In the Hamlet musical from the Gilligan's Island episode, "The Producer", Gilligan, as Hamlet, sings a variation of the "To Be or Not To Be" soliloquy to the tune of Habanera from Bizet's Carmen!This is very entertaining and highly recommended!
Music composed by Galt MacDermot. 
Hamlet is the Prince of Denmark. His heart is filled with sadness and pain. Only his two best friends know the true reason. Hamlet is one of the most famous plays in the world. It is as true and alive today as it was 400 years ago.
The teacher's factsheets and answers are added to the end of the file.
Ed McBain 87th Precinct 54. Hark! (2004)The 87th Precinct gets a visit from one of the city's most accomplished criminals -- a thief known as the Deaf Man. Because he might be deaf. Or he might not. So little is known about the man who is harassing Detective Steve Carella with puzzling messages that it is hard to tell. But as soon as a pattern emerges, the detectives of the 87th are forced to hit the books and brush up on their Shakespeare -- because each new clue contains a line from one of his works. Unless they can crack the complicated riddles and beat the Deaf Man at his own cat-and-mouse game, someone is going to end up hurt, or something will be stolen -- or both. It's always so hard to tell with the Deaf Man.Download:
http://www.megaupload.com/?d=Q0T4ZGHQ
Shakespeare Wallah
The Oxford Companion To ShakespeareFrom the conjectured identity of the Dark Lady of the Sonnets to misprints in the First Folio, from Shakespeare's favorite figures of speech to the staging of Othello in South Africa, The Oxford Companion to Shakespeare offers the most comprehensive coverage available on all aspects of Shakespeare's life and works.
* Illustrated with more than 100 photographs and boasting contributions from a team of internationally renowned scholars (including such noted Shakespeare authorities as Helen Vendler, Park Honan, and Jonathan Bate), the Companion has more than 3,000 entries that offer succinct, stimulating, and authoritative commentary on Shakespeare's life and times, his plays and poems, and their interpretation around the world over the last four centuries.
* All Shakespeare's plays--from As You Like It and All's Well that Ends Well to King Lear and Hamlet--are covered in major articles.
* There are concise descriptions of allusions in Shakespeare (Ajax, Agamemnon), well-known critics (Samuel Johnson, John Dryden), great Shakespearian actors (Richard Burbage, Lawrence Olivier, Kenneth Branagh), characters in the plays (Mercutio, Ophelia), figures of speech (metaphor, metonymy, oxymoron), and much more.
* Longer articles explore topics such as Shakespeare's birthplace, censorship, the Chamberlain's Men, film, and Shakespeare's reception in such countries as China, Italy, and the United States.
* Bringing its readers up to date not only with the latest in Shakespearian scholarship and controversy but with the plays' most recent incarnations on stage, film, and in international popular culture, this is the perfect companion to Shakespeare's works, covering everything from Aaron to Zeffirelli, and from Shakespeare in schools to Shakespeare in Love.
If music be the food of love, play on...
On the twelfth night of Christmas, my true love gave to me... a soundtrack that's practically impossible to find! A friend has been searching for the soundtrack for the 1996 version of William Shakespeare's "Twelfth Night: Or What You Will," but the album received a limited pressing, it's long out of print and sells for astronomical prices. I didn't think I was gonna find it -- until I stumbled into a site where Lareinenoire quite graciously uploaded it for me. Far be it from me to sit on something that's so rare. So Chadrenne, merry Christmas, and Lareinenoire, thanks again!
The score is by Shaun Davey and star Ben Kingsley sings on more than a handful of tracks. I'm usually not a big fan of Shakespeare (with the exception of the demented "Theatre of Blood"... and "Strange Brew!"), but after hearing this, I think I need to see the movie!
This lively Companion is a collection of critical and historical essays on the films adapted from, and inspired by, Shakespeare's plays. Leading scholars discuss Shakespearean films from a variety of perspectives--as works of art in their own right, as products of the international movie industry, in relation to cinematic and theatrical genres, and as the work of particular directors from Laurence Olivier and Orson Welles to Franco Zeffirelli and Kenneth Branagh. The volume includes strong coverage of adaptations of Hamlet, Richard III, Macbeth, King Lear and Romeo and Juliet.
Shakespeare's works are now performed for an increasingly diversified cultural market. At the start of the twenty-first century, film, video, and live performance have overtaken the printed book as the main way people are introduced to Shakespeare. Therefore, is there any reason to read Shakespeare's plays anymore? The essays in this volume explore the question and the institutional practices that shape contemporary performances of Shakespeare's plays. The book gathers together a particularly strong line-up of contributors from across the literary-performative divide to examine the relationship between Shakespeare, the "culture industries," modernism, and live performance.
