in a variety of shapes and sizes with audience capacities Shakespeare, Tragedy, and Us 21 ranging from 150 to 850, defining the audience-artist relationship to best serve each production. Now in its thirty-second season, the Theater has Scholars' Perspectives produced nearly the entire Shakespeare canon: All’s Well That Ends -
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. -
By DECEMBER 2015
A Thesis entitled Blood and Milk: The Masculinity of Motherhood in Shakespeare's Tragedies by Savannah Xaver as partial fulfillment of the requirements for the Bachelor of Arts Degree with Honors in English Thesis Dire Dr. Andrew Mattison Honors Advisor Dr. Melissa Valiska Gregory The University of Toledo DECEMBER 2015 Abstract Motherhood in Shakespeare's late tragedies consists of an unbalance between feminine and masculine forces. Lady Macbeth and Volumnia from Coriolanus strike readers and critics as intricate and aberrant characters. They stand out as women characters in their respective plays because they embrace masculinity rather than femininity. I argue that Shakespeare purposefully crafted Lady Macbeth and Volumnia to create conflict with the tragic heroes through their speeches and dialogue. Within the masculine filled, war- fueled worlds of Macbeth and Coriolanus, a woman must support her male relatives involved in war activities. Not only that, but it becomes a rite of passage for men to dominate women in order to succeed in life and perhaps become more masculine. Lady Macbeth and Volunmnia, however, utilize their strong wills to control and even overpower the men around them. By alluding to their feminine physicality, such as the act of breastfeeding, and combining it with masculine imagery of blood, Lady Macbeth and Volumnia establish dominance and attempt to mute gender. I claim Shakespeare composed the dialogues for each woman to focus on their physical attributes as a tactic to showcase personality and how it relates to gender. The challenging of gender within these tragedies appears dangerous for the men; however, critics argue that Lady Macbeth and Volumnia act out of love or, perhaps, an overindulgence of it. -
Macbeth for Kids Study Guide
Sacramento Theatre Company Study Guide The Macbeth For Kids From the book by Lois Burdett and Christine Coburn Based on William Shakespeare's Macbeth Study Guide Materials Compiled by Anna Miles 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus. -
Multi-Interpretations of Shakespeare's Othello's “Put out the Light…”
DOI: 10.15613/hijrh/2016/v3i1/111726 ISSN (Print): 2349-4778 HuSS: International Journal of Research in Humanities and Social Sciences, Vol 3(1), 17–19, January–June 2016 ISSN (Online): 2349-8900 Multi-Interpretations of Shakespeare’s Othello’s “Put Out the light…” and Macbeth’s “Out, Out; Brief Candle”? N. Vijayasamundeeswari* Coimbatore Government Arts College, Coimbatore, India; [email protected] Abstract In Shakespeare’s two tragic plays, Othello and Macbeth, the utterances, “Put out the light” and “Out, out; brief candle” mean the phrases, it can be perceived that their interpretations hold multi-dimensional potential. Therefore, an endeavour is made toliterally explore that the Othello contextual is going framework to murder of theseDesdemona phrases and in allMacbeth magnitudes. confirms the death of Lady Macbeth, but on close study of Keywords: Id, Primordial State, Promethean, Super Ego 1. Introduction of Othello, when Othello enters Desdemona’s bed cham- ber with a candle light, he tells himself that the infidelity Human Psyche is defined as soul, spirit, innermost self, of Desdemona to her father Brabantio is the main cause of individuality, vital force, life force, subconscious mind or her death. intellect. Sigmund Freud’s Structural Model of the Psyche describes id, ego and super-ego, and based on the activ- It is the cause, it is the cause, my soul- ity and interaction of which man’s mental activities are Let me not name it to you, you chaste stars- determined. Shakespeare’s tragedies give much focus on It is the cause. (Line no 1-3 )[1] the passions and personal lives of the principal characters. -
The Historical Context of Macbeth
