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PDF Download Hamlet: the Texts of 1603 and 1623 Ebook
HAMLET: THE TEXTS OF 1603 AND 1623 PDF, EPUB, EBOOK William Shakespeare,Ann Thompson,Neil Taylor | 384 pages | 31 May 2007 | Bloomsbury Publishing PLC | 9781904271802 | English | London, United Kingdom Hamlet: The Texts of 1603 and 1623 PDF Book The New Cambridge, prepared by Philip Edwards, also conflated while using the Folio as its base text. It looks like you are located in Australia or New Zealand Close. For your intent In going back to school in Wittenberg, It is most retrograde to our desire, And we beseech you bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. An innnovative and stimulating contribution. On approval, you will either be sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook. This wonderful ternion gives the serious students of Hamlet everything they need to delve deeply into the Dane. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. A beautiful, unmarked, tight copy. By using our website you consent to all cookies in accordance with our Cookie Policy. Password Forgot Password? What says Polonius? While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. Gerald D. May show signs of minor shelf wear and contain limited notes and highlighting. Who's there? But, look, the morn in russet mantle clad, Walks o'er the dew of yon high eastern hill. -
The Front Page First Opened at the Times Square Theatre on August 14, 1928, It Was Instantly Heralded As a Classic
SUPPORT FOR THE 2019 SEASON OF THE FESTIVAL THEATRE IS GENEROUSLY PROVIDED BY DANIEL BERNSTEIN AND CLAIRE FOERSTER PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY NONA MACDONALD HEASLIP 2 DIRECTOR’S NOTES SCAVENGING FOR THE TRUTH BY GRAHAM ABBEY “Were it left to me to decide between a government without newspapers or newspapers without a government, I should not hesitate a moment to prefer the latter.” – Thomas Jefferson, 1787 When The Front Page first opened at the Times Square Theatre on August 14, 1928, it was instantly heralded as a classic. Nearly a century later, this iconic play has retained its place as one of the great American stage comedies of all time. Its lasting legacy stands as a testament to its unique DNA: part farce, part melodrama, with a healthy dose of romance thrown into the mix, The Front Page is at once a veneration and a reproof of the gritty, seductive world of Chicago journalism, firmly embedded in the freewheeling euphoria of the Roaring Twenties. According to playwrights (and former Chicago reporters) Charles MacArthur and Ben Hecht, the play allegedly found its genesis in two real-life events: a practical joke carried out on MacArthur as he was heading west on a train with his fiancée, and the escape and disappearance of the notorious gangster “Terrible” Tommy consuming the conflicted heart of a city O’Conner four days before his scheduled caught in the momentum of progress while execution at the Cook County Jail. celebrating the underdogs who were lost in its wake. O’Conner’s escape proved to be a seminal moment in the history of a city struggling Chicago’s metamorphosis through the to find its identity amidst the social, cultural “twisted twenties” is a paradox in and of and industrial renaissance of the 1920s. -
Uvisno "Acting Is Handed on from Actor to Actor
Inaide the Stratford Festival uviSNO "Acting is handed on from actor to actor. It's the only way to do it... from observing the people who came before you. That is really the way theatre goes" In OFFSTAGE ONSTAGE: Inside the Stratford Festival, Stratford cameras go backstage during an entire season to capture the creative spirit at the heart of a treasured Canadian theatre company. For five decades, the Festival's stage has been home to the world's great plays and performers. Award-winning director John N. Smith (The Boys of St. Vincent), given unprecedented access backstage, offers a fascinating look at the personalities and the production process behind live theatre performance. Peek into William Hutt's dressing room as he does his vocal warm-ups before Twelfth Night. Watch Martha Henry command the stage in Who's Afraid of Virginia