Directing Hamlet Essay Example for Free

Directing Hamlet Essay If I were to have the pleasure of directing Hamlet I would first think about how and where the scene would be set. I would have the scene set in the suburbs of Italy where the gangsters are, because the portrayal of gangster Italy, on television (which the audience may be familiar with) is like the situation in Hamlet. Where revenge must be taken by the son, also upholding the family honour and such family situations. Also the portrayal of Italians is that they are very religious and that they tend to be Catholics, so the religious aspect of this scene (trying to pray and having the need to be forgiven by god) would fit in with my version and Shakespeares. I would have this scene set in a Roman Catholic Church to support the fact that Claudius wishes to pray here and that he is Catholic. I would like the church to echo the voices to show that Claudius heart must be empty for him to have committed this evil crime, so all he hears is the voices of his head, telling him what he thinks is the right thing to do, for example to pray for forgiveness. However his heart would be telling him to give up the things that he killed for, which Claudius himself mentions, since I am still possessd of those effects for which I did the murder. I would like the lighting to be an orangey afternoon colour, like when the sun sets. I imagine churches to be empty around early sunset time and if Claudius really felt guilty he would not want people o see that he is unable to pray I would not have any sound effects as the church would echo and I would like the audience to focus on what the actors were saying. Also silence between lines tends to create a sense of atmosphere. It would make the audience feel tense as though something was about to happen. I would like Claudius to look into the mirror when he is talking to himself throughout most of the scene. Except when it is inappropriate, for instance when he goes to pray. I would like the audience to feel more relaxed by this, as Claudius does not seem to be very emotionally at thins. I would like the audience to feel quite angry with Claudius. I would like them to feel this as they can see that he is not mentally disturbed by the goings on. However when Hamlet goes to talk to himself I would like to have him talking to the audience to show that although Hamlet said in an earlier scene that he would pretend to go mad, How strange or odd someer I bear myself-As perchance hereafter shall think meet to put an antic disposition on all the frustration about getting revenge and his fathers murder may have actually driven him mad. I feel that having Hamlet talk to the audience shows this, as the other members of the play do not seem to be able to see the audience (King Claudius talking to himself in the mirror). I would like the audience to be shocked, by this and feel on edge as this scene is all about whether Hamlet will kill the king or not which is very tense. Since Claudius is a King in Shakespeares Hamlet I would like him to play someone of high importance, so I would have him being played as a gangster leader. The outfit I would like him to wear would be a grey Armani suit, a waistcoat, blue collared shirt, and patent leather shoes. I would like him to have square framed glasses and for him to wear lots of gold jewellery, but especially a gold signant ring to symbolise that he is the leader of a gang, which has resemblance to the fact that he is a king (monarchs wear a ring to show that they are married to their country). I would like Hamlet to be wearing rather informal clothes to show that he may have gone slightly mad. I would have him wearing a plain black shirt, which would be reasonably tight. I would then have him wearing a black Hawaiian shirt with a thatched pattern on it. I would also like him to be wearing dark blue jeans. The dark clothes would be symbolising that Hamlet is still in mourning for his fathers death. I would like Hamlet to be wearing a silver Saint Christopher around his neck, to show that Hamlet may need guidance for the revenge of his fathers death. I would like to keep the language the same as I feel that if the text were to be converted into modern language the impact of the rhythm and words would be lost. Such as when Claudius says, It hath the primal eldest curse upont, means Its like when the first murder happened in the bible. These words do not have nearly as much effect as the original line. The original line provides some atmosphere. The word curse suggests evil, as witches were thought in Shakespeares time to send curses. Also as people were more religious in Shakespeares time the fact that Claudius has committed the worst sin n the bible they may have been horrified by Claudius crime. This wouldnt have as much effect on a modern day audience however I feel that the words too tend to portray that Claudius shows disgust towards himself. Some of the words in this scene are quite difficult to interpret so I would have to make some sort of gesture in order to make it more obvious what the two actors mean. I think that obvious hand or body gestures would make it more obvious. For example when Hamlet says, Up, sword, and know thou a more horrid hent