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Romeo and Juliet

Autor William Shakespeare Editat de Edibooks
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Listen Up (2013)
Many people have said to me, 'I wish we'd had this book when I was in school.' It is the book I would have liked when I was studying Shakespeare. It is also the book I would have liked when I was teaching in high school. Twentyfirst Century Shakespeare is a new and exciting approach that opens up Shakespeare to a new generation of students. The text is the full traditional Shakespearean text presented in a more familiar, friendly, helpful format. If you are a student you will probably find reading Shakespeare easier than you thought possible. You will be able to read through scenes more quickly, more fluently and with greater understanding. The notes in the margins make things easier by shedding light on tricky words and phrases. You do still have to do some work but you will be surprised by how quickly you can become familiar with Shakespearean English. This is warm fuzzy Shakespeare designed to make your life a little easier. But don't take my word for it, open the book and take a look inside. If you are teaching Shakespeare, you will save so much time and energy. You can concentrate on developing your student's breadth and depth of knowledge and understanding. You will hear your students read with more fluency and confidence, with greater expression and comprehension. Teachers can cover more ground and concentrate on what they feel is important. You can help your students make a real connection with Shakespeare. Take a look inside and see how Twentyfirst Century Shakespeare can make life easier in your classroom. This book evolved from my experience in the classroom. When Shakespeare was introduced into the lower secondary school curriculum in the UK it became compulsory for 13 and 14 year olds to study a Shakespeare play. The students I taught were used to reading other plays and came to Shakespeare with a genuine enthusiasm and a willingness to participate in a classroom reading of Romeo and Juliet. To be fair, they had no trouble reading the short exchanges such as the banter between Samson and Gregory at the beginning of the play but they did struggle when confronted with longer passages. At first I assumed that the problem lay in the language - unfamiliar vocabulary, archaic grammar and syntax and the sheer complexity of Shakespeare's verse. But many students also struggled with longer passages that weren't intrinsically difficult - just long. The solution came when I realised that they were reading to the rhythm of the blank verse, ignoring intonation, punctuation and meaning. I knew that actors often use the technique of marking their scripts at each punctuation mark. This helps them get the sense and structure of a speech. I wondered if this would also work in the classroom. So I reformatted the blank verse into lines based on meaning rather than iambic pentameters. I also paragraphed the longer speeches to give a more modern look and feel. It worked. In fact it worked like magic. Since then I have added annotations to help with difficult words and phrases and other features unique to these editions. But Shakespeare re-formatted is the essence of Twentyfirst Century Shakespeare. When I was a school boy, many years ago, only Grammar school pupils read Shakespeare in the UK. Even so, many of these brightest of pupils were turned off Shakespeare. Now we have a system in which all pupils, regardless of academic ability are expected to make some sort of sense of at least one Shakespeare play. The least we owe them is a text they can read. And who knows, they even enjoy it. Many people find that removing the straitjacket of blank verse makes the plays easier to read. They also find that it liberates the dramatic spirit of the plays and actually enhances the beauty, power and natural rhythms of Shakespeare's language. If blank verse is of primary importance to you, then this book may not be for you. This is Shakespeare for the rest of us.
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Specificații

ISBN-13: 9781533044259
ISBN-10: 1533044252
Pagini: 160
Dimensiuni: 152 x 229 x 9 mm
Greutate: 0.22 kg

Descriere

Descriere de la o altă ediție sau format:
'A pair of star-crossed lovers take their life'This edition provides a clear and accessible introduction to Shakespeare's enduring tale of ill-fated lovers. Hannah August pays particular attention to the dramatic function of the famous prologue and the significance of the play's ending. August also explores ways of reading the play as a text that queries rather than validates the tenets of heterosexual romantic love, proving that at multiple points throughout the play's four-hundred-years-plus stage history, Verona has been more queer than the prevailing view of Romeo and Juliet as a core text of heterosexual love might lead us to believe. It includes a substantial section which addresses the play's early modern production and reception history in both print and performance, as well as providing an overview of later performance traditions drawing on up-to-date examples of key productions.The New Oxford Shakespeare offers authoritative editions of Shakespeare's works with introductory materials designed to encourage new interpretations of the plays and poems. Using the text from the landmark The New Oxford Shakespeare Complete Works: Modern Critical Edition, these volumes offer readers the latest thinking on the authentic texts (collated from all surviving original versions of Shakespeare's work) alongside innovative introductions from leading scholars. The texts are accompanied by a comprehensive set of critical apparatus to give readers the best resources to help understand and enjoy Shakespeare's work.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

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.

