HamletRandom House Publishing Group, 2008 M08 12 - 272 pages One of the greatest plays of all time, the compelling tragedy of the tormented young prince of Denmark continues to capture the imaginations of modern audiences worldwide. Confronted with evidence that his uncle murdered his father, and with his mother’s infidelity, Hamlet must find a means of reconciling his longing for oblivion with his duty as avenger. The ghost, Hamlet’s feigned madness, Ophelia’s death and burial, the play within a play, the “closet scene” in which Hamlet accuses his mother of complicity in murder, and breathtaking swordplay are just some of the elements that make Hamlet an enduring masterpiece of the theater. Each Edition Includes: • Comprehensive explanatory notes • Vivid introductions and the most up-to-date scholarship • Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English • Completely updated, detailed bibliographies and performance histories • An interpretive essay on film adaptations of the play, along with an extensive filmography |
From inside the book
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Page vii
... actor who plays him has to learn over 340 speeches ; the role has a higher proportion of its play's words ( nearly 40 percent ) than any other in Shakespeare . Hamlet's favorite intellectual move is to make an action that he witnesses a ...
... actor who plays him has to learn over 340 speeches ; the role has a higher proportion of its play's words ( nearly 40 percent ) than any other in Shakespeare . Hamlet's favorite intellectual move is to make an action that he witnesses a ...
Page x
... actors that reinvigorates him . Hamlet loves plays and the players because he recognizes the power of acting to expose the feigning of public life , the fact that courtiership and rhetorical decorum are themselves but performances . He ...
... actors that reinvigorates him . Hamlet loves plays and the players because he recognizes the power of acting to expose the feigning of public life , the fact that courtiership and rhetorical decorum are themselves but performances . He ...
Page xiv
... actors and Saviolo's fencing school in Ludgate . " conscience " in its multiple senses that forms his self - image , his " character , " and in so doing makes it agonizingly difficult for him to perform the action that is demanded of ...
... actors and Saviolo's fencing school in Ludgate . " conscience " in its multiple senses that forms his self - image , his " character , " and in so doing makes it agonizingly difficult for him to perform the action that is demanded of ...
Page xvii
... acting company but also the so - called Players ' Quarto that was handed down - with cuts marked up - to their Restoration successors , the acting company of Shakespeare's god- son William Davenant . Both the First Quarto and the ...
... acting company but also the so - called Players ' Quarto that was handed down - with cuts marked up - to their Restoration successors , the acting company of Shakespeare's god- son William Davenant . Both the First Quarto and the ...
Page xviii
... actors to defamiliarize and remint the language and action of the best - known play in the history of world drama , and so to keep it alive . The progressive alterations through the early texts are of a piece with the process of ...
... actors to defamiliarize and remint the language and action of the best - known play in the history of world drama , and so to keep it alive . The progressive alterations through the early texts are of a piece with the process of ...
Contents
Textual Notes | 137 |
ScenebyScene Analysis | 149 |
The RSC and Beyond | 166 |
Shakespeares Career in the Theater | 217 |
A Chronology | 231 |
Acknowledgments and Picture Credits | 237 |
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Common terms and phrases
ACT 4 SCENE action actor audience BARNARDO blood Boyd Caird character David Warner dead dear death Denmark doth Elsinore Exit eyes father fear Folio Following Fortinbras friends GERTRUDE HAMLET Ghost give grave grief HAMLET Ay HAMLET OPHELIA Hamlet play hast hath hear heart heaven HORATIO HAMLET HORATIO is't Jonathan Bate kill KING HAMLET LAERTES HAMLET LAERTES KING leave Lines look Lord Hamlet madness MARCELLUS Mark Rylance Matthew Warchus Michael Boyd mother murder nature night Norway nunnery Ophelia OPHELIA HAMLET OSRIC passion performance play players Polonius POLONIUS HAMLET pray prince production queen question rapiers revenge REYNALDO role Rosencrantz and Guildenstern Royal Shakespeare Royal Shakespeare Company SECOND CLOWN sense sexual Sings soliloquy soul speak speech stage sword tell theater theatrical thee There's thing thou thought Toby Stephens Tragedy watch Wittenberg words young