Romeo and Juliet always use thou to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as thou, but no man ever does. Why? When characters address the dead, they use thou except for Hamlet, who addresses Yorick as you. Why? Shakespeares contemporaries would have known the answers to these questions because they understood what thou signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of trulls and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the authors experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.
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Penelope Freedman is a teacher and academic with a background both in linguistics and in theatre. With a first degree in Classics from Oxford, an MA in Linguistics from the University of Kent and a PhD on Shakespeare from Birmingham University, she has been a lecturer at Kent and Warwick universities, as well as at The Shakespeare Institute, University of Birmingham, UK. She has also directed several Shakespeare productions and played eight of Shakespeare’s heroines.
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Paperback. Condition: new. Paperback. Romeo and Juliet always use thou to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as thou, but no man ever does. Why? When characters address the dead, they use thou except for Hamlet, who addresses Yorick as you. Why? Shakespeares contemporaries would have known the answers to these questions because they understood what thou signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of trulls and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lese-majeste, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the authors experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. Seller Inventory # 9781350118676
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Paperback. Condition: New. Romeo and Juliet always use 'thou' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as 'thou', but no man ever does. Why? When characters address the dead, they use 'thou' - except for Hamlet, who addresses Yorick as 'you'. Why? Shakespeare's contemporaries would have known the answers to these questions because they understood what 'thou' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of 'trulls' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author's experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity. Seller Inventory # LU-9781350118676
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