Extras

Act One

SCENE ONE


Verona. A Public Place. Enter Sampson and Gregory, armed with swords and bucklers

sampson. Gregory, o’ my word, we ’ll not carry coals.

gregory. No, for then we should be colliers.

sampson. I mean, an we be in choler, we ’ll draw.

gregory. Ay, while you live, draw your neck out o’ the collar.

sampson. I strike quickly, being moved.

gregory. But thou art not quickly moved to strike.

sampson. A dog of the house of Montague moves me.

gregory. To move is to stir, and to be valiant is to stand; therefore, if thou art moved, thou runnest away.

sampson. A dog of that house shall move me to stand: I will take the wall of any man or maid of Montague’s.

gregory. That shows thee a weak slave; for the weakest goes to the wall.

sampson. ’Tis true; and therefore women, being the weaker vessels, are ever thrust to the wall: therefore I will push Montague’s men from the wall, and thrust his maids to the wall.

gregory. The quarrel is between our masters and us their men.

sampson. ’Tis all one, I will show myself a tyrant: when I have fought with the men, I will be cruel with the maids; I will cut off their heads.

gregory. The heads of the maids?

sampson. Ay, the heads of the maids, or their maiden-heads; take it in what sense thou wilt.

gregory. They must take it in sense that feel it.

sampson. Me they shall feel while I am able to stand; and ’tis known I am a pretty piece of flesh.

gregory. ’Tis well thou art not fish; if thou hadst, thou hadst been poor John. Draw thy tool; here comes two of the house of the Montagues.

Enter Abraham and Balthasar

sampson. My naked weapon is out; quarrel, I will back thee.

gregory. How! turn thy back and run?

sampson. Fear me not.

gregory. No, marry; I fear thee!

sampson. Let us take the law of our sides; let them begin.

gregory. I will frown as I pass by, and let them take it as they list.

sampson. Nay, as they dare. I will bite my thumb at them; which is a disgrace to them, if they bear it.

abraham. Do you bite your thumb at us, sir?

sampson. I do bite my thumb, sir.

abraham. Do you bite your thumb at us, sir?

sampson. (Aside to Gregory) Is the law of our side if I say ay?

gregory. (Aside to Sampson) No.

sampson. No, sir, I do not bite my thumb at you, sir; but I bite my thumb, sir.

gregory. Do you quarrel, sir?

abraham. Quarrel, sir! no, sir.

sampson. If you do, sir, I am for you: I serve as good a man as you.

abraham. No better.

sampson. Well, sir.

gregory. (Aside to Sampson) Say “better”; here comes one of my master’s kinsmen.

sampson. Yes, better, sir.

abraham. You lie.

sampson. Draw, if you be men. Gregory, remember thy swashing blow. They fight

Enter Benvolio

benvolio. Part, fools! Put up your swords; you know not what you do.Beats down their swords

Enter Tybalt

tybalt. What! art thou drawn among these heartless hinds? Turn thee, Benvolio, look upon thy death.

benvolio. I do but keep the peace: put up thy sword, Or manage it to part these men with me.

tybalt. What! drawn, and talk of peace? I hate the word, As I hate hell, all Montagues, and thee. Have at thee, coward!They fight

Enter several persons of both houses, who join the fray; then enter Citizens, with clubs and partisans

citizens. Clubs, bills, and partisans! strike! beat them down! Down with the Capulets! down with Montagues!

Enter Capulet in his gown, and Lady Capulet

capulet. What noise is this? Give me my long sword, ho!

lady capulet. A crutch, a crutch! Why call you for a sword?

capulet. My sword, I say! Old Montague is come, And flourishes his blade in spite of me.

