The Learning Outcomes fulfilled

I feel like I have learned and grown tremendously this semester through Shakespeare. I have gathered in knowledge about Shakespeare of course, but also about other things as well. Here is how!


1. Gain Shakespeare Literacy 
I have added many new plays to those that I have already read of Shakespeare's works. I would be comfortable discussing a good number of plays including The Tempest, Henry V, The Merchant of Venice, Hamlet, Richard II, King Lear, Love's Labor's Lost, A Midsummer Night's Dream. Besides these I have a basic knowledge of the rang of plays that Shakespeare wrote and many of his common themes. (Quotes, Richard II and King Lear, Richard II and Hamlet)
I am very familiar with Midsummer, the play that I used in dept for the final project. (Themes and Meanings, A Fairytale) 
As Shakespeare did write plays meant for the stage I learned more and more about the many performances that people have done.
 I was very easy for me to see many references to Shakespeare in pop culture. I have also seen his legacy in our English language. (Dr. Who, Children's Book, Psych, Shakespearean words)

2. Analyze Shakespeare Critically 
I have become definitively more comfortable with Shakespeare's text and how to analyse it through the themes and language. (Henry V, Marchant, Hamlet, Richard II, Chorus, Family Theme, Christian Theme, Stock characters)
I have compared different plays to each other and found similarities and differences in Shakespeare. (Richard II and King Lear)
I have also been able to watch and analyse some performances of Shakespeare, to where I have been able to get something out of it, and really apply (or relate) the themes and concepts to my life. (Hamlet, Puck, Love's Labors, Macbeth)

3. Engage Shakespeare Creatively
Of course the final collaborative project is the most obvious display of my creativity with Shakespeare. (Writing Shakespeare, Video, The Brainstorm, Early Ideas)
I kind of had this thing for music, too bad I wasn't able to really write any of my own. (Music - Tempest, and Macbeth)

4. Share Shakespeare Meaningfully
I have practiced this readily through my blog. I have also found myself sharing my experiences with the people around me naturally because it really excited me. I shared what I was learning and also what I was creating with Shakespeare. (Dating, Sharing Shakespeare Characters)
I was also able to connect with others on the web who were all about Shakespeare too. (Another blog)


5. Gain Digital Literacy
Again the most obvious example of this is this very blog. I never blogged before this class, but I have really enjoyed it. I have plans to continue in this with other interests, so keep a look out for the next really cool blog!!
This class also gave me more opportunity to practice research skills (consuming), but also new skills on how to use technology to create projects and also how to share them (producing). (Video, Youtube)
Of course, toward the end of the semester there was a shift form individual to collaborative work. This increased the need for technology. I worked on the class wiki a lot.


Overall this was an amazing experience. I have been telling everyone I know to take this class. I learned so much, but still had so much fun. I really appreciated the freedom that I had with my learning. It was because of this that I really saw how much I could really do. I can still see so many ideas I had that I could return to and so many other things that I can improve further. 
I have to admit, I'm glad the semester is over, but I'm sad this class is ending along with it. I will keep reading Shakespeare and keep sharing my thoughts!

New and Improved

I have had some serious trouble with youtube, but here is a link to my final version of the video segment.
Enjoy!
http://www.youtube.com/watch?v=JWW5oPhpqZs

Controversy/ Censoring video

Love Birds

Here is my lovey dovey scene! I'm going to post again with explanation, justification, and evidence for my choices. Sorry it's a lot of text. We will probably have to cut it for the recording of the storyboard, but I figure I'd give it what I got.

[enter Ortegia]

Puck:

Oh here we are met and a rhyme it begs

For thou hast been gone from me for so long.

Oh my fair, my sweet, apple of mine eye

It is not by chance that by this tree we meet.

For I see in thee the fruit of sweet love.

How this hath an affect on me, inside,

'Tis a red fruit plucked from this very thorn.

And like a true thorn it poisons me more.

Can I beg from thee thine pure and perfect,

True antidote for my heart's very heart?

For such an one can only come from thee

who also anointed me originally.

Then when these love potions mix, synergy

Will increase them, thine and mine, finally.

Then would it taste complete and be to us

The brightest shape and savor of we.

Ortegia:

I know not thy tongue nor thoughts nor forest.

Sayest thou that I am thine own sweetest?

Sayest thou that one can give curse and cure?

And how is it that I come to harm thee

When all my efforts are to pleas and ease thee?

Puck:

Yes, this thine scene was what hit me strongly.

And so strangely was I crippled by thee.

In deed I illustrate just that. Thy charm

Was in thine beauty that all the trees and

Spirited shadows cannot equal.

Still to me it, like a blossoming bud,

Shown as that white rose in wait, withholding

Somewhat but shaking in the dancing wind.

For fleeting was the air that would wait and 

Send forth thy sweet perfume under the moon.

With these changing drafts and weather, thy bloom

Withered. I found thee fainting in my arms.

Ortegia:

Oh good man can you tell me this effect,

With a whirling tale as sweetly whispered?

If this flow'r was meant to fruit, did it so?

Was it the head and tail, the fixed issue.

Puck:

My fair fairy friend, thou dost understand.

Fall did  ripen the effect of the start.

It's a gift that was readied for reaping.

It's the form by which union is formed.

The fruition of the sweetest figure.

It's my song of one joining one more and

the two becoming such an one as would

Confound all other changing cords seeking

Strikes and hiss' that pull away affection.

Ortegia:

And to thine will I add a spell, my song.

The notes will strike, the bells go chiming so.

Music will rise and undo the fallen

Coupled with noises will heal the stricken.

We will the lords and ladies be charming.

Celebration of the end result

Ending the flirts of what was first, those times

Of sweetness to be more deepened in love.

Such will be the rarest state of spirit

And mind that was touched by the highest taste.

Deeper disposition of affection

Will yet be yielded from my flower's fruit.

Puck:

Oh dear Ortegia, how I love thee so.

Ortegia:

My forest fairy, Robin Goodfellow,

Will thou wait for me?

The affected time will fly by for us both

Due to the rare state of spirit and mind.

Then with timing and season we can be

Soring as love birds through eternity.

Puck:

For my flitting will time be fleeing me,

They cannot abide my mind and heart

For these have been tweaked by a sweet poison.

I will wait for thee.

For then wilt thou see my winged love for thee

As I have perceived thy sweet love for me.

Ortegia:

I will return because of thee and we.

Animated Shakespeare

I came across something that might be good for us to look into.
Shakespeare: The Animated Tales (1992–1994)
It is a BBC series of animated shakespeares. The voices were done by the Royal Shakespeare Co. and the animation was done by very accomplished Russian artists.
This might be good for our group to look into for more story boarding ideas.

Here are some images from Midsummer:

And this is from Romeo and Juliet.

Love's Actions Analyzed

I was reading Andrew's post and it got me thinking. I actually started to comment when I realized that it was turning into a really long awkward blob of text, so I decided to put it here instead.
I'd have to agree that Love's Labours Lost was a little heavy in the gushy romance department. But this kind of thing is common even now-a-days in chick-flicks and what not because, and you're right Andrew: It speaks to girls. And franckly it is commenting on how people act when they are in love. These actions, or labors, must be the focus of the play because it's in the title, clearly.
So I say that with this one Shakespeare is addressing the age-long question of what a girl wants and what actions speak loudest of love. The technical "right answer" is everything the men do in Love's Labour's Lost along with anything else you see guys do in the typical chick-flick; namely, poetry, favors or gifts, flowers, chocolates, and what have you. But actually, I think it comes down to a lot more. These sort of actions that are categorized as romantic are a big part of media and entertainment because I believe they actually happen in real life. But I believe they happen in real life as a natural result of love. If you love someone (even unromantic love) you want to spend time with them, you want to make them happy, and you truly have their best interest at heart. In romantic love you find yourself saying things that are cute to the other person naturally, because you like them, you actually think they are pretty, etc. I guess it is the sincerity that we are all looking for. We are all looking for a person that is compatible, but also a person that we can love sincerely and be loved sincerely in return.
Because we are so emotionally driven, we find ourselves acting like "fools" to everyone else, because we are driven to do things that we wouldn't if we didn't have someone to do it for, someone we sincerely loved.
We see a lot of this in poetry, gifts, the spending time together. Though these actions are natural, I think that sometimes they are forced because we put such pressure and precedence on them. When this is the case, you end up with a really awkward situation where one person is trying a little too hard. I have experienced such smotherings.
I guess this is my take-home-message. Love's labours are not something to worry about. They are not the center of relationships; love is. And these actions come naturally if you find yourself really liking someone. In other words: the guys won't wait for Valentines day to show their affection if they actually have any. ;)

"Real" Characters

I just wanted to revisit one of the discussion topics from this week's class; being invested in characters. I am real a sucker for fantasy and I am prone to getting very invested in characters. At one point during this semester, I was watching Once Upon A Time, I realized that I was holding my breath when the commercials came on. It was out of excitement and suspense, because I was so invested in the characters and the plot. My roommate put it this way, "there is liking a show, and then there's not breathing." Hahaha.
I've also been known to cry in a good book. This is another manifestation of loving the fictional characters.
I have to admit that I cried in Harry Potter, when I was reading the 7th book. I couldn't believe that Hedwig was gone. How could she die? She had always been right there with Harry. And how could I have cried over an owl dying in a random book? But that is the power of being invested in a character.
What about you? What character(s) do you love? Any Hunger Game fans out there? It comes out in about 27 hours!

Magic, Metamorphoses

I read a book, a study of Midsummer and I learned a lot that I think can help. I won't reiterate every example from the book, but I will give my ideas for how we could incorporate these things into our play.
(It showed that there was a lot of influence from Ovid's Metamorphoses in Midsummer. Bottom was given the head of an ass and the play within a play about Pyramus and Thisbe is a parody of Ovid's work.)

