Twelfth Night First Folio
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Twelfth Night Act II.Iii MARIA Sweet Sir Toby, Be Patient for Tonight: Since
Twelfth Night Act II.iii MARIA Sweet Sir Toby, be patient for tonight: since the youth of the count's was today with thy lady, she is much out of quiet. For Monsieur Malvolio, let me alone with him: if I do not gull him into a nayword, and make him a common recreation, do not think I have wit enough to lie straight in my bed: I know I can do it. SIR TOBY BELCH Possess us, possess us; tell us something of him. MARIA Marry, sir, sometimes he is a kind of puritan. SIR ANDREW O, if I thought that I'ld beat him like a dog! SIR TOBY BELCH What, for being a puritan? thy exquisite reason, dear knight? SIR ANDREW I have no exquisite reason for't, but I have reason good enough. MARIA The devil a puritan that he is, or any thing constantly, but a time-pleaser; an affectioned ass, that cons state without book and utters it by great swarths: the best persuaded of himself, so crammed, as he thinks, with excellencies, that it is his grounds of faith that all that look on him love him; and on that vice in him will my revenge find notable cause to work. SIR TOBY BELCH What wilt thou do? MARIA I will drop in his way some obscure epistles of love; wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece: on a forgotten matter we can hardly make distinction of our hands. -
Twelfth Night
SAMPLE – INCOMPLETE SCRIPT a Community Shakespeare Company edition of Twelfth Night original verse adaptation by Richard Carter 1731 Center Road Lopez Island, WA 98261 360.468.3516 [email protected] Enriching young lives, cultivating community” NOTES ABOUT PRODUCTION The author asks that anyone planning to stage one of his adaptations please contact him for permission, via the CSC website: www.communityshakespeare.org . There are no performance royalties due. He asks that scripts be purchased for every member of a cast. Frequently asked questions include, “What if my group is mostly girls?” Cross-casting (females playing male roles) is almost inevitable; once it is explained that males played all the female roles in Shakespeare’s time, this obstacle is easily overcome. Moreover, girls see that many of the “big” parts are male, so those wanting more stage time gravitate toward male roles. The author also encourages groups to take certain liberties, such as changing the sex of some roles. With little alteration of the text, a duke may become a duchess, an uncle may become an aunt. In answer to the question, “What if I have too many (or too few) students?” some parts may be divided amongst several actors (a messenger becomes two messengers), or actors may take on more than one role. In short, do what is necessary to make the play fun and accessible for young people; the author did! Synopsis of the play Orsino, Duke of Illyria, is in love with Olivia, a proud and beautiful countess. She spurns his suit, being in mourning for her late father and brother. -
Spotlight on Learning a Pioneer Theatre Company Classroom Companion
Spotlight on Learning a Pioneer Theatre Company Classroom Companion Pioneer Theatre Company’s Student Matinee Program is made possible through the support of Salt Lake County’s Zoo, Arts and Parks Program, Salt Directed by Larry Carpenter Lake City Arts Council/ March 30 - April 14, 2018 Arts Learning Program, By William Shakespeare The Simmons Family Foundation, The Meldrum Foundation Director’s Notes Endowment Fund and By Larry Carpenter, director of Twelfth Night R. Harold Burton Foundation. Spotlight on Learning is provided to students through a grant provided by the George Q. Morris Foundation Twelfth Night is probably the best known of Shakespeare’s Approx. running time: comedies. It is a later play, written in 1599 and bracketed by Much 2 hours and thirty minutes, which in- Ado About Nothing, Henry V, Julius Caesar, As You Like It and cludes one fifteen-minute intermission. Hamlet. All of these plays were written and produced in less than a two-year period when the Bard of Avon was at the height of his Student Talk-Back: genius. There will be a Student Talk-Back directly after the performance. At the time, all of these plays were topical. The citizens of London were experiencing the end of the Elizabethan Age—James I would come to power in 1603. The themes of royal succession, parliamentary politics, religious fanaticism, gender identity, Continued on page 2 Director’s Notes, continued from page 1 The Bard of Avon burgeoning economic instability, class structure and the plague, to name a few, were intertwined into Excerpted from Biography. Shakespeare’s works. -
