Sh@kespeare in the Media: From the Globe Theatre to the by Stefani Brusberg-Kiermeier, Jörg Helbig

By Stefani Brusberg-Kiermeier, Jörg Helbig

This number of severe essays and interviews offers an outline of some of the forms of medial manifestations which Shakespeare’s paintings has been transferred into over the centuries: right into a theatrical functionality, a broadcast textual content, a portray, an opera, an audio booklet, a movie, a radio or tv drama, an internet site. customarily this evaluation additionally presents a heritage of the final improvement of Shakespearean media. Practitioners in addition to students specialise in the strengths and weaknesses, the probabilities and obstacles of every medium with reference to the illustration of Shakespeare’s paintings.

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Peter Mumford's lighting was extremely important and helped to establish the impression of a studio theatre, even at the Barbican. The language-orientated presentation was especially helpful for Iago, as the literary figure is clearly characterised as intelligent and linguistically versatile. The Royal Shakespeare Company The Royal Shakespeare Company Fig. 1 Ray Fearon as Othello, Richard McCabe as Iago in Fig. 1 Ray Fearon as Othello, Richard McCabe as Iago in Michael Attenborough's prodution of 1999/2000 Michael Attenborough's prodution of 1999/2000 31 31 32 Stefani Brusberg-Kiermeier Trevor Nunn's 1989 production also used a spareness of set and an indefinite nineteenth-century setting.

He's flattered and he's not given true advice, and he's lied to about his true nature, which is simply human. So if you choose, as I think Ralph was encouraged to do, not to act with those people around you quite so much, then I think the world as a whole becomes much less interesting and much less clearly delineated, in particular the politics and the factionalism of the two generations. In our Richard II, Bushy and Green are very young and Bolingbroke – because of the cross-casting in our production – has to be older, so that he and his uncle and his father and Northumberland all exist and are costumed as an older generation.

Who are you? Who is this person I haven't met before? " I've only got my lines but I can make them work as a response to what they might be saying. And it's not just a trick, though it starts off being a trick. You have to force yourself to do it, it's not easy to talk to the audience initially. But I got better at it, and people look back on the whole, nobody falls asleep in Richard II or Hamlet – or if they do we go and wake them up. Question: I think in Pimlott's production of Hamlet the emphasis is very much on his crafty madness.

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