DOCSLIB.ORG

Aim 20 ­ Othello Act V Scene I.Notebook November 01, 2018

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Aim 20 ­ Othello Act V Scene I.Notebook November 01, 2018 Aim 20 ­ Othello Act V scene i.notebook November 01, 2018 TOPIC: Othello by William Shakespeare Aim #20: How can we effectively utilize close reading skills to improve comprehension of Act V scene i?TOPIC: Introduction to 8th Grade Social Studies Do Now: Debrief about short-constructed response Homework Read Act V scene i and complete study guide questions - Due Thursday 11/1 ***Must submit to TIN by 8:07am*** Prepare for unit test on Friday 11/2 1 Aim 20 ­ Othello Act V scene i.notebook November 01, 2018 TOPIC: Act V scenes i & ii Study Guide Questions 47. How would Iago gain from Roderigo's death? Cassio's? By killing Roderigo,TOPIC Iago: Introduction guarentees that to his8th secrets Grade about Social his planStudies will never be exposed. Also, he will not have to pay back the jewels and money that Roderigo gave him to give to Desdemona. Iago can use Cassio as a scapegoat claiming that Roderigo and Cassio killed each other.Iago states, "Now, whether he kill Cassio, or Cassio him, or each do kill each other, Every way makes my gain" (V.i 12-14). Either way, it makes no difference who kills who as it will lead to Iago getting the upper hand and eventually revenge on Othello. 48. What happens when Roderigo attacks Cassio? Who actually wounds Cassio? When Roderigo attacks Cassio he is unsuccessful as Cassio is wearing armor. Cassio retaliates by stabbing Roderigo and killing him. While this fight is occuring Iago stabs Cassio in the leg because that is an area which is exposed. Cassio does not see Iago as it is very dark outside. 49. What does Othello assume has happened? Is he correct? After hearing cries and screams Othello assumes that Iago has carried out his part of the plan and killed Michael Cassio. Othello states, "The voice of Cassio! Iago keeps his word" (V.i 30). Unfortunately, Othello is incorrect in his assumption and Cassio has only been wounded in the leg. 50. After Bianca appears, what new part of his plot does Iago begin in Scene I, starting at line 107? After Bianca appears iago tries to make it seem that Cassio and Roderigo were fighting over her saying, "Do you perceive the gastness of her eye? Nay, if you state, we shall hear more anon. - Behold her well. I pray you, look upon her. Do you see gentleman? Nay, guiltiness will speak though tongues were out of use" (V.i 126-130). Iago goes as far as to say that Bianca is pale because she was caught but in reality, she is upset to see Cassio hurt. 51. Who will get the blame for the attack on Cassio if Iago has his way? Initially, Roderigo will get the blame for the attack on Cassio. However, Iago eventually passes the blame to Bianca claiming it was her fault the two men were fighting to begin with. 52. What justification does Othello try to give the murder of Desdemona in scene ii? The justification that Othello gives for killing Desdemona is that if he doesn't kill his wife she will betray more men. Othello states, "Yet she must die, else she'll betray more men. Put out the light, and then put out the light. If I quench thee, thou flaming minister, I call again thy former light restore should I repent me" (V.i 6-10). Clearly, Othello has made up his mind about killing Desdemona and there is no turning back. 53. How does Othello kill Desdemona? What interruption occurs while he is doing it? Othello kills Desdemona by smothering her with a pillow until she can no longer breathe. While he is committing the murder Emilia arrives and wants to know where Desdemona is and what is happening in their bedroom. 54. Whom does Desdemona blame for her death? Does Emilia believe her? Desdemona blames herself for her death telling Emilia, "Nobody. I myself. Farewell. Committed me to my kind lord. O, farewell" (V.i. 153-154). Emilia does not believe Desdemona and thinks there is foul play involved in her death. 55. How is Desdemona faithful to Othello to the end? Desdemona is faithful to Othello to the end because she lied right before her death. Not only does she take the blame for her husbands murder, but by lying before her death she has condemned herself to hell. 56. What happens when Iago tells his wife not to speak and to go home, orders which good Renaissance wives should follow without question? Emilia ignores her husbands requests to go home and wants the truth to be heard. Iago responds by killing her. "Good gentlemen, let me have leave to speak. 'Tis proper I obey him, but not now. Perchance, Iago, I will ne'er go home" (V.ii. 208-210). This is the first and last time Emilia stands up to her husband. 