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Cynthia Greenwood - The Complete Idiots Guide to Shakespeares Plays

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Here Art Thou, True Shakespeare!
This accessible new guide to Shakespeares major plays focuses on the essence of the spoken word and the benefits of watching the plays in performance - on the stage or screen - whenever possible. Youll find tips about plot, theme, famous passages and soliloquies, and how to hear the music within the Bards verse and wordplay.
Remember - Shakespearean theatre is a social art form, and in its earliest days, it was highly commercial. This book brings you closer to the heady world of freelance playwriting and the London playhouses of the 1590s. As a playwright and sharer in the Globe theatre, Shakespeare was at the forefront of Western show business. This book highlights Shakespeares career, his dramatic influences, and what 16th-century playgoers in London would have experienced inside the theatre.
In The Complete Idiots Guide to Shakespeares Plays cultural and historical contexts for the major plays are explored, offering perspectives of the director and actor, in addition to that of the scholar and close reader. In particular, the book takes you behind the scenes with Shakespearean directors, who offer commentary about key challenges presented by the plays, famous roles, and a host of other production concerns. Professional actors also discuss how theyve tackled lead roles inA Midsummer Nights Dream, Much Ado About Nothing, The Merchant of Venice, King Lear, Antony and Cleopatra, and The Tempest, among others. Youll find:
Twenty (20) major plays explored in depth, explaining literary terms? and Elizabethan English, with attention to language and verse;
A look at how the plays have been staged, from the earliest playhouses to contemporary auditoriums;
Appendices spotlighting Shakespeares likely collaborations, a glossary, suggested further reading, and tips about acclaimed film and audio versions.
Perfect for English and drama students, general readers, theatergoers, and actors.

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Table of Contents About the Author Cynthia Greenwood is an editor writer - photo 1
Table of Contents

