The Comedy of Errors Entire First Folio

First Folio Teacher Curriculum Guide The Comedy of Errors by William Shakespeare directed by Douglas C. Wager November 15, 2005 — January 8, 2006 First Folio Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofThe Comedy of Errors by William Shakespeare! A Brief History of the Audience…………………….1 Each season, the Shakespeare Theatre Company About the Playwright presents five plays by William Shakespeare and On William Shakespeare…………………………………3 other classic playwrights. The Education Department continues to work to deepen Elizabethan England……………………………………….4 understanding, appreciation and connection to Shakespeare’s Works……………………………………….5 classic theatre in learners of all ages. One Shakespeare’s Verse and Prose……………………..7 approach is the publication ofFirst Folio: Teacher A Timeline of Western World Events…….……...9 Curriculum Guides. About the Play In the 2005•06 season, the Education Synopsis of The Comedy of Errors……………...10 Department will publishFirst Folio: Teacher Family Tree……………………………………..…………..…11 Curriculum Guides for our productions ofOthello, The Geography of the Comedy………………....12 The Comedy of Errors, Don Juan, The Persians When in Rome (I Mean London)....................13 and Love’s Labor’s Lost. The Guides provide What Are You Laughing At?……………………....15 information and activities to help students form Staging The Comedy of Errors…………………….17 a personal connection to the play before attending the production at the Shakespeare Classroom Connections Theatre Company. First Folio guides are full of • Before the Performance……………………………19 material about the playwrights, their world and Servants & Bondsmen the plays they penned. Also included are Mistaken Identity approaches to explore the plays and Abuse & Violence in the Play productions in the classroom before and after Twins in Shakespeare & Popular Culture the performance. First Folio is designed as a Verbal Comedy resource both for teachers and students. • After the Performance………………………………20 The Shakespeare Theatre Company’s Education Adapting Shakespeare Department provides an array of School, Community, Training and Audience Enrichment Separation & Reconciliation programs. A full listing of our programs is CastingThe Comedy of Errors available on our website at Ending Without Words www.ShakespeareTheatre.org or in our After the Celebrations Education Programs Brochure. If you would like more information on how you can participate in Suggested Reading other Shakespeare Theatre Company programs, The Comedy of Errors Resource ………………...21 please call the Education Hotline at 202.547.5688. Enjoy the show! A Brief History of the Audience I can take any empty space and call it a bare stage. A man walks across this empty space whilst someone else is watching him, and this is all that is needed for an act of theatre to be engaged. — Peter Brook, The Empty Space The nature of the audience has changed throughout history, evolving from a participatory crowd to a group of people sitting behind an imaginary line, silently observing the performers. The audience is continually growing and changing. There has always been a need for human beings to communicate their wants, needs, perceptions and disagreements to others. This need to communicate is the foundation of art and the foundation of theatre’s relationship to its audience. In the Beginning ended with what the Christians called “morally Theatre began as ritual, with tribal dances andinappropriate” dancing mimes, violent spectator sports festivals celebrating the harvest, marriages, gods, war such as gladiator fights, and the public executions for and basically any other event that warranted a party. which the Romans were famous. The Romans loved People all over the world congregated in villages. It violence, and the audience was a lively crowd. was a participatory kind of theatre, the performers Because theatre was free, it was enjoyed by people of would be joined by the villagers who believed that every social class. They were vocal, enjoyed hissing their lives depended on a successful celebration—the bad actors off the stage, and loved to watch criminals harvest had to be plentiful or the battle victorious, or meet large ferocious animals, and soon after, enjoyed simply to be in good graces with their god or gods. watching those same criminals meet their death. Sometimes these festivals would last for days and the village proved tireless in their ability to celebrate.The Far East Many of these types of festivals survive today in the In Asia, theatre developed in much the same way it folk history of areas such as Scandinavia, Asia, Greece has elsewhere, through agricultural festivals and and other countries throughout Europe. religious worship. The Chinese and Japanese audiences have always been tireless, mainly because It’s Greek to Me their theatre forms, such as the Japanese “Kabuki” and The first recorded plays come from the Greeks (fourth “Noh” plays and Chinese operas, could last anywhere and fifth centuries BCE). Their form of theatre began between a full