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This second edition of Erne's groundbreaking study includes a new preface that reviews the controversy the book has triggered.
Book Synopsis Shakespeare as Literary Dramatist by : Lukas Erne
Download or read book Shakespeare as Literary Dramatist written by Lukas Erne and published by Cambridge University Press. This book was released on 2013-04-25 with total page 327 pages. Available in PDF, EPUB and Kindle. Book excerpt: This second edition of Erne's groundbreaking study includes a new preface that reviews the controversy the book has triggered.
Theatre has never been afraid to adapt, rewrite and contemporize Shakespeare's drama since theatre by definition is a living medium involving a corporate creativity. Shakespeare himself rewrote or adapted old plays and stories and since writing his dramas have experienced many transformations. Recent dramatists following this age-old tradition have rewritten some of Shakespeare's plays for the contemporary stage or modelled their drama on formulations used by him. Michael Scott examines a selection of such plays written in the last forty years. Some, such as Samuel Beckett's Waiting for Godot or Tom Stoppard's Rosencrantz & Guildenstern are Dead have become famed. Others such as Ionesco's Macbett are less well known but are no less signficant. Edward Bond's Lear, Arnold Wesker's The Merchant and Charles Marowitz's Collages represent an attempt by some modern dramatists to challenge a particular ideology which appears to have appropriated Shakespeare to itself. The book concludes with an examination of some recent trends in Shakespearean production, particularly by the Royal Shakespeare Company.
Book Synopsis Shakespeare and the Modern Dramatist by : Michael Scott
Download or read book Shakespeare and the Modern Dramatist written by Michael Scott and published by Springer. This book was released on 2016-07-27 with total page 164 pages. Available in PDF, EPUB and Kindle. Book excerpt: Theatre has never been afraid to adapt, rewrite and contemporize Shakespeare's drama since theatre by definition is a living medium involving a corporate creativity. Shakespeare himself rewrote or adapted old plays and stories and since writing his dramas have experienced many transformations. Recent dramatists following this age-old tradition have rewritten some of Shakespeare's plays for the contemporary stage or modelled their drama on formulations used by him. Michael Scott examines a selection of such plays written in the last forty years. Some, such as Samuel Beckett's Waiting for Godot or Tom Stoppard's Rosencrantz & Guildenstern are Dead have become famed. Others such as Ionesco's Macbett are less well known but are no less signficant. Edward Bond's Lear, Arnold Wesker's The Merchant and Charles Marowitz's Collages represent an attempt by some modern dramatists to challenge a particular ideology which appears to have appropriated Shakespeare to itself. The book concludes with an examination of some recent trends in Shakespearean production, particularly by the Royal Shakespeare Company.
This Companion is devoted to the life and works of Shakespeare and contemporary playwrights in early modern London.
Book Synopsis The Cambridge Companion to Shakespeare and Contemporary Dramatists by : A. J. Hoenselaars
Download or read book The Cambridge Companion to Shakespeare and Contemporary Dramatists written by A. J. Hoenselaars and published by Cambridge University Press. This book was released on 2012-10-11 with total page 327 pages. Available in PDF, EPUB and Kindle. Book excerpt: This Companion is devoted to the life and works of Shakespeare and contemporary playwrights in early modern London.
Book Synopsis Shakespeare as Literary Dramatist by : Lukas Erne
Download or read book Shakespeare as Literary Dramatist written by Lukas Erne and published by Cambridge University Press. This book was released on 2003-03-13 with total page 312 pages. Available in PDF, EPUB and Kindle. Book excerpt: Table of contents
While Shakespeare's popularity has continued to grow, so has the attention paid to the work of his contemporaries. The contributors to this Companion introduce the distinctive drama of these playwrights, from the court comedies of John Lyly to the works of Richard Brome in the Caroline era. With chapters on a wide range of familiar and lesser-known dramatists, including Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton and John Ford, this book devotes particular attention to their personal and professional relationships, occupational rivalries and collaborations. Overturning the popular misconception that Shakespeare wrote in isolation, it offers a new perspective on the most impressive body of drama in the history of the English stage.
