BBC Television Shakespeare From Wikipedia,
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             Contents
            
            1 Introduction[1]  
            1.1 Origins  
            1.2 Shakespeare on the BBC  
            1.3 Production  
             
            2 The 37 Plays 2.1 Season one; Cedric Messina,
            producer  
               
              2.1 Seaon two; Cedric Messina, producer 
               2.1.1 Romeo and Juliet  
               2.1.2 King Richard the Second  
               2.1.3 As You Like It 
               2.1.4 Julius Caesar 
               2.1.5 Measure for Measure  
               2.1.6 The Famous History of the Life of King
            Henry the Eight 
             
              2.2 Seaon two; Cedric Messina, producer
             
               2.2.1 The First Part of King Henry the Fourth,
            with the life and death of Henry surnamed
            Hotspur 
               2.2.2 The Second Part of King Henry the
            Fourth, including his death and the coronation
            of King Henry the Fift 
               2.2.3 The Life of Henry the Fift 
               2.2.4 Twelfth Night 
               2.2.5 The Tempest  
              2.2.6Hamlet, Prince of Denmark  
             
              2.3 Season three; Jonathan Miller, producer 
               2.3.1 The Taming of the Shrew 
               2.3.2 The Merchant of Venice 
               2.3.3 All's Well That Ends Well 
               2.3.4 The Winter's Tale 
               2.3.5 Timon of Athens 
               2.3.6 Antony and Cleopatra[11]  
             
              2.4 Season four; Jonathan Miller,producer 
               2.4.1 Othello  
               2..4.2 Troilus and Cressida  
               2.4.3 A Midsummer Night's Dream> 
             
              2.5 Season Five; Jonathan Miller and
            Shaun Sutton, producers 
               2.5.1 King ear 
               2.5.2 Cymbeline[11] 
               2.5.3 The Merry Wives of Windsor  
              2.5.4 The First Part of Henry the Sixt 
              2.5.5 The Second Part of Henry the Sixt 
              2.5.6 The Third Part of Henry the Sixt 
              2.5.7 The Tragedy of Richard III 
             
              2.6 Season six; Shaun Sutton, producer 
              2.6.1 Macbeth[11]   
              2.6.2 The Comedy of Errors 
              2.6.3 The Two Gentlemen of Verona 
              2.6.4 The Tragedy of Coriolanus[11] 
              2.6.5 Pericles, Prince of Tyre[11] 
             
              2.7 Season seven; Shaun Sutton, producer 
              2.7.1 Much Ado About  
              2.7.2 The Life and Death of King John 
              2.7.3 Love's Labour's Lost 
              2.7.4 Titus Andronicus[11] 
             
            3 Omissions and changes 
            4 Footnotes 
            5 External links | 
           
           
          
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      The BBC Television Shakespeare was a set of television adaptations of the
      plays of William Shakespeare, produced by
      the BBC between 1978 and 1985. 
       
      Introduction 
      Origins 
       
        The concept for the series originated
      in 1976 with Cedric Messina, a veteran BBC
      producer, who was on-location at Glamis Castle
      in Angus, Scotland shooting J.M. Barrie's
      The Little Minister for the BBC Play of the
      Month series. During filming, it occurred
      to Messina that the castle would make a perfect
      location for an adaptation of Shakespeare's
      As You Like It for the series. By the time
      he had returned to London, however,the concept
      had grown considerably, and Messina now envisioned
      an entire series devoted exclusively to the
      dramatic work of Shakespeare; a series which
      would adapt all thirty-seven of Shakespeare's
      plays.[2]  
       At first, Messina envisioned the series
      as having six seasons of six episodes each,
      with the plan being to adapt the three Henry
      VI plays into a two-part episode. This idea
      was soon rejected however, as it was felt
      to be an unacceptable compromise, and it
      was decided to simply have one season with
      seven episodes. Initially, Messina also wanted
      to shoot the plays in chronological order
      of how they were written, but this was rejected
      because it was felt that doing so would necessitate
      the series beginning with a run of relatively
      little known plays. 
       Another early concept of Messina's which
      had to be rejected was the idea of shooting
      the eight sequential history plays ( Richard
      II,Henry IV, Part 1,Henry IV, Part 2,Henry
      V,Henry VI, Part 1,Henry VI, Part 2,Henry
      VI, Part 3 and Richard III) in chronological
      order of the events they depict, with linked
      casting and the same director for all eight
      adaptations (David Giles. During the early
      planning stages for Richard II and Henry
      IV, Part 1 however, the plan for linked casting
      fell apart when it was discovered that although
      Jon Finch (Henry Bolingbroke in Richard II)
      could return as Henry IV, Jeremy Bulloch
      as Henry 'Hotspur' Percy and David Swift
      as the Earl of Northumberland were unable
      to do so, and the parts had to be recast,
      thus undermining the concept of shooting
      the plays as one sequence. Ultimately,during
      the first season, Richard II, although still
      directed by Giles, was treated as a stand-alone
      piece, whilst Henry IV, Part 1, Henry IV,
      Part 2 and Henry V (all also directed by
      Giles) were treated as a trilogy during the
      second season, with linked casting between
      them. The second four plays were then directed
      by Jane Howell during the fifth season as
      one unit, with linked casting and a common
      set.  
       
