The Taming of the Shrew on screen

1909:("Blessed is everyone that feareth the Lord"), which was often sung in Puritan households at the end of a meal during Shakespeare's own day, and which praised a peaceful family life. Speaking of the addition of the psalm, Miller states "I had to give an explicitly religious format, so people could see it as not just simply the high-jinks of an intolerantly selfish man who was simply destroying a woman to satisfy his own vanity, but a sacramental view of the nature of marriage, whereby this couple had come to love each other by reconciling themselves to the demands of a society which saw obedience as a religious requirement." Along these lines, Miller was also insistent that to interpret the play in light of twentieth-century feminism was a flawed approach; "what we think now is really quite beside the point. If everything is done in the light of what we think, it's a sort of historical egocentricity, which is quite intolerable." Diana E. Henderson was unimpressed with this approach, however, writing "it was the perfect production to usher in the 1950: 1301: 1870:, Chris Dunkley referred to this issue, calling Cleese's Petruchio "an eccentrically pragmatic social worker using the wayward client's own doubtful habits to calm her down." Actress Sarah Badel had a similar conception of the psychology behind the production. She constructed an "imaginary biography" for Katherina, arguing "She's a woman of such passion a woman of such enormous capacity for love that the only way she could be happy is to find a man of equal capacity. Therefore she's mad for lack of love he feigns madness, she is teetering on the edge of it. Petruchio is the only man who shows her what she's like." In this reading of the play, the production was at least partially based on Miller's own 1972 270: 240:. This version also shows scenes not in the play. Another English adaptation was released in 1915, directed by and starring Arthur Backner. This version is also lost. Intended more as a showcase for a new type of sound system than an adaptation of the play, the film consisted entirely of the scene where Petruchio and Katherina first meet. Shot using a process known as Voxograph, the actors spoke the complete text during filming, and when the film was played at the theatre, "the same actors, one at each side of the screen but unseen, repeated the words in what was supposed to be synchronisation. It was expected that the 337:, Katherina hears him. She then proceeds to 'out-tame' him; when he messes up the bedclothes, she overturns the entire mattress, sparking a game of one-upmanship which ends when she flings a stool at him and knocks him out. The conversation about the sun and moon, so often seen as a pivotal turning point in the taming is then delivered with a befuddled Petruchio apparently genuinely unsure whether he is looking at the sun or the moon, and a worried Katherina trying to placate him. This is immediately followed by her 'submission' speech, and her wink. 1929:

first time, very possibly to the detriment of his enjoyment of the play as a whole; secondly, because it is an essentially theatrical device which, while it has been known to work well in a theatre before a live audience, would not come across successfully in the very different medium of television; and lastly, because it is a device which presents the play's characters as 'actors', and we felt that this would hinder the attempt, in this production, to present them as real people in a real, and ultimately quite serious situation.

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many stage versions; there is an extended scene of her wrecking Baptista's home, she only agrees to marry Petruchio when he stands on her foot and her scream is taken by the priest as consent, when she falls in the mud on the way to Petruchio's house, he offers to help but she refuses, she rejects meat at the dinner table rather than being tempted by it. Most significantly, when Petruchio outlines his plan to tame her "with kindness" (4.1.195), which is usually a

7538: 7639: 1351:, an unusual technique at the time. The production is also notable insofar as when she hugs Petruchio after her climactic speech, she winks at the camera. Diana E. Henderson writes "this version relentlessly reiterates conventional post-war ideas of gender difference the production as a whole serves to legitimatise the domestication of women." In 1952, BBC Television Service screened a live adaptation as part of their 7548: 445:, are here correctly identified as a form of drama by jettisoning the Sly-frame, Zeffirelli may in the opinion of some observers have been indicating his contempt for the original. But Zeffirelli has sought and found an alternative establishing context which is at once an educated and intelligent historical reconstruction and brilliant exposé of the production's principles of interpretation. 1917:

television. It's a device that brings the audience into close identification with some person who is like them. It would be on television a little extra programme tagged on before the programme proper begins. On the stage, it's possible to make it work much better: it's a folk style which sits rather uncomfortably in this very twentieth-century medium of domestic viewing." Similarly, the

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However, Pickford herself was unhappy with the film, and with how Taylor had directed her. In her autobiography, she wrote she wanted to play Katherina as a ferocious woman, but Taylor told her "We don't want any of that heavy stage drama; we want the old Pickford tricks." Pickford said of her performance, "Instead of being a forceful tiger-cat, I was a spitting little kitten."

