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As You Like It de William Shakespeare

As You Like It

Autor William Shakespeare
en Limba Engleză Paperback – 28 oct 2020
As You Like It is a pastoral comedy by William Shakespeare believed to have been written in 1599 and first published in the First Folio in 1623. The play's first performance is uncertain, though a performance at Wilton House in 1603 has been suggested as a possibility.As You Like It follows its heroine Rosalind as she flees persecution in her uncle's court, accompanied by her cousin Celia to find safety and, eventually, love, in the Forest of Arden. In the forest, they encounter a variety of memorable characters, notably the melancholy traveller Jaques who speaks many of Shakespeare's most famous speeches (such as "All the world's a stage", "too much of a good thing" and "A fool A fool I met a fool in the forest"). Jaques provides a sharp contrast to the other characters in the play, always observing and disputing the hardships of life in the country.Historically, critical response has varied, with some critics finding the play a work of great merit and some finding it to be of lesser quality than other Shakespearean works. The play remains a favourite among audiences and has been adapted for radio, film, and musical theatre. The piece has been a favourite of famous actors on stage and screen, notably Vanessa Redgrave, Juliet Stevenson, Maggie Smith, Rebecca Hall, Helen Mirren, and Patti LuPone in the role of Rosalind and Alan Rickman, Stephen Spinella, Kevin Kline, Stephen Dillane, and Ellen Burstyn in the role of Jaques. The play is set in a duchy in France, but most of the action takes place in a location called the Forest of Arden. This may be intended as the Ardennes, a forested region covering an area located in southeast Belgium, western Luxembourg and northeastern France, or Arden, Warwickshire, near Shakespeare's home town, which was the ancestral origin of his mother's family-who incidentally were called Arden.Frederick has usurped the duchy and exiled his older brother, Duke Senior. Duke Senior's daughter, Rosalind, has been permitted to remain at court because she is the closest friend and cousin of Frederick's only child, Celia. Orlando, a young gentleman of the kingdom who at first sight has fallen in love with Rosalind, is forced to flee his home after being persecuted by his older brother, Oliver. Frederick becomes angry and banishes Rosalind from court. Celia and Rosalind decide to flee together accompanied by the court fool, Touchstone, with Rosalind disguised as a young man and Celia disguised as a poor lady.Rosalind, now disguised as Ganymede ("Jove's own page"), and Celia, now disguised as Aliena (Latin for "stranger"), arrive in the Arcadian Forest of Arden, where the exiled Duke now lives with some supporters, including "the melancholy Jaques", a malcontent figure, who is introduced weeping over the slaughter of a deer. "Ganymede" and "Aliena" do not immediately encounter the Duke and his companions. Instead, they meet Corin, an impoverished tenant, and offer to buy his master's crude cottage.
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Specificații

ISBN-13: 9782382746516
ISBN-10: 2382746513
Pagini: 96
Dimensiuni: 148 x 210 x 6 mm
Greutate: 0.14 kg
Editura: Les prairies numériques

Notă biografică

William Shakespeare (1564 to 1616) was an English playwright, poet, and actor. He is widely considered the greatest writer in the English language and the world's greatest dramatist.

Descriere

Descriere de la o altă ediție sau format:
'We that are true lovers run into strange capers.'Four centuries after its publication in the Folio, As You Like It's capacity to entertain and instruct remains evergreen. This edition provides a friendly yet authoritative introduction to the play, upholding it as a crowning expression of the Elizabethan Renaissance while underscoring its appeal to twenty-first century readers as Shakespeare's most intrepid exploration of gender, sexuality, and the environment. Its double-cross-dressed heroine dominates the plot (and their love interest Orlando) to conduct a masterclass in gender fluidity. The melancholic Jaques unmasks the fundamental theatricality of existence and questions humanity's prerogative to displace and harm other species. Through the clown Touchstone, the comedy tests the possibility that we might laugh ourselves wise, especially when we learn to laugh at ourselves. In the Forest of Arden, we encounter Shakespeare's most beguiling vision of the natural world as a realm of serenity and harmony, while brushing up against the briars that puncture our fantasies of the simple life. The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range 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, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

Textul de pe ultima copertă

Both a witty satire of literary cliche and a tender meditation on the varieties of love, As You Like It continues to be one of Shakespeare's most beloved and widely performed comedies. In the introduction to this new edition, David Bevington traces the complex relationships between the characters in the play, and explores the history of its criticism from Samuel Johnson to the twenty-first century.Illustrations and extended discussions of myth and folklore alluded to in the play are interleaved with the text, and appendices provide excerpts from key sources for the play.

