The Comedy of Errors: 30-Minute Shakespeare
Autor William Shakespeare Editat de Nick Newlinen Limba Engleză Paperback – 30 sep 2010 – vârsta de la 13 până la 18 ani
The Comedy of Errors: The 30-Minute Shakespeare offers five raucous scenes from this extravaganza of mistaken identity.
The abridgement begins with a dramatic physical enactment of the twins’ separation at sea. The play continues with a series of foibles featuring Antipholus of Ephesus, Dromio of Ephesus, and their identical twin counterparts from Antipholus.
Adriana and Luciana receive hysterically misguided attention from the twins. Emilia and Egeon as the long-lost parents, and the riotous conjurer Dr. Pinch round out the cast of characters in Shakespeare’s most uproarious comedy.
The edition includes a preface by Nick Newlin containing helpful advice on how to put on a Shakespeare performance in a high school class with novice actors, as well as an appendix with suggestions for the specific play and recommendations for further resources.
The abridgement begins with a dramatic physical enactment of the twins’ separation at sea. The play continues with a series of foibles featuring Antipholus of Ephesus, Dromio of Ephesus, and their identical twin counterparts from Antipholus.
Adriana and Luciana receive hysterically misguided attention from the twins. Emilia and Egeon as the long-lost parents, and the riotous conjurer Dr. Pinch round out the cast of characters in Shakespeare’s most uproarious comedy.
The edition includes a preface by Nick Newlin containing helpful advice on how to put on a Shakespeare performance in a high school class with novice actors, as well as an appendix with suggestions for the specific play and recommendations for further resources.
Preț: 50.27 lei
Puncte Express: 75
Preț estimativ în valută:
8.89€ • 10.34$ • 7.71£
8.89€ • 10.34$ • 7.71£
Carte tipărită la comandă
Livrare economică 04-18 martie
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781935550082
ISBN-10: 193555008X
Pagini: 62
Dimensiuni: 137 x 211 x 8 mm
Greutate: 0.11 kg
Editura: Nicolo Whimsey Press
Seria 30-Minute Shakespeare
ISBN-10: 193555008X
Pagini: 62
Dimensiuni: 137 x 211 x 8 mm
Greutate: 0.11 kg
Editura: Nicolo Whimsey Press
Seria 30-Minute Shakespeare
V-ar putea interesa
-
HamletWilliam ShakespearePreț: 27.66 lei -
A Midsummer Night's DreamWilliam ShakespearePreț: 28.01 lei -
Twelfth NightWilliam ShakespearePreț: 21.38 lei -
SonnetsWilliam ShakespearePreț: 27.81 lei -
Love's Labour's LostWilliam Shakespeare-25%Preț: 28.36 lei37.68 lei -
The Merry Wives Of WindsorWilliam ShakespearePreț: 27.89 lei -
King LearWilliam ShakespearePreț: 32.27 lei -
Measure for MeasureWilliam ShakespearePreț: 26.15 lei -
All's Well That Ends WellWilliam ShakespearePreț: 38.47 lei -
King JohnWilliam ShakespearePreț: 37.70 lei -
The Comedy of ErrorsMacaw BooksPreț: 33.69 lei -
The Comedy of ErrorsMacaw BooksPreț: 41.05 lei -
Antony and CleopatraCedric WattsPreț: 24.60 lei -
The Taming of the ShrewWilliam ShakespearePreț: 27.47 lei -
Winter's TaleWilliam ShakespearePreț: 27.41 lei -
Much ADO about NothingWilliam ShakespearePreț: 24.60 lei -
Romeo and JulietWilliam ShakespearePreț: 29.78 lei
Notă biografică
Nick Newlin: Nick Newlin has performed a juggling and variety act for international audiences for 23 years. Since 1996, he has conducted an annual Play Directing residency affiliated with the Folger Shakespeare Library in Washington, DC. Nick has a BA from Harvard University with Honors 1982 and an MA in Theater from The University of Maryland with an emphasis on Play Directing.
Descriere
An abridgement for performance by young people and amateur adults, “road tested” at the Folger Shakespeare Library’s Student Shakespeare Festival.
Recenzii
Laury Magnus’s edition of The Comedy of Errors is a treasure—it gives us all the footnotes Kittredge never himself wrote along with a superb collection of production photographs of a wide variety of performances and extended production notes. The introduction is comprehensive in establishing the various ideas and dimensions of a play mistakenly thought to be the simple Roman farce of a young playwright. And teachers will find the extended list of assignments as suggestively fruitful as students reading the play for the first time. This combination is a real winner.
- Arthur F. Kinney, University of Massachusetts, Amherst
- Arthur F. Kinney, University of Massachusetts, Amherst
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.
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.
Cuprins
List of Illustrations
General editors' preface
Preface
Introduction
Laughter, Empathy and Memorability
Error and Identity
The Cultural World
Poetic Geography, Travel, Dark Ephesus
Genre
Style: Verse and Prose
Sources and Influences
Staging
Early Performances
Afterlife: Image, Stage and Screen
Editorial Procedures
The Comedy of Errors
Longer Notes
Notes on Verse and Prose
Appendix A: Casting and Doubling
Appendix B: Date of Composition
Appendix C: The Text
Abbreviations and References
General editors' preface
Preface
Introduction
Laughter, Empathy and Memorability
Error and Identity
The Cultural World
Poetic Geography, Travel, Dark Ephesus
Genre
Style: Verse and Prose
Sources and Influences
Staging
Early Performances
Afterlife: Image, Stage and Screen
Editorial Procedures
The Comedy of Errors
Longer Notes
Notes on Verse and Prose
Appendix A: Casting and Doubling
Appendix B: Date of Composition
Appendix C: The Text
Abbreviations and References
Textul de pe ultima copertă
The general editors of the new series of forty-two volumes -- renowned Shakespeareans Stephen Orgel of Stanford University and A. R. Braunmuller of UCLA -- have assembled a team of six eminent scholars who have, along with the general editors themselves, prepared new introductions and notes to all of Shakespeare's plays and poems. Redesigned in an easy-to-read format that preserves the favorite features of the original -- and including an essay on the theatrical world of Shakespeare, an introduction to the individual play, and a note on the text used -- the new Pelican Shakespeare will be an excellent resource for students, teachers, and theater professionals well into the twenty-first century.