William Shakespeare's Star Wars (Anglais) Relié – 2 juillet 2013
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Revue de presse
“...the book is so brilliant you’ll wonder why someone didn’t think of it sooner.”—Paste Magazine
“..another smart tribute fans will enjoy."—The Star-Ledger
“If you are looking for a neat way to get acquainted with Shakespeare or you are a teacher whose students are having a rough time accessing the genius of the Bard of Avon, I highly recommend you give William Shakespeare’s Star Wars a try!”—GeekMom
“Is it all a great, geeky, inter-galactic goblet of literary fun? Verily!” —AmericanProfile.com
“...a quirky addition to the genre-busting canon...”—Entertainment Weekly
“...what Doescher made is delicious.”—Charleston City Paper
“This is a great read. Author Ian Doescher may not have bested Shakespeare, but he’s certainly one-upped Lucas.”—Asbury Park Press
“As Shakespeare would say, you might think, this be madness, yet there is a method in 't.”—Newsday
“...the ultimate fan fic.”— ABC News Radio
“Doescher’s pseudo-Shakespearean language is absolutely dead-on; this is one of the best-written Shakespeare parodies created for this audience and it is absolutely laugh-out-loud funny for those familiar with both The Bard and Star Wars.”—School Library Journal
“At last, the mother of all mashups is upon us."—CNET.com
“Nicolas Delort's woodcut-style illustrations are a fabulous mixture of old and new.”—Boing Boing
“For anglophiles, scifi nerds, and probably 9th grade English students.”—The Bookreporter
“[William Shakespeare's Star Wars] is a a brilliant and super-cool way to meld pop culture and high culture”—Bella Online
“William Shakespeare’s Star Wars is Exactly What You Need For Your Next Geeky Houseparty.”—Tor.com
“Doescher’s attempt to recreate a Shakespearean play is noteworthy and clever.”—Blogcritics.org
“If there’s one book perfect for any age, gender or planet of origin, this must be the book.”—Asbury Park Press
“The Bard at his finest, with all the depth of character, insightful soliloquies, and clever wordplay that we’ve come to expect from the Master. For those who wish to read the Star Wars legend in the original Elizabethan, this is the book for you.”—Timothy Zahn, New York Times bestselling author of Scoundrels
“I'm delighted to have William Shakespeare's Star Wars, and have read it with great pleasure. What a fine idea, to set this in the world of Luke Skywalker and R2-D2 C-3PO and Darth Vader! A period of civil war, rebels, the Galactic Empire, the death star. A star-crossed galaxy! Ian Doescher does iambic pentameter well. This is a hoot!”—David Bevington, Phyllis Fay Horton Distinguished Service Professor Emeritus in the Humanities, University of Chicago and co-editor of The Bantam Shakespeare series
“Well-read geeks have breathlessly waited
For what Ian Doescher hath created
This book's cover is the door
To a Star Wars ne'er seen before”
—Daniel Wallace, New York Times best-selling author of Star Wars: The New Essential Guide to Characters
“An elegant translation for a more civilized age. Let's face it—if you love Shakespeare or Star Wars half as much as I do, you've already bought this.”
—Adam Bertocci, author of Two Gentlemen of Lebowski, writer-director of Brooklyn Force and Run Leia Run, and moderator of TheForce.net
“Zounds, the Forsooth is strong in this one! Two of the most creative minds in the universe collide with spectacular, hilarious and surprisingly touching insight into the original classic. This truly is Star Wars as you like it.”—Joe Schreiber, author of Star Wars: Death Troopers and Lenny Cyrus, School Virus
“Whether your tastes run to Alderaan or Avon, this reimagining of Star Wars overflows with heart and wit.”—Jason Fry, author of Star Wars: The Essential Guide to Warfare
Présentation de l'éditeur
Reimagined in glorious iambic pentameter—and complete with twenty gorgeous Elizabethan illustrations--William Shakespeare’s Star Wars will astound and edify Rebels and Imperials alike. Zounds! This is the book you’re looking for.
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Heureusement sur votre site j'ai pu commandé ce livre en anglais, et ne pas me ruiner en plus !!
Reçu dans les délais juste pour Noêl : comme prévu.
Juste parfait, merci Amazon ; )
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The first step was converting the dialogue of A New Hope into iambic pentameter. This is a great accomplishment in its own right: archaic sixteenth-century grammar and vocabulary are used, giving this writing a very authentically Shakespearean feel; at the same time, Star Wars jargon is faithfully represented: "Now lock thine S foils in attacking mode," for instance, or "E'en now the princess is on Level 5/Detention block of AA-23." Deliberately awkward dialogue from Star Wars is dialed up to eleven, with side-splittingly entertaining results; read the reinterpretation of Han's attempts to convince security that everything is fine in the detention block after his fire fight with the guards there. Unintentionally awkward dialogue, of which Lucas wrote a fair amount, is smoothed over and expanded upon to the point of eloquence; see Wedge's "Look at the size of that thing!" and Red Leader's response of "Cut the chatter." R2-D2's beeps and whistles and untranslated gibberish from alien characters are sometimes used as needed to get a tricky line into blank verse, which didn't bother me any. While contractions like "Millen'um Falcon" and "th'Imper'al Senate" look awful on paper, calling to mind some cotton-mouthed Mississippi redneck, there really is no way around it, given the nature of iambic pentameter.