       
      
      The BBC had screened many Shakespearean adaptations
      before, but never on this scale. The first
      broadcast was on the afternoon of February
      5, 1937; an eleven-minute scene from As You Like It, directed by Robert Atkins with Margaretta
      Scott as Rosalind and Ion Swinley as Orlando.
      Later that evening, a fourteen-minute segment
      from the wooing scene of Henry V was screened, directed by George More O'Ferrall
      and starring Henry Oscar as Henry and Yvonne
      Arnaud as Katherine.[3] O'Ferrall would oversee
      numerous productions of Shakespeare over
      the course of 1937[4]; a ten-minute excerpt
      from Mark Antony's funeral speech in Julius
      Caesar, starring Henry Oscar (February 11);
      a ten-minute excerpt from Much Ado About
      Nothing with Henry Oscar as Benedick and
      Margaretta Scott as Beatrice (also February
      11);a twenty-five minute extract from Macbeth,
      with Henry Oscar as Macbeth and Margaret
      Rawlings as Lady Macbeth (March 25); a thirty-minute
      extract from Twelfth Night, with John Wyse
      as Orsino and Greer Garson as Olivia (May
      14); and a sixty seven-minute extract from
      Othello starring Baliol Holloway as Othello,
      D.A. Clarke-Smith as Iago and Celia Johnson
      as Desdemona. O’Ferrall also produced a
      1938 broadcast of a live thirty-minute extract
      from an Old Vic production ofMacbeth, directed
      by Michel Saint-Denis and starring Laurence
      Olivier and Judith Anderson. 1938 also saw
      the first full-length broadcast of a Shakespeare
      play; Dallas Bower's modern dress production
      of Julius Caesar at the Shakespeare Memorial Theatre starring
      Ernest Milton as Caesar and D.A. Clark-Smith
      as Mark Antony. These transmissions came
      to an end with the onset of war in 1939 and
      none of them survive now. After the war,
      Shakespearean adaptations were screened less
      frequently, although there were numerous
      live transmissions of actual plays; for example,
      a one hundred-minute abridged version of
      Orson Welles legendary modern dress Mercury
      Theatre production of Julius Caesar, starring
      Welles himself; a twenty five-minute extract
      from Stephen Thomas' Regent's Park roduction
      of A Midsummer Night's Dream, starring Alexander
      Knox as Oberon and Tea Holme as Titiana;
      and a one hundred and forty-minute version
      of Dallas Bower's production ofThe Tempest,
      with Peggy Ashcroft as Miranda and John Abbott
      as Prospero. In 1948, George More O'Ferrall
      directed and produced a made-for-TV two-part
      adaptation of Hamlet with John Byron as Hamlet,
      Sebastian Shaw as Claudius, Margaret Rawlings
      as Gertrude and 
      There were also three multi-part Shakespearean
      adaptations shown during the 1950s and 1960s.
      The first was The Life and Death of Sir John
      Falstaff (1959). Produced and directed by
      Ronald Eyre and starring Roger Livesey as
      Falstaff, the series took all of the Falstaff
      scenes from the Henry IV plays and The Merry Wives of Windsor and adapted them into seven half-hour episodes.
      The second was An Age of Kings (1960). Produced by Peter Dews and directed
      by Michael Hayes, the show comprised fifteen
      one-hour episodes which adapted all eight
      of Shakespeare's sequential history plays.
      The third was the Peter Dews produced The
      Spread of the Eagle (1963), which featured
      nine one-hour episodes adapting, in chronological
      order of the real life events, Criolanus,
      Julius Caesar and Antony and Cleopatra. However, The Spread of the Eagle was not a huge success, and afterwards,
      the BBC returned to smaller screenings with
      less financial risk.[5] In 64, for example,
      the John Barton adaptation of the three Henry VI plays and Richard III into a three-parter called The Wars of the Roses by the Royal Shakespeare Company was aired over a four-week period. Another
      1964 production was Hamlet at Elsinore, directed by Philip Saville and produced by Peter Luke, the adaptation starred Christopher Plummer as Hamlet, Robert Shaw as Claudius, Michael Caine as Horatio and Donald Sutherland as Fortinbras. The entire play was shot
      on-location in Denmark at the real Elsinore Castle. Additionally, The Play of the Month series screened several Shakespearian adaptations
      over the years; Romeo and Juliet (1967), The Tempest (1968), Julius Caesar (1969), Macbeth (1970), A Midsummer Night's Dream (1971), The Merchant of Venice (1972), Love's Labour's Lost (1974) and King Lear (1975). 
      