1939: 1864:, where imitation is often used during therapy; "there are ways in which a skilful therapist will gently mock a child out of a tantrum by giving an amusing imitation of the tantrum immediately after it's happened. The child then has a mirror held up to it and is capable of seeing what it looks like to others." In his review of the adaptation for the 1856:

else. So he behaves just as outrageously as she does in order to make her aware of the effect that her behaviour has on other people Kate needs to be made happy - she is quite clearly unhappy at the beginning of the play, and then extremely happy at the end because of what she has achieved with Petruchio's help."

1703:. Each episode of the show is hosted by an actor discussing their favourite Shakespearean play with other actors and theatrical professionals. Scholars are also interviewed in each episode, and clips from various productions are shown, as well as scenes shot specifically for the show at Shakespeare's Globe. 856:, meets the beautiful and tempestuous daughter of the richest man in town, falls in love, and makes the promise to marry her, even though she's engaged to an American businessman. After several unsuccessful attempts to make her fall in love with him, the general is about to surrender and leave the town. 461:

Mary Pickford, but Taylor felt it would be better to speak seriously, and then undermine that seriousness by leaving the banquet without Petruchio, thus subverting his apparent authority over her. However, Elizabeth Schafer calls the film "intensely conservative," citing the controversial advertising

341:

believes this is a Katherina that has not been tamed; "unlike Shakespeare's Katherina, Pickford's Katherina knows what Petruchio is trying to do in taming her and she responds to this tactically and successfully. Her surpassing of Petruchio's outrageous behaviour leaves him nonplussed and concussed."

1928:

Jonathan Miller and I decided after considerable discussion to omit the whole of that curious, lengthy, and disappointingly unresolved opening known as the "Induction". We made this decision for the following reasons: firstly, because we felt that it may confuse the viewer coming to the play for the

260:

banner, only the second half of the film survives, and the final scene is incomplete as a result of print damage. This version very much adopts Petruchio's perspective, and one of the intertitles reads "by noon the next day, though famished and weary for want of food and rest, the Shrew deep in her

452:

believes that in this adaptation, "Kate and Petruchio fall in love almost as soon as they see each other." Barbara Hodgdon has also pointed out that several times, Katherina can be seen gazing longingly at Petruchio. Critics have also noted that Katherina twice consciously decides to go along with

332:

in the original play, but also works to instill a sense of false anticipation in the audience; the puppet show ends with Judy sinking lovingly into Punch's arms after he beats her. In the film, Katherina never sinks into Petruchio's arms. Indeed, Pickford's Katherina is much more resistant than in

303:(the first sound adaptation of any Shakespeare play). This version was simultaneously shot as a silent film, and, depending on whether a given theatre was equipped to screen sound films, was released both as a "talkie" and a silent. Using only 500 lines from the original play, and a few lines from 1855:

Petruchio doesn't believe in his own antics, but in the craftiest and most sophisticated way he needs to show Kate certain things about her behaviour. He takes one look at her and realises that here is the woman for him, but he has to go through the process of 'reconditioning' her before anything

1176:

set in 'Padua Stadium High School', where an overprotective father decides that his popular younger daughter cannot date until his shrewish older daughter begins to date, much to the chagrin of the younger girl's many admirers, who decide to work together to find someone willing to date the elder

1916:

In this adaptation, the induction and all subsequent references to Sly are absent. Speaking of the somewhat controversial decision to remove the induction, Miller wrote "I find terribly hard to do in any other format but the stage: it is a stage device, and it's frightfully hard to see it on

1534:

to round out the frame; after Sly announces he now knows how to tame a shrew, he proudly walks back into the tavern to confront the hostess, but almost immediately, he is flung back out, in exactly the same way as the episode began. Directed by Aida Ziablikova and adapted from Shakespeare by