57. What is Emilia's reaction when Othello tells her that Iago has revealed Desdemona's affair with Cassio to him? Emilia was shocked and amazed. All along she had thought the tale had been a lie contrived by some awful person; never dreaming that Iago was responsible. Othello is beginning to realize that he has been lied to. 58. What is Othello finally beginning to realize in scene ii, line 205? What has happened to Desdemona's father? Othello is beginning to realize that Desdemona did not have an affair with Cassio and that Iago has been lying the entire time. Unfortunately, it is too late and she has already been killed. Desdemona's father Brabantio has died from grief. He was upset that his daughter Desdemona chose Othello over him. 59. Why does Othello attack Iago? Othello attacks Iago because he finally realizes that he was tricked. Desdemona was always faithful to him and she did not need to be murdered. "Are there no stones in heaven but what serve for the thunder? Precious villain!" (V.ii. 248-249). Unfortunately for Othello, it is too late and Desdemona is already dead. 60. What is Othello's reaction to having his sword taken away? After Othello's sword is taken away he feels weakened and vulnerable. For Othello, his sword represents courage and bravery. Without it a part of him has been taken away as well. 61. How does Othello use the second sword he finds in the room? Othello has another sword hidden, strapped to his thigh. A Spanish sword, hardened in ice cold water and razor sharp. He uses it to stab Iago and then kill himself. "Behold, I have a weapon. A better never did itself sustain upon a soldiers thigh. I have seen the day that with this little arm and this good sword I have made my way through more impediments that twenty times your stop" (V.ii. 273-278). With this sword Othello hopes to get his revenge on Iago and kill him. 62. How do Roderigo's pockets conveniently help to clarify much of what has happened? Inside of Roderigo's pockets, there are letters explaining the entire plan. "Now here's another discontented paper found in his pocket too, and this, it seems, Roderigo meant to have sent this damned villain but that, Iago in the interim came in and satisfied him" (V.ii. 329-333). One letter explains Iago's plan to get revenge and the other explains how Roderigo and Iago were working together. 63. What happens to Othello, Iago and Cassio in the end? Othello commits suicide. Iago is sentenced to torture. Cassio becomes governor of Cyprus. 64. Who gets Othello's estate? Why? Gratiano gets Othello's estate. Othello and Desdemona did not have any children, and since it was Othello who killed Desdemona, it is only right that one of her relatives receives the estate. "Gratiano, keep the house and seize upon the fortunes of the Moor, for they succeed on you" V.ii. (382-384). Even though Lodovico is Desdemona's cousin Gratiano is the elder which is why the property will go to him. 2 Aim 20 ­ Othello Act V scene i.notebook November 01, 2018 3 Attachments Venn Diagram ­ First Day Writing Sample.docx.
Load more

Recommended publications
  • Otello Program
    GIUSEPPE VERDI otello conductor Opera in four acts Gustavo Dudamel Libretto by Arrigo Boito, based on production Bartlett Sher the play by William Shakespeare set designer Thursday, January 10, 2019 Es Devlin 7:30–10:30 PM costume designer Catherine Zuber Last time this season lighting designer Donald Holder projection designer Luke Halls The production of Otello was made possible by revival stage director Gina Lapinski a generous gift from Jacqueline Desmarais, in memory of Paul G. Desmarais Sr. The revival of this production is made possible by a gift from Rolex general manager Peter Gelb jeanette lerman-neubauer music director Yannick Nézet-Séguin 2018–19 SEASON The 345th Metropolitan Opera performance of GIUSEPPE VERDI’S otello conductor Gustavo Dudamel in order of vocal appearance montano a her ald Jeff Mattsey Kidon Choi** cassio lodovico Alexey Dolgov James Morris iago Željko Lučić roderigo Chad Shelton otello Stuart Skelton desdemona Sonya Yoncheva This performance is being broadcast live on Metropolitan emilia Opera Radio on Jennifer Johnson Cano* SiriusXM channel 75 and streamed at metopera.org. Thursday, January 10, 2019, 7:30–10:30PM KEN HOWARD / MET OPERA Stuart Skelton in Chorus Master Donald Palumbo the title role and Fight Director B. H. Barry Sonya Yoncheva Musical Preparation Dennis Giauque, Howard Watkins*, as Desdemona in Verdi’s Otello J. David Jackson, and Carol Isaac Assistant Stage Directors Shawna Lucey and Paula Williams Stage Band Conductor Gregory Buchalter Prompter Carol Isaac Italian Coach Hemdi Kfir Met Titles Sonya Friedman Children’s Chorus Director Anthony Piccolo Assistant Scenic Designer, Properties Scott Laule Assistant Costume Designers Ryan Park and Wilberth Gonzalez Scenery, properties, and electrical props constructed and painted in Metropolitan Opera Shops Costumes executed by Metropolitan Opera Costume Department; Angels the Costumiers, London; Das Gewand GmbH, Düsseldorf; and Seams Unlimited, Racine, Wisconsin Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department This production uses strobe effects.
