Equivguidew Layout 1

Total Page:16

File Type:pdf, Size:1020Kb

Equivguidew Layout 1 showA Great Place to Seeguide Great Theatre Inside Belfry The Gunpowder Plot Theatre Belfry B4Play The Belfry Librarian EQUIVOCATION by Bill Cain One of the most bracingly intelligent, sizzlingly theatrical American plays in a decade. VARIETY APRIL 22 – MAY 25, 2014 www.belfry.bc.ca/equivocation A co-production with BARD ON THE BEACH, Vancouver. Performance Schedule April 22– May 25, 2014 SUN MON TUE WED THUR FRI SAT Why I Chose This Play APRIL 19 11am B4Play I was in New York City Equivocation takes place questions from in December 2011. in two worlds: the world Protestant inquisitors. 20 21 22 23 24 25 26 My cell phone rang while of theatre and the world By equivocating – using Preview Preview Opening 4pm I was walking in Central of politics. It takes us ambiguous language 8pm 8pm 8pm 8pm 8pm Shakespeare’s Park. It was Christopher backstage at the Globe to conceal the truth – Birthday Gaze, Artistic Director Theatre, showing us one could avoid lying or 27 28 29 30 MAY1 2 3 of Vancouver’s Bard on Shakespeare struggling committing perjury. 2pm 1 pm 4pm the Beach Shakespeare to put onstage humanity 7:30pm 8pm 8pm 8pm 8pm 8pm In Macbeth, the drunken Festival. “Michael, do in all its nakedness. Booksmack! Afterplay Afterplay Talkback Afterplay Afterplay Porter plays at being you know a play called It introduces us to the the gatekeeper of hell. 4 5 6 7 8 9 10 Equivocation?”“I certainly court of King James I, and Among the sinners that 2pm 1 pm 4pm do, and I love it.”“Would the power behind the he pretends to welcome Childcare 8pm 8pm 8pm 8pm 8pm you be interested in throne, Sir Robert Cecil. through the gates is an a co-production with It’s raw material that’s “equivocator that could Bard on the Beach?” juicy and engrossing, 11 12 13 14 15 16 17 swear in both the scales 2pm 1 pm Student 4pm “Definitely! I have had and playwright Bill Cain against either scale”. ASL 8pm 8pm 8pm 8pm 8pm it on my list of plays brings these worlds Afterplay Afterplay Afterplay Afterplay Afterplay This line is commonly to produce for a number together with a very con- believed to be a reference of years!” Thus began temporary perspective. 18 19 20 21 22 23 24 to Father Garnet, and 2pm 4pm our collaboration on this The play is ignited by the it holds a key to the VocalEye 8pm 8pm 8pm 8pm 8pm funny, dark and complex friction between politics mysteries of Bill Cain’s play – our first collabora- and art. Is it possible thrilling Equivocation. tion with Bard and, 25 to make a deal with the In fact, “the Scottish play” in fact, Bard’s first ever 2pm devil and still remain serves as a surprising Closing Greater Victoria Public Library Talks collaborative production! May 2 at 10:30 am –11:15am / Bruce Hutchison Branch an artist? Is it possible to talisman as Shakespeare May 16 at 10:30 am –11:15am / Central Branch Equivocation is one of deliver on the terms of maneuvers his way ASL An American Sign Language (ASL) interpreted performance. those plays that belong a contract and still create through the ethical and VocalEye Audio describers provide descriptions of the visual elements on the Belfry stage; it is what is in your heart? artistic obstacles that of the show. intriguing, stimulating, How do you remain free beset him. totally engaging and in the creative act once BOX OFFICE HOURS During Performance Weeks Tickets as intelligent as our you’ve tethered yourself Monday 9:30 am–5pm audience. to someone else’s Tuesday–Saturday 9:30 am–7pm 250-385-6815 or desires? Tuesday– Sunday one hour prior to curtain time It’s a play about ethics for in person sales only. Michael Shamata www.belfry.bc.ca and moral choices. One of the many charac- During Non-performance Weeks Artistic Director Monday–Friday 9:30 am –5pm It’s a play that asks the ters in Equivocation question, is it possible is Father Henry Garnet, to move through life, head of the Jesuits in to exist in the world, England, and author B4PLAY Saturday, April 19 at11am without compromising of “A Treatise of Belfry Theatre, Studio A, 1291Gladstone Avenue one’s character and Equivocation,” written one’s beliefs? to instruct Catholics how Join CBC Radio’s Gregor Craigie for a live talk show featuring to deal with dangerous actor Bob Frazer and director Michael Shamata from Equivocation and some very special guests. Free event. The Gunpowder Plot, then and now by Erin E. Kelly Hello For the first months of James I’s reign, English Nevertheless, by July the plotters had filled The testimony of Thomas Bates implicated citizens unhappy with Elizabeth’s Protestant their undercroft with barrels of gunpowder. Henry Garnet for being privy to the conspir- Welcome to the Belfry Theatre church