Hamlet Study Guide
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January 2020 Bulletin
Bulletin The Forty-Eighth Annual Meeting of the Shakespeare Association of America will be held at the Hyatt Regency Convention Center in Denver from 15 to 18 April 2020. 2020 Wednesday, 15 April January 4:00 p.m. Registration. 5:00 p.m. Town Hall Business Meeting for all SAA Members. Contents 7:00 p.m. Moon-Crossed reading with Kendra Leonard. Letter from the Executive Director.......2 7:30 p.m. Film: All Is True. Meeting Schedule....................................3 Thursday, 16 April Conference Registration.......................10 8:00 a.m. Registration and Book Exhibits; Ombuds Training. Denver Information..............................10 10:00 a.m. 19 Seminars and Workshops; Digital Exhibits. 12:00 noon Practicum: “Articles in Progress.” SAA Policy Statements........................11 1:30 p.m. Panel Session: “Shakespeare and Intellectual History.” SAA Acknowledgments.......................12 3:30 p.m. 15 Seminar and Workshops; Performanc Practicums: “Early Modern Dance for Terrified Beginners” and “Pop-up Richard III.” Deadlines 6:00 p.m. Annual Reception. 2 January Friday, 17 April 8:00 a.m. Registration and Book Exhibits; Professionalization Session: “First Book: Logistics of Conference Registration opens. Publishing”; Forum on Administration; Graduate Student Breakfast. Hotel Registration opens. 9:00 a.m. Panel Sessions: “Shakespeare in the North American West” and “Shakespeare, Race, and Voting for SAA Officers opens. Adaptation.” 11:00 a.m. 20 Seminars and Workshops; Digital Exhibits. 15 February 1:30 p.m. Annual Luncheon. Voting for SAA Officers closes. 3:30 p.m. Panel Session: “Walking the Talk: Embodied Pedagogies of Social Justice.” Program Proposals for 2021 due. 7:30 p.m. -
Twelfth Night Study Guide — 2 Twelfth Night a Support Packet for Studying the Play and Attending the Shakespeare Theatre of New Jersey’S Main Stage Production
a study guide compiled and arranged by the Education Department of The Shakespeare Theatre of New Jersey The Shakespeare Theatre of New Jersey Twelfth Night study guide — 2 Twelfth Night a support packet for studying the play and attending The Shakespeare Theatre of New Jersey’s Main Stage production General Information p3- Using This Study Guide p16- Sources for this Study Guide (and Additional Resources) William Shakespeare p4- Shakespeare: Helpful Tips for Exploring & Seeing His Works p5- The Life of William Shakespeare p5- Shakespeare’s London p6- Are You SURE This Is English? About The Play p7- Twelfth Night: A Synopsis p8- Sources and History of the Play p10- Commentary and Criticism Studying Shakespeare’s Twelfth Night p9- Shakespeare’s Common Tongue p9- Terms and Phrases found in Twelfth Night p11- Aspects of Twelfth Night p12- Twelfth Night: Food For Thought p13- Additional Topics for Discussion Classroom Applications p13- Follow-Up Activities p14- What Did He Say? p14- Who Said That? p15- Meeting the Core Curriculum Content Standards p16- “Who Said That?” Answer Key About the Shakespeare Theatre of New Jersey p17- About The Shakespeare Theatre of New Jersey p17- Other Opportunities for Students... and Teachers The Shakespeare Theatre of New Jersey is an independent, professional theatre located on the Drew University campus. The Shakespeare Theatre of New Jersey’s programs are made possible, in part, by funding from the New Jersey State Council on the Arts/ Department of State, a Partner Agency of the National Endowment for the Arts, as well as funds from the National Endowment for the Arts. -
Rrhe Sha Speare 9\Fiws{Etter
rrheSha�speare 9\fiws{etter Vo I.38:No.3 "What llewsfi'olll Oxford? Do thesejllsts alld triUlllphs hold?" Richard II 5.2 Summer 2002 Stylometrics and the This Strange Eventful History Funeral ElegyAffair Oxford, Shakespeare, and The Seven Ages of Man By Robert Brazil and Wayne Shore By Christopher Paul tylometrics refers to a growing body of "All the world's a stage" begins one of miseries of human life in much the same S techniques for analyzing written the most famous of Shakespeare's manner as Jaques, in a book which names material assisted by numerical analysis. monologues, the "Seven Ages of Man" the Earl of Oxford on the title page. Stylometrics has been applied in making speech voiced by the acerbic courtier Let us first begin with a briefoverview and refuting attributions of authorship. Jaques in As YO liLike It, Act 2, scene 7. of the origins ofJaques' speech. [Printed Comparative study ofEliza bethan texts As Jaques continues, he dryly and in full on page 15.] The iconography of began after concordances of Shakespeare entertainingly catalogs the ages, the Ages of Man was quite diverse, and his contemporaries were widely beginning with the mew ling infant, often evidencing conflation with the published in the early 20th Century. But it fo llowed by the whining school-boy, Ages of the World, the planets, the wasnot until the advent ofhome computing the sighing lover, the quarreling Deadly Sins, the days of the week, the that these databases could be effectively soldier, the prosing justice, the seasons, Fortune's Wheel, the compared with each other. -
