Shakespeare In The Present

This is a stunning collection of essays by Terence Hawkes, which engage with, explain, and explore 'presentism', a new notion of literary criticism. This book suggests ways in which its principles may be applied to aspects of Shakespeare's plays.

Filmed on the stages of Michael Howard Studios in New York and The Guildhall School of Music and Drama in London, 'Shakespeare in the Present' brings you hours of private coaching with acclaimed master acting teaching Patsy Rodenburg and her unique approach to voice and acting.

Shakespeare in the Present is a stunning collection of essays by Terence Hawkes, which engage with, explain, and explore 'presentism'. Presentism is a critical manoeuvre which uses relevant aspects of the contemporary as a crucial trigger for its investigations. It deliberately begins with the material present and lets that set the interrogative agenda. This book suggests ways in which its principles may be applied to aspects of Shakespeare's plays. Hawkes concentrates on two main areas in which Presentism impacts on the study of Shakespeare. The first is the concept of 'devolution' in British politics. The second is presentism's commitment to a reversal of conceptual hierarchies such as primary/secondary and past/present, and the interaction between performance and reference. The result is to sophisticate and expand our notion of performing and to refocus interest on what the early modern theatre meant by the activity it termed 'playing'.

Shakespeare in the Present is a stunning collection of essays by Terence Hawkes, which engage with, explain, and explore 'presentism'. Presentism is a critical manoeuvre which uses relevant aspects of the contemporary as a crucial trigger for its investigations. It deliberately begins with the material present and lets that set the interrogative agenda. This book suggests ways in which its principles may be applied to aspects of Shakespeare's plays. Hawkes concentrates on two main areas in which Presentism impacts on the study of Shakespeare. The first is the concept of 'devolution' in British politics. The second is presentism's commitment to a reversal of conceptual hierarchies such as primary/secondary and past/present, and the interaction between performance and reference. The result is to sophisticate and expand our notion of performing and to refocus interest on what the early modern theatre meant by the activity it termed 'playing'.

In Shakespeare’s Language, Keith Johnson offers an overview of the rich and dynamic history of the reception and study of Shakespeare’s language from his death right up to the present. Tracing a chronological history of Shakespeare’s language, Keith Johnson also picks up on classic and contemporary themes, such as: lexical and digital studies original pronunciation rhetoric grammar. The historical approach provides a comprehensive overview, plotting the attitudes towards Shakespeare’s language, as well as a history of its study. This approach reveals how different cultural and literary trends have moulded these attitudes and reflects changing linguistic climates; the book also includes a chapter that looks to the future. Shakespeare’s Language is therefore not only an essential guide to the language of Shakespeare, but it offers crucial insights to broader approaches to language as a whole.

Shakespeare's plays have been adapted or rewritten in various, often surprising, ways since the seventeenth century. This groundbreaking anthology brings together twelve theatrical adaptations of Shakespeares work from around the world and across the centuries. The plays include The Woman's Prize or the Tamer Tamed John Fletcher The History of King Lear Nahum Tate King Stephen: A Fragment of a Tragedy John Keats The Public (El P(blico) Federico Garcia Lorca The Resistible Rise of Arturo Ui Bertolt Brecht uMabatha Welcome Msomi Measure for Measure Charles Marowitz Hamletmachine Heiner Müller Lears Daughters The Womens Theatre Group & Elaine Feinstein Desdemona: A Play About a Handkerchief Paula Vogel This Islands Mine Philip Osment Harlem Duet Djanet Sears Each play is introduced by a concise, informative introduction with suggestions for further reading. The collection is prefaced by a detailed General Introduction, which offers an invaluable examination of issues related to

Discusses changing interpretations of Shakespeare and his plays through the centuries, arguing that claims of his uniqueness reflect the characteristics of particular eras and critics more than Shakespeare.

"Filmed on the stages of Michael Howard Studios in New York and The Guildhall School of Music and Drama in London, this comprehensive series brings you Patsy's unique approach to voice and acting through the world of history's greatest playwright... Explore Patsy's highly sought-after techniques and exercises in movement, speech, body, vocal warmup, owning, scaffolding, givens and 'second circle'. In addition, Patsy works one-on-one with actors performing speeches from Hamlet, Romeo & Juliet, Macbeth, King Lear, and many more." -- Container. | Directed by Gabrielle Berberich; Director of photography Dave Hall; Edited by Kimberley Generous White; Music by Jim Latham; Art by Greg Chwerchak; Filmed at Michael Howard Studios in New York and The Guildhall School of Music and Drama.