Hamlet The Manga Edition By Shakespeare's

Book Name

Hamlet The Manga Edition By Shakespeare's

Author: 1.Shakespeare's 2. Adam Sexton 3. Tintin Pantoja 

Book Publishers Wiley Publishing, Inc. Hoboken, New Jersey

Publish Date: 11-02 2008

Language. English

Category English Novel

Book Code 243

Pages 193

Rs 800

Book Quality Black Paper 

 Whatsapp +92312-9775152

E-mail onlinebookshop.pk@gmail.com

About

The sudden death of the king, later revealed to be murder. The queen’s all-too-sudden remarriage to the king’s brother, the murderer. The grieving, suspicious Prince Hamlet. Supernatural visitations. Plots, leaks, and counterplots. Poisoned wine. A rigged sword fight.  Revenge.

With a four-page introduction and an abridged text that remains true to Shakespeare’s wording, setting, and time, this fast-paced, graphic manga edition gets you caught up in the conflicts and passions that make this one of Shakespeare’s most beloved tragedies.

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Adam Sexton

Adam Sexton is the author of Master Class in Fiction Writing and

the  editor  of  the  anthologies  Love  Stories,  Rap  on  Rap, and

Desperately Seeking Madonna. He has written on art and entertain-

ment for The New York Times and The Village Voice, and he teaches

fiction writing and literature at New York University and criti-

cal reading and writing at Parsons School of Design. A graduate

of Columbia University and the University of Pennsylvania, he

lives in Brooklyn with his wife and son.

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Tintin Pantoja

Tintin  Pantoja is  a  graphic  artist  dividing  her  time  between

Indonesia and Manila. She graduated from the School of Visual

Arts in New York in 2006, having arrived in New York—her

first time in America—a month before the World Trade Center

attacks in 2001. She is now working on several illustrated proj-

ects.  Tintin’s  work  can  be  viewed  on  her  

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Four hundred years after the writing of William Shakespeare’s

plays, it is clear that they are timeless. This is due in part to their

infinite adaptability. The plays have been translated into dozens

of languages and performed all over the world. Famously cre-

ative stage productions have included a version of Julius Caesar

set in Fascist Europe during the 1930s and a so-called “voodoo

Macbeth.” Nor have gender and age proved barriers to casting

Shakespeare’s  characters.  The  role  of  Hamlet is  occasionally

played by a woman—an appropriate reversal, considering that

boys acted all the female roles in Shakespeare’s day—while the

teenaged Romeo and Juliet have been portrayed by couples in

their forties and fifties.

It  is  common  knowledge  that  the  plays  of  Shakespeare

transfer especially well to the movie screen. Such has been the

case since Thomas Edison made one of the first sound films ever

using  a  scene  from  As  You  Like  It.  Recent  cinema  standouts

include  William  Shakespeare’s  Romeo  +  Juliet,  directed  by  Baz

Luhrmann, and Michael Almereyda’s Hamlet. Both take place in

the  present  day  or  near  future:  Leonardo  DiCaprio’s  Romeo

wears a Hawaiian shirt—and Julia Stiles’ Ophelia wears a wire,

so  Claudius  and  Polonius  can  eavesdrop  on  her  conversation

with Hamlet. Otherwise, these adaptations remain surprisingly

faithful  to  Shakespeare’s  texts.  And  both  hit  the  audience  as

hard as conventional stage productions in which the actors are

1outfitted  with  doublets  and  hose,  crossed  swords,  and  what

Hamlet calls “a bare bodkin”—his unsheathed dagger (replaced

in Almereyda’s movie by a gun).

Shakespeare’s  plays  have  been  set  to  music  as  well,  in

operas  and  ballets  by  composers  such  as  Verdi,  Tchaikovsky,

and Prokofiev. The early comedy Two Gentlemen of Verona was

adapted for Broadway by the composer of Hair, and it won the

Tony  award  for  Best  Musical  the  same  year  that  Grease was

nominated. In the words of theater critic Jan Kott, Shakespeare

is indeed “our contemporary.” 

In  short,  though  some  consider  the  plays  of  William

Shakespeare to be sacrosanct, they have been cut, expanded (it

was common in the Victorian era to add songs and even happy

endings to the tragedies), and adapted to multiple media, emerg-

ing none the worse for wear. Although we cannot be sure of this,

it seems likely that the writer, who was a popular artist and a

savvy  businessman  as  well  as  an  incomparable  poet,  would

approve.

The graphic novels known as manga (Japanese for “whimsi-

cal  pictures”)  are  a  natural  medium  for  Shakespeare’s  work.

Like his tragedies, comedies, histories, and romances, which are

thrillingly  dynamic  if  properly  staged,  manga  are  of  course

visual. In fact, a manga is potentially more visual than a stage

production of one of the plays of Shakespeare. Unbound by the

physical realities of the theater, the graphic novel can depict any

situation, no matter how fantastical or violent, that its creators

are able to pencil, ink, and shade. 

Take Romeo and Juliet’s famous Queen Mab speech. Even the

most creative stage director cannot faithfully present the minus-

cule fairy described by Mercutio. Manga artists can. The same is

true of the drowning of Ophelia in Hamlet. It is precisely because

these vignettes are unstageable that Shakespeare has his charac-

ters describe Queen Mab and the death of Ophelia in such great

detail—they must help us imagine them. In its unlimited ability