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Sonnet 73 by Shakespeare

Sonnet 73 By WWilliam Shakespeare (1609)

autumn-dance

That time of year thou mayst in me behold

When yellow leaves none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruined choirs, where late the sweet birds sang.

In me thou see’st the twilight of such day

As after sunset fadeth in the west;

Which by and by black night doth take away,

Death’s second self, that seals up all in rest.In me thou see’st the glowing of such fire,

That on the ashes of his youth doth lie,

As the deathbed whereon it must expire,

Consumed with that which it was nourished by.

This thou perceiv’st, which makes thy love more strong,

To love that well which thou must leave ere long.

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Publicado por en noviembre 3, 2014 en Poems, Shakespeare

 

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“This is the winter of our discontent” … and Martin Freeman was Richard III

“This is the winter of our discontent” … and Martin Freeman was Richard III

Transformed Trafalgar is located in the heart of London, five minutes from the famous Trafalgar Square in the iconic Trafalgar Studios in Whitehall. His second season started full of politically-charged, with an amazing new production of Richard III, the historical play written approximately in 1952 by William Shakespeare. Directed by James Lloyd and the wonderful actor Martin  Freeman as the undisputed star in the role of Richard III, this peculiar adaptation reached its final performance on 27 September with great public success and moderated criticism.

If who had the opportunity to see it thought at some point that they were going to find a classic and entirely conventional adaptation of Richard III by Shakespeare, I am totally convinced that changed their opinion as the play began. They have found a vibrant, innovative, interesting and exciting production. Just needed to open the mind and let in this new approach to this classic. If in addition they got a front row seat, I hope you’d be careful with blood splatter (like me) in this bloody rise to power that undertakes Richard III.

If Iago allow me, I would say that Richard III could be the biggest villain in Shakespeare highlighting among many other things, for all those amusing moments and sinister scenes adorned with comicality in a long, dark and very bloody journey to his way to the throne. A character full of much literary wealth (as everything is in Shakespeare) always carries a risk and at the same time, a challenging to interpret in any environment.

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In this case, the challenge was released to splendid actor Martin Freeman who in my humble opinion of spectator has been able to give all that requires a character of these features, with the added difficulty involved in having located far from his natural period. This means that the director Jamie Lloyd decided to reinvent to Shakespeare and moving story of Richard III to Great Britain in 1970s, adapting the events at that time with the story written by Shakespeare.

Perhaps here is where it gets more risky this new production. This change was one of the most censored by critics but is just a part that I consider makes this production a referent. At first it overflows and you can feel confused by the drastic change in the environment in which the play takes place respect to the original. The setting is centered in an office and the building is located is established as the basis for the military have taken over in response to industrial and economic problems of the country, in which the characters talk, argue, give campaign speeches, fight and murder. The set design created by Soutra Gilmour is superb. It focuses on desktops, TVs, conference tables, office phones and aquariums that become an improvised battlefield, as the play progresses. Two elevators on both sides give input and output characters and situations, all in a frantic rhythm, where actors and especially Mr. Freeman interacts with the audience allowing them to share his purposes, in a tone of dark and perverse humor. A task which is particularly difficult to carry out for an actor without seeming forced, faked or lack of seriousness. Martin Freeman gets it perfectly.

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26DE0F00F-A8D0-681D-C07BA6CDAF149939Complete the production a group of actors and actresses difficult to forget for their brilliant work. I love this part of the theater that in giving you the opportunity to discover new names to form as part of your emotions lived under the magic of theater. Highlight the beautiful actress Gina McKee who knows how to express the anguish, anger and pain of a totally cornered woman as Queen Elizabeth.

Finally, I would end up talking a little more about Martin Freeman. His reputation about knowing how to give perfect rhythm and interesting approaches to texts comedy is more than deserved, just like his ability to make you shudder, terrifying and thrilling at the same time. He’s perfect, immense reciting lines from Shakespeare so mythical as “A horse! A horse! My kingdom for a horse!.”

In short, a show that may have gotten closer to a new audience and excited too old. With the legendary phrase: “Now is the winter of our discontent” Richard III begins his speech. In my case I would say this was the summer of my content, my theater, in my second home: London.

