Study Guide 2016-2017
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’S
Three Eras, Two Men, One Value: Fides in Modern Performances of Shakespeare’s Antony and Cleopatra Depictions of Marc Antony and Caesar Augustus have changed dramatically between the first and twenty-first centuries, partially because of William Shakespeare’s seventeenth-century play Antony and Cleopatra. In 2006 and 2010, England’s Royal Shakespeare Company staged vastly different interpretations of this classically influenced Shakespearean text. How do the modern performances rework ancient views of Antony and Augustus, particularly in light of the ancient Roman value fides (loyalty or good faith)? This paper answers that question by examining the intersections between Greco-Roman literary-historic narratives – as received in Shakespeare’s early modern play – and the two modern performances. The contemporary versions of Shakespeare’s Antony and Cleopatra create contrasting constructions of Antony and Augustus by modernizing the characters and/or their worlds. The 2006 rendition (directed by Gregory Doran) presents an explosive but weak-willed Antony (Sir Patrick Stewart) and a prudish yet petulant Augustus (John Hopkins). On the other hand, the 2010 adaptation (directed by Michael Boyd) shows a hotheaded and frank Antony (Darrell D’Silva) who struggles against a cold and manipulative Augustus (John Mackay). Both performances reveal the complexity of these ancient figures as the men engage with and evaluate claims upon their familial, societal, and personal fides. Representations of Antony and Augustus necessarily involve fides, though classical accounts do not always feature this term. As military and political leaders, both men led lives filled with decisions about loyalty, specifically what deserved it and in what degree. The modern dramatizations further underscore fides in their portrayals of Antony and Augustus. -
Julius Caesar © 2015 American Shakespeare Center
THE AMERICAN SHAKESPEARE CENTER STUDY GUIDE Julius Caesar © 2015 American Shakespeare Center. All rights reserved. The following materials were compiled by the Education and Research Department of the American Shakespeare Center, 2015. Created by: Cass Morris, Academic Resources Manager; Sarah Enloe, Director of Education and Research; Ralph Cohen, ASC Executive Founding Director and Director of Mission; Jim Warren, ASC Artistic Director; Jay McClure, Associate Artistic Director; ASC Actors and Interns. Unless otherwise noted, all selections from Julius Caesar in this study guide use the stage directions as found in the 1623 Folio. All line counts come from the Norton Shakespeare, edited by Stephen Greenblatt et al, 1997. The American Shakespeare Center is partially supported by a grant from the Virginia Commission for the Arts and the National Endowment for the Arts. American Shakespeare Center Study Guides are part of Shakespeare for a New Generation, a national program of the National Endowment for the Arts in partnership with Arts Midwest. -2- Dear Fellow Educator, I have a confession: for almost 10 years, I lived a lie. Though I was teaching Shakespeare, taking some joy in pointing out his dirty jokes to my students and showing them how to fight using air broadswords; though I directed Shakespeare productions; though I acted in many of his plays in college and professionally; though I attended a three-week institute on teaching Shakespeare, during all of that time, I knew that I was just going through the motions. Shakespeare, and our educational system’s obsession with him, was still a bit of a mystery to me. -
Julius+Caesar+Play+Critique.Pdf
"Julius Caesar." Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. Literature Resources from Gale. Gale. Cape Cod Regional Technical High School. 4 Jan. 2011 <http://go.galegroup.com/ps/start.do?p=LitRG&u=mlin_s_ccreg>. Title: Julius Caesar Source: Shakespearean Criticism. Ed. Michael L. LaBlanc. Vol. 74. Detroit: Gale, 2003. From Literature Resource Center. Document Type: Work overview, Critical essay Introduction Further Readings about the Topic Introduction Julius Caesar contains elements of both Shakespeare's histories and tragedies, and has been classified as a "problem play" by some scholars. Set in Rome in 44 b.c., the play describes a senatorial conspiracy to murder the emperor Caesar and the political turmoil that ensues in the aftermath of the assassination. The emperor's demise, however, is not the primary concern for critics of Julius Caesar; rather, most critics are interested in the events surrounding the act--the organization of the conspiracy against