'This book gives some of the very best of Shakespeare's twenty-first-century colleagues an opportunity to share insights that can only come from playing him' Nicholas Hytner, from his Foreword Twelve leading actors take us behind the scenes of landmark Shakespearean productions, each recreating in detail their memorable performance in a major role. - Roger Allam on his Falstaff in both Henry IV plays at Shakespeare's Globe - Eileen Atkins on Viola in two productions of Twelfth Night seventeen years apart - Simon Russell Beale on Cassius in Deborah Warner's modern-dress Julius Caesar - Chiwetel Ejiofor on his Donmar Warehouse Othello, directed by Michael Grandage - Sara Kestelman on Hippolyta and Titania in Peter Brook's iconic white-box Dream - Ian McKellen on one of Shakespeare's most demanding of roles: King Lear - Michael Pennington on stepping in at the eleventh hour as Timon of Athens - Alan Rickman on re-evaluating the melancholic Jaques in As You Like It - Fiona Shaw on Shakespeare's Shrew, Katherine, in Jonathan Miller's production - Patrick Stewart on his Las Vegas-set Shylock, a role he has played many times - Harriet Walter on Imogen in Shakespeare's late romance, Cymbeline, at the RSC - Zoë Wanamaker on her National Theatre Beatrice, directed by Nicholas Hytner Each actor leads us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare – and fascinating for audiences of the plays. Shakespeare On Stage: Volume 2 was shortlisted for the 2018 Theatre Book Prize. 'Absorbing and original… Curry's actors are often thinking and talking as that other professional performer, Shakespeare himself, might have done.' TLS on Shakespeare On Stage: Vol. 1
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Chiwetel Ejiofor discusses playing Othello, in this ebook taken from Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles. In each volume of the Shakespeare On Stage series, a leading actor takes us behind the scenes of a landmark Shakespearean production, recreating in detail their memorable performance in a major role. They lead us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare – and fascinating for audiences of the plays. In this volume, Chiwetel Ejiofor discusses playing Othello in Michael Grandage's production at the Donmar Warehouse, London, in 2007. This interview, together with the others in the series (with actors such as Simon Russell Beale, Ian McKellen, Patrick Stewart and Harriet Walter), is also available in the collection Shakespeare On Stage: Volume 2 - Twelve Leading Actors on Twelve Key Roles by Julian Curry, with a foreword by Nicholas Hytner.
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An Unreliable Guide to London brings together 23 stories about the lesser known parts of a world renowned city. Stories that stretch the reader's definition of the truth and question reality. Stories of wind nymphs in South Clapham tube station, the horse sized swan at Brentford Ait, sleeping clinics in N1 and celebrations for St Margaret's Day of the Dead.Taking its cue from travel guides, London histories and books like Tired of London, Tired of Life, An Unreliable Guide to London shakes up the canon of London writing with a tongue firmly rooted in its cheek.An Unreliable Guide to London is the perfect summer read for city dwellers up and down the country. With a list of contributors reflecting the multilayered, complex social structures of the city, it is the guide to London, showing you everything that you never knew existed.
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Sive is a young and beautiful orphan who lives with her uncle Mike, his wife Mena and his mother Nanna. A local matchmaker, Thomasheen Seán Rua, wants Sive to marry an old man called Sean Dóta. Thomasheen convinces Mike and Mena to organise the marriage. They will receive a sum of two hundred pounds as soon as she marries him. However, Sive is in love with a young man, Liam Scuab. But Liam is not suitable and is refused permission to marry Sive. Sive is distraught but is forced to do the will of her uncle and his bitter wife. Faced with an unthinkable future she takes the only choice left to her. Set against the harsh poverty and difficult times of 1950s Ireland, Sive caused considerable controversy on its debut in February 1959. Since then it has become an established part of Ireland's theatrical canon.
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A comprehensive, reliable and up-to-date scholarly introduction to the world of the Hebrew Bible - its cultural setting, literary form, social backgrounds, ritual nature, and its images of humanity and of God. The 33 sections are written by selected specialists from various denominations and all German-speaking countries. Within a manageable scope, they discuss wide-ranging topics such as 'The Bible and history', 'Bible, Judaism, Christianity', 'the formation of the canon', 'individual and community', 'worship', 'suffering and death', and 'God's love and wrath'. Brief footnotes, special bibliographies and an index help the reader link together and deepen the information provided. The book offers a compact but nuanced overview of the 'Old' or 'First Testament', for students, those involved in the church or with cultural interests, those who are distanced from the Bible and also people curious about religion, academics, and non-academics. It can be read alone or in groups, continuously or following selected topics - drawing readers in to the fascinating 'world of the Hebrew Bible'.
