El Lear de Iam Holm
Estos dos videos compendian el Lear de Ian McKellen
Ian McKellen King Lear Part 1
Ian McKellen King Lear Part 2
viernes, 2 de octubre de 2009
miércoles, 30 de septiembre de 2009
jueves, 3 de septiembre de 2009
Julius Caesar
Acto I
Bruto a Casio: …look you…
…Cicero looks with such ferret and so fiery eyes
As we have seen him in the Capitol,
Being cross´d in conference by some senators…
********
César a Antonio: Would he (Cassius) were fatter!
Acto II
Porcia hiriéndose el muslo,
por Elisabetta Sirani (siglo XVII)
BRUTO: …think him (Caesar) as a serpent´s egg
Which, hatched, would as his kind grow mischievous
And kill him in the shell.
Ingmar Bergman tomó la frase para titular “The Serpent's Egg” (1977), película protagonizada por David Carradine y Liv Ullmann en el Berlín de los 20s.
***********
CALPURNIA: When beggars die, there are no comets seen.
CAESAR: Cowards die many times before their deaths;
The valiant never taste of death but once.
PORTIA
Thou hast some suit to Caesar, hast thou not?
Soothsayer
That I have, lady: if it will please Caesar
To be so good to Caesar as to hear me,
I shall beseech him to befriend himself.
PORTIA
Why, know'st thou any harm's intended towards him?
Soothsayer
None that I know will be, much that I fear may chance.
Acto III
CAESAR:
I could be well moved, if I were as you:
If I could pray to move, prayers would move me:
But I am constant as the northern star,
Of whose true-fix'd and resting quality
There is no fellow in the firmament.
The skies are painted with unnumber'd sparks,
They are all fire and every one doth shine,
But there's but one in all doth hold his place:
So in the world; 'tis furnish'd well with men,
And men are flesh and blood, and apprehensive;
Yet in the number I do know but one
That unassailable holds on his rank,
Unshaked of motion: and that I am he.
****************
CASCA: Speak, hands, for me!
Primero CASCA y luego los otros conspiradores y Bruto apuñalan a César.
CÉSAR: “Et tu, Brute? Then fall, Caesar”.
Y muere.
cry Havoc and let slip the dogs of war
Meaning
The military order Havoc! was a signal given to the English military forces in the Middle Ages to direct the soldiery (in Shakespeare's parlance 'the dogs of war') to pillage and chaos.
Origin
The Black Book of the Admiralty of 1385 is a collection of laws, in French and Latin, relating to the English Navy. In the 'Ordinances of War of Richard II' in that book we find:
"Item, qe nul soit si hardy de crier havok sur peine davoir la test coupe."
I text in English that comes nearer to defining the term is Grose's History of the English Army, circa 1525:
"Likewise be all manner of beasts, when they be brought into the field and cried havoke, then every man to take his part."
Shakespeare was well aware of the use of the meaning of havoc and he used 'cry havoc' in several of his plays. The 'cry havoc, and let slip the dogs of war' form of the phrase is from his Julius Caesar, 1601. After Caesar's murder, Anthony regrets the course he has taken and predicts that war is sure to follow.
El discurso funeral de Antonio:
Friends, Romans, countrymen, lend me your ears
I come to bury Caesar, not to praise him…
Acto IV
An itching palm
Cassius:
In such a time as this it is not meet
That every offense should bear his comment.
Brutus:
Let me tell you, Cassius, you yourself
Are much condemn'd to have an itching palm,
To sell and mart your offices for gold
To undeservers.
Cassius:
I, an itching palm!
Julius Caesar Act 4, scene 3, 7–12
"An itching palm" is one that must be scratched with coins. Brutus's dermatological metaphor implies that Cassius's desire for gold—which leads to the sale ("mart") of favors—is unconscious and compulsive. Cassius doesn't think, he just scratches.
domingo, 2 de agosto de 2009
Isabel I
Este slideshare es de la segunda parte (2007)
Elizabeth I - The Golden Age
View more presentations from Georgia Zacharopoulou.
