William Shakespeare
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William S h ak e s p e ar e : an overview of his life, times, and work an NAC English Theatre company educational publication THE NATIONAL ARTS CENTRE ENGLISH THEATRE PROGRAMMES FOR STUDENT AUDIENCES Peter Hinton Artistic Director, English Theatre This backgrounder was written and researched by Jane Moore for the National Arts Centre, English Theatre. Copyright Jane Moore, 2008. It may be used solely for educational purposes. The National Arts Centre English Theatre values the feedback of teachers on the content and format of its educational materials. We would appreciate your comments or suggestions on ways to improve future materials. Comments may be directed to Martina Kuska, either by email at [email protected] or fax at (613) 943 1401. Made possible in part by the NAC Foundation Donors’ Circle Table of Contents page(s) Section I: Introduction to Shakespeare............................................................................................1 - 3 William Shakespeare: Who was he, and why do we study him? .................................................1 Shakespeare‘s biography................................................................................................... 1 œ 2 Shakespeare‘s plays .......................................................................................................... 2 œ 3 Section II: Shakespeare and the Sanders Portrait............................................................................ 4 œ 5 What did Shakespeare look like? ..............................................................................................4 -
2011 As You Like It
AS YOU LIKE IT Study Guide - 2011 Season Production E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND PLAY DIRECT SHYLOCKCRE LEARN CAESAR A AT ACT TEACH E OTHELLO OPHELI A Message from the Director are transformed by encountering what is “down the rabbit hole.” stark contrast to Hamlet, As IN You Like It is a play about The forest in Shakespeare’s plays is the metamorphosis of the self. always a place of transformation, a A young woman, Rosalind, is able freeing of the self from rigid societal to discover what love truly is by and parental bonds in order to pretending to be someone else, the find an authentic self. With that boy Ganymede. Through playing in mind, we have made our forest she becomes more and more into a whimsical playground where expansive, bolder and more fully objects, clothes, sound, light and herself. color are literally transformed from what they are in the court. Through Inspiration for the physical imaginative play, the characters production of As You Like It came transform themselves. from stories like The Chronicles of Narnia, Through the Looking Glass, Thank you for celebrating the and Coraline. A door is opened into human spirit with us! another world and the characters 2 Contents Shakespeare’s Life and Times ..................................................4 What Did Shakespeare Look Like? ...........................................4 Shakespeare Portrait Gallery ....................................................5 The -
Coppelia Kahn's Address in Washington, D.C., 2009
Coppélia Kahn Address in Washington, D.C., 10 April 2009 At last this moment has arrived. Like all the former SAA presidents I know, I’ve been agonizing over it for two years, ever since you were so generous as to elect me vice-president. In states of low, medium and high anxiety I’ve mulled it over on two continents, waking and sleeping; during department meetings, on the exercise bicycle, in the shower and in the supermarket . I’ve juggled various topics in the air: “the battle with the Centaurs,” “the riot of the tipsy Bacchanals, / Tearing the Thracian singer in their rage,” and especially in this bleak economic season, “The thrice three Muses mourning for the death / Of Learning, late deceased in beggary” (Midsummer Night’s Dream 5.1.44-53). I think I remember my immediate predecessor, Peter Holland, whom I have never known to be at a loss for words, describing himself as lying despondent on the living room couch, like the speaker in Sidney’s sonnet, “biting [his] truant pen” and “beating [him]self for spite” as he searched for a topic for his luncheon speech. I’ve been there, too. On March 10, 2009, I was released from this state of desperation by a fast-breaking news story girdling the globe: “Is this a Shakespeare which I see before me?” read the headline on my New York Times, one of many in which reporters would show off their knowledge of Shakespeare by deliberate (or unwitting) misquotation of his words. [On screen: Cobbe portrait] There on the front page was a color photograph of a painting that Stanley Wells, chairman of the Shakespeare Birthplace Trust, had presented to the world the day before as “almost certainly the only authentic image of Shakespeare made from life” (SBT press release, 3/9/09). -
Research Article
