This new edition of one of Shakespeare's greatest history plays offers a freshly considered text fully alert to its intense theatrical aspects. A helpful Introduction discusses the play's structure, language, and performance history, and the notes provide an illuminating commentary on details of the text.
William Shakespeare,Anthony B. Dawson,Paul Yachnin
This edition in the Oxford Shakespeare series completes the trilogy of Henry VI plays. In his introduction Michael Taylor considers the implications of the gap between first performance in 1592 and the play's first printed appearance in the 1623 folio. He discusses key issues such as language, structure, performance history, and the role of women in the play.
Perhaps the most brilliant political play ever written,Coriolanusis a gripping psychological study of the relationship between personality and politics, and its Roman hero one of the most memorable Shakespeare ever created. The introduction to this new edition offers the first full stage history and analysis of the original production ofCoriolanusat the Blackfriars theater, and also examines Shakespeare's adaptation of his historical material while emphasizing the wide range of interpretations that are possible in performance.
'This Complete Sonnets and Poems is a distinguished addition to a distinguished series. It will repay continuing study, and act as a valuable point of reference for readers concerned more generally with Shakespeare's art and language. Colin Burrow's good sense, tact and balance as aneditor are deeply impressive.' -H. R. Woudhuysen, Times Literary SupplementThis is the only fully annotated and modernized edition to bring together Shakespeare's Sonnets as well as all his poems (including those attributed to him after his death). A full introduction discusses his development as a poet, and how the poems relate to his plays; detailed notes explain the language and allusions in clear modern English. While accessibly written, the edition takes account of the most recent scholarship and criticism.
The Complete Works: Modern Critical Edition is part of the landmark New Oxford Shakespeare--an entirely new consideration of all of Shakespeare's works, edited afresh from all the surviving original versions of his work, and drawing on the latest literary, textual, and theatrical scholarship. In one attractive volume, the Modern Critical Edition gives today's students and playgoers the very best resources they need to understand and enjoy all Shakespeare's works. The authoritative text is accompanied by extensive explanatory and performance notes, and innovative introductory materialswhich lead the reader into exploring questions about interpretation, textual variants, literary criticism, and performance, for themselves.The Modern Critical Edition presents the plays and poetry in the order in which Shakespeare wrote them, so that readers can follow the development of his imagination, his engagement with a rapidly evolving culture and theatre, and his relationship to his literary contemporaries.The New Oxford Shakespeare consists of four interconnected publications: the Modern Critical Edition (with modern spelling), the Critical Reference Edition (with original spelling), a companion volume on Authorship, and an online version integrating all of this material on OUP's high-poweredscholarly editions platform. Together, they provide the perfect resource for the future of Shakespeare studies.
Hamlet's combination of violence and introspection is unusual among Shakespeare's tragedies. It is also full of curious riddles and fascinating paradoxes, making it one of his most widely discussed plays. Professor Hibbard's illuminating and original introduction explains the process by which variant texts were fused together in the eighteenth century to create the most commonly used text of today. Drawing on both critical and theatrical history, he shows how this fusion makes Hamlet seem a much more `problematic' play than it was when it originally appeared in the First Folio of 1623. The Oxford Shakespeare edition presents a radically new text, based on that First Folio, which printed Shakespeare's own revision of an earlier version. The result is a `theatrical' and highly practical edition for students and performers alike.
Henry V is a history play by William Shakespeare, believed to have been written in approximately 1599. It tells the story of King Henry V of England, focusing on events immediately before and after the Battle of Agincourt (1415) during the Hundred Years' War. In the First Quarto text, it was entitled The Cronicle History of Henry the fift, which became The Life of Henry the Fifth in the First Folio text.
Performed variously as escapist fantasy, celebratory fiction, and political allegory, The Tempest is one of the plays in which Shakespeare's genius as a poetic dramatist found its fullest expression. Significantly, it was placed first when published in the First Folio of 1623, and is now generally seen as the playwright's most penetrating statement about his art. Stephen Orgel's wide-ranging introduction examines changing attitudes to The Tempest, and reassesses the evidence behind the various readings. He focuses on key characters and their roles and relationships, as well as on the dramatic, historical, and political context, finding the play to be both more open and more historically determined than traditional views have allowed.
