- A special introduction to the play by the editor, Alvin Kernan
- Selections from Giraldi Cinthio's Hecatommithi, the source from which Shakespeare derived Othello
- Dramatic criticism from Samuel Taylor Coleridge, Maynard Mack, and others
- A comprehensive stage and screen history of notable actors, directors, and productions of Othello
- Text, notes, and commentaries printed in the clearest, most readable format
- Recommended readings
Part of the New Penguin Shakespeare series, this book offers a complete edition of Much Ado About Nothing. It has been prepared from the original texts and is accompanied by an introduction, a list of further reading, a full commentary, and a short account of the textual problems of the play.
Sure to become a mainstay of any actor's shelf, Applause is pleased to present the first two volumes of Leon Katz's monumental monologue collection. Covering the full scope of Western Drama, from the Greeks to the 20th Century, these two volumes contain over 250 monologues from sources other than Shakespeare's plays. The works range from the famous to the little-known, covering over 2 000 years of theatrical history. Katz provides an introduction to each monologue that provides an informative and critical context for actors, directors, students and teachers, but are also of relevance to general readers. Each volume is organized into Tragedy/Drama and Comedy divisions, and the monologues are helpfully arranged by period as well as chronologically. Also, the monologues are fully footnooted afor unfamiliar references and definitions and the bibliography provides exhaustive listings of sources for all the plays from which the monologues have been drawn. Simply put, these two volumes are a must for actors, directors, teachers and students of classical theatre
Set in a topsy-turvy world like a holiday revel, this comedy devises a romantic plot around separated twins, misplaced passions, and mistaken identity. Juxtaposed to it is the satirical story of a self-deluded steward who dreams of becoming "Count Malvolio" only to receive his comeuppance at the hands of the merrymakers he wishes to suppress. The two plots combine to create a farce touched with melancholy, mixed throughout with seductively beautiful explorations on the themes of love and time, and the play ends, not with laughter, but with a clown's sad song.Each Edition Includes:
- Comprehensive explanatory notes
- Vivid introductions and the most up-to-date scholarship
- Clear, modernized spelling and punctuation, enabling contemporary readers to understand the Elizabethan English
- Completely updated, detailed bibliographies and performance histories
- An interpretive essay on film adaptations of the play, along with an extensive filmography
By the time depicted in this play, Henry has turned into the greatest of English kings. Though he has retained the common touch and sense of humor he showed as Falstaff's bosom buddy in the two parts of Henry IV, he has become fiercely focused. He punishes those who have plotted against him; in battle against the French, he shows himself an indomitable leader of men; and, at the end, he conquers even the heart of Catherine, the beautiful daughter of the French king.
Henry V is one of the most popular of Shakespeare's plays -- partly because it brings further news of the downward-spiraling fortunes of some of the beloved scoundrels from Henry IV, and partly because it is so intensely patriotic. Who can keep dry-eyed, who can keep his or her heart from welling up, when Henry gives his great speech before the battle of Agincourt?
The final play in Shakespeare's masterly dramatization of the strife between the Houses of York and Lancaster, Richard III offers a stunning portrait of an archvillain -- a man of cunning and ruthless ambition who seduces, betrays and murders his way to the throne. In the process, Richard delivers great speeches and engages in formidable confrontations with a large cast of characters, almost all of them caught up in the terrible struggle for power that dominates the play. It is a tribute to Shakespeare's dramatic genius and knowledge of human psychology that by the end of the drama the detestable Richard begins to elicit some sympathy for the awful plight in which he finds himself. Explanatory footnotes and an introductory note are included.