      As such, the BBC Television Shakespeare project was the most ambitious engagement
      with Shakespeare ever undertaken by either
      a television or film production company. So large was the project that the BBC couldn't
      finance it alone, and required an American
      partner who would guarantee access to the
      United States market, deemed essential for the series
      to recoup its costs. Financing took over
      two years to secure, with Time-Life acting as the series' largest underwriter. Later, Exxon, Metropolitan Life and Morgan Guaranty Trust also provided financing. However, because
      they had invested so much in the project,
      the backers were able to suggest terms. 
      The most important of these was that the
      productions must be traditional interpretations
      of the plays set in either Shakespeare's
      own time (1564 to 1616) or in the historical
      period of the events depicted (such as ancient
      Rome for Julius Caesar, or c1400 for Richard II etc). A two and a half hour maximum running
      time was also designated, but this particular
      restriction was swiftly jettisoned when it
      became clear that the major tragedies in
      particular would have suffer severely if
      truncated too heavily. The restriction regarding
      conservative interpretations however was
      non-negotiable. The financiers were primarily
      concerned with ratings, and the restrictions worked to this end,
      ensuring the plays had "maximum acceptability
      to the widest possible audience."[6] Partly because of this, although later productions
      under Messina's successors, Jonathan Miller and Shaun Sutton, would be more experimental, in its early
      years, the series developed a reputation
      for being overly conventional, and as such,later
      in the series, when Miller tried to persuade
      high-calibre directors such as Peter Brook, Ingmar Bergman, William Gaskill and John Dexter to direct adaptations, he was unsuccessful.[7] 
      All productions were shot on video, with multiple cameras, in Studio 1 at the BBC Television Centre studios, with the exception of two first
      season episodes, As You Like It and Henry VIII, which were shot on location. Also worth
      noting is that composerWilliam Walton, who had scored Olivier's three Shakespearean
      films (Henry V, Hamlet and Richard III) came out of retirement to write the theme music for the show. 
      During Messina's tenure as producer (seasons
      one and two), as per the financiers' restrictions,
      the adaptations tended to be conservative,
      but when Jonathan Miller took over at the
      start of season three, he revamped things.
      Messina had favoured a broadly 'realistic'
      approach which worked to simplify the texts
      for audiences unfamiliar with Shakespeare,
      but Miller was against any kind of 'dumbing
      down'. He had came from "outside the
      BBC's tradition of painstaking research and
      accurate historical verisimilitude. Messina's approach had treated the plays
      in realistic terms as a series of events
      which had once taken place somewhere and
      which could be literally represented on screen.
      Miller, however, saw them as products of
      a creative imagination, artefacts in their
      own right, to be realised in production using
      the visual and conceptual materials of their
      own historical period. This led to a major
      reappraisal of the original production guidelines."[8] One specific modification by Miller that
      was met with great delight by directors was
      his tendency to encourage the adaptations
      to be more adventurous than Messina had permitted,
      pushing the definition of "traditional"
      to the limit. For example, he adopted a visual
      and design policy of sourcing sets and costumes
      from great paintings of the era in which
      the play was set, thus allowing directors
      to stamp more of their own aesthetic credo
      on the productions than they previously been
      able. Miller's aesthetic policies continued
      under Shaun Sutton, who took over at the
      start of season six. The project was Sutton's
      retirement job, after twelve years as the
      head of BBC Drama, and he was under strict
      orders to bring the series to a close, as
      it had run over by twelve months during Miller's
      reign. Sutton was successful, and the series
      closed with a broadcast of Titus Andronicus roughly twelve months later than initially
      projected. Ultimately, Messina's gamble in
      1978 proved successful, as the series was
      a financial success, having more than broken
      even by 1982.[9] 
      
      
        『ロメオトジュリエット』 Romeo and Juliet  
       
       アルヴィン・ラコフ演出,収録 January 31-February
      5, 1978、英国での初放送 December 3, 1978、アメリカでの初放送
      March 14, 1979。 
       パトリック・ライカート Patrick Ryecart
      as Romeo, レベッカ・シャイア Rebecca Shire
      as Juliet, セリア・ジョンソン Celia Johnson
      as the Nurse, マイケル・ホーデーン Michael
      Hordern as Lord Capulet, ジョン・ギールグッド John
      Gielgud as the Chorus, アンソニー・アンドリュース Anthony
      Andrews as Mercutio, アラン・リックマン Alan
      Rickman as Tybalt,ジョセフ・オコンナー Joseph
      O'Conor as Friar Lawrence,ローレンス・ナイスミス Laurence
      Naismith as Prince Escalus,ジャクリーン・ヒル Jacqueline
      Hill as Lady Capulet,クリストファー・ストローリ
      Christopher Strauli as Benvolio,クリストファー・ノーゼイ Christopher
      Northey as Paris,ピーター・ヘンリー Peter
      Henry as Peter, ロジャー・ディヴィッドソン Roger
      Davidson as Balthasar, ジョン・ポール John
      Paul as Montague, ズェルマ・ディーン Zulema
      Dene as Lady Montague, エスモンド・ナイト Esmond
      Knight as Old Capulet, デイヴィッド・シブリー David
      Sibley as Samson, ジャック・カー Jack Carr
      as Gregory, バニー・リード Bunny Reed as
      Abraham, ヴァーノン・ドブチェフ Vernon Dobtcheff
      as Apothecary, ジョン・サヴィデント John
      Savident as Friar John  
       ≪舞台裏で≫レベッカ・シャイアは映画が製作されたときわずか14歳だった。ジュリエットを演じた女優としては異常に若かった(舞台のときはたった13歳)。
       
       
       『リチャード二世』  King Richard the Second  
        
      Directed by David Giles, Taping dates: April
      12-17, 1978,First transmitted in the UK:
      December 10, 1978. First transmitted in the
      US: March 28, 1979  
       