    [Show full text]
  • William Shakespeare's the TAMING of the SHREW a STUDY GUIDE
    The Classic Theatre of San Antonio Presents William Shakespeare’s THE TAMING OF THE SHREW Directed by Diane Malone A STUDY GUIDE Prepared by The Classic Theatre of San Antonio November 2013 TABLE OF CONTENTS Forward by Diane Malone, Director/Designer .............................................................................1 The Dramaturgical Research Process by Timothy Retzloff, Dramaturg ...................................................................................2 About William Shakespeare, Playwright (1564-1616) .......................................................4 Principal Characters .............................................................................................................5 Synopsis of the Play ...............................................................................................................6 Map of Renaissance Italy .....................................................................................................8 Cast, Production Staff, and Theatre Staff ..........................................................................9 Interviews with Some of the Cast ......................................................................................10 Reflections on the Play and Performance .........................................................................15 Rehearsal Photographs .......................................................................................................16 Works Cited ........................................................................................................................18
    [Show full text]
  • Verdi Otello
    VERDI OTELLO RICCARDO MUTI CHICAGO SYMPHONY ORCHESTRA ALEKSANDRS ANTONENKO KRASSIMIRA STOYANOVA CARLO GUELFI CHICAGO SYMPHONY CHORUS / DUAIN WOLFE Giuseppe Verdi (1813-1901) OTELLO CHICAGO SYMPHONY ORCHESTRA RICCARDO MUTI 3 verdi OTELLO Riccardo Muti, conductor Chicago Symphony Orchestra Otello (1887) Opera in four acts Music BY Giuseppe Verdi LIBretto Based on Shakespeare’S tragedy Othello, BY Arrigo Boito Othello, a Moor, general of the Venetian forces .........................Aleksandrs Antonenko Tenor Iago, his ensign .........................................................................Carlo Guelfi Baritone Cassio, a captain .......................................................................Juan Francisco Gatell Tenor Roderigo, a Venetian gentleman ................................................Michael Spyres Tenor Lodovico, ambassador of the Venetian Republic .......................Eric Owens Bass-baritone Montano, Otello’s predecessor as governor of Cyprus ..............Paolo Battaglia Bass A Herald ....................................................................................David Govertsen Bass Desdemona, wife of Otello ........................................................Krassimira Stoyanova Soprano Emilia, wife of Iago ....................................................................BarBara DI Castri Mezzo-soprano Soldiers and sailors of the Venetian Republic; Venetian ladies and gentlemen; Cypriot men, women, and children; men of the Greek, Dalmatian, and Albanian armies; an innkeeper and his four servers;
    [Show full text]
  • Jealousy and Destruction in William Shakespeare's
    Crossing the Border: International Journal of Interdisciplinary Studies Volume 4; Number 1; 15 April 2016 ISSN 2350-8752 (Print); ISSN 2350-8922 (Online) JEALOUSY AND DESTRUCTION IN WILLIAM SHAKESPEARE’S OTHELLO Ram Prasad Rai (Nepal) ABSTRACT Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior o! cer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is pos- sible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gi" from Othello, reach in Cassio through Emilia. # en he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. # ey are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior o! cer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself a" er he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other.