Enter Montague and Lady Montague

montague. Thou villain Capulet! Hold me not; let me go.

lady montague. Thou shalt not stir one foot to seek a foe.

Enter Prince with his Train

prince. Rebellious subjects, enemies to peace, Profaners of this neighbour-stained steel,— Will they not hear? What ho! you men, you beasts, That quench the fire of your pernicious rage With purple fountains issuing from your veins, On pain of torture, from those bloody hands Throw your mis-temper’d weapons to the ground, And hear the sentence of your moved prince. Three civil brawls, bred of an airy word, By thee, old Capulet, and Montague, Have thrice disturb’d the quiet of our streets, And made Verona’s ancient citizens Cast by their grave beseeming ornaments, To wield old partisans, in hands as old, Canker’d with peace, to part your canker’d hate. If ever you disturb our streets again Your lives shall pay the forfeit of the peace. For this time, all the rest depart away: You, Capulet, shall go along with me; And, Montague, come you this afternoon To know our further pleasure in this case, To old Free-town, our common judgment-place. Once more, on pain of death, all men depart. Exeunt all but Montague, Lady Montague, and Benvolio

montague. Who set this ancient quarrel new abroach? Speak, nephew, were you by when it began?

benvolio. Here were the servants of your adversary And yours close fighting ere I did approach: I drew to part them; in the instant came The fiery Tybalt, with his sword prepar’d, Which, as he breath’d defiance to my ears, He swung about his head, and cut the winds, Who, nothing hurt withal, hiss’d him in scorn. While we were interchanging thrusts and blows, Came more and more, and fought on part and part, Till the prince came, who parted either part.

lady montague. O! where is Romeo? saw you him to-day? Right glad I am he was not at this fray.

benvolio. Madam, an hour before the worshipp’d sun Peer’d forth the golden window of the east, A troubled mind drave me to walk abroad; Where, underneath the grove of sycamore That westward rooteth from the city’s side, So early walking did I see your son: Towards him I made; but he was ware of me, And stole into the covert of the wood: I, measuring his affections by my own, That most are busied when they ’re most alone, Pursu’d my humour not pursuing his, And gladly shunn’d who gladly fled from me.

montague. Many a morning hath he there been seen, With tears augmenting the fresh morning’s dew, Adding to clouds more clouds with his deep sighs: But all so soon as the all-cheering sun Should in the furthest east begin to draw The shady curtains from Aurora’s bed, Away from light steals home my heavy son, And private in his chamber pens himself, Shuts up his windows, locks fair daylight out, And makes himself an artificial night. Black and portentous must this humour prove Unless good counsel may the cause remove.

benvolio. My noble uncle, do you know the cause?

montague. I neither know it nor can learn of him.

benvolio. Have you importun’d him by any means?

montague. Both by myself and many other friends: But he, his own affections’ counsellor, Is to himself, I will not say how true, But to himself so secret and so close, So far from sounding and discovery, As is the bud bit with an envious worm, Ere he can spread his sweet leaves to the air, Or dedicate his beauty to the sun. Could we but learn from whence his sorrows grow, We would as willingly give cure as know.

benvolio. See where he comes: so please you, step aside; I’ll know his grievance, or be much denied.

montague. I would thou wert so happy by thy stay, To hear true shrift. Come, madam, let’s away.Exeunt Montague and Lady

Enter Romeo

benvolio. Good-morrow, cousin.

romeo.Is the day so young?

benvolio. But new struck nine.

romeo.Ay me! sad hours seem long. Was that my father that went hence so fast?

benvolio. It was. What sadness lengthens Romeo’s hours?

romeo. Not having that, which having, makes them short. benvolio. In love? romeo. Out—

benvolio. Of love?

romeo. Out of her favour, where I am in love.

benvolio. Alas! that love, so gentle in his view, Should be so tyrannous and rough in proof.