1662:) and Katherine. Harry bets Petruchio that he will not be able to woo Katherine, so, determined to prove him wrong, Petruchio sets out to win her over. At the end of the episode, Katherine's 'submission' speech is triggered when Bianca is annoyed that Lucentio refuses to sign a 806:; relocates the play to contemporary Hungary where a rich heiress marries a peasant with the intention of divorcing him after a month so she can claim her inheritance. However, he takes her to his shack in the country where she must learn to live without wealth and privilege. 1787:

production. Footage from Shakespeare's Globe depicts two different performances of the "I will be master of what is mine own" (3.2.231-235) speech; one delivered in an aggressive threatening manner, one in a bawdy sexual manner, directed by Adele Thomas and performed by

683:

attempting to present Shakespeare in an "interesting and modern manner" but continually being prevented from doing so by the producers. Eventually, they allow him to present one scene - the initial meeting between Katherina and Petruchio. Calthrop plays Petruchio to

1666:. Katherine states it is a woman's duty to love and obey her husband, but with the requirement that he do precisely the same for her. Petruchio even willingly becomes a "house-husband" for their young children whilst Katherine is elected as Prime Minister. 453:

Petruchio. The first moment is behind the stained glass window when she silently decides to marry him. The second is when she follows him after he leaves her at the gates of Padua. In this version, Katherina delivers her final speech seemingly without

416:

in the course of the opening sequence, framed as an "induction" by the superimposition of the film titles, we observe the barbaric anti-ceremony of clerics wearing grotesque animal masks, sacred music giving way to obscene and cacophonous chants and a

231:

and starring Madeleine Barjac and Romauld Joubé. It is thought to be the first version to show scenes which take place off-stage in the play; in this case, the wedding and the journey to Petruchio's house. A 1913 Italian version, the twenty-two-minute

1842:

more concerned with attempting to show Kate how preposterous her behaviour is (showing her "an image of herself" as Miller put it), rather than bullying her into submission, and so the part was not to be acted along the lines of the swaggering bully

1837:

would not be, as he feared "about a lot of furniture being knocked over, a lot of wine being spilled, a lot of thighs being slapped and a lot of unmotivated laughter." Miller told Cleese that the episode would interpret Petruchio as an early

1231:

and Park Jin Woo; set in contemporary South Korea, a shy and quiet young man is pursued by a spoiled woman used to getting what she wants. When he introduces her to his family, they decide she is not ladylike enough and set about taming

1606:

version. However, she allows her ego to get the better of her, and unconsciously attempts to take over the production from the director, who ultimately fires her, and hires her best friend for the role instead. In 2003, an episode of

1395:, who included the Induction, and kept Sly on stage for the entire show, which culminated with him beating his own wife, much to the delight of the actors who have just performed for him. This script, however, was heavily rewritten by 643:; when a soon to be married woman sees her unhappily married mother successfully exert her independence from her husband, the young woman decides to follow suit. Much to her annoyance, her husband is happy to go along with the idea. 1905:-esque societal terms; Petruchio's actions are based on accepted economic, social and religious views of the time, as are Baptista's. In tandem with this interpretation, the song sung at the end of the play is a musical version of 392:) arriving in Padua in the middle of what appears to be a funeral. However, after a moment, the funeral suddenly transforms into a colourful party which moves from the church through the streets as the credits for the film play. 510:, which produced adaptations using relatively complete texts intended for use as educational tools in schools, with the primary aim being to show how the plays would have looked when originally performed. The production starred 1658:), has long believed she will marry him. To put him off, Bianca announces she will not marry until her sister is married (as she believes Katherine will never marry). Harry then arranges a meeting between his friend Petruchio ( 4468: 982:; set in India, the film is loosely based on certain aspects of the play and tells the story of a rich widow who ill-treats her step-daughter until she is made to see the error of her ways by her two sons-in-law. 1579:

relocates the play to 1920s São Paulo and introduces Catarina, a wealthy feminist who doesn't believe in marriage and slowly finds herself falling in love with a gruff peasant farmer named Petruchio. Created by