    [Show full text]
  • Bianca and Cassio's Relationship in <Em>Othello</Em>
    Marquette University From the SelectedWorks of Sarah E. Thompson 2012 "I Am No Strumpet": Bianca and Cassio's Relationship in <em>Othello</em> Sarah E. Thompson, Marquette University Available at: https://works.bepress.com/sarah_thompson/1/ 1 Sarah Thompson English 6220 December 12, 2012 “I Am No Strumpet”: Bianca and Cassio’s Relationship in Othello Throughout the critical history of Shakespeare’s Othello, audiences and critics alike have identified love and sexuality as major themes of the play. Indeed, there are many who would argue that the play as a whole is an examination of heterosexual relationships, with all the concerns, such as sexual anxieties, gender inequalities, and emotional struggles that accompany this subject. Discussions of Othello’s portrayal of the relationships between men and women integrate any number of other facets of literary study, such as the psychological factors that shape the relationships of Othello and Desdemona or Iago and Emilia, or the cultural expectations for gender and marriage during the Renaissance, and how these expectations are both upheld and critiqued in Othello, or how the genre elements of sex, or love, tragedies influence the play’s action and the audience’s expectations for the play. Many critics who examine the married relationships focus on the feminine roles that Desdemona and Emilia fill or challenge, while others study the masculine perspectives of these relationships, and seek to explore what prompts Iago’s seeming “hatred of his wife and all women,”1 or Othello’s obsession with Desdemona’s sexuality, and his self-doubts, frequently linked to his age and racial status, about his ability to satisfy her in their relationship.
    [Show full text]
  • SHAKESPEARE PIECES Othello Act IV, Sc. 3 EMILIA but I Do Think It Is
    SHAKESPEARE PIECES WOMEN Othello Act IV, sc. 3 EMILIA But I do think it is their husbands’ fault If wives do fall: say that they slack their duties, And pour our treasures into foreign laps, Or else break out in peevish jealousies, Throwing restraint upon us; or say they strike us, Or scant our former having in despite; Why, we have galls, and though we have some grace, Yet have we some revenge. Let husbands know Their wives have sense like them: they see and smell And have their palates both for sweet and sour, As husbands have. What is it that they do When they change us for others? Is it sport? I think it is: and doth affection breed it? I think it doth: is’t frailty that thus errs? It is so too: and have not we affections, Desires for sport, and frailty, as men have? Then let them use us well: else let them know, The ills we do, their ills instruct us so. Romeo and Juliet Act III, sc. 2 JULIET Gallop apace, you fiery-footed steeds, Towards Phoebus’ lodging: such a wagoner As Phaethon would whip you to the west, And bring in cloudy night immediately. Spread thy close curtain, love-performing night, That runaway’s eyes may wink and Romeo Leap to these arms, untalk’d of and unseen. Come, gentle night, come, loving, black-brow’d night, Give me my Romeo; and, when he shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night And pay no worship to the garish sun.
    [Show full text]
  • Intersectionality, Tragedy, and William Shakespeare Anna Flores Union College - Schenectady, NY
    Union College Union | Digital Works Honors Theses Student Work 6-2015 “Listen to Many”: Intersectionality, Tragedy, and William Shakespeare Anna Flores Union College - Schenectady, NY Follow this and additional works at: https://digitalworks.union.edu/theses Part of the Feminist, Gender, and Sexuality Studies Commons, and the Literature in English, British Isles Commons Recommended Citation Flores, Anna, "“Listen to Many”: Intersectionality, Tragedy, and William Shakespeare" (2015). Honors Theses. 302. https://digitalworks.union.edu/theses/302 This Open Access is brought to you for free and open access by the Student Work at Union | Digital Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Union | Digital Works. For more information, please contact [email protected]. “Listen to Many”: Intersectionality, Tragedy, and William Shakespeare Anna Flores EGL 401/402 Honors Thesis, Department of English Union College March 2015 _____________________________ Jillmarie Murphy Department of English Supervising Professor _____________________________ Patricia Wareh Department of English Second Reader 1 Abstract “Listen to Many”: Intersectionality, Tragedy, and William Shakespeare Anna Flores, BA English Union College, 2015 Supervisor: Jillmarie Murphy Centuries after his own lifetime, William Shakespeare dominates the Western canon and continues to have a profound effect on Western society. As the values of that society shift and social movements progress, so too must critical reception of Shakespeare's work. The purpose of this thesis is to reexamine Shakespeare’s Troilus and Cressida (1601), Othello (1604), and Antony and Cleopatra (1606) through a feminist lens in order to expose the larger societal issues addressed within the play. This thesis draws on Intersectionality, a modern branch of feminism, to discuss sexism, racism, classism, and homophobia within Shakespeare’s texts and the way in which they function to create the tragic ending of each play.
