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2017/18 SEASON

AS YOU LIKE IT STUDY GUIDE

STUDIO 58 AT LANGARA COLLEGE

Contents

Studio 58 2 Who we are Etiquette

The Play 3 About the Play Themes and Motifs Characters by Relationship Plot Synopsis Exploring Shakespeare Online

Our Production 7 Director’s Notes Creative Team Setting

Refugee Experience 13 Definitions and Statistics Activities For The Classroom Shakespeare and the Refugee Experience

Critical Response 17

Sources

As You Like It is a refugee story, a tale of people fleeing tyranny for the uncertain sanctuary of the unpopulated natural world. It is also a love story in which Rosalind falls in love with at a wrestling match. As the daughter of a banished duke, she must escape or be executed. Joined by her cousin and the jester Touchstone, she disguises herself and they escape to the forest of Arden. In exile, Shakespeare’s characters redefine themselves and make a new life.

One of Shakespeare’s great comedies with some of his most loved characters, As You Like It flips the traditional rules of romance. Gender roles, nature and politics run amok in a play that reflects on how confounding yet undeniably pleasurable life can be. Photo credit: David Cooper STUDIO 58 1

Studio 58

Who we are

Studio 58 began as a small Theatre Arts course in 1965 and classes were first held on the King Edward Campus of Vancouver Community College. The department moved to new facilities on the Langara Campus in 1970 and began to be known as Studio 58 (referring to the room number of space).

Kathryn Shaw is the current Artistic Director of Studio 58. She was preceded by Antony Holland who was Artistic Director from 1965 to 1985. Jane Heyman from 1985-2005 was the Associate Director, a position now held by David Hudgins.

The school operates its own theatre and presents 4 full-length and 2 indie-style productions annually. Professional directors and designers are hired to work on each production. Studio 58 productions are open to the public and reviewed by the Vancouver media.

2017/18 marks the 52nd season for Studio 58.

Theatre Etiquette

Live theatre is not the same as going to the movies - the audience watching a play, ballet, or opera, is an equal participant in the experience. Audience members have the power to enhance or distract from the stage. Here are a few simple rules of etiquette that will allow for enjoyment of the performance by all:

Live response is good! The actors can tell when you are responding to the story they are trying to tell. Just like how you want to tell your friends more stories when they are actively listening, actors want to tell their story even more when you listen, laugh, cry, and respond. The actors can hear you talking! They want to hear you respond to the story that they are telling, but they don’t want to hear the conversation you might be having with your friend sitting in the next seat. Please remember that you are here to watch the show, and the actors want to perform for you. If an audience member is not paying attention, the actor can feel it. The actors can see you! The house lights may be dim, but the actors on stage can still tell if you are watching the show. Imagine you were trying to tell a story, and the people you were talking to all looked at the floor, closed their eyes, or turned to their friends. The nature of live performance is that no play is ever the same twice, and the actors only have one chance to communicate with you. Be attentive and open to the surprises of live theatre. Cell phones and gum wrappers can be an equal nuisance! Please make sure that cell phones are turned off, noisy snacks are left outside, and other possible distractions are put away for the duration of the show. Cell phones and other devices are bothersome to the actors and the other audience members. That amazing thing you just saw happen on stage? You can tweet about it later!

Adapted from the Portland Center Stage and The Morris Performing Arts Center. STUDIO 58 2

The Play

Some Interesting Tidbits...

The actors in the original production of As You Like It did not want the play to be published, because once a play was printed they lost their monopoly over the text and therefore their profits. As a result, the play was not published in Shakespeare's lifetime.

As You Like It is one of several Shakespearean comedies (also including , A Midsummer Night's Dream and ) that feature weddings as part of their plots.

As You Like It contains more songs than any other play by Shakespeare. The song "It was a lover and his lass" was published (with musical setting) in Thomas Morley's First Book of Airs in 1600.

Shakespeare is known to have played the role of Orlando's aged servant Adam.