About the Author
Cynthia Greenwood is an editor, writer, and performing arts critic based in Houston, Texas. For the last 10 years, she has reviewed opera and theatrical productions, ballet theatre, and classical music. She has published arts reports and reviews for such publications as The New York Times, Playbill, San Francisco Chronicle, Houston Chronicle, Dallas Morning News, Opera Cues, San Antonio Express-News, Fort Worth Star-Telegram , Andante, and others. From 1998 until 2002, she served as the opera and classical music critic for the Houston Press.
Ms. Greenwood is especially attracted to the lives and struggles of performing and visual artists. In her in-depth report Where Angels Fear to Tread (Houston Press), she investigated an east Texas communitys hostile reaction to a staging of Tony Kushners Angels in America by the artistic director of the Texas Shakespeare Festival. She is co-author of a brief biography of classical singer Roberta Dodd Crawford. She has profiled French photographer Robert Doisneau, the quirky outsider artist Charles Dellschau, cellist Desmond Hoebig and the Houston Symphony Bad Boys of Cello, and the zany Art Guys, among others.
Ms. Greenwood taught English and American literature and introduction to film to undergraduates at Wharton County Junior College from 1988 to 1997, where she experienced the typical negative response to Shakespeares blank verse. During this period she also worked as a freelance journalist for daily and weekly newspapers.
Dear Reader,
Every few generations, Shakespeares influence on popular culture looms larger and larger. Shakespeares plays are staged just about everywhere you go. Numerous small and large theatre festivals produce the plays annually in cities outside of the obvious Shakespearean capitals New York; Stratford, Ontario; London; and Stratford-upon-Avon.
Lets face it. Thanks to film, the Internet, and the world of big-money publishing, Shakespeare has become one of the worlds greatest celebrities. The spate of new Shakespeare biographies each year shows how much power he has over our imagination. (Such sway even fuels obsessive conspiracy theories that give others credit for writing the plays, as if a humanistic education and a lifetime of labor with the pen werent enough!)
Scholars and critics love Shakespeare more than anyone, though. Their enthusiasm for his plays over the last century has helped transform him into something more than a great Elizabethan playwright. He has become a cultural phenomenon and arguably the worlds greatest living writer.
Still, do you ever wonder what all the fuss is about? Does the thought of sitting down and reading an entire Shakespearean play make you want to run and hide?
Does Romeos antiquated English or one of Macbeths long, ponderous speeches make your eyes glaze over?
Shakespeares plays are more than just beautiful words on a page. They are scripts that were created to be performed on the stage. This guide will help you appreciate the plays as Shakespeare intended. To make the plays come alive for you, we include original interviews and impressions from actors and directors.
If youre slogging through the plays in English or drama class, never fear. This book will also help you make sense of the characters, plots, and themes and remind you that Shakespeare wrote his plays to entertain you, above all.
Cynthia Greenwood For Bob Contents at a Glance Part 1 Shakespeare and - photo 2
Cynthia Greenwood
For Bob Contents at a Glance Part 1 Shakespeare and His World 1 1 - photo 3
For Bob.
Contents at a Glance
Part 1: Shakespeare and His World 1
1 Shakespeares England 3
What kind of world did Shakespeare live in? Look at his
life in the context of English social class, politics, religion,
and cosmology during the late Renaissance.
2 A Man of the Theatre 11
Besides being a great poet and playwright, Shakespeare was 11
an actor, an influential member of the Lord Chamberlains
Men, and a shareholder in the Globe. A look at the art
and business of theatre in Shakespeares time.
3 Heady Theatre in Londons Earliest Playhouses 21
What were those early Elizabethan playhouses and audiences actually like?
Part 2: Plays Are for the Stage 33
4 Experiencing Shakespeare on the Stage 35
How to think about and enjoy Shakespeares plays as scripts 35
for performance.
5 Shakespeares Music 41
What makes Shakespeares language so musical, witty,
verbally complex, and intoxicating to our ears?
6 How Shakespeares Plays Were Published 49
Persistent questions about Shakespeares lost manuscripts,
the First Folio, multiple script versions, and when he wrote
his plays.
Part 3: The Comedies 63
7 The Taming of the Shrew 65
A popular, lively marriage farce, The Taming of the
Shrew is steeped in controversy. Director Sidney Berger
talks about the challenges of staging this entertaining
comedy.
8 A Midsummer Nights Dream 77
A Midsummer Nights Dream is full of fairy magic,
potions, spells, and labyrinthine plotting. Read F. Murray
Abrahams ideas about playing Bottom, a rich part for the
actor.
9 The Merchant of Venice 89
Still popular, The Merchant of Venice remains highly
controversial among directors, playgoers, and critics. Actor
Scott Wentworth talks about playing Antonio, and director
Sidney Berger talks about the plays merits and why it is
difficult to stage.
10 Much Ado About Nothing 103
Much Ado About Nothing is a romantic comedy full of
love intrigue and mistaken identity. Actor Jeffrey Bean
talks about the plays insight into modern relationships.
11 The Merry Wives of Windsor 117
A festive comedy like no other, The Merry Wives of
Windsor offers us a window into rural Elizabethan life.
Director Rutherford Cravens talks about adapting the
plays setting.
12 As You Like It 129
In the great pastoral comedy As You Like It, "court
meets country as everyone escapes into the Forest of
Arden. Director Penny Metropulos muses about staging
the play in the context of the American West.
13 Twelfth Night, or What You Will 141
Shakespeares twilight comedy, Twelfth Night, is a masterwork of cross-dressing, disguise, and carnival madness.
Actors Rutherford Cravens and Jeffrey Bean talk about
the role of Shakespeares clowns, while director Robert
Hupp offers views about staging Twelfth Night.
14 Measure for Measure153
Measure for Measure is a pessimistic drama that probes
virtue, vice, and profound ideas about justice and mercy.
Understand why many directors consider it a problem
comedy.
Part 4: The Histories 165
15 Richard III 167
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