"with Archie Roach, Ruby Hunter and Nick Barker. Rob Craw works as a high school drama and media studies teacher. He plays in his own bands such as Rob Craw's Acoustic Dilemma and The Craw and recorded the ""Rob Knows Paul"" album with Paul Thomas. He has also written for and played with David Bridie and Monique Brumby. Rob Craw also wrote original music for the Shakespeare Play ""A midsummer nights dream"" for Sacred Heart College, Newtown. Song's included ""Hail the Duke"" and ""The Cause of True Love never did run Smooth"". Archie Law returned to university after the band"
"at the Greek banquet in Plato’s ""Symposium"" at which he gets the last word on the nature of love, proposing that it cannot be found in superficial appearance. Performance history in Shakespeare's lifetime is unknown, though the same is also true of his more highly regarded plays such as"" Antony and Cleopatra"" and ""Coriolanus,"" which most scholars believe were written in the same period. The earliest known performance of the straight Shakespearean text was at Smock Alley Theatre in Dublin in 1761. The earliest-known production of a predominantly Shakespearean version of the play in the United Kingdom was at Sadler's"
"""Love's Labour's Won"" is considered by some to be a lost sequel. ""Love’s Labour’s Lost"" features the longest scene in all of Shakespeare’s plays (5.2), which, depending upon formatting and editorial decisions, ranges from around 920 lines to just over 1000 lines. The First Folio records the scene at 942 lines. The play also features the single longest word in all of Shakespeare's plays: ""honorificabilitudinitatibus"", spoken by Costard at 5.1.30. The speech given by Berowne at 4.3.284–361 is potentially the longest in all of Shakespeare's plays, depending on editorial choices. Shakespeare critic and editor Edward Capell has pointed out that"
"Celimene, and Sophie are not mentioned in the play, and they have no lines in the film. This, however, is a standard feature of Branagh's Shakespeare adaptations; his ""Hamlet"" contains many non-speaking walk-on roles that are not included in the original play, but are mentioned in the cast list. Branagh became interested in the play during his 1984 season with the Royal Shakespeare Company, when he had played the King of Navarre. From that period, he was familiar with Harley Granville-Barker's famous essay arguing that ""Love's Labour's Lost"" could be treated as highly stylised, with the dialogue and action treated"
"therefore, that men have indeed loved both in true and honest affection (this being the most important part of the argument) as well as falsely in the illusions of beauty before just as Shakespeare has written before this sonnet. Sonnet 116 Shakespeare's Sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet. The poet begins by stating he should not stand in the way of ""the marriage of true minds"", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In"
"Sonnet 116 Shakespeare's Sonnet 116 was first published in 1609. Its structure and form are a typical example of the Shakespearean sonnet. The poet begins by stating he should not stand in the way of ""the marriage of true minds"", and that love cannot be true if it changes for any reason; true love should be constant, through any difficulties. In the seventh line, the poet makes a nautical reference, alluding to love being much like the north star is to sailors. Love also should not fade with time; instead, true love is, as is the polar star, ""ever-fixèd"" and"
"every play destroyed by Warburton's cook was irretrievably lost. Five of them have been preserved through separate sources. These include ""Believe as You List"", ""The Fair Favorite"", ""The Governor"", ""The Inconstant Lady"", and ""The Parliament of Love"". The prologue and epilogue to Thomas Jordan's ""Love Hath Found His Eyes"" are also still extant, published in Jordan's poetry collection ""Royal Arbor of Loyal Poesy"" (1663). It is possible that a few of the remaining plays have also been preserved, under different titles; Shakespeare's ""Duke Humphrey"", for example, may have been a version of ""Henry VI, part 2,"" in which Humphrey plays"
"much, but think the more"" (4.1.85) and ""Not I, my thoughts aim at a further matter:/I stay not for love of Edward but the crown"" (141.124–125); Warwick's ""O unbid spite, is sportful Edward come"" (5.1.18); the entirety of Richard's soliloquy in Act 5, Scene 6, after killing Henry (ll.61–93) and Richard's ""To say the truth, so Judas kissed his master/And cried 'All hail', whenas he meant all harm"" (5.7.33–34). The play also featured in ITV's ""Will Shakespeare"", a 1978 six-part (heavily fictionalised) biopic of Shakespeare (Tim Curry), written by John Mortimer. Episode one, ""Dead Shepherd"", focuses on Shakespeare's apprenticeship to"
"horse. The sonnets that Shakespeare satirizes in his plays are sonnets written in the tradition of Petrarch and Sidney, whereas Shakespeare's sonnets published in the quarto of 1609 take a radical turn away from that older style, and have none of the lovelorn qualities that are mocked in the plays. The sonnets published in 1609 seem to be rebelling against the tradition. In the play ""Love’s Labour’s Lost"", the King and his three lords have all vowed to live like monks, to study, to give up worldly things, and to see no women. All of them break this last part"