A Defense/An Indictment of Sir Toby Belch
A Defense/An Indictment of Sir Toby Belch “O cousin, cousin. How have you come so early by this lethargy?” “I hate a drunken rogue.” The deep dive of what you will was murky and troubling water. The silt sat in the corners of the eyes, blurring the vision and tasting of dirt as it ran into my mouth- carried there by the saline that had evacuated my head holes. I do not often seek to explain anything I do that can vaguely be lumped under the austerity of Art, nor do I hope to explain much here. I live in the hope that this will help others understand what I was attempting to create/explore/wrestle with. It is my sincerest desire that the experience of witnessing that attempt is interpreted however you like. If you are reading this, you are either in the Shakespeare Ensemble or the ensemble has decided it’s worthy of sharing with others. Twelfe Night, or What You Will falls into the “light-hearted-comedic-romp we all know and love” for many a bardophile, probably because producers and artistic directors recognize that it’s a money printing play and it fits into any season...often. What’s not to love? It has iconic speeches. It ends “happily”*. There is comedy. There is mirth. There is love. Aside from finding twins to take on two major roles, it’s a slam dunk to produce. That’s all well and good. And yet… To be clear, Twelfe Night or What You Will is my favorite play of all time. -
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. -
Creating Shakespeare's Twelfth Night Onstage, a Director's Journey
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2011 “What Country Friends Is This?”: Creating Shakespeare’s Twelfth iN ght Onstage, A Director's Journey Dawn Monique Williams University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Performance Studies Commons, and the Theatre History Commons Williams, Dawn Monique, "“What Country Friends Is This?”: Creating Shakespeare’s Twelfth iN ght Onstage, A Director's Journey" (2011). Masters Theses 1911 - February 2014. 737. Retrieved from https://scholarworks.umass.edu/theses/737 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. “WHAT COUNTRY FRIENDS IS THIS?”: CREATING SHAKESPEARE’S TWELFTH NIGHT ONSTAGE A DIRECTOR’S JOURNEY A Thesis Presented by DAWN MONIQUE WILLIAMS Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF FINE ARTS September 2011 Department of Theater © Copyright by Dawn Monique Williams 2011 All Rights Reserved “WHAT COUNTRY FRIENDS IS THIS?”: CREATING SHAKESPEARE’S TWELFTH NIGHT ONSTAGE A DIRECTOR’S JOURNEY A Thesis Presented by DAWN MONIQUE WILLIAMS Approved as to style and content by: _______________________________________ Gilbert McCauley, Chair _______________________________________ Marcus Gardley, Member _______________________________________ Gina Kaufmann, Member ____________________________________ Penny Remsen, Department Head Department of Theater DEDICATION Just like the river, Jordyn, the girl of my dreams, Manifests my God. -
View a PDF of the Program with Actor Bios