Woolf? Observe an up-and-coming generation of young performers who learn from the masters. Meet dozens of artists, craftspeople and technicians who reveal their secrets, from shoemaking, sword fighting and sound effects to makeup and mechanical monkeys. Join us behind the scenes of Canada's premier classical theatre institution ... and discover the love for the stage that drives this artistic company. Resource guide on reverse side, DIRECTOR: John N. Smith PRODUCER: Gerry Flahive 83 minutes Order number: C9102 042 Closed captioned. A decoder is required. TO ORDER NFB VIDEOS, CALL TODAY! -800-267-7710 (Canada) 1-800-542-2164 (USA) © 2002 National Film Board of Canada. A licence is required for any reproduction, television broadcast, sale, rental or public screening. -
READING LIST for IED 366 SHAKESPEARE
READING LIST for IED 366 SHAKESPEARE Shakespeare’s Plays: Comedies: The Two Gentlemen of Verona The Comedy of Errors The Taming of the Shrew A Midsummer Night’s Dream Twelfth Night As You Like It History Plays: Richard III Richard II Tragedies: Romeo and Juliet Hamlet Othello Macbeth King Lear Problem Plays: The Merchant of Venice Troilus and Cressida Measure for Measure Romances: A Winter’s Tale The Tempest Criticism on Shakespeare, TheElizabethan Theatre, Modern Approaches and Interpretations: Stanley Wells Shakespeare: A Dramatic Life Sinclair and Stevenson, London, 1997. Stanley Wells Shakespeare: The Writer and His Work Longman, Essex, 1978. E.M.Tillyard The Elizabethan World Picture London, 1943. Andrew Gurr The Shakespearian Stage 1571-1642 Cambridge, 1970. J. Styan Shakespeare’s Stagecraft Cambridge, 1967. Leslie Hotson Shakespeare’s Wooden O London, 1959. Walter Hodges The Globe Restored Oxford, 1968. Emrys Jones Scenic Form in Shakespeare Oxford , 1971. Wolfgang Clemen Shakespeare’s Dramatic Art London, 1972. Alexander Leggatt Shakespeare’s Comedy of Love London, 1974. Bradbury and Palmer Shakespearian Comedy Stratford-upon-Avon Studies 14, 1972. Gary Walker Shakespeare’s Comedies Longman, London, 1991. Barbara Freedman Staging the Gaze: Postmodernism, Psychoanalysis and Shakespearean Comedy Cornell UP, London, 1991. A.C.Bradley Shakespearean Tragedy London, 1904. John Drakakis Shakespearean Tragedy Longman, London, 1992. Garner and Sprengnether Shakespearean Tragedy and Gender Indiana UP,1996 Lilly Campbell Shakespeare’s Tragic Heroes: Slaves of Passion Cambridge, 1930. Ernest Jones Hamlet and Oedipus London, 1949. Norman Holland Psychoanalysis and Shakespeare Peter Alexander Hamlet, Father and Son Oxford, 1955. Nigel Alexander Poison, Play and Duel London, 1971. -
Sources of Lear
Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in the Department of English © Lynne Bradley, 2008 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photo-copying or other means, without the permission of the author. ii Meddling with Masterpieces: the On-going Adaptation of King Lear by Lynne Bradley B.A., Queen’s University 1997 M.A., Queen’s University 1998 Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) iii Supervisory Committee Dr. Sheila M. Rabillard, Supervisor (Department of English) Dr. Janelle Jenstad, Departmental Member (Department of English) Dr. Michael Best, Departmental Member (Department of English) Dr. Annalee Lepp, Outside Member (Department of Women’s Studies) Abstract The temptation to meddle with Shakespeare has proven irresistible to playwrights since the Restoration and has inspired some of the most reviled and most respected works of theatre. Nahum Tate’s tragic-comic King Lear (1681) was described as an execrable piece of dementation, but played on London stages for one hundred and fifty years. David Garrick was equally tempted to adapt King Lear in the eighteenth century, as were the burlesque playwrights of the nineteenth. In the twentieth century, the meddling continued with works like King Lear’s Wife (1913) by Gordon Bottomley and Dead Letters (1910) by Maurice Baring. -
William Shakespeare. Love's Labour's Lost