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Image of Shakespeare’s ; Schoenberg Center for Electronic Text & Image

About the Play

Date Written: 1599 or earlier. First Printing: 1623 as part of the First Folio, the first authorized collection of Shakespeare's plays. First Mention: in the Stationers’ Register, 1600. Source: Shakespeare based As You Like It on Rosalynde: Euphues Golden Legacie (1590), a prose romance by (1557-1625). Lodge based his romance, in turn, on The Tale of Gamelyn, an anonymous poem of 900 lines written in the middle of the 14th Century. This poem tells the story of Gamelyn de Boundys, a young man whose brother confiscates his inheritance. Gamelyn is forced to live as a forest outlaw but eventually recovers what is rightfully his. Historical Context: As You Like It was written near the end of Queen Elizabeth’s reign over England. Elizabethan England was a highly patriarchal society in which women had very few rights and marriages were arranged. To marry someone out of love was considered foolish and the court in general dictated

STUDIO 58 3 strict rules for the conduct of English royalty and citizens. In this light, As You Like It may be thought of as a wishful exploration of another, freer world, in which people coexist with nature, fall in love, and marry each other of their own volition. Title Meaning: In explaining the title of the play, Shakespeare scholar G.B. Harrison wrote, "[As You Like It] is a lighthearted comedy which appeals to readers at all stages and in all lighter moods. It pleases some by its idyllic romance, others by its optimistic philosophy of simple goodness, and yet others by its cynical irony. Indeed, you can take this play just as you like it."—G.B. Harrison, ed. Shakespeare: The Complete Works. New York: Harcourt, 1952 (Page 776). Settings: The action takes place in a palace in a fictitious France and in the Arden Forest. There is an Arden Forest in Warwickshire, England, and an Ardennes Forest in continental Europe. The latter forest encompasses parts of Belgium, Luxembourg, and France. Thomas Lodge, who wrote a play that Shakespeare used as the source for As You Like It, earned a medical degree in France and practiced medicine in Belgium, not far from the Ardennes forest. (Batkin)

Podcast Click to Listen

Marguerite Hanna as and William Edward as Orlando. 80: As You Like It… Plot and Sources Photo credit: David Cooper Bill Walthall; July 13, 2014

Themes and Motifs

Themes Definition of THEME Love Flexibility of human experience 1 a: a subject or topic of discourse or of artistic representation * guilt and punishment is the theme of the Urban vs. rural / court vs. country story *

Foolishness and folly b: a specific and distinctive quality, characteristic, or Family concern * the campaign has lacked a theme *

Nature vs. Fortune 2 : a melodic subject of a musical composition or movement

Art and culture 3 : a written exercise : composition : a research theme

Transformation 4 : stem Philosophical viewpoints (Merriam-Webster) Deception, disguise, gender Tolerance and goodwill

Motifs Definition of MOTIF Artifice

1 :a usually recurring salient thematic element (as in the arts); especially :a dominant idea or Exile central theme Time 2 :a single or repeated design or color

(Merriam-Webster) STUDIO 58 4

Characters by Relationship

THE COURT Duke Frederick Usurped the throne from Duke Senior Celia Daughter of Duke Frederick Rosalind Cousin to Celia, niece to Duke Frederick, daughter to Duke Senior Le Beau Courtier in the Court of Duke Frederick Touchstone Clown of the court What Shakespeare Plays Originally Sounded Like SONS OF SIR ROWLAND DE BOYS Oliver Elder son Orlando Younger son who loves Rosalind Adam Old servant to Oliver

FOREST OF ARDEN Duke Senior Elder brother of Duke Frederick Melancholic wanderer in the entourage of Duke Senior Amiens/Forrest Lord Lords attending Duke Senior Corin Old Shepherd Silvius Young Shepherd in love with Phoebe Phoebe Learned Shepherdess Audrey Country girl in love with Touchstone (McGlinn)

