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Home , Curtain Theatre, George Bartenieff, Ludwig Berger (director), Yale Repertory Theatre

2016 Study Gu ide

YALE REPERTORY THEATRE WILL POWER! 2015–16 is supported by James Bundy Artistic Director E sme Usdan

Victoria Nolan Allegra Print and Imaging M anaging Director New Alliance Foundation

STUDY GUIDE WRITERS Jane Marcher Foundation T aylor Barfield Y ale School of Drama, MFA ’16 Production Dramaturg

L ynda A.H. Paul Y ale School of Drama, MFA ’17 Production Dramaturg

EDITORS Amy Boratko Literary Manager

Rachel Carpman Literary Associate graphic designer marguerite elliott Publications Manager

SPECIAL THANKS For more information on Yale Repertory Theatre Nancy Herman, Jennifer Kiger, Kay Perdue and , please visit: Meadows, Steven Padla, Catherine Sheehy, Evan Yionoulis

Cymbeline cover artwork by Paul Evan Jeffrey. yalerep.org WILLPOWER! welcome to Synopsis

Imogen, daughter of Britain’s King Cymbeline, has Imogen finds a cave, which belongs to Belarius and his married Posthumus Leonatus, even though he is not adopted sons Guiderius and Arviragus. Imogen tells of royal blood. (Imogen is the king’s only child; he once them her name is Fidele, and they welcome her as a had two sons, but they were kidnapped long ago.) Upon brother. The next day, “Fidele” feels ill and takes the WILLPOWER! discovering Imogen’s unsanctioned marriage, the king sleeping potion thinking it is medicine. Cloten arrives banishes Posthumus. Before he departs for Italy, the at the cave and gets in a fight with Guiderius, who cuts lovers exchange tokens: she gives him a ring, he gives off his head. Arviragus finds “Fidele” in the cave and As part of Yale Repertory Theatre’s WILL POWER! educational initiative, we are pleased to her a bracelet. Meanwhile, the Queen is plotting to thinks him dead. The three mourn “Fidele” and lay him offer this Study Guide to accompany our 2016 production of Cymbeline. have her son by a previous marriage, Cloten, married with Cloten’s body. Imogen, still dressed as “Fidele,” to Imogen. Cloten tries to awkwardly woo Imogen, but then awakens and sees Cloten’s headless body wearing Quotes from Cymbeline are taken from , reprinted in 2007. Imogen rejects him. Posthumus’s clothing. She thinks her husband is dead and weeps for him. “Fidele” is found by Lucius and In Italy, Posthumus meets the scheming Iachimo, agrees to join the Roman Army. who bets that he can prove that Imogen is unfaithful. Posthumus takes the bet and gives Iachimo his ring as At court, Cymbeline and Pisanio prepare to fight the collateral. Romans. Guiderius, Arviragus, and Belarius fight for Britain, while Posthumus joins the Romans, along S ynopsis...... 1 Back in England, the Queen plots to poison both the with Lucius and Iachimo. The two sides clash, and the King and Imogen. The doctor, Cornelius, suspects Britons win the day. The Romans, including Posthumus, the Queen’s plot, and instead of poison, gives her a are thrown in jail. While awaiting execution, Posthumus Cymbeline: Characters...... 2 sleeping potion. The Queen passes the potion along has a dream in which his long-dead family and Jupiter to Imogen and Posthumus’s loyal servant Pisanio. himself appear to him. In the morning, the Romans are Shakespeare’s Staged History...... 4 Newly arrived Iachimo convinces Imogen that he is brought before Cymbeline. “Fidele,” seeing Posthumus’s Posthumus’s friend and asks her to keep his trunk in ring on Iachimo’s finger, demands to know where it Director’s Cut: Evan Yionoulis on Cymbeline...... 5 her room. Iachimo hides in the trunk, and while Imogen came from. Iachimo admits he got it from Posthumus by is sleeping, he creeps out, memorizes the details lying about Imogen’s virtue. Pisanio reveals that “Fidele” of her room, and steals her bracelet: “proof” of her What is Love? The Romance of Cymbeline...... 9 is Imogen and explains her disguise. Guiderius admits infidelity. Iachimo returns to Italy to tell Posthumus he to killing Cloten, and Belarius explains that Guiderius won Imogen and shows him the bracelet. Posthumus and Arviragus are Cymbeline’s lost sons. Cymbeline, Evil Queens, Loyal Servants, and Royals in Disguise: bemoans the unfaithfulness of women. He writes two overjoyed, recognizes Imogen’s marriage, pardons the From Snow White to Imogen...... 10 letters: one telling Imogen to meet him at Milford Haven, Romans, agrees to pay his tribute, and declares a feast. and one telling Pisanio to kill Imogen for adultery once ’s Notebook...... 14 they arrive. —RACHEL CARPMAN Caius Lucius, an ambassador from Italy, arrives at Cymbeline: Shakespeare’s Treasure Chest ...... 16 Cymbeline’s court. Cymbeline refuses to pay his yearly tribute, and Lucius warns him of the wrath of Rome. Playing Spaces: Pisanio and Imogen receive their letters and set off rem for Milford Haven. On the journey Pisanio reveals the ix it How Theatre Buildings Shaped Shakepeare’s Plays...... 18 The above synopsis follows contents of his letter. He disguises Imogen as a boy, the Bard wrote it. However, it’s quite common for gives her the Queen’s potion for protection, and tells S directors to cut lines—or even hakespeare’srestructure scenes— play as Before and After: Discussion Questions...... 20 her to run away. Pisanio returns to court, where he finds in productions. Cloten in a rage because Imogen has disappeared. a certain theme,T highlighthis can help a particular frame the character’s play around Pisanio sends Cloten, who puts on Posthumus’s clothes, Resources...... 21 journey, or emphasize a particular element of to Milford Haven and writes a letter to Posthumus, the plot. telling him Imogen is dead. After seeing the play, do you think that director Evan to the text? Yionoulis made any cuts or changes

1 married to Queen Belarius Cymbeline Wife of Cymbeline a.k.a. “Morgan” King of Britain Banished Lord adopted father of doctor to visits father of mother of Caius Lucius Cornelius General of the Roman Forces C ourt Physician

lost sons of hires

Cloten Imogen A young courtier; Arviragus Guiderius tries to woo the Queen’s son by a a.k.a. “Cadwal” a.k.a. “Polydore” a.k.a. “Fidele” previous marriage is married to Pisanio servant to Loyal servant of Imogen and Posthumus

Posthumus Leonatus A young gentleman; husband of Imogen friends with Cymbeline: tricks Characters Iachimo friends with Philario Prideful Italian Lord Idtalian Lor Fights for Rome Fights for Britain Not in the war

2 3 Shakespeare’s Director’s Cut: Staged History Evan Yionoulis on Cymbeline

When the first collection of Shakespeare’s work was British ruler at the time, to pay an annual tribute to EVAN YIONOULIS is As a director embarks on a new production of published in 1623, the editors split his plays into three Rome. Shakespeare briefly delves into the backstory of Resident Director at genres: comedy, tragedy, and history. The histories Cassibelan’s struggle against when Caius one of Shakespeare’s plays, she often spends a are all named for English kings: ; Richard III; Lucius visits to retrieve Britain’s “untender’d” tribute in Yale Rep where her year—or more—making choices about what will King Henry VIII; Richard II; ; Henry IV Parts Act III. productions include be on stage. The text is often cut. are cast 1 and 2; and Henry VI Parts 1, 2, and 3. Cymbeline, Owners, Stones in His Shakespeare’s Cymbeline refuses to pay the tribute, to play the roles, and designers have to plot out first produced sometime between 1609 and 1611, is Pockets, Bossa Nova, also named after a real British king—Kymbeline—but which precipitates a war between the two nations. The what the set, costumes, and lights will look like. historical record varies slightly from this version of The Master Builder, defies the history label; in fact, it was first categorized At the helm, the director makes many choices as a tragedy. This play features a tumultuous love events. Holinshed’s Chronicles, one of Shakespeare’s Richard II, Black Snow, story, a duplicitous Queen straight out of a fairy tale, primary source texts, states that, “after Julius Cesar’s The People Next Door, along the way to ensure that a vibrant story is and material too fantastical to have come from any death when Augustus had taken upon him the rule of The King Stag, Heaven, told when the audience comes to . the Empire, the Britaynes refused to pay tribute” but history book, including ghosts and a god descending and Galileo. New York from the heavens. In Cymbeline, Shakespeare draws also that “Kymbeline being brought up in Rome, and credits include Howard upon historical fact, but he takes major liberties in his made a knight in the Court of Augustus” was, therefore, Yale Rep’s Literary Manager Amy Boratko sat adaptation to create a new and compelling story. “at libertie to pay his tribute or not.” Brenton’s Sore Throats, down with Evan Yionoulis last fall to talk about Adrienne Kennedy’s But Shakespeare is at his most creative when his the choices she’s making for this production The freedom that allowed Shakespeare to embellish Ohio State Murders his version of Kymbeline’s story was due in part to the source materials are scant. So it might have been that of Cymbeline. ( Award, scant material available describing the historical king’s there would have been no consequences if Kymbeline reign. King Kymbeline of Britain reigned from about had refused to pay his tribute; Caius Lucius might Best Revival) at Theatre 9 BCE to 42 CE. Most accounts of Kymbeline’s life focus merely have accepted that answer and returned to for a New Audience; Daisy Foote’s Him (Primary Stages) and Amy Boratko: As a Resident Director at Yale Rep, on two things: Britain’s amicable relationship with Rome. But there is much more drama in conflict; Bhutan (); as well as Richard Greenberg’s The you have the opportunity to bring projects that you skirmishes, battles, and all-out wars feature in many want to direct to the theatre. Why did you propose Rome and his position as the British king during the Violet Hour (Broadway), Everett Beekin ( Theater), life and death of Jesus Christ. Curiously, Christ receives of Shakespeare’s history plays. Shakespeare used the Shakespeare’s Cymbeline? and Three Days of Rain ( Theatre Club, ). only indirect attention in Shakespeare’s play. Scholars refusal of the tribute as an inciting event that would, find oblique references, pointing to such things as the through toil and blood, bring the main characters of She directed ’s Hapgood starring Kate Burton Evan Yionoulis: I’ve always loved Cymbeline. resonance between the two brothers, Arviragus and his play back together in the final act. This masterful at Williamstown Theatre Festival. With frequent collaborator, At its heart is Imogen, a strong young woman with Guiderius, crying over Imogen’s supposedly dead body playwright used his vast imagination to fill in some composer/lyricist Mike Yionoulis, she has written and directed passion and a remarkable inner light. And the play of history’s gaps to create vibrant drama out of what has so many familiar elements which Shakespeare and the Virgin Mary weeping over the body of Christ the short film Lost and Found (Cleveland International Film after the crucifixion. Instead of concentrating on the became a mere historical footnote. puts together in new and theatrical ways: a forbidden Festival) and is developing the Dread Pirate Project about Identity connection between Kymbeline’s reign and the origins marriage; jealous lovers; a treacherous seducer who — Taylor Barfield of Christianity, however, Shakespeare takes Britain’s and the Dark Web. Other credits include productions at such arrives with a Trojan-horse trunk; a maiden-in-disguise; relationship with Rome as his primary historical focus. Ba theatres as the Mark Taper Forum, South Coast Rep, Huntington an ill-intentioned stepmother; plus stolen princes, sed on a t Theatre Company, New York , Vineyard poisonous concoctions, and a visit from the gods. Kymbeline’s connection to Rome began about fifty r It’s very funny, and it also travels to very dark places Pick up your history textbook.ue stor Theatre, Second Stage, Dallas Theater Center, Actors Theatre of years before his rule when Julius Caesar first invaded passage on an historical figure or an event.y before things come back together again in the end. the British Isles in 55 BCE. Rome was originally F Louisville, and Denver Center. She has directed presentations Using that short passage, createind a story a short of the documentary play Seven, which tells the stories of seven focused on Gaul (present-day France), but Caesar using only those sentences as your source. Cymbeline starts with families who have been torn diverted attention to Britain because he thought the How would you remain faithful to history, extraordinary women who work for human rights in New York, apart: By death—Posthumus is an orphan and Imogen British were aiding his enemies. Although Caesar lost and where might you deviate from the Boston, Washington, London, New Delhi, and Deauville, France. has lost her mother—or by treachery—Imogen’s men and supplies during his first British invasion, he record of the past? She is the recipient of a Princess Grace Foundation Fellowship brothers were stolen in childhood and her marriage returned in 54 BCE with a larger contingent, eventually with Posthumus is threatened by the Queen’s plot to and the Foundation’s prestigious statuette. She is a professor in coercing Cassibelan, Kymbeline’s great uncle and put Cloten on the throne as Imogen’s husband. Many Yale School of Drama’s Departments of Acting and Directing. characters are quick to judge and quick to act,

ABOVE: a Kymbeline-Era coin. Illustration courtesy of the british museum. 4 ph oto by Beowolf Sheehan. 5 Continued: Evan Yionoulis on Cymbeline

and their anger and rashness cause distress on both hearsay evidence. Twenty years later, Belarius is of the difference between what’s on the surface AMB: How will these actors be costumed? Will you the personal and political levels. The families feel a devoted, overprotective father to the boys and and what’s underneath or within is a major theme in disguise the sex of the actor, or, in your production, pain, and so does the entire kingdom. When Imogen wants to keep them out of harm’s way. But they, too, the play. will the Queen wear clothing that might be considered and Posthumus are forced apart, they embark on want to choose their own lives and have their own masculine? separate journeys. Both suffer a great deal, confront experiences. I think young audiences might relate to Cymbeline certainly is a major player in exhibiting the death, and discover the power of repentance and these characters striving for agency. rash, anger-fueled behavior that dominates the world EY: Both the sex of the actor and the gender of the forgiveness. Meanwhile, there is a bloody war. By the and is the catalyst for the play’s action. Or you might character will live simultaneously. The characters will end of the play, the families are reunited, and England AMB: You’ve been talking a lot about Imogen and say: the male, testosterone-driven behavior. be dressed as the gender assigned by the play—so and Rome are also brought back together. It’s an Posthumus’s journeys in the play, but the title the Queen will be wearing a really fabulous gown! But But you’re casting a woman in the role. amazing path for the play to take. character is King Cymbeline. Why do you think the play AMB: everyone in the audience will be aware that a man is is named after him? playing the role. We’re not trying to disguise that. EY: Y es. As written, Cymbeline has two female roles: AMB: Imogen and Posthumus’s love story, for its time, the Queen and Imogen. Maybe there’s a lady-in- is unusual. Shakespeare shows a couple who wants EY: Well, scholars have rightly pointed out that he’s AMB: Casting the play is a series of big choices that waiting or two. But we’re casting women in several to marry for love and fights for the ability to choose a the one person who spans both the personal and a director makes about her production, and you’ve of the male roles, including Posthumus. In addition spouse. Women in his era weren’t often afforded that political arcs of the play. made a bold choice with how you’re casting some of to giving more wonderful acting opportunities to opportunity. the major roles in the play. Another area that a director terrific female actors, I think the choice will allow the And while it’s not the kind of central role that, say, makes choices, particularly when doing a Shakespeare production to make us look in a new way at behavior EY: That’s right. In the beginning of the play, Imogen is, Cymbeline is a very interesting—and rather play, is how she cuts the text. Often, many lines are we take for granted as gendered and maybe shouldn’t. and Posthumus just want to have some control problematic—character. Why is he blindly doing cut, and that has implications on the storytelling of a When he thinks Imogen has betrayed him, Posthumus over their own lives. To Imogen, it doesn’t make any everything that the Queen says? Doesn’t he see that production. How have you been working with the text talks about the “woman’s part” in him in a very sense that she can’t marry Posthumus. Her dad, King Cloten is a terrible choice for Imogen? Doesn’t he see so far? disparaging way, and even early in the play cuts his Cymbeline, loved him and brought him up in court. the cost to his kingdom of provoking a war with Rome? leave-taking short “lest I give cause/ To be suspected But Imogen is a daughter. And Posthumus is not of Directors for centuries have tried to resolve these EY: A t Yale Rep, the last Shakespeare play I of more tenderness/ Than doth become a man;” royal blood. The King has to consider succession questions in various ways: for example, by insinuating directed was Richard II. That’s a pretty short play, Pisanio tells Imogen she must “forget to be a woman.” and rights to the throne, and he listens to the (bad!) that the Queen has been slowly poisoning Cymbeline, comparatively. I didn’t end up cutting that much. What does it mean to act, play, live the woman’s part— advice of his wife. When Imogen and Posthumus get thus clouding his judgment. I’m not sure about that. Cymbeline is one of Shakespeare’s longest plays, over or the man’s? To explore this, I’ve cast a male actor in married in defiance, Cymbeline banishes Posthumus Cymbeline says in Act V that he was fooled by the 4,000 lines. Doing the play completely uncut would the role of the Queen. as punishment. Imogen’s brothers, Arviragus and Queen’s outward beauty and seeming kindness to Guiderius, were stolen in infancy by a soldier, Belarius, him. The blindness of love is certainly an old and whom Cymbeline had also banished, unjustly, on enduring idea in literature—and in life. The idea

Evan Yionoulis’s 2007 Yale Rep production of Richard II. from left: Caroline Stefanie Clay, Allen E. Read, Billy Eugene Jones, and George Bartenieff; Jeffrey Carlson as KIng Richard II; Michael Leibenluft, , Josh Odsess-Rubin, and Caitlin Clouthier. Photos by Joan Marcus.

6 7 Continued: Evan Yionoulis on Cymbeline What is Love? The Romance of Cymbeline

take over four hours to perform! I knew I wanted to cut AMB: Many directors choose to cut Jupiter’s Shakespeare’s plays are usually pretty easy to categorize. The Romances try to contain every aspect of human at least 1,000 lines. But, before you can even decide appearance to Posthumus. Are you keeping that in this Are there star-crossed teenagers or blood-soaked life: happiness, grief, rage, humor, loss, and rebirth. what to cut, you have to decide what the heart of the production? tyrants? Must be a tragedy. Girls in disguise and multiple Relationships between parents and children are especially story is. The first time I went through it, I thought I marriages? Looks like a comedy. How about real-life important, as the passing of power from one generation had cut a lot, and then I counted and found I’d only EY: Y es. The scene is much more than just the god rulers of Britain? Signs of a history. But toward the end to the next represents the lifecycle of a kingdom. Because trimmed 200 lines, so I had to be more aggressive. appearing to Posthumus. The young man dreams of of his life, Shakespeare resisted more and more keeping the scope of these plays is so large, they often take a his dead family—and the family calls for Jupiter. Jupiter the clean divisions of genre. Four plays from the very wider view of characters and situations than the closely It’s often easiest to take out whole sections rather than then appears and assures them he’s been watching end of his career—Pericles, The Winter’s Tale, Cymbeline, observed comedies and tragedies. In the Romances these try to thin within speeches, because you have to be over Posthumus the whole time. And though it still and —defy these classifications almost elements are often archetypal, giving the plays the epic entirely, combining elements of all three, plus a dash of feel of myths and fairy tales. very careful to preserve the meter. leaves open the question of the purpose of human the supernatural, to create something new. This genre is suffering, Posthumus takes comfort in the visit by his In addition to the multitude of archetypes, these plays In Cymbeline, Shakespeare shows a battle but also known as Romance. lost family, even in a momentary dream. are infused with magic. Sometimes the magical elements writes a scene in which a character describes that Romance in a Shakespearean context doesn’t mean a are miraculous situations, like the unlikely reuniting of same battle in great detail. We see it twice this way, I have, sadly, cut the Soothsayer and the prophecy sticky-sweet love story. Rather, the term refers to a style of Pericles’s family in Pericles, or the magical preservation and either the battle or its description has historically Jupiter leaves to Posthumus, but I thought everyone courtly writing that became popular in the Elizabethan era of Queen Hermione as a statue in The Winter’s Tale. been a prime candidate for cutting. I’ve decided to would like to get home before midnight! and is still popular today. Romances usually involve a hero In The Tempest, Prospero is a sorcerer who conjures nest the physical battle as a flashback in the scene on a quest, which may or may not be for love. They have scenes to awe and befuddle the visitors to his island. In where Posthumus describes it to a deserter, so they AMB: You have also been working with your design themes of exile and return, elements of fantasy and the Cymbeline the presence of the divine is palpable when almost happen simultaneously. To me, it’s very team to create the look of the production—the set, miraculous, and have several episodes, or mini-quests, Jupiter appears to Posthumus Leonatus in his jail cell. In important to show the war. It’s a senseless one, in that costumes, and lights. What are your inspirations so that add up to the whole story. The most famous Romance production these moments were opportunities for lavish there has been an unnecessary failure of diplomacy. far? of the time was Le Morte d’Arthur, the first major collection spectacle, allowing the actors to incorporate new fashions The soldiers are no less noble for their sacrifice, but we of stories about King Arthur and the Knights of the Round and stage technologies into their performance, bringing have to ask why the war happened in the first place, as EY: We’ve been looking at a lot of research of Table. the magical workings of Shakepeare’s imagination to life we might about the senseless wars we’ve seen in our overgrown castle ruins, stone and vines and broken on the Elizabethan stage. own lifetimes. arches and staircases. Mist. The historical King This form allowed Shakespeare to “re-mix” elements from Cymbeline ruled around the time of Christ. We’re his earlier plays. For example, many of the Romances —Rachel Carpman In other Shakespeare plays, like A Midsummer Night’s setting this production not specifically then, but contain tragedies, usually in the Dream or The Winter’s Tale, the characters have wild rather in “a Far-Away Time.” There’ll be a space that’s first few acts. These events split or far-reaching journeys, but end up back at court. evocative of time past, and then the flesh-and-blood, families and societies apart. At From the Kitchen of The final scene of Cymbeline feels like a return-to- passionate characters will enter, filling it with life and the beginning of Cymbeline, for example, Cymbeline has already court scene, but Shakespeare actually sets it outside color. lost his sons, alienated his Cymbeline’s tent on the battlefield. It’s a joyful and daughter, and begun to dissolve funny scene, with revelations and resolutions, but the relationship between Britain these characters have been through something and the Roman Empire. The rest Cymb harrowing, and we need to remember that. They’ve eli of the plays are spent putting the ne bloodied the bucolic natural landscape with their war. pieces back together, bringing the 2 parts Forbidden Love characters to a place of forgiveness, , and, as in comedies, a (mostly) 1 part 1 part A happy ending. Families are Travel to a mbitious All’s Well that Ends Well Mother reunited, lovers can marry (or, like Distant Land in Cymbeline, stay married), but the 1 part Supposed Infidelity 3 parts Girl joy is always mixed with sorrow. , The TwoDressed Gentlemen as of Verona, The shadow of death, usually Boy absent from the comedies, remains 2 parts Lost Siblings in the Romances, suggesting that , Twelfth Night 1 dash War while the crimes of the past can be avoriteY our f tragedy or history play, to taste forgiven, they cannot be forgotten. ineC omb all ingredients and mix well.

Yield: 5 8 Acts 9 n addition Imogen, there is also rchetypes are and something familiar in the story everywhere Arviragus, oyal Guiderius and ns, L in Cymbeline. of ee wife, the Cymbeline’s the two brothers who are Evil Qu Queen, for example, is Iliving off the land in a cave. When She is an they first appear in the play, they have rvants, and : never given a proper name. Se e A no idea that they are actually the two ; that is, her general identity tolen from their Disguis archetype sons of Cymbeline, s as a ruler is more relevant to us than It is only in the last home as infants. Royals in mogen any detail specific to her person. What I scene of the play that they learn their is more, the Queen is stepmother to our This element of the now White to true identities. S heroine Imogen, whom she persecutes From storyline recalls another common with a vengeance in an attempt to odern fairy tales device found in fairy tales: the “royal give her own, clearly inferior, offspring Think of stories like the began in the All of this puts the Queen in disguise.” more power. f I told you a tale about a 1600s, right Prince and the Pauper, Beauty and the directly in line with the evil queen/ Frog Prince, all of which wicked stepmother—an around the time Beast, or the wicked stepmother figure, a character evil queen who envied her Shakespeare involve a member of royalty or wealthy found tormenting her stepchildren in husband’s daughter—and uropean folk tales aristocracy whose identity is not known E many myths, folk tales, and fairy Ntalesot about a faithful servant who Mwas writing, as and who must, whether by choice or that were previously passed down from the ancient world to today. was asked to take the girl out into the by circumstance, live like a peasant, I orally from generation to generation only does the wicked stepmother in The stories woods and kill her, sending back to the beggar, or even animal until he or she started to get written down. Cymbeline try to get rid of the young castle with proof of the bloody deed,Snow Imogen, but she plans to is finally recognized and may claim are usually simple and speakhey to rely the and virtuous you’d recognize it instantly…as T their real title. I’m talking concerns of their society. do so through the use of a poison— White. But you’d be wrong. on familiar plot patterns (such as the which ultimately fails to kill its victim— about the story of Cymbeline. airy tales are just one journey or the quest); their settings in a circumstance recognizableSnow Whitefrom of the many genres that are straightforward and recognizable many fairy tales, such as lthough Shakespeare’s Cymbeline draws from, (the castle, the woods, the cottage); and Sleeping Beauty. Cymbeline is based but by keeping an eye and their characters are archetypal loosely on the story out for the places in and clear-cut (the innocent princess/ nother character we of a historical king, it prince, the good or bad king/queen, might recognize from Fwhich they appear, we are attuned in also borrows a great the monster, the trickster, the hero). the fairy tale world is new ways to the questions this play dealA from the genre of the fairy tale. The archetypes in particular make the Pisanio, who functions raises about parent-child relationships, like a “loyal servant,” morality, class, the nature of Most of us can probably recall our own tales remarkably flexible: you can take Snow Shakespeare and sovereignty, and how favorite fairy tales from childhood— a witch or a princess and put her into just like the good huntsman in A his audience felt about all those things. sweet princesses imprisoned in castle any story, change some details, and White. He must choose between towers from which they are then at once have a new story that speaks following his duty as a servant and ven rescued by charming princes; wolves to the concerns of a contemporary E listening to his own moral instincts. He aul and goblins threatening innocent audience but feels deeply familiar. chooses, rightly, to follow his heart. — aL ynd A.H. P travelers who venture into the woods; today we can look at many characters Pisanio is instructed by his master, Imogen in revenge powerful witches taking revenge on in our own popular entertainments and Posthumus, to kill those who have trespassed onto their find early versions of them in a play England more than for the love affair thatImogen Posthumus has had territory; and beggars or orphans that was written in mistakenly believes discovering that they are secretly 400 years ago. with Iachimo. But Pisanio cannotImogen’s bring princes or princesses who were himself to do it, and he saves kidnapped as babies. But in order to life instead. see Shakespeare’s use of fairy tales in Cymbeline, we have to look beyond the specifics of the particular stories we know and toward the fairy tale’s basic building blocks.

10 11 Continued: Evil Queens, Loyal Servants, and Royals in

Disguise Travelogue Although in real life step-familiesO aref often A perfectly Wicked happy together, many societies have found the figure of the stepmother threatening—especially to her stepchildren.Stepmother Let’s take a look at some examples. Notice that certain themes are repeated in many of the stories, regardless of the fact they come to us from different cultures and time periods. Where Are Fairy References to fairy tales abound in the artsT andales entertainment Today? of the past five centuries, and the tales continue to make up an important part of culture today. See the following (Everywhere for some examples !) of recent retellings of these old stories. Phaedra is married to Theseus when a bored goddess Phaedra makes her fall in love with her stepson, Hippolytus. TELE Ancient When Hippolytus finds out, he rejects her, and Phaedra is VISION SERIES Greece Once Upon a Time (2011–present) inconsolable. In some versions, she is so distraught that This ABC series tells the story of fairy tale characters MOVIES she tells her husband, Theseus, that Hippolytus tried to take who have been cursed by the evil queen ( Snow White and the Huntsman (2012) advantage of her. In response, Theseus has his son killed. White’s stepmother) to reside—with all memory of This dark reimagining of the classic fairy tale stars Snow Canidia their past lives erased—in a small town in modern- Charlize Theron as the evil Queen Ancient Canidia is a witch who, Horace writes, glares at a young day Maine. White’s stepmother, a vampire-like warrior woman Each episode moves between the Ravenna, Snow Rome boy in the way a stepmother would. This is meant to characters’ current situations and their histories, who kills her new husband and keeps herself indicate her evil intentions toward him. while they slowly rediscover their past identities. looking beautiful by stealing the youth of the women of the kingdom. Folk tales Game of Thrones (2011–present) Cinderella’s stepmother is often depicted as the Based on Mirror Mirror (2012) Cinderella’s found in many George R main source of the young girl’s troubles. In different Fire, a series of fantasy. R. M novels,artin’s thisA Song television of Ice and show This version of Stepmother European S versions, she privileges her own daughters over depicts a dark story that uses a number of tropes the stepmother—alsonow White known stars as the Julia sorceress and Middle Roberts as Eastern Cinderella, tries to turn her husband against his from fairy tales in service of a violent epic about Clementianna—whose greed nearly destroys the cultures daughter, and treats Cinderella as if she were dirt— war. kingdom she has been ruling since her husband, or simply there to sweep it up. Snow White’s father, went off to fight an evil Grimm (2011–present) force and never came back. While In this story, Vasilisa’s father marries a new woman after Like Once Upon a Time, tries to help her impoverished people,Snow she White and Grimm is a mash-up of Vasilisa’s his first wife dies. The new wife brings two daughters with real life and fantasy. Clementianna become rivals for the wealthy Prince detective who is descendedIts plot fromcenters a long on a line homicide of A Stepmother her to the house, and all three of them hate Vasilisa for lcott’s affections. Russia monster-fighting warriors with the last name of her beauty. In an attempt to get rid of her stepdaughter, Grimm. Frozen (2013) Vasilisa’s stepmother forces her to go into the woods to The episodes often use the stories and characters from classic fairy tales as a basic This popular Disney movie, starring see the terrible witch Baba Yaga. plot device, though they are rewritten to fit the the voice of the heroine, Idina M Elsa, is inspired byen Hanszel as Hansel and framework of the show. Christian Anderson’s story The Snow Queen. Germanic movie’s plot departs in significant ways from the Gretel’s In many versions of the Hansel and Gretel story, it The Stepmother and Baltic is their stepmother who convinces their father that original fairy tale but retains several elements of regions the family will starve to death unless the children are Anderson’s story, such as a strong, powerful female abandoned in the woods and left to fend for themselves. character who can command snow and ice.

The Stepmother Into the Woods (2014) from the Laidly In this English folk tale, a king marries a witch after his This movie is based on the musical by Worm of first wife dies. The new wife hates the king’s daughter Sondheim that tells the story of what mightStephen happen Spindleston England from his first marriage because she is so beautiful. In if the characters from several different fairy tales— Heugh her jealousy and hatred of the girl, the new wife turns such as Little Red Riding Hood, her stepdaughter into a dragon. Rapunzel—were to run into eachC otherinder ella,in the and woods. The movie stars frightening powersMer butyl S atreep motherly as the desire Witch, to who protect has Snow White’s her daughter Throughout Snow White is the daughter of a king whose first wife Rapunzel. Stepmother dies. When he remarries, the new wife is extremely as the Wolf from It also features Johnny Europe Little R Dep jealous of Snow White’s beauty. In her wickedness and ed Riding Hood. p vanity, she repeatedly tries to have Snow White killed. Maleficent (2014) This revision of the story of Janghwa and the viewer to consider the taleSleeping from the Beauty villain’s invites point of view. Hongreyeon The father of two sisters, Janghwa and Hongreyeon Jeon, Angelina Jolie stars as the complex figure of Maleficent, who in this version is not an Jeon’s Korea remarries after his first wife dies. The new wife hates the two girls. When she has had three new sons with her evil witch, but rather, a wronged fairy, who seeks Stepmother revenge on the royal family for the terrible way they husband, she makes plans to ruin the reputations of her treated her. stepdaughters and have them killed. 12 13 Angelina Jolie in Malificent, 2014. Image courtesy of Walt Disney Films. —LAHP Actor’s Notebook antithesis When actors start to learn their roles, they study the language very carefully, looking at different GUIDERIUS aspects of the poetry. Look at the scene to the right. It’s one of the most famous passages of A Fear no more the heat o’ th’ sun, Cymbeline, the funeral song in Act 4, Scene 2, when brothers Guiderius and Arviragus sing over the B Nor the furious winter’s rages; body of Imogen. Pretend you are playing one of these roles. Use the guide below to begin analyzing A Thou thy worldly task hast done, the dialogue and unlocking the scene’s meaning. B Home art gone, and ta’en thy wages: couplet C Golden lads and girls all must, C METER up each line into its number of metrical unit—that repeat the As chimney-sweepers, come to dust. The meter most commonly syllables or beats, and deciding same rhythmical pattern.) The associated with Shakespeare’s which of these are stressed final two lines of each stanza ARVIRAGUS verse is iambic pentameter. or unstressed, long or short. rhyme—the CC pattern—and Fear no more the frown o’ th’ great; That means that there are five Did you find any irregularities? complete a thought. Two Thou art past the tyrant’s stroke; These twenty-four lines of metrical feet in a line, where Any places where the meter rhyming lines in a row are Care no more to clothe and eat; text are some of the most a foot is composed of two is not perfect? If so, read the called a couplet. Each stanza To thee the reed is as the oak: The sceptre, learning, physic, must famous from

syllables. Iambs are metrical line again. Is there something builds up to these pairs of metonymy Virginia Woolf usesCymbeline these lines feet that follow a pattern of in the meaning of the line that lines, which complete the All follow this, and come to dust. in her book . unstressed then stressed beats: has changed—a new idea or a thought of each stanza. Do and Winnie and Mrs.Willie Dalloway in Samuel GUIDERIUS duh-DUH, duh-DUH, duh-DUH, change in thought? Sometimes you notice a pattern in the Beckett’s , duh-DUH, duh-DUH. This song the places where Shakespeare punctuation that comes just Fear no more the lightning flash, will be YaleHappy Rep’s Daysfinal show (which deviates from this common changes the rhythm of a line, before these rhyming couplets of the 2015 meter in two ways—in both the something important might be in each stanza? ARVIRAGUS the opening of–16 thisseason) song use to number of beats or syllables in happening! Nor th’ all-dreaded thunder-stone; call attention to their own a line and in the pattern of the METONYMY stressed syllables. RHYME SCHEME Metonymy is a figure of speech GUIDERIUS mortality. L ooking at the rhyme scheme in which one word or phrase Fear not slander, censure rash; Count the number of syllables of a section of poetry can is substituted for another with in the line. Most of these lines also give actors a clue as to which it is closely associated. ARVIRAGUS have eight syllables or four its meaning. Even though two See here: “sceptre” stands Thou hast finish’d joy and moan: feet. (Note: sometimes actors speakers are singing here, in for “king,” “learning” for use their knowledge of meter they are completing one song, “scholar,” and “physic” for BOTH to help them pronounce the one poem. Look at how the “doctor.” All lovers young, all lovers must words—sometimes contracting first verse is labeled:A BABCC. Consign to thee and come to dust. or eliding sounds.) These four- That means that the first and ANTITHESIS foot lines are called tetrameter. third lines rhyme; the second Antithesis is a literary device GUIDERIUS and fourth; and the final two. where two phrases or terms No exorciser harm thee, Now, read the words of the first Does that rhyme scheme follow with opposite meanings are put The rhyme scheme few lines. You’ll notice that the through for the whole passage? next to each other to achieve ARVIRAGUS changes in this stanza. pattern is stressed-unstressed, What does it mean when the an effect. This passage is It’s different from the Nor no witchcraft charm thee. other three. What do DUH-duh. Feet that have a pattern deviates from that filled with antithesis. At the you think that means? stressed syllable followed by an scheme, for instance, in the start, “the heat o’ th’ sun” is GUIDERIUS How is Shakespeare unstressed syllable are called final stanza of this passage? immediately followed by “the Ghost unlaid forbear thee; using verse to call our trochees. furious winter’s rages.” Where attention to these final six lines? COUPLETS else does Shakespeare use ARVIRAGUS Marking the meter of lines is This section of text breaks antithesis in this song? Nothing ill come near thee. called scanning. Try to scan down into four six-line stanzas. these lines and mark out the (A stanza is a group of lines BOTH trochaic tetrameter, breaking in poetry that form a recurring Quiet consummation have, And renownèd be thy grave.

14 15 In theTHE first BLOCKINGscene of the play, KingPARENT Cymbeline blocks his daughter chosen love, Posthumus, because he is not of royal blood. prevent (orCymbeline try to prevent) f their children from marrying Imogen from being with her Cymbeline: their desired love. from Romeo and Juliet blockollows the in afamous long line young of parents lovers who from being together because of the long-standing T feud between their families.he Montagues and the Midsummer Night’s Dream implores Shakespeare’s to end his daughter Hermia’s relationship Cap ulets YOU’RE with Similarly, WAIT?! Lysander because he wants TY? E ROYAL her to marry geus in A Treasure Chest Theseus In Cymbeline, Shakespeare recycles many themes and devices While on the topic of the lost brothers, Demetriu they represent another popular trope s. that he used in his earlier plays. Check out Shakespeare’s treasure A GOD DESCENDS in Shakespeare’s plays—hidden royalty. chest of recurring characters, themes, and plots! In Cymbeline, Jupiter’s presence Characters who outwardly seem base or of LONG-LOST long-lost RELATIVES sons are casually transforms the landscape of the play by ymbeline’s lower rank turn out to be royalty, aristocracy, C invoking a physical deity onstage. referred to by two gentlemenA ctas 3, early alive as and or of a higher social class.Shakespeare’s Perhaps the best They appear in prophesies the reconciliation that will occur Scene 1. known example of Act 1, in the next scene and transports the play to The god long-lost royalty is Perdita from well. Shakespeare’s characters constantly find a divine plane. Jupiter isn’t the first god to The Winter’s Tale. lost relatives or relatives that they didn’t even CROSSDRESSINGhakespeare’s ! WE’RE The recognition (and mis- appear on In S BOOM know they had. Shakespeare’s stage: Hymen, Imogen is not the first of Shakespeare’s WAR. WHAT IS IT GOOD FOR? The the G TURE! recognition) of relativesS ebastianappears inand Twelfth reek god of marriages, descends A WHOLE O IN NA to officiate the weddings at the heroines to dress as a boy. Milford Haven’s lush pastoral Night with and Dromio There is not much historicalTHER evidence PLO suggesting Where did time, all of the female roles were played by Rboys.osalind that a war occurred between Comedy of Errors with the end of As You Like It. TLINE. landscape come from? Weren’teware we whiplash: just in a and Antipholus twins. Shakespeare capitalized on this staging convention Augustus Rome? B Caesar’s Cymbeline’s British castle and LOSING YOUR HEAD in his plays by very convincingly “disguising” female a means to exploreRome. how interpersonal relationships C loten’s been decapitated, and Imogen Shakespeare often England uses war and as Shakespeare often shifts his plays from an urban characters as boys. Viola inIn Twelfthall three Night, of these plays, between individuals can play out in the realm of setting to a more rugged natural landscape in thinks that Cloten is Posthumus. What a in As You Like It, and Portia in Merchant of Venice international politics. Some examples from case of mistaken identity! Decapitation is a the blink of an eye. are three top examples. e’s common form of death in Shakespeare’s plays. Duk plays focused onA lmost every one of Shakespeare include A Midsummer women dress as boys in order to infiltrate Richard III, King JohnEnglish, etc.) includes a war.Shakespeare’s Night’s Dream, , Timon of Often the head (or lack thereof) is used as a means public spaces and social positions typically Monarchs (Henry V, and As You Like It. occupied by men such as a Hamlet, Athens, to recognize or mis-recognize its former owner. Shakespeare’s most famous play, LOVE’ retinue and the judicial courts. operates with an impending battle between Imogen gives PosthumusS TRIN a ring to remind Macduff takes ’s head in Macbeth, the Even KETS Duke gives Ragozine’s head to Angelo in place him of their love. Posthumus, in turn, gives Denmark and Imogen a bracelet. of Claudio’s in , and Norway in the background of the plot. trinkets such as theseShakespeare to identify usuallya true lover uses Suffolk gets decapitated by pirates in or, as Iachimo will do later, to try and prove true TTES OF VIRTUE Henry VI, Part II. love false. D uring the Elizabethan era, goodness and IACHI The most famous instance of one virtue were closely aligned with fidelity—especially s; whom“ Your in THEconstancy GENTLEMAN you think stands WOOER so safe. of Shakespeare’s characters giving a trinket MO, to signify love occurs in Othello when the for women. When Posthumus praises Imogen to the I will lay you ten thousandD ducats to your ring, that, commend me to the courtON where J your lady is, titular character gives his mother’s white Frenchman, he says she is “more fair, virtuous, wise, with no more advantage than the opportunityU of a second chaste, constant-qualified and less attemptable than any conference, and AN, AN UOR handkerchief to his soon-to-be ILLÈD LIQ the rarest…ladies in France.” In this scene Iachimo and DIST wife, D Desdemona. Posthumus set up a test to determine Imogen’s virtue “ eT akthou this vial, being then in bed, hers whichI you imagine so reserved.” and steadfastness toward Posthumus. A similar test of will bring from thence that honour of And this distillèd liquor drink thou off; virtue happens in The Winter’s Tale when Leontes A key element of the wager scene is Iachimo’s confidence that he When presently through all thy veins shall run — consults the Delphic Oracle to determine if his Iac A cold and drowsy humour, for no pulse can woo h wife, Hermione, has been faithful to him. imo from C Shall keep his native progress, but surcease…: Many mightImogen call no this matter kind ofhow fierce virtuous womanizer Postumus a “Don thinks Juan,” she is. which became a prominent character type in the 17th century. Thou shalt continue two and forty hours, ymbeline And then awake as from a pleasant sleep.” Juliet Shakespeare created other characters with a passion for omeo and Hamlet says “by heaven, —Friar Laurence from R Friar wooing women like Friar that lets me” duringGHOSTS his first encounter with his dead father’s specter in Hamlet. sound Petruchio in , and Romeo, and when I’ll make a ghost of him fam In a plot to get the two lovers away from their feuding families, Macbeth, when the deceased Banquo returns to enE v if you don’t know ili Bertram in All’s LWell that Ends Well. ar ucio in Measure for Measure, Laurence gives Juliet a potion that will makeapulet her monument, appear dead. he takes haunt ? C M other plays, think aboutS the way that Laurence’s message relaying his plan never gets to enemiesac comebeth, backand Richard from the III grave, when to curse hakespeare’s Cornelius creates a similar potion Ghosts appear in each of these character types or plot the young lover seesIn Cymbeline Juliet cold in the the evil monarch. his own life. points works in Cymbeline. for the Queen, who givesImogen it to Pisanio, takes the who potion, in turn she gives of Imogen. When Guiderius, Leon In Cymbeline, the Richard’s recognize any of these “treasures” it to Arviragus and Posthumusati past from converge despair toas raisehe Do you appears dead to from your favorite television shows who give her an extensive funeral. Ghosts sleeps in prison. or movies? 16 17 — Taylor Barfield Playing Spaces: How Theatre Buildings Shaped Shakespeare’s Plays

