2009 --

Shakespeare for acting/directing classes:

331 Stagematrix -- Hamlet [ two scenes : Exposition (I.1) and Genre (Closet Scene)]

221 Acting2 -- collections from Hamlet (Prince, Claudius...)

Comedy [ Shrew monologue study : Pete, Kate ]

Physical comedy : Commedia

Shakespeare related : Stoppard [ R, G, Player ]

Rosencrantz & Guildenstern are Dead 2008 : funny summary of Hamlet [for Theatre UAF program] :


stagematrix.com -- shakespeare podcast webcast.berkeley Course - English 117 Charles Altieri 2008

... britannica.com/shakespeare and [new] page "Shakespeare"?

Hamlet in 215 and 413 : compare : Craft & Art

Hamlet on Screen






Shakespeare,ET ?

Ionesco: "Shakespeare was the great one before us. His place was between God and despair."

Bedford Hamlet p.361 THR215 DramLit


12th Night: Comedy-Thoughts

You see? It's easy to understand where the modernity ends and POMO starts -- read Nietzsche!

Hamlet: A Guide to the Play by W. Thomas MacCary; Greenwood Press, 1998 Shakespeare after Theory by David Scott Kastan; Routledge, 1999

Hamlet2001 & Hamlet UAF

Rewriting Shake

Shake pages in Theatre Theory : shake, scomedy and shistory


Rewriting Shakespeare: Elmer Rice's CUE FOR PASSION, Ruby Cohn's SHAKESPEARE OFFSHOOTS
Lee Blessing's "Fortenbras" (play), John Updike's "Gertrude and Claudius"


Hamlet (1600-1601)

A revenge tragedy:
The revenge of a relative's murder or rape
The revenge of a father bya son or vice versa
The appearance of a ghost
The hesitancy or delay of the hero
Tricks or devices to achieve revemge
The use of real or pretended insanity
Political intrigue in a court
An able, scheming villant or spy
Philosophical soliloquies
Sensational use of horror (murder and gore onstage)

12th Night
* SHAKESPEARE page in HamletDreams

Shakespeare, S. Comedy and S. Histories -- and other books and video pages.

Shakespeare Bedford

Several links to later playwrights: connections w/Shake!


The use of female performers became common practice during which of the following periods of theatre history?
A. Greek
B. Roman
C. Elizabethan
D. Restoration


2004 case study: The Taming of the Shrew + Oedipus Rex The Simpsons’ Hamlet

Homer says: Our next story is Hamlet by William Shakespeare

Bart says: Dad these old stories can’t compare with our modern super writers. … they kick shakespeare’s ass.

Lisa: But this story is more interesting than you think. It starts with Hamlet’s father getting murdered.

Bart: Cool

Lisa: Does he marry his mum

Homer: That would be hot.

William Shakespeare: The Complete Works, Deluxe Edition [UNABRIDGED] This complete and unabridged edition contains every word that Shakespeare wrote — all 37 tragedies, comedies, and histories, plus the sonnets. You’ll find such classics as The Tempest, Much Ado About Nothing and The Taming of the Shrew. This Library of Literary Classics edition is bound in padded leather with luxurious gold-stamping on the front and spine, satin ribbon marker and gilded edges.

The Riverside Shakespeare This gorgeous, boxed, two-volume set includes the bard's full canon of plays supplemented with 50 illustrations as well as 40 pages of color and black-and-white plates, critical prefaces to each work, detailed notes on the texts, and many other goodies. This second edition also includes Edward III and "A Funeral Elegy," which scholars now believe to be written by old Will, as well as new essays on stage history and criticism. The appendixes, chronologies, and bibliographies have also been updated.