"Lysander's. Both are more outwardly romantic and thoughtful than their partners, and both speak those lines most pertinent to the play's themes of romantic maturity and the source of lasting love. While Lysander says, 'the course of true love ne'er did run smooth', Helena's speech in Act I includes the well-known quote: ""Love looks not with the eyes, but with the mind; And therefore is wing'd Cupid painted blind."" Her name is reminiscent of Helen of Troy, a reference made by Theseus towards the play's end, and her character is similar to another of Shakespeare's Helenas in ""All's Well That"
"no apparrell but natural, no manuring of lands, no use of wine, corne, or mettle. The very words that import lying, falsehood, treason, dissimulation, covetousnes, envie, detraction, and pardon, were never heard of amongst them."" In addition, much of Prospero's renunciative speech (5.1.33–57) echoes a speech by Medea in Ovid's poem ""Metamorphoses"". ""The Tempest"" presents relatively few textual problems in comparison with many of Shakespeare's other plays. First published in the First Folio in December 1623, the play is first in the volume, leading the section of comedies. The play has more stage directions than any of Shakespeare's other plays,"
"appeared in 1611, 1619, 1630, and 1635; it was one of Shakespeare's most popular plays in his own historical era. The play was not included in the First Folio in 1623; it was one of seven plays added to the original Folio thirty-six in the second impression of the Third Folio in 1664. [See: Folios and Quartos (Shakespeare).] William Jaggard included ""Pericles"" in his 1619 False Folio. The editors of the Oxford and Arden editions of ""Pericles"" accept Wilkins as Shakespeare's collaborator, citing stylistic links between the play and Wilkins's style that are found nowhere else in Shakespeare. The Cambridge"
"Shakespeare's late romances The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising ""Pericles, Prince of Tyre""; ""Cymbeline""; ""The Winter's Tale""; and ""The Tempest"". ""The Two Noble Kinsmen"", of which Shakespeare was co-author, is sometimes also included in the grouping. The term ""romances"" was first used for these late works in Edward Dowden's ""Shakespeare: A Critical Study of His Mind and Art"" (1875). Later writers have generally been content to adopt Dowden's term. Shakespeare's plays cannot be precisely dated, but it is generally agreed that these comedies followed a series of tragedies including"
"opera, for radio and television and as a musical film. ""Love's Labour's Lost"" features the longest scene (5.2), the longest single word 'honorificabilitudinitatibus' (5.1.39–40), and (depending on editorial choices) the longest speech (4.3.284–361) in all of Shakespeare's plays (see ""Date and Text"" below). Ferdinand, King of Navarre, and his three noble companions, the Lords Berowne, Dumaine, and Longaville, take an oath not to give in to the company of women. They devote themselves to three years of study and fasting; Berowne agrees somewhat more hesitantly than the others. The King declares that no woman should come within a mile of"
"Passion Play (play) Passion Play is a 1981 play by British playwright Peter Nichols dealing with adultery and betrayal, unusual in that the two leading characters are each portrayed by two actors for public speech and private thoughts. It was originally intended to open the Royal Shakespeare Company's new Barbican Theatre but was produced by them at the London's Aldwych Theatre in 1981. It was revived at the Leicester Haymarket Theatre in 1984 before transferring to Wyndham's Theatre, at the Donmar Warehouse in 2000 before transferring to the Comedy Theatre, and at the Duke of York's Theatre in 2013. It"
"seems to be aware of this mutability, pointing out towards the end of the play; ""O heaven, were man/But constant, he were perfect. That one error/Fills him with faults, makes him run through all th'sins;/Inconstancy falls off ere it begins"" (5.4.109–112). There is no record of a performance during Shakespeare's lifetime, although due to its inclusion in Francis Meres' ""Palladis Tamia"", we know the play had definitely been performed by 1598. The earliest known performance was at Drury Lane in 1762. However, this production was of a version of the play rewritten by Benjamin Victor. The earliest known performance of"
"Sonnet 21 Sonnet 21 is one of 154 sonnets written by the English playwright and poet William Shakespeare and is part of the ""fair youth"" sequence. Like Sonnet 130, it addresses the issue of truth in love, as the speaker asserts that his lines, while less extravagant than those of other poets, are more truthful. Contrary to most of Shakespeare's sonnets, Sonnet 21 is not addressed to any one person. There is no second person, no overt ""you"" or ""thou"" expressed in it. Sonnet 21 is a typical English or Shakespearean sonnet. It consists of three quatrains followed by a"