Journal of Scientific Exploration, Vol. 34, No. 2, pp. 268–350, 2020 0892-3310/20 RESEARCH ARTICLE Behind The Mask: An Analysis of the Dedication of Shakespeare’s Sonnets and Its Implications for the Shakespeare Authorship Question Peter A. Sturrock Applied Physics Department, Stanford University, Stanford, CA [email protected] Kathleen E. Erickson School of Information, San José State University, San José, CA [email protected] Submitted September 18, 2019; Accepted January 20, 2020; Published June 15, 2020 https://doi.org/10.31275/2020/1672 Creative Commons License CC-BY-NC A shorter version of this paper was given by Peter Sturrock as the Founder’s Lecture on June 7, 2019, at the 38th Annual Meeting of the Society for Scientific Exploration in Broomfield, Colorado. Abstract—There is at present no consensus concerning the true authorship of the monumental literature that we ascribe to “Shakespeare.” Orthodox scholarship attributes this corpus to a man who was born and who died in Stratford-upon-Avon, who spelled his name William Shakspere (or variants thereof, almost all with a short “a”), who could not write his own name consistently, and who may have been illiterate—as were his parents and as were, essentially, his children. For these and other reasons, many alternative candidates have been proposed. At this date, the leading candidate is Edward de Vere, 17th Earl of Oxford. We approach the Authorship Issue from a scientific perspective. We frame the key question as that of Secrecy or No Secrecy. According to orthodox scholarship, the Authorship Issue does not involve considerations of secrecy. -
In Love with Shakespeare: Metatextual Potential of John Madden's Fictional
Volume 10 - Issue 42 / June 2021 103 DOI: https://doi.org/10.34069/AI/2021.42.06.10 How to Cite: Marinesko, V., Lazarenko, D., Torkut, N., & Gutaruk, N. (2021). “Shakespeare in love” / In love with Shakespeare: metatextual potential of John Madden’s fictional biopic. Amazonia Investiga, 10(42), 103-112. https://doi.org/10.34069/AI/2021.42.06.10 “Shakespeare in love” / In love with Shakespeare: metatextual potential of John Madden’s fictional biopic «Закоханий Шекспір» / Закохані в Шекспіра: метатекстуальний потенціал фікційного байопіка Джона Меддена Received: May 2, 2021 Accepted: June 12, 2021 Written by: Viktoriia Marinesko43 https://orcid.org/0000-0001-6747-8664 Darya Lazarenko44 https://orcid.org/0000-0002-3253-4678 Nataliya Torkut45 https://orcid.org/0000-0002-8905-6769 Nataliia Gutaruk46 https://orcid.org/0000-0001-7373-5460 Abstract Анотація The paper focuses on the specificity of metatextual Метою статті є дослідження особливостей potential of John Madden’s fictional biopic метатекстуального потенціалу фікційного “Shakespeare in Love” (1998), viewed as a байопіку Джона Меддена “Закоханий Шекспір» complex metatextualintermedial construct. The (1998). Метатекстуальні ресурси фільму metatextual resources of the film are being analysed реалізовані у 3 ключових площинах: on three key levels: intratextual (metatextual інтратекстуальній (метатекстуальні фрагменти), fragments), intertextual (allusions to the other інтертекстуальній (звернення до інших творів works of the canon) and extratextual (text as an канону) та позатекстуальній (в якій текст є intersemiotic metatext). On the intratextual level інтерсеміотичним метатекстом). На four main forms of metatextual commentary are інтратекстуальному рівні виділяються чотири singled out: a) the paratextual commentary; b) the основні форми мета текстуальних коментарів: leitmotif; c) the self-referential fragments; d) the а)пара текстуальний коментар; б) лейтмотив; в) allusions to the present-day realia. -
About William Shakespeare
Welcome to Animated Shakespeare! About William Shakespeare We think you’ll find these teaching resources – created by professional theatre actors and educators – very valuable supports to your classroom explorations of Shakespeare. The following pages include lesson plans that can stand alone or be used to accompany our video series. In each Module, you will have three or four Units that deepen students’ understanding of various aspects of Shakespeare’s work or a particular play. Each video is accompanied by several pages of in-class activities for teachers to prepare, as well as Class Handout sheets to reproduce for your students. No matter which play you are studying, these activities can supplement your regular class work to enliven –the The text team that at has KDOONS become and so WYRDinfluential, Productions not only in theatre, but in the common speech of Western society. Enjoy! Puke Topic NOTE: Students are given a topic, In the following activities and handouts, you may see references to a usually a reflective question that they are to consider with Thefew terms:First Folio: pen in hand. We suggest 2 - Mr. William Shakespeares Comedies, Histories, & Tragedies 3 minutes for students who This is the common name for the collection of Shakespeare’s plays, en- are new to timed writing, 5 titled ‘ ’, published in 1623. This is - 10 minutes for a class who the text favored by most professional actors, and the scenes used in the activities will come is comfortable with it. Their straight from the Folio. Many of the Folio plays, however, are not broken down into scenes, pens are to move constantly just five long acts. -