Shakespeare Uncovered PBS: Anatomy of a Scene

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Plot Synopsis

Orlando, youngest son of Sir Rowland de Boys, is at odds with his brother, Oliver, who is withholding the inheritance left him in their father's will. Oliver plans to have Orlando maimed or even killed in a wrestling match held before Duke Frederick (who has recently usurped the realm from his brother, Duke Senior), but Orlando wins the bout - and with it the heart of Rosalind, daughter of the banished Duke. When Rosalind too is banished, she decides to join her father, who is holding court with a group of other exiled nobles, including the melancholy philosopher Jaques, in the nearby Forest of Arden. Her cousin Celia, Duke Frederick's daughter, promises to go with her. For safety's sake, Rosalind disguises herself as a young man and takes the name Ganymede.

Learning that Oliver is still plotting against his life, Orlando too flees to the forest. Duke Frederick sends Oliver in pursuit, with instructions to bring back his brother dead or alive.

Orlando does not recognize his beloved when he meets her dressed in her disguise as the youth Ganymede. Seeing in this an opportunity to test his sincerity, Rosalind does not undeceive him; instead, she proposes a game of role-playing: by "pretending" to be Rosalind, "Ganymede" will attempt to cure Orlando of his lovesickness. At the same time, she finds herself having to deflect the attentions of Phoebe, a shepherdess who finds Ganymede a much more attractive proposition than the adoring shepherd Silvius.

To resolve these romantic complications, Rosalind organizes a masque, in the course of which she at last reveals her true identity. Meanwhile, the two sets of brothers are almost miraculously reconciled. Orlando saves Oliver from an attacking lion. Oliver falls in love with Aliena and by the end there are four marriages in the forest. (Stratford Festival)

Exploring Shakespeare Online

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Our Production

AS YOU LIKE IT by

September 28 – October 15, 2017

Directed by Michael Scholar Jr. Set Design by Lauchlin Johnston by Mara Gottler Lighting Design by John Webber Composer and Musical Director Corinne Kessel Fight Choreography by David Bloom with Conor Stinson-O’Gorman Choreography by Kathleen McDonagh Dramaturgy by Sindy Angel Assistant Director Alex Kirkpatrick Set Model for Studio 58 production. Lauchlin Johnston; Set Designer

Director’s Notes

In 1999, I assistant directed and acted in a production of As You Like It in my graduating year at the University of Alberta, which was directed by Susan Ferley (Grand Theatre). I played the roles of Amiens and Le Beau, and was thrilled when Kathryn Shaw called me a few months ago to ask if I would return once again to the Forest of Arden. Reading the script anew, I was struck by how this play from 500 years ago resonated today with our current global migrant crisis.

As You Like It is a refugee story. A good and gentle leader has been overthrown by a tyrant, in a coup. Rosalind, the daughter of the exiled Duke, must escape or be executed. She disguises herself as a man to protect herself while on the road. In this dangerous world, a group of displaced people forge a new loving family for themselves in the new world.

To tell this story we took a collaborative approach that asked all of the artists to feed into process. The creative team met as a whole several times leading up to the rehearsals, following the initial political hunch to further develop the means of expressing this idea. It is not often that you have designers sitting in on rehearsals, feeding into the process and reacting in real-time to what is unfolding. We continued to collaborate with the talented acting ensemble who have brought insight and passion to the work. As I write this we are still a few weeks away from opening, and I am quite eager to see how the piece continues to develop before your very eyes.

We hope our As You Like It is as you like it.

Sincerely, Michael Scholar, Jr.