Thank you all for your time reading my reflections. I hope to able to forgive if with my poor English I have offended the word of the master Shakespeare.

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Publicado por en octubre 6, 2014 en Actors, Actresses, Shakespeare, Theatre

 

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Hollow Crown Fans – A great website and much more.

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What began as an admiration for a wonderful television series such as BBC Shakespeare Series “The Hollow Crown” starring Ben Whishaw, Jeremy Irons, Tom Hiddleston, Rory Kinnear and more, has become a benchmark to spread works by Shakespeare. In addition to its twitter account (@hollowcrownfans) and tumblr (http://hollowcrownfans.tumblr.com/), you can now follow them in its wonderful website (http://www.hollowcrownfans.com/). A complete and professional site which I recommend you if you would know more about this tv series, works by Shakespeare, actors and actresses who have represented his works, lastest news and much more.

If you like Shakespeare, this site is most recommended. Sure you find it very interesting, fun and educational.

In this PBS Video, the British actor Tom Hiddleston talking about The Hollow Crown, social media and what is #ShakespeareSunday.

 
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Publicado por en agosto 25, 2014 en Actors, Actresses, Shakespeare, Television

 

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Sonnet 71 – William Shakespeare

Sonnet 71 – William Shakespeare

Every year on April 23, Stratford-upon-Avon and the world celebrate the birth of the most famous playwright in English history. The year 2014 marked the 450th anniversary of his birth. The birth of the playwright is marked every April 23, but experts disagree on whether that is true, as some believe baptism records of April 26, 1564, suggests that he was born three days before, as was typical, but others say it could not have happened so quickly.
It matters little to us who love his work this little anecdote about his birth. William Shakespeare left us a legacy unprecedented and will continue to amaze and fascinate new generations.

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Soneto 71

Cuando haya muerto, llórame tan sólo
mientras escuches la campana triste,
anunciadora al mundo de mi fuga
del mundo vil hacia el gusano infame.
Y no evoques, si lees esta rima,
la mano que la escribe, pues te quiero
tanto que hasta tu olvido prefiriera
a saber que te amarga mi memoria.
Pero si acaso miras estos versos
cuando del barro nada me separe,
ni siquiera mi pobre nombre digas
y que tu amor conmigo se marchite,
para que el sabio en tu llorar no indague
y se burle de ti por el ausente.

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Sonnet 71

No longer mourn for me when I am dead
Than you shall hear the surly sullen bell

Give warning to the world that I am fled
From this vile world with vilest worms to dwell:
Nay, if you read this line, remember not
The hand that writ it, for I love you so,
That I in your sweet thoughts would be forgot,
If thinking on me then should make you woe.
O! if, I say, you look upon this verse,
When I perhaps compounded am with clay,
Do not so much as my poor name rehearse;
But let your love even with my life decay;
   Lest the wise world should look into your moan,
   And mock you with me after I am gone.

 
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Publicado por en abril 25, 2014 en Poems, Shakespeare

 

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The vision of King Lear by Sam Mendes & Simon Russell Beale

The vision of King Lear by Sam Mendes & Simon Russell Beale

Academy Award® winner Sam Mendes (James Bond: Skyfall, American Beauty) returned to the National Theatre to direct Simon Russell Beale (Timon of Athens, Collaborators) in the title role of Shakespeare’s tragedy (King Lear)

The NT programme contains a fine essay by the Shakespearean scholar (and RSC governor) Jonathan Bate, who quotes W B Yeats and reproduce part in this blog.

“The history of a whole evil time” by Jonathan Bate

The great Irish poe W.B. Yeats once wrote that “We think of King Lear less as the history of one man and his sorrows than as the history of a whole evil time.” The story of Lear and his division of the kingdoms was available to Shakespeare and his audience in many different sources, including an old play and a sequence in Edmund Spenser’s epic poem of legendary British history, The Faerie Queene. Shakespeare made many changes to the story he inherited, but none was more significant than his combining of Lear’s story with that of the Earl of Gloucester. This, too, was a reworking of someone else’s story – a tale about a blind king of Paphlagonia and his two sons in Sir Philip Sidney’s hugely influential romance Arcadia – but what is uniquely Shakespearean is the yoking of the two stories in a double plot. As the action progresses, the parallel lines converge: Lear chooses the wrong daughters, Gloucester the wrong son, and in the great scene above Dover cliff the mad man and the blind one come together to find wisdom about the way of the world.

