Playing Shakespeare Pdf, Epub, Ebook

Total Page:16

File Type:pdf, Size:1020Kb

Playing Shakespeare Pdf, Epub, Ebook PLAYING SHAKESPEARE PDF, EPUB, EBOOK John Barton | 288 pages | 21 Aug 2001 | Bantam Doubleday Dell Publishing Group Inc | 9780385720854 | English | New York, United States Playing Shakespeare PDF Book Reserve your place using the links below. Yeah, it's exactly as time consuming as it sounds. Members of the cast try out various readings. The only thing that prevents me from giving this book five stars is that it is sometimes difficult to figure out what the actors are doing differently with their acting based on Barton's suggestions. Color: Color. Other editions. Cymbeline This play, modeled after Boccaccio's Decameron , is often classified as a romance. Parents Guide. Shakespeare appealed to the masses by baking this character's two sons in a meat pie and feeding them to her. Self 5 episodes, Patrick Stewart The book is basically a well-edited transcript of the partly scripted television series conducted by Barton with the Royal Shakespeare Company, whose ranks at the time were filled with the likes of Ian McKellan, Judi Dench, Ben Kingsly, and Patrick Stewart. Pictured, The Taming of the Shrew , This book has been criticized for trying to do in print what can only be done when you can hear: teach how to speak Shakespeare. The Character profile pages and Text in Performance folders will be frequently updated with new images and interviews, so be sure to check back regularly. With 1, lines and 14, words, The Comedy of Errors is the shortest Shakespearean play also based on the first edition of The Riverside Shakespeare. One last bit of advice: be sure you read this in a place where you can read aloud, because you will be caught up in the spirit of the performance. Love will be the death of me : love FriarsCell Romeo best friend died!!! Please try again later. I like to have Who knew? Mar 02, Graham Oliver rated it it was ok Shelves: school. Based on Hall's work, the play contains some historical inaccuracies. Thank you, John Barton. Friend Reviews. Juliet needs him! At what point does the choreographer become involved in the creative process? These fantastic modern translations reboot the plays for artists, audiences, participants and students today. You must be a registered user to use the IMDb rating plugin. He is a romantic dreamer, for whom the idea of being in love is most important. Everyone in the reading was part of the OSF acting company. Fights Prince Escalus I don't condone fighting with the Capulets, but dancing Books by John Barton. Party Mercutio aw it breaks my heart to see the Capulet family mourn over their Juliet when I know she isn't really dead. Berkeley Breathed. Mar 05, Chelsea rated it it was amazing. Leave a Reply Cancel reply You must be logged in to post a comment. Playing Shakespeare Writer Stay in Touch Sign up. Find out Fight Tybalt I cant believe the nerve of these guys showing their faces in public after gate-crashing our party. Now in its first American edition, Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the worlds greatest playwright. With so many of our activities still on hold, we need you more than ever to help secure our future. Barton and Co. I am coming to get you. He is a major translator, and you will hear that he was having some fun with this assignment. Perhaps, then, this was a book more suited for actors who want to delve into Shakespeare than some average schmuck reader like me, but even still, I learned a lot. Metacritic Reviews. Fights Tybalt batman and robin coming 2 crash the capulets ball, watch out Tybalt. Oct 13, Brian Page rated it really liked it. Text in Performance: Latest Entries How did you get into choreography? Self 6 episodes, Together, the book and program have really helped to read and speak Shakespearian verse with more understanding and clarity. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students. All Rights Reserved. About John Barton. The old videocassettes of the series are falling apart; fortunately, it has been re-issued on DVD. Average rating 4. I found this unputdownable. On the other hand, the text is necessary, because it is helpful to see the verse and the verse markings in order Although this book is wonderful in itself, I recommend it to be used alongside recordings of the television series of the same name. Love's Labour's Lost Love's Labour's Lost is a play of witty banter and little plot, written during the early part of Shakespeare's literary career, when his focus was on fancy conceits and the playful nature of love. Find Out! Return to Book Page. Add the first question. I'd watch the hour long instruction video dedicated to each chapter of the book alongside reading it and highlighting important passages, then This book is problematic in the sense that it tries to almost ignore how useless countless passages can be without seeing it played by the actors; the descriptions offered do not help one bit. Published August 21st by Anchor first published January 1st The Art of Fiction. Top 10 TV Shows of Love will be the death of me : love FriarsCell Romeo best friend died!!! I found this book to be of tremendous help to me and my craft, I've read it 3 times and will probably read it many more times. Jul 28, Rahadyan rated it it was amazing. Friend Reviews. Sign in. John Barton holds a master class in how to play Shakespeare, using members of the RSC doing scenes, sonnets, and commentary as prime examples. Keep track of everything you watch; tell your friends. Shakespeare's Plays Before