William Shakespeare

Shakespeare's theatre

Any part of the costume was likely to be decorated with braid, embroidery, pinking (pricking in patterns) slashing, or puffing, or it might be encrusted with pearls, jewels, or spangles or trimmed with lace or artificial flowers. Men's clothing, like that of women, was gorgeous with color and ornamentation. The many parts of male attire contributed to the ornate and colorful effect of the ensemble. Men wore hats even indoors. Feathers and jewels were normal ornaments. A small flat cap like a beret with a narrow brim continued to be worn by craftsman and many citizens of London. Masculine hair styles varied greatly. Sometimes the hair was cut closely at the sides, but it could be brushed up and held with gum, or it might be curled all over the head.

Shakespeare plays were presented during the warmer months in circular, open-air public theaters. The stage was a platform that thrust into the pit- a standing room area for the lower-class; boxes were situated in three galleries around the theater. In the colder months plays were performed in so-called private indoor theaters for a more elite audience. The acting style for the early Elizabethan plays was heroic and exaggerated, like the plays themselves.

One of the most memorable stages of Elizabethan time was the The Globe Theater, a 17th -century English theater in Southwark, London, notable for the initial and contemporary productions of Shakespeare's plays and of the dramatic works of Ben Jonson, Beaumont and Fletcher, and others. The Globe was constructed In 1599 by the famous English actor Richard Burbage, in partnership with Shakespeare and others. The octagonally-shaped outer wall of the theater enclosed a roofless inner pit into which the stage projected; around the pit were three galleries, one above the other, the topmost of which was roofed with thatch. In 1613 a cannon, discharged during a performance of Shakespeare's Henry VIII, set fire to the thatched roof and destroyed the building. The theater was rebuilt in 1614, but 30 years later was razed by Puritans. A brewery now stands on the site.

The stage sometimes known as three-quarter round, was a platform surrounded on three sides by the audience. This form was used for ancient Greek theater in the 20th century. The thrust stage may Accurate information concerning the clothes worn in the earliest production of Shakespeare plays is sadly deficient. Even in a play set in ancient Rome, the actors wore the dress of their own time.

In modern times we draw a distinction between "theatrical " and "ordinary" clothes. We even distinguish between plays that are dressed in the clothing of people of another times or places. We consider these to be "costume plays".

English dress during the age of Shakespeare reflected the vitality and the high points of the period. Although the upper class and the even great merchants of earlier eras had also dressed in rich and colorful fabrics, the sixteenth century saw an elaboration in dress that had nor been common. The names of parts of the Elizabethan wardrobe indicate their foreign origins: French hose, French hood, Venetians, Spanish bonnet.

Elizabethan men and women of the upper class dressed more for display than for comfort, and even their undergarments were designed to contribute to their appearance. The garment worn next to the skin by both sexes was a shirt, though in the case of the women it was called a "smock" and was ankle- length. There is some evidence that men wore drawers called "trousers.''

Elizabethan clothing was very intricate, and the amount of time that must have been consumed in donning costumes with so many independent parts to be tied or pinned together is a marvel to the modern observer. The main feminine garment usually consisted of at least two parts: bodice and skirt (known as a kirtle or petti coat). A triangular piece known as a "stomacher" formed the front section and was joined to the bodice proper at the sides by ties, hooks, or pins.

A variety in materials, color, and ornaments characterized the Elizabethan women's outer garments. have been by a wall or appended to some sort of end stage. The stage generally creates a sense of greater intimacy, as if the performance were occurring in the midst of the auditorium, while still allowing for illusionistic effects through the use of the upstage end and adjacent off-stage.

Elizabethan women delighted in gorgeous dress. But despite the richness of their attire, men frequently outshone them in complexity of costume and the variety of cuts the contemporary fashion provided.

Lastly, the costumes and sets of Shakespeare's time influenced the production of the plays. The costumes aided in the visual affects of the plays as did the lighting and the sound effects. The stages and sets created a realistic setting for a specific location. The different style of stages were changed to the rapid growth of Shakespeare's plays.

The Globe

The Globe Theatre was an early English theatre in London where most of William Shakespeare's plays were first presented. It was built in 1599 by two brothers, Richard and Cuthbert Burbage, who owned its predecessor, The Theatre.

In the winter of 1598, the lease on The Theatre was due to expire because of an increase in rent. The Burbage brothers decided to demolish the building piece by piece, ship the pieces across the Thames River to Southwark on the south bank, and rebuild it there. The reconstructed theatre was completed in 1599 and was renamed The Globe.

The shares of the new building were divided among the Burbage brothers and William Shakespeare, who had been one of the leading players of the Lord Chamberlain's Men, a popular group of actors, since late 1594. The Lord Chamberlain's Men continued to perform at The Globe.

The exact physical structure of the Globe is not known, although scholars are fairly sure of some details because of drawings from the period. The theatre itself was a closed

structure with an open courtyard where the stage stood. Tiered galleries around the open area accommodated the wealthier patrons who could afford seats, and those of the lower classes--the "groundlings"--stood around the stage during the performance of a play. The space under and behind the stage was used for special effects, storage, and costume changes. Surprisingly, although the entire structure was not very big by modern standards, it is thought to have been capable of accommodating fairly large crowds--perhaps as many as 2000 people--during a performance.

Some people believe that the Globe was identical to another theatre, The Fortune. It is said to have been shaped like a cylinder, with a thatched gallery roof which was made of straw. The roof had to be coated with a special fire-protectant. In 1613, the roof was accidentally set on fire by a cannon during a performance of Henry VIII. The entire theatre burned in about an hour. The Globe was rebuilt a year later, but with a tilted gallery roof and more circular in shape. In 1644, 30 years after it was rebuilt, the Globe was torn down.

