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luís soares

Blog do escritor Luís Soares

Dear Mr. Shakespeare

Dear Mr. Shakespeare from Shola Amoo on Vimeo.

A reinterpretation of Shakespeare's Othello

An exploration of Shakespeare's intentions when writing Othello, exploring the play's racial themes in a historical and contemporary setting and drawing wider parallels between immigration and blackness in the UK today.

Released on The Guardian Website
https://www.theguardian.com/stage/video/2016/oct/07/love-hate-relationship-with-othello-ashley-thomas-bashy-phoebe-boswell-video

Director: Shola Amoo
Producer: Rienkje Attoh
Writer/Artist: Phoebe Boswell
Othello: Ashley Thomas
Desdemona: Elisa Lasowski
Spirit: Lanre Malaolu
Nigerian Queen: Tega Okiti
DP: Stil Williams
Editor: Mdhamiri A Nkemi
Composer: Segun Akinola
Art Department: Tamar Clarke Brown
Sound Design: Nikola Medic
Location Sound: Phil Hutchins
Grade: Johny Tulley
Costume: Jeffrey Michael
Steadicam: Andrew Bainbridge
Make Up: Sheeba Raye
1st AD: Kole Onil

Concerning Westworld

SCENE VI. Friar Laurence's cell.
 

     Enter FRIAR LAURENCE and ROMEO


FRIAR LAURENCE

So smile the heavens upon this holy act,
That after hours with sorrow chide us not!

 

ROMEO

Amen, amen! but come what sorrow can,
It cannot countervail the exchange of joy
That one short minute gives me in her sight:
Do thou but close our hands with holy words,
Then love-devouring death do what he dare;
It is enough I may but call her mine.

 

FRIAR LAURENCE

These violent delights have violent ends
And in their triumph die, like fire and powder,
Which as they kiss consume: the sweetest honey
Is loathsome in his own deliciousness
And in the taste confounds the appetite:
Therefore love moderately; long love doth so;
Too swift arrives as tardy as too slow.

     Enter JULIET

Here comes the lady: O, so light a foot
Will ne'er wear out the everlasting flint:
A lover may bestride the gossamer
That idles in the wanton summer air,
And yet not fall; so light is vanity.

 

JULIET

Good even to my ghostly confessor.

 

FRIAR LAURENCE

Romeo shall thank thee, daughter, for us both.

 

JULIET

As much to him, else is his thanks too much.

 

ROMEO

Ah, Juliet, if the measure of thy joy
Be heap'd like mine and that thy skill be more
To blazon it, then sweeten with thy breath
This neighbour air, and let rich music's tongue
Unfold the imagined happiness that both
Receive in either by this dear encounter.

 

JULIET

Conceit, more rich in matter than in words,
Brags of his substance, not of ornament:
They are but beggars that can count their worth;
But my true love is grown to such excess
I cannot sum up sum of half my wealth.

 

FRIAR LAURENCE

Come, come with me, and we will make short work;
For, by your leaves, you shall not stay alone
Till holy church incorporate two in one.


    Exeunt

Dobrinka Tabakova - Immortal Shakespeare

Performed by Orchestra of the Swan, Tamsin Waley-Cohen- violin, conducted by David Curtis

Holy Trinity Church, Stratford-upon-Avon 21 April 2016 - Part of Shakespeare 400 commemorations

Immortal Shakespeare
Choral symphony for choir and orchestra

Prelude (00'54)
I. Brave new world (03'56)
II. To thine own self be true (08'31)
III. Never doubt I love (14'04)
IV. Be fire with fire (21'35)
V./VI. Truth will come to light / All the world’s a stage (24'08)
VII. Set me free (27'30)
Postlude (Stay passenger) (32'10)

The choral symphony 'Immortal Shakespeare' brings together three artistic strands- words, visuals and music, in celebration of the timeless words of the Bard. Key to the project are a series of sketches made by J.M.W. Turner on a visit to Stratford-upon-Avon in 1833, which I came across when researching this commission in 2011. The sketches can be arranged to form a journey from birthplace to resting place and on one of these Turner inscribes ‘The Immortal Shakespeare was born in this house’, which gave the title of this choral symphony.

The birthplace to resting place idea is mirrored in the choice of text, as I took Jacques’ famous monologue and compiled a selection of texts from Shakespeare’s plays which chart the seven ages of man: from Infant to Old Age. The final hymn sets the words on Shakespeare's funerary monument at Holy Trinity Church, where the work received its premiere.

The work is commissioned by Orchestra of the Swan and Sorel Organization, with special gratitude to Tate Britain for permission to display some of the sketches and Dominic Dromgoole (Artistic Director, Shakespeare's Globe) for his insightful guidance during the choice of text.

And Brutus is an honourable man.

To mark the 400th anniversary of Shakespeare’s death, we asked leading actors to perform key speeches from his plays. Here, Damian Lewis performs Antony’s lines from act III, scene 2 of Julius Caesar. Antony has been granted permission to speak at Caesar’s funeral so long as he does not implicate the conspirators in his death, but he skilfully turns the crowd against them

All the world's a stage...

To mark the 400th anniversary of Shakespeare’s death, we asked leading actors to perform key speeches from his plays. Here, Zawe Ashton speaks Jacques’s lines on the seven ages of man from Act II, Scene 7 of As You Like It

Our revels now are ended.

David Threlfall speaks Prospero’s lines from The Tempest, act IV, scene 1. As a masque comes to its close, the sorcerer contemplates the end of life – and the playwright, perhaps, considers the end of his career.

 

Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve
And, like this insubstantial pageant faded,
Leave not a rack behind. We are such stuff
As dreams are made on, and our little life
Is rounded with a sleep.

68 horas de Shakespeare

Descoberto (via José Afonso Furtado) no Open Culture:

Even among the thousands of English-language adaptations of Shakespeare’s work we find an international diversity of speech. The Spotify playlist above, brought to us by Ulysses Classical (makers of the Stanley Kubrick Playlist), presents a huge collection of recorded Shakespeare plays and poems, as well as the scores and incidental music for English-language productions. The actors represented–Sirs Gielgud, Olivier, and McKellen, Derek Jacobi, Edith Evans–are mostly English stage royalty, but we also have Welsh poet Dylan Thomas and actor Richard Burton, and Americans Paul Robeson, Rosalind Russell, and Orson Welles. The value of such a collection is inestimable–68 hours of Shakespeare read and performed by some of the world’s finest actors.

You can access the Spotify playlist on the web here. If you need to download Spotify, find it here.