Romeo and Juliet Study Guide
Romeo and Juliet Study Guide E DIRECT AT SPEAK MACBETH THAISAGROW PROSPERO TOUCHSTONE JULIET CRE VIEW TEACH SEE CREATE HAMLET DISCUSS CLEOPATRA SEE LISTEN LAUGHROSALIND DIRECT PLAY SHYLOCKCREA CAESAR LEARN T ACT TEACH E OTHELLO OPHELIA Pennsylvania Department of Education Academic Standards The material in this study guide is designed to meet the following Pennsylvania Academic Standards. Pennsylvania Academic Standards for Reading, Writing, Speaking, and Listening • Students will use knowledge of root words and words from literary oworks t recognize and understand the meaning of new words. (1.1.11 C) • Students will identify, describe, evaluate, and synthesize the essential ideas in text. (1.1.11 D) • Students will read and understand works of literature. (1.3.11 A) • Students will analyze effectiveness, in terms of literary quality, of the author’s use of literary devices. (1.3.11 C) • Students will analyze and evaluate in poetry the appropriateness of diction and figurative language (e.g., irony, understatement, overstatement, paradox). (1.3.11 E) • Students will analyze how a scriptwriter’s use of words creates tone and mood, and how choice of words advances the theme or purpose of the work. (1.3.11 E) • Students will read and respond to nonfiction and fiction including poetry and drama. (1.3.11 F) • Students will demonstrate fluency and comprehension in reading. (1.1.11 H) • Students will listen to others. (1.6.11 A) • Students will listen to selections of literature. (1.6.11 B) • Students will contribute to discussion. (1.6.11 D) • Students will participate in small and large group discussions and presentations. -
Fall 2006 Shakespeare Matters Page 1
Fall 2006 Shakespeare Matters page 1 6:1 "Let me not to the marriage of true minds admit impediments..." Fall 2006 Special Issue: Teaching Shakespeare Teaching Shakespeare Shakespeare, Meet Robert and the Law Frost.... by Thomas Regnier by Robert M. Barrett, Jr. n the spring of 2006 I taught, for the first time, a one-semester omething there is that doesn’t love a wall,” Robert Frost course on Shakespeare and the Law at the University of Miami wrote in 1914, using iambic pentameter and inverted syntax ISchool of Law. I highly recommend the experience. In the Sthat are nearly Shakespearean in his blunt but memorable course, we studied seven Shakespeare plays – Merchant of Venice, line. The line speaks for me personally in a very particular way: Measure for Measure, Hamlet, Merry Wives of Windsor, 2 Henry When I finished reading The Mysterious William Shakespeare, by VI, Richard III, and Charlton Ogburn, Jr., something there was within me that didn’t Othello. In addition, the love the wall that hid the true Shakespeare. course included over As a layman, newly introduced to a difficult subject, I responded forty articles about legal to my reading in a way that was undoubtedly visceral—just in part, issues in Shakespeare by though, a small part. The larger part, I submit, was intellectual. I such writers as Edith looked for reason, plausibility, evidence, coherence, and conviction Friedler, Daniel in Ogburn’s words, and I found those qualities much more often Kornstein, Anthony present in the book than absent. I finished reading not indoctrinated, Burton, Thomas Glyn but excited by a new interest, one that has been increasingly rich Watkin, B.J. -
The Ashbourne Portrait Was Acquired by the Folger in 1931 and Canada, Who Affectionately Call the Portrait “Willy Shake.” Stratfor- Cleaned Soon After, Circa 1932
Vol.2:no.1 "Let me not to the marriage of true minds admit impediments..." Fall 2002 Book review / commentary And in this corner... The Ashbourne The Sanders Portrait Portrait: Part IV Shakespeare or not? Oh, what a tangled web... By Paul H. Altrocchi, M.D. By Barbara Burris “ Nothing is easier than self- My investigation of the deceit. Whatever each man wishes Folger’s Ashbourne files, to be true, he also believes to be photos and 1948 x-rays,1 true.” the Scientific American 1 Demosthenes, ca. 340 BC photos of Barrell’s 1937 x- rays,2 and other informa- Julius Caesar was more suc tion about the painting cinct than Demosthene: “Men from 1910 to 1989, reveals willingly believe what they wish six stages of alterations to 2 to believe.” In yet another the portrait. Four of them tribute to the power of Conven- occurred after the Folger tional Wisdom, attribution of a acquired the painting in newly-emerged painting from 1931, and appear to in- underneath Granny’s bed in Ot- volve attempts to “prove” tawa as the only existing por- Hugh Hamersley is the sit- trait of Shakspere of Stratford By permission, Folger Shakespeare Library ter in the portrait and to painted from life, has not only The outline of this small shield around remove evidence for Ed- The Sanders portrait shows a fairly made worldwide headlines but the three coat of arms heads (as shown ward de Vere, 17th Earl of young man. The right-hand panel of has led to a book, Shakespeare’s in one of the 1979 restoration photos) Oxford. -