Book Synopsis The Cambridge Companion to Shakespeare and Contemporary Dramatists by : Ton Hoenselaars
Download or read book The Cambridge Companion to Shakespeare and Contemporary Dramatists written by Ton Hoenselaars and published by Cambridge University Press. This book was released on 2012-10-11 with total page 327 pages. Available in PDF, EPUB and Kindle. Book excerpt: While Shakespeare's popularity has continued to grow, so has the attention paid to the work of his contemporaries. The contributors to this Companion introduce the distinctive drama of these playwrights, from the court comedies of John Lyly to the works of Richard Brome in the Caroline era. With chapters on a wide range of familiar and lesser-known dramatists, including Thomas Kyd, Christopher Marlowe, Ben Jonson, John Webster, Thomas Middleton and John Ford, this book devotes particular attention to their personal and professional relationships, occupational rivalries and collaborations. Overturning the popular misconception that Shakespeare wrote in isolation, it offers a new perspective on the most impressive body of drama in the history of the English stage.
In writing a play, the playwright must take into account the devices & sets available to him for the optimum stage presentation of his work. In Shakespeare's day, there were very few mechanical devices, & even fewer sets, available to the playwright. The author examines the Bard's players in the light of the staging problems he faced & how he had to write his plays so that dialogue & inflection would "set the scene", express the mood of the play, & convey other meanings to the audience that a playwright of today might accomplish with scenery, lighting, musical accompaniment, mechanical devices, etc. Highly useful for English literature & theatre collections.
Book Synopsis Shakespeare as a Dramatist by : Sir John Collings Squire
Download or read book Shakespeare as a Dramatist written by Sir John Collings Squire and published by Ardent Media. This book was released on 1971 with total page 246 pages. Available in PDF, EPUB and Kindle. Book excerpt: In writing a play, the playwright must take into account the devices & sets available to him for the optimum stage presentation of his work. In Shakespeare's day, there were very few mechanical devices, & even fewer sets, available to the playwright. The author examines the Bard's players in the light of the staging problems he faced & how he had to write his plays so that dialogue & inflection would "set the scene", express the mood of the play, & convey other meanings to the audience that a playwright of today might accomplish with scenery, lighting, musical accompaniment, mechanical devices, etc. Highly useful for English literature & theatre collections.
Book Synopsis Shakespeare and the Modern Stage by : Sir Sidney Lee
Download or read book Shakespeare and the Modern Stage written by Sir Sidney Lee and published by London : J. Murray. This book was released on 1906 with total page 282 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Why have contemporary playwrights been obsessed by Shakespeare’s plays to such an extent that most of the canon has been rewritten by one rising dramatist or another over the last half century? Among other key figures, Edward Bond, Heiner Müller, Carmelo Bene, Arnold Wesker, Tom Stoppard, Howard Barker, Botho Strauss, Tim Crouch, Bernard Marie Koltès, and Normand Chaurette have all put their radical originality into the service of adapting four-century-old classics. The resulting works provide food for thought on issues such as Shakespearean role-playing, narrative and structural re-shuffling. Across the world, new writers have questioned the political implications and cultural stakes of repeating Shakespeare with and without a difference, finding inspiration in their own national experiences and in the different ordeals they have undergone. How have our contemporaries carried out their rewritings, and with what aims? Can we still play Hamlet, for instance, as Dieter Lesage asks in his book bearing this title, or do we have to “kill Shakespeare” as Normand Chaurette implies in a work where his own creative process is detailed? What do these rewritings really share with their sources? Are they meaningful only because of Shakespeare’s shadow haunting them? Where do we draw the lines between “interpretation,” “adaptation” and “rewriting”? The contributors to this collection of essays examine modern rewritings of Shakespeare from both theoretical and pragmatic standpoints. Key questions include: can a rewriting be meaningful without the reader’s or spectator’s already knowing Shakespeare? Do modern rewritings supplant Shakespeare’s texts or curate them? Does the survival of Shakespeare in the theatrical repertory actually depend on the continued dramatization of our difficult encounters with these potentially obsolete scripts represented by rewriting?