Caesar and the personal and political repercussions of the murder. Shakespeare's tragedies often feature the death of the titular character at the play's end. Many commentators have noted that Julius Caesar's unusual preempting of this significant event--Caesar is killed less than halfway through the play--diminishes the play's power early in the third act. Scholars are interested in the play's unconventional structure and its treatment of political conflict, as well as Shakespeare's depiction of Rome and the struggles the central characters face in balancing personal ambition, civic duty, and familial obligation. Modern critics also study the numerous social and religious affinities that Shakespeare's Rome shares with Elizabethan England. -
Online Library of Liberty: Shakespeare's Plutarch, Vol. 2
The Online Library of Liberty A Project Of Liberty Fund, Inc. Plutarch, Shakespeare’s Plutarch, Vol. 2 (containing the main sources of Anthony and Cleopatra and of Coriolanus) [1579] The Online Library Of Liberty This E-Book (PDF format) is published by Liberty Fund, Inc., a private, non-profit, educational foundation established in 1960 to encourage study of the ideal of a society of free and responsible individuals. 2010 was the 50th anniversary year of the founding of Liberty Fund. It is part of the Online Library of Liberty web site http://oll.libertyfund.org, which was established in 2004 in order to further the educational goals of Liberty Fund, Inc. To find out more about the author or title, to use the site's powerful search engine, to see other titles in other formats (HTML, facsimile PDF), or to make use of the hundreds of essays, educational aids, and study guides, please visit the OLL web site. This title is also part of the Portable Library of Liberty DVD which contains over 1,000 books and quotes about liberty and power, and is available free of charge upon request. The cuneiform inscription that appears in the logo and serves as a design element in all Liberty Fund books and web sites is the earliest-known written appearance of the word “freedom” (amagi), or “liberty.” It is taken from a clay document written about 2300 B.C. in the Sumerian city-state of Lagash, in present day Iraq. To find out more about Liberty Fund, Inc., or the Online Library of Liberty Project, please contact the Director at [email protected]. -
Shame and Betrayal in Shakespeare's Antony and Cleopatra
Kawasaki Journal of Medical Welfare Vol. 26, No. 1, 2020 41-48 Original Paper Shame and Betrayal in Shakespeare’s Antony and Cleopatra Michael KREMENIK*1 (Accepted July 17, 2020) Key words: betrayal, suicide, negotiation, shame Abstract The aim of this paper is to look at how William Shakespeare took the historical information available to him in the story of Mark Antony, Triumvir of Rome, and Cleopatra, Queen of Egypt, and turned it into his tragic play Antony and Cleopatra. Four parts of the play are analyzed: The Battle of Actium, negotiations with Caesar Octavian, the Alexandrian War and Cleopatra’s Suicide. Did Antony know beforehand that Cleopatra and her navy would abandon the Battle of Actium and return to Egypt? In the aftermath of Actium both Cleopatra and Antony negotiated separately with Octavian. What is known about Cleopatra’s willingness to give up on Antony and defect to Octavian’s side? Was Antony really so surprised to see Cleopatra’s navy defect to Octavian? Or was he blindsided and right to feel betrayed by Cleopatra? And why did Cleopatra have a messenger inform Antony that she was dead? Was she afraid of Antony after her navy’s defection? Was she looking for sympathy? Trying to curtail his anger? Or was she hoping that Antony would kill himself and thus give her free reign to negotiate with Octavian as Queen of Egypt and not as Antony’s mistress? All of these questions will be looked at from the point of view of Shakespeare’s tragedy and how he manipulated the historical sources to write his own version of this world famous tragic love story. -
Julius Caesar