474:." However, Schafer does go on to acknowledge that "because of the sheer power of Taylor's presence, Katherina occupies a far more memorable filmic space than the dramatic space she has in the original play. 1140:

in the law firm for which he works if he marries the boss' tempestuous daughter. He decides to tame her by forcing her to have sex with as many of his friends as he can, something she is more than happy to

1193:; relocates the play to modern Los Angeles, where a shrewish woman is constantly interfering in the affairs of her family and friends. Fed up with the intrusion, they get together and pay a local 1436:, with Desmond Ellis as Sly. This is the first known television version to include the Sly framework. Elizabeth Schafer describes the effect of using the Induction in a TV production as " 728:; a spoilt heiress is married off by her father to the first suitor to present himself, a songwriter with a penchant for practical jokes who must try to charm his way into her affections. 1260:

for the National Theatre Festival. However, when several members of the cast complain that the play is sexist, the director decides to rewrite it, removing any misogyny, and renaming it

317:, the film is primarily known for how Pickford delivers Katherina's last speech. As she moves through the litany of reasons why a woman should obey her husband, she winks toward Bianca ( 6116: 5874:

Hatchuel, Sarah; Vienne-Guerrin, Nathalie (2008). "Remembrance of Things Past: Shakespeare's Comedies on French Television". In Hatchuel, Sarah; Vienne-Guerrin, Nathalie (eds.).

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set in contemporary Mexico, a couple married in an arranged marriage discover they hate one another and set about trying to outdo each other in an ongoing game of one-upmanship.

384:. This version omits the Induction; however, some critics have commented that the title sequence offers a modern 'replacement' for the Induction. The film begins with Lucentio ( 3190: 3144: 2460: 663:

and Edward Thompson; when a man becomes exasperated with his domineering wife, he decides to tame her by initiating divorce proceedings and pretending he has a girlfriend.

429:

subversion of hierarchy and orthodoxy is a visually powerful and historically detailed dramatization of those medieval festivals of misrule conjecturally derived from the

2119: 962:; set in contemporary Egypt, a lowly vet agrees to marry the tempestuous elder granddaughter of a wealthy landowner, so the younger daughter may marry the man she loves. 195:, directed by Azeglio Pineschi and Lamberto Pineschi. There is no known cast list for this film. Unlike all other silent adaptations, this version retains the Katherina/ 5949:

Schafer, Elizabeth (2003). "Reconciliation Shakespeare?: Aboriginal presence in Australian Shakespeare Production". In Schafer, Elizabeth; Bradley Smith, Susan (eds.).

3305: 1829:. The casting of Cleese as Petruchio was not without controversy at the time. He had never performed Shakespeare before, was not a fan of the first two seasons of the 2142: 2420: 2836: 1594:

produced an episode called "Tame me, I'm a Shrew". Written by Kenny Buford and directed by Dana De Vally Piazza the episode depicts the main character, Breanna (

321:), unseen by Petruchio. Bianca smiles in silent communication with Katherina, thus acknowledging that Katherina has not been tamed at all. The film opens with a 3247: 1485:

produced an episode entitled "Atomic Shakespeare", written by Ron Osborn and Jeff Reno (with a writing credit for William 'Budd' Shakespeare), and directed by

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the elements of parody and subversion, the substitution of license for restraint, obscenity for virtue, the orgiastic celebration of the material body for the

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actors and a live audience, with whom Bogdanov and the actors would speak, often re-acting scenes using different suggestions from audience members.

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As with all of the episodes Jonathan Miller directed, he allowed the work of celebrated artisans to influence his design concepts. In the case of

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for the film stated "if we could see ourselves as others see us what models we would become." Also released in Italy in 1908 was the seven-minute

8034: 8024: 7295: 3166: 2870: 2567:(1924); when an unhappily married woman successfully exerts her independence from her husband, her daughter attempts to follow suit; directed by 2315: 2076: 4747:

Jess-Cook, Carolyn (2006). "Screening the McShakespeare in Post-Millennial Shakespeare Cinema". In Thornton Burnett, Mark; Wray, Ramona (eds.).