1 William Shakespeare. Love’s Labour’s Lost Bibliographie établie par Sophie Chiari * Une étoile signale un article ou un ouvrage particulièrement utile dans le cadre de la préparation au concours. ** Deux étoiles indiquent les textes à consulter en priorité. I. Bibliographie HARVEY, Nancy Lenz et Anna Kirwan Carey, Love’s Labor’s Lost : An Annotated Bibliography New York, Garland, 1984. II. Éditions (19 e et 20 e siècles) Note : l’in-quarto de la pièce (1598) est consultable sur le site de la British Library, http://www.bl.uk/treasures/shakespeare/labours.html • En anglais ——. A ew Variorum Edition of Love’s Labour’s Lost (1904), Réimprimée par Dover Publications, New York, 1964. ——. Love’s Labour’s Lost , ed. H.C. Hart, Londres, The Arden Shakespeare, 1 st Series, 1906. ——. Love’s Labour’s Lost , eds. Arthur Quiller-Couch et John Dover Wilson, Cambridge, Cambridge University Press, The New Shakespeare, 1923 (2 e édition de Dover Wilson seul, 1962). ——. Love’s Labour’s Lost , ed. Richard David, Londres, Methuen & Co Ltd, 1951. ——. Love’s Labour’s Lost , ed. AlFred Harbage, Londres, Penguin, The Pelican Shakespeare, 1963 (édition révisée, 1973). ——. Love’s Labour’s Lost , ed. John Arthos, New York, Signet, Signet Classic Shakespeare, 1965 (édition révisée, 1988; 2e édition révisée, 2004). ——— in The Complete Works , eds. Stanley Wells et Gary Taylor, OxFord, Clarendon Press, (1986), 2005. **—. Love’s Labour’s Lost , ed. John Kerrigan, Harmondsworth, Penguin Books, The New Penguin, (1982), 1986. **——. Love’s Labour’s Lost , ed. G. R. Hibbard, OxFord, OxFord University Press, 1990. ——. Love’s Labour’s Lost in The orton Shakespeare , eds. -
DECEMBER 2, 1993 CONCORDIA's THURSDAY REPORT Open House Showcases Students' Work MITE AVISTA Opens the Doors to the Magic of Media Technology EL E
0 N C 0 R D I A,S SDAY ~PORT Proceeds of concerts, bake sales to help needy students Spreading the spirit around group cooking," he said. ers: a decorated tree in the atrium of BY JENNIFER DALES Both the co-op kitchen and food the J.W. McConnell Building. The voucher programme are supported J\ t Campus Ministry, staff and tree's lights were switched on Tues by the Ministry's annual Spirit of r-lstudents are revving up for day afternoon, and since then, it's Christmas Drive. Peter Cote, its co their busiest season of the year. being decorated with fund-raising ordinator, said the drive raised "Our primary concern is social ribbons. $8,091 last year. action," said Father Bob Nagy in an The Drive's roots date back to 'We have used almost all of the interview at Belmore House, the money," he said. "Well over 200 1914, when a collection was taken up home of Concordia's Campus Min students have used our service." at Loyola College to help the some of istry on the Loyola Campus. The the families affected by W odd War I. annual Spirit of Christmas Drive Calls for donations The first drive, organized in 1974, supports a food-voucher pro Drive organizers sent letters was known as the Christmas Basket gramme for needy students and a requesting donations to depart Drive. It provided food baskets to co-op kitchen. ments throughout the University. needy families in the Montreal_com The food voucher programme To supplement the donations, pro munity and helped students who helps students who are temporarily jects are organized by Concordia were having short-term financial broke. -
2016 Study Guide
2016 STUDY ProductionGUIDE Sponsor 2016 STUDY GUIDE EDUCATION PROGRAM PARTNER BREATH OF KINGS: REBELLION | REDEMPTION BY WILLIAM SHAKESPEARE CONCEIVED AND ADAPTED BY GRAHAM ABBEY WORLD PREMIÈRE COMMISSIONED BY THE STRATFORD FESTIVAL DIRECTORS MITCHELL CUSHMAN AND WEYNI MENGESHA TOOLS FOR TEACHERS sponsored by PRODUCTION SUPPORT is generously provided by The Brian Linehan Charitable Foundation and by Martie & Bob Sachs INDIVIDUAL THEATRE SPONSORS Support for the 2016 Support for the 2016 Support for the 2016 Support for the 2016 season of the Festival season of the Avon season of the Tom season of the Studio Theatre is generously Theatre is generously Patterson Theatre is Theatre is generously provided by provided by the generously provided by provided by Claire & Daniel Birmingham family Richard Rooney & Sandra & Jim Pitblado Bernstein Laura Dinner CORPORATE THEATRE PARTNER Sponsor for the 2016 season of the Tom Patterson Theatre Cover: From left: Graham Abbey, Tom Rooney, Araya Mengesha, Geraint Wyn Davies.. Photography by Don Dixon. Table of Contents The Place The Stratford Festival Story ........................................................................................ 1 The Play The Playwright: William Shakespeare ........................................................................ 3 A Shakespearean Timeline ......................................................................................... 4 Plot Synopsis .............................................................................................................. -
