George Wilkins ( died 1618 ) was an English dramatist and pamphleteer best known for his probable collaboration with Shakespeare on the play Pericles, Prince of Tyre.

Wilkins was associated with the King's Men, and their chief playwright William Shakespeare, during the latter's last working years as a dramatist.

This may have been collaboration, or perhaps Wilkins was the original author of Pericles and Shakespeare remodelled it, or vice versa.

The editors of the 1986 Oxford Edition of Shakespeare make the assumption that Wilkins was the co-author of Pericles and draw heavily upon The Painful Adventures in their controversial reconstructed text of the play.

Wilkins is thought to have contributed most of the first two acts of the play, while Shakespeare wrote the last three.

Wilkins, who with Shakespeare was a witness in the Bellott v. Mountjoy lawsuit of 1612, has been an obvious candidate for the author of the non-Shakespearean matter in the play's first two acts ; Wilkins wrote plays very similar in style, and no better candidate has been found.

The editors of the Oxford and Arden editions of Pericles accept Wilkins as Shakespeare's collaborator, citing stylistic links between the play and Wilkins's style that are found nowhere else in Shakespeare.

The general theory today is that Shakespeare wrote an initial version of the play, which was then altered by George Wilkins.

The Jews had been banished from England in 1290 and were not permitted to return before 1655, when Shakespeare had been dead for thirty-nine years.

These conceptions and the manner in which they were transposed into poetry or engendered by poetic form are intrinsic to western life from the time of Aeschylus to that of Shakespeare.

And other defenders invariably argue that, after all, Shakespeare and Moliere were adapters too.

Among the dances described were the solemn basse danse, the livelier branle, pavane, and the galliarde which Shakespeare called the " cinq pace " as it was made of five steps.

The early films were often melodramatic in tone, and there was a distinct preference for storylines which were already known to the audience-in particular adaptations of Shakespeare plays and Dickens ' novels.

Katherine Duncan-Jones accepts a 1600 – 1 attribution for the date Hamlet was written, but notes that the Lord Chamberlain's Men, playing Hamlet in the 3000-capacity Globe, were unlikely to be put to any disadvantage by an audience of " barely one hundred " for the Children of the Chapel's equivalent play, Antonio's Revenge ; she believes that Shakespeare, confident in the superiority of his own work, was making a playful and charitable allusion to his friend John Marston's very similar piece.

Hamlet's " What a piece of work is a man " echoes many of Montaigne's ideas, but scholars disagree whether Shakespeare drew directly from Montaigne or whether both men were simply reacting similarly to the spirit of the times.

Several times since 1995, the American Shakespeare Center has mounted repertories that included both Hamlet and Rosencrantz and Guildenstern, with the same actors performing the same roles in each ; in their 2001 and 2009 seasons the two plays were " directed, designed, and rehearsed together to make the most out of the shared scenes and situations ".

Since nothing is known about the life of this Homer, the common joke — also recycled with regard to Shakespeare — has it that the poems " were not written by Homer, but by another man of the same name.

The Shakespearian choices were inspired by a remark from High Chancellor Gorkon in Star Trek VI: The Undiscovered Country, who said, " You have not experienced Shakespeare until you have read him in the original Klingon.

He often used a historical background for his plays-among his influences were William Shakespeare, Adam Oehlenschläger, Henrik Ibsen, and George Bernard Shaw.

Though Oxford died in 1604 before approximately 12 of the plays were written according to the generally-accepted chronology, Oxfordians say that regular publication of new, " newly augmented ", and " corrected " Shakespeare plays stopped with Oxford's death in 1604, and they interpret certain written references to Shakespeare between 1604 and 1616 to mean that the writer was dead.

The claim that the works of Shakespeare were in fact written by someone other than William Shakespeare of Stratford-upon-Avon dates back to the mid-nineteenth century.

Looney declared that the late play The Tempest was not written by Oxford, and that others performed or published after Oxford's death were most probably left incomplete and finished by other writers, thus explaining the apparent idiosyncrasies of style found in the late Shakespeare plays.

" Oxfordian Louis P. Bénézet created the " Bénézet test " by which lines known to be by Oxford were compared with lines of Shakespeare.

Oxfordians often identify titles or descriptions of lost works from Oxford's lifetime suggesting a thematic similarity to a Shakespeare play and assert that they were earlier versions.

Sobran suggests that the so-called procreation sonnets were part of a campaign by Burghley to persuade Southampton to marry his granddaughter, Oxford's daughter Elizabeth de Vere, and says that it was more likely that Oxford would have participated in such a campaign than that Shakespeare would know the parties involved or presume to give advice to the nobility.

Iambic pentameter and dactylic hexameter were later used by a number of poets, including William Shakespeare and Henry Wadsworth Longfellow, respectively.

A number of the well known sayings of Jesus, Shakespeare, and others have become proverbs, though they were original at the time of their creation.

Marsilio Ficino argued that Plato's references to reincarnation were intended allegorically, Shakespeare made fun but Giordano Bruno was burned at the stake by authorities after being found guilty of heresy by the Roman Inquisition for his teachings.

The latter two were both, in their time, the highest-grossing Shakespeare film ever.

An anime series produced by Gonzo and SKY Perfect Well Think, called Romeo x Juliet, was made in 2007 ; its plot was an edited version of the original story's, and had many new supporting characters whose names were often derived from those of characters in other Shakespeare works.

Alexander's background recalls the association of both Nimoy and Patrick Stewart with Shakespeare roles, as well as the film turn by Shakespearean Christopher Plummer as a Klingon.

