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Modern Hamlets and Their Soliloquies by Mary Zenet Maher Pdf
In "Modern Hamlets and Their Soliloquies" (Iowa, 1992), Mary Maher examined how modern actors have chosen to perform HamletOCOs soliloquies, and why they made the choices they made, within the context of their specific productions of the play. Adding to original interviews with, among others, Derek Jacobi, David Warner, Kevin Kline, and Ben Kingsley, "Modern Hamlets and Their Soliloquies: An Expanded Edition" offers two new and insightful interviews, one with Kenneth Branagh, focusing on his 1997 film production of the play, and one with Simon Russell Beale, discussing his 2000-2001 run as Hamlet at the Royal National Theatre."
Modern Hamlets & Their Soliloquies by Mary Zenet Maher Pdf
The Shakespearean soliloquy has always fascinated scholars, readers, and theatregoers, and none is more famous than those found in Hamlet. Dreamed of by aspiring actors, memorized by schoolchildren, and coopted by Madison Avenue sloganeers, these best-known and most repeated lines from Shakespeare's oeuvre have been the inspiration for numerous critical studies on the soliloquy. Now, for the first time, Maher's Modern Hamlets and Their Soliloquies takes a performance point of view in examining the challenges and problems of delivering the soliloquies in Hamlet. Modern Hamlets offers a detailed record of how various twentieth-century English and American actors, beginning with John Gielgud in 1936 and ending with Kevin Kline in 1990, have dealt with these challenges. At the heart of this fascinating study is a series of eclectic and provocative interviews with Kline, Derek Jacobi, Ben Kingsley, David Warner, Anton Lesser, David Rintoul, and Randall Duk Kim. Maher also worked closely with Gielgud and Alec Guinness to offer chapters on their presentations and has included a discussion of filmed Hamlet performances with attention to the work of Laurence Olivier and Richard Burton. Maher describes each actor's mode of performance and explores the factors that influenced each actor's performance choices within specific production contexts. No one knows how Richard Burbage, the actor for whom Shakespeare created Hamlet, performed it - but here is an inside look at how modern Hamlets have approached performance options and forged unique readings of the part. The interplay of these interpretations and the similarities and differences among the actors both challenges much of the received wisdomabout soliloquies and provides an absorbing new look at what Olivier called "pound for pound the greatest play ever written". Modern Hamlets should be required reading for all those who would read, watch, or perform Hamlet and for all those fascinated by theatre and the performance arts.
This work defines the dramatic rationale of the Hamlet soliloquies in their dramatic contexts, thereby clarifying the tragic idea that organizes the play.
Reading Shakespeare's Soliloquies by Neil Corcoran Pdf
'Now I am alone,' says Hamlet before speaking a soliloquy. But what is a Shakespearean soliloquy? How has it been understood in literary and theatrical history? How does it work in screen versions of Shakespeare? What influence has it had? Neil Corcoran offers a thorough exploration and explanation of the origin, nature, development and reception of Shakespeare's soliloquies. Divided into four parts, the book supplies the historical, dramatic and theoretical contexts necessary to understanding, offers extensive and insightful close readings of particular soliloquies and includes interviews with eight renowned Shakespearean actors providing details of the practical performance of the soliloquy. A comprehensive study of a key aspect of Shakespeare's dramatic art, this book is ideal for students and theatre-goers keen to understand the complexities and rewards of Shakespeare's unique use of the soliloquy.
Shakespeare, from Stage to Screen by Sarah Hatchuel Pdf
How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations.
"The late Harriett Hawkins was a senior research fellow of Linacre College, Oxford University, and author of several influential works of Renaissance literary criticism and cultural studies such as Likenesses of Truth in Elizabethan and Restoration Drama; Poetic Freedom and Poetic Truth; The Devil's Party; Classics and Trash: Traditions and Taboos in "High" Literature and Popular Modern Genres; and Strange Attractors: Literature, Culture and Chaos Theory. Her friends, family, and colleagues pay tribute to her sense of style - personal and literary - with essays inspired by her own interdisciplinary interests and high scholarly standards."--Jacket.