the publication of the First Folio in , nineteen of the thirty-seven plays in Shakespeare's canon had appeared in quarto format. Fights Romeo my son's best friend just got stabbed. Patrons consistently packed the theatres to see the newest foray into debauchery and murder. Language: English. Do yourself a favour and purchase the series! Anyway, this is a small quibble; most of this is fantastic. Playing Shakespeare with Deutsche Bank Stream Romeo and Juliet and find related teaching resources from our 90 minute production created especially for young people. Playing Shakespeare Reviews The book follows very closely the interaction between the director and actors in this Shakespeare workshop which is itself staged and acted , but it cannot reproduce the voices and movements of the actors which are so much a part of their communication. Booking information for state secondary schools in London and Birmingham. About John Barton John Barton has been associate director of the Royal Shakespeare Company for more than thirty-five years and has directed more than fifty productions. I'm gonna have words!! Both men agreed that Shakespeare is relevant in the subjects he wrote about, rather than modern directors keeping in mind this book was published in the s forcing adaptations to Shakespearean works to seem edgy or pretentious, or whatever goal they hope to accomplish by squeezing more Shakespeare out of a seemingly dry sponge. I will have my revenge! A Midsummer Night's Dream A magical exploration of the mysteries of love, and one of Shakespeare's best- known comedies. It's too bad, because they are quite important, especially in the Zoomsphere. Jul 28, Rahadyan rated it it was amazing. Everyone in the reading was part of the OSF acting company. More filters. FriarsCell Friar Lawrence What is that girl doing on the balcony at this time of night? So excited. Or use the Clan Badge Maker to create badges which you feel represent the different characters. Shakespeare's Language: Modern English? Really, I think the DVDs are essential viewing for anyone who is This book is largely a transcription of the television series, Playing Shakespeare. We use cookies to ensure you get the best experience from our website. With 4, lines and 29, words, Hamlet is the longest Shakespearean play based on the first edition of The Riverside Shakespeare David Corbett. Titus Andronicus A sordid tale of revenge and political turmoil, overflowing with bloodshed and unthinkable brutality. No trivia or quizzes yet. This is a terrific book. John Barton holds a master class in how to play Shakespeare, using members of the RSC doing scenes, sonnets, and commentary as prime examples. Their first endeavor as a new organization saw them producing the Play On Festival in New York City- a series of staged readings of all 39 commissioned translations in an action-packed 33 days. Related Articles. Watch Resources. As You Like It As You Like It is considered by many to be one of Shakespeare's greatest comedies, and the heroine, Rosalind, is praised as one of his most inspiring characters. Lee Strasberg. The stream was viewed over , times during a time when many students were learning from home. His ostentatious musings on the nature of love begin with what has become one of Shakespeare's most famous lines: "If music be the food of love, play on. Pericles, Prince of Tyre Portions of Pericles are ripe with imagery and symbolism but the first three acts and scenes v and vi the notorious brothel scenes of Act IV are considered inadequate and likely the work of two other dramatists. Whilst you are under my roof you will follow my rules JulietsRoom Lord Capulet. No one does Shakespeare quite like Barton. Added to Watchlist. Color: Color. We have a first-hand account of a production of the play at the Globe in Reserve your place using the links below.
Recommended publications
  • ANNE BARTON Anne Barton 1933–2013
    ANNE BARTON Anne Barton 1933–2013 IN 1953 SHAKESPEARE QUARTERLY, then, as now, one of the two leading academic Shakespeare journals in the world, published an article concisely titled ‘Love’s Labour’s Lost’.1 The list of contributors identified the author as ‘Miss Bobbyann Roesen, a Senior at Bryn Mawr’, who ‘is the first under- graduate to contribute an essay to Shakespeare Quarterly. She attended the Shakespeare Institute at Stratford-upon-Avon in the summer of 1952 and hopes to pursue graduate studies in Renaissance literature at Oxford or Cambridge.’2 Looking back forty years later, the former Miss Roesen, now Anne Barton, had ‘a few qualms and misgivings’ about reprinting the article in a collection of some of her pieces. As usual, her estimate of her own work was accurate, if too modest: As an essay drawing fresh attention to a play extraordinarily neglected or mis- represented before that date, it does not seem to me negligible. Both its high estimate of the comedy and the particular reading it advances are things in which I still believe. But, however influential it may have been, it is now a period piece, written in a style all too redolent of a youthful passion for Walter Pater.3 Undoubtedly influential and far from negligible, the article not only continues to read well, for all its Paterisms, but also continues to seem an extraordinary accomplishment for an undergraduate. There is, through- out, a remarkable ability to close-read Shakespeare carefully and with sus- tained sensitivity, to see how the language is working on the page and how 1 Bobbyann Roesen, ‘Love’s Labour’s Lost’, Shakespeare Quarterly, 4 (1953), 411–26.