The Historical Context of Macbeth EXPLORING Shakespeare, 2003 Shakespeare wrote Macbeth sometime between 1605 and 1606, shortly after the ascension of King James of Scotland to the English throne. The new monarch brought Scotland—previously known to the English only as a mysterious, conquered neighbor—into the public limelight. The period of James' reign was further marked by political and religious conflict, much of which focused the kingdom's attention on the danger of regicide. Events in History at the Time of the Play Sources Following the process used in the creation of many of his plays, Shakespeare drew the plot for Macbeth from historical sources—particularly Raphael Holinshed's Chronicles of England, Scotland, and Ireland (1577), the authoritative historical text of the period. Although Holinshed contains the story of Macbeth and Duncan, Shakespeare did not rely on this only; rather, he combined different stories and different versions of the same story to create his drama. The Chronicles include an account of King Malcolm II (reigned 1005-34), whose throne passed first to Duncan I (reigned 1034-40) and then to Macbeth (reigned 1040-57), both of whom were his grandsons. For his portrayal of the murder through which Macbeth took Duncan's throne, Shakespeare mined another vein of the Chronicles—King Duff's death at the hands of one of his retainers, Donwald. In combining the two events, Shakespeare crafted a specific tone for the tale of regicide. When King Malcolm II of Scotland died in 1034, his last command was that the throne should pass to his oldest grandson, Duncan. -
1 Orson Welles' Three Shakespeare Films: Macbeth, Othello, Chimes At
1 Orson Welles’ three Shakespeare films: Macbeth, Othello, Chimes at Midnight Macbeth To make any film, aware that there are plenty of people about who’d rather you weren’t doing so, and will be quite happy if you fail, must be a strain. To make films of Shakespeare plays under the same constraint requires a nature driven and thick-skinned above and beyond the normal, but it’s clear that Welles had it. His Macbeth was done cheaply in a studio in less than a month in 1948. His Othello was made over the years 1949-1952, on a variety of locations, and with huge gaps between shootings, as he sold himself as an actor to other film- makers so as to raise the money for the next sequence. I’m going to argue that the later movie shows evidence that he learned all kinds of lessons from the mistakes he made when shooting the first, and that there is a huge gain in quality as a consequence. Othello is a minor masterpiece: Macbeth is an almost unredeemed cock-up. We all know that the opening shot of Touch of Evil is a virtuoso piece of camerawork: a single unedited crane-shot lasting over three minutes. What is not often stressed is that there’s another continuous shot, less spectacular but no less well-crafted, in the middle of that film (it’s when the henchmen of Quinlan, the corrupt cop, plant evidence in the fall-guy’s hotel room). What is never mentioned is that there are two shots still longer in the middle of Macbeth . -
The Tragedy of Macbeth William Shakespeare 1564–1616
3HAKESPEARean DrAMA The TRAGedy of Macbeth Drama by William ShakESPEARE READING 2B COMPARe and CONTRAST the similarities and VIDEO TRAILER KEYWORD: HML12-346A DIFFERENCes in classical plaYs with their modern day noVel, plaY, or film versions. 4 EVALUAte how THE STRUCTURe and elements of drAMA -EET the AUTHOR CHANGe in the wORKs of British DRAMAtists across literARy periods. William ShakESPEARe 1564–1616 In 1592—the first time William TOAST of the TOwn In 1594, Shakespeare Shakespeare was recognized as an actor, joined the Lord Chamberlain’s Men, the poet, and playwright—rival dramatist most prestigious theater company in Robert Greene referred to him as an England. A measure of their success was DId You know? “upstart crow.” Greene was probably that the theater company frequently jealous. Audiences had already begun to performed before Queen Elizabeth I and William ShakESPEARe . notice the young Shakespeare’s promise. her court. In 1599, they were also able to • is oFten rEFERRed To as Of course, they couldn’t have foreseen purchase and rebuild a theater across the “the Bard”—an ancienT Celtic term for a poet that in time he would be considered the Thames called the Globe. greatest writer in the English language. who composed songs The company’s domination of the ABOUT heroes. Stage-Struck Shakespeare probably London theater scene continued • INTRODUCed more than arrived in London and began his career after Elizabeth’s Scottish cousin 1,700 new wORds inTo in the late 1580s. He left his wife, Anne James succeeded her in 1603. James the English languagE. Hathaway, and their three children behind became the patron, or chief sponsor, • has had his work in Stratford. -
The Pathology of Rhetoric in Coriolanus by Yvonne Bruce