To Change:
Metamorphoses was described as "changing form" and there were lots of examples given.
- I think the best example of this in our play will be when Puck's memories are lost and his love changes. This would not be a physical change, but an emotional one.
- He could also "change form" into a bird or some other animal in order to steal for Oberon more effectively.
Exchanges:
It also talked about "exchanges" especially the traffic of women in marriage.
- We could have the girl's father reluctant to give her to Puck in marriage just like Hermia's father Theseus. "As she is mine, I may dispose of her..." (Midsummer 1:1)
- We can also have the girl send a message telling Puck that if he hears that she is engaged to another man, it is not true because she loves Puck. (Anne's quote can be used in this note.) This message can be "exchanged" between different messengers and somehow it doesn't ever reach Puck.
The Moon:
The moon was a symbol of change and the passage of time. (The moon was also seen as female, so if we want to reference it we need to use the pronoun "her".)
It was also thought to be the cause of "Lunacy".
- One of Puck's pranks can be to use moonlight (like "moon shine" from Midsummer) and shadows to drive a man mad and becomes a "Lunatic". Because he is then "lunar" he can take the note that is sent to Puck, and therefore he never gets the message and thinks that the girl has "changed her mind".

Greek Back Story-
I found that Titania based off of the Greek Goddess who is Queen of the Night (daughter of Titan the Sun God). This might be a good place to start looking for names and characters to base the other fairies that we are creating, especially the love interest.

The Meaning of Star-Cross'd

First, some more proof.
Our play is obviously connected to other Shakespeare plays.
We are using characters from Midsummer Night's Dream: Puck, Oberon, Titania.
And from The Tempest: Ariel.
And as Anne said, our title is from Romeo and Juliet. Interestingly, these 2 plays (Romeo and Juliet and Midsummer) are many speculate to already be connected. The play within Midsummer about Pyramus and Thisbe is sometimes thought to be the source for Romeo and Juliet.  Both of these are tragic stories about lovers. Both of these end with the death of both of the lovers. Therefore are tragedies.

This brings me to my 2nd point. We need to be very clear about what genera we are making Star-Cross'd. We can really go to ways. If we call it a Romance, like Midsummer, the focus will be the mystical, magical aspects of the play; the fairy world and Puck's pranks in the forest. We could also make it a Tragedy like Romeo and Juliet, which is what the title Star-Cross'd might really make people think of. It would play up the fact that the lovers don't get to be together and focus on the sad ending. The other part of a Shakespearean Tragedy is that people die at the end. If we want to officially call it a Tragedy, I suggest that we make Puck's love commit suicide at the end because of miscommunication and Puck's forgetting. Like in Hemlet, there needs to be something of a body count at the end of the play.

Puck's music

This is a piano piece that my friend told me she had played. It is based on Puck the Character.
I just thought it was really relevant to our Star-Crossed play.
Check it out. Maybe this can help us in the music department.

Quite Humorus, quite indeed

The Fairy-tale Aspect

I realize that I wasn't clear about where Once Upon A Time fit in with the story. If you watch the show you probably caught on, but this will clear things up for those of you that haven't...

The coolest part about working on a story for Puck would be the mysterious woods and the magic. I am quite partial to the idea of using a magic potion. It is like a reverse love-potion. It would cure Puck of his unattainable love in a very lighthearted way. The effect would be to forget all memories of the person you were in love with. This way you would never suffer over it. You would not be bothered by the memories, or the image of the person that you are in love with.
I can totally see Puck having his mischievous side come out after drinking this potion because it makes you completely oblivious when you were so preoccupied and obsessed before.
I think it would totally be an OK rout to go because Shakespeare used magic and even a love potion before in Midsummer Night's Dream.
Here is where Puck talks about it.

On the ground

Sleep sound:

I'll apply

To your eye,

Gentle lover, remedy.

[Squeezing the juice on LYSANDER's eyes]

Plus if this is the back story for Puck, it would add dramatic irony when Puck uses potions on other people later in his life in Midsummer Night's Dream, because that is exactly what he did, only he doesn't remember of course.

This kind of potion was actually used in Once Upon A Time, which is where I got the idea.
This clip shows the effect of the potion. I can really see Puck becoming apathetic and adding to his joking attitude as a result of this potion.
(Just to clearify the clip: Snow Wight was in love with Prince James (charming) but he was being forced into an arranged mariage and therefore they couldn't be together. That's when Snow decided to forget him.)

Here is another clip that explains more about how the potion will function. (Snow makes a deal with Rumpelstiltskin to get the cure for a broken heart.) - Watch out Rumpel is very creepy!

Puck's Tragic Tale

OK - now that my ideas are coming together I am getting excited. I am really liking the Puck back story idea for the final project (by Andrew). Here are some possible particulars.

1st - The Chorus Character

Like I said in  my previous post I think a chorus or chorus like character is an important part of a play. They really help the audience get the big picture of the play or in some cases understand the background. When they are not acting like the traditional chorus like from Greek historical plays, they are found as a common character that is very relate-able and therefore the audience can readily trust them.
The person could be one of Oberon's servants who is a friend of a friend of Puck. He will fill the function of a chorus character in the way that he tells Puck's story to Oberon (like royal gossiping) and then proceeds to comment on it which leads to Puck solution to his issues. Sorry, I am purposely being vague here because I am going to go into more detail about the plot which will clear things up.

