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Hamlet The30minuteshakespeare.Pdf HAMLET: THIS IS AN UNCORRECTED PROOF THE 30-minutE For author interviews, excerpts, and reviews, please contact: THE 30-MINUTE SHAKESPEARE Eva Zimmerman, Publicity Director 510.292.8678 | [email protected] shakespeare Planning a school or amateur Shakespeare production? The best way to experience the plays is to perform them, but getting started can be a challenge: The complete plays are too long and complex, while scene selections or simplified language are too limited. The 30-Minute Shakespeare is a new series of abridgements that tell the “story” of each play from start to finish while keeping the beauty of Shakespeare’s language intact. Specific stage directions and character suggestions give even inexperienced actors the tools to perform Shakespeare with confidence, understanding, and fun! This edition of Hamlet includes the call for vengeance by the Ghost of Hamlet’s father; Hamlet’s use of the players to prove Claudius guilty; the murder of Polonius; Ophelia’s mad scene; the timeless “To be or not to be” speech; and the climactic swordfight and poisoning that HAMLET bring the story to its riveting end. There is also an essay by editor Nick Newlin on how to produce a Shakespeare play with novice actors, and notes about the original production of this abridgement at the INCLUDING STAGE DIRECTIONS Folger Shakespeare Library’s annual Student Shakespeare Festival. FOR ALL LEVELS OF EXPERIENCE NEWLIN Hamlet: The 30-Minute Shakespeare Edited by Nick Newlin April, 2011 Nick Newlin Trade paper, 72 pages, $7.95 978-1-935550-24-2 NICK NEWLITEACHINGN ARTIST 30MinuteShakespeare.com FOLGER SHAKESPEARE LIBRARY Distributed by Consortium THE 30-minutE SHAKESPEARE HAMLET ✴ “Nick Newlin’s work as a teaching artist for Folger Education during the past thirteen years has provided students, regardless of their experience with Shakespeare or being on stage, a unique opportunity to tread the boards at the Folger Theatre. Working with students to edit Shakespeare’s plays for performance at the annual Folger Shakespeare Festivals has enabled students to gain new insights into the Bard’s plays, build their skills of compre- hension and critical reading, and just plain have fun working collaboratively with their peers. Folger Education promotes performance-based teaching of Shakespeare’s plays, providing students with an interactive approach to Shakespeare’s plays in which they participate in a close reading of the text through intellectual, physical, and vocal engagement. Newlin’s The 30-Minute Shakespeare series is an invaluable resource for teachers of Shakespeare, and for all who are interested in performing the plays.” ROBERT YOUNG, PH.D. DIRECTOR OF EDUCATION FOLGER SHAKESPEARE LIBRARY Hamlet: The 30-Minute Shakespeare THE TRAGICALL HISTORIE ISBN 978-1-935550-24-2 Adaptation, essays, and notes © 2010 by Nick Newlin of No part of this publication may be reproduced or transmitted in any form, electronic, photocopying or otherwise, without the prior written permission HAMLET of the publisher. PRINCE OF DENMARKE There is no royalty for performing Hamlet: The 30-Minute Shakespeare in a classroom or on a stage; however permission must be obtained for all playscripts used by the actors. The publisher hereby grants unlimited photocopy permission for one series of performances to all acting groups that have purchased at least THE 30-MINUTE SHAKESPEARE five (5) copies of the paperback edition, or one (1) copy of the downloadable PDF edition available for $12.95 from www.30MinuteShakespeare.com. Cover design by Sarah Juckniess Printed in the United States of America Written by WILLIAM SHAKESPEARE Distributed by Consortium Book Sales & Distribution www.cbsd.com Abridged AND Edited NICOLO WHIMSEY PRESS www.30MinuteShakespeare.com by NICK NEWLIN Art Director: Sarah Juckniess Managing Editors: Katherine Little, Leah Gordon Brandywine, MD To the students, ✴ TABLE OF CONTENTS faculty, and staff at Benjamin Banneker Academic High School Preface: No Experience Necessary .................................... VI in Washington, D.C. Characters in the Play ....................................................... VIII for bringing life to Shakespeare Hamlet ........................................................................... 1 Appendix 1: Dumbshow ........................................................34 Special thanks to Joanne Flynn, Bill Newlin, Eliza Newlin Appendix 2: To Be or Not To Be Speech Breakdown ............37 Carney, William and Louisa Newlin, Michael Tolaydo, Hilary Kacser, Sarah Juckniess, Katherine Little, Eva Zimmerman, Performing Shakespeare................................................... 39 Leah Gordon, Julie Schaper and all of Consortium, Leo Bowman and the students, faculty, and staff at Banneker Academic High Performance Notes: Hamlet .............................................. 58 School, and Robert Young Ph.D., and the Folger Shakespeare Library, especially the wonderful Education Department. Set and Prop List ............................................................. 