Othello Student Guide
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A Study of Shakespeare Contribution in Hindi Cinema
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2016): 79.57 | Impact Factor (2015): 6.391 A Study of Shakespeare Contribution in Hindi Cinema Asma Qureshi Abstract: In India, Cinema not only a name of entertainment, but also educate to millions of people every day. Friday is celebrated by screening of new films. Indians happily participate in Cinema culture of the Country. Shakespearean tragedies have been a never ending source of inspiration for all filmmakers across the world. Many Hindi films based on Shakespeare novel like Shahid, Omkara, Goliyo ki raasleela Ramleela etc. William Shakespeare in India has been an exceptional and ground-breaking venture. The literary collection of Shakespeare is dynamic and an unlimited source of inspiration for countless people across the globe. When Shakespeare’s writing is adapted in cinema, it sets it ablaze, and transfers the audience to a cinematic paradise. Indian adaptation of both Shakespearean tragedy and comedy can be comprehended as an Combination of ‘videsi’ and ‘desi’, a synthesis of East and West, and an Oriental and Occidental cultural exchange. Shakespeare’s, “bisexual‟ mind, the complexity of his Narrative, music, story-telling, and creative sensibility categorizes him as an ace literary craftsman. This Research is an attempt to understand the contribution of Shakespeare novel in Hindi cinema. So that we can easily understand the main theme of the story. What writer wants to share with us. We can easily understand main theme of novel. 1. Introduction European library worth the whole native literature of India and Arabia‖. It also has a lot to do with profound resonances Indian Hindi language film industry is also known as Hindi between Shakespeare‘s craft and Indian cultural forms that cinema which is situated or we can say mainly operated converge on one concept: masala. -
The Lost Ethos of Uttam-Suchitra Films: a ‘Nostalgic’ Review of Some Classic Romances from the Golden Era of Bengali Cinema Pramila Panda
The lost ethos of Uttam-Suchitra films: a ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda Vol. 2, No. 3, pp. 194–200 | ISSN 2050-487X | www.southasianist.ed.ac.uk www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 194 Vol. 2, No. 3, pp. 194-200 The lost ethos of Uttam-Suchitra films A ‘nostalgic’ review of some classic romances from the Golden Era of Bengali cinema Pramila Panda [email protected] www.southasianist.ed.ac.uk | ISSN 2050-487X | pg. 195 The mild tune of the sweet and soft song been able to touch every aspect of modern wrapped in sentimental love, “Ogo tumi je human society. This brings us to discussing the aamaar... Ogo tumi je aamaar” (You are status of romance or love in Bengali cinema mine, only mine…) from the Bengali movie half a century back. Harano Sur (Lost Melody) released in 1957 These divine qualities teach us the hymn of still buzzes pleasantries, not only inside my humanity and the art of living. These heavenly ear, but also at the centre of my mind. qualities are highly essential for the survival of Suchitra Sen and Uttam Kumar were the human society in peace and happiness. Of considered the ‘golden couple’ of Bengali films course, the world of cinema has not totally from 1953 to 1978. They left their special ignored the importance of these human identities by contributing the best of qualities to be reflected and utilized through themselves through their marvellous acting the different roles of different characters in talent. -
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Early Modern Low Countries 1 (2017) 1, pp. 30-50 - eISSN: 2543-1587 30 ‘Before she ends up in a brothel’ Public Femininity and the First Actresses in England and the Low Countries Martine van Elk Martine van Elk is a Professor of English at California State University, Long Beach. Her research interests include early modern women, Shakespeare, and vagrancy. She is the author of numerous essays on these subjects, which have appeared in essay collections and in journals like Shakespeare Quarterly, Studies in English Literature, and Early Modern Women. Her book Early Modern Women’s Writing: Domesticity, Privacy, and the Public Sphere in England and the Low Countries has been pub- lished by Palgrave Macmillan (2017). Abstract This essay explores the first appearance of actresses on the public stage in England and the Dutch Republic. It considers the cultural climate, the theaters, and the plays selected for these early performances, particularly from the perspective of public femininity. In both countries antitheatricalists denounced female acting as a form of prostitution and evidence of inner corruption. In England, theaters were commercial institutions with intimate spaces that capitalized on the staging of privacy as theatrical. By contrast, the Schouwburg, the only public playhouse in Amsterdam, was an institu- tion with a more civic character, in which the actress could be treated as unequivocally a public figure. I explain these differences in the light of changing conceptions of public and private and suggest that the treatment of the actress shows a stronger pub- lic-private division in the Dutch Republic than in England. -
THE POWER of BEAUTY in RESTORATION ENGLAND Dr
THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II. -
Verdi Otello
VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers; -
View the Program!
