Titus Andronicus & Timon of Athens (Modern Library Classics)

Titus Andronicus & Timon of Athens (Modern Library Classics)

William Shakespeare

Language: English

Pages: 352

ISBN: 0812969359

Format: PDF / Kindle (mobi) / ePub

“These words are razors to my wounded heart.”
—Titus Andronicus
“We have seen better days.”
—Timon of Athens
Eminent Shakespearean scholars Jonathan Bate and Eric Rasmussen provide fresh new editions of the two great tragedies: Titus Adronicus, a graphic story of revenge, and Timon of Athens, a cautionary tale about false friends and unearned loyalty.
• original Introductions to Titus Andronicus and Timon of Athens
• incisive scene-by-scene synopsis and analysis with vital facts about the work
• commentary on past and current productions based on interviews with leading directors, actors, and designers
• photographs of key RSC productions
• an overview of Shakespeare’s theatrical career and chronology of his plays
Ideal for students, theater professionals, and general readers, these modern and accessible editions from the Royal Shakespeare Company set a new standard in Shakespearean literature for the twenty-first century.

The Life and Death of King John (The Complete Shakespeare Translated by Liang Shiqiu, Book 15) (Bilingual Edition)

The Comedy Errors (The Complete Shakespeare Translated by Liang Shiqiu, Book 5) (Bilingual Edition)

Queen Margot: A Play In Five Acts

Faust: A Tragedy, Parts One and Two, Fully Revised




















support him as they hold Lucius dear, but Tamora sends Emillius to summon Lucius to Titus’ home for peace talks. In the meantime, Tamora resolves to go to Titus, who she thinks mad, to try to manipulate him into ensuring Lucius attends the summit, hinting that it will be “dangerous” for the Andronici to believe her “sweet” words. ACT 5 SCENE 1 In the camp of the Goths, Lucius says he has received letters importing the Roman people’s support for him and hatred of Saturninus. The Goths state

opening highlighted the theatrical experience, and, by markedly closing the doors on the world outside, the audience also became part of the experience, immersing themselves in the world of the play, which in this instance was designed as a Gothic fantasy or beautiful nightmarish vision. When the action onstage began, the visual formula gradually disappeared and the players took on their carefully choreographed and symbolic moves and stances—from chaos to structure. Ninagawa, like Shakespeare,

ALCIBIADES    I see them now: then was a blessèd time. TIMON    As thine is now, held with a brace82 of harlots. TIMANDRA    Is this th’Athenian minion83 whom the world Voiced so regardfully?84 TIMON    Art thou Timandra? TIMANDRA    Yes. TIMON    Be a whore still. They love thee not that use87 thee: Give them diseases, leaving with thee their lust. Make use of thy salt hours: season89 the slaves For tubs and baths90, bring down rose-cheeked youth To the tub-fast91 and the diet.

intensity of his later satire and nihilism was squarely faced. Also, Alcibiades was simplified and made a noble hero.76 Samuel Phelps’s production at Sadler’s Wells in 1851, and revived five years later, was the most successful and the most complete version of Shakespeare’s play to date, cutting only 20 percent of the lines and including all Shakespeare’s characters except the Fool. Praise was again accorded the spectacular panoramic scenery and Phelps’s performance as Timon, but even more to

least by Shakespeare in Love and the opening sequence of Laurence Olivier’s Henry V film, the penny-paying groundlings stand in the yard hurling abuse or encouragement and hazelnuts or orange peel at the actors, while the sophisticates in the covered galleries appreciate Shakespeare’s soaring poetry. The reality was probably the other way around. A “groundling” was a kind of fish, so the nickname suggests the penny audience standing below the level of the stage and gazing in silent open-mouthed

Download sample


Comments are closed.