شاهد بالفيديو: مسرحية وليم شكسبير الشهيرة (الليلة الثانية عشرة TWELFTH NIGHT) متواصلة وبلا أجزاء ، باللغة الانكليزية مع ترجمة سبتايتل باللغة الانكليزية أيضا، مدة المسرحية: ساعتان وثمان دقائق و11 ثانية متواصلة

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

شاهد بالفيديو:
مسرحية وليم شكسبير الشهيرة
(الليلة الثانية عشرة TWELFTH NIGHT)
متواصلة وبلا أجزاء ،
باللغة الانكليزية
مع ترجمة سبتايتل باللغة الانكليزية أيضا،

مدة المسرحية:
ساعتان وثمان دقائق و11 ثانية متواصلة

https://www.youtube.com/watch?v=CvUXsxw-1Zg&feature=related

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

وهذه نسخة أخرى من المسرحية أعلاه انتجت عام 1969 اتمنى ان تنال رضاكم (وهي بعشرة اجزاء مقسمة على عشرة كليبات)

Twelfth Night (1969)

https://www.youtube.com/watch?v=QOb-8w78SeI

This extract starts with Act I, scene ii "What country, freinds, is this?"

Then the start of play, Act I, scene i. It then back to end of Act I, scene ii. It shifts then to Act 1, scene iv, then to Sir Toby and Maria's first appearance, Act I, scene iii

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Paul Curran ... Sea Captain
Adrienne Corri ... Countess Olivia
Gary Raymond ... Orsino, Duke of Illyria
Kurt Christian ... Curio
Christopher Timothy ... Valentine
Ralph Richardson ... Sir Toby Belch
John Moffatt ... Sir Andrew Aguecheek
Sheila Reid ... Maria

Directed by John Sichel

It was filmed in sumptuous color, but alack! my VHS tape is so old and worn it looks like a black and white film. I increased the saturation as much as possible during the conversion...

Twelfth Night; or, What You Will by William Shakespeare

William Hazlitt on Twelfth Night:

This is justly considered as one of the most delightful of Shakespear's comedies. It is full of sweetness and pleasantry. It is perhaps too good-natured for comedy. It has little satire, and no spleen. It aims at the ludicrous rather than the ridiculous. It makes us laugh at the follies of mankind, not despise them, and still less bear any ill-will towards them. Shakespear's comic genius resembles the bee rather in its power of extracting sweets from weeds or poisons, than in leaving a sting behind it. He gives the most amusing exaggeration of the prevailing foibles of his characters, but in a way that they themselves, instead of being offended at, would almost join in to humour; he rather contrives opportunities for them to shew themselves off in the happiest lights, than renders them contemptible in the perverse construction of the wit or malice of others.

William Winter ("Shadows of the Stage", iii, 28, from 1892) on "Illyria":

It is even more difficult to assign a place and a period for Twelfth Night than it is to localise As You Lihe It. Illyria, — now Dalmatia, Croatia, and Bosnia, — was a Roman province, a hundred and sixty-seven years before Christ. In Shakespeare's time, Dalmatia was under the rule of the Venetian republic.

The custom has long prevailed of treating the piece as a romantic and poetic picture of Venetian manners in the seventeenth century. Some stage managers have used Greek dresses. For the purposes of the stage, there must be a 'local habitation.' For a reader, the scene of Twelfth Night is the elusive and evanescent, but limitless and immortal, land of dreams.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=gARfwgVE7k4&feature=related

This extract starts with rest of Act I, scene iii, starting at line 63 or so.

Then to Act I, scene v - Maria and the clown. It continues thru the scene to line 213 or so (The Pelican Shakespeare)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Ralph Richardson ... Sir Toby Belch
John Moffatt ... Sir Andrew Aguecheek
Sheila Reid ... Maria
Tommy Steele ... Feste
Adrienne Corri ... Countess Olivia
Alec Guinness ... Malvolio
Joan Plowright ... Viola

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

It was filmed in sumptuous color, but alack! my VHS tape is so old and worn it looks like a black and white film. I increased the saturation as much as possible during the conversion...

The talented Tommy Steele OBE (born December 17, 1936 in London, England as Thomas Willam Hicks) was England's first teen idol and "rock n' roll" sensation. As a merchant marine on leave in the US, he heard Buddy Holly and decided that was the way to go and left his skiffle band behind. He did mainly covers of American hits, getting them out to market before the American versions made it to Britian.

