Shakespeare
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The Rogue’s Guide to Shakespeare on Film #19: Coriolanus (2011)
#19. Coriolanus (2011) If, like me, you’re an American with a functioning cortex, then the current political climate looks dire, with presidential candidates presented to the public precisely like any other capitalistic commodity by public relations and branding firms, with an almost absolute loathing for polysyllabic words or anything resembling actual ideas, plans,or philosophies about… Continue reading
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Episode 196: Joe Vincent!
Episode 196 of The Drunken Odyssey, your favorite podcast about creative writing, literature, and drinking, is available on iTunes, or right click here to download. In this week’s episode, I interview the actor Joe Vincent, Plus John McMahon writes about how Moby Dick changed his life. TEXTS DISCUSSED NOTES Check out Orlando Shakespeare Theater’s current offerings, and use the discount code mentioned at the… Continue reading
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Shakespearing #41: OST’s Modern Verse Translation of Pericles
Shakespearing #41 by John King Orlando Shakespeare Theater’s Modern Verse Translation of Pericles Orlando Shakespeare Theater’s second Shakespeare offering of the 2015-2016 season is Pericles, rendered into a modern verse translation by Ellen McLaughlin. This translation is part of a larger project called Play on! that will offer modern translations of all of Shakespeare’s plays.… Continue reading
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The Rogue’s Guide to Shakespeare on Film #18: The Worst Production I’ve Ever Seen (An Interlude)
#18. The Worst Production I’ve Ever Seen (An Interlude) Well, dear readers, your rogue has been delinquent these last few weeks, while he was in the throes of preparation for Litlando, which was I daresay a smash. Part of the problem with my next post is that I reached a pique of condemnatory rhetoric last… Continue reading
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Shakespearing #41: OST’s The Tempest
One of my articles of literary faith is that Shakespeare is the best writer who has ever lived. A related article of literary faith is that few of my writer friends quite understand this because they think Shakespeare can’t really be understood, or play in an authentic way. They think this because their curiosity has not survived trying… Continue reading
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The Rogue’s Guide to Shakespeare on Film #17: Love’s Labour’s Lost (2000)
#17: Love’s Labour’s Lost (2000) Oh fuck. Fuck. I mean: shit. Don’t see this movie. Don’t see this movie unless you are totally high. Okay, let’s consider what Branagh tried to do with Love’s Labour’s Lost. This adaptation presented the Shakespeare comedy as a Hollywood musical from the late 1930s, in which Shakespeare’s language is interrupted… Continue reading
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The Rogue’s Guide to Shakespeare on Film #16: As You Like It (2006)
#16. As You Like It (2006) Some enthusiastic newbies to Shakespeare crave an authentically Shakespearean experience, something satisfyingly old-looking, true to history, and they will primly turn their nose up at productions that have the gall to change the setting of a play. This is a truly silly position. Oh, there isn’t anything terribly wrong… Continue reading
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The Rogue’s Guide to Shakespeare on Film #15: Othello (1995)
#15. Othello (1995) If we can agree, dear readers, that Olivier’s Richard III (1955) is both perfect and, in its own way, a bit old-fashioned, Oliver Parker’s Othello (1995) manages to treat the tragedy realistically, with some degree of historical accuracy and dramatic poignancy, so that the story seems timeless, which is a feeble word we use to describe… Continue reading
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The Rogue’s Guide to Shakespeare on Film #14: Richard III (1955)
#14. Richard III (1955) I’ve decided to deviate from my survey of Kenneth Branagh films lest this guide get too tedious, especially since his miserable Love’s Labour Lost is lurking for me like some malicious ghost. (The very prospect scared me away for a month.) Instead, I pivot to that first British actor and director… Continue reading
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The Rogue’s Guide to Shakespeare on Film #13: A Midwinter’s Tale
#13: A Midwinter’s Tale (1996) If Kenneth Branagh’s Hamlet is a luxury train under the blithe control of an engineer who’s uninterested in whether his cargo stays on board while shooting through an icy landscape, then the engineer of A Midwinter’s Tale cares not only about his passengers, but their baggage as well. Oh, in England… Continue reading
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The Drunken Odyssey is a forum to discuss all aspects of the writing process, in a variety of genres, in order to foster a greater community among writers.
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