Cast List VIOLA, later disguised as CESARIO – Katherine Berryhill CAPTAIN – Sylvia Sammon-Burns DUKE ORSINO, duke of Illyria – Noah Saltzman CURIO, his attendant – E. Grace Viveiros (Understudy) OLIVIA, a wealthy countess – Elizabeth Larabee MARIA, Olivia’s gentlewoman – Ursula Talbot MALVOLIO, her steward – Jonathan Baran SIR TOBY BELCH, Olivia’s uncle – Mack Meaders SIR ANDREW AGUECHEEK, friend of Sir Toby – Jalil Neal CLOWN, a jester in Olivia’s house – Noah Saltzman PRIEST – E. Grace Viveiros (Understudy) SEBASTIAN, Viola’s twin brother – Sylvia Sammon-Burns ANTONIO, sea captain and friend to Sebastian – Ursula Talbot OFFICER – E. Grace Viveiros (Understudy) Production Team Director – Anna Basile Assistant Director & Administrative Intern – E. Grace Viveiros Director of Education & Accessibility – Jordan Butterfield Associate Education Director – Matthew Tibbs School Partnerships & Professional Development Manager – Natalie Dreyer Costume Pieces – Amanda Downing-Carney Poster Design by – Lindsey Jenkins Special Thanks Rhode Island Department of Education, Berkeley Investments, City of Providence Art, Culture + Tourism, URI Child Development Center, Marianne Apice, Kaii Almeida, Shawn Williams, Amanda Downing Carney, buses, family, friends, and you for joining us! Jonathan Baran (Malvolio) is appearing in his first Shakespeare play, but is no stranger to the stage. He played Bill in Mamma Mia at LaSalle Academy and Santa Claus in Elf Jr. at Stadium Theatre. He also starred as private eye Warren G. Smugeye in the world premiere play, The Whale in the Hudson through YASI Players. Jonathan loves baguettes. Noah Saltzman (Duke Orsino/Clown) has been at YASI for seven years. He appeared on the Trinity Rep mainstage as Fleance in Macbeth and was Puck in A Midsummer Night’s Dream through YASI Shakes. -
Grotesque Transformations and the Discourse of Conversion in Robert Greene's Works and Shakespeare's Falstaff
Grotesque Transformations and the Discourse of Conversion in Robert Greene's Works and Shakespeare's Falstaff Item Type text; Electronic Dissertation Authors DiRoberto, Kyle Louise Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 08:47:04 Link to Item http://hdl.handle.net/10150/203437 GROTESQUE TRANSFORMATIONS AND THE DISCOURSE OF CONVERSION IN ROBERT GREENE'S WORK AND SHAKESPEARE'S FALSTAFF by Kyle DiRoberto _____________________ Copyright © Kyle DiRoberto A Dissertation Submitted to the Faculty of the THE DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY In the Graduate College THE UNIVERSITY OF ARIZONA 2011 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by Kyle DiRoberto entitled Grotesque Transformations and the Discourse of Conversion in Robert Greene's Work and Shakespeare's Falstaff. and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: 11/8/11 Dr. Meg Lota Brown _______________________________________________________________________ Date: 11/8/11 Dr. Tenney Nathanson _______________________________________________________________________ Date: 11/8/11 Dr. Carlos Gallego Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. -
TWELFTH NIGHT by William Shakespeare
TWELFTH NIGHT by William Shakespeare THE AUTHOR William Shakespeare (1564-1616) was born into the family of a prosperous tradesman in Stratford-upon-Avon, England. While in his mid-teens, he was forced to leave school because his family fell into a period of poverty, so that he had only a rudimentary education. In 1582, he married Anne Hathaway, eight years his senior and already three months pregnant. The marriage produced three children in three years, but in 1585, Shakespeare left Stratford to go to London to seek his fortune in the big city. In London, he embarked upon a career on the stage, becoming a popular actor by the early fifteen nineties. In 1591, he penned his first play, Love’s Labour’s Lost. His early plays were comedies, and show nothing of the depth that characterized his later works. His plots were borrowed from a variety of sources, both ancient and contemporary. During his career, he wrote 37 plays, three narrative poems, and 154 sonnets. His writing brought him fame and popularity, but he continued to act as well as write (critics love to speculate about which of the characters in his plays would have been played by the author). He eventually became a shareholder in the Lord Chamberlain’s Men (later the King’s Men when James I ascended the throne). Most of his plays were performed at local theaters like the Rose, the Globe, and the indoor Blackfriars. When the Globe burned to the ground in 1613 (a cannon misfired during a performance of Henry VIII), Shakespeare retired, and died in Stratford three years later on his fifty-second birthday. -
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.