Twelfth Night SHAKESPEARE MADE EASY Twelfth Night
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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. -
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. -
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. -
Antonio's (Happy) Ending: Queer Closure in All-Male Twelfth Night
Antonio’s (Happy) Ending: Queer Closure in All-Male Twelfth Night Chad Allen Thomas t is more or less common knowledge, popularized by John Madden’s IfilmShakespeare in Love, that in Shakespeare’s time male actors played female roles because women were forbidden from appearing on the public stage. Young men (called “boy-actors”) played romantic ingénues, such as Juliet, whereas mature male actors played comic roles and older women, such as Juliet’s Nurse and Lady Capulet. Whatever the historical context, and whatever response these performances elicited from their original audiences, the tradition of the “transvestite stage” (male actors playing female roles) has helped make early modern plays by Shakespeare and his contemporaries compelling for scholars of early modern sexuality.1 Shortly after the start of the English Civil War in 1642, Parliament closed the theaters and banned public stage plays altogether; however, after the restoration of the monarchy in 1660, Charles II lifted the restriction against women on the public stage, and cross-gender casting quickly became more or less an antiquated practice in the professional theater. Certainly cross-gender casting remained common enough at all-boys and all-girls schools, and even resurfaced on the professional stage as part of British pantomime in the nineteenth century, but the practice was regarded mostly as a relic of days past. In fact, when Ben Greet directed a professional all-male production of As You Like It at the Central London YMCA in 1920—the first such production in 250 years—he explicitly sought to reconstruct the historical past by capitalizing on the premise of recuperating original stage practices.2 After Greet, the next professional all-male production of Shakespeare did not occur for another forty-seven years; however, it broke with Greet’s proposition that historical re-creation was the main reason to present 221 222 Comparative Drama an all-male production. -
Twelfth Night − Learning Pack Contents
Twelfth Night − Learning Pack Contents About This Pack ................................................................1 Background Information ..................................................2 Teaching Information ........................................................4 Adaptation Details & Plot Synopsis..................................6 Find Out More ...................................................................14 1 Twelfth Night − Learning Pack About This learning pack supports the National Theatre’s production of Twelfth Night, directed by Simon Godwin, which opened on 23rd February 2017 at the National’s Olivier Theatre in London. Our packs are designed to support viewing the recording on the National Theatre Collection. This pack provides links to the UK school curriculum and other productions in the Collection. It also has a plot synopsis with timecodes to allow you to jump to specific sections of the play. 1 Twelfth Night − Learning Pack Background Information Recording Date – 6th April, 2017 Location – Olivier Theatre, National Theatre Age Recommendation – 12+ Cast Viola.........................................................Tamara Lawrance Sebastian ..........................................................Daniel Ezra Orsino ............................................................... Oliver Chris Curio ...........................................................Emmanuel Kojo Valentine ...................................................... Brad Morrison Captain and Priest ...................................... James -
ELA Virtual Learning Month 00, 2020
ELA Virtual Learning English 218 Introduction to Literature Lesson: May 1, 2020 Month 00, 2020 English 218 Introduction to Literature Lesson: May 1, 2020 Objective/Learning Target: ● Read and comprehend literature, including drama, independently and proficiently. ● Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings using context, affixes, or reference materials. ● Read and comprehend informational text independently and proficiently. Bell Ringer: What are your initial impressions of Twelfth Night? **Start a document to record your response to this and the work which follows on later slides. Learn Look closely at the image here - an actual picture of the first page of this play as seen in The First Folio. What do you notice? Among other interesting things, like the print and spelling, did you notice it has an alternative title? “Or what you will” was on the original play; I do not know when it was dropped. “What you will” basically equates to “whatever”. There are theories about this alternative title. You can read some here: Twelfth Night or What You Will. Learn You have read the first two scenes from the play, where you were introduced to a few of the characters: Orsino, Curio, Valentine, Viola, Captain, and Olivia. Referring to the character list on page 5 of the pdf, re-read the descriptions of each. As we move through the play, to facilitate your reading and keeping track of who is whom, sketch out the relationships between the characters. For these five, we know Orsino is the duke and Curio and Valentine are his servants. -
Twelfth Night (C