Película Elizabeth (1998)completaTrack listing
1. Elizabeth: Overture (04:40)
2. Love Theme - Arrest (03:16)
3. Tonight I Think I Die (04:21)
4. Walsingham (02:02)
5. Night Of The Long Knives (04:10)
Adapted From Domine Sanctum Actum Meum by Byrd
6. Coronation Banquet (06:32)
7. Love Theme (01:56)
8. Aftermath (05:34)
9. Parliament (04:06)
10. Rondes I & VII (04:31)
Adapted From Dansereye by Tieleman Susato
11. Conspiracy (03:20)
12. Ballard (03:51)
13. One Mistress, No Master (04:23)
14. Nimrod (04:28)
Adapted From Enigma Variations by Edward Elgar
15. Requiem: Introitus (05:09)
Adapted From Requiem by Wolfgang Amadeus Mozart
* "Te Deum"
Composed by Thomas Tallis
Performed by St. John's College Choir, Cambridge
Conducted by George Guest
* "Rondeas I and VII"
from "Dansereyr" 1551
Composed by Tylman Susato
Performed by New London Consort
Conducted by Philip Pickett
* "Nimrod"
from "Enigma Variations"
Composed by Edward Elgar (as Sir Edward Elgar)
* "Requiem Aeternam"
from "Requiem"
Composed by Wolfgang Amadeus Mozart
NOTAS
Al Obispo Gardiner, tuerto, lo personifica Terence Rigby.
The taming of the shrew
La película (1967) de Zeffirelli con Burton y la Taylor enamorados.
Hay química. Se sigue con fidelidad el texto de Shakespeare.
El cuento aparece originalmente en un libro del Infante Don Juan Manuel:"El conde Lucanor" (del siglo XIV), cuya narración número 35 es De lo que aconteció a un mancebo que casó con una mujer muy fuerte y muy brava.
En español tenemos el cuento de Bruno Traven, "La tigresa", que protagonizaron María Félix y Pedro Armendáriz en Canasta de cuentos mexicanos (1955) bajo la dirección de Julio Bracho.
domingo, 26 de julio de 2009
Shakespeare in love
Una película bonita, con un Shakespeare improbable.
Pongo la parte más "movida".
Se puede ver en Youtube. Subieron una doblada al español de España. Abominable.
PARTE DEL SCREENPLAY QUE CORRESPONDE A ESTE VIDEO
(Si quieren el guión completo, basta escribir en el buscador "Shakespeare in Love" "Screenplay by Marc Norman and Tom Stoppard")
INT. THE CURTAIN THEATRE. STAGE. DAY.
Swordplay. An amazing performance that holds the audience
spellbound. "TYBALT" kills "MERCUTIO."
ALLEYN AS MERCUTIO
(to ROMEO)
"I am hurt.
WILL AS ROMEO
Courage man. The hurt cannot be much.
ALLEYN A MERCUTIO
Ask for me tomorrow and you shall find
me a grave man."
A roll of thunder. Over the heads of the audience, far
above the thatched roof of the theatre, clouds are
gathering in the sky. On stage "MERCUTIO" is in 'ROMEO'S"
arms, but the tone of the playing is unlike anything we
have seen before: without bombast, intense and real. And
the audience is quiet and attentive.
ALLEYN AS MERCUTIO (CONT'D)
"…--Why the devil came you between us?
I was hurt under your arms."
EXT. THE CURTAIN THEATRE. DAY.
In the semirural view towards the City of London, there
can be discerned a gaggle of approaching MEN and three is
something orderly about them. As they come closer, we see
that they are a company of PIKE MEN, marching toward the
theatre, led by the Master of the Revels, TILNEY. Thunder
rolls.
INT. THE CURTAIN THEATRE. STAGE. DAY.
Figures are running across the stage, in the panic that
follows "TYBALT" death.
ACTOR AS BENVOLIO
"Romeo, away, be gone! The citizens
are up and Tybalt slain. Stand not
amazed. The prince will doom thee
death If thou art taken. Hence, be
gone away!"
WILL AS ROMEO
"I am fortune's fool!"
ACTOR AS BENVOLIO
"Why dost thou stay!"
INT. THE CURTAIN THEATRE. BACKSTAGE. DAY.
WILL has just 'killed' "TYBALT." He is still breathless
from fighting. he stands face to face with VIOLA.
WILL
I am fortune's fool.
They stare at each other, transfixed.
WILL (CONT'D)
You are married?
PAUSE. She cannot answer.
WILL (CONT'D)
If you be married, my gave is like to
be my wedding bed. The implication of
her silence fills the air. WILL does
not move.
INT. THE CURTAIN THEATRE. STAGE. DAY.
We cannot tell whether this is the play or their life.
The audience, and the rest of the world, might as well
not exist. WILL turn from her and begins to descend from
the 'balcony.'