244:, after rehearsal, would be able to project the film so that picture and voice would jibe." The earliest surviving British filmic adaptation is 7348: 3118: 2247: 1409:-style production, Katherina and Petruchio first meet in a boxing ring, with their initial encounter, literally, turning into a boxing match. 6434: 3199: 3016: 2958: 2882: 2434: 4437: 3079: 6345: 6290: 2962: 5222: 7767: 2466: 1521: 1102:; set in modern-day Italy, the film reverses the gender paradigm, as a young woman tries to curtail the bad behavior of a grumpy farmer. 1058:; the story of a socially conscientious man who fights for the welfare of the local villagers and the spoiled daughter of a rich farmer. 6913: 6850: 6845: 1861: 1566:(as Catalina Chamorro), a tough, free-spirited woman who refuses to settle as a wife; she eventually finds love with Martín Echaurren ( 1505:

itself. He goes to his room and begins reading, and the episode then takes place in his mind as he imagines the members of the cast of

7250: 8029: 4776: 1347:. Katherina's opening speech in 4.3, beginning with "the more my wrong, the more his spite appears" was delivered in the form of a 5336: 4633: 1638:

and directed by David Richards. Written in modern prose, the episode relocates the story to contemporary London, where Katherine (

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Howard, Tony (2012). "Genre and Televised Shakespeare: Evolving Forms and Shifting Definitions". In Guneratne, Anthony R. (ed.).

4599: 3140: 1256:; when a young girl is sent to college in Mumbai, she joins the Dramatics Society, which is currently working on a production of 462:

blurb; "A motion picture for every man who ever gave the back of his hand to his beloved...and for every woman who deserved it.

7979: 7953: 7761: 7366: 7265: 3312: 2353: 1812: 1681: 1642:) is an abrasive career politician who is told she must find a husband if she wants to become the party leader. Meanwhile, her 1617:

attending acting classes in Los Angeles, where she performs the first meeting between Katherina and Petruchio, alongside actor

20: 7577: 7361: 6793: 688:'s Katherina, who responds to his advances by throwing furniture and food at him. Eventually Shakespeare himself (played by 104:

The play has also been reworked numerous times for both cinema and television. Some of the better known adaptations include

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Osborne, Laurie E. (2003). "Mixing Media and Animating Shakespeare". In Burt, Richard; Boose, Lynda E. Boose (eds.).

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where a literature student is inspired by his reading of the play to tame the feminist daughter of a wealthy banker.

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Other film versions (which are loose adaptations as opposed to straight translations from stage to screen) include:

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Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

5394:

Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

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Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

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Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

4719:

Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

4205:

Lanier, Douglas (2006). "Film Spin-offs and Citations: On the Virtues of Illegitimacy". In Burt, Richard (ed.).

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Lanier, Douglas (2006). "Film Spin-offs and Citations: On the Virtues of Illegitimacy". In Burt, Richard (ed.).

3923:

Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

3623:

Henderson, Diana E. (2003). "A Shrew for the Times, Revisited". In Burt, Richard; Boose, Lynda E. Boose (eds.).

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The first television performance of the Shakespearean text was in the United States in 1950, broadcast live on

7186: 3050: 2329: 3954:; McCullough, Christopher (1994). "Shakespeare on the Screen: A Selective Filmography". In Davies, Anthony; 7937: 7541: 7408: 7224: 6877: 6525: 6469: 6420: 1913:

1980s" and "this BBC-TV museum piece unabashedly celebrates the order achieved through female submission."

