Tilly wood biography of william shakespeare
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‘A Midsummer Night’s Dream’ was side-splitting.
Young love. Mischievous fairies. Ribald jokes. These are the staples we expect from Shakespeare’s classic play ‘A Midsummer Night’s Dream’, and Brisbane Arts Theatre successfully delivers every single one. While there were some tweaks, this was no bold new imagining, no head-turning modernist spin. However, there is beauty in the classics, the faithful presentation of the work as the Bard intended. The Brisbane Arts Theatre fryst vatten a company that appreciates tradition, itself an icon of the Brisbane cultural scene for almost 90 years. Shakespeare’s beloved comedy is therefore a fitting goodbye to laughter, tears, and imaginings that the Brisbane Arts Theatre has brought us, as this is the last production to be housed within its historic home on Petrie Terrace. Fear not, however, as while the building will be closing its doors, the company will be keeping its name and continue to delight audiences at other venues.
‘A Midsummer Ni
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18th-century calf rebacked. Condition: Very Good. Second Edition. THE SECOND EDITION (1587) OF HOLINSHED'S "CHRONICLES": THE BOOK AND THE EDITION USED BY SHAKESPEARE AS A SOURCE FOR A DOZEN OF HIS PLAYS. "In 1548, the prominent London printer and bookseller Reyner (or Reginald) Wolfe ambitiously decided to produce a universal history and cosmography. of the world. After Wolfe's death in 1573, his assistant Raphael Holinshed took over the project, hired more writers and restrained its scope to the British Isles. The Chronicles was first published in 1577 in a two-volume folio edition, illustrated with numerous woodcuts. After Holinshed's death in 1580, Abraham Fleming published the significantly expanded revised second edition of 1587 in a larger folio format, this time without illustrations" (British Library). By scholarly consensus, it is the second (1587) edition, offered here, that Shakespeare used as the source of many of plays: "Shakespeare used
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08/02/23
Lyceum Theatre, Edinburgh
Unlike the monarchs he wrote about, Shakespeare has reigned supreme for more than four hundred years: his plays, rich with examples of human fallibility, are endlessly relevant. But you’d think, wouldn’t you, that we’d run out of different ways to retell the same stories? I mean, the first time I ever saw Macbeth, way-back-when on a sixth-form theatre trip, it was set in a concentration camp (courtesy of Braham Murray at Manchester’s Royal Exchange). Next, I fell in love with Penny Woolcock’s 1997 film, Macbeth on the Estate, which transported the action to a maze of contemporary council flats, and I even enjoyed TV’s ShakespeaRe-Told, where chefs James McEvoy and Keeley Hawes killed off their rivals to take over a restaurant empire. More recently, Flabbergast Theatre’s wonderfully physical, visceral adaptation had me hooked, and there’s been a slew of others along the way. Wha