2nd - The Plot

The is the main reason I am getting so excited. Reading Andrew's idea I started to see a connection with one of my favorite TV shows right now: Once Upon A Time. I know I'm a nerd, but here me out, I think the story could be really cool.
Here is the main outline.
Puck travels from his home in Athens to India with a trading group.
Puck meets and falls in love with a fairy there, who unbeknown to him is the princess.
Puck returns home and finds out about his love and hears that she has just gotten married. 
Puck is sad and enlists the help of Oberon's magic.
Puck receives a curing potion in exchange for service to Oberon. This potion makes him forget about the princess all-together and he enters Oberon's court as a personal attendant destined to do all sorts of odd little jobs for Oberon.

Here are the specific details.
Act 1 - Introducing Puck and his family. They live under the rule of Oberon and Titania in the woods by Athens. They all celebrate his coming of age with a feast, dancing and a short play (play within a play). He is invited by his father as a gift to go with him on a journey to India to do trading. (This is already referred to in Midsummer Night's Dream with Titania's changeling child from India.) They prepare for travel and depart.
Act 2 - They have arrived at the woodland in India. They are getting reacquainted with fairies that they have done business with previously. One night, Puck wakes with a strong wind and he decides on a midnight stroll. He sees a beautiful fairy by the lakeside and decides to have some fun with her. He pretends to be a royal ambassador from Athens to heighten his prestige. She turns out to be the princess, or lady in waiting and they obviously fall in love. He continues to hide his identity, but low and behold she is holding out as well; she is engaged, betrothed since her birth to marry and take over the ruling of the Indian woodlands. It comes time that Puck's traveling party is about to leave and so he and the princess part promising to a sweet reunion later when she must represent her royal family in Athens.
Act 3 - Back in Athens Puck is welcomed home with another celebration. At the party Pucks friends reacquaint him with all the gossip and the goings on. He is told that he and his father must have just missed the big news. There was a big royal wedding in India. Hearing this Puck is distraught. He finds that his love could never be. This is where it connects to Anne's true love idea. We could easily use her lines reworked from Antony and Cleopatra. His heart is broken. He is distraught and hurt somewhat like Andrew was talking about. His friends and family obviously see his blues, but find him awkward to be around and therefore leave him to himself.
Act 4 - In the royal court Oberon receives official royal announcement of the wedding in India. While commenting on this he asks for any other gossip from his servants and they tell him of the the trade that happened in India and the welcome home party. This retelling will be done by the chorus character who is also privy to Puck's personal plight. He talks up Puck's success in India and explains about the lost love and his current situation. Oberon takes petty on him and decides to use his magical skills to help him. We works on a magical potion and then attempts to find Puck on one of his nightly strolls. When they meet that night, Puck confides how broken hearten he is hoping that Oberon's magic might hold some cure for him. Oberon responds that he can help him. With this magic potion! But of course Puck must agree to something in return. Oberon offers the potion while requesting Puck's service as a personal attendant. Puck sees this as a great opportunity; his troubles will be fixed and he will gain prestige in the king's service. He asks more specifically after the potion and is told that it is a complete cure, it will erase all memory of the Indian fairy princess he is in love with! This is extreme, but obviously love needs the strongest cure. He reflects and has a moment to decide his course, before he drinks the potion. The final scene is of Puck learning the ways of Oberon's court and being taught the tricks of the trade. His family and friends try to greet him and socialize with him, but he denies them because they had not stood by him in his dark time.

The Shakespearean Chorus

I talked before about the concept in acting of  breaking the 4th wall. I am thinking that this is something we could put into our imaginary play because Shakespeare did it often. It is found most commonly in connection with the chorus or a chorus like character.

Shakespeare, in some of his histories, loosely followed the ancient Greek tradition of having a chorus in the play. This person or group of people would usually brake the 4th wall and talk directly to the audience about the plot and events and background of the play.

Here is an example from Henry V - 

Chorus (Henry V, prologue)

O for a Muse of fire, that would ascend

The brightest heaven of invention,

A kingdom for a stage, princes to act

And monarchs to behold the swelling scene!

Then should the warlike Harry, like himself,

Assume the port of Mars; and at his heels,

Leash'd in like hounds, should famine, sword and fire

Crouch for employment. But pardon, and gentles all,

The flat unraised spirits that have dared

On this unworthy scaffold to bring forth

So great an object: can this cockpit hold

The vasty fields of France? or may we cram

Within this wooden O the very casques

That did affright the air at Agincourt?

O, pardon! since a crooked figure may

Attest in little place a million;

And let us, ciphers to this great accompt,

On your imaginary forces work.