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Creative Team

Michael Scholar Jr.; Director

Michael is an award-winning director, actor, playwright and producer. He is the Founding Artistic Director of Vancouver’s November Theatre, producers of the Jessie Award winning production of The Black Rider - which toured North America for over a decade (including sell out runs at the PuSh Festival and Arts Club Theatre). With November Theatre, Michael’s credits include writing and starring in Hard Core Logo: Live (PuSh Festival); writing and directing Ana for Hive 3 (2010 Cultural Olympiad); directing the NY premiere of ILSA Queen of the Nazi Love Camp (Medicine Show Theatre); and directing the world premiere of the rock opera Baby Fat (La MaMa ETC). Other directing credits include (Medicine Show Theatre); Mr. E’s Humungous Underground Digital Vaudeville Extravaganza!!! (Columbia University, NY); Fat Pig (Mitch and Murray Productions – Jessie Nomination); Humanity and No (Persephone Theatre, Saskatoon); multiple stagings of I Love You You’re Perfect Now Change (Arts Club Theatre / Gateway Theatre / Presentation House); and 5 Women Wearing the Same Dress (Presentation House). As Artistic Associate for the (Regina), he directed David Greig’s Midsummer and programmed a season of new work in their Sandbox Series. Michael has worked as an actor across North America and the UK, having received the 2004 CAEA Emerging Artist Award. Assistant Directing credits include working with Robert Wilson on La Traviata (Landestheater Linz, Austria), and Robert Lepage on Quills (Ex Machina, Quebec). Michael received his MFA in Directing in 2016 from Columbia University, where he was the Faculty Assistant to Anne Bogart.

Lauchlin Johnston; Set Designer

Lauchlin is thrilled to be designing for the first time at Studio 58! A Vancouver-based designer with designs seen across BC, Alberta, Saskatchewan and Ontario, Lauchlin has worked with companies including Gateway Theatre, Firehall Arts Centre, Alley Theatre, Vancouver Moving Theatre, Chemainus Theatre Festival, Arts Club Theatre, Rosebud Theatre, and Mortal Coil Performance. Favorite recent designs include The Pipeline Project with ITSAZOO, The Flick with Arts Club and Creeps with RealWheels. Coming this season, Lauchlin looks forward to designing Concord Floral at Douglas, Almost Maine and Tolkien at Pacific Theatre, Misery on tour with the Arts Club and sets and lighting for his seventh year at The Stanley Park Ghost Train. Lauchlin is a graduate of UBC holding a BFA in theatre design and production. He has received thirteen Jessie Richardson Theatre Award nominations and two wins, plus one Ovation Award. Lauchlin is a member of the Associated Designers of Canada.

Mara Gottler; Costume Designer

Mara is an Associate Artist and the resident costume designer for . This current production will mark the 78th Shakespearean play she has created, some of which were previously produced at Studio 58. Recent design credits include The Two Gentlemen of Verona and Shylock (Bard on the Beach); Baskerville (The Arts Club); and King of the Yees (Gateway Theatre/ NAC). International credits include Le Rossignol (Ex Machina/ COC/ Nederlands Opera/ Aix en Provence Festival) and La Tempete (Ex Machina/ la Nation Huron-Wendat). Upcoming design credits will include (Bard on the Beach); (Stratford Festival Theatre/ Ex Machina) and Jitters (The Arts Club). Mara has had her designs showcased at several World Stage Design exhibitions and has been short-listed for the Siminovitch Theatre Prize. She is a proud production instructor for Studio 58.

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Corinne Kessel; Composer and Musical Director

Corinne Kessel is a multi-instrumentalist performer, composer, and musical director. Corinne received her BMus and MA in Music from the University of Alberta and is the founding Managing Producer of Vancouver’s November Theatre. Favorite theatrical productions include The Black Rider (November Theatre), Hard Core Logo: Live (PuSh Festival); Hedwig and the Angry Inch (Theatre Network), An Eye for an Eye (Ghost River Theatre) and Ilsa, Queen or the Nazi Love Camp (Workshop West). Corinne has been the trombonist for the ska/reggae band, Los Furios for 13 years and has toured extensively with them across Canada, the USA and Mexico. When not creating auditory experiences, Corinne helps transform spaces as the Principal of Greenscape Design & Décor, is a published author, and serves on a number of local and international Boards.

