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Much Ado about Nothing de William Shakespeare

Much Ado about Nothing

Autor William Shakespeare Editat de The Perfect Library
en Limba Engleză Paperback
"Much Ado about Nothing" from William Shakespeare. William Shakespeare, english poet and playwright, widely regarded as the greatest writer in the English language and the world's pre-eminent dramatist (1564-1616).
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Specificații

ISBN-13: 9781512138238
ISBN-10: 1512138231
Pagini: 104
Dimensiuni: 152 x 229 x 6 mm
Greutate: 0.15 kg
Editura: CREATESPACE

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:
- 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 of the Chronologies include time chronologies within the plays.
- Topics for Discussion and Further Study Section. 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
Each New Kittredge edition also includes screen grabs from major productions, for comparison and scene study.

Notă biografică

William Shakespeare was born in Stratford-upon-Avon in April 1564, and his birth is traditionally celebrated on April 23. The facts of his life, known from surviving documents, are sparse. He was one of eight children born to John Shakespeare, a merchant of some standing in his community. William probably went to the King’s New School in Stratford, but he had no university education. In November 1582, at the age of eighteen, he married Anne Hathaway, eight years his senior, who was pregnant with their first child, Susanna. She was born on May 26, 1583. Twins, a boy, Hamnet ( who would die at age eleven), and a girl, Judith, were born in 1585. By 1592 Shakespeare had gone to London working as an actor and already known as a playwright. A rival dramatist, Robert Greene, referred to him as “an upstart crow, beautified with our feathers.” Shakespeare became a principal shareholder and playwright of the successful acting troupe, the Lord Chamberlain’s Men (later under James I, called the King’s Men). In 1599 the Lord Chamberlain’s Men built and occupied the Globe Theater in Southwark near the Thames River. Here many of Shakespeare’s plays were performed by the most famous actors of his time, including Richard Burbage, Will Kempe, and Robert Armin. In addition to his 37 plays, Shakespeare had a hand in others, including Sir Thomas More and The Two Noble Kinsmen, and he wrote poems, including Venus and Adonis and The Rape of Lucrece. His 154 sonnets were published, probably without his authorization, in 1609. In 1611 or 1612 he gave up his lodgings in London and devoted more and more time to retirement in Stratford, though he continued writing such plays as The Tempest and Henry VII until about 1613. He died on April 23 1616, and was buried in Holy Trinity Church, Stratford. No collected edition of his plays was published during his life-time, but in 1623 two members of his acting company, John Heminges and Henry Condell, put together the great collection now called the First Folio.

Cuprins

Introduction; Photo gallery; List of characters; Act 1; Act 2; Act 3; Act 4; Act 5; Perspectives and themes; Fashion and appearance; Characters; The language of Much Ado About Nothing; Much Ado About Nothing in performance; Writing about Shakespeare; Writing about Much Ado About Nothing; Timeline; Acknowledgements.

Recenzii

Kittredge's admirably full notes, supplemented by Peter Kanelos's user-friendly introduction and references to film and television versions of the play, add up to a very accessible edition. I particularly liked the discussion of "How to read Much Ado as performance", which opens up a lot of possibilities for the student and teacher.
- Lois Potter, Ned B. Allen Professor Emeritus, University of Delaware

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.

Appropriate for all level of Shakespeare courses, including courses on Shakespeare, or drama, or Renaissance drama as taught in departments of English, courses in Shakespeare or drama taught in departments of theater, Great Books programs where individual volumes might be used, or high school level courses.

Textul de pe ultima copertă

Great pains have been taken to follow Shakespeare's intentions with regard to the act and scene division and the exact form of speech. The editing has been done from the quarto or folio texts, depending on which is considered more authoritative, and the ideal has been to reproduce the chosen texts with as few alterations as possible. In order to help the reader and student, the annotations have been arranged on the relevant pages, providing an easily accessible and indispensable source of information.