Lost plays
Pèças perdudas
Love's Labour's Won – a late sixteenth-century writer, Francis Meres, and a bookseller's list both include this title among Shakespeare's recent works, but no play of this title has survived.
Love's Labour's Won – un escrivan de la fin del sègle XVI, Francis Meres, e la lista del librari inclusisson ambedos aquel títol una òbras recenta de Shakespeare, mas pas d'exemplar d'aquel títol demorèt.
It may have become lost, or it may represent an alternative title of one of the plays listed above, such as Much Ado About Nothing or All's Well That Ends Well.
Pòt èsser perduda, o alara es un títol alternatiu de l'una de sas pèças, per exemple Much Ado About Nothing o All's Well That Ends Well.
Cardenio – the original of a late play by Shakespeare and Fletcher, referred to in several documents, has not survived.
Cardenio – L'original d'una pèça tardièra de Shakespeare e Fletcher, es listada dins diferents documents, subrevisquèt pas.
It is believed to have re-worked a tale in Cervantes' Don Quixote.
Se crei que retoquèt lo raconte de Cervantes Don Quichòte.
In 1727, Lewis Theobald produced a play he called Double Falshood, which he claimed to have adapted from three manuscripts of a lost play by Shakespeare that he did not name.
En 1727, Lewis Theobald redigiguèt una pèça nomenada Double Falshood, que pretendèt aver adaptat tres maniscrits d'una pèça perduda de Shakespeare que nomena pas.
Double Falshood does re-work the Cardenio story, and modern scholarship generally agrees that Double Falshood includes fragments of Shakespeare's lost play.
Double Falshood utiliza l'istòria de Cardenio, e la sabentura modèrna mai sovent accepta Double Falshood l'inclusissent dins los fragments d'una pèça perduda de Shakespeare.
Plays possibly by Shakespeare
Pèças possiblas de Shakespeare
In some cases the textual solution presents few difficulties.
Dins qualques cases la resolucion textuala presenta de dificultats.
In the case of Macbeth for example, scholars believe that someone (probably Thomas Middleton) adapted and shortened the original to produce the extant text published in the First Folio, but that remains our only authorised text. In others the text may have become manifestly corrupt or unreliable (Pericles or Timon of Athens) but no competing version exists.
Dins lo cas de Macbeth per example, los savents creson que qualqu'un (benlèu Thomas Middleton) adaptèt e acorchèt l'original per realizar lo tèxte existissent del Primièr Folio, mas aquòdemora lo sol tèxte autorizat.
The modern editor can only regularise and correct erroneous readings that have survived into the printed versions.
Endacòm mai lo tèxte a podut venir alterat e infidèl (Pericles o Timon of Athens) e pas d'autra version existís.
Edmund Ironside – possibly by Shakespeare Sir Thomas More – a collaborative work by several playwrights, including Shakespeare.
Edmund Ironside – belèu de Shakespeare Sir Thomas More – òbra collaborativa de mai d'un autor, que Shakespeare.
There is a "growing scholarly consensus"[29] that Shakespeare was called in to re-write a contentious scene in the play and that "Hand D" in the surviving manuscript is that of Shakespeare himself.[30]
Existís "un consens sabent creisent"[29] que Shakespeare foguèt assignat a la reescritura de la scèna dins la pèça e que la "Man D" dins lo manuscrit es del quita Shakespeare.[30]
Shakespeare and the textual problem
Shakespeare e lo problèma textual
Unlike his contemporary Ben Jonson, Shakespeare did not have direct involvement in publishing his plays and produced no overall authoritative version of his plays before he died.
Al contrari del sieus contemporanèu aguèt pas d'implicacion dirècta dins la publicacion de sas pèças e realizèt pas de version autorizada de sas pèças abans sa mort.
As a result, the problem of identifying what Shakespeare actually wrote is a major concern for most modern editions.
Alara, lo problèma d'idendificacion de çò que Shakespeare escriguèt vertadièrament es un subjècte màger de las edicions modèrnas.
One of the reasons there are textual problems is that there was no copyright of writings at the time.
Una de las rasons de l'existéncia dels problèmas textuals es qu'i aviá pas de drech d'autor a l'epòca.
As a result, Shakespeare and the playing companies he worked with did not distribute scripts of his plays, for fear that the plays would be stolen. This led to bootleg copies of his plays, which were often based on people trying to remember what Shakespeare had actually written.
Alara, Shakespeare e las tropas de teatre amb qui trabalhava distribuava pas de transcripcion de sas pèça, per pauc que se las pane. aquò mena a de copias piratas de las pèças, que son basadas sul trabalh de memòria de las gents qu'ensejan de se remembre çò que Shakespeare aviá escrich.