1759:), Farah Karim-Cooper (Head of Education at Shakespeare's Globe), and Laura Maguire (Professor of English, 1392: 220: 7793: 7562: 7214: 7175: 7162: 7036: 6568: 3029:(1965); made-for-TV adaptation of the Ivani Ribeiro novel of the same name, directed by Wálter Avancini ( 2605: 2297: 1871: 708: 499: 7913: 7382: 7100: 6928: 6867: 6827: 6518: 6497: 3317: 3006: 2843: 2410: 2388: 2361: 2205: 1960: 1817: 1425: 1380: 1318: 1145: 1078:; the story of a rich young man who marries a woman educated abroad, leading to a tempestuous marriage. 132: 85: 6064:

Polish Televised Shakespeares: A Study of Shakespeare Productions Within the Television Theatre Format

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Polish Televised Shakespeares: A Study of Shakespeare Productions Within the Television Theatre Format

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Polish Televised Shakespeares: A Study of Shakespeare Productions Within the Television Theatre Format

1567: 1476:, which addressed whether or not the play demeans women, or depicts how they are demeaned in society. 7905: 7401: 7396: 7353: 7229: 7027: 5878:. Shakespeare on Screen. Rouen: Publications de l'Université de Rouen et du Havre. pp. 183–184. 5252:

Letostak, Ellen Joy (2006). "US Television: Tracking Shakespeare with TIVO". In Burt, Richard (ed.).

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throughout. It is now believed lost, although several stills survive in the library archives of the

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La Fiera is a free adaptation of the play; the story is set in the late 1990s and relocated to

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Miller was determined the production not become a farce, and in that vein, two key texts were

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Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture

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Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture

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Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture

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Shakespeares After Shakespeare: An Encyclopedia of the Bard in Mass Media and Popular Culture

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in which a conductor on the train to Imagination Land teaches a young boy about Shakespeare (

2809:(1980); relocates the play to modern-day Italy and reverses the gender paradigm; directed by 2384: 2307: 2200: 2109: 1670: 1588:

and Eduardo Moscovis as Catarina and Petruchio, respectively. In 2002, the television series

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The earliest screening of the play is often inaccurately reported to have been broadcast on

1185:(2003); written by James Iver Mattson and B.E. Brauner, directed by Gary Hardwick, starring 7654: 7328: 7115: 7093: 6673: 6624: 6603: 6583: 6483: 6460: 5451: 4233:

Reich, Jacqueline (2008). "Fascism from Stage to Screen: Film Adaptations of Shakespeare's

4173: 3259: 3060: 2180: 2056: 1663: 1609: 1570:, who plays the role of Petruchio), one of her suitors. Similarly, the 2000-2001 Brazilian 1399:

producer William Nichols, who removed the frame. The production instead opens with Grumio (

1353: 1119: 803: 200: 2261: 2233: 8: 7929: 7889: 7881: 7849: 7825: 7593: 7499: 7481: 7280: 7122: 7086: 7019: 6976: 6935: 6504: 6443: 6337: 6282: 5362: 4864: 2855: 2805: 2793: 2749: 2685: 1194: 1181: 1082: 1062: 986: 916:(1956); written by Manuel Villegas López, Jesús María de Arozamena, José Luis Colina and 882: 787: 612: 570: 253: 138: 126: 106: 33: 2668: 1403:) addressing the camera directly, inviting the audience to view the "antic players." A 837: 833: 408:, unrestrained revelry and orgiastic release is Zeffirelli's attempt to reconstruct the 7493: 7451: 7333: 7071: 6969: 6774: 6121: 5552: 4784: 3283: 3158: 2774: 2664: 2578: 2556: 2334: 2289: 2066: 1847:

Richard Burton in Franco Zeffirelli's adaptation. According to Cleese, who consulted a

1655: 1465: 1216: 1027: 1023: 849: 656: 604: 487: 457:. Zeffirelli and Burton both wanted Elizabeth Taylor to deliver the speech ironically, 228: 1763:). Footage is included from D.W. Griffith's 1908 film, Franco Zeffirelli's 1967 film, 1197:

to date her and teach her a lesson, but he finds himself unexpectedly falling for her.

