Sophocles & Shakespeare
"Aristotle reads Shakespeare" [Dramatic Poetry]
Shakespeare & Chekhov
Dramatic vs. Epic
Shakespeare and Brecht [Epic Theatre]
Shakespeare and Beckett
PoMo Shakespeare [Stoppard]
Shakespeare and Virtual Theatre
"Theatre is not a mirror but a magnifying glass." Mayakovsky (very much about Shakespeare)
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Spring'2000 -- focus on Shakespeare (I direct Twelfth Night)
Playscript Analysis: Fall'99
... Not all Shakespeare is great, but we do not have anybody better. "Shrew 04" is the third, last, Shake's play I direct. There are more titles on my wish list: King Lear at the top. The problem: every time I touch Shakespeare I want to rewrite it; the stories are that good.
Shakespeare @ Amazon
HamletDreams 2001: mindscape
Tom McAlindon in an essay “What is Shakespearean Tragedy?’ in The Cambridge Companion to Shakespearean Tragedy (2002) writes: As practised in Renaissance England and in classical Greece and Rome, tragedy is an intense exploration of suffering and evil focused on the experience of an exceptional individual, distinguished by rank or character or both. Typically, it presents a steep fall from prosperity to misery and untimely death, a great change occasioned or accompanied by conflict between the tragic character and some superior power. It might be said therefore that CONFLICT AND CHANGE – the first intense if not violent, the second extreme – together constitute the essence of tragedy. (McAlindon in McEachern 2002, 2)
It is composed primarily of speeches with minimal stage directions or didiscalia.
SummaryHamlet: Date of first publication - 1603, in a pirated quarto edition titled The Tragicall Historie of Hamlet; 1604 in a superior quarto edition.
QuestionsWhich of the following plays by William Shakespeare deals with the power of the supernatural to rule human actions?
A. A Midsummer Night's Dream
B. The Taming of the Shrew
D. The Merchant of Venice
Drama = Tragedy, according to Shakespeare.
Notes+ Playing Shakespeare ~ John Barton
In the first half of the book, Barton attempts an objective analysis of how Shakespeare's text actually works, examining the use of verse and prose, set speeches and soliloquies, language and character.
In the second half he concentrates on the more subjective areas such as irony and ambiguity, passion and coolness.
Useful for actors and scholars, this book will also aid teachers and students working on Shakespeare's plays in the classroom.
"One of the sanest, wisest, and most practical volumes I have ever read about Shakespeare" - Michael Billington.
John Barton has been with the Royal Shakespeare Company since 1960 where he has directed 26 of Shakespeare's plays.
Shakespeare & the Unities: The Unity of Action is "more" important than Unity of Time and Space.
Russians and Hamlet (bottom): Stage and Screen
"Many lives of Shakespeare" : Stoppard'08 : R/G are Dead
list the references in symbols
... images ?
* Shakespeare and Brecht -- BB pages?
* Shakespeare and Beckett --
* Shakespeare and ... Chekhov ?!
* Shakespeare and ...
* Theatre @ Film-North * britannica.com/shakespeare
... Sorry, folks, I have to delete this and other pages with the online shoping books lists; the company went out off business!
Go for Hamlet and 12th night + Shake Page in Script Analysis!
ACTING = Mono Studies: JULIUS CAESAR, A monologue from Act I, Scene ii
Another sample: Caliban, The Tempest
- CASSIUS: I know that virtue to be in you, Brutus,
- As well as I do know your outward favor.
- Well, honor is the subject of my story.
- I cannot tell what you and other men
- Think of this life; but for my single self,
- I had as lief not be as live to be
- In awe of such a thing as myself.
- I was born free as Caesar; so were you.
- We both have fed as well, and we can both
- Endure the winter's cold as well as he.
- For once, upon a raw and gusty day,
- The troubled Tiber chafing with her shores,
- Caesar said to me, 'Dar'st thou, Cassius, now
- Leap in with me into this angry flood
- And swim to yonder point?' Upon the word,
- Accoutred as I was, I plungèd in
- And bade him follow. So indeed he did.
- The torrent roared, and we did buffet it
- With lusty sinews, throwing it aside
- And stemming it with hearts of controversy.
- But ere we could arrive the point proposed,
- Caesar cried, 'Help me, Cassius, or I sink!'
- I, as Aeneas, our great ancestor,
- Did from the flames of Troy upon his shoulder
- The old Anchises bear, so from the waves of Tiber
- Did I the tirèd Caesar. And this man
- Is now become a god, and Cassius is
- A wretched creature and must bend his body
- If Caesar carelessly but nod on him.
- He had a fever when he was in Spain,
- And when the fit was on him, I did mark
- How he did shake. 'Tis true, this god did shake.
- His coward lips did from their color fly,
- And that same eye whose bend doth awe the world
- Did lose his luster. I did hear him groan.
- Ay, and that tongue of his that bade the Romans
- Mark him and write his speeches in their books,
- 'Alas,' it cried, 'give me some drink, Titinius,'
- As a sick girl! Ye gods it doth amaze me
- A man of such feeble temper should
- So get the start of the majestic world
- And bear the palm alone.There's wood enogh within As wicked dew as ere my mother brushed with Raven's feather from unwholesome fen Drop on you both! A south-west blow on ye and blister you all o'er! I must eat my dinner. This island's mine, by Sycorax my mother, Which thou tak'st from me. When thou cam'st first, Thou stok'st me and made much of me, wouldst give me water with berries in't, and teach me how To name the bigger light, and how the less, That burn by day and night. And then I loved thee, And showed thee all the qualities o'th'isle, The fresh springs, brine-pits, barren place and fertile- Cursed be I that did so! All the charms Of Sycorax, toads, beetles, bats, light on you! For I am all the subjects that you have, Which first was mine own king, and here you sty me In this hard rock, whiles you do keep from me The rest o'th'island. You taught me language, and my profit on't Is I know how to curse. The red plague rid you For learning me your language!