Textual corruptions also stemming from printers' errors, misreadings by compositors or simply wrongly scanned lines from the source material litter the Quartos and the First Folio.
Las corrupcions textualas tanben resultan de las decas dels estampaires, lectura erronèa dels compausaires or simplament mal destriament de las cadenas d'escritura portadas sul material font dels in quartos e del Primèr Folio.
Additionally, in an age before standardised spelling, Shakespeare often wrote a word several times in a different spelling, and this may have contributed to some of the transcribers' confusion.
Mai, abans l'estadardizacion ortografica, Shakespeare a vegada escriviá un meteis mot amb difetenta ortografas, çò que podèt contribuir a crear de confusions als transcriptors.
Modern editors have the task of reconstructing Shakespeare's original words and expurgating errors as far as possible.
Los editors modèrnes an per tòca de tornar los mots originals de Shakespeare e lavar las errors tant que se pòt.
The textual problem can, however, become rather complicated.
Lo problèma textual pòt, pasmens, venir mai complicat.
Modern scholarship now believes Shakespeare to have modified his plays through the years, sometimes leading to two existing versions of one play.
Los cercaires ara creson que Shakespeare modifiquèt sas pèças dins lo temps, a vegada daissant existir doas versions d'una meteissa pèça.
To provide a modern text in such cases, editors must face the choice between the original first version and the later, revised, usually more theatrical version.
Per donar un tèxte modèrne dins aquel cas, los editors devon far fàcia a una causida entre la version primièra version e la tardièra, revisada, mai sovent mai escenica.
In the past editors have resolved this problem by conflating the texts to provide what they believe to be a superior Ur-text, but critics now argue that to provide a conflated text would run contrary to Shakespeare's intentions.
Dins lo passar los editors devon resòlvre lo problèma mesclavan los tèxtes per tornar çò que pensavan èsser superior Ur-text, mas las criticas ara arguisson que tornar un tèxte mesclat anava contrara las intensions de Shakespeare.
In King Lear for example, two independent versions, each with their own textual integrity, exist in the Quarto and the Folio versions.
Dins King Lear per example, doas versions independentas existisson, caduna amb lor quita tèxte en integral, dins l'in Quarto e lo Folio.
Shakespeare's changes here extend from the merely local to the structural.
Aicí los scambiaments de Shakespeare cambian enriquisson simplament localament l'estructura.
Hence the Oxford Shakespeare, published in 1986 (second edition 2005), provides two different versions of the play, each with respectable authority.
Alara l'Oxford Shakespeare, publiquèt en 1986 (segonda edicion 2005), dona doas versions de la pèça, caduna amb la meteissa autoritat.
The problem exists with at least four other Shakespearian plays (Henry IV, part 1, Hamlet, Troilus and Cressida, and Othello).
Lo problèma demora amb las quatre darrièras pèças de Shakespeare (Henry IV, part 1, Hamlet, Troilus and Cressida, e Othello).
Performance history
Shakespeare sus l'empont
The modern reconstruction of the Globe Theatre, in London.
La reconstruccion modèrna de teatre Globe, a Londres.
During Shakespeare's lifetime, many of his greatest plays were staged at the Globe Theatre and the Blackfriars Theatre.[31][32] Shakespeare's fellow members of the Lord Chamberlain's Men acted in his plays.
Pendent la vida de Shakespeare, fòrça de las grandas pèças èras jogadas al teatre The Globe e Blackfriars Theatre.[31][32] Lo tropa de Shakespeare dels Lord Chamberlain's Men acted jogavan las pèças.
Among these actors were Richard Burbage (who played the title role in the first performances of many of Shakespeare's plays, including Hamlet, Othello, Richard III and King Lear),[33] Richard Cowley (who played Verges in Much Ado About Nothing), William Kempe, (who played Peter in Romeo and Juliet and, possibly, Bottom in A Midsummer Night's Dream) and Henry Condell and John Heminges, who are most famous now for collecting and editing the plays of Shakespeare's First Folio (1623).
D'entre aqueles actors èran Richard Burbage (que creèt sus l'enpont de ròtles dins mai d'una pèças de Shakespeare coma aqueles d'Hamlet, Othello, Richard III e King Lear),[33] Richard Cowley (que joguèt Verges dins Much Ado About Nothing), William Kempe, (que joguèt Peter dins Romeo and Juliet e, benlèu, Bottom dins A Midsummer Night's Dream) e Henry Condell e John Heminges, qu'es mai conegut per aver reculhit e editat las pèças de dins lo Primièr Folio (1623).
See also
Vajatz tanben
Shakespeare's plays continued to be staged after his death until the Interregnum (1649–1660),[34] when all public stage performances were banned by the Puritan rulers.