Three Tall Women: Director’S Notes Four Fortunate Women (And One Man)
PRODUCTION SUPPORT IS GENEROUSLY PROVIDED BY SYLVIA D. CHROMINSKA, DR. DESTA LEAVINE IN MEMORY OF PAULINE LEAVINE, SYLVIA SOYKA, THE WESTAWAY CHARITABLE FOUNDATION AND BY JACK WHITESIDE LAND ACKNOWLEDGEMENT Welcome to the Stratford Festival. It is a great privilege to gather and share stories on this beautiful territory, which has been the site of human activity — and therefore storytelling — for many thousands of years. We wish to honour the ancestral guardians of this land and its waterways: the Anishinaabe, the Haudenosaunee Confederacy, the Wendat, and the Attiwonderonk. Today many Indigenous peoples continue to call this land home and act as its stewards, and this responsibility extends to all peoples, to share and care for this land for generations to come. A MESSAGE FROM OUR ARTISTIC DIRECTOR WORLDS WITHOUT WALLS Two young people are in love. They’re next- cocoon, and now it’s time to emerge in a door neighbours, but their families don’t get blaze of new colour, with lively, searching on. So they’re not allowed to meet: all they work that deals with profound questions and can do is whisper sweet nothings to each prompts us to think and see in new ways. other through a small gap in the garden wall between them. Eventually, they plan to While I do intend to program in future run off together – but on the night of their seasons all the plays we’d planned to elopement, a terrible accident of fate impels present in 2020, I also know we can’t just them both to take their own lives. -
2018-2019 Annual Donor Report Fv.Pages
LOYOLA HIGH SCHOOL FOUNDATION ANNUAL DONOR REPORT 2018-2019 Table of Contents Financial Overview … 3 Loyola by the Numbers … 4 Legacy Giving … 5 2018-2019 Fr. Eric Maclean S.J. Legacy Society Centurion Club … 6 Loyola High School Foundation Board of Directors Leadership Giving … 7 Bursary Endowments Gregory Doyle, Chairman Adopt-A-Student Program … 8 Dario Mazzarello, Vice-Chairman Edmund Piro ‘99, Treasurer … 9 Giving by Level Angelo Noce '84, Secretary Builders’ Guild ($100,000+) Marc Babinski '76, Past Chairman Founders’ Society ($50,000-$99,999) Josephine Battista Men-for-Others Society ($25,000-$49,999) Randy Burns ’86 President’s Circle ($10,000-$24,999) Michael Cross Ignatian Fraternity ($5,000-$9,999) Paul Donovan '82 Loyola Fellowship ($2,500-$4,999) … 10 Patrick Dubee '64 Magis Society ($1,000-$2,499) Michael Lee '82 … 12 Warriors’ League ($500-$999) Tammy Mio … 13 Maroon & White Club ($250-$499) Thomas Park ‘95 1896 Club ($100-$249) … 16 … 19 Sam Ramadori ‘90 Kairos Circle ($1-$99) David Valela ‘91 The Loyola Community at Work … 21 U.S. Friends of Loyola Foundation Every effort has been made to ensure the accuracy of the information Board of Directors contained in this report. If you find an error or omission, please contact Maria Carneiro in the Development Office at Terry Fairholm ’72, Chairman 514-486-1101 x224 or [email protected] Robert Beriault ’69 David Bossy ’71 Sean Doyle '83 2 LOYOLA HIGH SCHOOL FOUNDATION ANNUALANNUAL DONOR DONOR REPORT REPORT REPORT 2018-2012015-201 2015-20169 6 Financial Overview TOTAL DONATIONS: $1,397,607 TOTAL DISBURSEMENTS: $1,012,730 July 1, 2018 - June 30, 2019 TOTAL ASSETS: $12,432,000 3 LOYOLA HIGH SCHOOL FOUNDATION ANNUAL DONOR REPORT 2018-2019 LOYOLA BY THE NUMBERS 4 LOYOLA HIGH SCHOOL FOUNDATION ANNUAL DONOR REPORT 2018-2019 This annual report honors the 903 alumni, parents, staff and friends who donated $1,397,607 to the Loyola High School Foundation and the U.S. -
'Shakespeare's Hamlet'?