DISCOVERY GUIDE 2009 Julius Caesar Directed by Robert Currier Costume Design - Claire Townsend Set Design - Mark Robinson Lighting Design - Ellen Brooks Properties Design - Joel Eis Stage Manager - Allison Ward Producer - Lesley Currier Discovery Guide written by Luis Araquistain www.marinshakespeare.org 415/499-4488 Welcome to the Discovery Guide for Julius Caesar Introduction---------------------------------------------------- Marin Shakespeare Company is thrilled to present Shakespeare’s riveting historical drama, Julius Caesar. As one of Shakespeare’s most notable and often quoted plays (“Et tu, Brute?”), this show makes an intriguing introduction to ‘the Bard’ for students who are new to Shakespeare and an action-packed re-introduction for students already familiar with Shakespeare’s plays. The story is both an exciting adventure, as well as a portrait of political greatness in action, with lessons to teach about ancient Rome and the world today. This DISCOVERY GUIDE will provide you with some background on the play, explanations of characters and plot lines and pre- and post-show activities, exercises and discussion questions for further deepen your theatre-going experience! Let us know if this DISCOVERY GUIDE is helpful ([email protected])! Enjoy! Contents---------------------------------------------------------- PAGE 1 Discover: the origins of the play PAGES 2 - 4 Discover: the characters (including actor headshots) PAGES 4 - 7 Discover: the story of the play (or hear a recording at marinshakespeare.org) PAGE 8 Discover: -
A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their Prototypes in Plutarch's Life of Marcus Antonius Robert G
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1949 A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their Prototypes in Plutarch's Life of Marcus Antonius Robert G. Lynch Loyola University Chicago Recommended Citation Lynch, Robert G., "A Comparison of the Two Principal Characters of Shakespeare's Antony and Cleopatra with Their rP ototypes in Plutarch's Life of Marcus Antonius" (1949). Master's Theses. Paper 772. http://ecommons.luc.edu/luc_theses/772 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1949 Robert G. Lynch A CON;PARISON OF THE T"<'IO PRIiWIPAL CHARACTERS OF SHAKESP:2:J.RE' S ANTONY -AND CLEOPATRA laTH THEla PROTOTYl?ES IN PLUTARCH t S ~ OF r4ARCUS ANTONIUS BY ROBERT G. LYNCH, S.J. A 'fHESIS SUBI\~ITTED IN PARTIAL FULFILLMENT OF THE REQUIRl:l:;j\IENTS FOIt THE DEGREE OF MASTER OF ARTS IN LOYOLA UNIVERSITY 1949 ~ ------------------------------------------------------------~ TABLE OF CONTENTS CHAPTER PAGE I. Illll'RODUCTION •••••••••••••••••••••••••••••••••••• •• 1 The subject---state of question-- comparison of Shakespee.re and Plutarch ---Shakespeare's method of prime in terest---why characterization instead of plot or diction---why this play-- an objection answered---the procedure. II. CLEOPAffRA, COURTESAN OR QUEEN? •••••••••••••••••• 13 Reason for treating Cleopatra first-- importance of Cleopatra for the trag edy---Shakespeare's aims: specific and general---political motives in Plutarch's Queen---real love in Shakes peare's---Prof. -
Julius Caesar
BAM 2013 Winter/Spring Season Brooklyn Academy of Music BAM, the Royal Shakespeare Company, Alan H. Fishman, and The Ohio State University present Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Julius Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Caesar Executive Producer Royal Shakespeare Company By William Shakespeare BAM Harvey Theater Apr 10—13, 16—20 & 23—27 at 7:30pm Apr 13, 20 & 27 at 2pm; Apr 14, 21 & 28 at 3pm Approximate running time: two hours and 40 minutes, including one intermission Directed by Gregory Doran Designed by Michael Vale Lighting designed by Vince Herbert Music by Akintayo Akinbode Sound designed by Jonathan Ruddick BAM 2013 Winter/Spring Season sponsor: Movement by Diane Alison-Mitchell Fights by Kev McCurdy Associate director Gbolahan Obisesan BAM 2013 Theater Sponsor Julius Caesar was made possible by a generous gift from Frederick Iseman The first performance of this production took place on May 28, 2012 at the Royal Shakespeare Theatre, Leadership support provided by The Peter Jay Stratford-upon-Avon. Sharp Foundation, Betsy & Ed Cohen / Arete Foundation, and the Hutchins Family Foundation The Royal Shakespeare Company in America is Major support for theater at BAM: presented in collaboration with The Ohio State University. The Corinthian Foundation The Gladys Krieble Delmas Foundation Stephanie & Timothy Ingrassia Donald R. Mullen, Jr. The Fan Fox & Leslie R. Samuels Foundation, Inc. Post-Show Talk: Members of the Royal Shakespeare Company The Morris and Alma Schapiro Fund Friday, April 26. Free to same day ticket holders The SHS Foundation The Shubert Foundation, Inc. -
What's in a Name? Juliet Capulet's Speech in Act 2, Scene 2 of Romeo