projects: Demons 2003
texts: Theatre History
in focus: Taming of the Shrew
Theatre Books list *
reading: Theatre Theory
play writing amazon list *
rising action · The ghost appears to Hamlet and tells Hamlet to revenge his murder; Hamlet feigns madness to his intentions; Hamlet stages the mousetrap play; Hamlet passes up the opportunity to kill Claudius while he is praying.
climax · When Hamlet stabs Polonius through the arras in Act III, scene iv, he commits himself to overtly violent action and brings himself into unavoidable conflict with the king. Another possible climax comes at the end of Act IV, scene iv, when Hamlet resolves to commit himself fully to violent revenge.
falling action · Hamlet is sent to England to be killed; Hamlet returns to Denmark and confronts Laertes at Ophelia’s funeral; the fencing match; the deaths of the royal family.
HAMLET: symbols · The ghost (the spiritual consequences of death); Yorick’s skull (the physical consequences of death) + ad more ...
Hamlet = Suggestions for Further Reading
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998.
Bradley, A. C. Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear & Macbeth. New York: Penguin, 1991.
Eliot, Thomas Sterns. “Hamlet and His Problems.” In The Sacred Wood. London: Methuen, 1920.
Frye, Northrop. Fools of Time: Studies in Shakespearean Tragedy. Toronto: University of Toronto Press, 1967.
Greenblatt, Stephen. Hamlet in Purgatory. Princeton: Princeton University Press, 2001.
Levin, Harry. The Question of Hamlet. New York: Oxford University Press, 1959.
Wilson, John Dover. What Happens in Hamlet. New York: Cambridge University Press, 1951.
Bloom, Harold. Shakespeare: The Invention of the Human. New York: Riverhead Books, 1998.
"Shakespeare on Russian Stage": maybe in Russian American Theatre (RAT). Vladimir Nabokov and William Shakespeare by Philip F Howerton, Jr.
translators (only a few, my preferences, list):
Anikst, Alexander (1957-1960)
8-volume collection of Shakespeare
Hamlet, links to on-line texts in Russian http://www.ase.ee/moshkow/lat/SHAKESPEARE/ or: http://moshkow.aaanet.ru/lat/SHAKESPEARE/ monologue [http://www.ase.ee/moshkow/lat/SHAKESPEARE/tobeornottobe.txt] dvenadcataya Noch' (Twelfth Night), Ili Chto Ugodno, Makbet, Otello
Pasternak, Boris (1941)
Boris Pasternak (1890-1960) translated sonnets and dramas. Hamlet (1941) (Examples) [http://webcenter.ru/~marklen/poetics_of_translation.htm] Russian text [http://lib.ru/SHAKESPEARE/hamlet.txt] Romeo and Juliet (1943) Othello (1945) , Henry IV (1948) , Antony and Cleopatra (1944) , Korol Lir (1949) , Makbet (1951) . links to on-line texts in Russian , http://www.ase.ee/moshkow/lat/SHAKESPEARE/ or: http://moshkow.aaanet.ru/lat/SHAKESPEARE/ Biography and bibliography in English [http://www.kirjasto.sci.fi/pasterna.htm]
[ comments -- move the texts! ]
The buzz subsides. I have come on stage. Leaning in an open door I try to detect from the echo What the future has in store. A thousand opera-glasses level The dark, point-blank, at me. Abba, Father, if it be possible Let this cup pass from me. I love your preordained design And am ready to play this role. But the play being acted is not mine. For this once let me go. But the order of the acts is planned, The end of the road already revealed. Alone among the Pharisees I stand. Life is not a stroll across a field. (1948) (translated from the Russian by Jon Stallworthy and Peter France)
Hamlet and Vysotsky at Taganka *
Noise had ceased. I’ve slowly come out To the stage, and leaning at the door, Try to gasp in echo’s distant sounds, What’s prepared for me in my life’s store. Nightly dark is strait at me a-leveled By a lot of little glasses’ eyes. If it’s possible, oh, lord of earth and heaven Take away from me this cup at once. I, for sure, like your project, stubborn, And agree to play this heavy role. But another drama now starts on, And I won’t to be in it at all. But it is defined – the action’s order, And the road’s end can not be sealed. I am one, hypocrisy’s all over… To cross life is not to cross a field. Translated by Yevgeny Bonver, May, 2001
[ Russian Text 1946 ]
Гул затих. Я вышел на подмостки. Прислонясь к дверному косяку, Я ловлю в далёком отголоске, Что случится на моём веку. На меня наставлен сумрак ночи Тысячью биноклей на оси. Если только можно, Aвва Oтче, Чашу эту мимо пронеси. Я люблю Твой замысел упрямый И играть согласен эту роль. Но сейчас идет другая драма, И на этот раз меня уволь. Но продуман распорядок действий, И неотвратим конец пути. Я один, все тонет в фарисействе. Жизнь прожить - не поле перейти. The murmurs ebb; onto the stage I enter. I am trying, standing in the door, To discover in the distant echoes What the coming years may hold in store. The nocturnal darkness with a thousand Binoculars is focused onto me. Take away this cup, O Abba Father, Everything is possible to Thee. I am fond of this Thy stubborn project, And to play my part I am content. But another drama is in progress, And, this once, O let me be exempt. But the plan of action is determined, And the end irrevocably sealed. I am alone; all round me drowns in falsehood: Life is not a walk across a field.Translated by Lydia Pasternak Slater
Film-North * Anatoly Antohin * eCitations
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shakespeare -- SHOKEspeare ... "English for the Web"
Stoppard : Hamlet2.0