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Much Ado About Nothing de William Shakespeare

Much Ado About Nothing

Autor William Shakespeare Editat de F. H. Mares
en Limba Engleză Hardback – 7 dec 2018

Considerăm această ediție a piesei Much Ado About Nothing un instrument de studiu esențial, structurat metodologic pentru a facilita trecerea de la lectura de plăcere la analiza critică. Organizarea materialului urmărește o progresie logică: textul original este flancat de note explicative, fiind urmat de o secțiune densă de „Perspective și teme” care analizează mecanismele de înșelăciune și „noting” (observare/ascultare) ce guvernează acțiunea în Messina. Această abordare didactică permite cititorului să identifice rapid cum zvonurile și dezinformarea influențează ambele planuri narative: cel tragicomic al cuplului Hero-Claudio și cel spiritual al duelurilor verbale dintre Beatrice și Benedick. Subliniem importanța aparatului critic integrat de Cedric Watts și Claire McEachern, care transformă experiența lecturii prin detalii despre convențiile teatrului elisabetan și figurile de stil utilizate de William Shakespeare. Ediția de față completează perspectiva oferită de Much Ado About Nothing: A Critical Reader de Dr. Deborah Cartmell, adăugând textul integral adnotat și exerciții practice de scriere academică, în timp ce lucrarea menționată se concentrează preponderent pe istoricul reprezentațiilor scenice și ecranizărilor moderne. În contextul operei autorului, dacă ediții precum The Tempest sunt orientate strict spre curriculumul GCSE, volumul de față adoptă o viziune mai largă, oferind o galerie foto și analize de interpretare care îi ajută pe studenți să vizualizeze piesa în context performativ. Credem că această ediție reușește să mențină echilibrul între rigoarea academică și accesibilitatea necesară unui cititor contemporan, oferind claritate asupra unor termeni arhaici fără a fragmenta cursivitatea lecturii.

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Specificații

ISBN-13: 9781107174733
ISBN-10: 1107174732
Pagini: 200
Ilustrații: 16 b/w illus.
Dimensiuni: 157 x 235 x 15 mm
Greutate: 0.45 kg
Ediția:3Revizuită
Editura: Cambridge University Press
Locul publicării:New York, United States

De ce să citești această carte

Recomandăm această ediție pentru oricine dorește să exploreze profunzimea celei mai spirituale comedii a lui Shakespeare. Dincolo de textul original, cititorul câștigă o înțelegere clară a contextului social elisabetan prin notele exhaustive. Este alegerea ideală pentru studenți și actori, oferind un ghid practic despre cum se construiește un eseu critic și cum a evoluat piesa pe scenă de-a lungul secolelor.

Despre autor

William Shakespeare (1564–1616) este recunoscut universal drept cel mai important dramaturg al limbii engleze. Cariera sa în Londra, ca actor și acționar al companiei Lord Chamberlain's Men, i-a permis să creeze un corpus impresionant de 39 de piese și 154 de sonete. Much Ado About Nothing aparține perioadei sale de maturitate în genul comediei, demonstrând măiestria sa în utilizarea dialogului scânteietor și a jocurilor de cuvinte complexe. Opera sa, tradusă în toate limbile majore, rămâne fundamentul literaturii dramatice universale, fiind continuu reinterpretată în mediul academic și artistic.

Descriere scurtă

Much Ado about Nothing has always been popular on the stage. This edition pays especial attention to the history and range of theatrical interpretation, in which famous actors, from the time of Garrick to the present, have appeared as the sparring lovers Benedick and Beatrice. A full commentary includes annotation of the many sexual jokes in the play that have been obscured by the complexity of Elizabethan language. In this new edition, Travis D. Williams reviews recent stage, television, film and critical interpretations of the play, considering treatment of the play's special interest in language, bodies and gender.

Cuprins

Introduction; The play; Supplementary notes; Textual analysis; Appendixes: 1. The time-scheme of Much Ado about Nothing, 2. Lewis Carroll's letter to Ellen Terry, 3. Benedick's song, 5.2.18-22; Reading list.

Descriere

This new edition features an updated introduction analysing recent critical and performance interpretations, and a revised reading list.

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.

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.