In September 1999, a reconstructed Globe Theatre will officially open in London, 500 years after the first plays were performed in the original theatre. The late Sam Wanamaker, an American actor, was responsible for the Globe's modern reconstruction. When he visited London in the late 1940s, he was disappointed to find nothing marking the site of the original Globe Theatre. He eventually came up with the idea of reconstructing The Globe in its original location. Progress was slow, however. The Globe Playhouse Trust was not founded until the 1970s, and the actual construction of the new theatre did not begin until the 1980s.

A Shakespeare Timeline Summary Chart

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Macbeth

Act I.

Also known as "The Scottish play", Shakespeare's dark, grim tragedy begins with Three Witches in Scotland deciding to meet again after a battle being fought nearby. Thunder, storms and the desolate heath paint a gloomy picture, setting the tone of this play and defining an imagery of nature at war with itself, a recurring theme in this play...

Macbeth is introduced as the brave man who led King Duncan's forces to victory against the traitorous Thane of Cawdor, Macdonwald and The King of Norway, in a battle that could have gone either way were it not for Macbeth's leadership. We learn that Macbeth killed Macdonwald himself in battle. King Duncan, overjoyed, decides to make Macbeth his new Thane of Cawdor. The previous Thane of Cawdor will be executed.

The Three Witches establish their malicious nature before meeting Macbeth and Banquo. The Three Witches tell Macbeth that he will be "Thane of Glamis!", "Thane of Cawdor!" and "king hereafter" or become the King of Scotland.

Banquo learns that his descendants shall be kings. Banquo is suspicious of the Three Witches, remembering that they often trick men. Macbeth initially agrees but when Ross and Angus tell him he has been made the new Thane of Cawdor, Macbeth in a very important aside (soliloquy), remarks, "Glamis, and Thane of Cawdor: / The greatest is behind."

Macbeth now first questions Banquo's on his feelings about his descendants becoming kings and then starts thinking of killing King Duncan to make prophecy fact but later hopes fate alone will spare him the need to kill...

Macbeth meets King Duncan, thanking him for his new title. The also loyal Banquo receives nothing. King Duncan remarks how he completely trusted the previous Thane of Cawdor.

King Duncan announces that his son, Malcolm will be the new Prince of Cumberland. Macbeth sees Malcolm as a threat to what he now takes seriously as his destiny to be king, a major turning point in Macbeth's changing morality. Macbeth makes this clear by famously asking in an aside (private speech) for the stars to hide their fires least they reveal his dark and deadly purpose or intention to kill King Duncan.

Lady Macbeth learns by letter from Macbeth of the Three Witches' prophecies for her husband, eagerly embracing them as fact. Fearing Macbeth is too compassionate and weak-willed to do what needs to be done (killing King Duncan), she famously asks the gods to remove from her all signs of compassion and femininity, replacing these with cold remorseless ruthlessness.

Learning from a messenger that King Duncan will stay at their castle, Lady Macbeth enthusiastically greets this news, suggesting that she already has plans to kill King Duncan. Macbeth and Lady Macbeth decide to speak again on the issue of the prophecies, Macbeth still uncertain of the need to kill King Duncan.

At Macbeth's castle King Duncan arrives whilst Lady Macbeth plays the most perfect of hostesses. King Duncan asks for the Thane of Cawdor (Macbeth) who is not yet present.

A guilt-ridden Macbeth wrestles with his conscience, certain that he should not kill King Duncan yet guiltily having to remind himself of all the reasons why it would be wrong. Macbeth decides against murdering his King but Lady Macbeth belittles him for not being able to murder, threatening to take away her love for him if he does not. This threat wins Macbeth over and Lady Macbeth outlines her plan to kill King Duncan in his sleep while he is a guest at their castle.

Act II.

Banquo and son Fleance arrive at Macbeth's castle. Banquo is troubled by the Three Witches' prophecy and tells Macbeth this. Macbeth pretends not to take the Three Witches seriously.

Learning from Banquo that King Duncan is asleep, Macbeth, alone, follows an imaginary dagger to King Duncan's bedchamber where he will kill him in his sleep... Lady Macbeth has drugged King Duncan's guards, allowing Macbeth to kill King Duncan unchallenged.

Lady Macbeth was to have killed the King but his resemblance to her late father means Macbeth does the deed instead. A bell frightens Lady Macbeth and Macbeth too is nervous, but he announces that he did indeed kill King Duncan.

Macbeth recounts that the two guards cried out "'Murder!'" and later "'God bless us!'", Lady Macbeth telling her husband not to fret over such things and the fact that is conscience prevented him from saying "'Amen,'" as one of the guards had done...

Lady Macbeth tells her husband a little water will wash away their guilt and the two retire to their bedroom when knocking is later heard...

Macduff, Lennox, the source of the knocking in the last scene, arrive at Macbeth's castle. News of King Duncan's death reaches all at Macbeth's castle. Lady Macbeth faints and Macbeth in rage kills the two drunken guards after claiming that they obviously killed their King.

These actions largely free Macbeth and Lady Macbeth from suspicion. King Duncan's sons, Malcolm and Donalbain are introduced, both men wisely deciding to flee Macbeth's castle as a precaution against their own murder. Malcolm will head for England, Donalbain for Ireland.

Ross speaks with an Old Man who describes various unnatural acts happening in Scotland, perhaps the single most significant scene for the theme of nature at war with itself, which relates to the idea of a natural order being disturbed by the death of a king, a prevalent theme throughout this play.