" In the bonus material on the DVD, screenwriter Nicholas Meyer and actor William Shatner both explain that this was an allusion to the German myth that Shakespeare was in fact German.

( 3 ) Francis Meres ' 1598 Palladis Tamia mentions both Oxford and Shakespeare as among several playwrights who are " the best for comedy amongst us ".

Shakespeare, on the other hand, uses two sets of twins, which, according to William Connolly, “ dilutes the force of situations .” One suggestion is that Shakespeare got this idea from Plautus ’ Amphitruo, in which both twin masters and twin slaves appear.

By writing his comedies in a combination of Elizabethan and Plautine styles, Shakespeare helps to create his own brand of comedy, one that uses both styles.

Several times since 1995, the American Shakespeare Center has mounted repertories that included both Hamlet and Rosencrantz and Guildenstern, with the same actors performing the same roles in each ; in their 2001 and 2009 seasons the two plays were " directed, designed, and rehearsed together to make the most out of the shared scenes and situations ".

The play has been performed at the Stratford Shakespeare Festival five times beginning in 1975 with William Hutt playing " Lady Bracknell " in both the 1975 and 1976 productions and Brian Bedford in the 2009 production.

* Fully edited texts of Henry V, both original-spelling and modernised, at the Internet Shakespeare Editions

Warlikowski has gained international recognition with a series of innovative productions of Shakespeare, performed both at Polish theatres ( The Taming of the Shrew, Hamlet ) and abroad ( Pericles at the Piccolo Teatro in Milan, Twelfth Night and The Tempest at the Stadt-Theater in Stuttgart ).

The New Cambridge Shakespeare has published separate editions of Q and F ; the most recent Pelican Shakespeare edition contains both the 1608 Quarto and the 1623 Folio text as well as a conflated version ; the New Arden edition edited by R. A. Foakes is not the only recent edition to offer the traditional conflated text.

The Shakespeare Festival presents year-round performances of both classic plays and performances of local interest, in addition to works of William Shakespeare.

He made his final appearances on stage as Nick Bottom in A Midsummer Night's Dream, and as King Lear at the Shakespeare Memorial Theatre in 1959, although failing health resulted in both performances being disappointing, according to some British critics.

" Leah S. Marcus, whilst discussing the prevailing bad quarto theory, suggests that A Shrew is not a transcription of a performance of The Shrew, but is in fact an earlier version of The Shrew ; that is to say, Shakespeare himself authored both works.

Wentersdorf also discusses the idea that Shakespeare penned both plays, and that A Shrew may have been either an early version of The Shrew written before it, or an abridged version written after it.

They view the physical description of women as evidence of a more farcical intention when considered alongside both the historical context of the Elizabethan theatre ( where female characters were always played by prepubescent boys ) and the Induction in which Sly is attracted to the page disguised as his wife ; thus Shakespeare is satirising gender roles.

Notable later 20th century productions include the Hilton Edwards ' 1959 production at the Gate Theatre in Dublin, starring Milo O ' Shea and Anna Manahan ; John Barton's 1960 Royal Shakespeare Company ( RSC ) production at the Royal Shakespeare Theatre, starring Peter O ' Toole and Peggy Ashcroft, and which included both the complete Induction and the epilogue from A Shrew ; Maurice Daniels's 1961 RSC production at the Aldwych Theatre, starring Derek Godfrey and Vanessa Redgrave ; Trevor Nunn's 1969 RSC production also at the Aldwych, starring Michael Williams and Janet Suzman ; Clifford Williams ' 1973 RSC production at the Royal Shakespeare Theatre, starring Alan Bates and Susan Fleetwood ; William Ball's 1976 commedia dell ' arte-style production at the American Conservatory Theater ; Wilford Leach's 1978 production at the Delacorte Theater, starring Raúl Juliá and Meryl Streep ; Barry Kyle's 1982 RSC production at the Barbican Centre, starring Alun Armstrong and Sinéad Cusack ; Toby Robertson's 1986 production at the Clwyd Theatr Cymru, starring Timothy Dalton and Vanessa Redgrave ; Jonathan Miller's 1987 RSC production at the Barbican, starring Brian Cox and Fiona Shaw ; A. J.

Antoon's 1990 production at the New York Shakespeare Festival, starring Morgan Freeman and Tracey Ullman, which was set in the old west ; Bill Alexander's 1992 RSC production at the Barbican, starring Anton Lesser and Amanda Harris, in which the Induction was rewritten in modern language, and the play-within-the-play featured actors carrying scripts and continually forgetting lines ; Delia Taylor's 1999 production at the Clark Street Playhouse, which featured an all female cast, with Diane Manning as Petruchio and Elizabeth Perotti as Katherina ; Phyllida Lloyd's 2003 production at the Globe, again with an all female cast, starring Janet McTeer as Petruchio and Kathryn Hunter as Katherina ; Gregory Doran's 2003 RSC production at the Royal Shakespeare Theatre, where the play was presented with Fletcher's The Tamer Tamed as a two-part piece, with Jasper Britton and Alexandra Gilbreath ( playing both Katherina in The Shrew and Maria ( Petruchio's second wife ) in The Tamer Tamed ); Edward Hall's 2006 Propeller Company production at the Courtyard Theatre as part of the RSC's presentation of the Complete Works, featuring an all-male cast, with Dugald Bruce Lockhart as Petruchio and Simon Scardifield as Katherina ; and Conall Morrison's 2008 RSC production at the Royal Shakespeare Theatre, starring Stephen Boxer and Michelle Gomez.