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Shakespeare in Love GO TO THE WEB ADDRESS BELOW, THEN READ THE ARTICLE AND TRANSLATE THE NEW WORDS. FINALLY, PRINT IT. http://www.intervarsity.org/2100/filmreviews.php?id=2760 Shakespeare in Love is a 1998 romantic comedy film. The film was directed by John Madden and written by Marc Norman and playwright Tom Stoppard. Stoppard's first major success was with the Shakespeareinfluenced play Rosencrantz & Guildenstern Are Dead. The film is largely fictional, although several of the characters are based on real people. In addition, many of the characters, lines, and plot devices are references to Shakespeare's plays. Shakespeare in Love won seven Academy Awards, including Best Picture, Best Actress (for Gwyneth Paltrow) and Best Supporting Actress (for Judi Dench). It was the first comedy to win the Best Picture award since Annie Hall (1977). References to Shakespeare's work The main source for much of the action in the film is Romeo and Juliet, which the events in the film ultimately inspire Will to write. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" — they are not ultimately destined to be together (since Viola is of nobility promised to marry Lord Wessex and Shakespeare himself is already married). There is also a Rosaline, with whom Will is in love at the beginning of the film. Many other plot devices used in the film are common in various Shakespearean comedies and in the works of the other playwrights of the Elizabethan era: the Queen disguised as a commoner, the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery (or, at least, cheating), the appearance of a "ghost" (cf. Macbeth), and the "play within a play". The film also has sequences in which Shakespeare and the other characters utter words that will later appear in his plays: On the street, Shakespeare hears a Puritan preaching against the two London stages: "The Rose smells thusly rank, by any name! I say, a plague on both their houses!" Two references in one, both to Romeo and Juliet; first, "A rose by any other name would smell as sweet" (Act II, scene ii, lines 1 and 2); second, "a plague on both your houses" (Act III, scene i, line 94). Backstage of a performance of The Two Gentlemen of Verona, Shakespeare sees William Kempe in full make-up, silently contemplating a skull (a reference to Hamlet). Shakespeare utters the lines "Doubt thou the stars are fire, / Doubt that the sun doth move" (from Hamlet) to Philip Henslowe. As Shakespeare's writer's block is introduced, he is seen crumpling balls of paper and throwing them around his room. They land near props which represent scenes in his several plays: a skull (Hamlet), and an open chest (The Merchant of Venice). Viola, as well as being Paltrow's name in the film, is the lead character in Twelfth Night who dresses as a man after the supposed death of her brother. At the end of the film, Shakespeare imagines a shipwreck overtaking Viola on her way to America, inspiring the second scene of his next play, Twelfth Night, and perhaps also The Tempest. Shakespeare writes a sonnet to Viola which begins: "Shall I compare thee to a summer's day?" (from Sonnet 18). Shakespeare tells Henslowe that he still owes him for "one gentleman of Verona", a reference to Two Gentlemen of Verona, part of which we also see being acted before the Queen later in the film. 1 Christopher Marlowe appears in the film as the master playwright whom the characters within the film consider the greatest English dramatist of that time — this is accurate, yet also humorous, since everyone in the film's audience knows what will eventually happen to Shakespeare. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter" ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.") Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" The child John Webster who plays with mice is a reference to the leading figure in the Jacobean generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their blood and gore, which is why he says that he enjoys Titus Andronicus, and why he says of Romeo and Juliet when asked by the Queen "I liked it when she stabbed herself." When the clown Will Kempe says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it," a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy. Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently. Christopher Marlowe (c. 26 February 1564 – 30 May 1593) was an English dramatist, poet and translator of the Elizabethan era. The foremost Elizabethan tragedian next to William Shakespeare, he is known for his blank verse, his overreaching protagonists, and his mysterious death. A warrant was issued for Marlowe's arrest on 18 May 1593. No reason for it was given, though it was thought to be connected to allegations of blasphemy—a manuscript believed to have been written by Marlowe was said to contain "vile heretical conceipts." He was brought before the Privy Council for questioning on 20 May, after which he had to report to them daily. Ten days later, he was stabbed to death by Ingram Frizer. Whether the stabbing was connected to his arrest has never been resolved. [1] The legend Marlowe Theatre, Canterbury As with other writers of the period, little is known about Marlowe. What little evidence there is can be found in legal records and other official documents. This has not stopped writers of both fiction and non-fiction from speculating about his activities and character. Marlowe has often been described as a spy, a brawler, a heretic and a homosexual, as well as a "magician," "duellist," "tobacco-user," "counterfeiter" and "rakehell." The evidence for most of these claims is slight. The bare facts of Marlowe's life have been embellished by many writers into colourful, and often fanciful, narratives of the Elizabethan underworld. However, J.B. 2 Steane[11] remarked, "it seems absurd to dismiss all of these Elizabethan rumours and accusations as 'the Marlowe myth'"[12] James Burbage, or Burbadge (1531 – 1597) was an English actor, theatre impresario, and theatre builder in the English Renaissance theatre. He built The Theatre, the facility famous as the first permanent dedicated theatre built in England since Roman times. Burbage seems also to have been involved in the erection of the Curtain Theatre, and, later, the Blackfriars Theatre, built in 1596 near the old Dominican friary. Layout Exterior of the modern reproduction of the Globe The Globe's actual dimensions are unknown, but its shape and size can be approximated from scholarly inquiry over the last two centuries.[13] The evidence suggests that it was a three-storey, open-air amphitheatre approximately 100 feet (30 m) in diameter that could house up to 3,000 spectators.[14] The Globe is shown as round on Wenceslas Hollar's sketch of the building, later incorporated into his engraved "Long View" of London in 1647. However, in 1988-89, the uncovering of a small part of the Globe's foundation suggested that it was a polygon of 20 sides.