68 Sample Program .............................................................. 69 Additional Resources ........................................................ 70 NO EXPERIENCE NECESSARY ✴ VII ✴ NO EXPERIENCE NECESSAry The 30-Minute Shakespeare gives students and teachers a chance to get up on their feet and act out a Shakespeare play in half an hour, using his language. The emphasis is on key scenes, with narrative I was not a big “actor type” in high school, so if you weren’t either, or bridges between scenes to keep the audience caught up on the action. if the young people you work with are not, then this book is for you. The stage directions are built into this script so that young actors do Whether or not you work with “actor types,” you can use this book to not have to stand in one place; they can move and tell the story with stage a lively and captivating thirty-minute version of a Shakespeare their actions as well as their words. And it can all be done in a class- play. No experience is necessary. room during class time! When I was about eleven years old, my parents took me to see That is where this book was born: not in a research library, a Shakespeare’s Two Gentlemen of Verona, which was being performed graduate school lecture, a professional stage, or even an after-school as a Broadway musical. I didn’t comprehend every word I heard, but drama club. All of the play cuttings in The 30-Minute Shakespeare I was enthralled with the language, the characters, and the story, and were first rehearsed in a D.C. public high school English class, and I understood enough of it to follow along. From then on, I associated performed successfully at the Folger Shakespeare Library’s annual Sec- Shakespeare with fun. ondary School Shakespeare Festival. The players were not necessarily Of course Shakespeare is fun. The Elizabethan audiences knew “actor types.” For many of them, this was their first performance in it, which is one reason he was so popular. It didn’t matter that some a play. of the language eluded them. The characters were passionate and Something almost miraculous happens when students perform vibrant, and their conflicts were compelling. Young people study Shakespeare. They “get” it. By occupying the characters and speak- Shakespeare in high school, but more often than not they read his ing the words out loud, students gain a level of understanding and work like a text book and then get quizzed on academic elements of appreciation that is unachievable by simply reading the text. That is the play, such as plot, theme, and vocabulary. These are all very inter- the magic of a performance-based method of learning Shakespeare, esting, but not nearly as interesting as standing up and performing a and this book makes the formerly daunting task of staging a Shake- scene! It is through performance that the play comes alive and all its speare play possible for anybody. “academic” elements are revealed. There is nothing more satisfying With The 30-Minute Shakespeare book series I hope to help to a student or teacher than the feeling of “owning” a Shakespeare teachers and students produce a Shakespeare play in a short amount play, and that can only come from performing it. of time, thus jump-starting the process of discovering the beauty, But Shakespeare’s plays are often two or more hours long, magic, and fun of the Bard. Plot, theme, and language reveal them- making the performance of an entire play almost out of the ques- selves through the performance of these half-hour play cuttings, and tion. One can perform a single scene, which is certainly a good start, everybody involved receives the priceless gift of “owning” a piece of but what about the story? What about the changes a character goes Shakespeare. The result is an experience that is fun and engaging, through as the play progresses? When school groups perform one and one that we can all carry with us as we play out our own lives on scene unedited, or when they lump several plays together, the audi- the stages of the world. ence can get lost. This is why I have always preferred to tell the story NICK NEWLIN of the play. Brandywine, MD March 2010 CHARACTERS IN THE PLAY SCENE 1. (ACT I, SCENE II) The following is a list of the characters that appear in this cutting Elsinore. A room of state in the castle. of Hamlet. Twenty-five actors performed in the original production. This SOUND OpERATOR plays Sound Cue #1 (“Ominous music”). number can be increased to about thirty or decreased to about fifteen Enter NARRATOR from stage rear, coming downstage center. by having actors share or double roles. For the full breakdown of characters, see Sample Program. NARRATOR KING CLAUDIUS: King of Denmark; murders his brother Hamlet, the Prince of Denmark, is grieving over (Hamlet’s father) and marries his widow (Queen Gertrude) his father’s death. To make matters worse, his uncle Claudius has become king by marrying Hamlet’s HAMLET: Son of the late King Hamlet; nephew to King Claudius mother, Queen Gertrude. Then there is the matter of QUEEN GERTRUDE: Queen of Denmark; mother to Hamlet the ghost .
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