We learn that King Duncan's two sons have fled, leaving Macbeth to be crowned the new King of Scotland. Macduff, who later becomes instrumental in Macbeth's downfall, has significantly snubbed Macbeth's coronation at Scone to go to Fife instead. A tone of increasing despair for Scotland begins in this scene...

Act III.

Banquo is fearful that the Three Witches' prophecies are becoming true, questioning whether Macbeth played most foully for it, or killed King Duncan to make prophecy, fact.

Meeting with Macbeth, Macbeth continuously asks Banquo of his travel plans and those of his son. Alone, Macbeth fears that Banquo's sons will mean his dynasty will be short-lived; only he will become King of Scotland and not his sons who will be replaced by those of Banquo's lineage.

Macbeth arranges for several Murderers to discreetly kill Banquo and Fleance to ensure his sons and not Banquo's become future kings...

Lady Macbeth and Macbeth speak in private. Macbeth is again plagued by a guilt we thought may have vanished. Lady Macbeth attempts to strengthen Macbeth's resolve.

The Murderers kill Banquo but his son Fleance escapes and survives.

The Three Witches' prophecy of Banquo's sons becoming kings has not been thwarted by Macbeth...

Macbeth and a lady are entertaining at their castle. The First Murderer arrives, announcing that Banquo is dead but Fleance has lived. Macbeth immediately realizes the consequences of this (his descendants may not become kings).

Macbeth famously sees Banquo's Ghost at his party, causing Lady Macbeth to finish their party early to prevent further suspicions about Macbeth's sanity and about their role in recent events (King Duncan's death whilst a guest at their castle). Macbeth makes his famous speech about being too covered in blood to stop killing...

Hecate, clearly in a position of command over the Three Witches, scolds her subordinates for helping an unappreciative Macbeth.

Hecate instructs the Three Witches to make preparations for her plan to use illusion and the Three Witches' prophecies against Macbeth. The Three Witches, eager to placate (please) their master, eagerly make preparations, doing as they are told...

We see Lennox and a Lord discuss affairs in their kingdom. We learn from their conversation that an army is being formed in England to fight Macbeth.

Act IV.

A major turning point in the play. Just as the Three Witches prophesied Macbeth's ascendancy to become King in Act I, Scene III, here they prophesies his downfall with the Three Apparitions (visions / ghosts). The first Apparition tells an eager Macbeth that he should fear Macduff, saying "beware Macduff; / Beware the Thane of Fife." The Second Apparition reassures Macbeth that "none of women born / Shall harm Macbeth" and the Third Apparition tells Macbeth he has nothing to fear until "Great Birnam wood" moves to "high Dunsinane hill" near his castle.

Macbeth decides to kill Macduff to protect himself from him and takes the Apparition's words to mean he is safe from all men since they are all born naturally and that only the moving of a nearby forest to his castle, an unlikely event will spell his doom.

Next Macbeth demands to know about Banquo's descendants , learning to his anger that they will still rule Scotland rather than Macbeth's descendants. Macbeth learns that he cannot kill Macduff so instead has his entire family murdered...

Lady Macduff is greeted by Ross, Lady Macduff expressing her anger at being abandoned by Macduff for little reason when in her eyes, Macduff has done nothing requiring him to flee.

Ross leaves and after Lady Macduff tells her son that his father is dead and was a traitor, a Messenger warns Lady Macduff to flee but Macbeth's Murderers succeed in killing Lady Macduff's son. The scene ends with Lady Macduff fleeing for her life...

Malcolm and Macduff discuss how Scotland under Macbeth's rule has been plunged into despair. Malcolm tests Macduff's integrity by describing himself as unfit to rule.

After Malcolm disgusts Macduff with increasingly sordid descriptions of his lust and greed, Macduff tells Malcolm that like Macbeth, he too is not fit to rule Scotland. This delights Malcolm who explains that he was lying; he described himself so negatively to test Macduff's integrity. We learn that a large army is gathering to defeat Macbeth.

Act V.

Lady Macbeth's insanity becomes clear... First her Doctor and a Gentlewoman discuss Lady Macbeth's sleepwalking and talking to herself and then we, the audience see this for ourselves.

Lady Macbeth makes her famous speech that she cannot wipe away the blood on her hands (or her guilt), indicating that her battle to suppress her guilty conscience has failed completely...

Macbeth's enemies gather near his castle at Dunsinane as Macbeth strongly fortifies his castle. We learn that Macbeth's hold on Scotland is less than absolute...

Macbeth prepares to defiantly fight his enemies armed with the prophecy that he will only be defeated when the nearby Birnam Wood moves on his castle. Macbeth now learns of the ten thousand strong army against him. Seyton confirms this bad news and Macbeth donning his armor, prepares to fight his enemies recalling the Birnam Wood prophecy once more as a source of comfort...

With his troops loyally around him, Malcolm orders each man to cut down a branch from the nearby Birnam Wood as his army now camouflaged under an umbrella of Birnam Wood, head towards Macbeth's castle at Dunsinane.

Macbeth laughs off his enemies' numbers, certain of the Birnam Wood prophecy and equally certain that his fortifications should laugh off any attack.

We hear a women's cry later learning that Lady Macbeth is dead. Macbeth coldly shrugs the news that his once "dearest chuck," is dead with complete apathy. Macbeth learns that Birnam Wood or rather Malcolm's forces are moving on his castle. Realizing what this means, Macbeth nonetheless defiantly sets off to meet his destiny...

Malcolm's men drop their leafy camouflage and the battle begins...

Macbeth fights, Siward killing him. Macbeth is now confronted by Macduff, a man he has consciously avoided and one, he refuses to fight.