He later acted and directed on stage and film in several triumphs, including a recent Ebenezer Scrooze, wrote a children's book that was made into a film, wrote a novel about Dunkirk, in September 2006 published his autobiography ("Bermondsey Boy: Memories of a Forgotten World"), and has exhibited his sculptures at the Royal Academy.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=zXCWc5KT40w&feature=related

this clip starts with rest of Act I, scene v (line 212 to end), then to Act II, scene ii. After that, the next scene follows (Sir Toby and Sir Andrew), Act II, scene iii, lines 1-69 (some cuts)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Adrienne Corri ... Countess Olivia
Alec Guinness ... Malvolio
Joan Plowright ... Viola
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek
Sheila Reid ... Maria

some marvelous performances here!

song "O mistress mine, where are you roaming?"

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

It was filmed in sumptuous color, but alack! my VHS tape is so old and worn it looks like a black and white film. I increased the saturation as much as possible during the conversion...

of Olivia's ring,
James Spedding (Fraser's Maga., August, 1865, p. 265, via New Variorum Edition of Shakespeare) wrote:

This passage has always appeared to us one of the finest touches in the play. When Malvolio overtakes Viola with the ring . . . her immediate answer is : ' She tooh the ring of me : I'll none of it.' Now, as she had not left any ring, it has been thought that there must be some mistake here. . . . But it is plain from Malvolio's reply, ' Come, sir, you peevishly threw it to her,' etc., that he understood her to mean that she had left it. And so no doubt she did. For though taken quite by surprise, and not knowing at first what it exactly meant, she saw at once thus much, — that the message contained a secret of some kind which had not been confided to the messenger ; and with her quick wit and sympathetic delicacy suppressed the surprise which might have betrayed it.

on Viola's soliloquy, Horace Howard Furness wrote:

At the very first mention of Olivia, in the second scene of the play, Viola's heart had gone out in sympathy to one whose profound grief over the loss of a brother was so identical with her own ; and now when she discovers that Olivia is destined to cherish a hopeless passion, similar to her own, their twinship in despair again most deeply touches her heart, and the whole soliloquy is pervaded with a gentle sadness.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=1EFv_pQx7A0&feature=related

this clip starts with rest of Act II, scene iii, line 69 (some cuts) to end. Then next scene, Act II, scene iv (Tommy Steele sings!) to line 87 (of The Pelican Shakespeare)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Gary Raymond ... Orsino, Duke of Illyria
Joan Plowright ... Viola and Sebastian
Richard Leech ... Antonio
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

It was filmed in sumptuous color, but alack! my VHS tape is so old and worn it looks like a black and white film. I increased the saturation as much as possible during the conversion...

Twelfth Night; or, What You Will by William Shakespeare

Toby: "She's a beagle true-bred, and one that adores me"

This is the only reference to dogs in all of Shakespeare I can recall that involves praise, instead of the insulting, viscious, and mean literary uses Shakespeare customarily employs dogs and thier behavior for.

"burn some sack" means to warm some sherry, which you see Sir Toby do in this scene.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=nis3IUwdVFU&feature=related

this extract starts with Act II, scene iv, line 87 or so (Viola: Sooth, but you must!), then fades to a bit of the Sebastian/Antonio dialogue from Act I, scene one, then to Act II, scene five--Malvolio reading the letter, to line 157 (The Pelican Shakespeare)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Gary Raymond ... Orsino, Duke of Illyria
Joan Plowright ... Viola and Sebastian
Richard Leech ... Antonio
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

In faith they are as true of heart, as we.
My Father had a daughter lou'd a man
As it might be perhaps, were I a woman
I fhould your Lordfhip.

Duke. And what's her hiftory ?

Viola. A blanke my Lord : fhe neuer told her loue

of these lines William Hazlitt writes: The great and secret charm of Twelfth Night is the character of Viola. Much as we like catches and cakes and ale, there is something we like better. We have a friendship for Sir Toby ; we patronise Sir Andrew ; we have an understanding with the Clown, a sneaking kindness for Maria and her rogueries ; we feel a regard for Malvolio, and sympathise with his gravity, his smiles, his cross-garters, his yellow-stockings and his imprisonment in the stocks. [?] But there is something that excites in us a stronger feeling than all this, — it is Viola's confession of her love.

What we so much admire here is not the image of Patience on a monument, which has been generally quoted, but the lines before and after it. ' They give a very echo to the seat where love is throned.' How long ago it is since we first learned to repeat them ; and still, still they vibrate on the heart, like the sounds which the passing wind draws from the trembling strings of a harp left on some desert shore!