Author: William Shakespeare,Anthony B. Dawson,Paul Yachnin
Publisher: Oxford University Press
Deftly combining history and tragedy, Shakespeare's tale of bad government and usurpation had great political immediacy for its first audiences. This version of the text is based on the early quartos and first Folio of 1623. It is complemented by an introduction that places the play in its own time, thorough textual notes, and full commentary.
'Shakespeare loves loose ends; Shakespeare also loves red herrings.' Stephen Orgel Loose ends and red herrings are the stuff of detective fiction, and under the scrutiny of master sleuths John Sutherland and Cedric Watts Shakespeare's plays reveal themselves to be as full of mysteries as any Agatha Christie novel. Is it summer or winter in Elsinore? Do Bottom and Titania make love? Does Lady Macbeth faint, or is she just pretending? How does a man putrefy within minutes of his death? Is Cleopatra a deadbeat Mum? And why doesn't Juliet ask 'O Romeo Montague, wherefore art thou Montague?' As Watts and Sutherland explore these and other puzzles Shakespeare's genuius becomes ever more apparent. Speculative, critical, good-humoured and provocative, their discussions shed light on apparent anachronisms, perfromance and stagecraft, linguistics, Star Trek and much else. Shrewd and entertaining, these essays add a new dimension to the pleasure of reading or watching Shakespeare. 'Few modern academics are doing quite so much as Professor Sutherland to connect the "common reader" with great books' Independent
Shakespearean performance criticism has undergone a sea change in recent years, and strong tides of discovery are continuing to shift the contours of the discipline. The essays in this volume, written by scholars from around the world, reveal how these critical cross-currents are influencing the ways we now view Shakespeare in performance. The volume is organised in four Parts. Part I interrogates how Shakespeare continues to achieve contemporaneity for Western audiences by exploring modes of performance, acting styles, and aesthetic choices regarded as experimental. Part II tackles the burgeoning field of reception: how and why audiences respond to performances as they do, or actors to the conditions in which they perform; how immersive productions turn spectators into actors; how memory and cognition shape and reshape the performances we think we saw. Part III addresses the ways in which revolutions in technology have altered our views of Shakespeare, both through the mediums of film and sound recording, and through digitalizing processes that have generated a profound reconsideration of what performance is and how it is accessed. The final Part grapples with intercultural Shakespeare, considering not only matters of cultural hegemony and appropriation in a 'global' importation of non-Western productions to Europe and North America, but also how Shakespeare has been made 'local' in performances staged or filmed in African, Asian, and Latin American countries. Together, these ground-breaking essays attest to the richness and diversity of Shakespearean performance criticism as it is practiced today, and they point the way to critical continents not yet explored.
This edition of Pericles in the Oxford Shakespeare series is the only single-volume, modern-spelling edition both to offer a reconstruction of the original play and to reproduce the corrupt Quarto text of 1609 exactly as first printed.
That proud, impassioned soul, so ungovernable now that she has felt the sting of injustice’ ‘Medea’, in which a spurned woman takes revenge upon her lover by killing her children, is one of the most shocking and horrific of all the Greek tragedies. Dominating the play is Medea herself, a towering and powerful figure who demonstrates Euripides’ unusual willingness to give voice to a woman’s case. ‘Alcestis’, a tragicomedy, is based on a magical myth in which Death is overcome, and ‘The Children of Heracles’ examines the conflict between might and right, while ‘Hippolytus’ deals with self-destructive integrity and moral dilemmas. These plays show Euripides transforming the awesome figures of Greek mythology into recognizable, fallible human beings. John Davie’s accessible prose translation is accompanied by a general introduction and individual prefaces to each play. Previously published as Alcestis and Other Plays
Rene Weis reveals Shakepeare's use of multiple sources to be eclectic in the extreme in this radical reconsideration of the play's date and text. He also argues for the first time that Falstaff was called Oldcastle in Part 2 as well as in Part I. The play's striving towards a form of order, peace, and legitimacy is explored in relation to Part I and through rigorous attention to structure and language. A full account of the play's history in performance and on film yields a fascinating reflection of its relationship to national triumph and crisis, as well as the diverse idealogical interpretations it has inspired.