Staging the ghost in Shakespeare ́s "Hamlet" along the possibilities of the theatre at Shakespeare ́s time PDF Download
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Author: Helga Mebus
Publisher: GRIN Verlag
ISBN: 3638065618
Category : Literary Criticism
Languages : en
Pages : 16
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Book Description
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Cologne, language: English, abstract: Shakespeare does not provide his readers with many direct stage directions in his plays. Comparing Hamlet to – just as an example – the twentieth century play The Glass Menagerie by William Tennessee shows that Tennessee, in contrast to Shakespeare, gives detailed information on how the players should look like, how they should move and speak. There is a whole chapter called “Production Notes.” Each character has a full paragraph describing how he looks like and has to act, even before they appear on stage. The description of a scene’s setting, as another example, fills up to two pages here. (Compare Tennessee 1945) Shakespeare, in contrast, leaves his readers with many indirect stage directions. Here, the reader has to find hints in the actors’ speeches that tell him how the stage-settings and actors should look like, what mood they are in, and thus how they should speak and move. Detailed studying is therefore necessary in advance of any production. Not only the play itself needs a close look but also the culture and beliefs of Shakespeare’s contemporary audience. The theatres’ possibilities at his time are another aspect. The following considers a single character in Shakespeare’s Hamlet, namely the ghost of Hamlet’s father. Since ghosts are supernatural and thus do not lead to the same image in everyone’s mind it is important to especially take a look at this character and try to find out how Shakespeare might have wanted it to appear on stage. This paper provides necessary background information, at first, about ghosts and the theatre at Shakespeare’s time. Then, the four ghost scenes in Hamlet are analyzed, considering their staging of the ghost during Shakespeare’s age along the play’s direct and indirect staging instructions.
Author: Helga Mebus
Publisher: GRIN Verlag
ISBN: 3638065618
Category : Literary Criticism
Languages : en
Pages : 16
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Book Description
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,0, University of Cologne, language: English, abstract: Shakespeare does not provide his readers with many direct stage directions in his plays. Comparing Hamlet to – just as an example – the twentieth century play The Glass Menagerie by William Tennessee shows that Tennessee, in contrast to Shakespeare, gives detailed information on how the players should look like, how they should move and speak. There is a whole chapter called “Production Notes.” Each character has a full paragraph describing how he looks like and has to act, even before they appear on stage. The description of a scene’s setting, as another example, fills up to two pages here. (Compare Tennessee 1945) Shakespeare, in contrast, leaves his readers with many indirect stage directions. Here, the reader has to find hints in the actors’ speeches that tell him how the stage-settings and actors should look like, what mood they are in, and thus how they should speak and move. Detailed studying is therefore necessary in advance of any production. Not only the play itself needs a close look but also the culture and beliefs of Shakespeare’s contemporary audience. The theatres’ possibilities at his time are another aspect. The following considers a single character in Shakespeare’s Hamlet, namely the ghost of Hamlet’s father. Since ghosts are supernatural and thus do not lead to the same image in everyone’s mind it is important to especially take a look at this character and try to find out how Shakespeare might have wanted it to appear on stage. This paper provides necessary background information, at first, about ghosts and the theatre at Shakespeare’s time. Then, the four ghost scenes in Hamlet are analyzed, considering their staging of the ghost during Shakespeare’s age along the play’s direct and indirect staging instructions.
Author: William Shakespeare
Publisher:
ISBN: 9781638435020
Category :
Languages : en
Pages :
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Book Description
Author: Sarah Dustagheer
Publisher: Cambridge University Press
ISBN: 1108118283
Category : Literary Criticism
Languages : en
Pages : 237
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Book Description
In what ways did playwrights like Shakespeare respond to the two urban locations of the Globe and the Blackfriars? What was the effect of their different acoustic and visual experiences on actors and audiences? What did the labels 'public' for the Globe and 'private' for the Blackfriars, actually mean in practice? Sarah Dustagheer offers the first in-depth, comparative analysis of the performance conditions of the two sites. This engaging study examines how the social, urban, sensory and historical characteristics of these playhouses affected dramatists, audiences and actors. Each chapter provides new interpretations of seminal King's Men's works written as the company began to perform in both settings, including The Alchemist, The Tempest and Henry VIII. Presenting a rich and compelling account of the two early modern theatres, the book also suggests fresh insights into recent contemporary productions at Shakespeare's Globe, London and the new Sam Wanamaker Playhouse.