hoped that the new ruler would The plan was finalized by October. Guy Fawkes ators’ scheming. Garnet was captured in and our new production of Equivocation by Bill Cain. improve their situation. James’s mother Mary accepted the assignment to light the fuse January1606. All were sentenced to the Queen of Scots was a Catholic, so many English on the opening day of Parliament, scheduled horrible execution due to a traitor – to be Equivocation premiered at the Catholics thought the new monarch would for early November. He planned to escape hung by the neck, cut down while still alive, Oregon Shakespeare Festival in Ashland in 2009. The Belfry’s allow them to practice more openly. They across the Thames in time to see the massive disemboweled, beheaded, and quartered. had reason to be hopeful since James initially explosion that would liberate Catholics from production is only the second Even at the time of his trial, there was some in Canada, and our first declared he would not “persecute any that James’s tyranny. controversy about the involvement of Garnet. co-production with Vancouver’s will be quiet and give an outward obedience On 26 October, Lord Monteagle, a Catholic The priest maintained that he knew nothing, Bard on the Beach, where to the law.” Fears about Catholic attempts to Equivocation will run until and a member of Parliament, received a letter but an overheard prison conversation overthrow the Protestant regime intensified, mid-September. warning him not to attend the first session suggested that he was aware of the plot, albeit however, after a1603 plan to kidnap James because “though there be no appearance of unable to reveal that information because Equivocation is part political and force him to proclaim legal toleration of thriller, part backstage comedy. any stir, yet I say they shall receive a terrible it was shared under seal of confession. To Catholics and a1604 scheme to replace James The Gunpowder Plot of 1605 blow this Parliament.” Monteagle handed complicate matters further, Garnet authored with his Catholic cousin Arabella Stuart. These (in earlier centuries also called the letter to Robert Cecil, the king’s Secretary A Treatise of Equivocation (c1598), which the Jesuit Treason) serves experiences caused the king to become more of State. When the king read the letter, he explained how an individual could seem to as the backdrop for the play. restrictive towards Catholics. Playwright and actor William recognized that the word “blow” signified lie in the name of defending a greater truth; Shagspeare is summoned Increasing oppression led a small group to gunpowder. A search of the Parliament this made it difficult to take at face value to the palace. He’s to write seek freedom for English Catholics by blowing buildings on 4 November discovered the anything Garnet said in his defense. Yet some a “true history” for King James up Parliament with the king and his family undercroft – and Guy Fawkes. remained convinced Garnet was innocent. of the failed plot. The trouble inside. Robert Catesby seems to have been Reportedly, no one cheered when his heart is he’s not sure where the As news of Fawkes’s arrest spread, the other the instigator, inviting Thomas Wintour and was held up during his execution. fiction may start and where plotters sped away from London. Most hid Guy Fawkes to help implement his plan. Over the facts may lead. in a house near Staffordshire, where they Some believe that English officials overreached the next few months, more men joined the We’re thrilled to be bringing attempted to dry out some damp gunpowder even before they tried Father Garnet. No one conspiracy. In March1605, they leased an this brilliant play to you to use in a last stand. The gunpowder exploded, knows who wrote the Monteagle letter, much undercroft situated beneath the Parliament as we close our current season badly burning Catesby. Soonafter, the sheriff less how James came to his understanding of and we look forward to seeing buildings. Robert Catesby met in June with arrived with two hundred men. When the its full implications. It is thus easy to speculate you soon. a Jesuit named Henry Garnet, allegedly to ask shooting stopped, only Thomas Wintour and that someone involved in the government about the morality of engaging in a necessary three other plotters were left to be arrested. learned about the plot but chose to reveal action that would kill innocent bystanders. Remaining conspirators were captured over it at a time and in a way that would allow it It is unclear what Garnet advised, but Garnet the next few days, and others who might have to very nearly play out, thus enabling the later claimed that he showed Catesby a letter known about their plans were rounded up.
Recommended publications
  • Macbeth Silly Shakespeare Sample
    ISBN: 978-1-948492-74-4 Copyright 2020 by Paul Murray All rights reserved. Our authors, editors, and designers work hard to develop original, high-quality content. Please respect their efforts and their rights under copyright law. Do not copy, photocopy, or reproduce this book or any part of this book for use inside or outside the classroom, in commercial or non-commercial settings. It is also forbidden to copy, adapt, or reuse this book or any part of this book for use on websites, blogs, or third-party lesson-sharing websites. For permission requests or discounts on class sets and bulk orders contact us at: Alphabet Publishing 1204 Main Street #172 Branford, CT 06405 USA [email protected] www.alphabetpublishingbooks.com For performance rights, please contact Paul Murray at [email protected] Interior Formatting and Cover Design by Melissa Williams Design Summary acbeth (or The Tragedy of Macbeth to give it its full Mtitle), believed to be first performed in 1606, is one of Shakespeare’s most famous and widely performed plays. Some say that the play is cursed because of the way in which it portrays the witches and so tradition has it that the name of the play should not be spoken in theatre; instead it is referred to simply as ‘the Scottish play’. *** The Scottish play begins with the brief appearance of a trio of witches who act as the narrators for this version of the play, appearing between each scene. It then moves to a military camp, where the Scottish King Duncan hears the news that his generals, Macbeth, and Banquo, have defeated two separate invading armies—one from Ireland and one from Norway.
    [Show full text]
  • Reimagining Shakespeare in the Young Adult Contemporary
    REIMAGINING SHAKESPEARE IN THE YOUNG ADULT CONTEMPORARY NOVEL by Jodi Lyn Turchin A Thesis Submitted to the Faculty of Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Master of Arts Florida Atlantic University Boca Raton, FL December 2017 Copyright by Jodi Lyn Turchin 2017 ii ACKNOWLEDGEMENTS The author wishes to express sincere gratitude to her committee members for all of their guidance and support, and special thanks to my advisor for being with me every step of the way during the writing of this manuscript. iv ABSTRACT Author: Jodi Lyn Turchin Title: Reimaginging Shakespeare in the Young Adult Contemporary Novel Institution: Florida Atlantic University Thesis Advisor: Dr. Emily Stockard Degree: Master of Arts Year: 2017 This research focuses on how Young Adult (YA) novelists adapt Shakespeare’s plays to address the concerns of a contemporary teenage audience. Through the qualitative method of content analysis, I examined adaptations of the three most commonly read texts in the high school curriculum: Romeo and Juliet, Macbeth, and Hamlet. The research looked for various patterns in the adaptations and analyzed the choices made by the authors in aligning their texts to or deviating from the original plays. A final chapter addresses practical classroom application in using adaptations to teach the plays to high school students. v REIMAGINING SHAKESPEARE IN THE YOUNG ADULT CONTEMPORARY NOVEL INTRODUCTION .............................................................................................................
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • The Fools of Shakespeare's Romances
    Sede Amministrativa: Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari (DISLL) SCUOLA DI DOTTORATO DI RICERCA IN: Scienze Linguistiche, Filologiche e Letterarie INDIRIZZO: Filologie e Letterature Classiche e Moderne CICLO XXVI “Armine... thou art a foole and knaue”: The Fools of Shakespeare’s Romances Direttore della Scuola : Ch.ma Prof.ssa Rosanna Benacchio Supervisore : Ch.ma Prof.ssa Alessandra Petrina Dottoranda : Alice Equestri Abstract La mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico.
    [Show full text]
  • From 'Scottish' Play to Japanese Film: Kurosawa's Throne of Blood
    arts Article From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood Dolores P. Martinez Emeritus Reader, SOAS, University of London, London WC1H 0XG, UK; [email protected] Received: 16 May 2018; Accepted: 6 September 2018; Published: 10 September 2018 Abstract: Shakespeare’s plays have become the subject of filmic remakes, as well as the source for others’ plot lines. This transfer of Shakespeare’s plays to film presents a challenge to filmmakers’ auterial ingenuity: Is a film director more challenged when producing a Shakespearean play than the stage director? Does having auterial ingenuity imply that the film-maker is somehow freer than the director of a play to change a Shakespearean text? Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s Throne of Blood (Kumonosu-jo¯ 1957), the subject of this essay. Here, I explore how this difficult tale was translated into a Japanese context, a society mistakenly assumed to be free of Christian notions of guilt, through the transcultural move of referring to Noh theatre, aligning the story with these Buddhist morality plays. In this manner Kurosawa found a point of commonality between Japan and the West when it came to stories of violence, guilt, and the problem of redemption. Keywords: Shakespeare; Kurosawa; Macbeth; films; translation; transcultural; Noh; tragedy; fate; guilt 1.
    [Show full text]
  • Happy Purim! RABBANIT SHANI TARAGIN on Why Purim Is the Most Zionistic Holiday
    ADAR SHEINI 5779 MARCH 2019 TORAT ERETZ YISRAEL • PUBLISHED IN SHUSHAN • DISTRIBUTED AROUND THE WORLD ISRAEL EDITION RABBI BEREL WEIN פורים שמח! living our own purim story PAGE 24 Happy Purim! RABBANIT SHANI TARAGIN on why purim is the most zionistic holiday PAGE 5 RABBI JONATHAN SACKS invites us to be alert to G-d's messages PAGE 14 SIVAN RAHAV-MEIR with advice for a noisy world PAGE 23 RABBI CHAIM NAVON analyzes binge relationships PAGE 22 RABBANIT YEMIMA MIZRACHI with some magical moments for women this issue is dedicated in loving memory of PAGE 21 professor cyril domb by his wife and children Torat HaMizrachi HITLER, HAMAN & HAMAS A Parashat Zachor and Purim Primer bsolute evil has existed for minute. Thousands of years later, Individuals and societies possess both millennia. It constitutes a Hitler declared the same intentions. the passion for altruistic good and single-minded, systematic Tragically, he succeeded in murdering the impulse for self-destructive evil. focusA to destroy all good in the world. one third of the Jewish people, and Israel's mission is chiefly the former; According to Torah tradition, it has a if not for the hand of Providence Amalek's the latter. name. Amalek. The Torah commands guiding the actions of the Allied It was not by chance that Amalek was us to always remember and never Forces, he would have gone much 1 the first nation to attack Israel, as forget what Amalek represents. further. Unstopped and unchecked, this type of evil would, G-d forbid, soon as we came out of Egypt.
    [Show full text]
  • The Limner's Art in Shakespeare's Macbeth
    The limner’s art in Shakespeare’s Macbeth Sophie Chiari To cite this version: Sophie Chiari. The limner’s art in Shakespeare’s Macbeth. SEDERI , Ana Sáez Hidalgo, 2019, 10.34136/sederi.2019.3. hal-02362253 HAL Id: hal-02362253 https://hal.archives-ouvertes.fr/hal-02362253 Submitted on 15 Nov 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Limner’s Art in Shakespeare’s Macbeth Sophie Chiari Université Clermont Auvergne, IHRIM (UMR 5317), France For all its Protestant mistrust of images, Elizabethan and Jacobean England was fascinated by the visual arts and, as Horst Bredekamp puts it, paradoxically “reinforce[d] what it reject[ed]” (2015, 169). While continental treatises like Giovanni Paolo Lomazzo’s A tracte containing the artes of curious paintinge caruinge buildinge, translated by Richard Haydock in 1598, “introduced the English-reading public to the theory of linear perspective” (Elam 2017, 9), the first original texts in English on the arts of drawing and painting began to circulate in print. A man of his time, Shakespeare could hardly ignore these new discourses on pictures, as his frequent and expert use of iconographic references and technical terms testifies (ibid., 10).
    [Show full text]
  • Wicked Witches and Powerful Plots: the Influence of the Supernatural in the Ancient World As a Guide to the Supernatural in Macbeth
    Wicked Witches and Powerful Plots: The influence of the supernatural in the ancient world as a guide to the supernatural in Macbeth Name: Claudia Paffen Student number: s4101022 Supervisor: Prof. dr. B.M.C. Breij Date of submission: 17/02/2017 Contents Introduction 2 Chapter 1: Witchcraft, ghosts and prophecy in the ancient and early modern world 4 1.1: Studies in ancient magic 4 1.2: A definition of magic 5 1.3: The role of magic in Roman society 6 1.4: Roman world: witchcraft 7 1.5: Roman world: ghosts 8 1.6: Roman world: prophecy 9 1.7: Early modern England: witchcraft 10 1.8: Early modern England: ghosts 11 1.9: Early modern England: prophecy 12 Chapter 2: Magic in Roman Poetry 14 2.1: Horace, Epode 5 14 2.2: Ovid, Metamorphoses 7.1-424 (The Story of Medea) 19 Chapter 3: Seneca’s Tragedies 24 3.1: Prophecy 24 3.2: Witchcraft 26 3.3: Ghosts 29 Chapter 4: Shakespeare’s Macbeth 34 4.1: Context 34 4.2: Witchcraft 35 4.3: Prophecy 40 4.4: Ghosts 42 Chapter 5: Comparison and Conclusion 45 5.1: General parallels 45 5.2: Prophecy 46 5.3: Witchcraft 46 5.4: Ghosts 48 Conclusion 49 Bibliography 50 Front page: Left: The Three Witches from "Macbeth," Alexandre-Marie Colin, Oil on canvas 1827, The collection of Mr. and Mrs. Sandor Korein. Right: Jason and Medea, John William Waterhouse, Oil on canvas, 1907, Private collection Introduction 1 It is said that a group of witches cursed Shakespeare’s tragedy Macbeth for eternity and that King James I banned the play for five years, because he was no fan of its supernatural incantations.
    [Show full text]
  • "Our Language Is the Forest": Landscapes of the Mother Tongue in David Greig's Dunsinane
    Trinity University Digital Commons @ Trinity English Faculty Research English Department 2021 "Our Language is the Forest": Landscapes of the Mother Tongue in David Greig's Dunsinane Kathryn Vomero Santos Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/eng_faculty Repository Citation Santos, K. V. (2021). "Our language is the forest": Landscapes of the mother tongue in David Greig's Dunsinane. Borrowers and Lenders: The Journal of Shakespeare and Appropriation, 13(2), 1-18. This Article is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in English Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. "Our language is the forest": Landscapes of the Mother Tongue in David Greig's Dunsinane Kathryn Vomero Santos, Trinity University Abstract Tracing early visits to and excavations of Dunsinane Hill in Perthshire, Scotland, this essay argues that Shakespeare and the overpowering legacy of his "Scottish play" have left an imprint that is both ecological and ideological. Situated within broader conversations about cultural heritage, literary tourism, colonialism, and nationalism, my analysis of Shakespeare's indelible mark on Dunsinane Hill —as a place and an idea—provides a theoretical and literal groundwork for understanding how Scottish playwright David Greig activates the territorial lexicon of appropriation in his 2010 play Dunsinane. For Greig, the act of appropriation is not just about speaking back to Shakespeare but about doing so on land that was never his and in a language that he never understood in the first place.