Macbeth famously exclaims that he has lived a charmed life and is unable to be killed by a man, naturally born.

Macduff now explains that he has born by Caesarian section and the two men fight, Macbeth dying and order being restored when Malcolm is hailed as the new King of Scotland.

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King Lear

Act I.

Shakespeare's dark tragedy, King Lear begins with the fictional King of England, King Lear, handing over his kingdom to daughters Regan and Goneril whom he believes truly love him. King Lear intends to stay with each daughter consecutively, accompanied by one hundred loyal knights.

Angry that Cordelia his youngest daughter does not appear to love him as do Goneril and Regan, Lear banishes his youngest daughter Cordelia, and Kent, the servant who attempts to defend her. Cordelia leaves and is taken by the King of France as his Queen...

Edmund, the loved but illegitimate son of the Earl of Gloucester plots to have his elder brother Edgar's reputation ruined. Edmund tricks his father Gloucester into believing that Edgar wanted to kill him...

The disrespectful Goneril conspires to have her guest and father, King Lear, driven out of her house.

Kent, who has now disguised his identity to serve King Lear, earns King Lear's respect by defending his name. Goneril offends King Lear and dismisses fifty of his knights. Lear starts to realize Cordelia was not so disrespecting. Lear decides to leave for Regan where he is sure to be treated properly...

Lear instructs Kent to deliver several letters to Gloucester. The Fool teaches Lear several riddles.

Act II.

We learn of possible conflict between evil sisters Regan and Goneril. Edmund further manipulates Edgar. Gloucester learns from Edmund of Edgar's plan to kill him and believes it...

Kent and Oswald, Goneril's steward fight. Kent is placed in stocks emphasizing just how little Lear's name is now respected by daughters Regan and Goneril...

Edgar, now alone and disguised, describes his fate of living in hiding.

Showing complete disregard for King Lear's authority, Kent remains in stocks. Lear tells Regan how much Goneril has hurt him. Regan in consultation with Goneril, allows Lear to stay but without a single follower. Lear decides not to stay with either daughter...

Act III.

The King of France may well invade England. Kent sends a messenger to Cordelia to keep her aware of King Lear's plight... Lear braves the elements against a storm, no doubt symbolic of his tortured soul...

Gloucester lets slip to his traitorous son Edmund that the army of France is poised to invade, guaranteeing Gloucester's own future suffering. We learn more of a potential conflict between Regan and Goneril, centering on their husbands...

Lear is brought out of the elements. Lear explains that nature's physical torment of him distracted him from the pain his daughters have given him.

Edgar, Gloucester's legitimate son, makes his appearance, disguised as "poor Tom." Cornwall, Regan's husband and Edmund speak. After implicating his father Gloucester as a traitor against Cornwall, Edmund is rewarded for betraying his father Gloucester by receiving his father's title as the new Earl of Gloucester.

Cornwall tells Edmund to seek out his father saying "he may be ready for our apprehension" or punishment.

Lear and company find solace and safety in a farmhouse. Lear, showing signs of madness, holds a mock trial to punish his daughters addressing two joint stools as if they were Regan and Goneril. Kent leads Lear to Dover where he will be safe...

Gloucester is captured and tortured first having his beard ripped away and later being made blind. Unable to bear Cornwall's brutality any longer, a servant wounds Cornwall...

Act IV.

Gloucester now blind, realizes in his suffering his mistakes, especially about his son Edgar. Gloucester meets "poor Tom" not realizing it is Edgar in disguise. Edgar leads his father to the cliffs of Dover where his father wishes to commit suicide.

The Duke of Albany renounces his wife Goneril, realizing that he has been on the wrong side... The Duke of Cornwall (Regan's husband) is now dead. The rivalry for Edmund by Regan and Goneril intensifies.

Kent wonders how Cordelia can be so good and her sisters so evil. The King of France will not oversee the battle about to begin. Cordelia is saddened by what she learns of King Lear's plight...

Cordelia has her men search for her father... With the battle almost about to start, we learn Albany has switched sides again, supporting Goneril and Regan's forces against the invading French.

Regan worries more about her sister's intentions for Edmund more than the battle that lies ahead... Edgar continues to lead his father to the cliffs of Dover where he tricks him that he miraculously survived his fall. Lear learns of Gloucester's blindness.

Edgar kills Oswald when he attempts to kill Gloucester. Oswald's letter, which comes from Goneril, reveals instructions for Edmund to kill her husband, The Duke of Albany so she may marry him. Cordelia finds her father Lear who deeply regrets how he treated her...

Act V.

Regan and Goneril put Edmund on the spot by demanding he choose for once and for all, which one of them he loves. Albany decides to fight on Regan and Goneril's side but only to fight an invading power (France).

Cordelia's forces lose to Goneril and Regan's and Cordelia and Lear are taken prisoner. Captured, King Lear tries to comfort Cordelia. Albany congratulates his allies but now turns on them. Edgar fights his brother Edmund, mortally wounding him. Goneril kills herself and poisons sister Regan.

Edgar reveals his true identity to Gloucester who dies from a heart unable to take both grief and joy. Albany and the dying Edmund try to prevent Lear and Cordelia being hanged but are too late for Cordelia.

Lear howls with pain his loss of Cordelia. Kent is finally recognized for his loyalty by Lear. Lear, unable to take further pain, dies. Albany is left to restore order following this tragedy.

Othello

Act I.

Shakespeare's famous play of love turned bad by unfounded jealousy, begins in Venice with Iago, a soldier under Othello's command arguing with Roderigo, a wealthy Venetian. Roderigo has paid Iago a considerable sum of money to spy on Othello for him, since he wishes to take Othello's girlfriend, Desdemona as his own.