      Derek Jacobi as Richard II, Jon Finch as
      Henry Bolingbroke,John Gielgud as John of
      Gaunt, Duke of Lancaster, Charles Gray as
      Edmund Langley, Duke of York, Wendy Hiller
      as the Duchess of York, Mary Morris as the
      Duchess of Gloucester, David Swift as the
      Duke of Northumberland, Clifford Rose as
      the Bishop of Carlisle, Charles Keating as
      Duke of Aumerle, Richard Owens as Thomas
      Mowbray, Janet Maw as the Queen, Jeffrey
      Holland as the Duke of Surrey, Jeremy Bulloch
      as Henry 'Hotspur' Percy, Robin Sachs as
      Bushy, Damien Thomas as Bagot Alan Dalton
      as Green David Dodimead as Lord Ross, John
      Flint as Lord Willoughby Carl Oatley as Earl
      Berkeley, William Whymper as Sir Stephen
      Scroop John Barcroft as Earl of Salisbury,
      David Garfield as Welsh Captain, Desmond
      Adams as Sir Pierce of Exton, Bruno Barnabe
      as Abbot of Westminster, Jonathan Adams as
      Gardener Alan Collins as Gardener's Man,
      John Curless as Lord Fitzwater, Terry Wright
      as Murderer  
       
       
      『お気にめすまま』 As You Like It 
       
      Directed by Basil Coleman, Taping dates:
      May 30-June 16, 1978, First transmitted in
      the UK: December 17, 1978, First transmitted
      in the US:> February 28, 1979 
        
      Helen Mirren as Rosalind, Brian Stirner as
      Orlando, Richard Pasco as Jaques, Angharad
      Rees as Celia, James Bolam as Touchstone,
      Clive Francis as Oliver, Richard Easton as
      Duke Frederick, Tony Church as Duke Senior,
      John Quentin as Le Beau, Maynard Williams
      as Silvius Victoria, Plucknett as Phebe,
      Marilyn Le Conte as Audrey, Tom McDonnell
      as Amiens David Lloyd Meredith as Corin,
      Arthur Hewlett as Adam, Jeffrey Holland as
      William, Timothy Bateson as Sir Oliver Martext,
      David Prowse as Charles the Wrestler, John
      Moulder-Brown as Hyman, Paul Bentall as Jacques
      de Boys, Chris Sullivan as Dennis  
       
      Filmed at Glamis Castle in Scotland, this
      was one of only two productions shot on location,
      the other being Henry VIII. Director Basil Colemen initially felt that
      the play should be filmed over the course
      of a year, with the change in seasons from
      winter to summer marking the ideological
      change in characters, but he was forced to
      shoot entirely in May, even though the play
      begins in winter.  
       
       
       
      
      
      
      Director Herbert Wise felt that Julius Caesar should be set in the Elizabethan era, but he was compelled by the financiers
      to set it in a Roman milieu. Wise felt that Shakespeare had written
      the play specifically as a commentary on
      Elizabethan culture, and that interpreting
      it literally as being a play about Ancient Rome trivialised the story. 
       
       
      
      
        - 
        
Directed by Desmond Davis  
        
         - 
        
Taping dates: May 17-22, 1978  
        
         - 
        
First transmitted in the UK: February 18, 1979  
        
         - 
        
First transmitted in the US: April 11, 1979 Kenneth Colley as the Duke
        Kate Nelligan as Isabella Tim Pigott-Smith
        as AngeloChristopher Strauli as Claudio John McEnery
        as Lucio Jacqueline Pearce as Mariana Frank
        Middlemass as Pompey Alun Armstrong as Provost
        Adrienne Corri as Mistress Overdone Ellis
        Jones as Elbow John Clegg as Froth William
        Sleigh as Barnardine Neil McCarthy as Abhorson
        Yolanda Vazquez as Juliet Eileen Page as
        Francesca Kevin Stoney as Escalus Godfrey
        Jackman as Friar Thomas  
        Behind-the-scenes 
         
        Director Desmond Davis based the brothel in the play on a traditional Western saloon and the prison on a typical horror filmdungeon. 
        
        
        
        Shot at Leeds Castle, Penhurst Place and Hever Castle and in the actual rooms in which some of
        the real events took place. 
         
         
        
        
        
         
         
        
        
         
         
        
        
        
          演出はジョン・ゴリー John Gorrie、収録は
        May 16-21, 1979、英国初放送は January 6,
        1980、アメリカ初放送は February 27, 1980。
         アレック・マッコーェン Alec McCowen as
        Malvolio, ロバート・ハーディRobert Hardy
        as Sir Toby Belch, フェリシティ・ケンドール Felicity
        Kendal as Viola,アネット・クロスビー Annette
        Crosbie as Maria,サイニード・キューザック
        Sine'ad Cusack as Olivia, トレヴァー・ピーコック Trevor
        Peacock as Feste,クライヴ・アリンデル Clive
        Arrindell as Orsino, ロニー・スティーヴンス Ronnie
        Stevens as Sir Andrew Aguecheek,ロバート・リンゼー Robert
        Lindsay as Fabian,モーリス・レーヴス Maurice
        Roe"ves as Antonio, マイケル・トーマス Michael
        Thomas as Sebastian eynolds,マルコルム・レイノルズ Malcolm
        Reynolds as Valentine ライアン・ミッチェル Ryan
        Michael as Curio,リック・モーガン Ric Morgan
        as the Sea Captain,アーサー・ヒューレット
        Arthur Hewlett as the Priest。  
         
         ≪舞台裏で≫監督のジョン・ゴリーはこの劇をイギリスのカントリー・ハウスのコメディと解釈した。そして、ルイジ・ピランデルロの『Il Giaco delle Parti』からTVの『上階、下階』までの影響を具体化した。ゴリーはまたこの劇をイギリス市民戦争中と設定した。騎士派と円頂派の使用が祝祭と清教徒の衝突の劇化に焦点を当てると期待される.  
        
