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Shakespeare on Travel in As You Like It and Othello
Selected Papers of the Ohio Valley Shakespeare Conference Volume 11 Article 4 2020 Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers Capital University, [email protected] Follow this and additional works at: https://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Recommended Citation Summers, David (2020) "Knowing the World: Shakespeare on Travel in As You Like It and Othello," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 11 , Article 4. Available at: https://ideaexchange.uakron.edu/spovsc/vol11/iss1/4 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The University of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. Knowing the World: Shakespeare on Travel in As You Like It and Othello David Summers, Capital University etting to know the world through personal travel, particularly by means of the “semester abroad,” seems to G me to be one of the least controversial planks in the Humanities professors’ manifesto. However, reading Shakespeare with an eye toward determining his attitude toward travel creates a disjuncture between our conviction that travel generally, and studying abroad in particular, is an enriching experience, and Shakespeare’s tendency to hold the benefits of travel suspect. -
What Size Viola?
From Violins and Violinists December 1943 What Size Viola? VIOLA EXPERIMENTA By Robert Dolejsi When the Violin finally reached her destiny in the ideal instrument that knows no peer today, and was recognized as the stringed mistress of the soprano family, it fell to the unfortunate lot of that hapless maiden Viola to become the subject of avid experimentation. In their search for an instrument of identical design and superb characteristics, makers, luthiers, artisans and, (indirectly through suggestion) composers and players, conducted intense experiments to find a medium of deeper register that would represent the alto and tenor voice and thus complete the quartet of strings. There is ample ground in all instrumental bibliography to support the theory that experimentation was one of the chief causes for the numerous sizes in fiddles that marked instrument making in the viola category from the 17th century onward. That generic English term Viol designated the instrument that succeeded the medieval fiddle. In literature at least, though not in actual invention, it preceded the violin family; for it must be emphasized that contrary to general conception, the viol was more the precursor and not the predecessor or direct ancestor of the violin. This distinction in progenitorship belongs to that branch of the instrumental tree represented by the rebec and Iyra—and all three branches were growing and developing simultaneously side by side. The experimental premise had already been laid in the highly variegated family of viols. Oddly enough, and paradoxically too, it appears that the viola or tenor ( the names were interchangeable during a period when great confusion in sizes and types existed ), was the first of the viol family to adopt changes in tuning and string number. -
Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court. -
CYMBELINE" in the Fllii^Slhi TI CENTURY
"CYMBELINE" IN THE fllii^SLHi TI CENTURY Bennett Jackson Submitted in partial fulfilment for the de ree of uaster of Arts in the University of Birmingham. October 1971. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SYNOPSIS This thesis consists of an Introduction, followed by Part I (chapters 1-2) in which nineteenth- century criticism of the play is discussed, particular attention being paid to Helen Faucit's essay on Imogen, and its relationship to her playing of the role. In Part II the stags-history of Oymbcline in London is traced from 1785 to Irving's Lyceum production of 1896. Directions from promptbooks used by G-.P. Cooke, W.C. Macready, Helen Eaucit, and Samuel ±helps are transcribed and discussed, and in the last chapter the influence of Bernard Shaw on Ellen Terry's Imogen is considered in the light of their correspondence and the actress's rehearsal copies of the play. There are three appendices: a list of performances; transcriptions of two newspaper reviews (from 1843 and 1864) and one private diary (Gordon Crosse's notes on the Lyceum Gymbeline); and discussion of one of the promptbooks prepared for Charles Kean's projected production. -