John Webber; Lighting Designer

John is excited to be back at Studio 58 for his 5th production as Lighting Designer. He’s designed both Sets and Lighting since the early 1990’s and has had the privilege of working with some of Western Canada’s most talented and adventurous artists. John is the recipient of several Jessie Richardson Awards, an Ovation Award, and in Ottawa a Critics Circle award and a Prix Rideau Award all for outstanding design. Recent favorite credits include the Lighting for Onegin at the Arts Club Goldcorp venue (Jessie Award), CoSet and Lighting Design for Lost Operas of Mozart and Pauline for City Opera Vancouver, and the lighting for Marriage of Figaro and Rigoletto for Vancouver Opera. Other favorite credits include: Copper Thunderbird at the NAC, Palace Grand and No Exit for Electric Company, St Joan, , Part 1 and 2 for the Arts Club, and Calamity Town for Vertigo Theatre in Calgary. Next up for John is Missing for City Opera Vancouver and Pacific Opera Victoria.

David Bloom; Fight Mentor

Playwright, director and actor David Bloom founded Felix Culpa (with Linda Quibell), for whom he directed Judith, Und, and The Monument (Jessie nomination, best director - Large Theatre). He learned fencing from Antony Holland at Studio 58 in the late 70’s. He has choreographed fights for companies across Canada, including multiple productions each of , , , As You Like It, (including two productions of the opera), Dreaming and Duelling and Carmen. With the exception of Carmen, those shows also include Studio 58 productions. For Studio 58 he directed Savage Council, This is Locus 20 (both with Chick Snipper), They Have Mayonnaise in Montreal, September Report, and Fire Alley. He graduated in 1980, and currently teaches Solo Show for the program. Last season he performed in The Nether at the Firehall Theatre for Redcurrant Collective, and Realwheels’ multiple award-winning revival of Creeps. Other favourite performances include Aprés Moi (Ruby Slippers), Oleanna (Mamet on Main), King Lear (Honest Fishmonger), Three Sisters (Only Child Collective) The Designated Mourner (Felix Culpa). Upcoming: King Charles III at The Arts Club. His plays have been produced by Green Thumb, Studio 58, Felix Culpa, Carousel, Axis Theatre, Canadian Phoenix and Theatre at UBC. He won a Jessie award with co-directors Katrina Dunn and Mindy Parfitt for direction of Palace of the End (Felix Culpa / Touchstone / Horseshoes & Hand Grenades). Television appearances include iZombie, Supernatural, Fringe, Arctic Air, Da Vinci’s Inquest, Cold Squad, Psyche, Stargate, various Hallmark movies and The X-files.

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Kathleen McDonagh; Choreographer

Kathleen is a Vancouver Dance Artist; a performer, teacher and choreographer. She has presented her choreography locally and across Canada. As a performer she has worked with Anatomica, Battery Opera, Cori Caulfield, Dancecorps, DanStaBat, EDAM, Holy Body Tattoo, Jumpstart, Karen Jamieson Dance, Lola Dance, Crystal Pite, Thorvaldson and Trial and Eros. Since 2008 Kathleen has been a member of the Studio 58 faculty where she teaches movement. Kathleen has also been a teacher on faculty at Main Dance and Ballet BC Mentor Program, has guest taught at both UBC in the Department of Human Kinetics and The SFU Dance Department, as well as teaching in the Vancouver dance community. Kathleen works in the Gyrotonic® Method at her Bowen Island and Vancouver Studios. She is a founding member of the Canadian Alliance of Dance Artists - BC Chapter, and the 2003 recipient of the Vancouver Dance Centre’s Isadora Award, that recognizes an outstanding contribution to the art form of dance.

Conor Stinson-O’Gorman; Assistant Fight Choreographer

Conor thanks you for attending Studio 58's production of As You Like It. A contemporary take on a Shakespearean classic - emphasizing the play's relevance and poignancy to a timeless geo-political struggle - Conor hopes you enjoy the show as much as he did working on it. Returning to Studio, after graduating the Acting Program in December 2016, As You Like It is both his first Fight Choreographer credit, and an exciting return to form. For this unique Shakespearean production, Conor had the opportunity to bring his 10 years of experience as a National level Olympic Freestyle Wrestler to the stage. As an actor, select theatre credits include: “Phillie” in Problem Child (Pacific Theatre), “Hector” in and Cressida (Studio 58), “Roy M. Cohn” in Angels in America, Part 1: Millennium Approaches (Studio 58), and “Mercutio” in Romeo + Juliet (Studio 58/The Chop Theatre). Conor is represented by Sean Burrows at Principals Talent. Thank you, and enjoy the show!