"Holmes and Norman Shelley as Watson. In 1979 composer Raimonds Pauls and songwriter, poet Jānis Peters wrote a musical ""Šerloks Holmss."" It premiered in Dailes Theatre with Valentīns Skulme as Holmes and Gunārs Placēns as Watson. There was a 2006 revival, again in Dailes Theatre. Gillette's Holmes is widely credited with being the first to utter ""Elementary, my dear Watson""—a phrase that never appears in Conan Doyle's stories—but the phrase cannot be definitely attributed to Gillette as its originator. The phrase that appears in the various texts ranges from ""Ho! (""Sneer"".) Elementary!"" (1922 Samuel French text; Act II Scene II),"
"of love as sham and pretense. Critics have seen an obvious influence from Shakespeare's ""Othello"" in Ford's play. D'Avolos is a version of Iago; Bianca champions the cause of a courtier named Roselli, as Desdemona champions Cassio. The poet Richard Crashaw refers to two of Ford's plays in a couplet in his ""Delights of the Muses"" (1646): Love's Sacrifice Love's Sacrifice is a Caroline era stage play, a tragedy written by John Ford, and first published in 1633. It is one of Ford's three surviving solo tragedies, the others being ""The Broken Heart"" and ""'Tis Pity She's a Whore"". The"
"traditional and non-traditional. The Shakespeare canon is generally defined by the 36 plays published in the First Folio (1623), some of which are thought to be collaborations or to have been edited by others, and two co-authored plays, ""Pericles, Prince of Tyre"" (1609) and ""The Two Noble Kinsmen"" (1634); two mythological narrative poems, ""Venus and Adonis"" (1593) and ""The Rape of Lucrece"" (1594); a collection of 154 sonnets and ""A Lover's Complaint"", both published 1609 in the same volume; two passages from the manuscript play ""Sir Thomas More"", and a few other works In recent years, the anonymous history play"
"Books"" (1991) starring John Gielgud – which is not so much an adaptation as a reading of the play, combining film, dance, opera, and animation; and a 2010 version with Prospero recast as Prospera, played by Helen Mirren. Shakespeare's late romances The late romances, often simply called the romances, are a grouping of William Shakespeare's last plays, comprising ""Pericles, Prince of Tyre""; ""Cymbeline""; ""The Winter's Tale""; and ""The Tempest"". ""The Two Noble Kinsmen"", of which Shakespeare was co-author, is sometimes also included in the grouping. The term ""romances"" was first used for these late works in Edward Dowden's ""Shakespeare: A"
"believed that Shakespeare in his retirement was revising his oeuvre ""for definitive publication"". The ""apprentice plays"" which had been reworked were naturally omitted from the Folio. Sams also rejected 20th-century orthodoxy on Shakespeare's collaboration: with the exception of ""Sir Thomas More"", ""Two Noble Kinsmen"" and ""Henry VIII"", the plays were solely his, though many were only partly revised. By Sams' authorship- and dating-arguments, Shakespeare wrote not only the earliest ""modern"" chronicle play, ""The Troublesome Reign"", c.1588, but also ""the earliest known modern comedy and tragedy"", ""A Shrew"" and the Ur-""Hamlet"" ( = the 1603 Quarto). Sams also argued, more briefly,"
"Pericles, Prince of Tyre Pericles, Prince of Tyre is a Jacobean play written at least in part by William Shakespeare and included in modern editions of his collected works despite questions over its authorship, as it was not included in the First Folio. Whilst various arguments support that Shakespeare is the sole author of the play (notably DelVecchio and Hammond's Cambridge edition of the play), modern editors generally agree that Shakespeare is responsible for almost exactly half the play—827 lines—the main portion after scene 9 that follows the story of Pericles and Marina. Modern textual studies indicate that the first"
"Shakespeare and Performance MLitt/MFA program. The History of King Lear The History of King Lear is an adaptation by Nahum Tate of William Shakespeare's ""King Lear"". It first appeared in 1681, some seventy-five years after Shakespeare's version, and is believed to have replaced Shakespeare's version on the English stage in whole or in part until 1838. Unlike Shakespeare's tragedy, Tate's play has a happy ending, with Lear regaining his throne, Cordelia marrying Edgar, and Edgar joyfully declaring that ""truth and virtue shall at last succeed."" Regarded as a tragicomedy, the play has five acts, as does Shakespeare's, although the number"
"one of Shakespeare's ""most pleasing"" plays. In the later part of the 18th and through the 19th century, criticism centred on debates over the moral message of the play. Actor and playwright David Garrick's 1748 adaptation excluded Rosaline: Romeo abandoning her for Juliet was seen as fickle and reckless. Critics such as Charles Dibdin argued that Rosaline had been purposely included in the play to show how reckless the hero was and that this was the reason for his tragic end. Others argued that Friar Laurence might be Shakespeare's spokesman in his warnings against undue haste. With the advent of"