I think that Hamlet should, lift his sword and then approach Claudius. This would make the true meaning of the sentence clearer. A few lines in this scene make it so enjoyable to watch, but it all depends on the actors interpretation and delivery of the line. When Claudius says, O, my offence is rank This line needs to be emphasised as it shows that Claudius may be feeling regret for what he did. So he could show this by shouting the line, which displays the anger that he may be feeling with himself. Also a brothers murder must be emphasised as this is the reason to Claudius guilt, and why he is so angry with himself. He could portray this to the audience by saying it slowly, and going into an audible whisper as if someone may hear. Claudius should also emphasise when he says, Forgive me my foul murder! as this shows that maybe he does truly repent and feel guilt. He could shout this line to the ceiling as if he were talking to god. When Claudius talks of the things he does not wish to give up, My crown, mine own ambition, and my queen. The should be said in a low husky tone, to show that Claudius although in this scene he may seem to be wanting forgiveness, he does not truly want it as he would give up these items that he killed his brother for. When Claudius is describing how in the criminal world he can buy himself out of trouble, In the corrupted currents of this world. This line and the following three lines should also be delivered in the same low husky tone to show that Claudius is still evil as to mix himself with criminals, who were also known as sinners in Shakespeares time. Also when Claudius talks to his knees, telling them to, Bow stubborn knees he should speak softly as though here were speaking to a child. This would emphasise the line and show that Claudius is encouraging himself to pray; just a children are encouraged when spoken to in a soft voice. The line he says, All may be well should also be softly as he trying to convince himself that everything will be all right. It is the final two lines that should be emphasised the most as this show the true irony of the whole scene. Hamlet decides not to kill Claudius, as he believes that Claudius is praying and would go straight to heaven. Here when Claudius says, My words fly up, my thoughts remain below. Words without thought never to heaven go. We learn that he was unable to pray anyway so Hamlet could have killed Claudius, only Hamlet did not know this. His line could be emphasised with pauses in between up and my, and in-between thought and never. When Hamlet says And now Ill do it. I think here the actor should raise his sword above his head and increase the volume of his voice to a shout. Hamlet should then approach Claudius and let out a war like cry to emphasise this line. This I feel is effective as it emphasises this line and the silence that would follow would also emphasise the next line, and so a goes to heaven. I think that those two lines are very important as they show that Hamlet is about to kill Claudius until he decides that hell wait. I also think that when Hamlet is talking about the death of his father, A took my father grossly, he should speak through his teeth, in a low tone. I feel that Hamlet would be feeling very angry, as he cannot yet revenge his fathers death. So I feel that that talking through his teeth would portray that anger to the audience. This also emphasises the line as the audience would listen to what he was saying as him talking through his teeth would be obvious to them. Hamlet, however should speak with joy when he talks about what kind if thing Claudius will be doing when Hamlet could kill him, When he is drunk asleep, or in rage; Or in th incestuous pleasure of his bed; At game, a-swearing, or about some act. I feel that Hamlet would be imagining Claudius being killed and going straight to hell, which would make him very happy. I then think that when Hamlet delivers this last line, this physic but prolongs thy sickly days. It must be emphasised as Hamlet would be feeling quite sad and angry that he has Claudius in very vulnerable position yet he feels that he cannot kill him, as that would not give him true revenge. I feel that sadness and anger can be portrayed by Hamlet having a pause between physic and but. Also the actor should speak in a low tone to get the audience attention as this line displays the irony as Claudius is unable to pray. This scene is only effective because the audience knows what happened in the previous scene. They know that Claudius has portrayed his true guilt to Hamlet, confirming Hamlets beliefs that Claudius killed his father. The way in which he did show his guilt, (When the players put on a play with a murder committed the same way that he killed his brother) would be more effective in Shakespeares time as then all people who committed murder were believed to go mad, and be affected by the site of their crime. When Claudius views his crime he horrified by himself and feels the need to be forgiven which explains his sudden desperate need to pray. I feel that this scene gives Hamlet its edge of tenseness. The rest of the play is an unwinding tale leaving the audience wondering right until the last scene, will Hamlet kill Claudius?