Book Synopsis Rewriting Shakespeare’s Plays For and By the Contemporary Stage by : Michael Dobson
Download or read book Rewriting Shakespeare’s Plays For and By the Contemporary Stage written by Michael Dobson and published by Cambridge Scholars Publishing. This book was released on 2017-06-23 with total page 195 pages. Available in PDF, EPUB and Kindle. Book excerpt: Why have contemporary playwrights been obsessed by Shakespeare’s plays to such an extent that most of the canon has been rewritten by one rising dramatist or another over the last half century? Among other key figures, Edward Bond, Heiner Müller, Carmelo Bene, Arnold Wesker, Tom Stoppard, Howard Barker, Botho Strauss, Tim Crouch, Bernard Marie Koltès, and Normand Chaurette have all put their radical originality into the service of adapting four-century-old classics. The resulting works provide food for thought on issues such as Shakespearean role-playing, narrative and structural re-shuffling. Across the world, new writers have questioned the political implications and cultural stakes of repeating Shakespeare with and without a difference, finding inspiration in their own national experiences and in the different ordeals they have undergone. How have our contemporaries carried out their rewritings, and with what aims? Can we still play Hamlet, for instance, as Dieter Lesage asks in his book bearing this title, or do we have to “kill Shakespeare” as Normand Chaurette implies in a work where his own creative process is detailed? What do these rewritings really share with their sources? Are they meaningful only because of Shakespeare’s shadow haunting them? Where do we draw the lines between “interpretation,” “adaptation” and “rewriting”? The contributors to this collection of essays examine modern rewritings of Shakespeare from both theoretical and pragmatic standpoints. Key questions include: can a rewriting be meaningful without the reader’s or spectator’s already knowing Shakespeare? Do modern rewritings supplant Shakespeare’s texts or curate them? Does the survival of Shakespeare in the theatrical repertory actually depend on the continued dramatization of our difficult encounters with these potentially obsolete scripts represented by rewriting?
Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare's creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare's plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court's patronage of the theatre during Shakespeare's lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain's Men and the King's Men, to whom Shakespeare was attached as their 'ordinary poet', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare's plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Shakespeare, Court Dramatist argues that they are not cut down from those familiar versions, but poorly-reported originals which Shakespeare revised for court performance into what we know best today. More localised revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.
Book Synopsis Shakespeare, Court Dramatist by : Richard Dutton
Download or read book Shakespeare, Court Dramatist written by Richard Dutton and published by Oxford University Press. This book was released on 2016-04-07 with total page 320 pages. Available in PDF, EPUB and Kindle. Book excerpt: Shakespeare, Court Dramatist centres around the contention that the courts of both Elizabeth I and James I loomed much larger in Shakespeare's creative life than is usually appreciated. Richard Dutton argues that many, perhaps most, of Shakespeare's plays have survived in versions adapted for court presentation, where length was no object (and indeed encouraged) and rhetorical virtuosity was appreciated. The first half of the study examines the court's patronage of the theatre during Shakespeare's lifetime and the crucial role of its Masters of the Revels, who supervised all performances there (as well as censoring plays for public performance). Dutton examines the emergence of the Lord Chamberlain's Men and the King's Men, to whom Shakespeare was attached as their 'ordinary poet', and reviews what is known about the revision of plays in the early modern period. The second half of the study focuses in detail on six of Shakespeare's plays which exist in shorter, less polished texts as well as longer, more familiar ones: Henry VI Part II and III, Romeo and Juliet, Henry V, Hamlet, and The Merry Wives of Windsor. Shakespeare, Court Dramatist argues that they are not cut down from those familiar versions, but poorly-reported originals which Shakespeare revised for court performance into what we know best today. More localised revisions in such plays as Titus Andronicus, Richard II, and Henry IV Part II can also best be explained in this context. The court, Richard Dutton argues, is what made Shakespeare Shakespeare.
Recent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.
Book Synopsis Shakespeare's Modern Collaborators by : Lukas Erne
Download or read book Shakespeare's Modern Collaborators written by Lukas Erne and published by A&C Black. This book was released on 2007-12-18 with total page 168 pages. Available in PDF, EPUB and Kindle. Book excerpt: Recent work in Shakespeare studies has brought to the forefront a variety of ways in which the collaborative nature of Shakespearean drama can be investigated: collaborative performance (Shakespeare and his fellow actors); collaborative writing (Shakespeare and his co-authors); collaborative textual production (Shakespeare and his transcribers and printers). What this leaves unaccounted for is the form of collaboration that affects more than any other our modern reading experience of Shakespeare's plays: what we read as Shakespeare now always comes to us in the form of a collaborative enterprise - and is decisively shaped by the nature of the collaboration - between Shakespeare and his modern editors. Contrary to much recent criticism, this book suggests that modern textual mediators have a positive rather than negative role: they are not simply 'pimps of discourse' or cultural tyrants whose oppressive interventions we need to 'unedit' but collaborators who can decisively shape and enable our response to Shakespeare's plays. Erne argues that any reader of Shakespeare, scholar, student, or general reader, approaches Shakespeare through modern editions that have an endlessly complicated and fascinating relationship to what Shakespeare may actually have intended and written, that modern editors determine what that relationship is, and that it is generally a very good thing that they do so.