Las pèças de Shakespeare contunhan d'èsser jogadas après sa mort pendent l'interregne (1649–1660),[34] alara que tota representacion èra enebida per las règlas puratanas.
After the English Restoration, Shakespeare's plays were performed in playhouses with elaborate scenery and staged with music, dancing, thunder, lightning, wave machines, and fireworks.
Après la restauracion Anglesa, las pèças de Shakespeare èran jogadas dins de teatre amb una escenografia elaborada que se jogava amb de musica, de danças, de tròns, de fólzer, de maquinas d'èrsas, e de fuòcs d'artifici.
During this time the texts were "reformed" and "improved" for the stage, an undertaking which has seemed shockingly disrespectful to posterity.
A l'epòca los tèxtes èran "acorchadas" e "melhoradas" per l'enpont, una emtrepresa que paréis terriblament irrespectuosa per la posteritat.
Victorian productions of Shakespeare often sought pictorial effects in "authentic" historical costumes and sets.
Las produccions Victorianas de Shakespeare sovent afecta los efièchs dins de costumas e decròs "authentics".
The staging of the reported sea fights and barge scene in Antony and Cleopatra was one spectacular example.[35] Too often, the result was a loss of pace.
La mesa en scena dels combats navals e de naus contats dins Antony and Cleopatra ne son un exemple espectacular.[35] Tròp sovent, lo resultat èra una pèrda de ritme.
Towards the end of the 19th century, William Poel led a reaction against this heavy style.
Pendnet lo sègle XIX, William Poel menèt una reaccion contra aquel estil pesuc.
In a series of "Elizabethan" productions on a thrust stage, he paid fresh attention to the structure of the drama.
Dins una seria de produccion "Elisabetana" sus un empont obèrt, dona una atencionnovèla a l'estructura del drama.
In the early twentieth century, Harley Granville-Barker directed quarto and folio texts with few cuts,[36] while Edward Gordon Craig and others called for abstract staging.
Al començament del sègle XX, Harley Granville-Barker dirigiguèt los tèxtes de l'in quarto e d'el folio amb unes talhs,[36] alara qu'Edward Gordon Craig e d'autres and others fan una mesa en scèna abstracha.
Both approaches have influenced the variety of Shakespearian production styles seen today.[37]
Ambedoas aprcòhas influencièron la varietat de las prodiccion Shakespearianas fins ara.[37]
Sir John Gilbert's 1849 painting: The Plays of Shakespeare, containing scenes and characters from several of William Shakespeare's plays.
Sir John Gilbert's Lo quadre de John Gilbert The Plays of Shakespeare,1849 conten de scènas e personatge de diferentas pèças de William Shakespeare.
The plays written by English poet, playwright, and actor William Shakespeare (1564 – 1616) have the reputation of being among the greatest in the English language and in Western literature. Traditionally, the plays are divided into the genres of tragedy, history, and comedy; they have been translated into every major living language, in addition to being continually performed all around the world.
Tradicionalament, las pèças de William Shakespeare (1564-1616) son divisadas entre tragèdia, istòrias, e comèdias.
Many of his plays appeared in print as a series of quartos, but approximately half of them remained unpublished until 1623, when the posthumous First Folio was published. The traditional division of his plays into tragedies, comedies and histories follows the categories used in the First Folio.
Fòrça d'aquelas pèças aparéisson estampadas en serias of quartos, mas gaireben la mitat d'aquelas demorèron ineditas fins a 1623, quand lo postum Primièr Fòlio foguèt publicat.
However, modern criticism has labelled some of these plays "problem plays" that elude easy categorisation, or perhaps purposely break generic conventions, and has introduced the term romances for what scholars believe to be his later comedies.
La division tradicionala de sas pèças entre tragèdias, comèdias e istòrias seguisson las categorias utilizadas dins lo Primièr Fòlio.
When Shakespeare first arrived in London in the late 1580s or early 1590s, dramatists writing for London's new commercial playhouses (such as The Curtain) were combining two different strands of dramatic tradition into a new and distinctively Elizabethan synthesis.
Quand Shakespeare arribèt pel primièr còp a Londres a la fin dels ans 1580 o començament dels 1590, los dramaturgs escrivent pel nòu empont de l'epòca (coma The Curtain Theatre) combinavan dos diferents estils dramatics tradicionals dins un novèla e destriada sintèsi Elisabetana.
Previously, the most common forms of popular English theatre were the Tudor morality plays.
De per abans, las formas mai comunas del teatre popular anglés èran las moralitats del periòde Tudor.
These plays, celebrating piety generally, use personified moral attributes to urge or instruct the protagonist to choose the virtuous life over Evil.
Aquelas pèças celebravan la pietat generalizada, utilizant d'atributs morals personificats per incitar o menar lo protagonista e causir una vida vetuosas puslèu que lo Mal.