cast EDWARD KYNASTON Michael Kelly v Shea Owens 1 THOMAS BETTERTON Ron Loyd v Matthew Curran 1 VILLIERS, DUKE OF BUCKINGHAM Bray Wilkins v John Kaneklides 1 MARGARET HUGHES Maeve Höglund v Jessica Sandidge 1 LADY MERESVALE Elizabeth Pojanowski v Hilary Ginther 1 about the opera MISS FRAYNE Heather Hill v Michelle Trovato 1 SIR CHARLES SEDLEY Raùl Melo v Set in Restoration England during the time of King Charles II, Prince of Neal Harrelson 1 Players follows the story of Edward Kynaston, a Shakespearean actor famous v for his performances of the female roles in the Bard’s plays. Kynaston is a CHARLES II Marc Schreiner 1 member of the Duke’s theater, which is run by the actor-manager Thomas Nicholas Simpson Betterton. The opera begins with a performance of the play Othello. All of NELL GWYNN Sharin Apostolou v London society is in attendance, including the King and his mistress, Nell Angela Mannino 1 Gwynn. After the performance, the players receive important guests in their HYDE Daniel Klein dressing room, some bearing private invitations. Margaret Hughes, Kynaston’s MALE EMILIA Oswaldo Iraheta dresser, observes the comings and goings of the others, silently yearning for her FEMALE EMILIA Sahoko Sato Timpone own chance to appear on the stage. Following another performance at the theater, it is revealed that Villiers, the Duke of Buckingham, has long been one STAGE HAND Kyle Guglielmo of Kynaston’s most ardent fans and admirers. SAMUEL PEPYS Hunter Hoffman In a gathering in Whitehall Palace, Margaret is presented at court by her with Robert Balonek & Elizabeth Novella relation Sir Charles Sedley. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
“Revenge in Shakespeare's Plays”
“REVENGE IN SHAKESPEARE’S PLAYS” “OTHELLO” – LECTURE/CLASS WRITTEN: 1603-1604…. although some critics place the date somewhat earlier in 1601- 1602 mainly on the basis of some “echoes” of the play in the 1603 “bad” quarto of “Hamlet”. AGE: 39-40 Years Old (B.1564-D.1616) CHRONO: Four years after “Hamlet”; first in the consecutive series of tragedies followed by “King Lear”, “Macbeth” then “Antony and Cleopatra”. GENRE: “The Great Tragedies” SOURCES: An Italian tale in the collection “Gli Hecatommithi” (1565) of Giovanni Battista Giraldi (writing under the name Cinthio) from which Shakespeare also drew for the plot of “Measure for Measure”. John Pory’s 1600 translation of John Leo’s “A Geographical History of Africa”; Philemon Holland’s 1601 translation of Pliny’s “History of the World”; and Lewis Lewkenor’s 1599 “The Commonwealth and Government of Venice” mainly translated from a Latin text by Cardinal Contarini. STRUCTURE: “More a domestic tragedy than ‘Hamlet’, ‘Lear’ or ‘Macbeth’ concentrating on the destruction of Othello’s marriage and his murder of his wife rather than on affairs of state and the deaths of kings”. SUCCESS: The tragedy met with high success both at its initial Globe staging and well beyond mainly because of its exotic setting (Venice then Cypress), the “foregrounding of issues of race, gender and sexuality”, and the powerhouse performance of Richard Burbage, the most famous actor in Shakespeare’s company. HIGHLIGHT: Performed at the Banqueting House at Whitehall before King James I on 1 November 1604. AFTER: The play has been performed steadily since 1604; for a production in 1660 the actress Margaret Hughes as Desdemona “could have been the first professional actress on the English stage”. -
Omkara: the Adaptation of William Shakespeare's Tragedy Othello