Australian Values Statement Essay -- Nationalism

On October 15, 2007 the government shifted from a liberal multiculturalist immigration policy to an assimilation policy. This occurs after a change in the political speech. During the early 2000’s the rhetoric became more nationalistic and Australia like many different countries focus on defining its identity. The citizenship eligibility requirements were reinforced and all applicants for provisional and permanent visa have to read and accept the Australian Values statement. These core values of the nation are summarizing by three dot point: â€Å" †¢ Australian society values respect for the freedom and dignity of the individual, freedom of religion, commitment to the rule of law, Parliamentary democracy, equality of men and women and a spirit of egalitarianism that embraces mutual respect, tolerance, fair play and compassion for those in need and pursuit of the public good †¢ Australian society values equality of opportunity for individuals, regardless of their race, religion or ethnic background †¢ the English language, as the national language, is an important unifying element of Australian society.† On a first point we will analyse the text and try to understand it purpose and the means use to attain it. Then we will focus on the three dot point and the â€Å"Australian values† defined by the state. The issue of this focus is to know if the state-defined values are promoted and recognize by the media and the population or not and if they really occur in reality. Finally we will express some of the critics made to this â€Å"Australian Values Statement† form. We shall consider first the reasons and goals that pushed the government to create this statement and analyse its writing. On Australia Day 2006, the Prime Minister John Howar... ...Press. Leet, M. (2006). What Are Australian Values, Really? The Brisbane Institute. Leitner, G. (2004). Australia's Many Voices: Ethnic Englishes, Indigenous and Migrant Languages. Policy and Education. Berlin: Mouton de Gruyter. McGregor, C. (2001). Class in Australia. Melbourne: Penguin. Phillips, T., & Smith, P. (2000). What is 'Australian'? Knowledge and Among a Gallery of Contemporary Australians. Australian Journal of Political Science, pp. 203-224. Randel-moon, H. (2006). ‘COMMON VALUES’: WHITENESS, CHRISTIANITY, ASYLUM SEEKERS. ACRAWSA e-journal, Vol. 2, Issue 1, , pp. 1-14. Rossister, J. (2007). Identifying and Measuring "Australian Values". Australian Marketing Journal 15.1, pp. 7-13. Thompson, E. (2001). Challenges to Egalitarianism: Diversity or Sameness ? In Unity and diversity: a National Conversation: Barton Lectures (p. 71). Sydney: ABC Books.

Std Pubic Lice

[pic] SHEPHERD CENTER 2020 PEACHTREE ROAD, N. W. ATLANTA, GA 30309 Resources & Grants dedicated to Spinal Cord Injury Survivors The Bryon Riesch Foundation The Bryon Riesch Paralysis Foundation's goal is to find a cure for paralysis through funding the latest in medical research and to provide assistance to those that suffer from neurological disorders. www. brpf. org P. O. Box 1388 Waukesha, WI   53187-1388 Phone:   (262) 547-2083 [email  protected] org Christopher and Dana Reeve Foundation 636 Morris Turnpike Suite 3A Short Hills, NJ   07078 [email  protected] org www. christopherreeve. org Tel: 973-379-2690 800-225 Clearinghouse on Disability Information Special Education & Rehabilitative Services Communications & Customer Service Team 550 12th Street, SW, Rm. 5133 Washington, DC    20202-2550 http://www. ed. gov/about/offices/list/osers Tel: 202-245-7307 202-205-5637 (TTD) Fax: 292024507636 The Dream Society The Dream Society was created to assist people with moderate to severe physical challenges such as paraplegia, and quadriplegia. We will consider all cases on a case by case basis to make any final decisions. www. thedreamsociety. org 2659 E. Gulf to Lake Hwy. PMB #108 Inverness, FL 34453 Phone (352) 400-4967 [email  protected] org FODAC: Friends of Disabled Adults & Children & Ramps for Champs FODAC provides over $8 million each year in equipment and services to the community at little or no cost to the recipients. FODAC's Ramps for Champs programs builds home ramps and makes other modifications. FODAC currently has special funding for certain recipients based on location and income. (Atlanta area only) 866-977-1204 www. fodac. org Georgia Brain and Spinal Injury Commission Georgians with traumatic brain and spinal injuries deserve lives of independence and inclusion, lives rich with vision and possibilities. Trust Fund awards assist individuals with injuries in reaching these goals. 