Shakespeare in love: a screenplay

Front Cover
Hyperion, 1998 - Fiction - 169 pages
14 Reviews
The screenplay to the critically acclaimed film which New York Newsday called one of the funniest, most enchanting, most romantic, and best written tales ever spun from the vast legend of Shakespeare." Marc Norman and renowned dramatist, Tom Stoppard have created the best screenplay of the year according to the Golden Globes and the New York Film Critics Circle.

From inside the book

What people are saying - Write a review

User ratings

5 stars
7
4 stars
5
3 stars
2
2 stars
0
1 star
0

Review: Shakespeare in Love: A Screenplay

User Review  - Bailey - Goodreads

I loved this book but it had a sad ending. I like how she was in the play at the end and she diddnt have to hide but it was already to late for her to marry shakespear. Read full review

Review: Shakespeare in Love: A Screenplay

User Review  - Melissa - Goodreads

Reading the screenplay was better than watching the movie for me. My grudge against Gwenyth Paltrow continues to this day as she won the Oscar for Best Actress that year over Cate Blanchett. But, despite this, Marc Norman wrote a very funny, very clever screenplay. Read full review

Contents

Section 1
29
Section 2
71
Section 3
78
Copyright

5 other sections not shown

Common terms and phrases

About the author (1998)

MARC NORMAN won two Oscars for "Shakespeare in Love" in 1999, one for Best Screenplay Written Directly for the Screen (with Tom Stoppard) and another for Best Picture (shared with Donna Gigliotti, David Parfitt, Harvey Weinstein, and Edward Zwick), along with a Golden Globe, a Writers Guild Best Screenplay Award, a New York Film Critics Circle Award, a BAFTA Award, and a Silver Bear Award from the Berlin Film Festival. He lives in Santa Monica, California. This is his first work of nonfiction.

"From the Hardcover edition.

When the National Theatre needed a last-minute substitute for a canceled production of As You Like It, Kenneth Tynan decided to stage Rosencrantz and Guildenstern Are Dead, a work by an unfamiliar author that had received discouraging notices from provincial critics at its Edinburgh Festival debut. Of course, the play, when it opened in April 1967, met with universal acclaim. In New York the next year, it was chosen best play by the Drama Critics Circle. In such an unlikely way, Tom Stoppard came to light. Born in Czechoslovakia, a country he left (for Singapore) when he was an infant, he began his literary career as a journalist in Bristol, where play reviewing led to playwriting. After Rosencrantz and Guildenstern, Stoppard's reputation suffered through the production of a number of minor works, whose intellectual preoccupations were shrugged off by reviewers: Enter a Free Man (1968; "an adolescent twinge of a play," N.Y. Times), The Real Inspector Hound (1968; "lightweight," N.Y. Times), and After Magritte. But in the 1970s, the initial enthusiasms aroused by Rosencrantz and Guildenstern were more than vindicated by the production of two full-length plays, Jumpers (1974) and the antiwar play Travesties (1975), whose immense verbal and theatrical inventiveness made them absolute successes on both sides of the Atlantic. Stoppard's method from the start has been to contrive explanations for highly unlikely encounters---of objects (the ironing board, old lady, and bowler hat of After Magritte), characters (Joyce, Lenin, and Tzara in Travesties), and even plays (Hamlet, Rosencrantz and Guildenstern, The Importance of Being Earnest, Travesties, and The Real Thing, 1982). In the 1970s, Tynan called for Stoppard---as a Czech and as an artist---to engage himself politically. But although political subjects have since found their way into pieces from Every Good Boy Deserves Favor (1977) to Squaring the Circle (1985), politics and art seem to have become just two more of the playwright's irreconcilables, which meet, but never join, in the logical frames of his comedy. The presence of political material---such as the Lenin sections that nearly ruin the second part of Travesties---has occasionally strained the structure of the plays. But in The Real Thing Stoppard is comfortable enough with the satire on art and activism to bring a third subject, love, into the mix. Stoppard has acknowledged his Eastern European heritage nonpolitically, in a series of adaptations of plays by Arthur Schnitzler (see Vol. 2), Johann Nestroy, and Ferenc Molnar.

Bibliographic information