    [Show full text]
  • The 10-Year Itch Graham Ley, Exeter University I Feel It
    Supporting the Stone: The 10-Year Itch Graham Ley, Exeter University I feel it would be best if I talked about my role. I first contacted John Barton in 1989, and first met him in 1990. By that time John was chewing gum, not razor blades. He may have gone back to razor blades more recently - I don’t know. You will see me mentioned lavishly in the program as John Barton’s Dramaturg. That is John’s rather generous interpretation of what admittedly has been a strange role. I was rather more inclined to describe myself, over the years, as a research advisor, with some justice, because that brings in my first and most important point, which is that John was his own researcher throughout this project. I fulfilled the part of echo, or the wall to which one goes to talk, or the stream that babbles back at you and often babbles nonsense. When John talks or writes about the sources, these are sources that he himself has read and in which he found his inspiration for composition and variants. Tantalus is not just a labour of authorship as well as production; it has also been a massive labour of discovery, research, and sifting. Throughout the project John has had a succession of immensely dedicated and skilled personal assistants who have also either known Greek or known of Greek culture, and in many instances all three of us were involved in chasing problems. You will have to forgive me if I go into detail at some points in this paper; but the sources and even dramaturgy are about detail.
    [Show full text]
  • SHAKESPEARE in PERFORMANCE Some Screen Productions
    SHAKESPEARE IN PERFORMANCE some screen productions PLAY date production DIRECTOR CAST company As You 2006 BBC Films / Kenneth Branagh Rosalind: Bryce Dallas Howard Like It HBO Films Celia: Romola Gerai Orlando: David Oyelewo Jaques: Kevin Kline Hamlet 1948 Two Cities Laurence Olivier Hamlet: Laurence Olivier 1980 BBC TVI Rodney Bennett Hamlet: Derek Jacobi Time-Life 1991 Warner Franco ~effirelli Hamlet: Mel Gibson 1997 Renaissance Kenneth Branagh Hamlet: Kenneth Branagh 2000 Miramax Michael Almereyda Hamlet: Ethan Hawke 1965 Alpine Films, Orson Welles Falstaff: Orson Welles Intemacional Henry IV: John Gielgud Chimes at Films Hal: Keith Baxter Midni~ht Doll Tearsheet: Jeanne Moreau Henry V 1944 Two Cities Laurence Olivier Henry: Laurence Olivier Chorus: Leslie Banks 1989 Renaissance Kenneth Branagh Henry: Kenneth Branagh Films Chorus: Derek Jacobi Julius 1953 MGM Joseph L Caesar: Louis Calhern Caesar Manluewicz Brutus: James Mason Antony: Marlon Brando ~assiis:John Gielgud 1978 BBC TV I Herbert Wise Caesar: Charles Gray Time-Life Brutus: kchard ~asco Antony: Keith Michell Cassius: David Collings King Lear 1971 Filmways I Peter Brook Lear: Paul Scofield AtheneILatenla Love's 2000 Miramax Kenneth Branagh Berowne: Kenneth Branagh Labour's and others Lost Macbeth 1948 Republic Orson Welles Macbeth: Orson Welles Lady Macbeth: Jeanette Nolan 1971 Playboy / Roman Polanslu Macbe th: Jon Finch Columbia Lady Macbeth: Francesca Annis 1998 Granada TV 1 Michael Bogdanov Macbeth: Sean Pertwee Channel 4 TV Lady Macbeth: Greta Scacchi 2000 RSC/ Gregory
    [Show full text]
  • Linguaculture 1, 2014
    LINGUACULTURE 1, 2014 THE HOLLOW CROWN:SHAKESPEARE, THE BBC, AND THE 2012 LONDON OLYMPICS RUTH M ORSE Université-Paris-Diderot Abstract During the summer of 2012, and to coincide with the Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. The BBC commission was conceived as part of the Cultural Olympiad which accompanied Britain’s successful hosting of the Games that summer. I discuss the financial, technical, aesthetic, and political choices made by the production team, not only in the context of the Coalition government (and its attacks on the BBC) but also in the light of theatrical and film tradition. I argue that the inclusion or exclusion of two key scenes suggest something more complex and balanced that the usual nationalism of the plays'; rather, the four nations are contextualised to comprehend and acknowledge the regions – apropos not only in the Olympic year, but in 2014's referendum on the Union of the crowns of England/Wales and Scotland. Keywords: Shakespeare, BBC, adaptation, politics, Britishness During the summer of 2012, to coincide with the London summer Olympics, BBC2 broadcast a series called The Hollow Crown, an adaptation of Shakespeare’s second tetralogy of English history plays. An additional series, Shakespeare Unlocked, accompanied each play with a program fronted by a lead actor discussing the play and the process, illustrated by clips from the plays in which they had appeared (“The Hollow Crown”). The producer was the Neal Street Production Company in the person of Sam Mendes, a well-known stage and cinema director, celebrated not least for an Oscar for American Beauty, a rare honour for a first-time film director.