[15][1] At the base of the stage, there was an area called the pit,[16] (or, harking back to the old inn-yards, yard[17]) where, for a penny, people (the "groundlings") would stand on the rush-strewn earthen floor to watch the performance.[18] During the excavation of the Globe in 1989 a layer of nutshells was found, pressed into the dirt flooring so as to form a new surface layer.[6] Around the yard were three levels of stadium-style seats, which were more expensive than standing room. Interior of the modern reconstruction A rectangle stage platform, also known as an 'apron stage', thrust out into the middle of the open-air yard. The stage measured approximately 43 feet (13.1 m) in width, 27 feet (8.2 m) in depth and was raised about 5 feet (1.5 m) off the ground. On this stage, there was a trap door for use by performers to enter from the "cellarage" area beneath the stage.[19] Large columns on either side of the stage supported a roof over the rear portion of the stage. The ceiling under this roof was called the "heavens," and was painted with clouds and the sky.[1] A trap door in the heavens enabled performers to descend using some form of rope and harness. The back wall of the stage 3 had two or three doors on the main level, with a curtained inner stage in the centre and a balcony above it. The doors entered into the "tiring house" (backstage area) where the actors dressed and awaited their entrances. The balcony housed the musicians and could also be used for scenes requiring an upper space, such as the balcony scene in Romeo and Juliet. Rush matting covered the stage, although this may only have been used if the setting of the play demanded it.[11] Now, if you want to know more about the Elizabethan times, visit the site written below: http://www.elizabethan-era.org.uk/james-burbage.htm The Globe Up Close This is it. The original idea for this project came from Sam Wannamaker who began raising money for the project in 1970 when he established the Shakespeare's Globe Playhouse Trust. It took 17 years to find a site, but construction began bankside in 1987 on a site just a few blocks from the original Globe Theatre (which now rests, unfortunately, under a large office building). Ten years of construction, done with traditional materials and techniques, has produced the Theatre as well as a complex of buildings which house restaurants, gift shops, exhibition space and offices. Work continues and when all is finished there will also be an indoor theatre based upon an original design by Inigo Jones as well as a huge exhibition and education centre underneath the current complex. 4 The Globe: An Insider's View (All Pictures Copyright 2000 by Rosalind Tedford) The Stage at the Globe Side View of the Stage Here's the stage. Impressive, huh? The design for the stage is based upon what scholars know about staging in Elizabethan plays. There is the balcony, of course, which occurs in so many of Shakespeare's plays. The painting on the underside of the roof is called "the heavens" and represents the sky. There are three entrance doors below and two above. The stage sits up about 5 feet off the ground (notice the man standing in front) to allow the groundlings (pictures below) to see what was going on (also to facilitate a trap door in the floor of the stage). For more about the staging of Elizabethan plays, visit the Globe's homepage. Here is the stage from the side. This is where I sat for the performance of Winter's Tale. It gave me a great view of the actors as well as the audience and let me sit under shelter which, considering it was raining most of the performance, was a good thing. It also let me watch the audience which was interesting. As you can see this was not a traditional performance of Winter's Tale (unless rubber tires were Elizabethan). The Globe does one traditional performance a season. This means traditional 5 everything right down to having males portray the female characters. The other shows they do are more experimental. The seats on either side of the stage on the second level are where the Queen sat and are considered the best seats in the house (therefore the most expensive), but I would argue that point. I liked being down closer to the action. The Gallery During Performance Here you see the gallery as it fills up for the performance. The Globe can seat 1500 people. 1000 of these are in the gallery seats and 500 can stand in the groundlings section. Many of the people who were seated, however, came down to the groundlings section for part of the play just to see what it was like. The seats are strictly wooden benches, but if you get on the back row you can lean back. Pillows to make the seats a bit more comfortable are available for a small fee. The Globe is the first building in London to be built with a thatched roof since the great fire of London in the 1600s. The thatch is sprayed with fire retardant chemicals, as is the wood in the theatre, but otherwise is just as it would have been in Shakespeare's day. 6 The Empty Gallery Here is another view of the Gallery before the crowds arrived. As you can see, it is three levels high. All of the beams are made of oak and were assembled just as they might have been in Shakespeare's day. No metal in sight. Some concessions had to be made for modern day building codes but they have kept the space as authentic as possible. Lighted exit signs, a sprinkler system (well camouflaged I might add) and the incorporation of fire retardant material into the stucco all had to be done. Otherwise, the space is eerily like stepping back in time. Eventually, the groundling area, now just a concrete space sloping down to a drain to keep rain water from pooling, will be covered with nutshells which apparently graced the floor of Elizabethan theatres. Groundling seats are five pounds (about $7.50) each and the gallery seats range from ten to twenty-five pounds ($15 to $45). Still cheaper than a Broadway show by a long shot!. Tours of the Theatre are constantly in progress and include a tour of the exhibition area, currently housed in what will be the Inigo Jones Theatre. When the exhibition space under the Globe is 7 complete, there will be a standing exhibition about the original Globe and the construction of this new one. The Groundling Area Here is a better view of the groundling area. The performance I attended was not sold out so some of the groundlings sat down. During the play, vendors wander around selling food and drinks. This is in keeping with accounts of performances from Elizabethan England. I suspect we pay more now than they did, but the feel is still there. There is no artificial lighting during performances which are all given during the day and early evenings. This means that the actors are face to face with their audience at all times. This leads to more actor/audience interaction than most of us are used to, but performances are delightfully unpredictable. 8