        
        
        The special effects seen in this episode
        were not developed especially for use here.
        They had been developed for Top of the Pops and Doctor Who. 
         
           (9)BBCシェイクスピア全集の『ハムレット』 Hamlet,
        Prince of Denmark 
         演出ロドニー・ベネット、収録January 31-February
        8, 1980、英国初放送 May 25, 1980、アメリカ初放送 November
        10, 1980。 
         
         デレク・ジャコビ Derek Jacobi as Hamlet、クレア・ブルーム
        Claire Bloom as Gertrude,パトリック・スチュワート Patrick
        Stewart as Claudius、エリック・ポーター Eric
        Porter as Polonius、ララ・ワード Lalla Ward
        as Ophelia、ディヴィッド・ロッブ David Robb
        as Laertes、 パトリック・アレン Patrick Allen
        as the Ghost of Hamlet's Father,、ロバート・スワン
        Robert Swann as Horatio、 ジョナサン・ハイド
        Jonathan Hyde as Rosencrantz、ジオフリー・ベイトマン
        Geoffrey Bateman as Guildenstern,、 エムリス・ジェイムズ Emrys
        James as Player King 、ジェイソン・ケンプ
        Jason Kemp as Player Queen、イアン・チャールソン
        Ian Charleson as Fortinbras、テイム・ウィルトンTim
        Wylton as First Gravedigger、 ピーター・ベンソンPeter
        Benson as Second Gravedigger、ポール・ハムポレッツPaul
        Humpoletz as Marcellus ニール・パッデンNiall
        Padden as Bernardo クリストファー・ベインズChristopher
        Baines as Francisco、ジョン・ハンフリー John
        Humphry as Voltimand、ジョン・スターランド
        John Sterland as Cornelius、ピーター・ゲイル
        Peter Gale as Osric、レイモンド・メイソン
        Raymond Mason as Reynaldo、 ダン・ミーデン
        Dan Meaden as Norwegian Captain、ディヴィッド・ヘンリー
        David Henry as English Ambassador。 
         
         
        
        
        
        
        
        The casting of John Cleese as Petruchio was
        not without controversy at the time. Cleese
        had never performed Shakespeare before, and
        was not a fan of the first two seasons of
        the BBC Television Shakespeare, and took some persuading from Miller that
        the BBC Shrew would not be, as Cleese feared "about
        a lot of furniture being knocked over, a
        lot of wine being spilled, a lot of thighs
        being slapped and a lot of unmotivated laughter."[10] As such, Miller told Cleese that the episode
        would interpret Petruchio as an early Puritan,
        and that the part was not to be acted along
        the traditional lines of the swaggering bully
        a laRichard Burton in Franco Zeffirelli's adaptation. In tandem with this interpretation, the
        song sung at the end of the play is a musical
        version of Psalm 128, which was often sung in Puritan households
        at the end of a meal during Shakespeare's
        own day. 
        
        
        
        
        
        In line with producer Jonathan Miller's new
        aesthetic policy, director Elijah Moshinsky
        composed many of the shots of the film as
        live action replicas of the work of Johannes Vermeer. 
         
         
        
        
         
         
        
        
        
        Michael Bogdanov was originally hired to direct this episode,
        but he resigned after his modern-dress interpretation
        was considered too radical. 
         
         
        
        
        
        During the shooting of the scene with the
        snake, the snake crawled down the back of
        Jane Lapotaire's dress. 
        
        
        
        
        James Earl Jones was originally hired to play the role of
        Othello, but Equity, the English Actor's Guild, refused to issue
        a work permit. During production itself,
        Jonathan Miller based the visual design on
        the work of El Greco. 
        
        
        
        Director Jonathan Miller used the work of
        gothic painter Lucas Cranach as a visual influence during the production,
        and several of Cranach's paintings can be
        seen in Ajax's tent. 
         
         
        
        
        
        Elijah Moshinsky based the fairies in the
        play on the baroqueeroticism of Rembrandt and Peter Paul Rubens. 
         
         
        
         
        『リア王』 King Lear 
         
          演出はジョナサン・ミラー。収録日時は1982年3月26日から4月2日、英国初放送日1982年9月19日、アメリカ初放送日1982年10月18日。 
         
         ケント伯(ジョン・シラプネル)、グロスター(ノーマン・ロッドウェイ)エドマンド(マイケル・キッチン)、リア王(マイケル・ホルデーン)、ゴネリル(ギリアン・バージ)、コーデリア(ブレンダ・ブレスリン)、リーガン(ペネロープ・ウィルトン)、アルバニー公(ジョン・バード)、コーンウォール公(ジュリアン・カリー)、バーガンディ(ディヴィッド・ウェストン)、フランス王(ハリー・ウォーターズ)、エドガー(アントン・レサー)、オズワルド(ジョン・グリロ)、道化(フランク・ミドルマス)、カラン(ケン・スコット)、医師(ジョージ・ハウ) 
        をスターにした。しかし、元来ロバート・ショウがリアに予定されていたが、彼は1978年に死亡してしまった。この製作が始まる前だった。 
         ≪舞台裏で≫ジョナサン・ミラーは以前に『リア王』をBBCシリーズ「今月の演劇」用に脚色して演出した経験があった。ミラーの前回はマイケル・ホルデーン(リア王)とフランク・ミドルマス(道化)をスターにした。もとはロバート・ショウがリア王に予定されていたが、本プロダクションが始まる前の1978年に亡くなった。
         
         
         
         
         
         
         
         
         
         
         
        
        
         
         
        
        
        
        Director David Jones originally wanted to
        shoot the episode in Stratford-upon-Avon but was restricted to a studio setting.
        Jones got around this by basing his set on
        the house which belonged to Shakespeare's
        son-in-law, John Hall. 
         