    [Show full text]
  • Order of Service for a Service of Thanksgiving
    Westminster Abbey A Service of Thanksgiving to celebrate the life and work of IR ETER ALL CBE nSd P Hth 22 November 1930–11 September 2017 th Tuesday 11 September 2018 Noon SIR PETER HALL Sir Peter Hall, the creator of the Royal Shakespeare Company in the 1960s, and leader of the National Theatre in the 19 70s and 19 80s, was in many ways the defining figure of English theatre over the last half century. The architect of the modern theatre company, an inspiration to generations of actors and directors, he was profoundly serious, moral, and passionate about the role of theatre and culture in society. His approach was rooted in a faith in the words of great writers, from Shakespeare to the many contemporary dramatists he championed. As a celebrated opera director, most notably at Glyndebourne where he was Artistic Director from 1984–90, he brought the same purpose and acuity to each score. He was an assured public figure, hugely ambitious, sometimes ruthless, yet much of his success lay in his understanding and delight in the collaborative nature of theatre, and his greatest pleasure was to work with actors in the rehearsal room. Peter was born in Bury St Edmunds in 1930, the son of Reg, a Suffolk station master, and Grace, whose ambition for her son helped him win a scholarship to the Perse School in Cambridge. Here his catalytic experiences included becoming head boy, playing Hamlet, and discovering the piano, a lifelong source of pleasure. He began directing while a student at St Catharine’s College, Cambridge , and continued almost without a break for another sixty years.
    [Show full text]
  • Rewriting the Greeks: the Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009
    Rewriting the Greeks: The Translations, Adaptations, Distant Relatives and Productions of Aeschylus’ Tragedies in the United States of America from 1900 to 2009. Dissertation Presented in Partial Fulfilment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Bethany Rose Banister Rainsberg, M.A. Graduate Program in Theatre The Ohio State University 2010 Dissertation Committee: Dr. Stratos E. Constantinidis, Advisor Dr. Bruce Heiden Dr. Joy Reilly Dr. Anthony Hill Copyright by Bethany Rose Banister Rainsberg 2010 Abstract The purpose of this study is to examine the practices of rewriting Aeschylus’ tragedies for American audiences and the manner in which these rewrites are “read” by stage directors who adapt them in their academic and non-academic theatre productions in the United States. In order to analyze the translation and performance practices of Aeschylus’ plays, this study will examine all English language translations, adaptations, and distant relatives of Aeschylus’ works for the twenty and twenty-first centuries and analyze key moments that connect and illuminate those works. The two central questions that drive this investigation are: (1) what kind of choices have the English-speaking translators made regarding the tragedies of Aeschylus, and (2) how have Aeschylus’ tragedies been rewritten by the practitioners of the American stage? Because of the proliferation and variance of Aeschylean translations into English, and research published to-date, an examination of these practices and texts provides a rich source for analyzing the larger issues of practice and critical evaluation of translation and performance. The seven tragedies of Aeschylus (Agamemnon, Libation Bearers, Eumenides, Prometheus Bound, Persians, Suppliants, and Seven Against Thebes) and the manner in which they plays have been interpreted by translators and producers from 1900 to 2009 will provide the data for this study.