Here Mary Thomas Crane considers the brain as a site where body and culture meet to form the subject and its expression in language. Taking Shakespeare as her case study, she boldly demonstrates the explanatory power of cognitive theory--a theory which argues that language is produced by a reciprocal interaction of body and environment, brain and culture, and which refocuses attention on the role of the author in the making of meaning. Crane reveals in Shakespeare's texts a web of structures and categories through which meaning is created. The approach yields fresh insights into a wide range of his plays, including The Comedy of Errors, As You Like It, Twelfth Night, Hamlet, Measure for Measure, and The Tempest.
Crane's cognitive reading traces the complex interactions of cultural and cognitive determinants of meaning as they play themselves out in Shakespeare's texts. She shows how each play centers on a word or words conveying multiple meanings (such as "act," "pinch," "pregnant," "villain and clown"), and how each cluster has been shaped by early modern ideological formations. The book also chronicles the playwright's developing response to the material conditions of subject formation in early modern England. Crane reveals that Shakespeare in his comedies first explored the social spaces within which the subject is formed, such as the home, class hierarchy, and romantic courtship. His later plays reveal a greater preoccupation with how the self is formed within the body, as the embodied mind seeks to make sense of and negotiate its physical and social environment.
Peter Brook's career, beginning in the 1940s with radical productions of Shakespeare with a modern experimental sensibility and continuing to his recent work in the worlds of opera and epic theater, makes him perhaps the most influential director of the 20th century. Cofounder of the Royal Shakespeare Company and director of the International Center for Theater Research in Paris, perhaps Brook's greatest legacy will be The Empty Space. His 1968 book divides the theatrical landscape, as Brook saw it, into four different types: the Deadly Theater (the conventional theater, formulaic and unsatisfying), the Holy Theater (which seeks to rediscover ritual and drama's spiritual dimension, best expressed by the writings of Artaud and the work of director Jerzy Grotowski), the Rough Theater (a theater of the people, against pretension and full of noise and action, best typified by the Elizabethan theater), and the Immediate Theater, which Brook identifies his own career with, an attempt to discover a fluid and ever-changing style that emphasizes the joy of the theatrical experience. What differentiates Brook's writing from so many other theatrical gurus is its extraordinary clarity. His gentle illumination of the four types of theater is conversational, even chatty, and though passionately felt, it's entirely lacking in the sort of didactic bombast that flaws many similar texts.
What existed before there was a subject known as English? How did English eventually come about? Focusing specifically on Shakespeare's role in the origins of the subject, Neil Rhodes addresses the evolution of English from the early modern period up to the late eighteenth century. He deals with the kinds of literary and educational practices that would have formed Shakespeare's experience and shaped his work and traces the origins of English in certain aspects of the educational regime that existed before English literature became an established part of the curriculum. Rhodes then presents Shakespeare both as a product of Renaissance rhetorical teaching and as an agent of the transformation of English in the eighteenth century into the subject that emerged as the modern study of English.http://rs311l33.rapidshare.com/files/101259295/Shand_Origins_of_En.rar
By transferring terms from contemporary disciplines, such as 'media studies' and "creative writing", or the technology of computing, to earlier cultural contexts Rhodes aims both to invite further reflection on the nature of the practices themselves, and also to offer new ways of thinking about their relationship to the discipline of English. Shakespeare and the Origins of English attempts not only an explanation of where English came from, but suggests how some of the things that we do now in the name of "English" might usefully be understood in a wider historical perspective. By extending our view of its past, we may achieve a clearer view of its future.
The Boys from Syracuse is a musical with music by Richard Rodgers and lyrics by Lorenz Hart, based on William Shakespeare's play, The Comedy of Errors, as adapted by librettist George Abbott. The score includes swing and other contemporary rhythms of the 1930s. The show was the first musical based on a Shakespeare play.
Info from Wikipedia
Laurence Olivier is a synonym to Shakespearean cinema. Richard III is his masterpiece, shot in beautiful techicolor and Olivier himself delivers as Richard probably the best performance of his entire glorious career.English Language. Optional English Subtitles.
Three guys, one dead playwright, and 37 plays, all in under two hours. In this universally acclaimed theater experience, Adam Long (one of the troupe's founding members), Reed Marin, and Austin Tichenor manage to compress the complete works of Shakespeare into about an hour and 40 minutes of high-speed over-the-top hilarity. Knowledge about Shakespeare's works is helpful, but not at all necessary. All that is needed is time enough to watch and someone to dial 911 in case you pass out from laughing so much.http://rapidshare.com/files/77058263/The_Complete_Works_of_William_Shakespeare_Abridged.upped.by.MrFill.part1.rar
This is a delightful adaptation by Branagh. Bryce Dallas Howard as Rosalind is especially wonderful.