THE GAHZETTE Spreading News Since 2007

Total Page:16

File Type:pdf, Size:1020Kb

THE GAHZETTE Spreading News Since 2007 THE GAHZETTE Spreading News Since 2007 Editor November ‘07 sapi Art Tamur Opinion/Forum Reports The Comfy Chair TinCow page 6 Reporters The Backroom Sigurd Fafnesbane page 12 CountArach King Jan III Sobieski The Throne Room Warmaster Horus page 13 darkrangar KingWarman888 edyzmedieval Martok Frederick I Barbarossa Omanes TW GBB TinCow ModChat - Technical makayane page 2 GeneralHankerchief Warluster Multiplayer KingWarman page 10 IanofSmeg16 Warmaster Horus All images and graphics have been used with Gaming love and respect for their original owners. Europa Barbarourm Warmaster Horus page 14 All articles are the property of the author. (C) 2007 totalwar.org Misc History King Jan III Sobieski page 11 Editor’s note The Gahzette is once again full of all the latest commu- have picked up makayane heard of it. nity and gaming news, with to pen a series of articles thanks to our efficient and, on the technical aspects of Warmaster Horus takes a it seems, eternally patient, modding, and we hope you’ll look at what exactly the mod staff. enjoy the series. Mak is is, and what it aims to do, looking for feedback on it, so in a very interesting article TinCow, Sigurd, and Horus if you’ve got anything to say starting on page 14. are once again around to about the section, drop her take you on a tour around a PM. Give it a read; you won’t their respective forums, regret it. and King Jan III Sobieski has Our feature article this issue, included his usual article on as you’re bound to notice, is historical people and events on a small mod release that sapi of note. happened late last month. It’s called Europa Barba- This month we’re pleased to rourm, and you may have 1 CLIMATE CHANGE No, not global warming, the Gahzette hasn’t Another useful command is toggle_ter- got into green issues just yet. Just some rain tiletype, with that one you may notice notes on refining your Total War campaign when viewing the overlay that it doesn’t and battle environment. seem to have as much detail as the original map_ground_types.tga file. That is because Inspecting the Existing Terrain the campaign map only has co-ordinates cor- SigniferOne posted an interesting discovery responding to the number of pixels on map_ recently. If you open your rome or medieval regions.tga which is half the size (and minus shell (by pressing the ~ ‘ or ` key in campaign one pixel) the size of map_climates/ heights/ depending on game and keyboard) and then ground_types. The ground type colours type in ?toggle_terrain – you get a list of all shown on the overlay are only those that the possible toggle_terrain commands, as fall on the odd, odd co-ordinates in map_cli- an example of one of these toggle_terrain mates, eg 13,153 and not 12,153. The pixels climate shows you the climate colours from falling on the odd/odd co-ordinates in the map_climates.tga overlaid on the campaign larger files are the most important as they map (see below): will determine if a map co-ordinate is acces- sible to armies and what climate will be used for battles at that location. 2 Increasing Bio-Diversity to place your farming areas more artistically. Or just making your campaign map look prettier... The second tga listed per ground type (for You can make more difference with this in those climates that have a different winter RTW than M2TW but the principle for each effect) is the texture which is used on the is the same. The textures used on the cam- campaign map in winter. A quick glance at paign map are set in descr_aerial_map_ the file will show you that the same snow ground_types.txt, in RTW entries aren’t texture is used in every climate. Again if you given for the two temperate_grassland or have new textures it is easy to assign them for the two temperate_forest climates, so to individual climates or ground types to add all four of those use the default settings. You variety. Perhaps adding a little subtly melt- can easily copy and paste one of the exist- ing snow to the warmer climes... (maybe this ing climate sections and rename it say for was about global warming after all!) ‘temperate_grassland_infertile’ and then, if you make some new textures you can assign Inclement Weather them to just that climate, adding more visual Weather events are determined by season variety to your map without affecting the and climate. New weather events can be functioning at all. added with a probability of happening to a particular climate and season or can be as- The textures referred to in the file don’t have signed to a specific historic battle. a file path specified and live in data/ter- rain/aerial_map/ground_types, if