Twelfth Night (c. 1602) Contextual information Quotes from Twelfth Night The earliest reference to Twelfth Night is in the diary of a law student, John Manningham. He saw the play performed on 2 February 1602 in Middle Temple Hall, in the legal Inns of Court in London at the Christian feast of Candelmas. The candle- lit hall in winter might have highlighted the play’s themes of darkness and illumination. View a photograph of Middle Temple Hall, the location for the first recorded performance of Twelfth Night The play’s title refers to a Christian festival twelve days after Christmas on January 5– 6. Before Henry VIII’s reforms to the English church, ‘twelfth night’ was celebrated with a period of carnival. Social hierarchies were temporarily re-arranged to become ‘topsy-turvy’ and a ‘Lord of Misrule’ was appointed. This 1559 painting by Pieter Bruegel the Elder represents the opposing forces of View The Fight between Carnival and Lent Carnival and Lent – raucous excess and religious restraint – which some see reflected in Twelfth Night. John Manningham compared Twelfth Night to other plays involving confusion between twins, including Shakespeare’s Comedy of Errors and an Italian drama called Gl’ Ingannati (1531) or ‘The Deceived’. In both Twelfth Night and Gl’Ingannati the twins are boy/girl pairs. But on the Italian stage, women were played by female actors, while in Shakespeare’s England they were played by men. Shakespeare had twins, Hamnet and Judith, born in 1585. Hamnet died in 1596, five years before Twelfth Night was first performed. Explore Gl’Ingannati, an Italian play about twins and mistaken identity The British Library | www.bl.uk/shakespeare 1 In his Symposium, the ancient Greek philosopher Plato, includes a fable explaining the origins of love, gender and sexuality: Humans were originally two joined creatures, but we grew overconfident, and Zeus punished us by splitting us down the middle. -
Shakespeare and the Carnivalesque
Trinity College Trinity College Digital Repository Senior Theses and Projects Student Scholarship Spring 2018 Shakespeare and the Carnivalesque Darcy Hughes Trinity College, Hartford Connecticut, [email protected] Follow this and additional works at: https://digitalrepository.trincoll.edu/theses Recommended Citation Hughes, Darcy, "Shakespeare and the Carnivalesque". Senior Theses, Trinity College, Hartford, CT 2018. Trinity College Digital Repository, https://digitalrepository.trincoll.edu/theses/720 TRINITY COLLEGE Senior Thesis SHAKESPEARE AND THE CARNIVALESQUE Submitted by DARCY BISHOP HUGHES 2018 In Partial Fulfillment of Requirements for the Degree of Bachelor of Arts 2018 Director: Dr. Milla Riggio Reader: Dr. Chloe Wheatley Reader: Dr. Sarah Bilston Acknowledgments For Milla Riggio. Thank you so much for your tireless support throughout this year long process. You are the fairy god mother of thesis advisors. More than once you brought me food when I had too much work to leave your office and stayed up with me until the wee hours of morning when I needed to make a deadline. Thank you for helping me turn a chaos of ideas into a paper, and for always encouraging me even when I felt hopeless. My time at Trinity College would not have been the same without you. From Guided Studies, to Trinidad, to Rome, and back again, I am honored to be your final student after 46 years of teaching. You have taught me so much about Shakespeare, about writing, and about life. For the English teachers at the Ethel Walker School who first inspired my love of Shakespeare. For the Trinity College English department: I cannot remember all the books I’ve read any more than the papers I have written; even so, they have made me. -
Teacher Resource for Twelfth Night by Shakespeare Anchor Text
TEACHER RESOURCE FOR TWELFTH NIGHT BY SHAKESPEARE ANCHOR TEXT Twelfth Night This resource with its aligned lessons and texts can be used as a tool to increase (Order from CCS Book Warehouse) student mastery of Ohio’s Learning Standards. It should be used with careful SHORTER LITERARY TEXTS Available HERE consideration of your students’ needs. The sample lessons are designed to target INFORMATIONAL TEXTS Available HERE specific standards. These may or may not be the standards your students need to master or strengthen. This resource should not be considered mandatory. MEDIA/VISUAL TEXTS Available HERE OHIO’S LEARNING POWER STANDARDS RESOURCE FOCUS RL.11-12.2, RL.11-12.3, RL.11-12.4, Student learning will center on the analysis of the impact author’s choices make regarding how to develop and SL.11-12.1, W. 11-12.2, W.11-12.7 relate elements of a drama, in particular choices concerning language, characterization, comedy, motif, and theme. SAMPLE LESSON 1 SAMPLE LESSON 2 SAMPLE LESSON 3 SAMPLE LESSON 4 Prior to Reading ACT I ACT II ACT III ELIZABETHEAN ENGLAND TRICKY LANGUAGE WHAT’S IN A NAME COUNTESS OR NOT VOCABULARY LIST VOCABULARY LIST VOCABULARY LIST SAMPLE LESSON 5 SAMPLE LESSON 6 SAMPLE LESSON 7 SAMPLE LESSON 8 ACT IV ACT V After Reading Extension of Standard to New Material MOTIFS AS THEME DEVELOPMENT SHOULD I BE LAUGHING? CAROUSEL WRAP O. HENRY VOCABULARY LIST VOCABULARY LIST WRITING/SPEAKING PROMPTS (TASK TEMPLATES AND RUBRICS: LDC 2.0, LDC 3.0, ARGUMENT RUBRIC, INFORMATIONAL RUBRIC, NARRATIVE RUBRIC, LDC SPEAKING & LISTENING, SPEECH) Argument Informative/Explanatory Narrative -Many writers use a character and their character traits to articulate cultural or political -Critical approaches to literature are different reader perspectives we Reimagine what could have happened in Twelfth Night if Orsino had come stances. -
Shakespeare's Twelfth Night, Or What You Will
Shakespeare’s TwelfthTwelfth NightNight william shakespeare's Twelfth Night, or What You Will directors Michelle Altman, Emily Draffen, & Shannon Morgan designers Stephanie Cook & April Meyer Directors' Note manservant Malvolio after him with her ring. When she gets the ring, Viola hello and welcome to our production of realizes that Olivia loves her. twelfth night! While putting it all together, we thought long and hard about Olivia’s drunken uncle, Sir Toby Belch, has a friend, Sir Andrew Aguecheek, the theme of the play: “I am not what I am” (3.1.107). This theme is especially who is also fighting a losing battle for Olivia’s affections. Toby keeps him pertinent to the fourth scene in the play, in which Viola (dressed as Cesario) around because Andrew has money to buy alcohol. Olivia’s lady-in-waiting, comes to Olivia’s house to woo her for Orsino. Orsino can’t even do his own Maria, plots with Toby and Andrew to trick Malvolio into thinking that Olivia wooing – he sends a front man. And this front man? He isn’t even a man. He’s loves him by means of a fake letter. Malvolio follows the letter’s instructions a woman in love with him. And the woman she’s sent to woo? She’s wearing to wear yellow stockings and cross-garters and to smile at Olivia. Because she a veil and refusing to be seen. Almost everyone is wearing a mask, whether does not know about the trick, Olivia thinks Malvolio has gone crazy and she literally or figuratively.