692:) arrives, lamenting the quality of the production, before he is hit by a thrown pie; 7961: 7463: 6781: 6708: 6700: 6399: 6387: 6375: 6236: 6204: 6179: 6154: 6067: 6023: 5998: 5954: 5929: 5904: 5879: 5854: 5829: 5804: 5796: 5783: 5769: 5765: 5741: 5715: 5701: 5697: 5677: 5652: 5626: 5612: 5608: 5588: 5563: 5527: 5502: 5494: 5431: 5399: 5313: 5285: 5257: 5199: 5167: 5139: 5111: 5097: 5093: 5070: 5042: 5014: 4982: 4954: 4926: 4901: 4813: 4752: 4724: 4696: 4668: 4575: 4409: 4381: 4353: 4321: 4246: 4210: 4149: 4115: 4087: 4059: 4031: 3999: 3969: 3951: 3928: 3910: 3902: 3878: 3843: 3815: 3807: 3787: 3762: 3737: 3729: 3691: 3663: 3628: 3603: 3589: 3554: 3493: 3417: 3373: 3288: 3264: 3136: 2980: 2954: 2949: 2810: 2730: 2132: 1981: 1732: 1712: 1639: 1614: 1437: 1362: 1336: 1132:(1997); written and directed by Jim Powers, starring Mila Shegol and Tony Martino; a 1111: 1099: 1087: 1039: 1031: 999: 951: 652: 393: 367: 355: 300: 237: 180: 176: 72: 54: 5526:. Shakespeare in Production. Cambridge: Cambridge University Press. pp. 72–73. 4953:. Shakespeare in Production. Cambridge: Cambridge University Press. pp. 68–69. 3101: 2275: 1219:

puppets rather than clay or graphics - a technique Lione refers to as "papermotion."

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Russell Jackson argues the film "offers a 1960s liberation more likely to appeal to

7921: 7897: 7817: 7487: 7475: 7469: 7064: 6991: 6891: 6765: 6758: 6750: 6727: 6720: 6693: 6666: 6652: 4900:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 66n53. 4286: 3457: 3321: 3301: 3296: 3221: 3154: 2933: 2821: 2762: 2659: 2598: 2568: 2532: 2096: 1998: 1993: 1966: 1938: 1789: 1651: 1635: 1630: 1575: 1449: 1282: 1106: 1042:

where a wealthy cattle baron has to try to keep his tempestuous wife under control.

995: 955: 887: 841: 828: 701: 632: 608: 544: 377: 329: 245: 208: 172: 76: 2741:(1962); certain aspects of the play set in contemporary set in India; directed by 2708: 1720: 917: 256:. One of a series of forty-minute adaptations of classic texts released under the 7801: 7628: 7243: 6855: 6743: 6659: 6093: 5479: 3230: 2814: 2617: 2585: 2546: 2406: 2366: 1989: 1985: 1910: 1879: 1866: 1772: 1740: 1728: 1585: 1581: 1510: 1469: 1344: 1186: 1173: 1091: 895: 853: 732: 680: 667: 616: 574: 515: 495: 326: 325:

puppet show which several critics have argued performs a similar function to the

241: 90: 5997:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 58. 5069:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 56. 5013:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 69. 3998:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 74. 3842:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 71. 3690:. Shakespeare in Production. Cambridge: Cambridge University Press. p. 67. 2678: 2642: 1204: 863: 795: 752:

marries a spoilt woman, he sets about trying to mould her into the perfect wife.

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Jackson, Russell (1994). "Shakespeare's Comedies on Film". In Davies, Anthony;

3648:

Jackson, Russell (1994). "Shakespeare's Comedies on Film". In Davies, Anthony;

3336: 3183: 3030: 2894: 2877: 2754: 2737: 2715: 2652: 2311: 2028: 1894: 1886: 1875: 1748: 1708: 1618: 1602:. Upon finding Shakespeare's language difficult and out of date, she creates a 1544: 1490: 1486: 1245: 1241: 1223: 1150: 1075: 1055: 1007: 1003: 979: 966: 932: 925: 921: 813: 773: 725: 628: 467: 381: 322: 249: 162: 80: 7674: 6117:"The Taming of the Shrew: 'Tis a very excellent piece of stage, film artistry" 4665:

Come ombre vivaci sullo sfondo: Studio su La bella di Lodi di Alberto Arbasino

3461: 3084: 1203:(2004); written and directed by Roberto Lione, starring Daniela Cavallini and 867: 8018: 7698: 7623: 7511: 7457: 7219: 6561: 6256: 5674: