Empfehlungen basierend auf "All for Love"

Much Ado About Nothing includes two quite different stories of romantic love. Hero and Claudio fall in love almost at first sight, but an outsider, Don John, strikes out at their happiness. Beatrice and Benedick are kept apart by pride and mutual antagonism until others decide to play Cupid.

This edition of Hamlet is especially designed for students, with accessible on page notes and explanatory illustrations, clear background information, and rigorous but accessible scholarly credentials. This edition includes illustrations, preliminary notes, reading lists (including websites) and classroom notes, allowing students to master Shakespeare's work.About the Series:Newly redesigned and easier to read, each play in the Oxford School Shakespeare series includes the complete and unabridged text, detailed and clear explanations of difficult words and passages, a synopsis of the plot, summaries of individual scenes, and notes on the main characters. Also included is a wide range of questions and activities for work in class, together with the historical background to Shakespeare's England, a brief biography of Shakespeare, and a complete list of his plays.

This is a biography of a book: the first collected edition of Shakespeare's plays printed in 1623 and known as the First Folio. It begins with the story of its first purchaser in London in December 1623, and goes on to explore the ways people have interacted with this iconic book over the four hundred years of its history. Throughout the stress is on what we can learn from individual copies now spread around the world about their eventful lives. From ink blots to pet paws, from annotations to wineglass rings, First Folios teem with evidence of their place in different contexts with different priorities. This study offers new ways to understand Shakespeare's reception and the history of the book. Unlike previous scholarly investigations of the First Folio, it is not concerned with the discussions of how the book came into being, the provenance of its texts, or the technicalities of its production. Instead, it reanimates, in narrative style, the histories of this book, paying close attention to the details of individual copies now located around the world - their bindings, marginalia, general condition, sales history, and location - to discuss five major themes: owning, reading, decoding, performing, and perfecting. This is a history of the book that consolidated Shakespeare's posthumous reputation: a reception history and a study of interactions between owners, readers, forgers, collectors, actors, scholars, booksellers, and the book through which we understand and recognize Shakespeare.

Pygmalion, Heartbreak House, and Saint Joan are widely considered to be three of the most important in the canon of modern British theatre

Taking a curtain call with a live snake in her wig; being painted green and cavorting naked through the Warwickshire countryside; acting opposite a child with a pumpkin on his head... these are just a few things Dame Judi Dench has done in the name of Shakespeare.In this book, Judi tells us about every Shakespearean role she's played throughout her career. Written in dialogue with fellow artist Brendan O'Hea, Judi guides us through Shakespeare's plays with incisive clarity, reveals the secrets behind her rehearsal process and invites us to share in her triumphs, disasters and backstage shenanigans.As Judi herself says 'Shakespeare is an international language, a beacon for humanity, and a bridge across cultures. Everything you have felt or are yet to feel is all in there in his plays.'

amateur production of The Tempest provides a colourful backdrop for an hilarious look at unrequited love. Mathematics teacher Hector Mackilwraith, stirred and troubled by Shakespeare's play, falls in love with the beautiful Griselda Webster. When Griselda shows that she has plans of her own, Hector despairs and tries to commit suicide on the play's opening night.

Long before the satirical comedy of The Daily Show and The Colbert Report, the comic operas of W. S. Gilbert and Arthur Sullivan were the hottest send-ups of the day's political and cultural obsessions. Gilbert and Sullivan's productions always rose to the level of social commentary, despite being impertinent, absurd, or inane. Some viewers may take them straight, but what looks like sexism or stereotype was actually a clever strategy of critique. Parody was a powerful weapon in the culture wars of late-nineteenth-century England, and with defiantly in-your-face sophistication, Gilbert and Sullivan proved that popular culture can be intellectually as well as politically challenging.Carolyn Williams underscores Gilbert and Sullivan's creative and acute understanding of cultural formations. Her unique perspective shows how anxiety drives the troubled mind in the Lord Chancellor's "Nightmare Song" in Iolanthe and is vividly realized in the sexual and economic phrasing of the song's patter lyrics. The modern body appears automated and performative in the "Junction Song" in Thespis, anticipating Charlie Chaplin's factory worker in Modern Times. Williams also illuminates the use of magic in The Sorcerer, the parody of nautical melodrama in H.M.S. Pinafore, the ridicule of Victorian aesthetic and idyllic poetry in Patience, the autoethnography of The Mikado, the role of gender in Trial by Jury, and the theme of illegitimacy in The Pirates of Penzance. With her provocative reinterpretation of these artists and their work, Williams recasts our understanding of creativity in the late nineteenth century.