888-233-5760 [email  protected] state. ga. us www. ciclt. net G. O. A. L. S: Go Out and Live Successfully The primary focus of G. O. A. L. S. , Inc. is to help individuals with spinal cord injuriesun4earth : achieve greater mobility and independence, better access their environment, and continue an active, productive life. www. goalsinc. net Go Out and Live Successfully, Inc. PO Box 7106 Albany, New York 12224 (561) 212-6499 Joni &Friends International Disability Center Joni and Friends is a Christian organization for people who are affected by disability, whether it is the disabled person, a family member, or friend. Our objective is to meet the physical, emotional, and spiritual needs of this group of people in practical ways. 818-707-5664 www. joniandfriends. org The Kevin Kitchnefsky Foundation  for Spinal Cord Research If you or a loved one has suffered a spinal cord injury and need financial assistance, you should know that 30% of the money we raise is passed on to deserving individuals and organizations. You, or someone you know, could be eligible for a K Grant. www. helpkevinwalk. rg [email  protected] net 109 German Hill Road Tunkhannock, PA 18657 Phone (570) 836-1240 Fax (570) 836-4584 Miami Project to Cure Paralysis/ Buoniconti Fund P. O. Box 016960 R-48 Miami, FL    33101-6960 [email  protected] med. miami. edu www. themiamiproject. org Tel: 305-243-6001 800-STANDUP (782-6387) Fax: 305-243-6017 National Institute on Disability an d Rehabilitation Research (NIDRR) U. S. Department of Education Office of Special Education and Rehabilitative Services 400 Maryland Ave. , S. W. Washington, DC    20202-7100 www. ed. gov/about/offices/list/osers/nidrr Tel: 202-245-7460 202-245-7316 (TTY) National Rehabilitation Information Center (NARIC) 4200 Forbes Boulevard Suite 202 Lanham, MD    20706-4829 [email  protected] com www. naric. com Tel: 301-459-5900/301-459-5984 (TTY) 800-346-2742 Fax: 301-562-2401 National Spinal Cord Injury Association Founded in 1948, the National Spinal Cord Injury Association is the nation's oldest and largest civilian organization dedicated to improving the quality of life for hundreds of thousands of Americans living with the results of spinal cord injury and disease (SCI/D) and their families. www. spinalcord. org 800-962-9629 National Transplant Assistance Fund & Catastrophic Injury Program The mission of NTAF  is to help transplant and catastrophic injury patients afford critical but uninsured medically related expenses through fundraising guidance, patient support and resources, as well as financial assistance. www. catastrophicfund. org 150 Radnor Chester Road Suite F-120 Radnor, PA 19087 800-642-8399 Paralyzed Veterans of America (PVA) 801 18th Street, NW Washington, DC    20006-3517 [email  protected] org http://www. pva. org Tel: 202-USA-1300 (872-1300) 800-424-8200 Fax: 202-785-4452 Spinal Cord Society 19051 County Highway 1 Fergus Falls, MN    56537 http://members. aol. com/scsweb Tel: 218-739-5252 or 218-739-5261 Fax: 218-739-5262 The Travis Roy Foundation The Travis Roy Foundation Established in 1997 to help spinal cord injury survivors and to fund research into a cure. www. travisroyfoundation. org Brenda Taylor Travis Roy Foundation 60 State Street, 8th Floor Boston, MA 02109 (617) 619-8257 (617) 227-0781 WYNGS Foundation Project Support for Spinal Cord Injury WYNGS is dedicated to addressing the immediate needs of people with spinal cord injury, providing emotional support, information and resources to ease financial burdens. 7900 Nelson Road Panorama City, CA  Ã‚   91402 Phone: (818) 267-3031 Fax (818) 267-3095 [email  protected] com www. wyngs. org

Pronunciation-Based Changes in the Spanish Words for And and Or