Roderigo fears that Iago has not been telling him enough about Desdemona and that this proves Iago's real loyalty is to Othello not him.

Iago explains his hatred of Othello for choosing Cassio as his officer or lieutenant and not him as he expected.

To regain Roderigo's trust, Iago and Roderigo inform Brabantio, Desdemona's father of her relationship with Othello, the "Moor" which enrages Brabantio into sending parties out at night to apprehend Othello for what must obviously be in Brabantio's eyes, an abuse of his daughter by Othello...

Iago lies that Roderigo and not himself, was responsible for angering Brabantio against Othello, Iago telling Othello that he should watch out for Brabantio's men who are looking for him.

Othello decides not to hide, since he believes his good name will stand him in good stead.

We learn that Othello has married Desdemona. Brabantio and Roderigo arrive, Brabantio accusing Othello of using magic on his daughter.

Othello stops a fight before it can happen but Othello is called away to discuss a crisis in Cypress, much to the anger of Brabantio who wants justice for what he believes Othello has done to his fair Desdemona.

The Duke is in council with several senators discussing their enemy, the Turks (Turkish people). Brabantio complains to the Duke that Othello bewitched his daughter and had intimate relations with her.

Desdemona is brought in to settle the matter, Othello meanwhile explains how he and Desdemona fell in love. Desdemona confirms this and the Duke advises Brabantio that he would be better off accepting the marriage than complaining and changing nothing.

The Duke orders Othello to Cypress to fight the Turks, with Desdemona to follow, accompanied by the trusted Iago.

Roderigo despairs that his quest for Desdemona is over now that she is married, but Iago tells him not to give up and earn money instead; soon Desdemona will bore of Othello.

Alone, Iago reveals his intention to continue using Roderigo for money and his hatred of Othello (Othello picked Cassio and not Iago for his lieutenant).

Iago explains that his plan is avenge Othello is to suggest to Othello that Cassio is sleeping with Desdemona (Othello's wife).

Act II.

Several weeks later in Cypress, Montano and several others are awaiting Othello's arrival by bark or ship. We learn that a terrible storm has largely battered and destroyed the Turkish fleet, which no longer poses a threat to Cypress. Unfortunately there are fears that this same storm drowned Othello as well.

Montano reveals his high praise of Othello, which is shared by many. Cassio, who has arrived, sings Desdemona's praises. A ship is spotted but it is Desdemona and Iago's not Othello's. Iago suspects that Cassio loves Desdemona and slyly uses it to his advantage.

Iago tells Roderigo that he still has a chance with Desdemona but Cassio whom Desdemona could love is in the way. Killing Cassio (who became Othello's lieutenant instead of Iago) will leave Desdemona to Roderigo, Iago slyly explains.

Othello finally arrives to everyone's great relief. Iago decides to tell Othello that Cassio is having an affair with Desdemona's so Iago will be rewarded whilst Cassio will be punished.

A Herald announces celebration that "our noble general Othello!" has defeated the Turkish fleet, calling on all to celebrate this great triumph and also to celebrate Othello's "nuptial" or wedding to the fair Desdemona.

Iago learns more of Cassio's high regard for Desdemona and Iago manipulates Cassio into drinking too much since he is certain Cassio will do something he will regret.

With Cassio gone, Iago tells Montano of Cassio's drinking problem turning Montano's high regard for Cassio into dust. Iago also tells Roderigo to attack Cassio. This happens, and Cassio wounds Roderigo and then Montano who was trying to break up the fight.

Othello is now awake and Cassio's name ruined.

Othello though he loves Cassio, has no choice but to demote him from his position as his lieutenant. Next Iago comforts Cassio by suggesting he speak with Desdemona who could put in a good word for him with Othello.

Iago comforts a wounded Roderigo, telling him he has won by ruining Cassio's name. Iago has his wife Emilia ensure Desdemona and Cassio will talk so Othello can see his wife talking with Cassio, allowing Iago to convince Othello that Desdemona is being unfaithful...

Act III.

Cassio tells Iago that he has arranged to meet Desdemona, Iago helping Cassio to do this.

Iago's wife, Emilia, tells Cassio that Othello would like to reinstate him as his lieutenant but the fact that Cassio's fight is public news, prevents Othello from doing this immediately.

Emilia tells Cassio that she can arrange a meeting with Desdemona.

Some time later, Cassio speaks with a very sympathetic Desdemona who assures him that Othello still very much loves Cassio. Furthermore, Desdemona resolves to keep putting in a good word for Cassio until he is again Othello's lieutenant.

At a distance, Iago manipulates Othello by first suggesting shock and then hiding his outbursts from Othello. This guarantees Othello's attention, as Iago plants seeds of doubt in Othello's mind about Desdemona's fidelity especially where Cassio is concerned.

Iago leaves Othello almost convinced that his wife is having an affair with Cassio.

Othello now complains of a headache to Desdemona, which results in her dropping a strawberry patterned handkerchief, Othello's first gift to her. Emilia picks this up gives it to Iago who decides the handkerchief could help his manipulation if he ensures Cassio receives it.

Iago arranges to place the handkerchief near Cassio's lodgings or home where he is certain to find it and take it as his own, unaware that it is Othello's gift to Desdemona.

A furious Othello returns to Iago, certain his wife is faithful and demanding proof from Iago of Desdemona's infidelity.

Reluctantly and hesitantly, Iago tells Othello he saw Cassio wipe his brow with Desdemona's handkerchief. Othello is convinced, cursing his wife and telling Iago who is now promoted to lieutenant to kill Cassio. Othello will deal with Desdemona...

