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Shakespeare also used groundlings widely in his plays. The use of groundlings "saved the drama from academic stiffness and preserved its essential bias towards entertainment in comedy". [24] Hamlet is an outstanding example of "groundlings" quickness and response. [24] Use of groundlings enhanced Shakespeare's work practically and artistically.
Vaughan Williams was engaged to write incidental music at Stratford between 1912 and 1913. Rosabel Watson directed and arranged music for many productions at Stratford and elsewhere. [3] A Shakespeare Music Catalogue (1991) lists over 20,000 items of theatrical and non-theatrical music associated with Shakespeare, much of it unpublished. [4]
Realism was a general movement that began in 19th-century theatre, around the 1870s, and remained present through much of the 20th century. 19th-century realism is closely connected to the development of modern drama, which "is usually said to have begun in the early 1870s" with the "middle-period" work of the Norwegian dramatist Henrik Ibsen ...
In fantasy, the presence of the supernatural code is perceived as problematic, something that draws special attention—where in magical realism, the presence of the supernatural is accepted. In fantasy, while authorial reticence creates a disturbing effect on the reader, it works to integrate the supernatural into the natural framework in ...
Shakespeare remains arguably the most influential writer in the English language, and his works continue to be studied and reinterpreted. Shakespeare was born and raised in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children: Susanna, and twins Hamnet and Judith.
Pages in category "Music based on works by William Shakespeare" The following 10 pages are in this category, out of 10 total. This list may not reflect recent changes .
The ghost scenes, indeed, were particular favorites of an age on the verge of the Gothic revival. Early in the century, George Stubbes noted Shakespeare's use of Horatio's incredulity to make the Ghost credible. [17] At midcentury, Arthur Murphy described the play as a sort of poetic representation of the mind of a "weak and melancholy person."
In Shakespeare's The Merchant of Venice, Portia exclaims "Let music sound while he doth make his choice; / Then, if he lose, he makes a swan-like end, / Fading in music." [16] Similarly, in Othello, the dying Emilia exclaims, "I will play the swan, / And die in music." [17]