         
        
        
        
        
        
        This episode was filmed on the same set as
        The First Part of Henry the Sixt. However, designer Oliver Bayldon altered the set so it would appear that
        the paint work was flaking and peeling, and
        the set falling into a state of disrepair,
        as England descended into an ever increasing
        state of chaos. 
        
        
        
        This episode was filmed on the same set as
        The First Part of Henry the Sixt and The Second Part of Henry the Sixt. However, designer Oliver Bayldon altered
        the set so it would appear to be completely
        falling apart, as England descended into
        an even worse state of chaos. 
         
         
        
        
        
        This episode was filmed on the same set as
        the three Henry VI plays. However, designer Oliver Bayldon
        altered the set so it would appear to be
        a ruin, as England reached its lowest point
        of chaos. 
         
         
        Season six; Shaun Sutton, producer Macbeth[11]  
        Directed by Jack Gold Taping dates: June 22-28, 1982 First transmitted in the US: October 17, 1983 First transmitted in the UK: November 5, 1983 Brenda Bruce as First WitchEileen Way as Second WitchAnne Dyson as Third WitchMark Dignam as DuncanJames Hazeldine as MalcolmJohn Rowe as Lennox Gawn Grainger as Ross
        Nicol Williamson as MacbethIan Hogg as BanquoDavid Lyon as Angus Jane Lapotaire as Lady MacbethAlistair Henderson as FleanceTony Doyle as MacduffTom Bowles as DonalbainEamon Boland as Seyton Jill Baker as Lady MacduffCrispin Mair as Young MacduffMatthew Long as Menteith Peter Porteous as
        Caithness William Abney as Old SiwardNicholas Coppin as Young Siward 
        The Comedy of Errors  
        Directed by James Cellan Jones, Taping
        dates: November 3-9, 1983, First transmitted
        in the UK: December 24, 1983, First transmitted
        in the US: February 20, 1984 
        Cyril Cusack as Aegeon, Charles Gray as Solinus
        Nicolas Chagrin as Master of the Mime Michael
        Kitchen as Antipholus Roger Daltrey as Dromio
        Suzanne Bertish as Adriana Joanne Pearce
        as Luciana Marsha Fitzalan as Luce Sam Dastor
        as Angelo David Kelly as Balthazar Geoffrey
        Rose as Pinch Ingrid Pitt as Courtesan Wendy
        Hiller as the Abbess  
        
        
        
        The music in this episode was created by
        Anthony Rooley, who wrote new arrangements of works from
        Shakespeare's own time. For example, John Dowland's piece 'Lachrimae' was rewritten and performed by Rooley.
        According to director Don Taylor, the use
        of the young actors dressed as cherubs was to convey the idea that the characters
        lived in a 'Garden of Courtly Love', which
        was slightly divorced from every day reality. 
         
         
        
        
        
        Director Elijah Moshinsky modelled the relationship
        between Coriolanus and his mother after that
        between Rose Kennedy and her sons. 
        
        
        
         
          『空騒ぎ』 Much Ado About Nothgi 
         演出はスチュアート・バージ Stuart Burge。収録 August
        15-21, 1984,英国での初放送 December 22,
        1984,アメリカでの初放送October 30, 1984。 
         リー・モンターグ Lee Montague as Leonato、シェリー・ルンギ Cherie
        Lunghi as Beatrice、キャサリン・レヴィ Katharine
        Levy as Hero、ジョン・フィンチ Jon Finch
        as Don Pedro、 ロバート・リンゼィ Robert
        Lindsay as Benedick、ロバート。レイノルズ Robert
        Reynolds as Claudio、ゴードン・ホワイティング Gordon
        Whiting as Antonio、 ヴァーノン・ドブチェフ Vernon
        Dobtcheff as Don John、ロバート・グイリム Robert
        Gwilym as Conrade、トニー・ロー Tony Rohr
        as Borachio、 パメラ・モイセイウィッチ Pamela
        Moiseiwitsch as Margaret、イシア・ベニーソン Ishia
        Bennison as Ursula、 オズ・クラーク Oz Clarke
        as Balthasar、マイケル・エルフィック Michael
        Elphick as Dogberry、クライヴ・ダン Clive
        Dunn as Verges、 グラハム・クラウデン Graham
        Crowden as Friar Franci。 
         ≪舞台裏で≫『空騒ぎ』はドナルド・マックウィーニー演出、ペネロープ・キースとマイケル・ヨーク主演で、このシリーズの最初に製作され記録されたのだが、アメリカの視聴者に不満と考えられて、放送されなかった。第7シーズンに撮り直される間、スチュアート・バージ監督は最初はなんらセットなしで、背景の空白のタペストリーに反する完全なエピソードを撮ることを考えたが、観客がこれを良しと反応したわけではなかったように感じて、そのアイデアを捨てた。.
         