Desdemona worries about her missing handkerchief and comments that if she lost it, it could lead Othello doubting her fidelity. Emilia when asked about Desdemona's lost handkerchief, lies, denying having seen the handkerchief she picked up and gave to Iago.

Othello enters; asking Desdemona for the very same handkerchief and Desdemona assures him that the handkerchief is not lost and will be found.

Desdemona now tries to change the subject to Cassio, but Othello continually stresses the value the handkerchief has to him, this leading to Othello angrily ordering his wife away.

Cassio arrives, Desdemona telling him that her attempts to help him are not going well. Iago claims total ignorance to the cause of Othello's fury.

Cassio gives Othello's handkerchief, which he found, to his suspicious mistress Bianca who reluctantly starts to copy its patterning (presumably its strawberry motif / design) for him.

Act IV.

Iago fans the flames of Othello's distrust and fury with Desdemona's supposed "infidelity" by first suggesting Desdemona shared her bed with Cassio and then that her giving away the handkerchief is no big deal when Iago knows exactly how hurtful to Othello, giving away this sentimental gift is.

Next Iago suggests to Othello that Cassio will "blab" or gloat to others about his conquest of Desdemona before telling Othello that Cassio boasted to him that he did indeed sleep with Desdemona.

Meeting later with Cassio, Iago cunningly talks to Cassio about Cassio's mistress Bianca, each smile and each gesture made by Cassio infuriating a hidden Othello who thinks Cassio is talking about sleeping with Desdemona (Othello's wife).

Next Bianca (Cassio's mistress) arrives, angrily giving back the handkerchief Cassio gave to her.

This infuriates Othello since as Iago puts it, Cassio not only received Othello's handkerchief from his wife but then gave it away to his whore (Bianca) as if it were worthless.

Othello decides to kill Desdemona by strangulation in her bed, Iago's idea. Iago pledges to kill Cassio.

Lodovico arrives, announcing that Othello is to return home and Cassio is to be the next Governor of Cypress. Desdemona's joy for Cassio enrages Othello, leaving Lodovico and Iago to wonder how much Othello seems to have changed and leaving poor Desdemona to wonder how she offended the man she truly loves...

Othello questions Emilia as to whether Desdemona was unfaithful to him. Annoyed that Emilia's answers suggest nothing has happened between Desdemona and Cassio, Othello dismisses her comments as those of a simple woman.

Othello meets Desdemona, Desdemona becoming increasingly upset with her husband's anger towards her, an anger she cannot understand.

Othello eventually reveals to Desdemona that her infidelity is the source of his anger, Desdemona pleading her innocence on deaf ears.

Emilia and Desdemona discuss Othello's strange behavior. Emilia is certain some evil fellow has twisted Othello to believe Desdemona has been unfaithful, not realizing that this evil man is her own husband Iago.

We learn that Iago has been pocketing Roderigo's gifts to Desdemona, which never reached her. Fearing Roderigo will learn this, Iago tells Roderigo that Cassio must die since Iago benefits if ever man dies.

Lodovico tries to calm Othello down. Othello orders Desdemona to bed to await him later, an order Desdemona dutifully obeys out of love for Othello.

Emilia notices that Othello is much calmer now and tells Desdemona her bed has been made with her wedding sheets as requested. Desdemona asks to be buried in those same sheets should she die before Emilia, a hint of trouble ahead (Foreshadowing).

Emilia is barred from joining Desdemona in her bedchamber, angering her. Desdemona, depressed, recalls a song (The Willow Song) of a maid who was similarly abused by her husband and sings it.

Desdemona and Emilia talk about infidelity. Desdemona would not be unfaithful to her husband (Othello) for all the world; the more cynical and worldly Emilia would for the right price...

Act V.

Iago and Roderigo wait in a street to ambush Cassio. Iago tells Roderigo how to kill him. Iago does not care which ends up dead. Iago is worried that about Roderigo's increasing questioning of what happened to jewels that were given to him to pass on to Desdemona...

Roderigo attacks Cassio but Cassio wounds Roderigo instead. Iago from behind stabs Cassio, wounding him in the leg. Othello hearing Cassio's cries is pleased, announcing that he too will soon kill (Desdemona).

Lodovico and Gratiano and Iago reappear, Iago claiming total innocence to Cassio's injuries even though he inflicted them.

Seizing Roderigo, Iago stabs and wounds him "in revenge" for wounding his "friend" Cassio.

Gratiano and Lodovico tend to Cassio's wound. Bianca, Cassio's mistress arrives, Iago cleverly laying suspicion for Cassio's injuries on his innocent mistress, making Iago less suspicious...

Othello enters Desdemona's bedchamber (bedroom) trying to convince himself that he is killing her for her own good. He kisses his still asleep wife one last time. Desdemona awakens, but Othello will still kill her, telling her to pray so her soul will not die when she does.

Desdemona again asks what wrong she has committed, Othello telling her that she gave Cassio his handkerchief, by which he means he thinks she had an affair with him.

Desdemona pleads her innocence, telling Othello to bring Cassio over to prove she did not give away her handkerchief. Othello says he confessed and is dead, Desdemona's fear and surprise prompting Othello to believe she does care for him.

Othello kills Desdemona.

Emilia banging on the door outside cannot stop this. Later Emilia is let in, revealing Iago has killed Roderigo and Desdemona who was thought dead, murmurs her last breaths but loyally does not say Othello killed her.

Othello tells Emilia he killed her and Emilia despite Iago's attempts to remove her reveals the truth about the handkerchief; she found it, and then gave it to Iago. Iago now in trouble, stabs his wife Emilia and escapes.

