Love's Labour's Lost: Play on Shakespeare
Autor William Shakespeare Traducere de Josh Wilderen Limba Engleză Paperback – 7 mar 2024
Love’s Labour’s Lost is a wacky comedy of disguise and mischief, following the King of Navarre and his companions as they attempt to swear off the company of women. Focusing on bringing new life into the musicality of Shakespeare’s language, Josh Wilder’s translation of Love’s Labour’s Lost brings out the play’s romp and sass for a contemporary audience.
This translation of Love’s Labour’s Lost was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.
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Specificații
ISBN-13: 9780866988230
ISBN-10: 0866988238
Pagini: 130
Dimensiuni: 127 x 197 x 10 mm
Greutate: 0.17 kg
Editura: ACMRS Press
Colecția ACMRS Press
Seria Play on Shakespeare
ISBN-10: 0866988238
Pagini: 130
Dimensiuni: 127 x 197 x 10 mm
Greutate: 0.17 kg
Editura: ACMRS Press
Colecția ACMRS Press
Seria Play on Shakespeare
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Notă biografică
Josh Wilder is a playwright and producer from Philadelphia. His work has been developed, commissioned, and produced at various regional theaters and festivals across the country. Wilder is a former Jerome Fellow and the first national recipient of the Jerome Many Voices Fellowship at The Playwrights’ Center.
Cuprins
ACT 1
ACT 2
ACT 3
ACT 4
ACT 5
ACT 2
ACT 3
ACT 4
ACT 5
Descriere
Descriere de la o altă ediție sau format:
George Lyman Kittredge’s insightful editions of Shakespeare have endured in part because of his eclecticism, his diversity of interests, and his wide-ranging accomplishments, all of which are reflected in the valuable notes in each volume.
These new editions have specific emphasis on the performance histories of the plays (on stage and screen).
Features of each edition include:
Features of each edition include:
- The original introduction to the Kittredge Edition
- Editor’s Introduction to the Focus Edition. An overview on major themes of the plays, and sections on the play’s performance history on stage and screen.
- Explanatory Notes. The explanatory notes either expand on Kittredge’s superb glosses, or, in the case of plays for which he did not write notes, give the needed explanations for Shakespeare’s sometimes demanding language.
- Performance notes. These appear separately and immediately below the textual footnotes and include discussions of noteworthy stagings of the plays, issues of interpretation, and film and stage choices.
- How to read the play as Performance Section. A discussion of the written play vs. the play as performed and the various ways in which Shakespeare’s words allow the reader to envision the work "off the page."
- Comprehensive Timeline. Covering major historical events (with brief annotations) as well as relevant details from Shakespeare’s life. Some include time chronologies within the plays.
- Topics for Discussion and Further Study. Critical Issues: Dealing with the text in a larger context and considerations of character, genre, language, and interpretative problems. Performance Issues: Problems and intricacies of staging the play connected to chief issues discussed in the Focus Editions’ Introduction.
- Select Bibliography & Filmography
Recenzii
This student-friendly edition of a difficult play includes a clear, helpful introduction and notes elucidating the complicated imagery and wordplay. Notes and illustrations refer the reader to various staging options enabling him or her to imagine Love’s Labour’s Lost in performance.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
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.
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.
This student-friendly edition of a difficult play includes a clear, helpful introduction and notes elucidating the complicated imagery and wordplay. Notes and illustrations refer the reader to various staging options enabling him or her to imagine Love’s Labour’s Lost in performance.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
Jill P. Ingram is Assistant Professor of Shakespeare and Renaissance Literature at Ohio University. She received her Ph.D. in English from the University of Virginia, and is the author of the book, Idioms of Self-Interest: Credit, Identity and Property in English Renaissance Literature (Routledge, 2006). She has also published many articles on English Renaissance culture and literature.
—Katharine E. Maus, James Branch Cabell Professor of English Literature, University of Virginia
Jill P. Ingram is Assistant Professor of Shakespeare and Renaissance Literature at Ohio University. She received her Ph.D. in English from the University of Virginia, and is the author of the book, Idioms of Self-Interest: Credit, Identity and Property in English Renaissance Literature (Routledge, 2006). She has also published many articles on English Renaissance culture and literature.
Caracteristici
This is the first edition of Love's Labours Lost to be developed by and for the RSC, the world's leading Shakespeare theatre company and it includes unique material to help the reader understand and enjoy Shakespeare on the stage as well as on the page
Illustrated with photographs of classic and unusual performances
Outstanding on-page notes which explain words and phrases unfamiliar to a modern audience, including the slang, political references and bawdy humour often ignored or censored in competing editions
Includes scene-by-scene summary, offering an easily understandable way into the play
Completely new introduction by Jonathan Bate, exploring the text and critical debates around it
Summary of the play's performance history at the RSC and elsewhere
Interviews with important Shakespearean directors Terry Hands, Liz Shipman and Greg Doran, discussing key productions at the RSC
Illustrated with photographs of classic and unusual performances
Outstanding on-page notes which explain words and phrases unfamiliar to a modern audience, including the slang, political references and bawdy humour often ignored or censored in competing editions
Includes scene-by-scene summary, offering an easily understandable way into the play
Completely new introduction by Jonathan Bate, exploring the text and critical debates around it
Summary of the play's performance history at the RSC and elsewhere
Interviews with important Shakespearean directors Terry Hands, Liz Shipman and Greg Doran, discussing key productions at the RSC