From the earliest days of radio to the golden age of television and beyond, Orson Welles has occupied a unique place in American culture. In Orson Welles, Shakespeare, and Popular Culture, Michael Anderegg considers Welles's influence as an interpreter of Shakespeare for twentieth-century American popular audiences. Exploring his works on stage, radio, and in film, Anderegg reveals Welles's unique position as an artist of both high and popular culture. At once intellectually respected and commercially viable, the Shakespeare Welles gave the American public reflects his unique genius as a writer, director, and actor. From early plays in school to the Everybody's Shakespeare books and the Mercury Text Records adaptations, Anderegg illustrates how Welles tried to transcend the barriers between the classical and the popular. He argues that "Welles the Shakespearean" sought to be a restorer as well as an innovator by drawing on his knowledge of the abundant, lowbrow popularity of Shakespeare in nineteenth-century America. Welles's three film adaptations of Shakespeare, Macbeth, Othello, and Chimes at Midnight, are examined. From his peculiarly "Scottish" version of Macbeth, to his postmodern reading of the history plays in Chimes at Midnight, Welles's interpretive strategies--and the public's reception of them--are considered. In the final chapter, Anderegg surveys Welles's work as an actor--his legacy and myth--and reexamines the common view that he squandered his talents in the era after Citizen Kane. Taking into account his non-Shakespearean roles, Anderegg shows Welles to have been a markedly "Shakespearean" actor and, in his versions of the Bard's plays, a key arbiter of culture.

In A Natural Perspective, distinguished critic Northrop Frye maintains that Shakespeare's comedy is widely misunderstood and underestimated, and that the four romances - Pericles, Cymbeline, The Winter's Tale, and The Tempest - are the inevitable culmination of the poet's career. Rather than comment only on individual plays, Frye treats the comedies as a group unified by recurrent structures, devices, and images: the storm at sea, the identical twins, the heroine disguised as a boy, the retreat into the forest, the heroine with a mysterious father.

A tragic epic love story before Romeo and Juliet, by one of the greatest medieval Persian romance poets, in a modern-verse English translation by Dick Davis A Penguin ClassicBased on historical characters of the seventh-century Iranian court and written 850 years ago, the narrative poem about Khosrow and Shirin shares a shelf with the most intensely romantic classic stories readers love, from Tristan and Isolde to Layla and Majnun to Romeo and Juliet to Gatsby and Daisy.The love between an Iranian prince (Khosrow) and an Armenian princess (Shirin) is at the center of this tumultuous tale in which the powers of politics and warfare intertwine with no less powerful forces of erotic desire and the quest for personal and spiritual fulfilment. Theirs is a complex love story based on conflicting concepts of love, one regarding the beloved as a prize to be conquered and possessed, the other unrequited and all-consuming, relishing the very notion of the annihilation of the self through love.Davis has captured the energy and poetry of Nezami’s original in modern verse. Davis’s introduction and textual commentary further strengthens his translation by providing insightful context for the general reader and scholar alike. Khosrow and Shirin will enchant both the classicist and the general reader, to captivate a new audience for Nezami’s masterpiece. “Before Romeo and Juliet, there was Khosrow and Shirin. The medieval Persian epic ‘Khosrow and Shirin’ is a rich and gloriously excessive love story”—Michael Dirda, The Washington Post.