Author: Edel Semple
Publisher: Bloomsbury Publishing
ISBN: 135035922X
Category : Performing Arts
Languages : en
Pages : 209
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Book Description
This book is the first edited collection to explore Shakespeare's life as depicted on the modern stage and screen. Focusing on the years 1998-2023, it uniquely identifies a 25-year trend for depicting Shakespeare, his family and his social circle in theatre, film and television. Interrogating Shakespeare's afterlife across stage and screen media, the volume explores continuities and changes in the form since the release of Shakespeare in Love, which it positions as the progenitor of recent Shakespearean biofictions in Anglo-American culture. It traces these developments through the 21st century, from pivotal moments such as the Shakespeare 400 celebrations in 2016, up to the quatercentenary of the publication of the First Folio, whose portrait helped make the author a globally recognisable icon. The collection takes account of recent Anglo-American socio-political, cultural and literary concerns including feminism, digital media and the biopic and superhero genres. The wide variety of works discussed range from All is True and Hamnet to Upstart Crow, Bill and even The Lego Movie. Offering insights from actors, dramatists and literary and performance scholars, it considers why artists are drawn to Shakespeare as a character and how theatre and screen media mediate his status as literary genius.
Author: William Shakespeare
Publisher:
ISBN:
Category :
Languages : en
Pages : 614
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Book Description
Author: Karen Quigley
Publisher: Bloomsbury Publishing
ISBN: 1350055468
Category : Performing Arts
Languages : en
Pages : 273
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Book Description
From the gouging out of eyes in Shakespeare's King Lear or Sarah Kane's Cleansed, to the adaptation of Philip Pullman's His Dark Materials trilogy, theatre has long been intrigued by the staging of challenging plays and impossible texts, images or ideas. Performing the Unstageable: Success, Imagination, Failure examines this phenomenon of what the theatre cannot do or has not been able to do at various points in its history. The book explores four principal areas to which unstageability most frequently pertains: stage directions, adaptations, violence and ghosts. Karen Quigley incorporates a wide range of case studies of both historical and contemporary theatrical productions including the Wooster Group's exploration of Hamlet via the structural frame of John Gielgud's 1964 filmed production, Elevator Repair Service's eight-hour staging of Fitzgerald's The Great Gatsby and a selection of impossible stage directions drawn from works by such playwrights as Eugene O'Neill, Philip Glass, Caryl Churchill, Sarah Kane and Alistair McDowall. Placing theatre history and performance analysis in such a context, Performing the Unstageable values what is not possible, and investigates the tricky underside of theatre's most fundamental function to bring things to the place of showing: the stage.
Author: Catherine M. S. Alexander
Publisher: Cambridge University Press
ISBN: 9780521824330
Category :
Languages : en
Pages : 488
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Book Description
Author: Volney P. Gay
Publisher: State University of New York Press
ISBN: 1438403909
Category : Psychology
Languages : en
Pages : 388
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Book Description
This book is the only full-length treatment of the relationship between aesthetic truths and psychoanalytic discoveries—of art, artists, and a new concept of sublimation. It provides a radical and unique study of the concept of sublimation and proposes a modest replacement for it. In the first third of the book the author reviews critically the psychoanalytic sources of the concept of sublimation. In the second third he shows how the concept developed from Freud's nineteenth-century notions of perception. In the last third he revises a concept of sublimation using a contemporary theory of perception. In the final chapter he examines four works of literature: short stories of John Cheever, a Japanese novel, portions of Hamlet, and sublimation and perversion in Orson Welles' Citizen Kane.
Author: Michael Dobson
Publisher: Oxford University Press, USA
ISBN: 0198708734
Category : Literary Criticism
Languages : en
Pages : 605
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Book Description
This is a reference text on Shakespeare's works, times, life, and afterlives. It offers stimulating and authoritative coverage of every aspect of Shakespeare and his writings, including their reinterpretation in the theatre, in criticism, and in film.
Author: Cécile de Banke
Publisher: Routledge
ISBN: 1317652797
Category : Performing Arts
Languages : en
Pages : 333
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Book Description
An absorbing and original addition to Shakespeareana, this handbook of production is for all lovers of Shakespeare whether producer, player, scholar or spectator. In four sections, Staging, Actors and Acting, Costume, Music and Dance, it traces Shakespearean production from Elizabethan times to the 1950s when the book was originally published. This book suggests that Shakespeare should be performed today on the type of stage for which his plays were written. It analyses the development of the Elizabethan stage, from crude inn-yard performances to the building and use of the famous Globe. Since the Globe saw the enactment of some of the Bard’s greatest dramas, its construction, properties, stage devices, and sound effects are reviewed in detail with suggestions on how a producer can create the same effects on a modern or reconstructed Elizabethan stage. Shakespeare’s plays were written to fit particular groups of actors. The book gives descriptions of the men who formed the acting companies of Elizabethan London and of the actors of Shakespeare’s own company, giving insights into the training and acting that Shakespeare advocated. With full descriptions and pages of reproductions, the costume section shows the types of dress necessary for each play, along with accessories and trimmings. A table of Elizabethan fabrics and colours is included. The final section explores the little-known and interesting story of the integral part of music and dance in Shakespeare’s works. Scene by scene the section discusses appropriate music or song for each play and supplies substitute ideas for Elizabethan instruments. Various dances are described – among them the pavan, gailliard, canary and courante. This book is an invaluable wealth of research, with extensive bibliographies and extra information.