Suppose within the girdle of these walls

Are now confined two mighty monarchies,

Whose high upreared and abutting fronts

The perilous narrow ocean parts asunder:

Piece out our imperfections with your thoughts;

Into a thousand parts divide on man,

And make imaginary puissance;

Think when we talk of horses, that you see them

Printing their proud hoofs i' the receiving earth;

For 'tis your thoughts that now must deck our kings,

Carry them here and there; jumping o'er times,

Turning the accomplishment of many years

Into an hour-glass: for the which supply,

Admit me Chorus to this history;

Who prologue-like your humble patience pray,

Gently to hear, kindly to judge, our play. 

I thought it was interesting to see that though Midsummer Night's Dream is not a history and there is no chorus, Puck brakes the 4th wall quite often.
Here is an example -

Puck (Midsummer Night's Dream, Act V end)

If we shadows have offended,

Think but this, and all is mended,

That you have but slumber'd here

While these visions did appear.

And this weak and idle theme,

No more yielding but a dream,

Gentles, do not reprehend:

if you pardon, we will mend:

And, as I am an honest Puck,

If we have unearned luck

Now to 'scape the serpent's tongue,

We will make amends ere long;

Else the Puck a liar call;

So, good night unto you all.

Give me your hands, if we be friends,

And Robin shall restore amends.

After doing some research on the use of a chorus I found this from Wikipedia. 
"Plays of the ancient Greek theater always included a chorus that offered a variety of background and summary information to help the audience follow the performance. The Greek chorus [also] comments on themes..." Here is the interesting part. "The chorus also represents, on stage, the general population of the particular story, in sharp contrast with many of the themes of the ancient Greek plays which tended to be about individual heroes, gods, and goddesses." Knowing this I thought back to my personal play (Richard II) and tried to find a representative character. I also found some other supporting online references that pointed me in the direction of the Gardener. This is supported by they fact that he was a commoner whose lines are sandwiched in-between 2 scenes heavy in Kings, Queens, Lords and Ladies and such. He is also asked to recall the events of the play up to that point and continues on to foretell what he thinks will happen (he thinks that King Richard will loose the crown to Bolingbroke and maybe die). Because of his occupation, he is also able to articulate this using plant metaphors.

Gardener (Richard II, Act 3, sc. 4) 

He that hath suffer'd this disorder'd spring
Hath now himself met with the fall of leaf:
The weeds which his broad-spreading leaves did shelter,
That seem'd in eating him to hold him up,
Are pluck'd up root and all by Bolingbroke...

From these examples we see that a chorus character is an important part of Shakespeare.
I think that it would fit nicely in the Puck story that has been suggested by Andrew.
Please stay tuned for more about this.

Composition Analysis

I was reading the musical post by Kim and it was really interesting to me even though I have not read Macbeth. She posted a classical rendition of Shakespeare. Here it is again.

I just thought I would give a few of my own ideas and analysis of what is here in a musical sense.

I think the part layering (where the parts would come in a little bit after one another in a cascading fashion to build the chord) that they did multiple times was a really good reiteration of the "Double Double" idea. It showed the build up of the spell, potion, or what ever the case may be. It was also good that it occurred in both directions (women to men, men to women) it gave variety and farther interest to the repetition in the composition that mimics literary Shakespeare's repetition.
The sliding (where you don't sing a note but you slide from high to low or low to high like a siren) was a good addition to the ethereal feel of the song. This is not that easily achieved with a whole choir.
Their work with the vowels was especially good. First they used spread  vowels that gives a really eerie sound. Then they used tall or rounded vowels that give a very for eccohy sound. Both lend different sounds that seem the most strange when combined with each other.
The spoken part of the song added the element of an incantation.
Staccato was also good.  "SOMEthing wicket this way comes, SOMEthing wicked this way come..." It gave emphasis and made you focus on the something. What is this something? The fact that it doesn't say combined with such an emphasis really makes the mystery and the creepiness.

Overall, it was in my estimation it was a great musical rendition of Shakespeare and I believe it represented him well in another medium.

Only a Part of My Heart

This stems from a discussion that occurred in Denmark last week, sorry it's a bit late.
We were talking about how Lear is so ungrateful for Cordelia's love. Andrew also talked about this and shared the song 8% Of My Love. It made me think of another related song. Half Of My Heart by John Meyer. Even though I hate the song and the sentiment, here it is.
These both connect to-

"Haply, when I shall wed, That lord whose hand must take my plight shall carry Half my love with him, half my care and duty."

I thought of another song that relates to another point that someone brought up in class. Most likely, Cordelia, as the unmarried sister was living with  Lear and helping to take care of him and the estate. If this is the case it furthers her point that she loves him because she has shown him. Kind of like in Fiddler On The Roof in the song "Do You Love Me?" This is a great one!

While searching for this I also stumbled upon a Japanese version! Weird right? I watched it and loved the acting. There is more humor in this version and I really loved hearing the conversion of the song into another language. I have been thinking about looking into the Japanese Shakespeare world and have been trying to get my hands on "Ran" which is one of the earlier covers of King Lear, so there might be more of this to come if you guys like the idea.
So here you go if you are interested. I really liked the acting, and the humor is a little different.

Shakesbear!!

King of Hearts, King of Spades, Kings of Nothing

First to explain my title:

Lear is the King of Hearts because he seeks for public love and is all tied up with his daughters.

Richard II is the King of Spades because he seeks money and land to wage war with Ireland and because he does some back stabbing and is then stabbed (literally and figuratively) in return.

Both kings loose their kingship, they both loose someone dear to them, and they both loose their lives and are therefore left Kings of Nothing.

2nd, the comparison:

I wanted to compare these kings because I found so much that they had in common. As I started to look more closely at their characters and the plot surrounding them I found many things that are similar.

Both kings loose their kingship

Richard II looses the throne to Bolingbrook who becomes Henry IV (Henry V father). Bolingbrook claims back lands and money that were rightfully his inheritance that Richard had seized to help fund his war. Other enraged nobles support Bolingbrook in farther claiming the crown and they put Richard in prison as a criminal.

Lear plans for his daughters to take over because he is on his way out, but then he not only looses his kingship, but his parenthood also when Goneril and Regan abandon him. 

Both kings loose a loved on            

Richard II, when being sent to prison must say goodbye to his queen. First he shows anger at being separated, "Doubly divorced! bad men, you violate a twofold marriage twixt my crown and me and then betwixt me and my married wife." He then turns to her and asks her to remember him and to tell his story. She asks to be banished with him, but is not permitted. "Must we part? Ay, hand from hand, my love, and heart from heart."

Lear also anguishes over his beloved daughter Cordelia. They are taken away as prisoners together and he says, "He that parts us shall bring a brand from heaven and fire us hence like foxes." Lear also kills the assassin from Edmond that we sent to kill them both and cries and basically dies over her death. 

Both kings loose their lives

Richard is stabbed by a Exton, a nobleman who was over zealously loyal to Bonlingbrook.

Lear, though not killed in the end, could be debated as being cause by the assassin sent after him and Cordelia.

Third, similar themes:

I also found that there were some themes that linked these two plays. Both would come back to the same ideas. I found many parallel quotes and figured that a table might just do the trick.

	Comparing Man and Animal	Eyes and Sight	Wrongfully Accused	Broken Family Ties	Murder	Heaven Destined
King Richard	"Horse, why do I rail on thee since thou, created to be awed by men, was born to bear? I was not made a horse and yet I bear a burden like an ass, spurred galled and tired by jauncing Bullingbrook." (5,5,90)	"Mine eyes are full of tears; I cannot see. And yet salt water blinds them not so much but they can see a sort of traitors here." (4,1,243)	"Nay, all of you that stand and look upon me whilst that my wretchedness doth bait my self, though some of you with Pilate wash your hands, showing an outward pity, yet you Pilates have here delivered me to my sour cross and water cannot wash away your sin." (4,1,236)	"Good sometime queen" (5,1,37) - He is saying this as a goodbye to his wife out of love and sadness	"Villain, thy own hand yields thy death's instrument. Go thou and fill another room in hell. That hand shall burn in never-quenching fire…" (5,5,106) - He says this to his murderer	"Mount, mount my soul. Thy seat is up on high whilst my gross flesh sinks downward, here to die." (5,5,111) - About his own death
King Lear	"Is man no more than this? Thou art the thing itself; unaccommodated man is no more but such a poor, bare, forked animal as thou art." (3,4,109)	"A man may see how this world goes with no eyes. Look with thine ears. See how yond justice rails upon yond simple thief." (4,6,165)	"I am a man more sinned against than sinning." (3,2,62) "We are not the first who with best meaning have incurred the worst." (5,3,4)	"My sometime daughter" (1,1,133) - He is saying this to denounce his  daughter Cordelia, out of anger	"A plague upon you, murderers, traitors all!" (5,3,325) - He says this about Cordelia's murderer	"Had I your tongues and eyes, I'd use them so that heaven's vault should crack… She is dead as earth." (5,3,309) - About Cordelia's death

What say you? Do you have any analysis you would lend me in comparing these two plays? Maybe something about the parallel quotes that got you thinking?

Richard and Hamlet: thoughts on church

I though I would share a little taste of Richard II, as it was my individual reading assignment.
Richard says to his wife, anticipating his own death,

"Hie thee to France and cloister thee in some religious house." King Richard II Act 5, sc. 1

Sound like anything else we have read?
It's pretty much a more elegant way of saying,

"Get thee to a nunnery." Hamlet Act 3, sc. 1

Though the context is a little different and the emotion of the quotes are definitively different, I think that this little comparison is quite indicative of Richard II overall. The language is especially beautiful in this play. The England speech ("This sceptred isle, this other Eden, demi-paradise...") that we analyzed in class is of course a perfect testament to the play's language. Shakespeare really pulled out all the stops with this play.

Also, I have this thing for cat humor so this had to be part of my nunnery post. Enjoy!

Famus English Actors

Just thought I would share.
Michael Gambon AKA Dumbledore started his acting career with Shakespeare in Othello and Much Ado About Nothing.

Strangely enough both were with Maggie Smith AKA Professor McGonagall.