At any rate, the conversion to blank verse is just the beginning. The dialogue is just so rich. It makes good use of Shakespearean cribs, great and small: During the briefing where the Rebels lay out their plan of attack on the Death Star, Luke gives a paraphrase of Henry V's band of brothers monologue, which includes reference to having hunted wompa rats which are not much more than two meters. One-liners are also in abundance: During the Falcon's desperate flight from Tatooine past a star destroyer, we hear "What light from yonder flashing sensor breaks?/It marks the loss of yon deflector shield." There are also inside jokes for Star Wars lovers; my favorite was Han's rhyming couplet after his confrontation with Greedo: "I pray thee, sir, forgive me for the mess/And whether I shot first, I'll not confess." As for the stormtrooper who, while searching for R2-D2 and C-3P0, ordered his mates "This door's locked, move on to the next one," his one line is transformed into an absurdly grandiose explanation of how his father told him he could be absolutely certain that nothing of interest would ever be found behind a locked door, and he's made that a guiding principle of his life ever since.
More seriously, the use of Shakespearean conventions adds so much texture to this version of the story. Liberal use of asides which create original dialogue not based on anything from Lucas's text give characterization to characters whose motives are a bit obscure in A New Hope: Obi-Wan alludes to the events of Revenge of the Sith and explains why he is concealing most of the truth from Luke at this point. He also indicates that he anticipates and is prepared to accept his fate. Darth Vader, meanwhile, uses his asides to acknowledge the bitterness and resentment which cuts so deep to his core and continues to corrupt Anakin Skywalker (without ever acknowledging that he is Anakin, of course). The combination of these two side-characterizations gives the duel between Vader and Obi-Wan the sense of being a climactic showdown many years in the making that it deserves. (In A New Hope proper, I've always thought it felt terribly anti-climactic, even more so after seeing the circumstances under which the two men had previously parted ways.) Han Solo uses his frequent asides to paint himself as a man who feels drawn to a nobler existence than his life of ruthless self-interest has provided, but who cannot heed that internal calling because of the burden of his debt to Jabba the Hutt. In the culmination of this journey he walks us through his decision to join the attack on the Death Star and save Luke from Vader's TIE fighter, rather than just showing up out of nowhere as he does in the movie.
R2-D2 also gets plenty of asides, and they are intelligible; in the first of these he explains to the audience that he only beeps and whistles where other characters can hear him because he's decided to play the fool so no one will suspect he knows more about the situation than he's letting on. This is a stroke of genius; I'm certain that that is exactly what Shakespeare would have done with the character. Subsequent asides are used to provide exposition to the audience.
Asides also give development to characters who are just nameless extras in the movie, mostly stormtroopers reflecting on their station before getting shot. And of course the asides provide humor: After being interrupted by C-3P0, Obi-wan asks in annoyance "Why speaks't he here when 'tis my time to speak?/These droids of protocol are e'er uncouth/Of etiquette they know but little, troth!"
One small complaint I have about the asides is that the word "aside" is often misused in the text, identifying as an aside a line that is directed at another character, or being absent from a line that should be described as such. Hopefully that's one of those typos that crops up in an uncorrected proof and will be caught before the finished product goes to print.
Another smart innovation is the use of a chorus to advance the action. They recite the famous trapezoidal crawl of text at the beginning of the movie--recast as a sonnet--then crop up throughout the book to provide linking narration between scenes or within a scene via rhyming quatrains. Mostly they're describing or summarizing scenes which in the movie were shown entirely by visual effects, effects which could not possibly be duplicated in a stage production. They really come into their own during the climactic Rebel attack on the Death Star, explaining what's going on while the various characters supply dialogue. In the Globe Theater this is how it would have to be done; it would not be practical to have the pilots give elaborate descriptions of what they're supposed to be seeing. (By the way, the chorus opens that scene with an appeal to the audience to use their imaginations to picture what's described rather than to insist on having everything presented as sensory stimuli. I couldn't help wondering if this was a gentle mockery of the special effects saturation of the prequel trilogy and recent rereleases of the original trilogy.) Not many Shakespearean plays include a chorus, but it's necessary here and really is the best way to reconcile elements of a story written for a visual medium with the new literary medium in which it's being recast.
One final feature which makes this book even more enjoyable is the illustrations. They're no masterpieces, to be sure, but there's a real level of enjoyment to see familiar characters represented via sixteenth century drawing methods, including some very stylized costumes which give recognizably science fiction outfits an Elizabethan flair.
