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Forever demanding new performers to interpret them for new audiences under new circumstances, and continuing to elicit a rich worldwide profusion of editions, translations, commentaries, adaptations and spin-offs, Shakespeare’s works have never behaved like unchanging monuments about which nothing new remains to be said.
The post Twenty-first-century Shakespeare appeared first on OUPblog.
It’s 1608. You are passing by the bookstall of the publisher Thomas Pavier on Cornhill, a stone’s throw from the elegant colonnades of London’s Royal Exchange, when something catches your eye: a sensational play dramatising a series of real-life gruesome domestic murders. A Yorkshire Tragedy has that enticing whiff of scandal about it, but what persuades you to part with your hard-earned cash is seeing the dramatist’s name proudly emblazoned on the title-page: “Written by W. Shak[e]speare”.
The post “What’s in a name?”: Was William Shakespeare popular during his lifetime? appeared first on OUPblog.
Since the groundbreaking Original Pronunciation productions at Shakespeare’s Globe in London in 2004-05, OP has captured the imagination of performers, directors, and the play-going public. Going back to the pronunciation of the late 16th and early 17th centuries reveals nuances, puns, and rhymes that otherwise lie completely hidden, and gives fresh dynamism to productions.
The post Why people enjoy hearing Shakespeare in Original Pronunciation appeared first on OUPblog.