Sindy Angel; Dramaturge

Sindy Angel is an actor, dramaturge and facilitator. She was born and raised in Cali, Colombia, where she began her professional theatre training. She co- founded an independent theatre company performing shows and workshops with and for communities facing complex barriers and systemic discrimination in South America. She started the first theatre program in the women’s prison in Cali. Since moving to Vancouver, in 2006, she has worked and collaborated as an actor with companies like New World Theatre and Urban Ink. Most recently, she performed in Open Fire, written by Carmen Aguirre. Also, she has facilitated Theatre of the Oppressed workshops for youth, women, immigrants and refugees, and people who have developmental, mental, and physical challenges. Sindy’s journey of coming to Canada as a refugee from Colombia, has informed her commitment to support immigrant and refugee communities. For the last eight years, Sindy has done extensive advocacy and outreach work with refugees from all over the world; her lived experience and her community work continues to inspire her creative journey to use theatre to address issues of racism and discrimination.

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Alex Kirkpatrick; Assistant Director

Alex is so grateful to be a part of this production of As You Like It, and for the chance to work with Michael and Sindy. Originally from Ontario, Alex is a recent graduate of Studio 58 where he focused on Directing and Designing. In his short career, he has had the privilege of working with Stone’s Throw Productions, Bard on the Beach, Ruby Slippers Theatre, The Gateway Theatre, Caravan Farm Theatre, The Great Canadian Theatre Company and the National Arts Centre. Soon Alex will begin rehearsals for Jekyll and Hyde with Theatre Crossing and Double Axe Murder with Rusticate Theatre at Presentation House.

Marguerite Hanna as Ganymede and William Edward as Orlando. Photo credit: David Cooper

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Setting PROLOGUE: A REFUGEE CAMP

Amiens Sings: Now, my brothers and sisters in exile, Whither wander you? When I was at home, I was in a better place. I would I were at home. Then sing me home.

Set Model for Studio 58 production. Lauchlin Johnston; Set Designer

DUKE SENIOR CHARLES

Now, my co-mates and brothers in exile, There's no news at the court, sir, but the Hath not old custom made this life more sweet old news: that is, the old Duke is banished Than that of painted pomp? Are not these woods by his younger brother the new Duke; and More free from peril than the envious court? three or four loving lords have put Here feel we but the penalty of Adam, themselves into voluntary exile with him, The seasons' difference, as the icy fang whose lands and revenues enrich the new And churlish chiding of the winter's wind, Duke; therefore he gives them good leave Which, when it bites and blows upon my body, to wander. Even till I shrink with cold, I smile and say 'This is no flattery: these are counsellors ACT I, SC i That feelingly persuade me what I am.' Sweet are the uses of adversity, And this our life exempt from public haunt Finds tongues in trees, books in the running brooks, Sermons in stones and good in every thing.

ACT II, SC i

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Refugee Experience

Definitions and Statistics

WHO IS A REFUGEE? A refugee is someone who has been forced to flee his or her country because of persecution, war, or violence. According to the 1951 Refugee Convention: “…a well-founded fear of being persecuted for reasons of race, religion, nationality, membership of a particular social group or political opinion, is outside the country of his nationality and is unable or, owing to such fear, is unwilling to avail himself of the protection of that country; or who, not having a nationality and being outside the country of his former habitual residence as a result of such events, is unable or, owing to such fear, is unwilling to return to it.”