    [Show full text]
  • Acting Shakespeare
    Ian Mckellen Acting Shakespeare This booklet originally served as a programme for 1\cting Shakespeare' on Sunday 31st August 1986, 500 of which were personally signed by Ian McKellen. -1- CTING SHAKESPEARE began in America and Scandinavia, a drama 977, when I was invited to pre­ school in Moscow ( quite illegally), an sent a solo performance for the open air theatre in Washington DC, a Edinburgh International Festival. I was restaurant in Charlottesville, Virginia, as acting for the Royal Shakespeare Company well as theatre festivals in Paris, Belfast, at the time and, with my mind full of Bolton and of course, Edinburgh. Shakespeare, it was almost inevitable that Much of this touring has been a quickly-devised show should be based organised by the British Council, who on that work. have had to respond to the regular cuts in The first performance in St Cecilia's their grants by sponsoring more and more Hall was pretty tame. I'd scarcely worked soloists and fewer and fewer full com­ out what I wanted to say, let alone learnt panies of actors. the famous speeches. So I had cribs stuf­ Most recently I tapped the commer­ fed up my sleeve, with prompts all over the cial possibilities of Shakespeare with a run little stage. That might have been the end in Los Angeles and ew York, followed by of it and as I've never much liked other a tour of Canada. people's one-man shows, I shouldn't have During these ten years the show has much missed my own.
    [Show full text]
  • By George Adam Kovacs a Thesis Submitted in Conformity of The
    IPHIGENIA AT AULIS: MYTH, PERFORMANCE, AND RECEPTION by George Adam Kovacs A thesis submitted in conformity of the requirements for the degree of Doctor of Philosophy Department of Classics University of Toronto © Copyright by George Adam Kovacs 2010 Abstract Iphigenia at Aulis: Myth, Performance, and Reception George Kovacs Doctor of Philosophy Department of Classics University of Toronto 2010 When Euripides wrote his final play, Iphigenia at Aulis, depicting the human sacrifice of Agamemnon’s first child that allowed the sailing of the Greek expedition against Troy, he was faced with several significant mythographic choices. Of primary concern was the outcome of the sacrifice: there existed a strong tradition in early sources that mitigated the sacrifice by effecting a divine rescue by Artemis, usually with a deer being left in her place on the altar. The extremely troubled textual history of our script – the play was first performed posthumously, and we do not know in what state Euripides left the text – means that we cannot be certain which tradition Euripides actually chose to follow, sacrifice or rescue. Depicting Iphigenia as a willing victim, however, must have been Euripides’ own innovation. This dissertation explores the ramifications of that self-sacrifice and contextualizes this play within a tradition of mythographic evolution and reception. Chapter 1 surveys the history of criticism of the text, itself a mode of reception, and also examines trends in Euripidean criticism in the modern period, limited until recently by the textual issues. Chapter 2 considers instances of the Iphigenia legend before Euripides’ play. The parodos of Agamemnon, the first source to express the sacrifice in terms of human suffering, receives special attention.
    [Show full text]
  • The Essential Shakespeare - Live Tracks Listing
    The Essential Shakespeare - Live tracks listing Disc one tracks Coriolanus Directed by Peter Hall July 1959, Stratford-upon-Avon From Act 3, Scene 3 Cast: Laurence Olivier (Coriolanus), Harry Andrews (Menenius) Michael Blakemore (First Senator), Kenneth Gilbert (Aedile) Peter Woodthorp (Brutus) and Paul Hardwick (Cominius) Wars of the Roses Directed by Peter Hall and John Barton 31 October 1964, Stratford-upon-Avon From King Henry VI Part 3, Act 1, Scene 4 Cast: Donald Sinden (York), Queen Margaret (Peggy Ashcroft), John Corvin (Clifford) King Lear Directed by Peter Brook 12 February 1964, Aldwych Theatre, London From Act 4, Scene 6 Cast: Paul Scofield (King Lear), Brian Murray (Edgar), John Laurie (Earl of Gloucester) Hamlet Directed by Peter Hall 9 March 1966, Aldwych Theatre, London From Act 3, Scene 1 Cast: David Warner (Hamlet) Twelfth Night Directed by John Barton 22 February 1971, Aldwych Theatre, London From Act 2, Scene 5 Cast: Donald Sinden (Malvolio), Tony Church (Sir Toby Belch), Alton Kumalo (Fabian) Jeffery Dench (Sir Andrew Aguecheek) Julius Caesar Directed by Trevor Nunn 28 November 1973, Aldwych Theatre, London From Act 1, Scene 2 Cast: Patrick Stewart (Caius Cassius), John Wood (Marcus Brutus) Antony and Cleopatra Directed by Trevor Nunn 12 December 1973, Aldwych Theatre, London From Act 2, Scene 5 Cast: Janet Suzman (Cleopatra), Joseph Charles (Messenger) Rosemary McHale (Charmian) and Sidney Livingstone (Mardian) Richard II Directed by John Barton 23 October 1974, Aldwych Theatre, London From Act 4, Scene 1 Cast: Richard