What's in a Name? Juliet Capulet’s speech in Act 2, Scene 2 of Romeo and Juliet is one of Shakespeare’s most famous speeches. In Julius Caesar, Cassius muses on the very same point that Juliet ponders: What’s in a name? The two characters, however, come to opposite conclusions. Evaluate their reasoning below. 1. Line by line, summarize what each character is saying in your own words. 2. Complete the graphic organizers for each speech. Juliet Romeo and Juliet Act 2, Scene 2 ‘Tis but thy name that is my enemy; Thou art thyself, though not a Montague. What’s Montague? it is nor hand, nor foot, Nor arm, nor face, nor any other part Belonging to a man. O, be some other name! What’s in a name? That which we call a rose By any other name would smell as sweet; So Romeo would, were he not Romeo call’d, Retain that dear perfection which he owes Without that title. Romeo, doff thy name, And for that name which is no part of thee Take all myself. Juliet's major claim: ______________________________________________________________ Supporting The speaker's explicit The speaker's Your conclusion Claim/Argument evidence and reasons inferences Cassius Act 1, Scene 2 Brutus and Caesar: what should be in that ‘Caesar’? Why should that name be sounded more than yours? Write them together, yours is as fair a name; Sound them, it doth become the mouth as well; Weigh them, it is as heavy; conjure with ‘em, Brutus will start a spirit as soon as Caesar. -
THE DISPLACED NEW WORLD of ANTONY and CLEOPATRA Christopher Kane John Carroll University, [email protected]
John Carroll University Carroll Collected Masters Essays Theses, Essays, and Senior Honors Projects Summer 2016 SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA Christopher Kane John Carroll University, [email protected] Follow this and additional works at: http://collected.jcu.edu/mastersessays Part of the English Language and Literature Commons Recommended Citation Kane, Christopher, "SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA" (2016). Masters Essays. 54. http://collected.jcu.edu/mastersessays/54 This Essay is brought to you for free and open access by the Theses, Essays, and Senior Honors Projects at Carroll Collected. It has been accepted for inclusion in Masters Essays by an authorized administrator of Carroll Collected. For more information, please contact [email protected]. SHADOWS OF EMPIRE: THE DISPLACED NEW WORLD OF ANTONY AND CLEOPATRA An Essay Submitted to the Office of Graduate Studies College of Arts & Sciences of John Carroll University in Partial Fulfillment of the Requirements for the Degree of Master of Arts By Christopher J. Kane 2016 Fortis imagination generat casum (“Powerful imagination generates the event”) -Montaigne, Essais Perhaps more than any of Shakespeare’s other works, Antony and Cleopatra defies singular readings. Within its massive sprawl, the play constitutes a tragedy, the third and most complex of the Bard’s “Roman” plays, a gender-bending comedy, and an infinite number of studies on the subtopics lurking within its boundless lines. Some of these studies have paid a great deal of attention to the imperial and colonial subtext within this play, as the plot of the drama recounts the story of the Roman subjugation of the kingdom of Egypt, according to Plutarch. -
Antony and Cleopatra Mark Antony
Antony and Cleopatra Mark Antony – one of the Triumviri of Rome along with Octavius Caesar and Aemilius Lepidus – has neglected his soldierly duties after being beguiled by Egypt's Queen, Cleopatra. He ignores Rome's domestic problems, including the fact that his wife, Fulvia, rebelled against Octavius, and then died. Octavius calls Antony back to Rome from Alexandria in order to help him fight against Pompey (Sextus Pompeius), Menecrates, and Menas, three notorious pirates of the Mediterranean. At Alexandria, Cleopatra begs Antony not to go, and though he repeatedly affirms his love for her, he eventually leaves. Back in Rome, Agrippa brings forward the idea that Antony should marry Octavius Caesar's sister, Octavia, in order to cement the bond between the two men. Antony's lieutenant Enobarbus, though, knows that Octavia can never satisfy him after Cleopatra. In a famous passage, he delineates Cleopatra's charms in paradoxical terms: "Age cannot wither her, nor custom stale / Her infinite variety: other women cloy / The appetites they feed, but she makes hungry / Where most she satisfies." A soothsayer warns Antony that he is sure to lose if he ever tries to fight Octavius. In Egypt, Cleopatra learns of Antony's marriage, and takes furious revenge upon the messenger that brings her the news. She grows content only when her courtiers assure her that Octavia is homely by Elizabethan standards: short, low-browed, round-faced and with bad hair. At a confrontation, the triumvirs parley with Pompey, and offer him a truce. He can retain Sicily and Sardinia, but he must help them "rid the sea of pirates" and send them tributes.