The Achievement of Robert Weimann by Graham Bradshaw,Tom Bishop,David Schalkwyk Pdf
This issue marks the 10th anniversary of The Shakespearean International Yearbook. On this occasion, the special section celebrates the achievement of senior Shakespearean scholar Robert Weimann, whose work on the Elizabethan theatre and early modern performance culture has so influenced contemporary scholarship. Among the contributors to this issue are Shakespearean scholars from Ireland, Japan, France, Germany, South Africa, UK, and the US.
Hamlet is arguably the most famous play on the planet, and the greatest of all Shakespeare's works. Its rich story and complex leading role have provoked intense debate and myriad interpretations. To play such a uniquely multi-faceted character as Hamlet represents the supreme challenge for a young actor. Performing Hamlet contains Jonathan Croall's revealing in-depth interviews with five distinguished actors who have played the Prince this century: Jude Law: 'You get to speak possibly the most beautiful lines about humankind ever given to an actor.' Simon Russell Beale: 'Hamlet is a very hospitable role: it will take anything you throw at it.' David Tennant: 'No other part has been so satisfying. It was tough, but utterly compelling.' Maxine Peake: 'Hamlet was a way of accessing bits of me as an actress I've not been able to access before.' Adrian Lester: 'Working with Peter Brook on Hamlet changed me as an actor, and for the better.' The book benefits from the author's interviews with six leading directors of the play during these years: Greg Doran, Nicholas Hytner, Michael Grandage, John Caird, Sarah Frankcom and Simon Godwin. Many other productions are described, from those starring Michael Redgrave, Alec Guinness and Paul Scofield in the 1950s, to the performances of Benedict Cumberbatch, Andrew Scott and Paapa Essiedu in recent times. The volume also includes an updated text of the author's earlier book Hamlet Observed, and an account of actors' experiences of performing at Elsinore.
The Tragedy of Hamlet, Prince of Denmark by William Shakespeare Pdf
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume. These new editions have specific emphasis on the performance histories of the plays (on stage and screen). Features of each edition include: The introduction to the original Kittredge Edition Editor’s Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play’s performance history on stage and screen. Explanatory Notes. The explanatory notes either expand on Kittredge’s superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare’s sometimes demanding language. Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices. How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare’s words allow the reader to envision the work "off the page." Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare’s life. Some of the Chronologies include time chronologies within the plays. Topics for Discussion and Further Study Section. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions’ Introduction. Select Bibliography & Filmography Images from major productions, for comparison and scene study.
Stage Directions in Hamlet by Hardin L. Aasand Pdf
The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater.
The Shakespearean International Yearbook by David Schalkwyk Pdf
This eighth volume of The Shakespearean International Yearbook presents a special section on 'European Shakespeares', proceeding from the claim that Shakespeare's literary craft was not just native English or British, but was filtered and fashioned through a Renaissance awareness that needs to be recognized as European, and that has had effects and afterlives across the Continent. Guest editors Ton Hoenselaars and Clara Calvo have constructed this section to highlight both how the spread of 'Shakespeare' throughout Europe has brought together the energies of a wide variety of European cultures across several centuries, and how the inclusion of Shakespeare in European culture has been not only a European but also a world affair. The Shakespearean International Yearbook continues to provide an annual survey of important issues and developments in contemporary Shakespeare studies. Contributors to this issue come from the US and the UK, Spain, Switzerland and South Africa, Canada, The Netherlands, India, Portugal, Greece, France, and Hungary. In addition to the section on European Shakespeares, this volume includes essays on the genre of romance, issues of character, and other topics.
Hamlet's "To be or not to be" soliloquy is quoted more often than any other passage in Shakespeare. It is arguably the most famous speech in the Western world - though few of us can remember much about it. This book carefully unpacks the individual words, phrases and sentences of Hamlet's soliloquy in order to reveal how and why it has achieved its remarkable hold on our culture. Hamlet's speech asks us to ask some of the most serious questions there are regarding knowledge and existence. In it, Shakespeare also expands the limits of the English language. Douglas Bruster therefore reads Hamlet's famous speech in "slow motion" to highlight its material, philosophical and cultural meaning and its resonance for generations of actors, playgoers and readers.
