William Shakespeare strana 37 z 47

Hlavnímu hrdinovi se ve snu zjeví duch jeho otce, dánského krále otráveného vlastním bratrem Klaudiem, a žádá, aby pomstil jeho vraždu. Hamlet na hradě zinscenuje divadelní hru, která přesně popisuje smrt jeho otce. Klaudius se sám usvědčí a nařkne Hamleta, že je blázen. Slavná tragédie popisuje osud Hamleta a končí jeho smrtí v souboji.

The introduction to this, one of Shakespeare's ironic and boisterous texts, pays particular attention to expounding the literal sense (he proposes some new readings) and evoking the stage business. Falstaff is here, with Pistol, Mistress Quickly, and Justice Shallow, in a warm-hearted comedy.

Hamlet

Twelfth Night is one of the most popular of Shakespeare's plays in the modern theatre, and this edition places particular emphasis on its theatrical qualities throughout. Peopled with lovers misled either by disguises or their own natures, it combines lyrical melancholy with broad comedy. The introduction analyses its many views of love and the juxtaposition of joy and melancholy, while the detailed commentary pays particular attention to its linguistic subtleties. Music is particularly important in Twelfth Night, and this is the only modern edition to offer material for all the music required in a performance. James Walker has re-edited the existing music from the original sources, and where noe exists has composed settings compatible with the surviving originals.

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. Allowing for the play's openness to reinterpretation by successive generations of readers and peformers, Zitner provides a socially analytic stage history, advancing new views for the actor as much as for the critic.

Hamlet

A magnificent drama of love and war, this riveting tragedy presents one of Shakespeare's greatest female characters--the seductive, cunning Egyptian queen Cleopatra. The Roman leader Mark Antony, a virtual prisoner of his passion for her, is a man torn between pleasure and virtue, between sensual indolence and duty . . . between an empire and love. Bold, rich, and splendid in its setting and emotions, Antony And Cleopatra ranks among Shakespeare's supreme achievements.

Richard III. je druhou knihou z edice Manga Shakespeare, která představuje dílo největšího britského dramatika a básníka prostřednictvím japonské mangy; důraz ovšem neklade jen na vizuální styl, ale dbá i na krásu Shakespearova jazyka a na citlivé dramaturgické zpracování každé Shakespearovy hry. Edici Manga Shakespeare tak ocení všichni, kteří se chtějí seznámit s nádherně barevným, krutým i laskavým světem Shakespearových her, ale bojí se kvůli tomu zajít do divadla či sáhnout po „pouhém“ textu.

Julius Caesar's exciting plot, brilliant rhetoric, and searching characterisation have made it one of Shakespeare's most popular plays with both readers and theatre-goers. Introducing this thoroughly reconsidered edition, Arthur Humphreys provides a fresh look at the play's date and its place in the Shakespeare canon and examines Shakespeare's transmutation of history into drama. He investigates the play's ethical and moral concerns in a section on Roman values and analyses its fortunes in performance, from its immediately successful first staging to modern productions for cinema, television, and stage.

Audiences have always delighted in the robust comedy and verbal inventiveness of The Taming of the Shrew. It has survived many adaptations ranging from, probably, the play printed in 1594 as The Taming of the Shrew through several eighteenth-century versions to modern-dress productions and transformations into ballet, musical, film, and opera. Introducing this new edition, H.J. Oliver pays attention to the play's theatrical virtues while also providing a deeply considered study of its textual problems, structural complexities, and interpretive challenges.

Tradice vypráví, že Shakespeare napsal komedii Veselé paničky windsorské na objednávku královny Alžběty, která si oblíbila postavu Falstaffa a chtěla ho na jevišti vidět zamilovaného. Shakespeare elegantně královně vyšel i nevyšel vstříc, neboť jeho Falstaff není zamilován do dvou windsorských manželek, ale pouze do peněz jejich manželů. Jeho záměr zmocnit se těchto peněz nakonec nevyjde a v komediálním konci hry je rituálně potrestán a zesměšněn ve windsorském parku. Veselé paničky windsorské jsou jedinou komedií Williama Shakespeara odehrávající se v Anglii a je to jediná jeho komedie měšťanská. Zaujme především gejzíry jazykového vtipu, neboť každá její postava má výraznou a osobitou řeč. Velšský kněz Hugo Evans deformuje angličtinu svým přízvukem a komediálně vykloubenými slovními spojeními, doktor Cajus je Francouz, který komolí angličtinu francouzskou výslovností a idiomy, zcela osobitou řečí mluví paní Čiperná a samozřejmě i rytíř Jan Falstaff, jedna z největších Shakespearových komediálních postav vůbec.

Audiences have always delighted in the robust comedy and verbal inventiveness of The Taming of the Shrew. It has survived many adaptations ranging from, probably, the play printed in 1594 as The Taming of the Shrew through several eighteenth-century versions to modern-dress productions and transformations into ballet, musical, film, and opera. Introducing this new edition, H.J. Oliver pays attention to the play's theatrical virtues while also providing a deeply considered study of its textual problems, structural complexities, and interpretive challenges.

Based on Chaucer's Knight's Tale, the central themes of this humourous and moving play are the claims of love and friendship. The introduction to this new edition offers an illuminating account of Shakespeare's collaboration with his younger colleague John Fletcher, and there are full and helpful notes on unfamiliar words, stage business, allusions, and the play's often complex language.

Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this gusion makes Hamlet seem a much more 'problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a 'theatrical' and highly practical edition for students and actors alike.

As You Like It has long been admired as one of Shakespeare's most exuberant early comedies, complete with one of the Bard's funniest and toughest heroines, Rosalind. Based on Thomas Lodge's Elizabethan novel Rosalynde, As You Like It follows the discontented Orlando as he is exiled from the tyrannical French court of Duke Frederick. By chance Frederick also banishes Rosalind, daughter of the usurped Duke Senior. The play then moves to the Forest of Arden, where chaos and misrule ensue, as Rosalind cross dresses "all points like a man", disguised as the saucy Ganymede and encourages the naive Orlando to "woo me, woo me, for now I am in a holiday humour". Meanwhile her clown Touchstone causes hilarity and havoc amongst the exiled lords and the pastoral inhabitants of the forest. The play concludes with Rosalind's extraordinary "unmasking" Epilogue addressed to the audience, where she offers to "kiss as many of you as had beards that pleased me".

Henry V , the climax of Shakespeare's sequence of English history plays, is an inspiring, often comic celebration of a young warrior-king. But it is also a study of the costly exhilarations of war, and of the penalties as well as the glories of human greatness. Introducing this brilliantly innovative edition, Gary Taylor shows how Shakespeare shaped his historical material, examines controversial critical interpretations, discusses the play's fluctuating fortunes in performance, and analyses the range and variety of Shakespeare's characterization. The first Folio text is radically rethought, making original use of the First Quarto (1600). This book is intended for a-level upwards - Shakespeare students and teachers, also students of 17th-century drama and tragedy; actors and playgoers.