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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. -
Education Pack
Education Pack 1 Contents Introduction ..................................................................................................................... 3 Section 1: Shakespeare and the Original Twelfth Night ..................................................... 4 William Shakespeare 1564 - 1616 ...................................................................................... 5 Elizabethan and Jacobean Theatre ..................................................................................... 6 Section 2: The Watermill’s Production of Twelfth Night .................................................. 10 A Brief Synopsis .............................................................................................................. 11 Character Map ................................................................................................................ 13 1920s and Twelfth Night.................................................................................................. 14 Meet the Cast ................................................................................................................. 16 Actor’s Blog .................................................................................................................... 20 Two Shows, One Set ........................................................................................................ 24 Rehearsal Diary ............................................................................................................... 26 Rehearsal Reports .......................................................................................................... -
A Distinctive BBC
A distinctive BBC April 2016 1 TABLE OF CONTENTS Foreword 1. Executive Summary 2. What is distinctiveness 3. Measuring distinctiveness today – what the audience thinks 4. Measuring distinctiveness today – comparisons to other services 5. Enhancing distinctiveness in the future 2 FOREWORD I believe that the case for the BBC is a very straightforward, pragmatic one. We have produced, and continue to produce, some of the very best programmes and services in the world. That is why people like the BBC. That is why they enjoy it. That is why they trust it. That is why they value it. That is what they pay us to do. If the BBC stands for anything, it stands for quality. In just the last month, we have seen Panorama’s exposé of the Panama Papers; Radio 4’s previously unseen footage of Kim Philby speaking to the Stasi; the domestic abuse storyline on The Archers; Inside Obama’s White House and Behind Closed Doors; The Night Manager, Undercover and Cuckoo. We have just launched the 2016 BBC Proms. And those are just a few highlights. This is the BBC I believe in. A beacon of cultural excellence in a world increasingly awash with media of all kinds. A trusted voice in a crowded arena, accountable to the public and focused on their interests, independent of both government and market. A benchmark of quality. But the unique way the BBC is funded places two further obligations on us. Because the BBC’s funding is independent, that gives us creative freedom. That means a BBC that must be more prepared than ever to take risks. -
3448 Shakespeare Comedies
DOST THOU THINK, BECAUSE THOU ART VIRTUOUS, THERE SHALL BE NO MORE CAKES AND ALE? —Twelfth Night, 2.3.106–107 Unit 1—Lesson 1 Twelfth Night INTRODUCTION You’re probably familiar with the Christmas carol “The Twelve Days of Christmas.” These twelve days refer to the twelve days after Christmas, and particularly the twelfth day, which in myth (not in the Bible) is the day when the Magi first saw Jesus. This day (January 6) is also called Epiphany (which means “manifestation”). Shakespeare probably wrote Twelfth Night for an Epiphany celebration; you should not take the title as referring in any way to when the play is set or the passage of time in the play. Although the title does not refer to the setting, in Twelfth Night characters do have revelations or epiphanies. Another reason the title is fitting is that in Elizabethan England, Epiphany was a day of festivals and celebrations. The mood of Twelfth Night is celebratory, and one of the themes of the play is to assert the fundamental goodness of celebration and festival. Those who would interfere with such happiness are either converted from their position or dealt with harshly. WHILE YOU READ Here are some questions to consider while reading the play: What types of love are shown? Who is having fun and who isn’t? Who hides or disguises themselves in some way? Who speaks in prose and who speaks in blank verse? Why do you think that is? 39 Lightning Literature and Composition—Shakespeare: Comedies and Sonnets PLOT SUMMARY 1.1 The duke is pining away for Olivia, who is in mourning for her brother. -
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. -
Twelfth Night Edited by Rex Gibson Excerpt More Information
Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information List of characters Illyria The Duke’s court The Countess’s household Orsino, Duke of Illyria Olivia, a countess Valentine, a courtier Sir Toby Belch, her uncle Curio, a courtier Malvolio, her steward Musicians Feste, her fool Lords Maria, her gentlewoman Officers Fabian, a servant APriest ASea Captain The visitors Viola, later called Cesario Sebastian, her twin brother Sir Andrew Aguecheek, suitor to Olivia Antonio, a friend to Sebastian Sailors The action of the play takes place in Illyria 1 © Cambridge University Press www.cambridge.org Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information Twelfth Night Orsino calls for music to feed his hunger for love. He reflects that love is like the sea, absorbing and devaluing every other experience. He claims to be completely obsessed by his love for Olivia. 1 Orsino: in love or infatuated? (in groups of three) The best approach to Scene 1 is to take parts as Orsino, Curio and Valentine, and read it through. Then change roles and read through again. Don’t worry about unfamiliar words in these read-throughs, but afterwards work on the following activities: a Love or infatuation? The opening lines suggest the play will be much about love. But what sort of love? You will find various expressions of love throughout Twelfth Night. Many people believe Orsino is not truly in love, but is just infatuated, and wallows in his emotions. To discover your own views, speak lines 1–15 in different ways (e.g. -
Rome in Shakespeare's Tragedies
Chronotopos A Journal of Translation History Angela Tiziana Tarantini & Christian Griffiths Introduction to by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during Romethe Fascist in Shakespeare’s Period. Tragedies 2/2019 Abstract DOI: 10.25365/cts-2019-1-2-8 Herausgegeben am / Éditée au / What follows is a prefatory commentary and an English Edited at the: Zentrum für translation of the critical introduction to the text Roma Translationswissenschaft der nelle tragedie di Shakespear Universität Wien Tragedies) published in Italy in 1924. The book contains the translations of Julius Caesare (Rome and inCoriolanus Shakespeare’s, both ISSN: 2617-3441 carried out by Ada Salvatore, and an introductory essay written by Giuseppe De Lorenzo. Our aim in translating the introductory essay by De Lorenzo is to raise awareness among non-Italian speaking scholars of how Shakespearian material was appropriated through translation by translators and intellectuals during the Fascist era. Keywords: translation, Shakespeare, fascism, Italy Zum Zitieren des Artikels Tarantini, Angela Tiziana & Griffiths, Christian (2019): Introduction to by De Lorenzo. How Shakespearean/ Pour Material citer l’article was appropriate / To cite thed by article: Translators and Scholars during the Fascist Period, Chronotopos 2 (1), 144-177. DOI: 10.25365/cts-2019-1-2-8 Rome in Shakespeare’s Tragedies Angela Tiziani Tarantini & Christian Griffiths: Introduction to Rome in Shakespeare’s Tragedies by DeLorenzo. Angela Tiziana Tarantini & Christian Griffiths Introduction to Rome in Shakespeare’s Tragedies by De Lorenzo. How Shakespearean Material was appropriated by Translators and Scholars during the Fascist Period Abstract What follows is a prefatory commentary and an English translation of the critical introduction to the text Roma nelle tragedie di Shakespeare (Rome in Shakespeare’s Tragedies) published in Italy in 1924. -
Montrose Activity Center
Montrose Activity Center N E w s L E T T E R January 1989 The Montrose Activity Center is a non profit SOIc3 organization whose purpose is to increase understanding of social, racial and sexual minorities, and to encourage acceptance and tolerance of alternative lifestyles so that, together, the citizens of the City of Houston and the State of Texas may work in the spirt of peaceful cooperation to build a better society. The organization acts as an umbrella to other organizations such as Lesbian/Gay Pride Week and the Names Project Houston. MAC, PO Box 66684, Houston, TX 77266-6684. JUDGE GOES EASY ON KILLER OF GAYS' VOLUNTEERING By LORI MONfGOMERY OF THE DALLAS TIMES HERALD. Seven years ago I moved to Houston; it was the day of the runoff State District Judge Jack Hampton acknowledged Thursday that election, when Kathy Whitmire won. Not knowing very much about the homosexuality of two murder victims played a part in his decision the community or gay life in general, I thought there was a sense of a to sentence their 18-year-old killer to 30 years in prison instead of the community coming together and making progress. The TV news maximum life sentence. showed how this was a grass roots movement. It would be a few months "These two guys that got killed wouldn't have been killed if they later before I made my first brave steps into the community. hadn't been cruising the streets picking up teenage boys," Hampton My first venture was wanting to just run the audio control board at said, "I don't much care for queers cruising the streets picking up KPFf for the Wilde n' Stein Radio Show.