day, if not three days, beginning in much the same way as previous forms did. It between six to nine in the morning! In China, the stemmed from the celebration of the wine harvest audience was separated; the higher classes sat closer and the gods who brought citizens a fruitful harvest— to the action of the play, and the lower classes, specifically Dionysus, the god of wine. Spectators had generally a louder, more talkative bunch, would be a great deal of respect for their gods, and thousands placed in stalls at the back. The audience expected a would flock to the theatre to experience a full day of superior performance, and if it lacked in any way, the celebration. The day of drama and song made for a audience could stop the production and insist on a lively crowd. Staff•bearers patrolled the aisles to keep different presentation. In Japan, theatre began with the rowdies under control. While theatre was free, all•day rice festivals and temple plays sponsored by your seat was determined by your station in life. The priests. These evolved into “street performances” rich had cushioned seats at the front, while thewhere the performers led the audience on a trip peasants, artisans and women were forced to take through the village. In theatre houses, the upper seats at the back. In the later years, after a full day of classes sat in constructed boxes, and women in drink, Greek audiences were not above showingdisguise (it was not considered proper for a disapproval at a less•than•spectacular performance. respectable woman to be seen at the theatre) and Stones were thrown, as well as other sloppy objects, lower classes would stand below with the “inspector” hissing was popular and loud groaningsstanding of on a high platform in the middle, keeping a discontent could usher any actor into strictearly eye on everyone. retirement. A Couple of Hundred Years Without Art The Romans, or the inspiration for Gladiator Tolerance took a holiday during the period of The Romans took the idea of “spectator” an inch or so European history known as the Dark Ages. During this further. Their theatre (first through third centuriestime period culture of all kind went on hiatus—most BCE) developed in much the same way as the Greeks; especially that frivolous, godless display of lewd and with comedy, tragedy and festivals, but unfortunately licentious behavior known as theatre. Fortunately it 1 reemerged, with some severe restrictions, during the the audience. Theatre companies still existed on the Middle Ages. patronage of the very wealthy and often performed plays exclusively in the salons of the rich, famous and Pageant Wagons powerful. A few hundred years later, opera composer Western theatre further developed from the Greek Richard Wagner figured out that to focus the and Roman traditions through the Middle Ages with audience’s attention away from themselves and onto “Mystery Plays” sponsored by the church. Organized the stage, the lights needed to be off—forcing the theatre was frowned upon, as it was a place for audience to watch the performance. Since that time congregation of the lower classes, encouragingthe audience has taken its cue that the performance is disease and immoral behavior. Church leaders would about to begin from the lights overhead beginning to allow performances of bible scenes, however, for the dim. This small adjustment in lighting effectively people who could not read. These productionserected a permanent barrier between the action moved to different locations much like traveling the onstage and the audience. “stations of the cross.” To spread the good word to the broadest section of the population, these plays Freud...Tell Me About Your Mother left the confines of the church building and began to While dimming the house lights has drastically travel on what were known as “pageant wagons.”changed the overall aesthetic of theatre, another These wagons held one entire location, and a series modern movement has had even greater impact on of wagons hooked together permitted a company to theatre in the 20th century. Psycho•analysis—id, ego, tell an entire story just about anywhere. Troupes of super•ego and subconscious desires—made theatre actors would roam the countryside setting up make• more introspective in its search for truth. As theatre shift theatres in inns, pubs, public squares—prettybecame more psychological, more a representation of much anywhere they could park. real life, the audience felt as if they were eavesdropping. Twentieth century theatregoers spend Within This Wooden O a great deal of time and thought pondering the During Shakespeare’s era—the Elizabethan period— psychological motivations of characters. There is now theatre companies were awarded status anand imaginary wall, called the “fourth wall,” separating privilege based on patronage from wealthythe performers and the audience. It affects how we landholders or the royal family. With patronage came view the performance and how actors portray money so the companies began building theatres.

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