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=SHJnqTSstyE&feature=related

this extract starts with Act II, scene five--Malvolio reading the letter, at line 158, Malvolio's "Here is yet a postscript" (The Pelican Shakespeare)

Then onto Act III, scene i to line 66 (just before Sir Toby enters), some cuts (including Sir Toby's little bit with Viola here). Then next scene, Act III, scene ii

Thence to Act III, scene iv, line 16 or so - Olivia's "How now, Malvolio?" to entrance of Toby, Fabian and Maria (line 78 or so)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Richard Leech ... Antonio
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek
Riggs O'Hara ... Fabian

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

Alec Guinness' Shakespeare acting was always in the shadow of the three great Shakespeareans of his age--Olivier, Gielgud and Richardson. But he is certainly not second-rate here!

"Giue me your hand sir" on this Horace Howard Furness wrote:

To understand the scene which now follows between Olivia and Viola, we must bear in mind that this is only the second time that Olivia has seen the lovely Page, and that since the first interview she has been 'much out of quiet,' brooding over the 'enchantment' Viola had wrought, and growing more and more deeply in love, until at last, in imagination, Viola is become the god of her idolatry, and she the humble worshipper at Viola's feet.

It is almost with timidity that she asks to touch Viola's hand, and when Viola, highly resolved to discourage the passion of Olivia, which she had detected, coldly offers only her ' duty and humble service,' Olivia could interpret the action only as springing from exalted rank, and at once asks Viola's name. When Viola replies, 'Cesario is your servant's name,' this was an inversion of their position which Olivia at once resented with the reply, ' 'Twas never merry world since lowly feigning was termed compliment,' Viola ought not to pretend, out of mere compliment, to be inferior to her; Cesario was servant to the Duke (and a Duke's servants might be of high rank), but not to her ; in Olivia's imagination Viola was enthroned her lord and master. This, I think, explains the opening of the dialogue.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=uGrki4zE5AA&feature=related

this extract starts with Act III, scene iv, line 81 or so, Fabian's "Here he is, here he is! How is't with you sir?" (some cuts, of course) to end.

Then start of next scene, Act IV, scene i, to line 38 (of the The Pelican Shakespeare)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Richard Leech ... Antonio
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek
Riggs O'Hara ... Fabian

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

William Hazlitt on Twelfth Night:

Shakespear's comedy is of a pastoral and poetical cast. Folly is indigenous to the soil, and shoots out with native, happy, unchecked luxuriance. Absurdity has every encouragement afforded it ; and nonsense has room to flourish in. Nothing is stunted by the churlish, icy hand of indifference or severity.

The poet runs riot in a conceit, and idolizes a quibble. His whole object is to turn the meanest or rudest objects to a pleasurable account. The relish which he has of a pun, or of the quaint humour of a low character, does not interfere with the delight with which he describes a beautiful image or the most refined love

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=oxIynkjwAsE&feature=related

this extract starts with Act IV, scene i, line 36 (of the The Pelican Shakespeare) to end.

Then the next scene, Act IV, scene ii (some cuts, of course), and the next, Act IV, iii.

We then start Act V at about line 7 to line 123

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
Gary Raymond ... Orsino, Duke of Illyria
Richard Leech ... Antonio
Adrienne Corri ... Countess Olivia

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

on the Feste/Malvolio "dark room" scene--John C. Bucknill (The Mad Folk of Shakespeare, p. 323) opined:

This interview represents a caricature of the idea that madness is occasioned by demoniacal possession and is curable by priestly exorcism. The idea was not merely a vulgar one in Shakespeare' s time, but was maintained even long afterward by the learned and the pious. More than a trace of it, indeed, remains to the present day..

on Malvolio's use of "notoriously", Horace Howard Furness wrote:

That is, egregiously. Malvolio seems fond of the high-sounding word. In the last scene at the end of the play (line 347) he tells the Countess that she has done him ' notorious wrong,' and a few lines further on, he says he has been made a 'most notorious gecke and gull.' He infects even the Countess ; she acknowledges that he has been ' notoriously abus'd.'

on lullaby -- J.O. Halliwell wrote:

This is sufficiently unusual as a verb to justify an example. 'Yet by accident the unmanag'd appetite....doth dul the quicker spirits....makes the head totter, lullabees the scences', etc -- "The Optick Glasse of Hvumors", 1638