Twelfth Night First Folio
1 TWELFTH NIGHT CURRICULUM GUIDE Consistent with the Shakespeare Theatre Company’s central mission to be the leading force in producing and preserving the Table of Contents highest quality classic theatre, the Education Department challenges learners of all ages to explore the ideas, emotions Synopsis 3 and principles contained in classic texts and to discover the Who’s Who in Twelfth Night 4 connection between classic theatre and our modern William Shakespeare 5 perceptions. We hope that this Curriculum Guide will prove useful to you while preparing to attend Twelfth Night. Elizabethan England 6 Shakespeare’s Genres 7 This curriculum guide provides information and activities to Shakespeare’s Language 8 help students form a personal connection to the play before attending the production. It contains material about the Topsy-Turvy, or The Feast of 12 playwright, their world and their works. Also included are Epiphany approaches to explore the play in the classroom before and The Heroine’s Journey 14 after the performance. What You Will: A Note on Gender 15 We encourage you to photocopy these articles and activities Diversity and use them as supplemental material to the text. Theatre Design 17 Classroom Activity: Design a Set 18 Enjoy the show! Discussion & Essay Questions 19 Resource List 20 The First Folio Curriculum Guide for the 2017-2018 Theatre Etiquette 21 Season was developed by the Shakespeare Theatre Company Education Department: Founding Sponsors Miles Gilburne and Nina Zolt Director of Education Samantha Wyer Bello Presenting Sponsors Beech Street Foundation Associate Director of Education Dat Ngo Suzanne and Glenn Youngkin Audience Enrichment Manager Hannah Hessel Ratner Leadership Support Community Engagement Manager Jared Shortmeier D.C. -
Twelfth Night'
THE PRINCIPLE OF RECOMPENSE IN 'TWELFTH NIGHT' Like Shakespeare's other romantic comedies. Twelfth Night moves from personal frustration and social disorder to individual fulfilment and social harmony by means of what Leo Salingar has shown to be the traditional comic combination of beneficent fortune and human intrigue.* This basic pattern, of course, takes a radically different form in each play. In comparison with many of the comedies. Twelfth Night begins with remarkably little conflict- The opening scenes introduce no villain bent on dissension and destruction, nor do they reveal disruptive antagonism between parents and children or between love and law. In contrast to the passion atid anger of the first scene of J1 Midsummer Night's Dream., tbe restless melancholy that pervades the beginning of The Merchant of Venice, or the brutality and tyranny that precipitate the action in As You Like It, the dominant note of Orsino's court and of Olivia's household is static self-containment. To be sure, both Orsino and Olivia sincerely profess great unhappiness, but, as many critics have noted, a strain of complacent self-absorption dilutes tbe poignancy of Orsino's love-melancboly and of Olivia's grief- Orsino's concentration on his own emotions cuts him off from real personal relationships as effectively as does Olivia's withdrawal or Sir Toby's careless hedonism. The self-absorptioti of the native IUyrians and Viola's involun- tary exile present a spectacle of isolation rather than confrontation, not so much a society in disorder as a series of discrete individuals without tbe interconnexions that constitute a society. -
Shakespeare and Paul in Illyria
6 Shakespeare and Paul in Illyria In his lectures on Twelfth Night Emrys Jones insisted that ‘the whole play drives toward the moment of the twins’ reunion’. Indeed, reunion – better yet, resurrection – is (to use Molly Mahood’s choice words) the principal ‘governing idea’ of the play. I will show that there is a link between reunion-resurrection, Candlemas, and William Shakespeare’s own real-life drama that has been overlooked by his commentators and is key to appreciat- ing his play. Twelfth Night begins with Viola convinced that her brother, Sebastian, is dead; with practically her first breath she tells us ‘My brother he is in Elysium’ (1.1.4). So what we will be confronted with in 5.1 is not merely a family reunion but something of a resur- rection. We must bear this in mind when we consider the personal significance for William Shakespeare of his play’s performance on Candlemas. Though we know Sebastian is alive, to Viola he is so convincingly dead that she has turned herself into his image. When she looks into her mirror she sees not herself but Sebastian. I my brother know Yet living in my glass; even such and so In favour was my brother, and he went Still in this fashion, colour, ornament, For him I imitate. (3.4.376–80, my emphasis) This echoes Constance’s (and Shakespeare’s) lament for a lost son in King John: ‘Grief fills the room up of my absent child … Puts on his pretty looks … Stuffs out his vacant garments’ (3.4.93–8, my emphasis). -
Bisexuality and Transvestitism in William Shakespeare's Twelfth Night
Articulāte Volume 2 Article 5 1997 Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght Julie Driscoll Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Driscoll, Julie (1997) "Bisexuality and Transvestitism in William Shakespeare's Twelfth iN ght," Articulāte: Vol. 2 , Article 5. Available at: http://digitalcommons.denison.edu/articulate/vol2/iss1/5 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. Julie Driscoll 25 or in the Renaissance, this was the role of Viola in Twelfth Night. duties. Her flourishing remarks and declaration of devotion to her BLSEXUALITY AM) TRANSVESTITLSM IN WILLIAM SHAKESPEARE'S The acceptance of such a practice has worked its way into society, imply a definite sexual attraction. However, she shares the same proving to be another perspective one can apply toward interpreta- Twi:um NIGHT attitude toward Orsino, suggesting that she would be a better woman tions of Twelfth Night. The way in which these devices affect the fit for him, as she has already devoted her service as an attendant. actions of characters is relevant in examining their intentions, de- Viola displays the same tone of love toward both Orsino and Olivia JULIE DRISCOLL '97 ceptions, and sexual desires throughout the play. and adorns each with varying compliments, exhibiting bisexual be- Historically, bisexuality has been written out of literature, and havior. possibly out of the Shakespeare canon. -
Proposed Core Literature Titles Twelfth Night, Or, What You Will
Proposed Core Literature Titles The following summary is provided by the California Department of Education’s “Recommended Literature List”, and the top three Google searches of the book title and author name that produced a description of the title. Twelfth Night, or, What You Will Proposed Grade Level: 8 Title: Twelfth Night, or, What You Will Author: William Shakespeare First Published: 2002 Lexile Level: 1140 Proposed Grade Level: 8 California Department of Education, Recommended Literature List: https://www.cde.ca.gov/ci/cr/rl/ This title is on the CDE Recommended Literature List. Annotation: On the island of Illyria, Duke Orsino pines away for the love of the beautiful, but unapproachable Olivia. A tempest occurs that brings Viola and Sebastian to the shores, and a renewed pursuing of affection begins among the island's inhabitants. (Circa 1600.) Copyright: 1992: Original Copyright: 1600 Grade Level Span: 9-12 Genre: Drama Classification: Classic Topic: English-Language Arts/General Discipline: English Language Arts/Vocabulary; Visual and Performing Arts Descriptions From Top 3 Google Searches: Search: "Twelfth Night or What You Will" by William Shakespeare https://en.wikipedia.org/wiki/Twelfth_Night Viola is shipwrecked on the coast of Illyria and she comes ashore with the help of a Captain. She has lost contact with her twin brother, Sebastian, whom she believes to be drowned, and with the aid of the Captain, she disguises herself as a young man under the name Cesario and enters the service of Duke Orsino. Duke Orsino has convinced himself that he is in love with Olivia, who is mourning the recent deaths of her father and brother. -
Study Guide 2017