Final Project: a video diary

OK, who has seen Avatar??
I was thinking about the documentary style final project. Most of the documentary could be done in video diary format. This is where Avatar fits in. If you have seen the movie that you probably remember how the main character, acting as a scientist, makes note of his observations in video format. He sits in front of his computer camera and just talks. We could basically do the same thing as we show what we are finding with this "New-Found Shakespeare play". It would be easy to say something like "This passage sounds like Act. 2 sc. 2 of such and such play, also by Shakespeare." We could also have quick little check-in's during the creative phase in this style where we say something like, "today I started drawing the story board for Act 3" or "today we started to collaborate on the soundtrack for the fight scene."

It is a really easy way to do filming. It doesn't need to be polished or edited very much because it is in diary format. Of course when it came down to the trailer part at the end of the documentary then we would need someone to make a really polished film to make it look like a real movie trailer, but this would alleviate some of the work for the earlier part of the documentary. And I think it would make it look more realistic and believable. And it fits right in with the documentary idea.
What do you think? Do you like this idea? Is there something that you would like to do that I haven't mentioned, but you would like to fit in the final project?

Final Project Ideas

For the final project in this Shakespeare endeavor, I really like the idea of doing a small documentary about a "new-found Shakespeare play."
The outline of the documentary would look something like this:
1- Show the finding of a forgotten play.
2- Show some credible analysis to prove that it is real Shakespeare.
3- Show the decision to make it into a movie.
4- Show the preparation for the movie.
5- Show the finished trailer.

I think this would be a really good group project because it has so many different things that we could do with it. There would be some Iambic pentameter writing, critical analysis, filming, editing, and acting. There would of course be plenty of room for creativity in step 4 where we show the preparation for the play. This is where story boarding, music, casting, costuming, etc. would happen. This way, there is some real acting for those who are comfortable and some behind-the-scenes work for others. We can show people drawing the storyboard or writing the music, and others can actually act as a Shakespeare character for the trailer in step 5.
Please look forward to a more in depth post to come about how this will actually brake down. I'm hopping I can explain this well and show you some brief ideas about what I have in my head.
Please also feel free to comment with anything you think I could add, especially if it is something you would like to do personally.

Hamlet vs. Hamlet, again

I thought I would give this title another go because I had a new idea. This title drives home what happens when Hamlet pretends to be mad in order to get closer to getting revenge on his uncle. He becomes almost bipolar; therefore Hamlet vs. Hamlet. You could argue that he is becoming mad while playing mad. He is not quite as far gone as Gollum vs. Smeagol, but still pretty crazy.

I was thinking that Gollum saying "where would you be without me?" reflects how Hamlet is driven by his revenge and nothing else. He stops caring about his own life (like moving forward with Ophelia or interacting with his friends) and obsesses over his uncle. If only Hamlet had been able to move passed that like Smeagol at the end of this clip (though of course we know that he reverts back to Gollum before the end)

Hamlet vs. Hamlet

I watched 2 versions of Hamlet (Kenneth Branagh and David Tennant or Royal Shakespeare Co.) with Anne and Marina. I really agreed with what they shared, but there was a couple of things about the RSC version that I want to add.

Braking The 4th Wall

Hehe, I broke it!

In the RSC with David Tennant they had a habit of braking the 4th wall. This is a performance technique where the actors actually speak to the audience. It was a very interesting way to do Shakespeare. Some of the soliloquies where done this why where they were talking directly to the audience (in which case, it is not really a soliloquy is the true sense.

This was a very interesting way to deliver the lines of Shakespeare. It was something I did not expect at all, so the first time it surprised me and I had to stop and ask myself "wait, is he talking to me?" Still, I think they had a legitimate motivation to have the lines said that way. In real life, no one really talks to themselves (I love talking to inanimate objects, but that is another issue entirely :) we talk to the people around us. I though it was especially good when Polonius turned and told us how strange Hamlet was acting when he asked for a speech from the players.


The modernization
Anne and Marina both talked about this a little. The RSC set the play in the 21st century with, specifically, modern fashions and technology. Both of these I believe had a similar effect as the 4th wall technique; they were a bit surprising at first and seemed a little out of place, but once you got used to it it added an interesting and beneficial element to the film.

The wardrobe
Familiar clothing was worn and right from the beginning you could tell that the characters were all upper-class. The men were all in suits and the queen was wearing a dress of very high fashion. This is something that would not be quite as obvious if you had everyone in period costumes, because you would have to be very familiar with history to spot the difference right off.
They also made use of the consume changes at scene brakes. The difference was  clearly highlighted in the To be or not to be speech for Hamlet and when Ophelia go mad.

To be or not to be was spoken in a graphic tee. He was alone, in comfortable clothing with his hair undone from the gelled, formal look he had earlier. These all added to his crazy (besides the fact that David Tennant is great at acting like a mad man). This clear informality also added to the intimacy of the soliloquy and allowed him to ask the very personal, probing questions.
Ophelia has some great costumes. She starts out in formal dress as well, but when she goes mad you can tell right away. She emerges with only her underwear! Her hair is also loosed in the true sense of the word.
One thing I missed in the RSC version was a straight jacket for Ophelia. Though it was styled period fashion, you could tell that that is what they had her wear in the Kenneth Branagh version.