    [Show full text]
  • Shakespeare on Film and Television in the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress
    SHAKESPEARE ON FILM AND TELEVISION IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad January 2012 Introduction This is an annotated guide to moving image materials related to the life and works of William Shakespeare in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. While the guide encompasses a wide variety of items spanning the history of film, TV and video, it does not attempt to list every reference to Shakespeare or every quote from his plays and sonnets which have over the years appeared in hundreds (if not thousands) of motion pictures and TV shows. For titles with only a marginal connection to the Bard or one of his works, the decision what to include and what to leave out was often difficult, even when based on their inclusion or omission from other reference works on the subject (see below). For example, listing every film about ill-fated lovers separated by feuding families or other outside forces, a narrative which can arguably always be traced back to Romeo and Juliet, would be a massive undertaking on its own and as such is outside of the present guide's scope and purpose. Consequently, if looking for a cinematic spin-off, derivative, plot borrowing or a simple citation, and not finding it in the guide, users are advised to contact the Moving Image Reference staff for additional information. How to Use this Guide Entries are grouped by titles of plays and listed chronologically within the group by release/broadcast date.
    [Show full text]
  • Richard III by John Barton in Collaboration with Peter Hall for the Royal Shakespeare Company
    PRESENTS THE WARS OF THE ROSES May 22 - May 23, 2021 at 12pm Samuell-Grand Amphitheatre Dallas, Texas shakespearedallas.org | 2 PRESENTS THE WARS OF THE ROSES Referencing the adaptation of Shakespeare’s Henry VI, Parts I, II, III and Richard III by John Barton in collaboration with Peter Hall for the Royal Shakespeare Company Directed by Jenni Stewart May 22 - May 23, 2021 Samuell-Grand Amphitheatre 1500 Tenison Parkway Dallas, TX 75223 shakespearedallas.org | 3 Welcome to the People’s Theatre. Love. Family. Ambition. Betrayal. At Shakespeare Dallas we’ve been bringing timeless themes like these to life for almost 50 years. As North Texas’ leading professional theatre company performing the works of William Shakespeare, we believe that Shakespeare is for everyone. That means providing fun and accessible indoor and outdoor theatre, integrated school programs and cultural enrichment for people of all ages and backgrounds. For many, interacting with Shakespeare Dallas is a tradition that has crossed generations and delighted guests since our founding. Our Mission Using Shakespeare’s works as a cornerstone, Shakespeare Dallas serves the Southwest region with fun and accessible indoor and outdoor theatre, integrated school programs, and cultural enrichment for people of all ages and backgrounds. Shakespeare Dallas Staff Executive & Artistic Director .............................................................. Raphael Parry Associate Artistic Director ....................................................................Jenni Stewart Director
    [Show full text]
  • Sir Ian Mclellan in Shakespeare
    'ACTING GOOD PARTS WELL': SIR IAN McKELLEN IN SHAKESPEARE by HILARY EDITH W. LONG A thesis submitted to the Faculty of Arts of the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY The Shakespeare Institute School of English Faculty of Arts The University of Birmingham March 2000 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis examines the performances which have earned Sir lan McKellen a reputation as one of the foremost Shakespearean actors of the day. His reputation has been built on five major performances: Richard II, Macbeth, Coriolanus, lago and Richard III. His performances as Hamlet, Romeo, Leontes and Kent were only limited successes. This thesis places McKellen's performances in these roles in the specific context of the production as a whole. Where it is relevant it assesses the significance of the casting of other roles, the influence of the personality, style and interests of the director, the policy of the theatre company and the impact of the performance space. This thesis identifies patterns in McKellen's work determined by his own personality and sexuality, the Cambridge education he shares with Sir Peter Hall, John Barton and Trevor Nunn, and his relationships with other actors.
    [Show full text]