Empfehlungen basierend auf "Hamlet Text of the Play, the Actors' Gallery, Contexts, Criticism, Afterlives, Resources"

This comprehensive and balanced anthology offers a collection of 25 works of modern and contemporary drama from the 1870s through the early 1990s. Features twenty-five plays that often demonstrate a significant breakthrough in maturity of expression and style for each playwright — important leaders in the development of modern and contemporary drama.

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

HarperCollins is proud to present its new range of best-loved, essential classics.‘Though this be madness, yet there is method in't.’Considered one of Shakespeare’s most rich and enduring plays, the depiction of its hero Hamlet as he vows to avenge the murder of his father by his brother Claudius is both powerful and complex. As Hamlet tries to find out the truth of the situation, his troubled relationship with his mother comes to the fore, as do the paradoxes in his personality. A play of carefully crafted conflict and tragedy, Shakespeare’s intricate dialogue continues to fascinate audiences to this day.

Weyward Macbeth, a volume of entirely new essays, provides innovative, interdisciplinary approaches to the various ways Shakespeare's 'Macbeth' has been adapted and appropriated within the context of American racial constructions. Comprehensive in its scope, this collection addresses the enduringly fraught history of 'Macbeth' in the United States, from its appearance as the first Shakespearean play documented in the American colonies to a proposed Hollywood film version with a black diasporic cast. Over two dozen contributions explore 'Macbeth's' haunting presence in American drama, poetry, film, music, history, politics, acting, and directing ― all through the intersections of race and performance.

Sparkling with the witty dialogue between Beatrice and Benedicts, Much Ado About Nothing is one of Shakespeare's most enjoyable and theatrically successful comedies.This edition offers a newly edited text and an exceptionally helpful and critically aware introduction. Paying particular attention to analysis of the play's minor characters, Sheldon P Zitner discusses Shakespeare's transformation of his source material. He rethinks the attitudes to gender relations that underlie the comedy and determine its view of marriage.About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.Allowing for the play's openness to reinterpretation by successive generations of readers and performers, Zitner provides a socially analytic stage history, advancing new views for the actor as much as for the critic.

Anthology for Music in the Renaissance, part of the Western Music in Context series, is the ideal companion to Music in the Renaissance. Twenty-seven carefully chosen works including an isorhythmic motet by Ciconia, an English carol, a Janequin chanson, and lute composition by Ortiz offer representative examples of the genres and composers of the period. Commentaries following each score present a careful analysis of the music, and online links to purchase and download recordings make listening easier than ever. "

The Complete Works of Shakespeare contains the recognized canon of the bard's plays, and his sonnets and poems. The texts were edited by the late Professor Peter Alexander, making it one of the most authoritative editions, recognized the world over for its clarity and scholarship. Described in the Guardian on its first publication in 1951 as 'a symbol in the history of our national culture', the Collins edition of the Complete Works of William Shakespeare, edited by the late Professor Peter Alexander, has long been established as one of the most authoritative editions of Shakespeare's works, and was chosen by the BBC as the basis for its televised cycle of the plays. The book starts with two specially written articles - a biography of Shakespeare by Germaine Greer and a wide-ranging introduction to Shakespeare theatre by the late Anthony Burgess. Each play is also introduced by academics from Glasgow University, where Professor Alexander undertook his editing. New to this edition is an internet resources section, providing details of the most useful Shakespeare websites. In addition, the invaluable glossary of over 2,500 entries explaining the meaning of obsolete words and phrases (complete with line references) has been expanded and redesigned to make it much easier to use.

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.