Will in the World: How Shakespeare Became Shakespeare
There's no shortage of good Shakespearean biographies. But Stephen Greenblatt, brilliant scholar and author of Will in the World: How Shakespeare Became Shakespeare, reminds us that the "surviving traces" are "abundant but thin" as to known facts. He acknowledges the paradox of the many biographies spun out of conjecture but then produces a book so persuasive and breathtakingly enjoyable that one wonders what he could have done if the usual stuff of biographical inquiry--memoirs, interviews, manuscripts, and drafts--had been at his disposal. Greenblatt uses the "verbal traces" in Shakespeare's work to take us "back into the life he lived and into the world to which he was so open." Whenever possible, he also ushers us from the extraordinary life into the luminous work. The result is a marvelous blend of scholarship, insight, observation, and, yes, conjecture--but conjecture always based on the most convincing and inspired reasoning and evidence. Particularly compelling are Greenblatt's discussions of the playwright's relationship with the university wit Robert Greene (discussed as a chief source for the character of Falstaff) and of Hamlet in relation to the death of Shakespeare's son Hamnet, his aging father, and the "world of damaged rituals" that England's Catholics were forced to endure.

Hamlet (Folger Shakespeare Library)

Teaching Shakespeare : A Handbook for Teachers (Cambridge School Shakespeare)

Hamlet (Shakespeare Made Easy : Modern English Version Side-By-Side With Full Original Text) It is a tragedy that all actors seem to crave to perform, and the Renaissance Theatre Company clearly relishes the chance to present Hamlet for the ear. It is a contemporary cast from which one has come to expect superior Shakespearean acting on stage and screen: Kenneth Branagh as Hamlet; Sir John Gielgud as the Ghost; Derek Jacobi as Claudius; and Emma Thompson as the Player Queen. Unlike the Recorded Books version (Audio Reviews, LJ 8/90), this BBC edition may be a little hard to follow by those unfamiliar with the play's text, particularly since stage directions are not provided and speakers are not clearly identified. But the program does give the complete version, a rare treat, and the accompanying booklet offers insights into both the acting and the production.

Twelfth Night (Folger Shakespeare Library)

Shakespeare After All by MARJORIE GARBER
In Shakespeare After All, Marjorie Garber—professor of English and director of the Humanities Center at Harvard University—gives us a magisterial work of criticism, authoritative and engaging, based on her hugely popular lecture courses at Yale and Harvard over the past thirty years. Richly informed by Shakespearean scholarship of the latter half of the twentieth century, this book offers passionate and revealing readings of all thirty-eight of Shakespeare’s plays, in chronological sequence, from The Two Gentlemen of Verona to The Two Noble Kinsmen. With erudition lightly carried, Garber illumines the overarching patterns and lush details of the plays, closely attentive to what matters most in Shakespeare: language, theme, plot, and character.

+ HamletDreams 2001 (scenes) *

Complete Shake:

12th Night



"Very boldly put, I think Hamlet is about nothing. I think this is what Hamlet sees in nature. It will surprise no one who knows Lear that the relation between nature and nothing is a Shakespearean theme. Lear warns Cordelia, "Nothing will come of nothing" (I.i.89). Later he instructs Regan:
O, reason not the need! Out basest beggars Are in the poorest thing superfluous. Allow not nature more than nature needs, Man's life is cheap as beast's. (II.iv.204-7)
Then he goes on the heath, strips himself naked, and goes mad. Human nature reduced to nothing is nothing. There is nothing essentially there in nature to support man in his pretensions to be more than bestial. It is all a matter of his invention, of his creative urge to fill the gap he perceives.