you want For M2TW: to add new textures to a mod folder for RTW Sky and weather events in M2TW are con- you can add a file path by using ../ to get trolled by weather_db.xml that contains up to the main data folder level and then both the weather events and the linkages to give the path back down again, for example climate. Unlike RTW you can’t substantially ../../../../bi/mod_folder/data/terrain/aerial_ alter sky colouring by text editing alone, you map/ground_types/grassland_low.tga, do have to edit the .texture files instead. If for M2TW you can simply give a new name you look for Alpaca’s dds/texture converter and include the texture in mod_folder/data/ you can convert existing textures back to dds terrain/aerial_map/ground_types files and change them in any graphics pro- gram capable of using the Nvidia dds plug- In both games the cultivated_low, culti- ins. Even if you can not make new textures vated_medium, and cultivated_high ground you can make new effects using the existing types use the same textures initially. The ones. ‘cultivated’ ground_type isn’t actually a separate ground_type; instead it is what To experiment with what can be done open happens to the fertile ground types once weather_db.xml in Notepad or similar text farming is built in a region. If you want to see editor, search for “france custom” and copy a bit less of the farming texture change the that section from aerial_map... text file so that cultivated_low <pattern id=”france custom” audio_ and medium use the same texture as the un- type=”calm”> to </pattern> cultivated ground type and just leave the cul- and paste it below </pattern>, change the tivated_high using the farming tga. You can “france custom” title to “my_custom” and also then re-arrange the various fertility level open a historic battle file, eg. ground types on the map_ground_types.tga data\world\maps\battle\custom\Hastings\ 3 descr_battle.txt you will see a slot for weather at the start of the battle section change that to: ; >>>> start of battle section <<<< battle 107, 145 battle_time 12.00 24.00 weather my_custom Now if you change the weather and textures associated with your new weather pattern you will see them applied to the historic bat- tle. For example using the below for all the periods in the ‘my_custom’ weather pattern plied to the Hastings historical battle (much gives the result shown above right when ap- more likely for the British climate than the original version!). Other adjustments such <period id=”sunrise”> as increasing fog - by decreasing fog <skydome mesh=”globallighting/Meshes/ value numbers eg: skydome.mesh” texture=”globallighting/sunrise/tex- <fog min=”100” max=”200”/> tures/sunrise_storm.texture”/> start to show how the battlemap dis- <clouds> play mechanics work, changing that <cloud id=”high” on its own without changing sky gives texture=”globallighting/sunrise/textures/sun- the result shown below, which shows rise_storm_tile.texture” speed_x=”0.106” speed_ the effect on the distance view but y=”0.0”/> without the normal corresponding <cloud id=”low” change in the sky texture, thus expos- texture=”globallighting/sunrise/textures/sun- ing the way each section is rendered. rise_storm_tile.texture” speed_x=”0.108” speed_ y=”0.004”/> </clouds> For RTW: <events> Weather events in RTW are controlled <event id=”phase 1 - heavy fog” dura- in descr_daytypes.txt, new ones can tion=”600” transition=”30”> be added to the top section of the file. <precipitation type=”rain” level=”torrential”/> An example of a new weather event <lighting data=”globallighting/morn- could be that shown overleaf: ing_fog.lighting”/> <wind type=”gales”/> <fog min=”-50” max=”2500”/> <bloom red=”255” green=”255” blue=”255” select=”15” intensity=”130”/> <lightning> <frequency min=”10” max=”20”/> <distribution x=”2048” y=”0” ra- dius=”1024”/> </lightning> </event> 4 weatherevent new_storm Coastal Erosion cloud heavy 0.69 0.69 0.69 If you make a new campaign map you precipitate dust torrential might find your coastline looks a little wind gusts blocky and unrealistic. You can make fog heavy 0.004 0.67 0.61 0.56 some very subtle changes to the coast- The three figures after cloud heavy are RGB line by manipulating the ‘depth’ of the sea in values that tint the colour of the clouds, the map_heights.tga. This works for both RTW base colour of the clouds is set in the day- and M2TW maps, if you look for a thread in type below according to the time of day. The TWC’s mapping workshop called ‘Sea Edges’ first number after the fog heavy line is the you’ll see a very long running discussion on density of the fog and the three colours after the technique. that are the colour of the fog or haze itself.
Recommended publications
  • ANNE MOWBRAY, DUCHESS of YORK: a 15Th-CENTURY CHILD BURIAL from the ABBEY of ST CLARE, in the LONDON BOROUGH of TOWER HAMLETS
    London and Middlesex Archaeological Society Transactions, 67 (2016), 227—60 ANNE MOWBRAY, DUCHESS OF YORK: A 15th-CENTURY CHILD BURIAL FROM THE ABBEY OF ST CLARE, IN THE LONDON BOROUGH OF TOWER HAMLETS Bruce Watson and †William White With contributions by Barney Sloane, Dorothy M Thorn and Geoffrey Wheeler, and drawing on previous research by J P Doncaster, H C Harris, A W Holmes, C R Metcalfe, Rosemary Powers, Martin Rushton, †Brian Spencer and †Roger Warwick SUMMARY FOREWORD Dorothy M Thorn (written 2007) In 1964 during the redevelopment of the site of the church of the Abbey of St Clare in Tower Hamlets, a During the 1960s, my future husband, the masonry vault containing a small anthropomorphic late James Copland Thorn FSA, and I were lead coffin was discovered. The Latin inscription actively involved in London archaeology as attached to the top of the coffin identified its occupant part of Dr Francis Celoria’s digging team.1 as Anne Mowbray, Duchess of York. She was the child Naturally all the members of the group bride of Richard, Duke of York, the younger son of were very interested in such an important Edward IV. Anne died in November 1481, shortly discovery, and when Anne Mowbray was before her ninth birthday. As the opportunity to study identified we were all impressed (possibly scientifically a named individual from the medieval no-one more so than James). When the day period is extremely rare, the London Museum quickly came for Anne Mowbray to be reburied in organised a comprehensive programme of analysis, Westminster Abbey, the BBC wanted to which included the study of Anne’s life, her hair, teeth, interview Celoria, but he could not be found, skeletal remains and the metallurgy of her coffin.
    [Show full text]
  • The Sun King and the Merry Monarch
    The Sun King and the Merry 1678 Monarch Explores the religious backdrop to one of the largest threats to England's throne - the Popish Plot. Aggravated by the murder of the magistrate Sir Edmund Berry Godfrey, the Plot reflected religious beliefs and insecurities at the By Calum time. Sir Godfrey was my ancestor (of some 11 generations). A visit to his Johnson grave in Westminster Abbey in 2014 inspired me to explore his role in this religious turmoil which hit hard in 17th Century England... The Clergyman and the King of England Leaving for his morning stroll on the 13th of August 1678, Charles II, King of England and Defender of the Faith heard for the first time of a plot to kill him. This was far from unusual. Indeed, just months earlier, a woman in Newcastle had been subjected to a large investigation after stating, "the King deserves the curse of all good and faithful wives for his bad example”. And yet, when Mr Kirkby (his lab assistant) brought Dr Israel Tonge to him at 8 o’clock that evening, the king listened impatiently before handing the matter over to his first minister…. The Religious Pendulum: Change of Faith in England To truly examine the tumult about to hit England in the 17th Century, it is important that we look first at the Religious scene in Europe some 150 years earlier. In the previous century the Reformation began and Protestantism gathered momentum, fuelled by a desire to reduce the exuberance of the Church in Rome with its elaborate sculptures, paintings and stained-glass windows.
    [Show full text]
  • A Royal Tragedy
    William Shakespeare's Richard III A Royal Tragedy Acts Three, Four, and Five Notes Provided by WISDOM Home Schooling's Online Socratic Dialogue Progra Dramatis Personae KING EDWARD IV – The leader of the Yorkists, who beat the Lancastrian king, Henry VI, and took his throne. During the final battle that beat the Lancastrians, King Edward was one of the three men who dishonourably stabbed Lady Anne’s husband when he was already down. Edward used to be a great warrior, but has now become sickly, and is more interested in entertainment and women than in feats of courage. Sons to the King: EDWARD, PRINCE OF WALES – About thirteen years old. King Edward IV and Queen Elizabeth’s older son, and heir to the throne of England. Wise beyond his years, and protective of his brother. RICHARD, DUKE OF YORK – About ten years old. Prince Edward’s younger brother, he is second in line to inherit the throne. Less serious than his brother, he is given to joking around and making fun of adults. Brothers to the King: GEORGE, DUKE OF CLARENCE – Clarence is a conflicted man. During the war between the Yorkists and the Lancastrians, he fought on whichever side seemed to be winning at the time. He was one of the three who stabbed Lady Anne’s husband. Despite his shifting alliances, Clarence nonetheless has a deep love for his wife and children. RICHARD, DUKE OF GLOUCESTER (pronounced “Gloss-ter”), who will one day become KING RICHARD III – Gloucester is a hunchback with a withered arm and a limp.
    [Show full text]
  • Define the Following Keywords: Proletariat; Bourgeoisie; Peasant; Revolution; Capitalist; Communist;
    History Summer Preparation Task: Part 1: Revolution and Dictatorship: Russia, 1917-1953 LO: To build up knowledge of Marxist ideology To explain the appeal of Marxist ideology and its weaknesses To evaluate the appeal of Marxism in Russia before 1917 1) Knowledge Learn and explain the six stages of Marxist Stage Theory Define the following keywords: Proletariat; Bourgeoisie; Peasant; Revolution; Capitalist; Communist; 2) Explanation Answer the following questions fully /'. LV/7y was Marxism appealing? Who would be attracted to Marxism? //'. What did Marx think about religion and why? iii. What did Marx think about Trade Unions and parliamentary democracy? Why? Is this surprising? 3) Evaluation/ Application (Read and make notes on the Introduction from your course textbook. ppxii-xvi. Practise the following two questions ready for a baseline test lesson 1) i) Why was Marxism increasingly appealing in Russia in the early C20th? (eg. Industrial changes, poor conditions, autocratic government) ii) What limited the appeal of Marxism in Russia in the early C20th? (eg. Extreme ideology - moderate ideology more appealing to some, Russia mainly agricultural still, the Tsar's power.) Lesson 1: Be prepared for i) a knowledge test on Marxist stage theory, ii) To answer the two evaluation questions in full using examples from the Russian context. 4) You are also expected to read at least one 'wider reading' or novel book during the first term. You may wish to start this during the summer. See the list below for some recommended texts. Boris Paternik,
    [Show full text]
  • The Lincoln Humanities Journal Panopticon: Surveillance
    LHJ The Lincoln Humanities Journal Fall 2016 | Volume 4 Panopticon: Surveillance, Suspicion, Fear Editor ABBES MAAZAOUI Annual publication of the College of Arts, Humanities and Social Sciences, Lincoln University of Pennsylvania. All rights reserved. ISSN 2474-7726 (print) ISSN 2474-7726 (online) 4 The Lincoln Humanities Journal (LHJ) The Lincoln Humanities Journal, ISSN 2474-7726 (print), ISSN 2474-7726 (online), is an interdisciplinary double blind peer-reviewed journal published once a year by the College of Arts, Humanities and Social Sciences of Lincoln University of Pennsylvania. Its main objective is to promote interdisciplinary studies by providing an intellectual platform for international scholars to exchange ideas and perspectives. Each volume is focused on a pre- selected theme in the fields of arts, humanities, the social sciences, and contemporary culture. Preference is given to topics of general interest that lend themselves to an interdisciplinary approach. Manuscripts should conform to the MLA style. Submissions may be made by e-mail to the editor at [email protected]. The preferred language is English. The journal is published both online and in print, in November-December of each year. Editor ABBES MAAZAOUI Lincoln University Editorial Board J. KENNETH VAN DOVER Lincoln University ERIK LIDDELL Eastern Kentucky University KIRSTEN C. KUNKLE Scholar & Opera Singer HÉDI JAOUAD Skidmore College EZRA S. ENGLING Eastern Kentucky University JEAN LEVASSEUR Bishop’s University, Canada The Lincoln Humanities Journal 5 TABLE
    [Show full text]
  • African Art at the Portuguese Court, C. 1450-1521
    African Art at the Portuguese Court, c. 1450-1521 By Mario Pereira A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Department of History of Art and Architecture at Brown University Providence, Rhode Island May 2010 © Copyright 2010 by Mario Pereira VITA Mario Pereira was born in Boston, Massachusetts in 1973. He received a B.A. in Art History from Oberlin College in 1996 and a M.A. in Art History from the University of Chicago in 1997. His master’s thesis, “The Accademia degli Oziosi: Spanish Power and Neapolitan Culture in Southern Italy, c. 1600-50,” was written under the supervision of Ingrid D. Rowland and Thomas Cummins. Before coming to Brown, Mario worked as a free-lance editor for La Rivista dei Libri and served on the editorial staff of the New York Review of Books. He also worked on the curatorial staff of the Isabella Stewart Gardner Museum where he translated the exhibition catalogue Raphael, Cellini and a Renaissance Banker: The Patronage of Bindo Altoviti (Milan: Electa, 2003) and curated the exhibition Off the Wall: New Perspectives on Early Italian Art in the Gardner Museum (2004). While at Brown, Mario has received financial support from the Graduate School, the Department of History of Art and Architecture, and the Program in Renaissance and Early Modern Studies. From 2005-2006, he worked in the Department of Prints, Drawings and Photographs at the Museum of Art, Rhode Island School of Design. In 2007-2008, he received the J. M. Stuart Fellowship from the John Carter Brown Library and was the recipient of an Andrew W.