         
        
        
         
         
        
        
        
        Director Elijah Moshinsky used the paintings
        of Jean-Antoine Watteau, the music of Wolfgang Amadeus Mozart and the writing of Pierre de Marivaux as inspiration during the making of this
        episode, which is the only play of the thirty-seven
        to be set in the eighteenth century. 
        
        
        
        With the exception of Pericles, Prince of Tyre, all of the productions were based on the
        texts of the First Folio (1623)[13], however, numerous changes were made throughout
        the series. 
        
        
        
        
          - 
          
The Taming of the Shrew  
          
            - 
            
The Induction, and the interjection of Sly at the end
            of Act 1, Scene 1 are absent.  
            
             - 
            
Several lines are omitted from the conversation
            between Grumio and Curtis in Act 4, Scene
            1.  
            
             - 
            
The brief conversation between Biondello
            and Lucentio which opens Act 5, Scene 1 is
            absent.  
            
             - 
            
Act 5, Scene 2 ends differently to the play.
            The last line spoken is Petruchio's "We
            three are married, but you two are sped;"
            thus omitting Petruchio's comment to Lucentio
            "'Twas I won the wager, though you hit
            the white, And being a winner, God give you
            good night," as well as Hortensio's
            line, "Now go thy ways, thou has tamed
            a curst shrew," and Lucentio's closing
            statement, "'Tis a wonder, by your leave,
            she will be tamed so." Additionally,
            Petruchio and Katherina do not leave the
            banquet prior to the end of the play, but
            remain, and engage in a song with all present.
             
            
            
          
          
        
          - 
          
Henry VI, Part 2  
          
            - 
            
Lines are omitted from every scene. Some
            of the more noticeable absences include,
            in Act 1, Scene 1, both of Humphrey's references
            to Bedford are absent, as is the reference to Suffolk's
            demands that he be paid for escorting Margaret
            from France, and York's allusion to Althaea and Calydon in his closing soliloquy. York's outline
            of Edward III's seven sons is absent from Act 2, Scene
            2, as is Salisbury's reference to Owen Glendower. Suffolk's accusation that Humphrey was
            involved in necromancy with Eleanor is omitted from Act 3, Scene
            1, as is Humphrey's outline of how he dealt
            with criminals during his time as Lord Protector. Also absent from 3.1 is York's reference
            to how he fought alongside Cade in Ireland. In Act 4, Scene 1, all references to Walter
            Whitmore's name as Gualtier are absent. The
            entirety of Act 4, Scene 5 (a brief scene
            showing Scales and Gough on patrol at the
            Tower of London) is absent. In Act 5, Scene 1, some of the
            dialogue between Clifford and Warwick is
            absent.  
            
             - 
            
Some lines are also added to the play. In
            Act 1, Scene 1, two lines are added to Salisbury's
            vow to support York if he can prove he is
            a legitimate heir to the crown; "The
            reverence of mine age and the Neville's name/Is
            of no little force if I command." In
            Act 1, Scene 3, two lines are added to the
            conversation between Margaret and Thump,
            where Thump mistakes the word 'usurper' for
            'usurer' and is corrected by Margaret. In
            Act 2, Scene 1, the conversation between
            Humphrey and Beaufort is extended, wherein
            Humphrey says that Beaufort was born "in
            bastardy".  
            
             - 
            
Several lines are spoken by characters other
            than who speak in the Folio text. In Act
            1, Scene 3, Humphrey's line "This is
            the law, and this Duke Humphrey's doom"
            is given to Henry. In Act 1, Scene 4, during
            the conjuration, there is no separate spirit
            in the scene; all the spirit's dialogue is
            spoken 'through' Magarey Jourdayne. Also,
            later in that scene, it is Buckingham who
            reads the prophecies, not York. In Act 4,
            Scene 1, the second half of line 139 ("Pompey the Great, and Suffolk dies by pirates") is given
            to the Lieutenant.  
            
             - 
            
The character of George Plantagenet is introduced
            towards the end of the play, just prior to
            the Battle of St Albans, with which the play closes. In the text
            however, George is not introduced until Henry VI, Part 3, Act 2, Scene 2  
            
             - 
            
The play ends slightly differently to how
            it is indicated in the text. After the battle,
            the victorious House of York leave the stage, all except Salisbury, who
            sadly looks around the field of battle at
            the many dead bodies.  
            
            
          
          
        
          - 
          
Henry VI, Part 3  
          
            - 
            
Lines are omitted from every scene. Some
            of the more noticeable absences include,
            the opening twenty-four lines of the first
            scene. Instead the play begins with Warwick
            proclaiming "This is the palace of the
            fearful king". Also in Act 1, Scene
            1, all references to Margaret chairing a
            session of parliament are absent, as are
            her references to the pains of child birth,
            and Henry's shameful behaviour in disinheriting
            his son. Absent from Act 1, Scene 3 is Rutland's
            appeal to Clifford's paternal instincts.
            In Act 2, Scene 1, all references to Clarence's
            entry into the conflict are absent, as he
            had already been introduced as a combatant
            at the end of 2 Henry VI. During the debate between the Yorkists and the Lancastrians in Act 2, Scene 2, Richard's "Northumberland,
            I hold thee reverentially" is absent.
            In Act 3, Scene 3, Warwick's reference to
            Salisbury's death and the incident with his
            niece are both absent. In Act 4, Scene 4,
            the first twelve lines are absent (where
            Elizabeth reports to Rivers that Edward has
            been captured). In Act 5, Scene 6, Henry's
            references to Dedalus and Icarus are absent.  
            
