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. |
From inside the book
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Page 13
... lives . It comes alive in each new epoch in different ways . It dies , of course , when made merely topical , but one cannot hope for stasis , for the constant replaying of an histori- cal moment when one's own conception of Shakespeare ...
... lives . It comes alive in each new epoch in different ways . It dies , of course , when made merely topical , but one cannot hope for stasis , for the constant replaying of an histori- cal moment when one's own conception of Shakespeare ...
Page 22
... live in a world where you must exercise not just sight , but vision , and I , Chorus , ask you to do the same here in the theater . Dennis Kennedy suggests that " Shakespearean representation in our time [ shows ] a tension between a ...
... live in a world where you must exercise not just sight , but vision , and I , Chorus , ask you to do the same here in the theater . Dennis Kennedy suggests that " Shakespearean representation in our time [ shows ] a tension between a ...
Page 24
... live in the history of the plays as produced in time , and that certainly our own lives inhabit and that the plays as produced force us to consider . What should be happening is an intervention into our time and emotional space , a ...
... live in the history of the plays as produced in time , and that certainly our own lives inhabit and that the plays as produced force us to consider . What should be happening is an intervention into our time and emotional space , a ...
Page 29
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Page 30
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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.