International Journal of Multidiscip linary Research and Development Volume: 2, Issue: 5, 570-571 May 2015 Omkara: The adaptation of William Shakespeare’s www.allsubjectjournal.com e-ISSN: 2349-4182 tragedy Othello p-ISSN: 2349-5979 Impact Factor: 3.762 Dr. Gajender Kumar Dr. Gajender Kumar Assistant Professor, Abstract Department of English Omkara is a 2006 Indian crime drama film adapted from Shakespeare’s Othello, co-written and directed Govt. College for Women, by Vishal Bhardwaj. It starred Ajay Devgan, Saif Ali Khan, Vivek Oberoi and Kareena Kapoor in the Narnaul M/Garh, Haryana, lead roles, supported by Naseeruddin Shah, Konkona Sen Sharma and Bipasha Basu. The director Vishal India Bhardwaj himself composed the entire music for the film, including the background score, with lyrics by Gulzar. The film is set in Meerut, a town in Western Uttar Pradesh. Keywords: Omkara, drama film, Shakespeare’s Othello Introduction The film was showcased in the Marché du Film section at the 2006 Cannes Film Festival along with a book on the making of Omkara. It was also selected to be screened at the Cairo International Film Festival, where Bhardwaj was awarded for Best Artistic Contribution in [5] Cinema of a Director. The film also won three awards at the Kara Film Festival , an award at the Asian Festival of First Films, three National Film Awards, and seven Filmfare Awards. Omkara Shukla or Omi (Ajay Devgan) is a bahubali, a sort of political enforcer. He is the leader of a gang which commits political crimes for the local politician Tiwari Bhaisaab (Naseeruddin Shah). -
'Prince of Players' Score Soars, While Libretto Is a Letdown
LIFESTYLE 'Prince of Players' score soars, while libretto is a letdown By Joseph Campana | March 7, 2016 0 Photo: Marie D. De Jesus, Staff Ben Edquist, plays the lead role Edward Kynaston, a famed actor in England in the 1700s whose career is abruptly stopped when the king issues a decree prohibiting men from playing women in stage roles. Armenian soprano Mane Galoyan will sing Margaret Hughes. The Houston Grand Opera (HGO) will present Prince of Players by distinguished American composer Carlisle Floyd on March 5, 11, and 13, 2016. ( Marie D. De Jesus / Houston Chronicle ) A night at the opera can leave us speechless or it can send us to our feet shouting "Bravo!" At the close of the Houston Grand Opera world premiere of Carlisle Floyd's "Prince of Players," it was all leaping and shouting. Floyd not only co-founded the Houston Grand Opera Studio, but this great American treasure has now premiered his fifth work for Houston Grand Opera just shy of his 90th birthday. That's plenty to celebrate. But the true achievement of "Prince of Players" is a beautifully realized production of an ambitious commission with an electrifying score stirringly conducted by Patrick Summers. From its opening moments, "Prince of Players" resounds with tonal unease, surreptitious woodwinds and warning strings. And in mere seconds, Floyd conveys that, in spite of some fun and flirtation to come, we are in the presence of a sea-change, and no one will remain unscathed. The marvel of Floyd is his attention to moments great and small. Some of the most compelling passages come seemingly between scenes or in the absence of voice - as an actor silently practices his gestures or as the court eerily processes before their king. -
2019 Seminar Abstracts: the King's Men and Their Playwrights
1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74). -
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 .