    [Show full text]
  • Early Television Shakespeare from the BBC, 1937-39 Wyver, J
    WestminsterResearch http://www.westminster.ac.uk/westminsterresearch An Intimate and Intermedial Form: Early Television Shakespeare from the BBC, 1937-39 Wyver, J. This is a preliminary version of a book chapter published in Shakespeare Survey 69: Shakespeare and Rome, Cambridge University Press, pp. 347-360, ISBN 9781107159068 Details of the book are available on the publisher’s website: https://www.cambridge.org/core/what-we-publish/collections/shakespea... The WestminsterResearch online digital archive at the University of Westminster aims to make the research output of the University available to a wider audience. Copyright and Moral Rights remain with the authors and/or copyright owners. Whilst further distribution of specific materials from within this archive is forbidden, you may freely distribute the URL of WestminsterResearch: ((http://westminsterresearch.wmin.ac.uk/). In case of abuse or copyright appearing without permission e-mail [email protected] 1 An intimate and intermedial form: early television Shakespeare from the BBC, 1937-39 In the twenty-seven months between February 1937 and April 1939 the fledgling BBC television service from Alexandra Palace broadcast more than twenty Shakespeare adaptations.1 The majority of these productions were short programmes featuring ‘scenes from…’ the plays, although there were also substantial adaptations of Othello (1937), Julius Caesar (1938), Twelfth Night and The Tempest (both 1939) as well as a presentation of David Garrick’s 1754 version of The Taming of the Shrew, Katharine and Petruchio (1939). There were other Shakespeare-related programmes as well, and the playwright himself appeared in three distinct historical dramas. In large part because no recordings exist of these transmissions (or of any British television Shakespeare before 1955), these ‘lost’ adaptations have received little scholarly attention.
    [Show full text]
  • No Fear Shakespeare – Othello (By Sparknotes, Transcription by Alex Woelffer) -1
    No Fear Shakespeare – Othello (by SparkNotes, transcription by Alex Woelffer) -1- Original Text Modern Text Act 1, Scene 1 Enter RODMERIGO and IAGO RODERIGO and IAGO enter. RODERIGO RODERIGO Tush! Never tell me. I take it much unkindly Come on, don’t tell me that. I don’t like it that you That thou, Iago, who hast had my purse knew about this, Iago. All this time I’ve thought As if the strings were thine, shouldst know of this. you were such a good friend that I’ve let you spend my money as if it was yours. IAGO IAGO 'Sblood, but you’ll not hear me! If ever I did dream of Damn it, you’re not listening to me! I never such a matter, abhor me. dreamed this was happening—if you find out I did, you can go ahead and hate me. RODERIGO RODERIGO Thou told’st me You told me you hated him. Thou didst hold him in thy hate. IAGO IAGO Despise me I do hate him, I swear. Three of Venice’s most If I do not. Three great ones of the city important noblemen took their hats off to him and 10 (In personal suit to make me his lieutenant) asked him humbly to make me his lieutenant, the Off-capped to him, and by the faith of man second in command. And I know my own worth I know my price, I am worth no worse a place. well enough to know I deserve that position. But But he (as loving his own pride and purposes) he wants to have things his own way, so he Evades them with a bombast circumstance sidesteps the issue with a lot of military talk and 15 Horribly stuffed with epithets of war, refuses their request.