"The Lovers' Progress The Lovers' Progress, also known as The Wandering Lovers, or Cleander, or Lisander and Calista, is an early seventeenth-century stage play, a tragicomedy written by John Fletcher and Philip Massinger. As its multiple titles indicate, the play has a complex history and has been a focus of controversy among scholars and critics. The historical facts pertinent to the play, in chronological order, are these: The consensus interpretation of this evidence is that Fletcher wrote a solo play titled ""The Wandering Lovers,"" which was acted in late 1623 or early 1624 by the King's Men. A decade later,"
"Shakespeare. Most of Shakespeare's romance plays appeared late in his life and include plays such as ""The Tempest"" and ""Cymbeline"". ""Comedy"", in its Elizabethan usage, had a very different meaning from modern comedy. A Shakespearean comedy is one that has a happy ending, usually involving marriages between the unmarried characters, and a tone and style that is more light-hearted than Shakespeare's other plays. Patterns in the comedies include movement to a ""green world"", both internal and external conflicts, and a tension between Apollonian and Dionysian values. Shakespeare's use of comedy and characters of comedic value was not limited to his"
"Shakespeare's sonnets are accepted as an expression of genuine love, there is still no consensus in academia whether this love was sexual in nature. Many critics argue that Shakespeare was homosexual, while others maintain that he was heterosexual, including the noteworthy Shakespeare analyst A. L. Rowse, who has claimed ""Shakespeare is the bawdiest of the Elizabethan dramatists, with the natural bawdy of the highly sexed normal heterosexual"". Like most other Shakespearean Sonnets, 109 consists of three quatrains and a couplet at the end. The volta can be found at the first line of the couplet. Although Sonnet 109 does not"
"vision of family romances simply does not apply to Edmund. Iago is free to reinvent himself every minute, yet Iago has strong passions, however negative. Edmund has no passions whatsoever; he has never loved anyone, and he never will. In that respect, he is Shakespeare's most original character."" The tragedy of Lear's lack of understanding of the consequences of his demands and actions is often observed to be like that of a spoiled child, but it has also been noted that his behaviour is equally likely to be seen in parents who have never adjusted to their children having grown"
"of great poetry. Robert Frazer, who believed that The Earl of Derby wrote the canon, argued that Shakespeare actually married Whateley, not Hathaway. Anne has also appeared in imaginative literature about Shakespeare, typically portrayed as Shakespeare's true love, in contrast to a less appealing Anne Hathaway. Anne appears in Hubert Osborne's play ""The Good Men Do"" (1917), which dramatises a meeting between the newly widowed Anne Hathaway and Anne Whateley. Hathaway is depicted as viciously shrewish and spiteful, in contrast to her noble-minded former rival. Both women portray Shakespeare's life as an actor and playwright as morally degrading, Whateley insisting"
"of other poets. As Madeleine Doran and others note, criticism of exaggerated praise was only slightly less common in Renaissance poetry than such praise itself. Sonnet 21 Sonnet 21 is one of 154 sonnets written by the English playwright and poet William Shakespeare and is part of the ""fair youth"" sequence. Like Sonnet 130, it addresses the issue of truth in love, as the speaker asserts that his lines, while less extravagant than those of other poets, are more truthful. Contrary to most of Shakespeare's sonnets, Sonnet 21 is not addressed to any one person. There is no second person,"
"Romeo and Juliet Romeo and Juliet is a tragedy written by William Shakespeare early in his career about two young star-crossed lovers whose deaths ultimately reconcile their feuding families. It was among Shakespeare's most popular plays during his lifetime and along with ""Hamlet"", is one of his most frequently performed plays. Today, the title characters are regarded as archetypal young lovers. ""Romeo and Juliet"" belongs to a tradition of tragic romances stretching back to antiquity. The plot is based on an Italian tale translated into verse as ""The Tragical History of Romeus and Juliet"" by Arthur Brooke in 1562 and"
"Love's Pilgrimage (play) Love's Pilgrimage is a Jacobean era stage play, a tragicomedy by Francis Beaumont and John Fletcher. The play is unusual in their canon, in that its opening scene contains material from Ben Jonson's 1629 comedy ""The New Inn."" The common materials are ""Love's Pilgrimage,"" Act I, scene i, lines 25-63 and 330-411, and ""The New Inn,"" II,v,48-73 and III,i,57-93 and 130-68. Early researchers like F. G. Fleay and Robert Boyle thought that the Jonsonian material in ""Love's Pilgrimage"" was authorial — that Jonson was one of the creators of the play. Modern critics favor the view that"