“We are now witnessing the highest levels of displacement on record. An unprecedented 65.6 million people around the world have been forced from home. Among them are nearly 22.5 million refugees, over half of whom are under the age of 18. There are also 10 million stateless people who have been denied a nationality and access to basic rights such as education, healthcare, employment and freedom of movement.” (United Nations High Commissionor for Refugeee)

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INTERACTIVE MAP – Click on image to see the global movement of refugees over 15 years

The visualization is part of the Explorables project, a platform by CREATE Labs helping to make big data more digestible. To do this, the project relies on maps to make global crises and complex data more accessible.

MORE MAPS AND VISUALS - Transforming raw data into maps, graphs and timelines.

Activities For The Classroom

Educational resources to better understand the refugee crisis By Camille Roche 7 Great Films About the Current Refugee Status Cultural iceberg activity Language and Culture Worldwide

Identity circles activity Icebreakers

Click to view list

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Shakespeare and the Refugee Experience

Globe Theatre performed Hamlet for 300 migrants in the “Jungle” camp in Calais. Click image to watch on YouTube.

Shows have also taken place in migrant camps in Djibouti, Cameroon and Jordan. Visit Shakespeare’s Globe tour website here to learn more about the project.

Click left image for full story on YouTube and right image for short video on Vimeo.

The Zaatari refugee camp in Jordan is one place that some Syrians are calling home these days. It’s a place where time passes slowly, as the fighting continues in their own country. Children in particular have been forced to grow up quickly. But one man is encouraging them to explore their creative side. Presented by Natalie Carney, produced by CGTN.

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Critical Response

Take some time before the play to think about these questions. Consider them while watching and discuss with your group after the performance.

TITLE: What is the significance of the title?

SETTING: Is the setting significant and how is it related to the time period in which the work was written? Does the use of contemporary costumes and design in this production enhance your understanding of the story? Why or why not?

How do the settings of As You Like It influence the three main themes of the work: love, nature vs fortune, transformation?

CHARACTERS: Who were the most important characters in the narrative? Were the same characters most important in terms of themes or ideas? Which characters actions had the most effect on others? Which had the least?

As You Like It is full of characters pretending to be someone other than themselves. To what degree are the characters aware that they are role-playing? Does their acting have serious consequences, or is it merely a game?

What is the significance of the wedding? Discuss this episode in relation to other transformations in the play. What does As You Like It suggest about the malleability of the human experience?

POINT OF VIEW: Whose point of view is predominant in this play? How does the choice of narrator impact the themes of the work?

In a play that ends with the formation and celebration of a community, we may be struck by Jaques’s decision not to return to court. What does his refusal suggest about his character? What effect does it have on the play’s ending? Does it cast a shadow over an otherwise happy ending, or is it inconsequential?

Were you surprised by your answers after the play? Did characters behave the way you expected them to? Could you see yourself in any of the situations you witnessed? How would you react?

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Sources

Batkin, Liza. "As You Like It." LitCharts. LitCharts LLC. 27 February 2017. Web. 09 September 2017.

Editors, SparkNotes. “SparkNote on As You Like It.”. 2003. SparkNotes LLC. Web. 10 09 2017.

Internet Shakespeare Editions. As You Like It. 28 March 2017. Web. 11 September 2017.

McGlinn, Ph.D., Jeanne, and McGlinn, Ed. D., James. "A Teacher's Guide to the Signet Classic Edition of William Shakespeare's As You Like It." 01 01 2017. Penguin. PDF. 1 September 2017. .

McNamara, Tom. Anatomy of a Scene. 15 January 2013. Public Broadcasting Service. Web. September 17.

Merriam-Webster. Dictionary. 2017. Web. 10 September 2017.

Stratford Festival. As You LIke It Study Guide. 2017. Web. 30 August 2017.

United Nations High Commissionor for Refugeee. Figures at a Glance. 2017. Web. 02 September 2017.

Walthall, Bill. The Bill/Shakespeare Project. 2017. Web. 28 August 2017.

Wikipedia. As You Like It. September 2017. Web. 10 September 2017.

Produced for Studio 58 by Kari Scott-Whyte, Library Technician. Additional research provided by Sindy Angel, Dramaturge.

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