romeo. Alas! that love, whose view is muffled still, Should, without eyes, see pathways to his will. Where shall we dine? O me! What fray was here? Yet tell me not, for I have heard it all. Here’s much to do with hate, but more with love. Why then, O brawling love! O loving hate! O any thing! of nothing first create. O heavy lightness! serious vanity! Mis-shapen chaos of well-seeming forms! Feather of lead, bright smoke, cold fire, sick health! Still-waking sleep, that is not what it is! This love feel I, that feel no love in this. Dost thou not laugh?

benvolio.No, coz, I rather weep.

romeo. Good heart, at what?

benvolio. At thy good heart’s oppression.

romeo. Why, such is love’s transgression. Griefs of mine own lie heavy in my breast, Which thou wilt propagate to have it press’d With more of thine: this love that thou hast shown Doth add more grief to too much of mine own. Love is a smoke rais’d with the fume of sighs; Being purg’d, a fire sparkling in lovers’ eyes; Being vex’d, a sea nourish’d with lovers’ tears: What is it else? a madness most discreet, A choking gall, and a preserving sweet. Farewell, my coz.Going

benvolio.Soft, I will go along; An if you leave me so, you do me wrong.

romeo. Tut! I have lost myself; I am not here; This is not Romeo, he’s some other where.

benvolio. Tell me in sadness, who is that you love.

romeo. What! shall I groan and tell thee?

benvolio.Groan! why, no; But sadly tell me who.

romeo. Bid a sick man in sadness make his will; Ah! word ill urg’d to one that is so ill. In sadness, cousin, I do love a woman.

benvolio. I aim’d so near when I suppos’d you lov’d.

romeo. A right good mark-man! And she’s fair I love.

benvolio. A right fair mark, fair coz, is soonest hit.

Recenzii

'Sometimes, Romeo and Juliet's very familiarity makes it surprisingly difficult to read, to teach, and to perform. Hester Lees-Jeffries' wonderful introduction refreshes its lyric and emotional possibilities. She combines empathy with analysis, uncovering a play that is at once deeply rooted in Elizabethan poetry and in the ongoing psychology of ideas about love, youth, and tragedy. I felt she was giving us this most famous of plays anew.' Emma Smith, University of Oxford
'Hester Lees-Jeffries' introduction is as accessible as it is wide-ranging and profoundly learned. It takes the reader on a journey through key themes and the play's long and complex performance history, which includes opera, musicals, and ballet. The scholarship and sensibility are up-to-the-minute and the writing, while not pulling any punches where they are deserved, is profoundly attuned to the play's own lyricism and tenderness. With a final section dedicated to productions screened during the COVID-19 pandemic, this is a landmark edition for a new generation of readers.' Pascale Aebischer, University of Exeter
'In popular imagination Romeo and Juliet stands out as a tower among Shakespeare's plays, thanks to its secure place in school curricula, its famous speeches and scenes, its rich production history, and the frequency with which it has been turned into operas, ballets, and films. Lees-Jeffries' new introduction adjusts this splendid isolation by platting the play's connections round about: with romantic poems of the 1590s, with scripts that Shakespeare was writing at the same time, with actors who likely first played the roles, with changing ideas about marriage in the period, with dueling practices, with sexuality and body-language, and with reimaginings of the play across more than four centuries and in multiple media. Lees-Jeffries offers not only a sympathetic and wide-ranging introduction to Romeo and Juliet but a concise history of performance practices and social history in Shakespeare's time.' Bruce R. Smith, University of Southern California

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Romeo and Juliet was the first drama in English to confer full tragic dignity on the agonies of youthful love. The lyricism that enshrines their death-marked devotion has made the lovers legendary in every language that possesses a literature.

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Leading actor Simon Russell Beale is one of three distinguished Series Editors who have developed the series

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Table of Contents

Preface: No Experience Necessary..................................... vi
Cast of Characters........................................................... viIi
Romeo and Juliet........................................................... 1
Performing Shakespeare................................................... 30
Performance Notes: Romeo and Juliet................................ 49
Set and Prop List.............................................................. 55
Sample Program............................................................... 56
Additional Resources......................................................... 57

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