Chapter 4: Acting
096-157 CH04-861627 12/4/03 12:01 AM Page 96 CHAPTER ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ ᪴ 4 Acting No role is too small. In this scene from Julius Caesar, the varied responses of the crowd members to Caesar’s death give the scene more depth. One can see Mark Antony, played by Al Pacino, judging the crowd’s mood and planning how to manipulate it. cting is a question of absorbing other Apeople’s personalities and adding some of our own experience. —PAUL NEWMAN, ACTOR 96 096-157 CH04-861627 12/4/03 12:02 AM Page 97 SETTING THE SCENE Focus Questions What special terminology is used in acting? What are the different types of roles? How do you create a character? What does it mean to act? Vocabulary emotional or straight parts master gesture subjective acting character parts inflection technical or objective acting characterization subtext leading roles primary source substitution protagonist secondary sources improvisation antagonist body language paraphrasing supporting roles So now you’re ready to act! For most students of drama, this is the moment you have been waiting for. You probably share the dream of every actor to create a role so convincing that the audience totally accepts your character as real, for- getting that you are only an actor playing a part. You must work hard to be an effective actor, but acting should never be so real that the audience loses the theatrical illu- sion of reality. Theater is not life, and acting is not life. Both are illusions that are larger than life. -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
A Sentimental Journey Through France and Italy Laurence Sterne
A Sentimental Journey through France and Italy Laurence Sterne The Harvard Classics Shelf of Fiction, Vol. III, Part 1. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents Biographical Note Criticisms and Interpretations I. By Sir Walter Scott II. By Edmond Scherer III. By Professor Saintsbury List of Characters 1. Prologue 2. Calais 3. The Monk. Calais 4. The Monk. Calais 5. The Monk. Calais 6. The Desobligeant. Calais 7. Preface. In the Desobligeant 8. Calais 9. In the Street. Calais 10. The Remise Door. Calais 11. The Remise Door. Calais 12. The Snuff-Box. Calais 13. The Remise Door. Calais 14. In the Street. Calais 15. The Remise. Calais 16. The Remise. Door. Calais 17. The Remise. Calais 18. In the Street. Calais 19. Montriul 20. Montriul 21. Montriul 22. Montriul 23. A Fragment 24. Montriul 25. The Bidet 26. Nampont. The Dead Ass 27. Nampont. The Postilion 28. Amiens 29. The Letter. Amiens 30. The Letter 31. Paris 32. The Wig. Paris 33. The Pulse. Paris 34. The Husband. Paris 35. The Gloves. Paris 36. The Translation. Paris 37. The Dwarf. Paris 38. The Rose. Paris 39. The Fille De Chambre. Paris 40. The Passport. Paris 41. The Passport. The Hotel at Paris 42. The Captive. Paris 43. The Starling. Road to Versailles 44. The Address. Versailles 45. Le Patisser. Versailles 46. The Sword. Rennes 47. The Passport. Versailles 48. The Passport. Versailles 49. The Passport. Versailles 50. The Passport. Versailles 51. Character. Versailles 52. The Temptation. Paris 53. The Conquest 54. The Mystery. -
THEATRE of the ENGLISH and ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance
THEATRE OF THE ENGLISH AND ITALIAN RENAISSANCE Theatre of the English and Italian Renaissance Edited by J. R. MULRYNE Professor of English and Comparative Literary Studies and Chairman, Graduate School of Renaissance Studies, University of Warwick and MARGARET SHEWRING Lecturer in Theatre Studies and Course DirectoT, Graduate School of Renaissance Studies, University of Warwick Palgrave Macmillan ISBN 978-1-349-21738-0 ISBN 978-1-349-21736-6 (eBook) DOI 10.1007/978-1-349-21736-6 © J. R. Mulryne and Margaret Shewring 1991 Softcover reprint ofthe hardcover 1st edition 1991 All rights reserved. For information, write: Scholarly and Reference Division, St. Martin's Press, Inc., 175 Fifth Avenue, New York, N.Y. 10010 First published in the United States of America in 1991 ISBN 978-0-312-06771-7 Library of Congress Cataloging-in-Publication Data Theatre of the English and Italian Renaissance / edited by J. R. Mulryne and Margaret Shewring. p. cm. Revised papers from a Seminar on 'English and ltalian Renaissance Theatre' held at the University of Warwick, May 1987. Inc1udes bibliographical references and index. ISBN 978-0-312-06771-7 1. Italian drama-To 17OQ-History and criticism-Congresses. 2. English drama-Early modem and Elizabethan, 1500-1600-History and criticism-Congresses. 3. Theater-ltaly-History-16th century-Congresses. 4. Theater-England-History-16th century -Congresses. I.Mulryne. J.R. 11. Shewring, Margaret. 111. Seminar on 'English and Italian Renaissance Theatre' (1987: University ofWarwick) PQ4139.T54 1991 352'.409-dc20 91-21021 -
Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Twelfth Night First Folio
1 TWELFTH NIGHT CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and principles contained in classic texts and to discover the Who’s Who in Twelfth Night 4 connection between classic theatre and our modern William Shakespeare 5 perceptions. We hope that this Curriculum Guide will prove useful to you while preparing to attend Twelfth Night. Elizabethan England 6 Shakespeare’s Genres 7 This curriculum guide provides information and activities to Shakespeare’s Language 8 help students form a personal connection to the play before attending the production. It contains material about the Topsy-Turvy, or The Feast of 12 playwright, their world and their works. Also included are Epiphany approaches to explore the play in the classroom before and The Heroine’s Journey 14 after the performance. What You Will: A Note on Gender 15 We encourage you to photocopy these articles and activities Diversity and use them as supplemental material to the text. Theatre Design 17 Classroom Activity: Design a Set 18 Enjoy the show! Discussion & Essay Questions 19 Resource List 20 The First Folio Curriculum Guide for the 2017-2018 Theatre Etiquette 21 Season was developed by the Shakespeare Theatre Company Education Department: Founding Sponsors Miles Gilburne and Nina Zolt Director of Education Samantha Wyer Bello Presenting Sponsors Beech Street Foundation Associate Director of Education Dat Ngo Suzanne and Glenn Youngkin Audience Enrichment Manager Hannah Hessel Ratner Leadership Support Community Engagement Manager Jared Shortmeier D.C. -
Bisexuality and Transvestitism in William Shakespeare's Twelfth Night
Articulāte Volume 2 Article 5 1997 Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght Julie Driscoll Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Driscoll, Julie (1997) "Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght," Articulāte: Vol. 2 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol2/iss1/5 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Julie Driscoll 25 or in the Renaissance, this was the role of Viola in Twelfth Night. duties. Her flourishing remarks and declaration of devotion to her BLSEXUALITY AM) TRANSVESTITLSM IN WILLIAM SHAKESPEARE'S The acceptance of such a practice has worked its way into society, imply a definite sexual attraction. However, she shares the same proving to be another perspective one can apply toward interpreta- Twi:um NIGHT attitude toward Orsino, suggesting that she would be a better woman tions of Twelfth Night. The way in which these devices affect the fit for him, as she has already devoted her service as an attendant. actions of characters is relevant in examining their intentions, de- Viola displays the same tone of love toward both Orsino and Olivia JULIE DRISCOLL '97 ceptions, and sexual desires throughout the play. and adorns each with varying compliments, exhibiting bisexual be- Historically, bisexuality has been written out of literature, and havior. possibly out of the Shakespeare canon. -
Proposed Core Literature Titles Twelfth Night, Or, What You Will
Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will Author: William Shakespeare First Published: 2002 Lexile Level: 1140 Proposed Grade Level: 8 California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: Original Copyright: 1600 Grade Level Span: 9-12 Genre: Drama Classification: Classic Topic: English-Language Arts/General Discipline: English Language Arts/Vocabulary; Visual and Performing Arts Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother.