ASOLO REP EDUCATION & OUTREACH PRODUCTION GUIDE 2016 Tour

PRODUCTION GUIDE

By ASOLO REP Adapted and Directed by JUSTIN LUCERO EDUCATION & OUTREACH TOURING SEPTEMBER 27 - NOVEMBER 22 ASOLO REP LEADERSHIP TABLE OF CONTENTS Producing Artistic Director WHAT TO EXPECT...... 1 MICHAEL DONALD EDWARDS WHO CAN YOU TRUST?...... 2 Managing Director LINDA DIGABRIELE PEOPLE AND PLOT...... 3 FSU/Asolo Conservatory Director, ADAPTIONS OF SHAKESPEARE...... 5 Associate Director of Asolo Rep GREG LEAMING FROM THE DIRECTOR...... 6 SHAPING THIS TEXT...... 7 THE TRAGEDY OF CREATIVE TEAM FACT IN THE FICTION...... 9 Director WHAT MAKES A ?...... 10 JUSTIN LUCERO UPCOMING OPPORTUNITIES...... 11 Costume Design BECKI STAFFORD Properties Design MARLÈNE WHITNEY WHAT TO EXPECT Sound Design MATTHEW PARKER You will see one of Shakespeare’s most famous tragedies shortened into a 45-minute Fight Choreography version created uniquely for Florida students, and performed for the very first time this fall. DAN GRANKE Dramaturg The performers are actors in the third and final year of their Masters of Fine Arts (M.F.A.) LAURYN E. SASSO degree at the FSU/Asolo Conservatory for Actor Training. After The Tragedy of Hamlet, each Stage Managers of these actors will perform in additional plays at Asolo Repertory Theatre in Sarasota, FL KELLY A. BORGIA until their graduation in 2017. DAYNE SUNDMAN Voice and Dialect Coach This production is fully rehearsed and choreographed, but because it travels to one or PATRICIA DELOREY two locations each school day, it cannot rely on complex scenery or lighting. In addition to the actors’ performances, The Tragedy of Hamlet will use costume design, sound design ASOLO REP EDUCATION (including music), and simple prop elements. In this way our performance is not so different from the theatre of Shakespeare’s time: & OUTREACH STAFF Education & Outreach Director “Torches, candles, or other visual cues could identify the time as ‘night,’ as could KATHRYN MORONEY costumes (like ‘nightgowns’)… Women were played by boys, kings by commoners; Education & Outreach Specialist night scenes, staged in the middle of the afternoon, were created by language.” RIA COOPER Marjorie Garber, Shakespeare After All Education & Outreach Apprentice ELIZABETH GUILBERT

Need a digital copy of this guide? asolorep.org/education/resources ASK AN ACTOR Most performances are followed by a Video webisodes will be created question and answer session with the cast. during the rehearsal process and We encourage you to discuss what you would like to ask the tour; email [email protected] to actors, including questions about the play, how they interpret be notified when a new webisode their characters, or their experience rehearsing and performing is available. These will also be Shakespeare’s work. Ideas are included throughout this guide posted online. to spark your curiosity….

1 WHO CAN YOU TRUST? An Introduction

Whether you know Hamlet very well, or not at all, we invite you to begin to explore the play with All excerpts throughout us this fall by taking a look at a brief passage from when we first meet Hamlet. this guide are taken from the adapted script Hamlet’s mother asks why he seems to be still so affected by his father’s recent death. He answers: as of 9/16/2016.

Seems, madam! Nay, it is: I know not: ‘seems.’ ‘Tis not alone my inky cloak, good mother, Try reading the Nor customary suits of solemn black quotations aloud; That can denote me truly: these indeed seem, Shakespeare’s plays For they are actions that a man might play; were meant to be But I have that within which passeth show; spoken and heard. These but the trappings and the suits of woe. (Act 1, Sc.2) Compare Hamlet’s This is a young man who sees and feels keenly: a poet and philosophy student whose description words to another of his inner struggles makes this play one of the world’s most famous works of literature. Here Shakespearean he argues the important difference between the behavior others see, and the real truth carried character’s “within.” For Hamlet, the truth of his deep grief and loss is real, more significant than dressing expression of grief. in black. Anyone can dress in mourning, regardless of the state of their heart underneath. Can you name another play where the In The Tragedy of Hamlet the difference between appearance and and truth, between who can difference between be trusted and who cannot, leads to literal questions of life or death. Can Hamlet trust his appearance and truth family? Can he trust his friends? Can he trust a ghost that looks like his dead father? Can he is important? trust his girlfriend? Can he trust himself? What is at stake if he judges wrong?

Our own lives, thankfully, are less likely to end in poisoning or duels than Shakespeare’s tragedies. Still, isn’t the pressure to make important decisions without having enough information a familiar Have you been around stress? How often have you worried about making a mistake in the way you behaved toward people who seemed someone, how you dealt with your family, or took a step toward your future? And how often must to act differently than they really feel? How you take a deep breath and make a choice, even though you can’t know for certain if we’re doing do you decide who to the right thing? trust in your own life?

This may be one reason why Hamlet’s struggle, in which he feels sure of “that within” but What was the last unsure of the world around him, still speaks to artists and audiences today. Perhaps the most big decision you famous advice in the play: made? Did you have all the information you needed? Do you This above all: to thine own self be true, decide with your head And it must follow, as the night the day, or your heart? Thou canst not then be false to any man. (Act 1, Sc.3) is spoken by a character who can’t resist the opportunity to interfere and spy on others, and who encourages his daughter to behave contrary to her own feelings. People are complicated, Shakespeare reminds us, and often their words don’t match their actions. ASK AN ACTOR Does your character act rationally or How will Hamlet take action when he thinks emotionally? he should, but still feels wrong? When he is disappointed and betrayed by so many people How do you learn from the play to make a around him? How can he – and we – gather decision like this about your character? the courage to keep moving forward?

2 PEOPLE AND PLOT

Use this synopsis to create a character map. This guide presents an introduction to the plot elements, characters, themes, and production concepts included in director Justin Lucero’s 2016 adaptation. If you are reading the play, add the additional characters who do Additional adjustments to the sequence of events and specific lines quoted in these pages not appear in this may be made during the rehearsal process, after the printing of this guide. Every effort has adaptation. been made to accurately reflect the performance you will see.

A complete plot summary of Shakespeare’s original, un-edited text can be found: www.folgerdigitaltexts.org/html/ham.html Two female roles in this adaptation ( and King Hamlet died recently, but a ghostly figure resembling Rosenstern) were him appears “in the dead vast and middle of the night.” originally played as The GHOST is silent, but HORATIO believes it may speak men. Why might the to the dead king’s son, her good friend . director have chosen to add more women Queen remarried “within a month” of her to the cast, and to put husband’s death, and Hamlet’s uncle, CLAUDIUS, is the them in these specific new king. Both King and Queen encourage Hamlet that roles? the time for mourning has passed, and that he must not seem so sad. Hamlet insists that he has every reason to be sad, and privately describes his disgust with their hasty . Hamlet confesses to Horatio that he Questions of royal sees his late father in his mind, and Horatio describes succession can be the ghost that has been visiting the castle; they plan to complicated, and watch for it together. follow different patterns across time and geography. The bids his family farewell before traveling abroad, warning his sister, , that while following article Hamlet has shown her some affection, he is a prince, and not free to choose whom he loves. does a nice job of She should guard herself from the “danger of desire.” Their father, POLONIUS, further instructs describing what Ophelia that she must be careful not to believe Hamlet’s words of love or spend too much time might be considered with him. “normal” for Hamlet’s , The Ghost returns again at night and speaks to Hamlet alone, explaining that his death was not Shakespeare’s accidental; his own brother Claudius poured poison in his ear. The Ghost asks Hamlet to revenge England, and modern his “foul and most unnatural murder.” Hamlet makes Horatio swear not to repeat what they have day monarchies: seen, and announces that he may find it useful to “put an antic disposition on,” or behave a bit grainofsandtheatre.com/ strangely in the days ahead. node/168 Hamlet’s increasingly odd behavior frightens Ophelia, but Polonius assures her that Hamlet must be “mad for thy love,” especially since she has followed his instructions to deny Hamlet her attention. Claudius and Gertrude persuade ASK AN ACTOR Hamlet’s old friend, ROSENSTERN, to spend time with Is there any character in this play with whom you have Hamlet in order to find out what is affecting him so strangely. something in common? Is there a character for whom you feel the most empathy? Polonius suggests that they should observe Ophelia and Hamlet together for proof that love is the cause. Faking If you’re playing a role as a woman but it was written madness when it suits him, Hamlet pretends not to know for a man, does it change your performance? Polonius, (“Have you a daughter?”), and quickly recognizes that Rosenstern, whom he has trusted in the past, is acting on instructions from the King and Queen. 3 Hamlet welcomes a local troupe of travelling PLAYERS who visit the court to perform a play. What makes a hero? He asks them to slightly alter their play by adding lines which he will write himself. Everyone is What makes a tragic relieved that Hamlet seems excited about the players’ arrival, but Claudius and Polonius continue hero? Is Hamlet either? with their plan to spy on Hamlet when he is with Ophelia. Following instructions, Ophelia returns What is revenge? all the gifts Hamlet had given her. Hamlet denies giving them and denies loving her; he tells her to When, if ever, is join a nunnery, since all men are guilty, “arrant knaves.” Claudius thinks this sounds like neither revenge justified? love nor madness, and Polonius suggests that he should eavesdrop on another conversation, this time between Hamlet and his mother.

Hamlet confides his plan to Horatio: the play will include a scene that matches his father’s murder, Our director points in order to test the King’s reaction and prove whether or not the Ghost’s instructions should be out that Hamlet is followed. At the performance Claudius is visibly startled by the scene of poisoning, and Hamlet surrounded by a decides, “I’ll take the ghost’s word for a thousand pound.” generational divide. Who are the “out Claudius retreats alone and tries to pray, but instead he contemplates his guilt. Meanwhile, Gertrude of touch” adults in this world? Who are scolds her son in her private quarters, “Hamlet, thou hast thy father much offended.” Hamlet Hamlet’s trusted counters, “Mother, you have my father much offended,” and attacks her for disloyalty. Gertrude friends? Are there calls out for help. Positioned nearby to eavesdrop, Polonius also calls for help. Hamlet hears the characters who have cry, assumes it is Claudius, and stabs the hidden Polonius. Hamlet has killed, but not the man he both youthful and intended. Again he sees his father’s ghost, and Gertrude becomes ever more concerned her son adult alliances? is mad.

Rejected by Hamlet, her father dead, and her brother away, grief drives Ophelia mad indeed. Laertes returns, only to discover that the burial he interrupts is not his father’s. Gertrude explains that not Although this only Polonius is killed, but “one woe adaption removes doth tread upon another’s heel”: many of the political in her distress Ophelia has drowned. details regarding “My revenge will come,” promises Denmark and Norway, Laertes, who asks for power is still part help. of the relationships. Which characters “What would you undertake, To have political power or influence? Which show yourself your father’s son in characters have deed More than in words?” Claudius political skill? What asks Laertes. His dangerous and qualities make a suspicious nephew Hamlet is becoming skilled politician? a threat. Claudius plots that Laertes and Hamlet will compete together in a fixed fencing bout; by poisoning the tip of one of the foils, as well as a drink, they will guarantee Hamlet does not survive.

Hamlet reflects that he and Laertes share similar grief, and asks Laertes’ pardon before the fight. As the young men duel, Gertrude drinks from the poisoned glass meant for Hamlet, and Hamlet and Laertes both wound one another with Laertes’ poisoned blade. As ASK AN ACTOR they die, Laertes confesses the King’s plot. Hamlet finally follows Do you ever find the plots of Shakespeare’s through with his vengeance against Claudius, killing him with the plays confusing? Is there anything you do same poison. Though Horatio moves to poison herself as well, that helps you understand and remember? Hamlet begs her to stop, to stay alive and tell his story.

4 ADAPTIONS OF SHAKESPEARE

While Shakespeare’s “Every age creates its own Shakespeare... plays are in the public Like a portrait whose eyes seem to follow domain, translations you around the room, engaging your glance and adaptations from from every angle, [his] plays and their Shakespeare – such characters seem always to be ‘modern’, as this one – are always to be ‘us’.” not. Research public Marjorie Garber, Shakespeare After All domain compared to standard copyright Shakespeare’s plays have been reimagined protections for in countless new settings and time periods. artists today: how is a playwright’s work This is possible, in part, because the plays protected? are all in the public domain: they are not protected under copyright or any other restriction on how they may be performed, used, or modified. Changing the script, altering characters, or placing the action in completely new locations is legal with Shakespeare’s plays. (This is also Look up past why it is easy to find the complete text of his plays available on the internet.) productions of Hamlet, either on screen or on Some adaptations aim to translate the settings of a play away from times, circumstances, and stage. What settings customs which are unfamiliar to modern viewers. Moving the plays to more recent history, or all appeal to you and why? the way to present day, can make the characters’ behaviors and issues more recognizable. Make an argument based on something “In all Shakespeare’s plays, there are things which were so much written for the styles you read or hear in the and audience of their time that they don’t necessarily carry the same weight today. text. (Read further to Underneath, there is very often a purer and stronger and deeper work that today is more see what inspired this relevant.” , director production on page 6.) We asked our director and adaptor, Justin Lucero, if he has a favorite film adaptation of Hamlet: In addition to making Shakespeare more modern, there have I love the Royal Shakespeare 's version been other efforts to with . It uses the idea of a nation more faithfully recreate that is obsessed with spying and CCTV and productions the way hidden cameras and paranoia; it uses camera they would have been angles, zooming in and out, and all the trickery first performed. Look of surveillance to great effect. up recent reporting on all-male productions, But probably the primary reason why I love this particular production is the performance by David or performances using Tennant. His is, to me, the best interpretation of Hamlet going mad. I have always been particularly original pronunciation. interested in the question: How far does Hamlet actually go with playing crazy? Is there an evolution from playing crazy to ultimately going crazy? Who wouldn't go crazy in his circumstances? It makes me excited when someone can excavate such freshness from a script that ASK AN ACTOR is so old. Overall it's just so well performed and directed: Do you like to watch other versions of a play you stylish, engaging, and absolutely clear in its delivery of are performing? Why or why not? the language. Would you rather be in a modern adaptation of a classic, or in its original period? How does the (This production is available to watch free online through setting influence you as an actor? PBS’s Great Performances until March 1, 2017.)

5 FROM OUR DIRECTOR

Director and adaptor Justin Lucero explains how he began to organize his approach to Where else in this production: Shakespeare’s writing does he reference Hamlet is both a literary masterpiece and a theatrical masterpiece. This story is a gripping revenge stages, acting or tragedy that employs so many bold choices. I'm especially inspired by two in particular: a terrifying theatre? opening with a Ghost and a genius play-within-a-play presented by traveling Players. In our particular Discuss the role of adaptation, I chose to emphasize these two hyper-theatrical elements. the fool or clown in Shakespeare’s plays. A point of inspiration comes from how Shakespeare ends the play: Hamlet's final words to his best Do the Players in this friend, Horatio, are "Tell my story." What a dying wish! We are approaching this production as adaptation have any if Horatio literally did honor Hamlet by going throughout the world to tell Hamlet's story. Horatio similar function? This started a touring theatre troupe that dedicated itself to presenting The Tragedy of Hamlet. And link from the Oxford as the generations went on, the touring theatre troupe went on. And on, and on. Until it is now University Press may 2016, and there is still a touring theatre troupe presenting this story in honor of Hamlet, but using get you started: simplified sets and costumes, a (much!) shorter script and adapting it to appeal to its school-age blog.oup. com/2016/09/ Florida audience. It feels so right to let Shakespeare's idea of traveling Players inform the vision shakespeare-clowns- for this production. Our FSU/Asolo Conservatory actors are traveling Players, after all! fools-infographic/

In this production, how does color help to differentiate between the company of players, and the specific characters that each actor performs? HAMLET If you were going I have heard to assign a color That guilty creatures sitting at a play to each character Have by the very cunning of the scene in this play, what Been struck so to the soul that presently would you choose They have proclaimed their malefactions and why? … The play’s the thing Wherein I’ll catch the conscience of the king. (Act 2, Sc. 2)

As for the actual play within a play, the “Mousetrap” as Hamlet calls it, I think the Players’ scene needs to be an injection of something we haven’t seen, heard or felt before. It’s going to incorporate non-Shakespearean language; it’s going to be more colorful, it’s going to be brash. I believe that these Players are probably the only people, along with Horatio, that Hamlet trusts without question. We should see glimpses of Hamlet as an artist soul before they arrive – whenever he writes a love note, how he speaks and philosophizes – which ASK AN ACTOR helps us to understand that these artists are his people. And it’s through art, through a play, that an energized Hamlet Why did you use such modern elements for the Players’ performance instead of the version realizes he can use these allies to find out if he can trust that Shakespeare wrote? How do you think this the Ghost. The Players’ performance may seem out there, modern version matches his original intention even crazy, but I think there may be that powereful thing that at all? happens with opposites: they’re so crazy, that they’re the truth. Only lunatics speak the truth.

6 SHAPING THIS TEXT

If you are not The play you will see is a world premiere adaptation, meaning this version of the script has never reading Hamlet, been performed before. The changes to the play fall under a few main categories. sample speeches to experiment CUTTING THE TEXT with the language Shakespeare’s plays can take up to four hours to perform in their entirety, but one of the goals of and making cuts this tour is to present a play and a brief discussion afterward in just one hour. Shortening the text are available to download at: is by far the biggest alteration, and there are many difficult choices about what parts of the plot and the dialogue are most essential for telling the story. asolorep.org/ education/resources

In this excerpt Polonius, KING who believes Hamlet has But how hath she received his love? Based on the text, gone mad with love for can you argue Ophelia, describes how POLONIUS that Polonius is his daughter has been What do you think of me? being a loving and following his instructions. responsible father? Can you argue that KING he is putting his In blue you see the first As of a man faithful and honorable. relationship with round of proposed cuts to the King ahead of the script. Much of the blue POLONIUS his daughter? What text describes Polonius’ I would fain prove so. But what might you think, is the best way effort to impress the King When I had seen this hot love on the wing-- of caring for his and Queen, but does not (As I perceived it, I must tell you that, family? add new information about Before my daughter told me), what might you Hamlet and Ophelia’s Or my dear Majesty your queen here, think actions. This edit intends If I had played the desk or table-book that Polonius’ eagerness to please the King may Or given my heart a winking, mute and dumb, be clear, even without the Or looked upon this love with idle sight? missing words, through the What might you think? No, I went round to work, actors’ performances. And my young mistress thus I did bespeak: ‘Lord Hamlet is a prince, out of thy star; In red you see a second This must not be:’ and then I precepts gave her, round of proposed cuts: That she should lock herself from his resort, language which could be Admit no messengers, receive no tokens. sacrificed without changing Which done, she took the fruits of my advice; meaning, but which the And he, repulsed --a short tale to make-- adaptor also has a reason Fell into a sadness, then into a fast, for keeping. Thence to a watch, thence into a weakness, Thence to a lightness, and, by this declension, Into the madness wherein now he raves. And we all mourn for. (Act 2, Sc. 2) ASK AN ACTOR Do you pay attention to the lines that were cut from this adaptation, or is it more helpful for you to ignore them? Is there information that Try it yourself! If you are currently reading Shakespeare, pick a speech. you don’t speak, but which is still useful to Can you make a choice about what you might remove without changing understand your character? the meaning? Challenge yourself to cut the speech to less than half its original length. (For a real challenge, try cutting a whole scene!) How did you make your decision about what to cut and what to keep? 7 “These words are so famous that they’ve become a cliché. Actors find it hard to speak Which characters are them because audiences have heard them so many times before. Even professionals the most affected by tend to dismiss the speech, resigned that no one is going to listen because they think a death or a loss? they know what it says. But the speech is famous for a reason. It is staggeringly well- Where in the play written and immensely touching.” Ken Ludwig, playwright do you think other characters, besides Hamlet, might RE-ORDERING AND RE-ASSIGNING THE TEXT experience a moment Our director had several reasons for adapting Hamlet’s most famous speech with a non-traditional of “to be or not to approach. He describes his thought process: be”? (You may wish to look back to the plot Part of the decision was informed by the structure of this shortened version. Every scene summary on pages 3-4 in our adaptation is happening so fast and “To be or not to be” is, all by itself, about a page for ideas.) long. That could either work well – because it would be the only instance that the action Divide Hamlet’s just stops for a long speech – or it would really stick out in a negative way. (“Why are we speech into six just stopping and talking?!”) But I thought it’s wrong to cut it entirely, and to cut the full distinct sections. speech into a condensed version also feels wrong. Listen to the first video clip: does I started by thinking about what the speech means, what Shakespeare could have intended hearing an actor when he wrote it, and about where the speech appears in the play. Actually, that’s always speak the language been a little contested, whether the location where we typically perform it now was actually make it any easier the original intended spot for the speech. So where we hear the speech is interesting to me. to separate the thoughts? What does the speech itself mean? It is a contemplation about life and death. It is a Once you’ve decided contemplation about suicide; whether or not Hamlet actually intends to commit suicide, it’s on how to separate a speech imagining about what choosing death could mean. Is the speech religious? Is it your six sections, philosophical? Is it moral? Is it a sign of craziness? I started to wonder if the speech could choose one. Look up appear in multiple places, and if each time it would become clearer and reveal another any words you don’t side to the question. I asked: which other characters have this crisis at any moment in the know. Translate this play? And I realized that it happens a lot! section of Hamlet’s speech into your This touring adaptation includes the entire speech, but assigns separate sections of the original own words. What is soliloquy to six different characters in separate scenes: Hamlet, Claudius, Gertrude, Horatio, a real-life situation Laertes, and Ophelia. when someone might experience How can we begin to understand a soliloquy as well-known as Hamlet’s “To be or not to be?” these thoughts and feelings? To whom Read the words on the page (available to download at asolorep.org/education/resources). could they be talking?

Compare the experience of listening to these famous words with the experience of reading them. Here is a performance of the soliloquy without the specific influence of any production concept, design, or staging.

https://www.theguardian.com/stage/video/2016/feb/01/adrian-lester-hamlet-to-be-or- not-to-be-shakespeare-solos-video

Compare with the way the speech is explored in the next video, where an actor explains and demonstrates how varied intentions can transform the speech.

http://www.bbc.com/news/magazine-11370834

8 FACT IN THE FICTION

Compare Claudius to “Hamlet is one of the most peculiar, private, and detailed among all of Shakespeare’s plays,” writes other kings or rulers scholar Marjorie Garber. “At first glance it does not seem ‘universal’ at all. Fratricide, an incestuous in Shakespeare. marriage, a prince who pretends to be mad.… ” The violent plots of revenge tragedy can seem What similarities like exaggerated fantasy. Were these stories like our blockbuster action films today: totally fake, and differences do but entertaining? you notice? Looking back at Shakespeare’s own life and time period can sometimes help actors – and readers – to invest imagination and emotion in stories that seem outlandish. Consider just two examples of how understanding history can make the events in Hamlet feel more real. In what societies has religious practice been ROYAL AFFAIRS restricted? What When fictional King Claudius introduced Gertrude as“our sometime sister, now our queen,” can you learn about Shakespeare’s audience would remember that their own queen’s father, King Henry VIII, had groups who chose to married his older brother’s widow. That family relationship was unimportant until Henry later used practice their beliefs it as his legal excuse to leave Catherine of Aragon. The grounds for the king’s annulment were in secret? What do drawn from lines in the Bible suggesting that marrying a brother’s wife could be considered incest: you know about how “And if a man shall lie with his brother’s wife, it is an unclean thing.” (Leviticus 20:21) Henry was art (theatre, fiction, free to marry Anne Boleyn who was already pregnant with Elizabeth, the future queen for whom visual art) reflected the Elizabethan era is named. that society? Claudius the murderer is not a parallel to Henry VIII (he did not kill his brother), but for the Elizabethans this similar detail might have added a touch of realism about the real-life king who manipulated circumstances to get his own way.

RITUALS FOR THE DEAD The legal practice of religion transitioned from Catholic to Protestant observances over the period of the in England, a society with no separation of church and state. Scholar Stephen Greenblatt describes the changing norms when Hamlet was first performed:

“Within living memory, the whole relationship between the living and the dead had been changed…. Above all, it was now illegal to pray for the dead. The first Protestant prayer books had ASK AN ACTOR retained the old formula: ‘I commend thy soul to the father What sorts of information do you learn about almighty, and thy body to the ground, earth to earth, ashes to other time periods as an actor? Is there anything ashes, dust to dust.’ But vigiliant reformers felt that these words you know about Elizabethan times that helps you had too much of the old Catholic faith hidden within them, and to better understand your character or this play? so a simple change was made: ‘We therefore commit his body to the ground….’ The dead person is no longer directly addressed, as if he retained some contact with the living. The small revision makes a large point: the dead are completely dead. No prayers can help them; no messages can be sent to them or received from them.”

How could it have felt to have something as personal as mourning changed by something as arbitrary as politics? Hamnet Shakespeare, William Shakespeare’s only son, died at age 11, in 1596. John Shakespeare, his father, died in 1601. It is hard for scholars to conclude precisely what Shakespeare’s personal religious beliefs may been; there is evidence that his father, at least, still put stock in the Catholic rituals which had been recently outlawed. Hamlet had its first performance in 1600 or 1601, and William Shakespeare himself played the Ghost. Returning from the grave to speak to the living might have been more emotionally charged for him and his audience then we consider today. 9 WHAT MAKES A GHOST?

It’s your job to direct Hamlet, and you want to tell a story that 4) Research historical context: Read about changing rituals for excites and affects your audience. How will you approach the dead on page 9. Also consider the following: bringing a ghost to life on stage? Artists may draw creative inspiration from many sources besides the text. “The official Protestant line in Shakespeare’s time was that there were no at all. The 1) In small groups, brainstorm everything you associate with apparitions that men and women encountered from time to the idea of a GHOST. Think in as many categories as you can: time – apparitions that uncannily bore the appearance of images, objects, places, concepts, events, literature, films, pop loved ones or friends – were mere delusions, or, still worse, culture, descriptive phrases. No judgments, editing, or “right” they were devils in disguise, come to tempt their victims to answers – just go! sin.” – Stephen Greenblatt, Will in the World • Write results on chart paper so everyone can read each group’s list. Alternatively, have all the groups read aloud As time allows, you may wish to extend your research to include and combine in one master list. Keep these lists visible. ghosts in other cultures and times, including modern day. • Circle any idea repeated by more than one group. Once all the lists are shared, each director should independently 5) Research the text: If you’re reading or watching Hamlet, make a personal note of which idea seems: you might choose to look at any or all passages that inform you • most obvious about the ghost. Alternatively, sample excerpts are available to • most surprising download: asolorep.org/education/resources • most exciting • Make note of at least three words or phrases that most clearly inform you about how someone might experience 2) “Research” your own beliefs: write a sentence that describes, this ghost. for you personally, what it is that makes a ghost a ghost. What is its essence? (Your description might include not believing in 6) Summarize the story you’re telling: Choose one of these two ghosts at all; still be as specific as possible about what is a ghost interpretations of the role of the ghost in the story. and why.) This sentence is yours to keep private. If work is to be A) The love of his dead father inspires a young man to take collected by the teacher, this sentence should not be included, action he would never have imagined. unless you choose to share. B) After a strange encounter, a young man discovers he can no longer trust the people who surround him. 3) In your group, brainstorm all the possible ways a person might feel about a ghost. These feelings could belong to anyone Choose whichever version of “mini-Hamlet” inspires you most! at all, not limited to you personally or any character in the play. Again, share and keep the lists visible. 7) Imagine your own ghost: From steps 1-5, you now have a wide range of raw material to inspire the creation of your ghost. You have chosen a story (A or B) to tell. • Choose between 4-8 “ingredients” from your research – words, concepts, or phrases – that you want to use to distinguish the ghost in your production. What qualities belong to your ghost and why? Don’t worry if the inspiration is not literal. (“My ghost has the quality of a Ouija Board,” one student said, “you can’t tell if it’s real or if one of your friends is fooling you.”) • Describe your ghost in a paragraph or present a research collage, using all of your chosen “ingredients” to explain how your ghost looks, sounds, behaves and/or affects others.

8) Share your concept with a small group or with the class.

If you feel ready, take a next step and sketch your ghost, or try acting out a scene.

10 The Tragedy of Hamlet is made UPCOMING OPPORTUNITIES AT ASOLO REP possible, in part, by the following:

LEAD SPONSOR YOUTH AND FAMILY PROGRAMS: Educators’ Preview Night Friday, September 30 5-7pm | FREE Join us to gather resources, enjoy refreshments, attend The Tragedy of Hamlet in the Cook Theatre and meet the cast with colleagues and friends. SPONSORS: Tickets are free, but RSVP is required: [email protected] or 941-351-9010 ext. 3307. CHARLES HENRY LEACH II FUND Family Day at Guys and Dolls Saturday, December 10 Pre-show activites begin at 1pm; 2pm matinee performance See this classic American musical with friends and family. Special pre-show activities welcome the young and the young at heart. Family ticket packages are available through the Asolo Rep Box Office: 941-351-8000 for details. MAJOR DONORS ($5000+) Anonymous Career Day at Asolo Rep Asolo Repertory Theatre Guild David and Betty-Jean Bavar Thursday, December 15 Cordelia Lee Beattie Foundation 10:30am-12:30pm | FREE, BY RESERVATION ONLY Mandell and Madeleine Berman Foundation Susan and Jim Buck We invite students to explore the multitude of career opportunities related to the theatre. Your Linnie E. Dalbeck Memorial Foundation Trust visit includes a backstage tour, followed by a panel discussion with representatives from many Andrew R. Ferrell Foundation different departments of our robust regional theatre. Larry and Debbie Haspel Andrew and Judy Tucker This event is free, but RSVP is required: [email protected] or 941-351-9010 ext. 3307. Judy Zuckerberg and George Kole

FRIENDS OF EDUCATION ($500+) Born Yesterday Student Matinees Peggy and Ken Abt Tuesday, March 21 & 28 Richard and Noreen Ackerman Kenneth and Francine Boone 10:30am | $10 student tickets Doug Bradbury Politics get personal. Tables are turned. A little education is a dangerous thing as this romantic Jim and Rona Bridges Edward and Barbara Brody comedy romps through corruption and civics on Capitol Hill. Includes an interactive classroom Homer and Cathy Cablish workshop prior to your performance date, and a post-show Q&A with cast members. Ann and Tom Charters Recommended for grades 8 & up. Michael and DeAnna Creaturo Elaine and Bill Crouse Request a performance at: asolorep.org/education/student_matinees Jim Culter and Jan Miller John and Chris Currie Patrick and Rene DiPinto Character Through Costume Design Susan Dweck A behind-the-scenes career workshop in your classroom Leslie Glass Shelley and Sy Goldblatt Explore character analysis through clothing with a video tour of Asolo Rep’s costume shop, Sandy and Jim Goldman classroom projects, and a conference with a member of our professional costume staff. Ron and Rita Greenbaum Mark and Janet Hammer Recommended for middle and high school Language Arts or Arts classes. Jelks Family Foundation Schedule your workshops: [email protected] or 941-351-9010 ext. 3307. Carolyn Keystone and Jim Meekison Bob Koski and Tomeika Hunter-Koski Tom and Sherry Koski Youth Pass for 2016-2017 Ashley Kozel Melvy Erman Lewis Now available | $35 for full-time students 25 and younger Randy and Susan Mallitz Attend as many Asolo Rep and FSU/Asolo Conservatory performances as you like! Simply John and Elenor Maxheim present your Youth Pass and a photo ID one hour before curtain for best available seating, Jonathan and Cynthia McCague Melanie and Sean Natarajan subject to availability. Anna Nekoranec and Bengt Niebuhr Plantation Community Foundation Call the Box Office at 941-351-8000 or purchase online: asolorep.org/youthpass Maurice Richards and Jack Kesler Laurence Saslaw Keith and Michelle Senglaub Ted and Mary Ann Simon Education & Outreach at Asolo Rep Instagram.com/AsoloRep Tom and Maureen Steiner asolorep.org/education You Youtube.com/user/AsoloRep Bibb and Pam Swain Jim and Charlie Ann Syprett [email protected] Facebook.com/AsoloRepEDU Steve and Marge Townsend Leon and Marysue Wechsler, LRWL Inc. 941-351-9010 ext. 3307 Twitter.com/AsoloRepEDU Ron and Geri Yonover VISIT US ONLINE AT ASOLOREP.ORG/EDUCATION

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