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Los ensayos reunidos en este volumen se concentran en la producción de narrativa de ficción, novela y cuento, y ofrecen una cobertura amplia de esta producción desde el año 1920 al año 2000. Los ensayos han sido distribuidos en tres secciones. El material de la primera ofrece lo que normalmente entendemos como una forma reconocible de presentar el origen y desarrollo de la narrativa contemporánea en el Perú. Se trata, en gran medida, de asuntos, géneros, obras y autores a partir de los cuales se ha definido el canon de esta narrativa a lo largo de las décadas de 1920 y 1970. La segunda sección propone visiones alternativas: presenta cuatro estudios que retan la integridad de una narrativa pensada dentro de las coordenadas del cauce central. Evidencian la insuficiencia de esa perspectiva al hacer visible una vasta producción que plantea cuestiones y problemas fundamentales, tanto en lo referente a los ámbitos de la representación como a las formas de la experiencia y la imaginación sociales activas a lo largo del siglo XX. Se concentran estos ensayos en aspectos específicos atendiendo a criterios de género o etnia, o enfatizando modos narrativos opacados y redefiniendo el ámbito de representación más allá de la dicotomía costa-sierra. La tercera sección está dedicada a una coyuntura particular, las dos décadas que cierran el siglo XX: las raíces del presente. Aquí podemos observar la compleja articulación de distintas épocas y sensibilidades: vemos la multiplicación de canales y la presencia en escena de una multitud de autores y de agendas narrativas e ideológicas, así como también diferentes entonaciones en el diálogo con la tradición literaria. El propósito de esta estructuración es sugerir posibles lecturas del corpus, y dar cuenta de distintas interpretaciones del origen y desarrollo de la narrativa contemporánea en el Perú.
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As a young woman growing up in a small, religious community, Regan Penaluna daydreamed about the big questions: Who are we and what is this strange world we find ourselves in? In college she discovered philosophy and fell in love with its rationality, its abstractions, its beauty. What Penaluna didn't realize was that philosophy - at least the canon that's taught in Western universities, as well as the culture that surrounds it - would slowly grind her down through its devaluation of women and their minds. Women were nowhere in her curriculum, and feminist philosophy was dismissed as marginal, unserious. Until Penaluna came across the work of a seventeenth-century woman named Damaris Cudworth Masham. Reading Masham's work was like reaching through time: writing three hundred years ago, Masham was speaking directly to her about knowledge and God, but also the condition of women. Her work eventually led Penaluna to other remarkable women philosophers of the era: Mary Astell, Catharine Cockburn and Mary Wollstonecraft. Together these women rekindled Penaluna's love of philosophy and taught her how to live a truly philosophical life. She combines memoir with biography to tell the stories of these four women, weaving throughout an alternative history of philosophy as well as her own search for beauty and truth. Formally inventive and keenly intelligent, How to Think Like a Woman is a moving meditation on what philosophy could look like if women were treated equally.
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This large-scale anthology of early Scottish Literature, now revised, has been designed as a teaching text for use by school and university students. Longer works are either presented complete - e.g. James I, King is Quair; as long extracts with explanatory linking passages - e.g. Urquhart, The Jewel; or by sections which sum up the main themes and concerns of the text-e.g. Barbour's Bruce Book I. There are full critical and linguistic introductions; brief biographical and bibliographical introductions for each author or sub-section; the texts have all been re-edited; every difficult word is glossed, and full explanatory notes appear at the foot of each page. A substantial Appendix presents texts in Latin, Scots, English and Gaelic from the seventeenth century, demonstrating the vitality and interaction of these voices within the Scottish tradition. A noteworthy feature of the book is Professor Jack's Critical Introduction, 'Where Stands Scottish Literature Now?' This challenges many widely-held assumptions about Scottish literature. In particular it seeks to explore the reasons behind the strange neglect of the writers of the seventeenth century. Basing its argument on the texts of the Anthology as a whole, it seeks to re-define the accepted canon and suggests an alternative way of approaching Scottish literary history.
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