Spring 2006 Shakespeare Oxford Newsletter
'ltbe <!&xforb Newsletter A Publication of the Shakespeare Oxford Society "Dedicated to Researching and Honoring the True Bard" Vol. 4 2: No. 2 "I am not what I am. " Othello Ii S ring 2006 Did Shakespeare OXFORD AND THE Read From FIRST BLACKFRIARS t he 17th Earl of Part Two of Dr. Davis's previous article: "William O:xford's Personal Shakspere, Oxford, Elizabethan Actors, and Playhouses" Library? As near as can be determined conclu- open it up to the public who would pay to sively, Oxford was involved directly in only see these "practice" plays. He obtained W. Ron Hess, one Elizabethan playhouse, and that was his lease from Sir William More who had assisted by Alan Tarica the "first" Blackfriars, the third dedicated acquired the property from Lord Cobham theater established in Elizabethan times. The who in turn had procured it from Sir Henry A real-life, reading, writing, history of this playhouse is most interesting Neville. It is interesting that Neville ap- book-owning Bard: and certainly relevant to our discussion, parently helped (through his connections) clearly introducing Oxford into the theater Fan'ant with the acquisition. Orle of our greatest Oxfordian advantages world. Farrant consummated the lease from is that::: the 17th Earl of Ox ford demonstrably To begin, we need to recall that Black- More on December 20, 1576, and pro- read a.nd wrote, whereas the family of Mr. friars was a monastery for the Dominican ceeded to renovate the property, causing Shaks pere of Stratford were afflicted with (or "Black") friars until Henry VIII broke him to become seriously indebted. -
Hildegard Hammerschmidt-Hummel Much Ado About Nothing: Why The
Hildegard Hammerschmidt-Hummel Much Ado About Nothing: why the Cobbe portrait is not an authentic, true-to-life portrait of William Shakespeare The genius of William Shakespeare, the creator of immortal works for the stage who is celebrated today as an icon of world literature, was already fully recognised in his own day. One drama in particular, Hamlet, after 400 years still among the most fascinating, most read, most frequently staged, most discussed and surely most intensively studied plays of all time, had a profound emotional effect on its contemporary audience, in part because of its dangerous political content. However, the student youth of his day had a penchant for Romeo and Juliet, and eagerly devoured his lubricious verse epic, Venus and Adonis. According to one literary source, they kept a copy of the text under their pillow, and hung a picture of the author above their bed. Despite his illustrious literary career, the playwright was only 49 years old when he withdrew to the seclusion of his Stratford retreat. He died three years later – probably as the result of a systemic skin sarcoidosis, an internal disease to which all organs are vulnerable, and which leads to death normally after many years. The outer signs of this illness can be seen in all four likenesses of Shakespeare whose authenticity I have been able to establish,* working closely with many scientists and academics from other disciplines, including a number of medics and experts from the German Federal Bureau of Criminal Investigation (BKA = CID or FBI). All the tests used to establish identity led to the same unexpected and sensational result, namely that all the images investigated show the same man: William Shakespeare, taken from life. -
William Shakespeare
William Shakespeare PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Thu, 12 Aug 2010 02:02:06 UTC Contents Articles Introduction 1 Main article 2 William Shakespeare 2 Life 25 Shakespeare's life 25 Plays 32 Shakespeare's plays 32 Shakespeare in performance 41 Poems 51 Shakespeare's sonnets 51 Style 60 Shakespeare's style 60 Influence 64 Shakespeare's influence 64 Critical reputation 69 Shakespeare's reputation 69 Timeline of Shakespeare criticism 77 Speculation about Shakespeare 86 Shakespeare authorship question 86 Shakespeare's religion 125 Sexuality of William Shakespeare 130 Portraits of Shakespeare 134 List of works 142 List of Shakespeare's works 142 Chronology of Shakespeare's plays 151 Shakespearean comedy 155 Shakespearean history 156 Shakespearean tragedy 158 Shakespeare Apocrypha 159 References Article Sources and Contributors 164 Image Sources, Licenses and Contributors 168 Article Licenses License 170 Introduction 1 Introduction Note. This book is based on the Wikipedia article, "William Shakespeare." The supporting articles are those referenced as major expansions of selected sections. 2 Main article William Shakespeare William Shakespeare The Chandos portrait, artist and authenticity unconfirmed. National Portrait Gallery, London. Born baptised 26 April 1564 (birth date unknown) Stratford-upon-Avon, Warwickshire, England Died 23 April 1616 (aged 52) Stratford-upon-Avon, Warwickshire, England Occupation Playwright, poet, actor Literary movement English