And I just think that to introduce an unknown Shakespeare is thrilling, too - not to do Hamlet or Romeo and Juliet, to do the richer Shakespeare. People will come to this and not know the story.
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In approaching our subject it will be best, without attempting to shorten the path by referring to famous theories of the drama, to start directly from the facts, and to collect from them gradually an idea of Shakespearean Tragedy.
Tales of power and ambition and intrigue and betrayal and desire - when you're telling those in a big way, you automatically want to go to Shakespeare.
I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
There are a lot of theories about Shakespeare.
Most people, even among those who know Shakespeare well and come into real contact with his mind, are inclined to isolate and exaggerate some one aspect of the tragic fact.
It's like saying French shouldn't be taught because you don't understand it because it's new. Shakespeare is just like learning a new, exciting language.
You can find more traditional Shakespeare than we do. But what we want to bring to these works is energy, passion, freshness.
Anything one can do to provoke and inspire an interest in the works of Shakespeare in a young audience is fair game. Anything.
Shakespeare is rich and beautiful, and it can be an amazing experience to read and to watch and to work on.
English dramatic literature is, of course, dominated by Shakespeare; and it is almost inevitable that an English reader should measure the value of other poetic drama by the standards which Shakespeare has already implanted in his mind.
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