    [Show full text]
  • Richard III Society, Ill Volume XX No. 2 Summer, 1995 R EGISTER STAFF
    Richard III Society, Ill Volume XX No. 2 Summer, 1995 R EGISTER STAFF E DITOR: CaroIe M. hike 4702 Dryades St. l New Orleans, LA 70115 l (504) 897-9673 f FAX (504) 897-0125 l CompuServe: 72406,514 E-Mail: AOL: CaroleR l Internet: [email protected] 6 RICARDIAN WING EDITOR: My-ma smith Rt. 1 Box 232B l Hooks, TX 75561 l (903) 547-6609 l FAX: (501) 772-5818 0 1995 Richard III Society, Inc., American ARTIST: susan perter Branch. All rights reserved. No part may be 1510 Delaware Avenue l New Castle, PA 16105-2674 reproduced or transmitted in any form or by any means - mechanical, electrical, or otherwise - including, but not limited to photocopying, recording or information storage retrieval - *I *. CHAIRMAN: Dr. Compton Reeves Dept. of History l Bentley Hail without express written permission from the Ohio University l Athens, OH 45701-2979 Society The Ricardian Register is published e-mail: [email protected] quarterly. VICE CHAIRMAN: Laura BIanchard The Richard III Society is a non-profit, educa- 303 Vine St. l Apt. 106 l Philadelphia, PA 19106 l (215) 574-1570 FAX (215) 574-1571 l [email protected] tional corporation. Dues, grants, and contribu- tions are tax-deductible to the extent allowed SECRETARY: Judith A. pimenral by law. 1248 Regent St. l Alameda, CA 94501 l (510) 421-0487 TREASURER : Peggy me-n Dues are $30.00 annually. Each additional fam- 1421 Wisteria l Metairie, LA 70005 l (504) 837-0974 ily member is $5. Members of the American Society are also members of the English Soci- M EMBERSHIP C HAIRMAN: carok.
    [Show full text]
  • Civility, Patriotism and Performance: Cato and the Irish History Play
    Ireland, Enlightenment and the English Stage, 1740-1820 7 Civility, patriotism and performance: Cato and the Irish history play David O’Shaughnessy Recent scholarship has underscored history writing as central to the culture of the eighteenth century and as a key mode of Enlightenment thought and practice in both Britain and Ireland.1 British elites, conscious of their own historiographical failings, looked uneasily on the French exemplar national histories which sparked a patriotic urging to match their Continental competitors.2 Writ properly, it was suggested, history could also lead to a more rational patriotic attachment to one’s own country, one enriched by a recognition of other nations in the spirit of Enlightenment.3 The proper framing and writing of national history (understood in the main as that which adhered to rigorous neoclassical values) also conveyed a country’s teleological progressiveness, its emergence from barbarity towards modernity, civilization and associated institutional norms. The form and content of a well written national history—encompassing inter alia a decorous tone, idealized characters, moral didacticism—mirrored each other, allowing a reader to assess their own civility as well as that of the country and its people in question. Enlightenment is a term with a myriad of My sincere thanks to Emily Anderson and David Taylor for their helpful comments on an earlier version of this essay. This chapter has received funding from the European Union’s 2020 research and innovation programme under the Marie Sklowdowska-Curie grant agreement No 745896. 1 Noelle Gallagher, Historical Literatures: Writing about the Past in England, 1660–1740 (Manchester University Press, 2012); Ruth Mack, Literary Historicity: Literature and Historical Experience in Eighteenth-Century Britain (Stanford University Press, 2009); and, Karen O’Brien, Narratives of Enlightenment: Cosmopolitan History from Voltaire to Gibbon (Cambridge University Press, 1997).
