A thoroughly revised edition of the successful student text Doing Shakespeare,first published in 2005. The book's success lies in the close readings of speeches and scenes it gives students, demystifying the language of the plays and critical approaches to them. This new edition introduces a new way of approaching Shakespeare's text, through ideas of performance and the actor's role and restructures the content to make it easier to navigate, with clear signposting throughout, guiding students to the content most useful to them.
Shakespeare: The Animated Tales - Romeo and Juliet
Winner of 3 Emmy Awards these exceptional animated stories have been designed to introduce children and young adults to some Shakespeare's most popular works. Each play has been animated in it own unique style by the exceptional talents of the leading directors of Russia's Christmas Films. Actors from the Royal Shakespeare Company and stars of stage and screen, including Antony Sher, Joss Ackland and Jenny Agutter, provide voices for the characters which were recorded and produced by BBC Wales. Animation type: Cel animation
Tales from Shakespeare - Penguin Readers - Level 5
Classic / British English This Book includes stories based on seven of Shakespeare's greatest plays. We meet many of Shakespeare's most famous characters magical Prospero; Puck, the badly-behaved fairy; evil Macbeth; Shylock, the greedy moneylender, and many more. This is a wonderful first step on the journey into the world of Shakespeare.
''Much drink may be said to be an equivocator with lechery: it makes him, and it mars him; it sets him on, and it takes him off; it persuades him, and disheartens him; makes him stand to, and not stand to: in conclusion, equivocates him in a sleep, and, giving him the lie, leaves him.'' Porter, Macbeth, II i. Why would Elizabethan audiences find Shakespeare''s Porter in Macbeth so funny? And what exactly is meant by the name the ''Weird'' Sisters? Jonathan Hope, in a comprehensive and fascinating study, looks at how the concept of words meant something entirely different to Elizabethan audi.
The crises of faith that fractured Reformation Europe also caused crises of individual and collective identity. Structures of feeling as well as structures of belief were transformed; there was a reformation of social emotions as well as a Reformation of faith. As Steven Mullaney shows in The Reformation of Emotions in the Age of Shakespeare, Elizabethan popular drama played a significant role in confronting the uncertainties and unresolved traumas of Elizabethan Protestant England. Shakespeare and his contemporaries—audiences as well as playwrights—reshaped popular drama into a new form of embodied social, critical, and affective thought.