Hamlet: A Guide to the Play
Book by W. Thomas MacCary; Greenwood Press, 1998

[ W. THOMAS MacCARY is Professor of English at Hofstra University. He has previously taught Greek, Latin, English, and comparative literature at the Universities of Minnesota, Texas, Michigan, and California, and at Columbia University. His previous books include Childlike Achilles: Phylogeny and Ontogeny in the "Iliad ( 1982), Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy ( 1985), and Plautus: Casina ( 1976). ]

menippeah theory ** the metasubject. [ Unlike other authors creating menippeahs, Shakespeare extended 'his own' plot in Hamlet by introducing still another special character with specific functions which only titular authors possess: he made the grave-digger to disclose to the readers important cues necessary for the proper evaluation of the events described by the unscrupulous Narrator. By doing that, Shakespeare factually depicted himself as the grave-digger with university education who does not lie in his grave. A similar feature is the case with some other Shakespeare's works, as well as with Christopher Marlowe's menippeahs Doctor Faustus and The Jew of Malta. ]

Critical Reading (Bedford Commentaries):


Freud (intellect against action)


Hamlet: A Guide to the Play by W. Thomas MacCary; Greenwood Press, 1998
4. THEMES : ... "Metatheatre" is a term coined analogically with Aristotle's "metaphysics" to denote that turn of mind common to Shakespeare, Velsquez, Cervantes, and other great artists of the early seventeenth century (e.g., Abel, but see Calderwood 200, n. 26, for other references). Foucault has said very precise things about the continental exponents of this international movement, but he was relatively innocent of Shakespeare. He said, of Velásquez and Cervantes-and all the lesser French lights whom he knew well -- that they gave up on the Aristotelian proposition that art imitates life and decided instead that art is an imitation of imitation: it describes and defines the artistic process. This is a form of negation -- or rather a comment on the nothing that might be there but which art turns into something. If art can only define the artistic process, then what is its subject, and wherein does its truth lie? [questia.com]

Hamlet: The Corpse In The Bedroom

... Fall 2007 DramLit class : Unit II : From Oedipus to Hamlet -- Christ Idea (20 centuries between two heroes).

(*) Dante and Shakespeare? Hamlet Files.

... *Hamlet.ru -- Meyerhold, Smoktunovsky-Kosyntzev, Lubimov-Vysotsky, Tarkovsky (where?)

"HamletDreams" [ shows.vtheatre.net/hamlet ] and Hamletmachine ... postmodern theatre has Shakespeare as "first reality", lives on/of it [ "Shakespeare is our father," Pushkin. ]



* Hamlet online

* 12th Night

* Shrew


Shakespeare Page

2004: The Taming of the Shrew

The last Shake' show I am to direct...

[ ... TheGlobe lost my Shakespeare Pages. Gone. The texts, the links. Everything.]

Could it be somehow related to me directing 12th Night? :)

Did I offend the Bard with my "created world" concept, when I moved Illyria to some unspecified banana republic?..

Will I direct Shakespeare again?... Not soon, at least.

Too many words.

Didn't I know it, when I rewrote "The Taming of the Shrew" in NYC?

No, no, the treatricality is there, the action, the characters... but you have to get there through this endless talk.

The biggest problem is that the words are good. No, playwright shouldn't be a poet. Just a playwright.

Well, the links you can find. Shakespeare is very popular on the net. Never-mind, the links.

Risking to lose this page again, I say it nevertheless -- Shakespeare is a good material for theatre. (Pause)

Both "Hamlet" and "12th Night" are online: use for your classes!

In SHOWS directory see my production notes on 12th Night.

There are a couple pages @ Theatre Theory on Shakespeare (comedy, tragedy, histories and video-links).

[ Seneca's tragedies ]

Shakespeare & Russia*
[ Russian-American Theatre Project Files ]
Stribrny, Zdenek. Shakespeare and Eastern Europe / Zdenek Stribrny. New York : Oxford University Press, 2000. Includes bibliographical references and index. Shakespeare, William, 1564-1616 Stage history Europe, Eastern. Shakespeare, William,1564-1616 Appreciation Europe, Eastern. Shakespeare, William. 1564-1616 Stage history Russia. English drama Appreciation Europe, Eastern. Russian literature English influences. English drama Appreciation Russia. Slavic literature English influences. Theater Europe, Eastern History. Theater-Russia-History. Europe, Eastern Intellectual life. ISBN: 0198711646 (pbk.) LCCN: 99048536 LC: PR3109.E2 S52 2000 Dewey: 792.9/5/0947 21

Character analysis is @ VTheatre Forum


2001 -- 400 years of "Hamlet"!