    [Show full text]
  • Culture Cyclopedia Edition 0.00000003
    Culture Cyclopedia Edition 0.00000003 Table of Contents What this is and why..................................................................................................................................4 And why it looks like trash?......................................................................................................................4 Do Not Expect Accuracy............................................................................................................................4 What the Sections Mean.............................................................................................................................4 Rewrite/Good Copy...................................................................................................................................5 Raw Data....................................................................................................................................................5 Ancient Greece......................................................................................................................................5 The Basics.........................................................................................................................................5 Detailed.............................................................................................................................................5 Links...............................................................................................................................................11
    [Show full text]
  • Views: a Sociological Critical
    Joseph Ayers Cheryl Gistenson Joanna Singer Michael Balaban Sviatlana Hantsevich Megan Stemm-Wade Michael Bentley, Jr. Kristin Hicks Laura Tietz Theodore J. Birren Joel Jacobson lya Tolpekina Greg Bruchert Myles Kleeman Andrew Tomenbang Annmarie Carlson Svetlana Kushner Michael Webb Brian Clark Muxiang Liu Tim Whalen Alexander Cox Cindy Loacker Marguerita Whitby Daniel Cox Luz M. Lopez Pilar Wiener Jeffrey Robert Cygan Bob Mackey IV Jessica Wolfe Ashley Fill Hannah McHugh Joanna Yau Penney Gainer Virginia Nye Mary Yoakim Tyler Garms Peggy Rodriguez The Harper Anthology Volume XX Foreword Th e pictures on the.front cover of this Harper Anthology sp eak clearly about one of this publications purposes, that o.fserving as an instructional text in classes at Harper College, particularly those involving the teaching o.f'English composition. Here, in these pictures fr om an evening section o.fEnglish I 02, students from all over the world are reading, together, a research paper published in an earlier edition o.f the Anthology�·as a model.for writing research-based papers of their own. Th e analysis of a student-written text in this fo rmat is invaluable fo r providing direction and inspiring confidence. The Harper Anthology has served in this capacity for twenty years, now, with countless students in Harper classrooms having read the work of hundreds of other Harper students whose papers have graced these pages. Th is latest edition of the Anthology should serve well in continuing this tradition o.fguidance, as it fe atures numerous essays and papers fr om English composition courses, as well as a fe w fr om outside of the English discipline, and a number of papers from Harpers Learning Communities program.
    [Show full text]
  • ANTIQUITY and WE Introduction Katarzyna Marciniak, from the Antiquity and We OBTA and Civilizational Studies
    Antiquity and We at the Centre for Studies on the Classical Tradition (OBTA) ANTIQUITY At the same time, thanks to Professor Kazimierz Kumaniecki and Professor Lidia Win- niczuk [...], a certain ideological message got through to us. It was not enunciated explicitly, but rather implicitly. It was the conviction that the reception of ancient tradition was a living part of Polish collective memory and a marker of its transformations; that being aware AND WE of that tradition authorized and obliged us to speak and think of Poland and its place within Mediterranean civilization. Jerzy Axer, from Antiquity and We – The Perspective of the Period of Transformation ANTIQUITY AND WE The Humanities are always about the future of man, which he himself is not able to create without reaching to the resources generated in the past. Interdisciplinariness is getting to know the process in practice. The dialogic character of the Humanities also begins here. As an exer- cise in dialogue, OBTA perfectly fits my vision of the role that we are to play in society. Jan Kieniewicz, from OBTA and Civilizational Studies. Experiences and Prospects [...] reception studies view Antiquity as a cultural experience. In consequence, rather than the classical world as such, we examine the images of that world as created in subsequent epochs, in accordance with the assumption that each new deciphering of the classical legacy gives us knowledge about those who make the decoding in the first place. In this way, Classical Anti- quity becomes a reference point for generations, societies, and both small and large groups of culture recipients, wherever Mediterranean Civilization has managed to reach.
    [Show full text]
  • First Folio Teacher Curriculum Guide Richard III by William Shakespeare Directed by Michael Kahn January 16—March 18, 2007 First Folio: Teacher Curriculum Guide
    First Folio Teacher Curriculum Guide Richard III by William Shakespeare directed by Michael Kahn January 16—March 18, 2007 First Folio: Teacher Curriculum Guide Table of Contents Page Number Welcome to the Shakespeare Theatre Company’s production ofRichard III 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 mission of all Education Department programs is 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 of First Folio: Teacher A Timeline of Western World Events…….……...9 Curriculum Guides. About the Play For the 2006•07 season, the Education Synopsis of Richard III…...………………………………10 Department will publishFirst Folio: Teacher Curriculum Guides for our productions ofAn Rewriting History ………………………..….….…………11 Enemy of the People, The Beaux’ Stratagem, The Language of Richard III…...………………..…12 Richard III and Titus Andronicus. First Folio Shakespeare’s Villains: The Ones You Love to Guides provide information and activities to help Hate…………………………………………………………..……14 students form a personal connection to the play Question and Answer: The War of the before attending the production at the Roses………………………………………………………………16 Shakespeare Theatre Company. First Folio Guides Fate, Deformity and the Supernatural……….19 contain material about the playwrights, their world and the plays they penned. Also included Classroom Connections are approaches to explore the plays and productions in the classroom before and after • Before the Performance……………………………21 the performance.
    [Show full text]