Shakespeare Pages -- Theatre with Anatoly SHAKESPEARE PAGES
Sophocles & Shakespeare

After 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


anatolant Web-Theatre : director2007

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TOPICS: drama + comedy + postmodern + american age + space + time + chronotope + direct + event theory + present + sex + past + marxism + shows +
"Theatre is not a mirror but a magnifying glass." Mayakovsky (very much about Shakespeare)

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text LINKS

THR215 DramLit

Spring'2000 -- focus on Shakespeare (I direct Twelfth Night)

Playscript Analysis: Fall'99

Shakespeare Comedies

Shakespeare History Plays

... 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.

SHOWS: 12th Night

Shakespeare @ Amazon

HamletDreams 2001: mindscape
-- The Dramatic Structure (Northrop Frye Anatomy of Criticism distinguishes five stages of action in tragedy):
* Encroachment.
* Complication.
* Reversal
* Catastrophe.
* Recognition.

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)

* one act fest
Shakespearean language is notable for its poetic qualities: the use of numerous tropes including metaphor, metonym, classical allusion, syntactic acrobatics, outrageous punning, rhetorical questions, metrical patters, hyperbole.
It is composed primarily of speeches with minimal stage directions or didiscalia.


Hamlet: Date of first publication - 1603, in a pirated quarto edition titled The Tragicall Historie of Hamlet; 1604 in a superior quarto edition.


Which 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
C. Othello
D. The Merchant of Venice

Drama = Tragedy, according to Shakespeare.


+ 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.
Experiments with poetic form in the Elizabethan period produced a new form blank verse, that is unrhymed iambic pentameters that was greatly suited to tragic drama.

Complete Shake:

12th Night
* Who wrote Hamlet? When did the author live? In what language was Hamlet written?
* What date is usually assigned to Hamlet?
* Where is the play set?
* Who are the major characters? Be able to identify everyone named in the list of characters given at the beginning of the play. Be able to give details about the following major characters: Claudius, Hamlet, Polonius, Horatio, Rosencrantz and Guildenstern, Gertrude, Ophelia, and the Ghost of Hamlet's Father.
* What is the overall structure of the play? Into what kinds of units is it divided? (Another way to look at this is to consider from what kinds of units it is built.)
* What happens? Be able to summarize the action.
[ study questions for dramatic literature class ] + HamletDreams 2001 *

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 ...

NEW: * NEW: goto.txt : AFTER 2009 : LUL pages : teatr.us Go.dot 2006 * * 100 years since Sam Beckett's birth * flickr.com/groups/stage * 2007 : the art of theatre [flickr] * 2008 : Stoppard *

2007 astore theatre-20 * Theatre w/Anatoly Mailing List: get on!

2008 -- t-blog * ... 2008 HAMLET (flickr slideshow) R+G are Dead

* Theatre @ Film-North * britannica.com/shakespeare


Index * Theatre w/Anatoly * Books * Stagematrix.06 * Students * Spectator * Virtual Theatre * Script Analysis * SHOWS * Film Theory * Film Directing * Plays * Write * Web * Classes * Bookmark vTheatre! Mailing List & News -- subscribe yourself * Method Acting for Directors * Acting 101 *


2004: The Taming of the Shrew + Hamlet & 12th Night directories (production notes).
... 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
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.
Another sample: Caliban, The Tempest

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!