We start with Shakespeare; check the pages on six elements by Aristotle @ 200X Files -- next from PLOT to the three main parts od COMPOSITION (Exposition, Climax, Resolution). 5 acts, 4, 3 and two acts (today).

Maybe to stage "King Lear" as well? In POMO style (then I am not tied to actors).


Hamlet2001 production directory: characters, scenes, monologues, designs and etc.

[ see 12th Night and Hamlet directories! ]


Teaching Shakespeare link Rex05 From Oedipus (left) to Hamlet is one step... Alas, there is mr. Jesus in between.

Oedipus, the older brother of Christ, what do you have to say about free will? No wonder that Dante placed so many of you, wise men of Athenes, in his strange Limbo!

Our Prince should have a good talk with the King. No, not his father.

The number of gods was reduced to One and Only, but the situation was the same... Is the same. Really?

* Hamlet by G. R. Hibbard, William Shakespeare; Oxford University, 1998

* Understanding Hamlet: A Student Casebook to Issues, Sources, and Historical Documents by Richard Corum; Greenwood Press, 1998 :

... There is no ghost in the legendary source for Hamlet. Apparently one was first added to this material by the author of the no longer extant Ur-Hamlet, a play produced in or before 1589 that featured a "ghost which cried . . . miserably at the Theatre, like an oysterwife, Hamlet, revenge " ( Jenkins 1982, 83). Why was a ghost needed in this earlier "Hamlet" play, not to mention in Hamlet? What problems could a ghost solve that no other theatrical device would solve as well?

* Shakespeare the Playwright: A Companion to the Complete Tragedies, Histories, Comedies, and Romances by Victor L. Cahn; Praeger, 1996 [ Shakespeare's clearest source is an earlier version of the plot, now lost, but known as the "Ur-Hamlet," or "original Hamlet." Some critics attribute this work to Thomas Kyd, author of The Spanish Tragedy (c. 1589), which also deals with a son's delayed revenge for a murdered father. Both plays contain a ghost, a hero who suffers madness, and a play within a play. The essentials of the story of Hamlet, however, go back several hundred years as part of Scandanavian folk tradition, and were put into literary form in the history of "Amelthus" by the Danish writer Saxo Grammaticus, who lived in the latter half of the twelfth century. Thematic influences on Shakespeare's play come from a variety of Renaissance works, including Treatise of Melancholy ( 1586) by Timothy Bright, and Il Libro del Cortegiano (The Book of the Courtier) ( 1528) by the Italian diplomat Baldassare Castiglione. ]

* Conscience and the King: A Study of Hamlet by Bertram Joseph; Chatto and Windus, 1953

* The Time Is out of Joint: A Study of Hamlet by Roy Walker; Andrew Dakers, 1948

* Is Hamlet a Religious Drama?An Essay on a Question in Kierkegaard by Gene Fendt; Marquette University Press, 1998

boobks/biblio in shows.vtheatre.net/hamlet + 12night + Shrew

"Man is the measure of all things!" Great! No kidding? Thank you very much!

Next: Modern
Shaw Never mind, Shaw (right)! I have Ibsen, Chekhov ...and Beckett on this page; the names ahead. It's easy to jump to Absurdism, than to XIX century Realism. Why? Because the clowns of Shakespeare loved MELODRAMA? This "little man", non-tragic (comic), asked for photographic look at him? How did Polonius evolve within the three centuries into Uncle Vanya? Ophelia into Nora...

And Trofimov became Vladimir?..

Ophelia Hamlet (Act V), in addition to HAMLET 2001 (production directory), has new 2005 pages at THR215. Connection with Oedipus and the Greeks: "Oedipus in Hamlet." Hamlet is in the middle between Antiquity and the Postmodern. The question what was going on in drama for two millenniums crashed into Christianity (no references in my textbooks). How to to talk about the step in tragedy?