    [Show full text]
  • Minnesota Opera House
    O p e r a B o x Teacher’s Guide table of contents Welcome Letter . .1 Lesson Plan Unit Overview and Academic Standards . .2 Lesson Plans . .12 Synopsis . .31 Giuseppe Verdi – a biography ...............................37 Catalogue of Verdi’s Operas . .39 Background Notes . .41 “That Scottish Play” . .45 History of Opera ........................................49 2013–2014 SEASON History of Minnesota Opera, Repertoire . .60 GIACOMO PUCCINI The Standard Repertory ...................................64 SEPTEMBER 21 –SEPTEMBER 29, 2013 Elements of Opera .......................................65 RICHARD STRAUSS Glossary of Opera Terms ..................................69 NOVEMBER 9 – 17, 2013 Glossary of Musical Terms .................................75 GIUSEPPE VERDI Bibliography, Discography, Videography . .78 JANUARY 25 –FEBRUARY 2, 2014 Acknowledgements . .81 DOMINICK ARGENTO MARCH 1 – 9, 2014 WOLFGANG AMADEUS MOZART APRIL 12 – 27, 2014 FOR SEASON TICKETS, CALL 612.333.6669 mnopera.org 620 North First Street, Minneapolis, MN 55401 Kevin Ramach, PRESIDENT AND GENERAL DIRECTOR Dale Johnson, ARTISTIC DIRECTOR Dear Educator, Thank you for using a Minnesota Opera Teacher’s Guide, which includes Lesson Plans that have been aligned with State and National Standards. See the Unit Overview for a detailed explanation. Since opera is first and foremost a theatrical experience, it is strongly encouraged that attendance at a performance of an opera be included. The Minnesota Opera offers Student Final Dress Rehearsals and discounted group rate tickets to regular performances. It is hoped that the Teacher’s Guide will be the first step into exploring opera, and attending will be the next. I hope you enjoy these materials and find them helpful. If I can be of any assistance, please feel free to call or e-mail me any time.
    [Show full text]
  • Reflections on Scotland, the Caribbean and the Atlantic World, C
    Morris, Michael (2013) Atlantic Archipelagos: A Cultural History of Scotland, the Caribbean and the Atlantic World, c.1740-1833. PhD thesis. http://theses.gla.ac.uk/3863/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] Atlantic Archipelagos: A Cultural History of Scotland, the Caribbean and the Atlantic World, c.1740-1833. Michael Morris Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy. Department of English Literature School of Critical Studies University of Glasgow September 2012 2 Abstract This thesis, situated between literature, history and memory studies participates in the modern recovery of the long-obscured relations between Scotland and the Caribbean. I develop the suggestion that the Caribbean represents a forgotten lieu de mémoire where Scotland might fruitfully ‘displace’ itself. Thus it examines texts from the Enlightenment to Romantic eras in their historical context and draws out their implications for modern national, multicultural, postcolonial concerns. Theoretically it employs a ‘transnational’ Atlantic Studies perspective that intersects with issues around creolisation, memory studies, and British ‘Four Nations’ history.
    [Show full text]
  • EPISODE 3: the Curse! Lesson 2 (Grades 4 & 5) Ghost Lights, Mirrors and “The Scottish Play” Lesson Description: Theat
    EPISODE 3: The Curse! Lesson 2 (Grades 4 & 5) Ghost Lights, Mirrors and “The Scottish Play” Lesson Description: Theatre has a very long history – 2500 years! Even Jay isn’t THAT old! Over the years, theatre has developed legends and lots of superstitions…“don’t whistle in the theatre”…”NEVER say the actual name of ‘The Scottish Play’,” etc. You might raise an eyebrow thinking they aren’t real… but why risk it? Students learn about theatre history, legends and superstitions and create a theatre superstition of their own. Key Concepts - Theatre has a long history going back 2500 years. - Theatre includes legends and superstitions that are passed from one generation to the next. Warm-up Review - Video Episode 3: The Curse o What is a legend? What is a superstition? Do you know any? o What are some of the superstitions and legends mentioned? Main Event Superstitions - Use ‘The Scottish Play’ superstition and identify the three parts of a superstition: o Warning – don’t do something o Consequence – something will happen o Antidote – something to fix what happened - Divide class into working groups of 4-6 students to create theatre superstitions using the Theatre Superstitions worksheet o Remember to incorporate what you know about theatre. o What will your warning be? o What is the consequence? o How can it be fixed? - Each group presents their theatre superstition with the class Options - Students create a series of 3 tableaux to perform their superstition - Students add dialogue to their tableaux to create mini improvised plays Reflection: Discussion o Why are there legends and superstitions in theatre? o Why do you think they get passed along? Debate - Superstitions: fact or fiction? Vocabulary: superstition, legend, consequence, antidote, dialogue, fiction, action, “The Scottish Play” NTS 7: Analyzing and explaining personal preferences and constructing meanings from classroom dramatizations and from theatre, film, TV and electronic media NTS 8: Understanding context by recognizing the role of theatre, film, TV and electronic media in daily life !23.
    [Show full text]