SHAKESPEARE IN THE SCHOOLS presents WILLIAM SHAKESPEARE’S TWELFTH NIGHT STUDY GUIDE 2017 Sidney E. Frank Foundation Montana Shakespeare in the Schools Montana Shakespeare in the Schools’ is an educational outreach program of production/program is part of Montana State University-Bozeman Shakespeare in American Communities, FOR MORE INFORMATION, PLEASE GO TO: a program of the National Endowment for the Arts in partnership with Arts Midwest. www.shakespeareintheparks.org TABLETABLE OF OF CONTENTS CONTENTS Table of Contents ............................................................................2 Welcome Letter (from Kevin) ...................................................................3 Director’s Notes .............................................................................4 About the Play ...............................................................................5 Characters ................................................................................6 Synopsis .................................................................................7 Seeing the Play: Before and After ...............................................................8 What You Will, or What Will You... By Gretchen Minton, Ph.D. ........................................9 Themes and Questions to Explore Love...Is complicated. 11 Identity, Disguise and Stereotypes ...........................................................12 Righting Perceived Wrongs. 14 How SIS Meets Montana’s Common Core .......................................................15 -
B!.^:^ Been Tlen?!F Asi Bravo
November 1 9 1965 NEWSLETTER MO. 4 THE CATCHUP ACOUSTICAL SOCIETY As announced in the last issue,, a concert was «ivan at thn vw vm« in New York City on.. May 20,1965 at. whi* the S/vioJin "~" all eight members was presented toj public^ r,"*>"tfa^iD%««-_-, "Consort the The for True Violins",,— compose d^anf^^ed by The music gave each of the instruments a real, HenlHr^t their work-out, cSISL musical potential in various combinations of parts a^d fSfm^from solo, duo, and trio to a thick texture of the entiri oatet? B 00t f lhe"fffS? ne'w^^iSfeed^?!!.^:^ -" ° **«»"« %&£*£*£ Leopold Stokowski was in the large audience, and was del igbtS'd He told Louis Condax that he would never forget the sound of thf viola in The New York Times' Howard Klein quoted Maestro Stokowski ?s "We need to revise all. the orchestral instruments. The strings have needed this treatment for a long time. Now the woodwinds nS! -1 Z _LXi^ o motIL- In his review of May 21 „ 1.Q65,. Mr. Klein went on to say- "The produced wonderful and rumblings, the sonorities of. the Mgher viol fes re m high registers. The resonance of the c.foodTh p .food middle rln^e lis M lnst ent3 > whe paying their lowest notes, soundfd tiLT or¥?J£&nasal, so "there is workf to be done. But a the major step toward rwSvat'n* strings for the first time in 200 years has been tLen?!f aSi bravo^ msiola 8 who Vl^* «» new weref * instruments in their premiere concert __ Max Pollikoff Treble vjolin Lrnestine Briemeister Soprano violin Lllla Ealman — Mezzo violin lll^L^yf —- (vertical viola) Peter Rosenfeld TenorA"?.^?violinl^ Joseph Tekula Baritone violin David Walter Bass violin Stuart Sankey G ontrabass viol in Many members of the Catgut Acoustical Sooiaty, who shared m the have actually work of developing these instruments over the past sev-n years, were in the audience. -
Twelfth Night Edited by Rex Gibson Excerpt More Information
Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information List of characters Illyria The Duke’s court The Countess’s household Orsino, Duke of Illyria Olivia, a countess Valentine, a courtier Sir Toby Belch, her uncle Curio, a courtier Malvolio, her steward Musicians Feste, her fool Lords Maria, her gentlewoman Officers Fabian, a servant APriest ASea Captain The visitors Viola, later called Cesario Sebastian, her twin brother Sir Andrew Aguecheek, suitor to Olivia Antonio, a friend to Sebastian Sailors The action of the play takes place in Illyria 1 © Cambridge University Press www.cambridge.org Cambridge University Press 0521618770 - Twelfth Night Edited by Rex Gibson Excerpt More information Twelfth Night Orsino calls for music to feed his hunger for love. He reflects that love is like the sea, absorbing and devaluing every other experience. He claims to be completely obsessed by his love for Olivia. 1 Orsino: in love or infatuated? (in groups of three) The best approach to Scene 1 is to take parts as Orsino, Curio and Valentine, and read it through. Then change roles and read through again. Don’t worry about unfamiliar words in these read-throughs, but afterwards work on the following activities: a Love or infatuation? The opening lines suggest the play will be much about love. But what sort of love? You will find various expressions of love throughout Twelfth Night. Many people believe Orsino is not truly in love, but is just infatuated, and wallows in his emotions. To discover your own views, speak lines 1–15 in different ways (e.g.