Ballads and Performance: The Multimodal Stage in Early Modern EnglandMain MenuIntroduction: Multimedia and Multimodal TheatricalityShakespeare in Snippets: Ballads, Plays, and the Performance of Remediation"Hear for your love, and buy for your money": Ballads and Theater as Experiential Commodities"She’s Crafty, She Gets Around: Women’s Craft and Commodification in Ballads"Dangerous Conjectures": Ophelia’s Ballad PerformanceBallads on the Brain: A Neurobiological HypothesisThe True Form and Shape of Caliban: Monstrous Birth at the Edge of the Human"Greensickness carrion": Re-reading Capulet through Broadside BalladsBallads+: The Tragedy of Romeo and Juliet and its After-piece JigAfterwordContributorsAcknowledgmentsPatricia Fumerton3016f95733e67d772eccfb1c6dfb5ea8694eb4bbEMC Imprint
Ophelia's Mad Scene, Part 1. BBC, 2009.
12017-04-20T12:07:41-07:00Phillip Cortese0765ef0b7bac2de1106953cfa66f5580719501477563The clips below feature Ophelia’s two entrances in the fourth act, and include most of the lines from 1-73 and 151-214 (in this BBC version of Hamlet [2009], Ophelia is played by Mariah Gale, Gertrude by Penny Downie, and Claudius by Patrick Stewart).plain2017-07-05T12:51:27-07:00Phillip Cortese0765ef0b7bac2de1106953cfa66f55807195014