We usually imagine the original performances of In 1598, in the dark of a Christmas night, the Lord Even before the construction of the Globe, theatre Many scholars believe Cymbeline was the first play written Shakespeare’s plays in the Globe, a big, round, open- Chamberlain’s Men pulled the Theatre apart board by impresario (father of Richard Burbage, specifically for Blackfriars. Because this theatre was roofed theatre on the south bank of the Thames. But board and carried the pieces away. They used the wood the star of Shakespeare’s acting company) was indoors, the company had much more control over the Shakespeare’s Company, The Lord Chamberlain’s Men to build The in 1599. The Globe sat on the looking to create a newer and better theatre for the environment than they’d had outdoors at The Theatre and (later called the King’s Men) actually performed in south bank of the Thames. The shape was much like the Lord Chamberlain’s men. In 1596, he bought part of a later the Globe. The acoustics were drastically improved, multiple theatres and private spaces around London. Theatre: it had three galleries for wealthier audiences and Dominican priory (a type of monastery) on the other side and music became a centerpiece of plays performed an open courtyard for the general public, known as the of the river. He and the acting company turned it into here. The actors had control over the lighting; plays could The first permanent theatre the Lord Chamberlain’s groundlings. As at the Theatre, performances at the Globe a state-of-the-art theatre which he called Blackfriars; move gracefully from day to night in just the time it took Men occupied was called simply The Theatre, and were always dependent on the sun and the weather. however, the company didn’t get permission to perform to light or extinguish a candle. Perhaps most exciting, stood outside the city of London in the neighborhood A reconstruction of Shakespeare’s Globe opened in in the new theatre until 1608. Once the company moved Blackfriars had elaborate stage technology, like a “flying of . The Theatre had galleries and an open 1997, and productions of Shakespeare’s plays are still to Blackfriars, they entered a world of new theatrical machine,” which lowered actors from the balcony (called courtyard for the audience and a long thrust stage for the produced there today. possibilities. The plays Shakespeare wrote after the move “the heavens”) to the stage. The magnificent descent of actors. As it was outside, it was dependent on natural to Blackfriars are full of the kind of magic and spectacle Jupiter in Posthumus’s dream is a vibrant example of the light. The Lord Chamberlain’s Men performed in The that were suddenly achievable on an indoor stage. spectacular capabilities of Blackfriars. Theatre from 1594 until 1597, when disputes with the landlord drove them next door to the Curtain Theatre. —Rachel Carpman Inside Out List all of the locations in Cymbeline. How many are indoor, and how many are outdoor? If you were directing the play 2 today, where would you do it? What would London’s Playhouses the set look like? 1 Blackfriars 2 The Theatre 3 The Curtain 4 The Globe 3 or the outdoor spacesDo you are think more the important indoor or have the same value?

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4 ABOVE: the interiors of Blackfriars and the globe. 18 19 Before After Resources

1. Pin it! Directors have to make many decisions 1. Casting Call: Evan Yionoulis has made some Books Sytud Guides about what their production will look like: the bold choices in her casting of Cymbeline (see Bate, Jonathan and Russell Jackson, Kermode, Frank. Shakespeare’s A Noise Within set, the costumes, and the light. Take your her interview “Director’s Cut”). She has cast eds. Shakespeare: An Illustrated Language. New York: Allen Lane, anoisewithin.org/wp-content/ turn making some choices. Pick a character women to play Cymbeline and Posthumus Stage History. Oxford: Oxford The Penguin Press, 2000. uploads/downloads/2012/10/ in Cymbeline (or another play your class is and a man to play the Queen. After seeing the University Press, 1996. CymbelineStudyGuide_a.pdf reading), and make a Pinterest board of clothes production, what did that choice mean to you? Pritchard, R. E. Shakespeare’s Barton, John. Playing Shakespeare. England. Phoenix Mill: Sutton, that that character would wear. Would this How did you think differently about the roles of Utah Shakespeare Festival new York: Methuen, 2011. 1999. bard.org/study-guides/cymbeline- character wear contemporary clothes or clothes men and women in the world of this play? study-guide from a certain period? Find photos and images Bloom, Harold. Shakespeare: The that you might use to capture the look or Invention of the Human. New York: Websites New Orleans Shakespeare Festival “wardrobe” of this character. 2. Cymbeline was written for an indoor theatre Riverhead, 1998. NEA Shakespeare in neworleansshakespeare.org/ space, and Yale Rep produced the play in its American Communities wp-content/uploads/2013/12/ University Theatre. What did the theatre itself ———, ed. William Shakespeare: shakespeareinamericancommunities. Cymbeline-study-guide.pdf 2. Make a list of ten television shows or movies look like? What was the stage like? How did Romances. New York: Chelsea org that you’ve seen this school year (or plays, if the set capture outdoor and indoor spaces? If House, 2010. Shakespeare Theatre Company you’re an intrepid theatre-goer). After reading you thought about all the different locations in Folger Shakespeare Library shakespearetheatre.org/_pdf/first_ the piece on Cymbeline’s genre, think about Cymbeline, how did the production show you Cahn, Victor L. The Plays of folger.edu/cymbeline folio/Cymbeline_folio.pdf this list. Are these comedies, tragedies, or each different location and move from place to Shakespeare: A Thematic Guide. Westport: Greenwood Press, 2001. something else altogether? Do they blend place? PBS In Search of Shakespeare: Theatre for a New Audience Shakespeare in the Classroom tfana.org/wp-content/ genre? Try to group the items in this list into De Grazia, Margreta and Stanley Wells, pbs.org/shakespeare/educators/ uploads/2011/11/Cymbeline-360- their respective genres. What do the comedies eds. The Cambridge Companion to Viewfinder1.pdf have in common? What do the tragedies have 3. Shakespeare used an event from history to Shakespeare. Cambridge: Speak the Speech: Universal in common? Is there anything you’d describe as write Cymbeline, but he largely invented his Cambridge University Press, 2001. Shakespeare Broadcasting a Romance? Why or why not? own tale. History was his inspiration, and speak-the-speech.com/SOS.htm teaching us accurate facts was not. Think about Fallon, Robert Thomas. A the costumes and set of the production. Did Theatergoer’s Guide to Shakespeare. Shakespeare Online 3. The character of the Queen in Cymbeline Evan Yionoulis and her designers set the play Chicago: I. R. Dee, 2001. shakespeare-online.com/plays/ has many elements of the archetypal “evil in a long-ago time? Did the costumes look like cymbeldp.html stepmother” from fairy tales. Before coming they were from a particular era or time period? Garber, Marjorie. Shakespeare After to the play, list other iconic characters from Why do you think they made that choice? How All. New York: Pantheon, 2004. Shakespeare Resource Center bardweb.net/index.html fairy tales (the article in this guide should help did the setting of this production affect your Greenblatt, Stephen. “Introduction.” you get started!). Pick a character and list the experience of the story? Did it make it easier or The Norton Shakespeare. New York: places that you can see that “type” in popular harder to follow? Did it allow you to connect the W. W. Norton, 1997. Films culture—in shows, movies, books, video story to your own life today? Why or why not? Cymbeline (black and white, silent). games, and songs. How do these contemporary ——— . Will in the World. New York: Directed by Ludwig Berger. Germany, stories use fairy tale characters, and why do W. W. Norton, 2004. 1925. you think they use them? Gurr, Andrew & Mariko Ichikawa. Cymbeline (DVD). Directed by Elijah Staging in Shakespeare’s Theatres. Moshinsky. With Helen Mirren and Oxford: Oxford University Press, Richard Johnson. BBC Shakespearean 2000. Collection, 1983.

Cymbeline (DVD, streaming on AmazonPrime). Directed by Michael Almereyda. United States, 2015.

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