"The rest is silence."

[ from Beckett ]


Gordon Craig's Moscow Hamlet: A Reconstruction by Laurence Senelick; Greenwood Press, 1982

America's First Hamlet by Grace Overmyer; New York University Press, 1957

* Shakespeare's Festive Tragedy: The Ritual Foundations of Genre by Naomi Conn Liebler; Routledge, 1995


Ibsen Even if we ran through Moliere and the Neo-Classicism, Germans and Romantics, how to talk about Naturalism? Ibsen (left), Strindberg -- and Chekhov? Or "Naturalism" -- "Realism" -- "Symbolism"?

... Chekhov

Chekhov (left) has six-plus pages, but it doesn't help: maybe he should be considered "the end of drama" and not Beckett? What's going on? He granted the "everage" man (Aristotle) the status of dramatic (tragic) hero and should be counted as existentialist! From Chekhov to the Postmodern is a short atep with so many glorious names in between...

"Chekhov and Shakespeare" -- how to talk about it? The tragedy of existence, the "Russian Hamletism" in all Chekhov's characters?! Lopakhin and the Prince? Ophelia and our "3 Sisters"? Well, they are very reflective, the northern creatures...


Here we go -- Godot'06! As if Beckett (left) stopped on the "OR" in "to be or not to be"... and wrote his plays. "Slow reading" -- he ended up with dramas without words. Chekhovean pauses... Anton also called his plays "comedies" as if he read Sam Beckett.

Shakespeare Pages (Theatre Theory):
Shakespeare (Tragedy)

Shakespeare in DramLit 2005 *


William Shakespeare (1564-1616). in A Treasury of the Theatre Vol. 1 by John Gassner; Simon and Schuster, 1951

He was the man who of all modern, and perhaps ancient poets, had the largest, and most comprehensive soul. All the images of nature were still present to him, and he drew, not laboriously but luckily; when he describes anything, you more than see it, you feel it too. Those who accuse him to have wanted learning, give him the greater commendation: he was naturally learned; he needed not the spectacles of books to read nature; he looked inwards, and found her there. I cannot say he is everywhere alike; were he so, I should do him injury to compare him to the greatest of mankind. --JOHN DRYDEN

The few established facts of Shakespeare's life are too well known to be repeated here in any detail. They indicate a successful and profitable career, but they throw only an indirect light, if any, on the nature of his genius. He was not long held by his native Stratford-on-Avon, where he received a grammar-school education, shared his family's financial vicissitudes, and married a woman of twenty-six when he was eighteen. He became the father of a daughter, Susanna, about six months after his marriage and of twins, Judith and Hamnet, less than two years later, early in 1585. By 1587 or 1588 he was settled in London, and there he remained, except for rare visits at home, until 1611. He appears to have found employment in the London theatre almost at once, serving it as an actor and writer. By 1592 he was already sufficiently successful to be regarded with envy by his fellow playwright Robert Greene and to be praised by another man of letters, Henry Chettle. Within two years he had also gained distinction as a poet with the two long poems Venus and Adonis and The Rape of Lucrece and won the patronage of the young Earl of Southampton, to whom the works were dedicated. Between 1594 and 1595 he became a member of the successful Lord Chamberlain's company of actors. He was an actor (we know that he played in Ben Jonson Every Man in His Humour in 1598 and Sejanus in 1603), a shareholder in his company, and part owner of the famous Globe and Blackfriars theatres. He wrote plays steadily, suiting them to the talents of the great actor Richard Burbage and other members of the troupe. By 1598 he was already credited in a manual of English literature with the composition of twelve plays.


questia.com on Hamlet

[ Your concept ]


2007 -- pomo.vtheatre.net

http://books.google.com/googlebooks/shakespeare Hamletlecture notes : Professor David Willbern

... collecting images (again) for Stoppard 2008 : R/G are Dead

Hamlet : 1996 :