VIOLA AS JULIET
"Art thou gone so?
WILL stops.
VIOLA AS JULIET (CONT'D)
Love, lord, ay husband, friend, I must
hear from thee every day in the hour,
For in a minute there are many days.
O, by this count I shall be much in
years Ere I again behold my Romeo…"
WILL as "ROMEO" seems unable to speak. Then he says:
WILL AS ROMEO
"…Farewell…"
All other sounds drain away, and time seems to stop.
VIOLA AS JULIET
"O think'st thou we shall ever meet
again…? Methinks I see thee, now thou
art so low, As one dead in the bottom
of a tomb. Either my eyesight fails,
or thou lookest pale."
WILL AS ROMEO
"Trust me, love, in my eyes so do you.
Dry sorrow drinks our blood. Adieu.
Adieu"
INT. THE CURTAIN THEATRE. STAGE. DAY.
Now the FRIAR is giving "JULIET' his potion.
EDWARD AS FRIAR
"No warmth, no breath shall testify
thou livest And in this borrow'd
likeness of shrunk death Thou shall
continue two and forty hours And then
awake as from a pleasant sleep…"
INT. THE CURTAIN THEATRE. STAGE. DAY.
It's FENNYMAN'S moment. The "APOTHECARY" and "ROMEO."
WILL AS ROMEO
"Come hither, man. I see that thou art
poor. Hold, there is forty ducats. Let
me have A dram of poison--"
FENNYMAN AS APOTHECARY
"Such mortal drugs I have but Mantua's
law is death to any he that utters
them!"
FENNYMAN has cut in several lines early, but his
conviction is astonishing.
FENNYMAN AS APOTHECARY
"My poverty but not my will consents."
WILL AS ROMEO
"I pay thy poverty and not thy will."
EXT. STREET. NEAR THE CURTAIN THEATRE. DAY.
TILNEY, on the march. His hand grips a copy of the
Curtain flyer.
INT. THE CURTAIN THEATRE. STAGE. DAY.
"JULIET" lies "dead." She lies on top of her tomb, "lying
in stage," her best dress, her hair done, her hands in
prayer at her breast, her eyes closed. "ROMEO" has found
her like this.
WILL AS ROMEO
"Eyes, look your last! Arms, take your
last embrace! and lips, Oh you The
doors of breath, seal with a righteous
kiss A dateless bargain to engrossing
death! Come, bitter conduct; come,
unsavory guide! Thou desparate pilot,
now at once run on The dashing rocks
thy seasick weary bark!"
As WILL embraces her, VIOLA'S eyes flicker open (shielded
by WILL from the audience) and the lovers look at each
other for a moment as WILL and VIOLA rather than as
"ROMEO" and "JULIET." Their eyes are wet with tears.
INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.
BURBAGE and ROSALINE are watching.
INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.
KEMPE is watching.
INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.
We see that in the audience are several of the WHORES we
recognise from the brothel. They are weeping openly.
INT. THE CURTAIN THEATRE. STAGE. DAY.
WILL is raising the fatal drug in a last toast.
WILL AS ROMEO
"Here's to my love (he drinks) O true
Apothecary."
INT. THE CURTAIN THEATRE. THE WINGS. DAY.
FENNYMAN, moved but proud in the wings.
FENNYMAN
(whispers to himself)
I was good. I was great.
INT. THE CURTAIN THEATRE. STAGE. DAY.
WILL AS ROMEO
"Thy drugs are quick. Thus with a kiss
I die." (and he dies)
INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.
The NURSE is weeping too.
INT. THE CURTAIN THEATRE. STAGE. DAY.
"JULIET" wakes up with a start.
VIOLA AS JULIET
"…Where is my lord?
I do remember well where I should be, And there I am.
Where is my Romeo?"
INT. THE CURTAIN THEATRE. AUDITORIUM. DAY.
NURSE
(involuntarily)
Dead!
INT. THE CURTAIN THEATRE. STAGE. DAY.
VIOLA AS JULIET
"What here? A cup clos'd in my true
love's hand? Poison, I see, hath been
his timeless end."
INT. THE CURTAIN THEATRE. STAGE. DAY.
"JULIET" takes "ROMEO'S" dagger.
VIOLA AS JULIET
"…O happy dagger
This is thy sheath. There rust, and let me die."
She stabs herself and dies. The "inner curtain" closes
over the tomb.