All in all, what sounds like an amusing gag gift when you read the product description turns out to be a very sophisticated merging of two great storytelling styles. I do hope that this is not a one-time thing; I hope it's a great success that inspires the adaptation of the other Star Wars films in the same style, and similar projects for Doctor Who or Harry Potter or whatever. It's intelligent, it's enjoyable on countless levels, and its brilliance cannot be overstated.
Ha. Ha. Ha!
I got a good laugh, as the timely classic story we all know so well is put into the form of a stage play with a lot of Thee's, Thou's and the like.
Not nearly as skilled writing as the Bard's trademark rhyming and other fantastic uses of the English language. Now I'm still unfamiliar with recognizing iambic pentameter, but that's supposed to play a big part in this retelling.
Here is an excerpt that folks should be able to place:
HAN: Pray tell, what shall the cargo be?
The boy, two droids, and ne're a question ask'd.
HAN 'Tis what, a touch of local trouble here?
OBI-WAN Nay, let us simply say it thus: we would
Imperial entanglements avoid
HAN Aye, there's the rub, so shalt though further pay.
Ten thousand is the cost, and ev'ry bit
Shalt though deliver ere we leave the dock.
LUKE Ten thousand? Fie! We could our own ship buy
For such a sum as this.
HAN -A goodly jest!
For who should pilot such a ship -- shouldst thou?
LUKE Thou knave, I could indeed!. . .
As you can see, this is how the entire book reads. It makes the Shakespearean fan have a good laugh and enjoy the Star Wars in a different light.
Also note there are some illustrations throughout that are kinda cool.
This book covers Star Wars Episode IV: A New Hope in a very Shakespearean format. The book is broken down into Acts and Scenes. Each line is prefaced by who is speaking it (just like in a play). There is a Chorus that covers action scenes too. The whole thing is written in very Shakespeare like language. The book is also interspersed with some wonderful drawings of our heros in their Shakespeare-modified gear.
The only bad part about this book is that I already know how the story goes and ends. So given that, there weren't a lot of surprises here...but there were some. One of my favorite additions were R2D2's soliloquies. Sure he may speak in squeaks and beeps when others are on stage with him, but as soon as he is alone then the soliloquies start. R2D2 does elaborate asides on C3PO's annoying personality and on his own sneaky plans. These are hilarious, add a lot of depth to R2D2, and are just perfect for him.
There are some other additions to the story as well. For example in an aside Obi-Wan debates what and what not to tell Luke about his father. These little asides actually add a lot of humor and thoughtfulness to the story. I thought they actually even improved the story some and made it more complex and interesting.
The language is very Shakespearean, but I still found it easy to read. I absolutely love reading Shakespeare and love the way it sounds. As with all Shakespeare it is best if read out loud, or at least out loud in your head. The banter between Han Solo and Princess Leia in this Shakespearean style is especially amusing. The only thing I would caution is that if you have historically really disliked or had trouble reading Shakespeare then you may not enjoy reading this.
The illustrations throughout added a lot to the story too. Some of them are pretty funny, for example Jabba the Hut in an Elizabethan Collar...or the picture on the back of the book where Vader realizes the Death Star has been blown up. I enjoyed the etch-like quality to them and thought they matched the tone of the story well.
Overall I approached this genre mish-mash with skepticism and a bit of tentative excitement and ended up very pleasantly surprised. I loved the way this was put together and thought it was incredibly well done. Doescher does an excellent job of blending the drama and wonder of Star Wars with the dramatic qualities of a good Shakespearean play. In fact Star Wars kind of lends itself to this type of reinvention. The additions Doescher have made (such as R2D2's asides) have added a lot of depth and interest to the story as well. Highly recommended to Star Wars fans...and especially Star Wars fans who love Shakespeare.
To be fair it follows the plot exactly-though of Lucas re-released version form the 1990's with scenes with Jabba the Hutt added in. The fact I can recognize that probably says something about me but let's not go there.
On the downside the text relies too much on `thee' and `thy' the more fruity language we think of for Shakespeare; "I find thy lack of fail disturbing" or "A student was I when I left thee last" but in some of the more earthy plays like "Henry V" and "Julius Caesar" would have allowed a straight delivery of the lines. The lines of Obiwan and Vader would seem to fit more easily into the meter without needing to be mixed.
In the end this is a darn silly book but not really for the average reader or even the average fan. It is for the hard core Star Wars geek who upon being presented with it will run off into a corner and chortle happily for hours. I know who I'm giving my copy to.
Oh and the one line delivered straight in this book and the film? "Let the wookie win" I guess some things don't need to be translated.
OBI-WAN: Alas-I sense the game, and we're the pawns. That is no moon, 'Tis a space station there.
Also, like many of Shakespeare's plays, there is inner dialog, and for the first time we get to hear R2-D2's inner thoughts. That robot it deep! This is a great book for people of all ages. While I was reading I had several people ask to borrow this book when I was done. The idea of Shakespeare and Star Wars together certainly captures the attention of many people. I think this idea should be applied to many books. It would introduce people to Shakespeare in a way that's not so foreign to them and make the reading experience more enjoyable.