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Cleveland-Marshall College of Law Cleveland State University EngagedScholarship@CSU English Faculty Publications English Department 2000 The aP thology of Rhetoric in Coriolanus Yvonne Bruce Cleveland State University, [email protected] Follow this and additional works at: https://engagedscholarship.csuohio.edu/cleng_facpub Part of the Literature in English, British Isles Commons How does access to this work benefit oy u? Let us know! Publisher's Statement Article originally published as Bruce, Yvonne, "The aP thology of Rhetoric in Coriolanus," Upstart Crow: A Shakespeare Journal, Vol. 20 (2000): 97-119. Published by Clemson University. Original text here: http://www.clemson.edu/centers-institutes/cedp/about/upstart-crow/content-lists/ volume-xx.html Recommended Citation Bruce, Yvonne, "The aP thology of Rhetoric in Coriolanus" (2000). English Faculty Publications. 84. https://engagedscholarship.csuohio.edu/cleng_facpub/84 This Article is brought to you for free and open access by the English Department at EngagedScholarship@CSU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. Vol. XX The Pathology of Rhetoric in Coriolanus by Yvonne Bruce Coriolanus seems to be a play of action, a dramatized world of mutinous citizens, plotting tribunes, famine, war, and banish ment. Yet what really happens in this world? The citizens never realize their mutiny. Brutus and Sicinius never realize their ill defined plot, Coriolanus' consulship is rescinded, the mutual banishment of Coriolanus is undone by his resolve not to make "true wars" against Rome. -
Shakespeare's Macbeth
Shakespeare’s Macbeth May 2013 These study materials are produced for use s m a r t SHARING MASTERWORKS OF ART with the Classic Players production of Macbeth AN EDUCATIONAL OUTREACH OF BOB JONES UNIVERSITY Shakespeare’s Artistic Accomplishment in Macbeth Macbeth is the story of a hero turned villain. It explores the cause and consequence of sin, tracing the downfall of an ambitious man whose deliberate commitment to evil destroys him and his kingdom. Since Shakespeare’s own age Macbeth has remained a popular piece for both the study and the stage although it was written as a script to be performed, not a text to be read and scrutinized. Many elements of the play contribute to its success as pure entertainment, among them its dramatic plot and characters, its irony, spectacle and suspense: Macbeth wavers concerning the murder of Duncan, even right outside the door to his chamber; the prophecies of the Witches and Apparitions prove one by one to be ironic; and Lady Macbeth experiences self-loathing and horror that culminate in her sleepwalking episodes. Shakespeare’s early audiences would have found the play’s supernatural elements, especially the Witches, very captivating. Their association with Satan’s domain creates an atmosphere of darkness appropriate to the action of the plot, and they also Shawn MacDonald & Philip Eoute as Lady Macbeth & Macbeth, Classic Players 2013 effectively introduce the major theme of equivocation. Rather than intending to promote communication with such insidious audience’s ears were more attuned to appreciate upon casual creatures, Shakespeare implies that they are to be shunned. -
The Fantastic in Shakespeare: Hamlet and Macbeth
Odsjek za anglistiku Filozofski fakultet Sveučilište u Zagrebu The Fantastic in Shakespeare: Hamlet and Macbeth (Smjer: Engleska književnost i kultura) Kandidat: Petra Bušelić Mentor: dr. sc. Iva Polak Ak. godina: 2014./2015. Listopad, 2015. Contents 1. Introduction .......................................................................................................................... 1 2. Todorov’s Theory of the Fantastic ..................................................................................... 2 3. Hamlet .................................................................................................................................... 7 3.1. “Who’s There”: Enter Fantastic Ghost ............................................................................ 8 3.2. Putting on the “Antic Disposition” ................................................................................ 15 3.3. The Ghost Comes in Such a Questionable Shape .......................................................... 19 4. Macbeth ............................................................................................................................... 22 4.1. The “Unreal Mock’ry” of Banquo’s Ghost ................................................................... 22 4.2. The Weird Sisters as Imperfect Speakers ...................................................................... 26 4.3. Kingship, Witchcraft and Jacobean Royal Ideology ..................................................... 32 5. Shakespeare’s Dramatic Use of the Supernatural .........................................................