Simon Russell Beale as King Lear. Photograph: Mark Douet

Simon Russell Beale as King Lear. Photograph: Mark Douet

It is this meeting above all that makes us see the play as “the history of a whole evil time,” a dramatisation not just of one man’s error but of civilization pushed to the brink of destruction. “Is this the promised end?” asks Kent. “Or image of that horror?” replies Edgar. We are on the brink of apocalypse. What is it that drives Lear to madness? The loss of his kingdom or the cruelty of his daughters? A wise critic in the eighteenth century argued that “Lear would move our compassion but little, did we not rather consider the injured father than the degraded king. “At one level, anyone with a family can sympathise with the dilemma possed by the play: is it the responsability of children, with families and careers of their own, to care for an aged widowed parent as dementia begins to set in? At another level, this is a lay about high politics and the renunciation of power. In that respect, the ideal audience member might be an ex-Prime Minister, ex-Chief Executive or, say, the retired head of some venerable institution such as an Oxford College: it’s not easy suddenly to step down, if one has been used to years of deference and decision-making. (Text by Jonathan Bate)

Anna Maxwell Martin (Regan) and Simon Russell Beale (Lear) © Mark Douet

Anna Maxwell Martin (Regan) and Simon Russell Beale (Lear)
© Mark Douet

King Lear will also be broadcast live to cinemas around the world on 1 May 2014 by National Theatre Live. Find out more here: http://www.nationaltheatre.org.uk/shows/king-lear

 

 
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Publicado por en marzo 21, 2014 en Actors, Actresses, Shakespeare, Theatre

 

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Macbeth: “A good man” played by Kenneth Branagh

Macbeth: “A good man” played by Kenneth Branagh

Kenneth Branagh‘s name has been mentioned several times in this blog and this will not be the last, that’s for sure. I feel a deep admiration for his work. One of my dreams, not yet completed, is to see him in the theater. Last year, Sir Kenneth Branagh played masterfully on stage to Shakespeare’s Macbeth. I had no chance to see it so I will refer to it stealing the words of some lucky yes they could.

The Manchester International Festival itself said:

His interpretation of Macbeth as good man declining into desolation and despair was exhilarating. Audiences sat inches from the action as sparks actually flew in the heat of battle.

Macbeth (Kenneth Branagh) y Lady Macbeth (Alex Kingston) - Foto de Johan Persson.

Macbeth (Kenneth Branagh) y Lady Macbeth (Alex Kingston) – Foto de Johan Persson.

New York Times:

Fast, furious and unstoppable, time keeps rushing forward in this Macbeth, knocking the breath out of everyone, audience included.

Directors Rob Ashford and Kenneth Branagh. Photo by Johan Persson.

Directors Rob Ashford and Kenneth Branagh.
Photo by Johan Persson.

 

Blood, mud, fire and rain filled the space in this St. Peter’s in Ancoats, a place never before used as a theater.

Here I leave the trailer of this production. A little piece of glory for those who could not live the emotion of being face to face with these great actors and actresses.

 

 
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Publicado por en marzo 2, 2014 en Actors, Shakespeare, Theatre

 

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Sonnet 23 – William Shakespeare

Sonnet 23 – William Shakespeare

SONNET 23

As an unperfect actor on the stage,
Who with his fear is put besides his part,
Or some fierce thing replete with too much rage,
Whose strength’s abundance weakens his own heart;
So I, for fear of trust, forget to say
The perfect ceremony of love’s rite,
And in mine own love’s strength seem to decay,
O’ercharg’d with burden of mine own love’s might.
O let my books be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love and look for recompense
More than that tongue that more hath more express’d.
   O, learn to read what silent love hath writ:
   To hear with eyes belongs to love’s fine wit.

 

 
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Publicado por en enero 13, 2014 en Shakespeare

 

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