In a scholarly journal by Hugh Madean, ‘In disguise in Elizabethan drama’, disguise is described as ‘the substitution, overlaying or metamorphosis of dramatic identity, whereby one character sustains two roles, this may involve deliberate or involuntary masquerade, mistaken or concealed identity, madness or possession’. This is an important idea since Shakespeare takes this technique and uses it to add another dimension to the play, in the sense that it helps to distinguish what the characters are going through. Many say that this Shakespeare giving a social criticism of the nobility, illustrating how finery and expensive garments do not make a different to the inert nature of a person, instead it is portrayed throughout actions and sentiments. Clothing in King Lear can be contrasted with nakedness as much as pretence of appearances can be contrasted with truth or reality. For Lear, Kent and Edgar clothing is of great significance as they have all had to add an element of disguise into their lives for different reasons as clothing is the simplest to change.
When a composer appropriates a text, similarities and differences are created in context and values. Composer Gil Junger, has appropriated William Shakespeare's text 'Taming of the Shrew' introducing film medium and visual techniques to create the teen film '10 things I hate about you'. The clever appropriation utilises both similarities and differences in values making the connection between the two texts noticeable whilst studying. Some of the main values shared between the original and the appropriation include gender roles, social order and importance of money. Composed and based in the Elizabethan Era, the original Taming of the Shrew holds a very patriarchal plot line, presenting an obvious male dominant society.
In William Shakespeare’s Macbeth, the appearance of Banquo’s ghost, which indicates Macbeth’s guilty conscience, is known to be one of the most significant scenes within the play. In fact, there are many adapted versions of this famous scene, all in which Macbeth is threatened with the memory of Banquo. Two of these forms are 1) a filmed performance from the Brooklyn Academy of Music that was directed by Rupert Goold and 2) the graphic novel adaption by Ken Hoshine titled No Fear Shakespeare. Both adaptations have important scenes that match Shakespeare’s original vision, but the form that is a more faithful representation of Shakespeare's work is the graphic novel. Nevertheless, the film adaption known as Macbeth is a suitable remake of the initial scene.
The prologue, as shown here, is used by Shakespeare to introduce his play and to create a suspenseful atmosphere to engage the audience. In the Elizabethan times, there were no fancy backdrops or stunning computer generated images to aid in the story telling of the piece, so words were given the major role in painting the picture to the audience. Shakespeare has chosen, in the case of Romeo and Juliet to present the prologue in the form of a sonnet which, although short can leave a deep and meaningful impact if correctly deployed. And it is one of the things that Shakespeare does perfectly. The prologue starts off with, ‘Two households, both alike in dignity, In fair Verona, where we lay our scene’.
Kevin Kline’s humorous anecdote of “we just tuned out, we just kinda made out in the back row” reflects how contemporary values of sexual relations have superseded the appreciation for high epic drama. Pacino’s primary purpose is to overcome this view by adapting King Richard the Third to present the play in a familiar medium that modern day audiences
‘Connections enrich understanding in the pair of texts studied’. To what extent is this made evident in the pair of texts you have studied? Shakespeare’s The Tragedy of King Richard lll thought to be published in 1591 and Al Pacino’s Looking for Richard released in 1996 are a direct reflection of the contexts in which they were created, “the text is just a means of expressing what is behind the text”. The texts therefore could not be more different, although it is through the connections in the texts that the responder gains a heightened awareness of the values underpinning the text. Shakespeare’s text is a reflection of the theocratic worldview, that God sanctions all sin.
Gerald Narmore (Research Paper) Professor O’Neil EN 307 18 January 2007 A King’s Rhetoric and National Unity in Henry V John S. Mebane is correct when he asserts that William Shakespeare’s Henry V is “monolithic in its aggressive nationalism” (Mebane). Other scholars apparently agree, for the patriotic fervor personified in this play has been given wide contemporary critical attention. Much of this attention naturally attempts to ascertain Shakespeare’s philosophic views regarding nationalism. For example, Mebane perceives in Henry V (Shakespeare) Shakespeare’s intent to present “expressions of political chauvinism so intensely hyperbolic that they are ripe for the parody, ironic deflation, and anticlimax that almost inevitably follow” (Mebane). Accordingly, the play’s “patriotic rhetoric” actually exposes the evilness of warfare, and Henry’s actions as king are nothing more than “pure Machiavellian policy” (Mebane).
The Dramatic Significance of Act 1 in Much Ado About Nothing by William Shakespeare In Shakespeare's "Much Ado About Nothing", he uses a lot of dramatic significances in Act 1 of the text. Shakespeare wrote Much Ado About Nothing in 1598 and was published in 1600. Shakespeare uses themes in the play to draw the audience in, these themes are: love, battle of the sexes, mis noting, deception, entertainment and counterfeiting. All these themes play an important part in the play and signifies dramatic scenes with the characters. In Shakespeare's time, the "Nothing" of the title would have been pronounced "Noting."
Iago is under the impression that he deserved the post more than Cassio. He declares “I know my price”, which suggests he feels his merit has been injured. By the use of sarcasm, and bitter onomatopoeic language, Shakespeare establishes Iago as
A short essay cannot investigate all instances of this occurrence in all works of the author, but could provide the reader with the major categories. This way, deception will become more recognizable and appreciated as a major element and a spine of the particular story. In two of the most famous Shakespeare’s plays where deception appears as a building block of the story are Hamlet and Othello. In Hamlet the prince uses deception as a tool to distract attention and hide better his strange but vital moves and activities necessary to gather enough information regarding Claudius. The deception comes in the form of fake madness.