Shakespeare: The Two TraditionsThe two traditions -- Shakespeare on stage and Shakespeare on film -- have experienced a midair collision with postmodernism. The purpose of Shakespeare is to examine recent productions of Shakespeare on stage and film and to lay out some interpretive guidelines for responding to the scripts as re-created in these two very different formats and within the conflicted environment of shifting critical paradigms. Illustrated. |
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Page
... arguing that words are not as im- portant when it comes to film as the ba- sic action the film recreates from the script . Here , action is archetype . The book examines in detail all of the Shakespeare films released in the U.S. ...
... arguing that words are not as im- portant when it comes to film as the ba- sic action the film recreates from the script . Here , action is archetype . The book examines in detail all of the Shakespeare films released in the U.S. ...
Page 14
... arguing for the thematic approach , but not for a single theme . An argument that one puts forward these days with fear and trembling is that " personality " is not an invention of the nineteenth- century novelist , but that Shakespeare ...
... arguing for the thematic approach , but not for a single theme . An argument that one puts forward these days with fear and trembling is that " personality " is not an invention of the nineteenth- century novelist , but that Shakespeare ...
Page 17
... argue . When Shakespeare doesn't work it is often because the play is subjected just to cultural expectation . Much Ado About Nothing is often hijacked for whatever purposes a director may have in mind . Its archetype is people who don ...
... argue . When Shakespeare doesn't work it is often because the play is subjected just to cultural expectation . Much Ado About Nothing is often hijacked for whatever purposes a director may have in mind . Its archetype is people who don ...
Page 20
... argues the plastic qualities of the script itself . It has the potential- ity to spring to life for an audience at ... argue for thematic unity — some quality deep within the artistic experience , both as for- mulated and responded to ...
... argues the plastic qualities of the script itself . It has the potential- ity to spring to life for an audience at ... argue for thematic unity — some quality deep within the artistic experience , both as for- mulated and responded to ...
Page 21
... argue that at some point the mode shifts to satire . Certainly the ending — Richmond smirking and Richard laughing as he tumbles into a pit of fire inhabited by the late Al Jolson , who is singing a 1920s song of prosperity — cannot be ...
... argue that at some point the mode shifts to satire . Certainly the ending — Richmond smirking and Richard laughing as he tumbles into a pit of fire inhabited by the late Al Jolson , who is singing a 1920s song of prosperity — cannot be ...
Contents
Shakespeare on Stage | 45 |
The Shakespeare Theatres Henry V and Henry VI and the Public Theaters Henry VI | 47 |
Three Tempests and One Macbeth | 77 |
Recent Hamlet Productions and Historicism | 96 |
Shakespeare Repertory 110 47 | 110 |
e 8 | 117 |
Shakespeare on Film | 154 |
Olivier Loncraine and Pacino | 155 |
Branaghs Film | 216 |
Conclusion | 225 |
Notes | 232 |
Production Credits | 244 |
Works Cited | 248 |
Index | 260 |
174 | 262 |
216 | 263 |
Stoppards Rosencrantz and Guildenstern Are Dead and Branaghs A Midwinters Tale | 162 |
Parkers Othello and Luhrmanns Romeo + Juliet | 174 |
Trevor Nunns Twelfth Night | 198 |
239 | 266 |
248 | 271 |
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Common terms and phrases
ACTER action actors American Repertory Theatre archetype argues Ariel audience become Caliban camera Cassio Cesario character Claudius Claudius's comedy course culture death Desdemona director drama dream Elsinore father Feste fiction film's final Fortinbras Gertrude Ghost Gonzago Hamlet Henry Henry VI Henry's Horatio images interpretation Kahn Kenneth Branagh King Hamlet Lady Laertes lago lago's later lines Loncraine look Looking for Richard Luhrmann Macbeth Malvolio McKellen meanings Michael mimed Miranda modern moves murder Nigel Hawthorne Nunn Nunn's Olivia Olivier's Ophelia Orsino Othello Pacino performance perhaps Photo courtesy play Player political Polonius postmodern postmodernist Prince production Prospero reality Repertory revenge Richard Richard III role Romeo and Juliet Rosencrantz and Guildenstern says scene script Sebastian seems sense Shakespeare film shows soliloquy song spectator speech stage story suggests television tell Tempest theater theatrical tion Twelfth Night Tybalt Viola words York Zeffirelli
Popular passages
Page 117 - I have heard That guilty creatures, sitting at a play, Have by the very cunning of the scene Been struck so to the soul that presently They have proclaim'd their malefactions; For murder, though it have no tongue, will speak With most miraculous organ.
Page 21 - Piece out our imperfections with your thoughts ; Into a thousand parts divide one man, And make imaginary puissance ; Think, when we talk of horses, that you see them Printing their proud hoofs i...
Page 19 - No, no, no life! Why should a dog, a horse, a rat, have life, And thou no breath at all? Thou'lt come no more, Never, never, never, never, never!
Page 222 - Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him? DoCT. Do you mark that? LADY M. The thane of Fife had a wife; where is she now? What, will these hands ne'er be clean? No more o' that, my lord, no more o' that: you mar all with this starting.
Page 166 - Audiences know what to expect and that is all they are prepared to believe in
Page 99 - What these elements are in themselves it skilleth not; it is enough, that to me which take them they are the body and blood of Christ; his promise in witness hereof sufficeth; his word he knoweth which way to accomplish; why should any cogitation possess the mind of a faithful communicant but this ? O my God, thou art true; O my soul, thou art happy!
Page 100 - Cut off even in the blossoms of my sin, Unhousel'd, disappointed, unanel'd, No reckoning made, but sent to my account With all my imperfections on my head: O, horrible!
Page 37 - I believe that the motion picture is destined to revolutionize our educational system and that in a few years it will supplant largely, if not entirely, the use of textbooks.