    [Show full text]
  • Othello Background Information
    Othello Background Information The Source of Othello Shakespeare delighted in taking old stories, adding his own particular brand of genius, and creating something new and better. He based Othello on a story in a collection of tales, called Hecatonimithi, written in 1565 by Giraldi Cinthio, an Italian. A short synopsis of the original story gives some indication of how Shakespeare merely borrowed stories and made them his own. • The heroine, called Disdemona, falls in love with a Moor. Her family agrees reluctantly to her marriage with him, and the couple lives together in Venice for awhile. • The Moor (given no name) is sent to command the troops in Cyprus. The Moor and Disdemona travel there together, and it's in Cyprus that the ensign (Shakespeare's lago) plots against them. • The ensign is in love with Disdemona. He feels that her rejection of him comes from her love of the captain (Shakespeare's Cassio). Therefore, the ensign's plot is against Disdemona, not the Moor. • The captain loses his job when he attempts a fight with another soldier; he isn't drunk, and the character of Roderigo has no counterpart. • The ensign steals Disdemona's handkerchief (while she is holding his child) and places it in the captain's house. The captain finds it and tries to return it to Desdemona, but he leaves quickly when he hears the Moor's voice. • Together, the Moor and the ensign kill Disdemona by hitting her on the head with a sandbag, and then making the roof collapse to make it look like an accident, The Moor is eventually killed by a relative of Disdemona, and the ensign is tortured to death for another crime.
    [Show full text]
  • Shakespeare's Othello Beyond the Boundaries of the Page
    http://dx.doi.org/10.5007/2175-7917.2015v20n2p11 SHAKESPEARE’S OTHELLO BEYOND THE BOUNDARIES OF THE PAGE: AN ANALYSIS OF TWO FILMIC PRODUCTIONS Camila Paula Camilotti* Universidade Federal de Santa Catarina Abstract: This article aims at observing and analyzing two filmic productions ofWilliam Shakespeare’s Othello. The first, entitled Othello, was directed, produced and starred by Orson Welles in 1952 andthe second, also entitled Othello, was directed by Oliver Parker in 1995. My main interest in studying these two filmic productions is to observe – based on the notions of theatrical adaptation by Jay Halio (2000), Patrice Pavis (1992), and Allan Dessen (2002) – how each director constructed the seduction moment that happens in Scene III, Act III of Shakespeare’s playtext in their filmic productions. The analysis proves that two different conceptions, separated in time and space, are capable of making Shakespeare’s timelessness transcend and make the modern spectators aware of the fact that the human artistic capacity is able to cross unimaginable limits of creativity and transform a great literary work of art in a great (filmic or theatrical) spectacle. Keywords: Shakespeare’s Othello. Welles’ Othello. Parker’s Othello. Conception. I have’t. It is engendered. Hell and night Must bring this monstrous birth to the world’s light. (II.I 403-404) Whenever a text (in this case, a Shakespearian playtext) crosses the boundaries of the page to live in a theatrical or cinematic medium, with all its visual (and sonorous) elements,it has inevitably to go through several alterations in order to be seen and heard by an audience, in a certain time and space.
    [Show full text]
  • ESU Experiences Megg Ward My Experience at the University Of
    ESU Experiences Megg Ward My experience at the University of Cambridge summer school was truly extraordinary. I have always known that I loved Shakespeare, loved performing and studying his works as literature, but I have never had the opportunity to study such a breadth of his works in such an immersive setting. Through plenary lectures and my classes, I was able to explore Shakespeare’s career as a writer from his early plays, which had roots in Roman and medieval comedy, to his later plays where he developed an aesthetic and writing style of his own, blending genre and challenging conventional theatrical unities. The summer school also served as a sort of British monarchial boot camp, and I learned a great deal about the historical legacy of Shakespeare’s history plays and the notions of kingship inherent in his writings. These notions were almost entirely new to me, coming from an American-trained Shakespearean background. I took four classes, one of which was a performance based course taught by Professor Vivien Heilbron. Professor Heilbron was trained by Kristen Linklater, a vocal coach who had been in residence at the University of Louisville for a year, training my own vocal coach Dr. Rinda Frye. With my background in her approach to speaking Shakespeare, Professor Heilbron and I connected very quickly and she became a wonderful research asset and mentor while writing my papers. Also during this class I had the pleasure of meeting a member of the Kentucky ESU branch, Sylvia Bruton. I then went on to have class with her husband, Grant Bruton in the next week, where we studied King Lear.
    [Show full text]