             - 
            
Some lines are also added to the play. In
            Act 1, Scene 1, four lines are added at the
            beginning of Henry's declaration that he
            would rather see civil war than yield the
            throne; "Ah Plantagenet, why seekest thou to depose me?/Are we not
            both Plantagenets by birth?/And from two
            brothers lineally descent?/Suppose by right
            and equity thou be king...". Also in
            Act 1, Scene 1, a line is inserted when York
            asks Henry if he agrees to the truce and
            Henry replies "Convey the soldiers hence,
            and then I will." Most significant is
            in Act 5, Scene 1, where the incident involving
            Clarence's return to the Lancastrian side
            is completely different to the text found
            in the Folio, and is taken entirely from
            the octavo text of The True Tragedy of Richard Duke of York (1595).  
            
             - 
            
Several lines are spoken by characters other
            than who speak in the Folio text, particularly
            in relation to Clarence. For example, in
            Act 2, Scene 1, it is Clarence who says Edward's
            "I wonder how our princely father scaped,/Or
            whether he be scaped away or no/From Clifford
            and Northumberland's pursuit". Clarence
            also speaks Richard's "Three glorious
            suns, each one a perfect sun,/Not separated
            with the racking clouds/But severed in a
            pale clear-shining sky" Edward's "Sweet
            Duke of York, our prop to lean upon/Now thou
            art gone, we have no staff, no stay"
            and Richard's "Great lord of Warwick,
            if we should recount/Our baleful news, and
            at each word's deliverance/Stab poniards
            in our flesh till all were told,/The words
            would add more anguish than the wounds".
             
            
             - 
            
The presentation of the character of Montague
            also differs from the Folio text. Montague
            is not present in Act 1, Scene 1, and as
            such, his lines are either spoken by Clarence
            or omitted. He is introduced in Act 1, Scene
            2, but with some notable changes to the text;
            when York is giving his men instructions,
            his order to Montague, "Brother, thou
            shalt to London presently" (l.36) is
            changed to "Cousin, thou shalt to London
            presently", York's reiteration of the
            order "My brother Montague shall post
            to London" (l.54) is changed to "Hast
            you to London my cousin Montague", and
            Montague's "Brother, I go, I'll win
            them, fear it not" (l.60) is changed
            to "Cousin, I go, I'll win them, fear
            it not." Additionally, the report of
            the death of Warwick and Montague's brother
            Thomas Neville in Act 2, Scene 3 is different
            from the text; 'son' in line 15 is replaced
            with 'father', 'brother' in line 19 is replaced
            with 'son', and 'gentleman' in line 23 is
            replaced with 'Salisbury'.  
            
            
          
          
        
        
        
        Footnotes
         
        Unless otherwise stated, all background information
        in this section and all behind-the-scenes
        information in the next is taken from Martin
        Wiggins, The (BBC DVD) Shakespeare Collection:
        Viewing Notes (booklet included with the
        DVD box-set) At the time, Shakespeare's complete
        canon was considered to be thirty-seven plays;
        seventeen comedies, ten tragedies, and ten
        histories. These comprised the thirty-six
        plays from the First Folio of 1623, plus
        Pericles, Prince of Tyre (which had been
        added to the Third Folio in 1664). As The
        Two Noble Kinsmen was considered to be primarily
        the work of John Fletcher and Shakespeare's
        authorship of Edward III was still in doubt,
        these two plays were not included in the
        series. Kenneth S. Rothwell, 'The Television
        Revolution' (2002) All information taken
        from the British Universities Film &
        Video Council "Michael Brooke, Screenonline:
        The Spread of the Eagle'Susan Willis,The
        BBC Shakespeare Plays: Making the Televised
        Canon, (Chapel Hill & London: The University
        of North Carolina Press, 1991), 10-11^Michael
        Brooke, Screenonline: The BBC Television
        Shakespeare^ Martin Wiggins, The (BBC DVD)
        Shakespeare Collection: Viewing Notes (booklet
        included with the DVD box-set), 6^Michael
        Brooke, Screenonline: Shakespeare on Television"Michael
        Brooke, Screenonline: The Taming of the Shrew^abcdefg
        The first transmission date in the United
        States is earlier than that in the United
        Kingdom. See here for details Pericles was
        not included in the First Folio, and wasn't
        published under Shakespeare's name until
        the Third Folio in 1664 
         
        External links
         
        Screenonline: The BBC Television
        Shakespeare,
        by Michael Brooke'The Television
        Revolution';
        Chapter 4 of Shakespeare on Screen:
        A Chronicle
        History by Kenneth S. Rothwell; taken
        from
        the book Shakespeare on Screen: An
        International
        Filmography and Videography by Rothwell
        and
        Annabelle Henkin Melzer (New York:
        Neal-Schuman,
        1990)
        
        
        
        
        
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