Two of the most common conjunctions in Spanish — y (meaning and) and o (meaning or) — can change spelling and pronunciation based on the word that follows. In that way, they are much like the a of English changing to an before a vowel sound. And, like the a-to-an change, the transformation is based on how the following word is pronounced rather than how it is spelled. When Do Y and O Change? Both the y and o changes help keep the conjunction from blending into the following word. (The blending of two words into what sounds like one is called elision when it involves the dropping or omission of sounds, and it is common in both English and Spanish.) Here are the changes that are made: Y becomes e when it precedes a word that begins with the i sound. Typically, y becomes e when it precedes most words that begin with i- or hi-.O becomes u when it precedes a word that begins with the o sound. Thus o becomes u when it precedes words words starting with o- or ho-. Because the changes are based on pronunciation rather than spelling, y does not change before words, such as hierba, that begin with the ia, ie, io, or iu sound, regardless of spelling. Those two-letter combinations are known as diphthongs; the initial sounds are very similar to the Spanish y sound when y comes before a vowel. Sample Sentences Showing Use of Y and O Reciben tratamiento cruel e inhumano. (They are receiving cruel and inhumane treatment. The y changes to e because the inhumano begins with the i sound.) Nuestro conocimiento nos enseà ±a dos cosas claras: posibilidades e imposibilidades. (Our knowledge teaches us two clear things: possibilities and impossibilities. The e is used because imposibilidades begins with the i sound.) Fabricamos barras e hilos de cobre. (We manufacture copper bars and wires. The e is used because hilos begins with the i sound even though the first letter is h.)   Està ¡ enteramente construido de nieve y hielo. (It is built completely of snow and ice. The y does not change because hielo begins with the ie diphthong.) Hay un equilibrio osmà ³tico y ià ³nico. (There is an osmotic and ionic equilibrium. The y is used because ià ³nico begins with the io diphthong.) Hay muchas diferencias entre catolicismo e hinduismo. (There are many differences between Catholicism and Hinduism. The y changes to e because hinduismo begins with the i sound even though its first letter is h.) Vendemos productos de limpieza e higiene. (We sell cleaning and hygiene products. Higiene begins with the i sound.) Usamos punto y coma para separar las frases u oraciones que constituyen una enumeracià ³n. (We use a semicolon to separate phrases or sentences that make up a list.) No recuerdo si fue ayer u hoy. (I dont remember if it was yesterday or today. Unlike with the changes involving y to e, the o changes even though oy is a diphthong.)  ¿Quà © operador de telà ©fonos ofrece las tarifas mà ¡s baratas para viajar a à frica u Oriente Medio? (Which phone operator offers the lowest costs for traveling to Africa or the Middle East? The rule of changing o to u applies even if the word following is a proper noun.) La Can Make Similar Change The desire to keep the sounds of important words from being lost due to elision is also behind the changing of la to el in some circumstances with feminine sounds. Although there are exceptions, el is used instead of la before singular feminine nouns where the first syllable of the noun is stressed. Thus the eagle is el à ¡guila even though à ¡guila is feminine. The change doesnt occur with plural nouns or where the stress isnt on the first syllable. In standard written Spanish, una becomes un (meaning one, a, or and) under the same circumstances. Thus, an eagle is un à ¡guila. These changes and those involving y and o are the only situations where Spanish changes words depend on sounds that follow. Key Takeaways The Spanish conjugation y (meaning and) changes to e when the word that follows begins with the i sound.The Spanish conjugation o (meaning or) changes to u when the word that follows begins with the o sound.These changes are triggered by pronunciation only, not how a word is spelled.