The Oxford Dictionary of Original Shakespearean Pronunciation
David Crystal
From Our Blog
We all know the classic Shakespearean lines ' 'To be or not to be,' 'O Romeo, Romeo! Wherefore art thou Romeo?' or 'Shall I compare thee to a summer's day?' ' but how would these famous lines have sounded to Elizabethan audiences? Are we currently misinterpreting the Bard? This question has been on the mind of Shakespeare scholars, directors, actors, and audiences for a long time, and has proved a tricky problem.
Posted on November 26, 2016
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Since the groundbreaking Original Pronunciation productions at Shakespeare's Globe in London in 2004-05, OP has captured the imagination of performers, directors, and the play-going public. Going back to the pronunciation of the late 16th and early 17th centuries reveals nuances, puns, and rhymes that otherwise lie completely hidden, and gives fresh dynamism to productions.
Posted on March 27, 2016
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In 2004, Shakespeare's Globe in London began a daring experiment. They decided to mount a production of a Shakespeare play in 'original pronunciation' (OP) - a reconstruction of the accents that would have been used on the London stage around the year 1600, part of a period known as Early Modern English. They chose Romeo and Juliet as their first production, but - uncertain about how the unfamiliar accent would be received by the audience - performances in OP took place for only one weekend.
Posted on March 20, 2016
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In All's Well that Ends Well (3.7), Helena devises a plan to ignite the affections of her husband, for which she needs the help of her new acquaintances, a widow and her daughter. The widow is naturally suspicious, but Helena persuades her by offering to pay for her daughter's marriage.
Posted on January 10, 2016
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