Emilia dies, singing the "Willow Song" before criticizing Othello for killing his loving wife.

Lodovico, Montano, Cassio and the now captured prisoner Iago soon appear, Othello stabbing Iago but not killing him before having his sword removed.

Lodovico is disappointed that Othello, a man so honorable has reverted to acting like a slave. Othello tries to argue that killing his wife was a noble action but it falls on deaf ears.

Lodovico learns that Othello and Iago plotted Cassio's death. Lodovico reveals letters in the dead Roderigo's pocket proving Cassio was to be killed by Roderigo.

Iago proudly confirms that Cassio did find the handkerchief in his bedchamber because Iago placed it there to be found.

Othello, realizing what he has done, kills himself with a concealed weapon and lies himself on top of his wife.

Cassio is placed in charge of Iago and Lodovico leaves to discuss this sad matter with others abroad...

Hamlet

Act I.

Shakespeare's longest play and the play responsible for the immortal lines "To be or not to be: that is the question:" and the advise "to thine own self be true," begins in Denmark with the news that King Hamlet of Denmark has recently died.

Denmark is now in a state of high alert and preparing for possible war with Young Fortinbras of Norway. A ghost resembling the late King Hamlet is spotted on a platform before Elsinore Castle in Denmark. King Claudius, who now rules Denmark, has taken King Hamlet's wife, Queen Gertrude as his new wife and Queen of Denmark.

King Claudius fearing Young Fortinbras of Norway may invade, has sent ambassadors to Norway to urge the King of Norway to restrain Young Fortinbras. Young Hamlet distrusts King Claudius. The King and Queen do not understand why Hamlet still mourns his father's death over two months ago. In his first soliloquy, Hamlet explains that he does not like his mother marrying the next King of Denmark so quickly within a month of his father's death...

Laertes, the son of Lord Chamberlain Polonius, gives his sister Ophelia some brotherly advice. He warns Ophelia not to fall in love with Young Hamlet; she will only be hurt. Polonius tells his daughter Ophelia not to return Hamlet's affections for her since he fears Hamlet is only using her...

Hamlet meets the Ghost of his father, King Hamlet and follows it to learn more...

Hamlet learns from King Hamlet's Ghost that he was poisoned by King Claudius, the current ruler of Denmark. The Ghost tells Hamlet to avenge his death but not to punish Queen Gertrude for remarrying; it is not Hamlet's place and her conscience and heaven will judge her... Hamlet swears Horatio and Marcellus to silence over Hamlet meeting the Ghost.

Act II.

Polonius tells Reynaldo to spy on his son Laertes in Paris. Polonius learns from his daughter Ophelia that a badly dressed Hamlet met her, studied her face and promptly left. Polonius believes that Hamlet's odd behaviour is because Ophelia has rejected him. Polonius decides to tell King Claudius the reason for Hamlet's recently odd behaviour.

King Claudius instructs courtiers Rosencrantz and Guildenstern to find out what is causing Hamlet's strange "transformation," or change of character. Queen Gertrude reveals that only King Hamlet's death and her recent remarriage could be upsetting Hamlet.

We learn more of Young Fortinbras' movements and Polonius has his own theory about Hamlet's transformation; it is caused by Hamlet's love for his daughter Ophelia. Hamlet makes his famous speech about the greatness of man. Hamlet plans to use a play to test if King Claudius really did kill his father as King Hamlet's Ghost told him...

Act III.

The King's spies, Rosencrantz and Guildenstern report to King Claudius on Hamlet's behaviour. Hamlet is eager for King Claudius and Queen Gertrude to watch a play tonight which Hamlet has added lines to.

King Claudius and Polonius listen in on Hamlet's and Ophelia's private conversation. Hamlet suspects Ophelia is spying on him and is increasingly hostile to her before leaving.

King Claudius decides to send Hamlet to England, fearing danger in Hamlet since he no longer believes Hamlet is merely lovesick. The King agrees to Polonius' plan to eavesdrop on Hamlet's conversation with his mother after the play to hopefully learn more from Hamlet. The play Hamlet had added lines to is performed. The mime preceding the play which mimics the Ghost's description of King Hamlet's death goes unnoticed.

The main play called "The Murder of Gonzago" is performed, causing King Claudius to react in a way which convinces Hamlet that his uncle did indeed poison his father King Hamlet as the Ghost previously had told him... Hamlet pretends not to know that the play has offended King Claudius. Hamlet agrees to speak with his mother in private...

King Claudius admits his growing fear of Hamlet and decides to send him overseas to England with Rosencrantz and Guildenstern in order to protect himself. Alone, King Claudius reveals in soliloquy his own knowledge of the crime he has committed (poisoning King Hamlet) and realizes that he cannot escape divine justice...

Queen Gertrude attempts to scold her son but Hamlet instead scolds his mother for her actions. Queen Gertrude cries out in fear, and Polonius echoes it and is stabbed through the arras (subdivision of a room created by a hanging tapestry) where he was listening in. Hamlet continues scolding his mother but the Ghost reappears, telling Hamlet to be gentle with the Queen. For her part, Queen Gertrude agrees to stop living with King Claudius, beginning her redemption....

Act IV.

King Claudius speaks with his wife, Queen Gertrude. He learns of Polonius' murder which shocks him; it could easily have been him. Queen Gertrude lies for her son, saying that Hamlet is as mad as a tempestuous sea. King Claudius, now scared of Hamlet, decides to have Hamlet sent away to England immediately... He also sends courtiers and spies Rosencrantz and Guildenstern to speak with Hamlet to find out where Hamlet has hidden Polonius' body so they can take it to the chapel.

