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A television production of Act IV of The Tempest - the masque scene. Using the devices and effects of television, it aims to represent the sense of magic perhaps perceived by earlier audiences.
Professor Robert Weimann of the Kunst Akademie, East Berlin, surveys the reception of Shakespeare’s plays in continental Europe over the last three centuries. As an example he looks at Hamlet.
Continues the theme of the first ‘Hamlet’ workshop by further examining the relationship between the soliloquies and the dynamic political moments of the play. Director John Russell Brown works on Act II...
Looking at the character of Isabella, and focusing on Act II Scene 2, the workshop attempts to show how Isabella is a far more passionate and complex character than the cold and puritanical woman who is...
Continues the examination of Isabella’s character, looking at Act III, Scene i in which she visits her brother Claudio in jail in order to tell him that he must die. Director John Russell-Brown works...
Professor Glynne Wickham looks at the latest proposals to reconstruct Shakespeare’s Globe Theatre near its original site in Southwark, examining the historical evidence for the construction of theatres in...
Professor G.K. Hunter places Henry IV Parts 1 and 2 within the cycle of Shakespeare’s history plays and examines Shakespeare’s achievement in them.
Professor A.D. Nuttall examines how, in his last plays Shakespeare turns to the world of fairy tale in contrast to the realism of his earlier works.
This workshop, based on Act II iii, shows how a group of experienced actors, with relatively little input from a director, set about developing a strategy to preserve the comic tone of the scene, while not...
The workshop examines one of the many short, crowded scenes of the play, in which Antony takes his leave of Cleopatra before going into battle with Caesar. Director John Russell-Brown works with James...
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