INT. THE CURTAIN THEATRE. STAGE/AUDITORIUM. DAY.
HIGH ANGLE on audience and stage. "THE PRINCE" played by
WABASH is having the last word.
THE PRINCE
"For never was a story of more woe
Than this of Juliet and her Romeo."
The end. There is complete silence. The ACTORS are
worried. But then the audience goes mad with applause.
INT. THE CURTAIN THEATRE. THE INNER CURTAIN/STAGE. DAY.
The inner curtain opens, but WILL and VIOLA, are in a
play of their own…embracing and kissing passionately,
making their own farewell. HENSLOWE is too stunned and
moved to react at first. Then he looks at the audience
and the penny drops. It's a hit.
INT. THE CURTAIN THEATRE. AUDITORIUM/STAGE. DAY.
The audience roars. WILL, VIOLA, and THE COMPANY come
forward to meet the applause. TILNEY and his MEN burst
in. TILNEY jumps up onto the stage, where the ADMIRAL'S
MEN are taking their bows. TILNEY'S "COPS" ring the
stage, facing inwards.
TILNEY
(shouts triumphantly)
I arrest you in the name of Queen
Elizabeth!
The AUDIENCE goes quiet. BURBAGE jumps out of the
audience onto the stage.
BURBAGE
Arrest who, Mr. Tilney?
TILNEY
Everybody! The Admiral's Men, The
Chamberlain's Men and everyone of you
ne'er-do-wells who stands in contempt
of the authority invested in me by her
Majesty.
BURBAGE
Contempt? You closed the Rose--I have
not opened it.
TILNEY is at a loss but only for a moment.
TILNEY
(he points a "j'accuse"
finger at VIOLA)
That woman is a woman!
The entire audience and the actors, recoil and gasp. The
NURSE crosses herself.
ALLEYN
What?! A woman?! You mean that goat?!
He points at VIOLA, brazening it out without much chance.
TILNEY
I'll see you all in the clink! In the
same of her Majesty Queen Elizabeth
And an authoritative voice from the audience interrupts
him.
VOICE
Mr. Tilney…!
It is QUEEN ELIZABETH herself, descending now, her hood
and cloak thrown back. She is an awesome sight. A shaft
of sunlight hits her.
QUEEN
Have a care with my name, you will
wear it out.
There is a general parting of the waves, soldiers and
actors, a general backing off and bowing as QUEEN
ELIZABETH takes the limelight.
QUEEN (CONT'D)
The Queen of England does not attend
exhibitions of public lewdness so
something is out of joint. Come here,
Master Kent. Let me look at you.
VIOLA comes forward, and is about to curtsey when she
catches the QUEEN'S eye, an arresting eye, which arrests
the curtsey and turns it into a sweeping bow.
QUEEN (CONT'D)
Yes, the illusion is remarkable and
your error, Mr. Tilney, easily
forgiven, but I know something of a
woman in a man's profession, yes, by
God, I do know about that. That is
enough from you, Maser Kent. If only
Lord Wessex were here.
VOICE
He is, Ma'am.
****************************************************
WILL notices a thirteen-year-old actor,
the URCHIN we met before.
WILL
Who are you, master?
URCHIN
I am Ethel, sir, the Pirate's
daughter.
WILL
(furiously)
I'll be damned if you are!
And he helps the URCHIN off with a kick. The URCHIN
glowers with resentment.
Later: The
URCHIN, the short-lived Ethel, is sitting in the alley.
WILL
Better fortune, boy.
URCHIN
(shrugs)
I was in a play. They cut my head off
in Titus Andronicus. When I write
plays, they will be like Titus.
WILL
(pleased)
You admire it?
The URCHIN nods grimly.
URCHIN
I like it when they cut heads off. And
the daughter mutilated with knives.
WILL
Oh. What is your name?
URCHIN.
John Webster. Here, kitty, kitty.
Because a stray cat is nearby. The cat show an interest.
The URCHIN passes a white mouse to the cat and watches
the result with sober interest.
URCHIN
Plenty of blood. That is the only
writing.
WILL backs away, unnerved by the boy.
URCHIN
Wait, you'll see the cat bites his
head off.
WILL
I have to get back.
******
Menéndez y Menéndez opus
El pariente bueno transcribe en
http://www.menendezymenendez.com/2008/09/shakespeare-una-nueva-biografa.html
una entrevista con Peter Ackroyd, autor de una biografía del Bardo.
sábado, 18 de julio de 2009
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