Recenzii

Now, in the twenty-first century, Patricia Lennox broadens that understanding in her excellent edition of As You Like It where she draws on her knowledge of international film and television. She offers new meaning for modern readers who, while they savor Shakespeare’s language also understand visual signals from contemporary media.
- Irene G. Dash, Hunter College, CUNY, retired

Even as the New Kittredge Shakespeare series glances back to George Lyman Kittredge's student editions of the plays, it is very much of our current moment: the slim editions are targeted largely at high school and first-year college students who are more versed in visual than in print culture. Not only are the texts of the plays accompanied by photographs or stills from various stage and cinema performances: the editorial contributions are performance-oriented, offering surveys of contemporary film interpretations, essays on the plays as performance pieces, and an annotated filmography. Traditional editorial issues (competing versions of the text, cruxes, editorial emendation history) are for the most part excluded; the editions focus instead on clarifying the text with an eye to performing it. There is no disputing the pedagogic usefulness of the New Kittredge Shakespeare's performance-oriented approach. At times, however, it can run the risk of treating textual issues as impediments, rather than partners, to issues of performance. This is particularly the case with a textually vexed play such as Pericles: Prince of Tyre. In the introduction to the latter, Jeffrey Kahan notes the frequent unintelligibility of the play as originally published: "the chances of a reconstructed text matching what Shakespeare actually wrote are about 'nil'" (p. xiii) But his solution — to use a "traditional text" rather than one corrected as are the Oxford and Norton Pericles — obscures how this "traditional text," including its act and scene division, is itself a palimpsest produced through three centuries of editorial intervention. Nevertheless, the series does a service to its target audience with its emphasis on performance and dramaturgy. Kahan's own essay about his experiences as dramaturge for a college production of Pericles is very good indeed, particularly on the play's inability to purge the trace of incestuous desire that Pericles first encounters in Antioch. Other plays' cinematic histories: Annalisa Castaldo's edition of Henry V contrasts Laurence Oliver's and Branagh's film productions; Samuel Crowl's and James Wells's edition of (respectively) I and 2 Henry IV concentrate on Welle's Chimes at Midnight and Gus Van Sant's My Own Private Idaho; Patricia Lennox's edition of As You Like It offers an overview of four Hollywood and British film adaptations; and John R. Ford's edition of A Midsummer Night's Dream provides a spirited survey of the play's rich film history.
The differences between, and comparative merits of, various editorial series are suggested by the three editions of The Taming of the Shrew published this year. Laury Magnus's New Kittredge Shakespeare edition is, like the other New Kittredge volumes, a workable text for high school and first year college students interested in film and theater. The introduction elaborates on one theme — Elizabethan constructions of gender — and offers a very broad performance history, focusing on Sam Taylor's and Zeffirelli's film versions as well as adaptations such as Kiss Me Kate and Ten Things I Hate About You (accompanied by a still of ten hearthtrobs Heath Ledger and Julia Stiles). The volume is determined to eradicate any confusion that a first time reader of the play might experience: the dramatis personae page explains that "Bianca Minola" is "younger daughter to Baptista, wooed by Lucentio-in-disguise (as Cambio) and then wife to him, also wooed by the elderly Gremio and Hortensio-in-disguise (as Licio)" (p.1). Other editorial notes, based on Kittredge's own, are confined mostly to explaining individual words and phrases: additional footnotes discuss interpretive choices made by film and stage productions. Throughout, the editorial emphasis is on the play less as text than as performance piece, culminating in fifteen largely performance-oriented "study questions" on topics such as disguise, misogyny, and violence.
Studies in English Literature, Tudor and Stuart Drama, Volume 51, Spring 2011, Number 2, pages 497-499.

Apprpriate for courses in Shakespeare in departments of English where separate volumes are used; drama genre coures, or Renaissance drama, as taught in departments of English or theater;also often honors cores, or great book programs. Also high school English departments.

Cuprins

ACKNOWLEDGEMENTS
INTRODUCTION
SHAKESPEARE’S LIFE
SHAKESPEARE’S THEATER
WILLIAM SHAKESPEARE: A BRIEF CHRONOLOGY
A NOTE ON THE TEXT
ABBREVIATIONS
AS YOU LIKE IT
APPENDIX A: SOURCES AND INFLUENCES
  1. From Thomas Lodge, Rosalind (1590)
  2. From “The Tale of Gamelyn” (14th Century)
  3. From “Robin Hood and the Beggar”
  4. From John Lyly, Galatea (1592)
  5. From Ben Jonson, Every Man in His Humor (1598)
  6. From Joseph Hall, Satires (1598)
APPENDIX B: CLASSICAL MYTHS IN AS YOU LIKE IT
BIBLIOGRAPHY