View metadata, citation and similar papers at core.ac.uk brought to you by CORE 遠藤:What do you mean by‘Shakespeare’s Hamlet’? What do you mean by‘Shakespeare’s Hamlet’? Hanako Endo ‘What do you mean by ‘Shakespeare’s Hamlet’?’1 is a question Edwards asks himself in his in- troduction to Hamlet. The similar question, ‘what does Hamlet mean?’2, is raised in the edition of Hamlet by Thompson and Taylor. Edwards’ answer is that the ideal text of Hamlet ‘does not exist in either of the two main authoritative texts, the second quarto and the Folio, but somewhere between them’,3 whereas Thompson and Taylor do not specify their answer, offering the wider view beyond editing texts. They state as follows: The question is of course impossible to answer in the space of this Introduction: we can only give some pointers towards current debates and hope that readers will also find sug- gestions in the reminder of the Introduction and in the commentary as to how modern performers and critics are interpreting the play, questioning or reaffirming old readings and finding new ones.4 Although the view of Thompson and Taylor is rather ambiguous and does not provide the editorial answer, Edwards and Thompson and Taylor acknowledge that Hamlet is obviously one of the most difficult plays to edit. This essay will venture to find what the text is or what the text should be for modern readers in order to solve the above question. It will give some examples of the problems of editing Hamlet but will also make a general comment on editing. -
Ann Thompson and Neil Taylor, Eds. 2006: Hamlet. the Arden Shakespeare. 3Rd Series. London: Thomson Learning
Ann Thompson and Neil Taylor, eds. 2006: Hamlet. The Arden Shakespeare. 3rd Series. London: Thomson Learning. 613 + xxii pp. ISBN 1-904271-33-2 Ann Thompson and Neil Taylor, eds. 2006: Hamlet, The Texts of 1603 and 1623. The Arden Shakespeare. 3rd Series. London: Thomson Learning. 368 + xv pp. ISBN 1- 904271-55-3 Jesús Tronch Pérez Universitat de València [email protected] Editing Shakespeare being a national pastime, the publication of any new critical edition of Shakespeare arouses great expectations. Curiosity impels scholars and conoisseurs alike to thumb the newly printed pages in order to verify how the editor solved this or that textual crux, opted for this or that modernization of a character’s name, or whether she or he offered a new-fangled emendation no one had hit upon before. If the new critical edition is Hamlet, the expectations are peculiar since the play has a singular and complex textual situation and a shifting editorial tradition, as is summarized in the next two paragraphs. Hamlet is unique in Shakespeare for having three substantive early texts: the First Quarto of 1603 (Q1), the Second Quarto of 1604/5 (Q2) and the First Folio of 1623 (F). The two latter texts are the basis of the received version of Hamlet but are different in over 1000 substantive variants (most of them single words or phrases in the dialogue), with 7% of F being absent from Q2, and 10% of Q2 absent in F.1 Traditionally defined as a ‘bad’ quarto memorially reconstructed by actor(s), Q1 is a notably different and shorter version, with discrepancies in structure, names of characters and a stylistically uneven dialogue fluctuating from identical to null correspondence with Q2 and F.