The Tempest at Hudson Valley Shakespeare. Cast members emerge from billowing clouds of fog at the beginning of the play. Credit: T. Charles EricksonÂ

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The Tempest at Hudson Valley Shakespeare. Cast members emerge from billowing clouds of fog at the beginning of the play. Credit: T. Charles EricksonÂ

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âMethinks I am a prophet new inspired And thus expiring do foretell of him: His rash fierce blaze of riot cannot last, For violent fires soon burn out themselves; Small showers last long, but sudden storms are short; He tires betimes that spurs too fast betimes; With eager feeding food doth choke the feeder: Light vanity, insatiate cormorant, Consuming means, soon preys upon itself.â
â William Shakespeare, Richard II, Act II Scene I
âIn an essay published in the 1980s, Jacqueline Rose has discussed the âfantasy of the womanâ as a symptom of reading with respect to Hamlet and Measure for Measure. How far, she asks, âhas the woman been at the centre, not only of the internal dramaâ (by which she means the Shakespearean play-text as represented) 'but also of the critical dramaâthe controversy about meaning and languageâwhich each of these plays has provoked?â By way of answering these 'accusations,â she examines the modern critical tradition that fetishizes womenâs sexuality both as site of interpretation and as symptom of the problematic hermeneutics of each play. Whether discussing the legendary Oedipality of Hamlet or the 'obsessive,â 'hysterical,â or 'saintlyâ Isabella, male critics have longed to fix their readings (and their difficulties in reading) on female characters. Hence a textual woman can be constituted both as source of coherence and as principle of disorder, a center and a verge, damned if she does and damned if she doesnât.â
â Denise Albanese, âAdmiring Mirandaâ in New Science, New World
Ian McKellen as Leontes in Shakespeareâs The Winterâs Tale, 1976.

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Hamlet
Teatro Kamikaze
Director and adaptation: Miguel del Arco Assistant director: Aitor Tejada Staging: Eduardo Moreno Lighting: Juanjo Llorens Sound: Sandra Vicente (Studio 340) Music: Arnau VilĂ Video: Joan RodĂłn Costumes: Ana LĂłpez
Macbeth
Young Vic
Direction: Carrie Cracknell & Lucy GuerinÂ
Design: Lizzie ClachanÂ
Costume: Merle HenselÂ
Light: Neil AustinÂ
Sound: David McSeveney
Globe on Tour: The Taming of the Shrew in production.
Our Globe on Tour cast are giving you the chance to choose the play you see performed. At Chilham Castle in Kent the audience chose to see The Taming of the Shrew from a selection that also included The Merchant of Venice and Twelfth Night.Â
Find your nearest tour venue.
Photo credit: Marc BrennerÂ
âIn the early moments of their love, Romeo and Juliet seek to mold social reality to their changed perceptions and desires by manipulating the verbal signifiers of that reality. But between Romeoâs banishment and their deaths, both learn in different ways that not the word but the spirit can change reality. Juliet becomes a woman and Romeo a man not through changing a name but by action undertaken in a transformed sense of the self requiring courage and independence.â
â CoppĂŠlia Kahn, Coming of Age in Verona. (via shakespeareismyjam)

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âConverted by the sight of the lovers and the revelation of their heroic fidelity, Capulet offers his hand to Montague, sealing the bond of marriage between the two families in a dowry of love, not gold. Both families are bereft of an heir, and the exchange of promises that each father shall erect a statue of the otherâs child, in gold, symbolizes the alchemical transmutation of worldly wealth, property, earth, into the spiritual riches of the heart and the imagination. When the play ends the image of the lovers lying side by side remains in the mindâs eye, the passionate speed of young love commemorated already in sculpture, an art which is free from the dimension of time. The youth of the lovers is made immutable, the violence and darkness in their story absorbed in the golden, still image.â
â Brian Gibbons, in his introduction to Romeo and Juliet. (via arisefairsun)
âLet cheap things please the mob; may bright Apollo serve me full draughts from the Castalian springâ Preface to Shakespeareâs Venus and Adonis (1593)
âWhy give you me this shame? Think you I can a resolution fetch From flowery tenderness? If I must die, I will encounter darkness as a bride, And hug it in mine arms.â
â Shakespeare, Measure for Measure, Act III, Scene IÂ
From left, Helen Schlesinger as Gertrude, Bettrys Jones as Laertes and James Garnon as Claudius in âHamlet.â Credit: Tristram Kenton
The Public Theaterâs production of The Tempest, presented during the 2014-2015 summer season for Free Shakespeare in the Park at the Delacorte Theater in Central Park. Directed by Michael Greif and featuring Bernard White, Brandon Kalm, Charles Parnell, Danny Mastrogiorgio, Francesca Carpanini, Jesse Tyler Ferguson, Louis Cancelmi, Rico LeBron, Rodney Richardson, and Sam Waterson. PC: Joan Marcus.
Creative Team: Set, Riccardo Hernandez; Light, David Lander; Costume, Emily Rebholz; Sound, Acme Sound Partners & Jason Crystal; Soundscapes, Matt Tierney; Music, Michael Friedman; Hair & Makeup, J. Jared Janas; Choreography, Denis Jones; Production Stage Manager, Michael McGoff.Â

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âYou have to implicate the audience. Theyâve got to squirm, not just over what happens, but because they did nothing about it. They had all the knowledge â this guy was not to be trusted â and they just sat there. People have jumped onstage to stop Iago, wrestled him to the ground. One actor in the 19th century was killed in the part, shot by an audience member. Iâm glad that didnât happen. Maybe I just wasnât good enough.â
â Rory Kinnear on Shakespeareâs villain, Iago (via fourhundredbarrels)
âIn King John, Shakespeare subjects masculine voices to skeptical feminine interrogation, and the history he represents becomes problematic, an arena for contending interests to compete and for unauthorized voices to be heard and to challenge the voices of patriarchal authority. Like Margaret and Joan, the disorderly women in the first tetralogy, women in King John usurp masculine prerogatives. Elinor announces in the opening scene that she is âa soldierâ (I.i.150), and her role is no anomaly in a play where âladies and pale-visagâd maids/Like Amazons come tripping after drums,â changing âtheir thimbles into armed gauntletsâŚtheir needlâs to lances, and their gentle hearts/To fierce and bloody inclinationâ (V.ii.154â8). Unlike Talbot, who found Joanâs presence on the battlefield unnatural, the men in King John seem to accept the fact of warrior women, even though the presence of women seems to lead to gender blurring. The English soldiers, for example, are said to have both âladiesâ facesâ and âfierce dragonsâ spleensâ (II.i.68). When the Earl of Salisbury weeps, the Dauphin declares that he values those âmanly dropsâ above the âladyâs tearsâ that have melted his heart in the past (V.ii.47â9). Both contenders for the English crownâthe bold and warlike John no less than his infant rivalâfind their authority compromised by subjection to the domination of powerful, vociferous mothers, and the King of France bows to the threats of a mother church. Unwilling to break his truce with John lest they âmakeâŚunconstant childrenâ of themselves (III.i.243), he finally agrees to do both after Pandulph threatens that âthe Church, our mother, [will] breathe her curse,/A motherâs curse, on her revolting sonâ (III.i.256â7).â
â Jean E. Howard, Engendering a Nation: A Feminist Account of Shakespeareâs English Histories (via goneril-and-regan)