Hamlet refuses to tell Rosencrantz and Guildenstern where Polonius' dead body is hidden. He calls Rosencrantz and Guildenstern lapdogs revealing his true awareness that they are not his friends. Hamlet agrees to see King Claudius.

Hamlet continues to refuse to tell Rosencrantz and Guildenstern where Polonius' body is. Hamlet is brought before the King. The two exchange words, clearly circling each other, each aware that the other is a threat. Hamlet tells King Claudius where Polonius body is. King Claudius ominously tells Hamlet to leave for England supposedly for Hamlet's own safety. With Hamlet gone, King Claudius reveals his plans for Hamlet to be killed in England, freeing King Claudius from further worry from this threat...

Young Fortinbras marches his army across Denmark to fight the Polish. Hamlet laments that he does not have in him the strength of Young Fortinbras, who will lead an army into pointless fighting, if only to maintain honor. Hamlet asks himself how he cannot fight for honor when his father has been killed and his mother made a whore in his eyes by becoming King Claudius' wife.

The death of Polonius leaves its mark on Ophelia who becomes mad from the grief of losing her father. Laertes storms King Claudius' castle, demanding to see his father and wanting justice when he learns that his father, Polonius has been killed. King Claudius remains calm, telling Laertes that he too mourned his father's loss...

Horatio is greeted by sailors who have news from Hamlet. Horatio follows the sailors to learn more... King Claudius explains to Laertes that Hamlet killed his father, Polonius. Deciding they have a common enemy, they plot Hamlet's death at a fencing match to be arranged between Laertes and Hamlet. Laertes learns of his sister Ophelia's death by drowning...

Act V.

Hamlet and Horatio speak with a cheerful Clown or gravedigger. Hamlet famously realizes that man's accomplishments are transitory (fleeting) and holding the skull of Yorick, a childhood jester he remembered, creates a famous scene about man's insignificance and inability to control his fate following death.

At Ophelia's burial, the Priest reveals a widely held belief that Ophelia committed suicide, angering Laertes. Hamlet fights Laertes over Ophelia's grave, angered by Laertes exaggerated emphasis of his sorrow and because he believes he loved Ophelia much more than her brother.

Hamlet explains to Horatio how he avoided the death planned for him in England and had courtiers' Rosencrantz and Guildenstern put to death instead. Hamlet reveals his desire to kill King Claudius.

Summoned by Osric to fence against Laertes, Hamlet arrives at a hall in the castle and fights Laertes. Queen Gertrude drinks a poisoned cup meant for Hamlet, dying but not before telling all that she has been poisoned.

Hamlet wins the first two rounds against Laertes but is stabbed and poisoned fatally in the third round. Exchanging swords whilst fighting, Hamlet wounds and poisons Laertes who explains that his sword is poison tipped.

Now dying, Hamlet stabs King Claudius with this same sword, killing him.

Hamlet, dying, tells Horatio to tell his story and not to commit suicide. Hamlet recommends Young Fortinbras as the next King of Denmark. Young Fortinbras arrives, cleaning up the massacre. Horatio promises to tell all the story we have just witnessed, ending the play.

Richard III

Richard III is the last of the four plays in Shakespeare's minor tetralogy of English history: it concludes a dramatic chronicle started by Henry VI: Part I and then moving through Henry VI: Part II and Henry VI: Part III. The entire four-play saga was composed early in Shakespeare's career, most scholars assigning Richard III a composition date of 1591 or 1592. Culminating with the defeat of the evil King Richard III at the battle of Bosworth field in the play's final act, Richard III is a dramatization of actual historical events that concluded in the year 1485, when the rule of the Plantagenet family over England was replaced by the Tudor monarchy. A full century after these events, Shakespeare's Elizabethan audiences were certainly familiar with them (as contemporary Americans are of their own Civil War), and they were particularly fascinated with the character of Richard III. Shakespeare's audiences could readily identify the various political factions and complex family relationships depicted in the play as they proceed from the three parts of Henry VI.

Today, readers and audiences may find it exceedingly difficult to follow the overlapping webs of political intrigue, family relationships, and personal vendettas. Fortunately, while a full knowledge of historical context would certainly enhance a modern reading of the text, it is not really necessary. The play, in fact, is dominated by Richard the hunchback Duke of Gloucester, who becomes Richard III through a series of horrible acts, killing off his enemies, his kinsmen, his wife and most of his supporters before reaching the Battle of Bosworth and crying out "My kingdom for a horse." In a work that is as much melodrama as history, Richard is a pure, self-professed villain of monstrous proportions. His evil drives the plot; and until his final defeat by the Duke of Richmond (who became Henry VII) in the play's last act, the good forces opposing him are weak, splintered, and ready prey for his schemes.

History Plays
by Shakespeare

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Some useful sites -

http://wild-turkey.mit.edu/Shakespeare/ - SHAKESPEARE'S PLAYS ONLINE
http://www.online-literature.com/shakespeare/kinglear/ - KING LEAR'S PLAY ONLINE
http://www.online-literature.com/shakespeare/othello/ - OTHELLO'S PLAY ONLINE
http://www.richard111.com/richard_iii__shakespeare.htm - RICHARD III'S PLAY ANALYSIS

http://poetry.eserver.org/sonnets/ SHAKESPEARE'S SONNETS
http://www.ilnodo.com/scheda_spettacolo.asp?Id_Rec=27&Rep=1 (compagnia teatrale)

Shakespeare's sonnets

Some Shakespeare's sonnets into Italian
Some Shakespeare's sonnets

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