Presents the original text of Shakespeare's play side by side with a modern version, with marginal notes and explanations and full descriptions of each character.

Macbeth ( full title The Tragedy of Macbeth) is a tragedy by William Shakespeare; it is thought to have been first performed in 1606.[a] It dramatises the damaging physical and psychological effects of political ambition on those who seek power for its own sake. Of all the plays that Shakespeare wrote during the reign of James I, who was patron of Shakespeare's acting company, Macbeth most clearly reflects the playwright's relationship with his sovereign.[1] It was first published in the Folio of 1623, possibly from a prompt book, and is Shakespeare's shortest tragedy.

Zum Kanon bedeutender Klassiker und grosser Weltliteratur gehort unbestritten William Shakespeares beruhmtes Drama Der Widerspenstigen Zahmung (The Taming of the Shrew), eine Komodie um Liebe und wie man sich diese verdient: Lucentio ist in Bianca verliebt - die jungere der beiden Tochter Baptistas. Doch hat er muss Grosses bewaltigen auf dem Weg zur Heirat. Da Vater Baptista vorsieht, dass zunachst seine altere Tochter Katharina heiraten muss, bevor die jungere an der Reihe ist, hat Lucentio nicht nur die Aufgabe, die Nebenbuhler Hortensio und Gremio aus dem Weg zu raumen, sondern auch einen Ehemann fur die widerspenstige Katharina zu finden, die jedoch kein Mann haben will... Der Originalausgabe folgend durfte dieses Meisterwerk dank seiner Authentizitat einen ganz besonderen Reiz ausuben. In den Bann geschlagen kann nicht zuletzt werden, wer Handlung und Sujets auf sein Leben und die heutige Gesellschaft projiziert. Diese vollstandige und ungekurzte Ausgabe ist vorgesehen fur alle, die Literatur lieben, fur Theater-Schauspiel, als Filmvorlage und fur die Schule mit Zeilennummerierung. Lassen Sie sich faszinieren von einem Werk, das auch heute noch aktueller denn je ist. Erscheinende Personen des Schauspiels: Ein Lord, Christoph Schlau - ein betrunkener Kesselflicker, Wirtin, Page, Schauspieler, Jager und andere Bediente des Lords, Baptista - ein reicher Edelmann in Padua, Vincentio - ein alter Edelmann aus Pisa, Lucentio - Vincentios Sohn - Liebhaber der Bianka, Petruchio - ein Edelmann aus Verona - Katharinens Freier, Gremio und Hortensio - Biankas Freier, Tranio und Biondello - Lucentios Diener, Grumio und Curtis - Petruchios Diener Ein Magister - der den Vincentio vorstellen soll Baptistas Tochter: Katharina - die Widerspenstige, Bianka - ihre Schwester, Eine Witwe, Schneider, Putzhandler und Bediente des Baptista und des Petruchio - Die Handlung ist abwechselnd in Padua und in dem Landhause des Petruchio. Ebenfalls beim AtheneMedia Ver"

The search to find engaging and inspiring ways to introduce children and young adults to Shakespeare has resulted in a wide variety of approaches to producing and adapting Shakespeare's plays and the stories and characters at their heart. This book explores the range of productions, versions, and adaptations of Shakespeare aimed particularly at children or young people. It is the only comprehensive overview of its kind, engaging with a range of genres - drama, prose narrative, television and film - and including both British and international examples. Abigail Rokison covers stage and screen productions, shortened versions, prose narratives and picture books (including Manga), animations and original novels, plays and films rewriting Shakespeare. The book combines an informative guide to the productions and adaptations discussed with critical analysis of their relative strengths. It also has a practical focus including quotes from directors, actors, writers, teachers and young people who worked on or experienced the projects discussed.

This book explores the appropriation of Shakespeare by youth culture and the expropriation of youth culture in the manufacture and marketing of 'Shakespeare'. Considering the reduction, translation and referencing of the plays and the man, the volume examines the confluence between Shakepop and rock, rap, graphic novels, teen films and pop psychology.

The first decade of the new century has certainly been a busy one for diversity in Shakespearean performance and interpretation, yielding, for example, global, virtual, digital, interactive, televisual, and cinematic Shakespeares. In Locating Shakespeare in the Twenty-First Century, Gabrielle Malcolm and Kelli Marshall assess this active world of Shakespeare adaptation and commercialization as they consider both novel and traditional forms: from experimental presentations (in-person and online) and literal rewritings of the plays/playwright to televised and filmic Shakespeares. More specifically, contributors in Locating Shakespeare in the Twenty-First Century examine the BBC’s ShakespeaRE-Told series, Canada’s television program Slings and Arrows, the Mumbai-based film Maqbool, and graphic novels in Neil Gaiman’s Sandman series, as well as the future of adaptation, performance, digitization, and translation via such projects as National Theatre Live, the Victoria and Albert Museum’s Archive of Digital Performance, and the British Library’s online presentation of the complete Folios. Other authors consider the place of Shakespeare in the classroom, in the Kenneth Branagh canon, in Jewish revenge films (Quentin Tarantino’s included), in comic books, in Young Adult literature, and in episodes of the BBC’s popular sci-fi television program Doctor Who. Ultimately, this collection sheds light, at least partially, on where critics think Shakespeare is now and where he and his works might be going in the near future and long-term. One conclusion is certain: however far we progress into the new century, Shakespeare will be there.