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=jNEkS0_hLjY&feature=related

this extract starts with Act V at about line 123 to 282 (Feste starts reading the madman's letter)

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Richard Leech ... Antonio
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
John Moffatt ... Sir Andrew Aguecheek
Riggs O'Hara ... Fabian
John Byron ... Priest

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

Charles Bathurst wrote (1857):

This is the play of which love is peculiarly the subject ; not Romeo and Juliet, where the love is mere commonplace love. Even a sovereign Prince is brought in, merely to be in love. Shakespeare makes him express very strongly that love of music, which the poet himself felt most strongly, as we often see elsewhere. . . . Twelfth Night is the play which Shakespeare wrote most at his ease, and in which the characters, whether serious or comic, seem to be most at their ease too. They do not appear to be taken out of their places to form a drama ; though there is a sufficient amount of interest in the story.

وليد محمد الشبيبي

وليد محمد الشبيبي

مؤسس المنتدى ومديره المسؤول

عدد المساهمات : 37095
الابراج : العقرب

تاريخ التسجيل : 23/03/2009

العمل/ المهنة : Lawyer

الموقع : Baghdad

https://www.youtube.com/watch?v=7phG6hSFALo&feature=related

this extract starts with Act V at about line 282 (Feste starts reading the madman's letter) to end of play...with many cuts, of course.

link below to a single playlist of all 10 parts of this "Twelfth Night":
https://www.youtube.com/view_play_list?p=7F429A373BCAC12F

Joan Plowright ... Viola and Sebastian
Riggs O'Hara ... Fabian
Tommy Steele ... Feste
Ralph Richardson ... Sir Toby Belch
Alec Guinness ... Malvolio
Gary Raymond ... Orsino, Duke of Illyria

some marvelous performances here!

Directed by John Sichel...unfortunately the play has been cut extensively, to fit the TV broadcast time slot.

Reading the Variorum Edition, I was surprised to see that almost all the commentators so vehemently disliked Feste's final song.
"so poor a recommendation as this song" said one, another hopes it will be "degraded to the footnotes", another remarks "a wretched song"!

However, the editor Furness was glad to note that John Weiss ("Wit, Humor, and Shakespeare", 1876.p. 204) wrote:

When the play is over, the Duke plighted to his page, Olivia rightly married to the wrong man, and the whole romantic ravel of sentiment begins to be attached to the serious conditions of life, Feste is left alone upon the stage. Then he sings a song which conveys to us his feeling of the world's impartiality ; all things proceed according to law ; nobody is humoured ; people must abide the consequences of their actions, ' for the rain it raineth every day.' A ' little tiny boy ' may have his toy ; but a man must guard against knavery and thieving ; marriage itself cannot be sweetened by swaggering ; whoso drinks with ' toss-pots' will get a 'drunken head'; it is a very old world, and began so long ago that no change in its habits can be looked for.

The grave insinuation of this song is touched with the vague, soft bloom of the play. As the noises of the land come over sea well-tempered to the ears of islanders, so the world's fierce, implacable roar reaches us in the song, sifted through an air that hangs full of the Duke's dreams, of Viola's pensive love, of the hours which music flattered. The note is hardly more presageful than the cricket's stir in the late silence of a summer. How gracious has Shakespeare been to mankind in this play ! He could not do otherwise than leave Feste all alone to pronounce its benediction

Henry I Ruggles, ("Method of Shakespeare as an Artist", 1870, p. 15):

This comedy is pervaded with the spirit of literature and gentility. It is lifted above the working-day world into a sphere of ease, culture, and good-breeding. Its characters are votaries of pleasure in different degrees, from the lowest gratification of the sense up to the more refined pleasures derived from the exercise of the imagination, which, after all, are but the pleasures of the sense at second-hand.

Beside the air of elegance it possesses, it is filled to the brim and overflowing with the spirit that seeks to enjoy this world without one thought or aspiration beyond. It jumps the hereafter entirely. Every scene of it glows with the warmth and sunshine of physical enjoyment. It places before us the sensual man, with his fondness for cheer, his cakes and ale, his delights of the eye and ear, his pleasure in pastime and sport, his high estimation of a good leg and a good voice, in short, of all that can gratify the sense, win favour, or conduce to worldly advantage.

الإثنين	الثلاثاء	الأربعاء	الخميس	الجمعة	السبت	الأحد
				1	2	3
4	5	6	7	8	9	10
11	12	13	14	15	16	17
18	19	20	21	22	23	24
25	26	27	28	29	30