The technology
The RSC decided to farther modernize the film by using security cameras. I thought it was very effective in the opening sequence with the ghost encounter. You could not see the ghost in the shot, but you could tell that the characters could. This was very interesting and grabbed my attention right away. It was a great way to introduce a ghost. It was also used later when Hamlet gets crazy and Polonius and the King spy on him. I loved the part where Hamlet takes the camera down and says "now I am truly alone" before going into "to be or not to be". (This sequence was done in the Branagh version with one-way mirrors, which I thought was also phenomenal, but less modern of course.)
Hamlets handheld camera is another modern touch that added to the movie. He uses it more and more as he looses it more and more. The irony is that he uses it to document his spying on his uncle the king during the play that he has performed for that very cause. It is parallel to them spying on him through the security cameras.



Overall I loved the RSC version. It was more true to the theater and closer to what Shakespeare would have been like even though it was modernized. I think the choices to they made in the wardrobe and the technology were logical and creative. They were also effective in getting my attention. The only thing I missed was the very clean, professional and highly edited cinematography of a good film like the Branagh version. But RSC is supposed to be more theater, less movie. And I think that they pulled it off well.
I might be biased though, because you know how I love David Tennant :)


PS. I also found a post on Bardfilm about the Branagh movie. It talked about Ophelia's character and the theme of winter in the film. For example; where did she get the flowers in her bouquet and how did she drowned in the brook in the middle of winter?? If you are interested here's a link: Bardfilm.

Coined by Shakespeare

Back to my interest in Shakespeare's original words, I read a book from the library about the words that he invented and some were quite interesting; "Coined By Shakespeare".
Alligator - This was used in Romeo and Juliet. It is an example of him twisting the spelling/pronunciation of the word, lagarto or aligarto that was used to name the animal that we are familiar with today.
The be-all end-all - Used in Macbeth. It was written as "be the be-all and the end-all" and has sense been used so much that it has become almost a cliche.
Bedroom - Used in A Midsummer Night's Dream. It originally meant the space in a bed as opposed to a room with a bed in it.
What the dickens - Used in The Merry Wives of Windsor. It means "what the devil" and was not a reference to Charles Dickens.
Green-eyed - Used in The Merchant and Othello. It could have meant originally the green of immaturity of a plant or the color of sickness, but now it is used, like he used it; as a modifier for jealousy.
Skim milk -  Used in 1 Henry IV and Midsummer and others. It is used as a figurative expression for a weak character. Of course, you know what the term has morphed into.

Wild-goose chase - Used in Romeo and Juliet. It originally referred to a game like follow-the-leader on horseback which resembled the flying pattern of  geese. The idea of a pointless pursuit developed more after the game was no longer played and people thought that it was talking about actually chasing a wild goose.

Pretty interesting huh? I'm really fascinated by phrases and idioms that have come into English from Shakespeare. It's like all the famous quotes, but it is actually applied, and everyone knows it. I might look into this more and see if there are any onomatopoeia that have come from Shakespeare.

Global Shakespeare

I was just thinking back on all the plays I've read. I think it's very interesting that you can pull so many hidden messages from the lines of Shakespeare. He talks about his passions in the plays; words, education, writing in general, play writing specifically, proforming arts, theater, etc...

Because of this I was remembering that Shakespeare references the Globe theater itself in many places.

The Tempest Act 4, sc 1.

"These are actors as I fortold you, were all spirits and are melted into air, into thin air; and like the baseless fabric of this vision, the cloud-capped towers, the gorgeous palaces, the solemn temples, the great globe itself...."

Merchant of Venice Act 1, sc. 1
"I hold the world by as the world Gratiano, a stage, where every man must play a part, and mine a sad one."
 As You Like It Act. 2, sc. 7
"All the world's a stage, and all the men and women merely players; they have their exits and their entrances, and one man in his time plays many parts, his acts being seven ages."
Richard II Act. 5, sc.2
"As in a theater, the eyes of men,
After a well-grac'd actor leaves the stage,
Are idly bent on him that enters next,
Thinking his prattle to be tedious."

It is also cool that because the theater was named the Globe you could have a double meaning; you could be talking about the theater or the entire world.

Twisting Shakespeare

I came upon a cool blog called Bardfilm. Their most recent post was very funny. It was an old literary find about Hamlet for children; Hamlet in the manor of "Fun with Dick and Jane". Oh the crazy things people will do with Shakespeare.
For Dr. Burton: I thought it was very cool to find another professor with his own blog.
Enjoy!
http://bardfilm.blogspot.com/
Also, I was reading a little bit about the author and the blog itself and found this quoted (and corrected).
"'That very instant that I saw you did/ My heart fly to your service: there resides, / To make me slave to it; and, For your sake, / Am I this patient [b]log-man.' - The Tempest"
I thought it was very clever. :)

Dating Shakespeare

In this modern world, with our instantanious communication, people's opinions and ideas can be shared with no time at all. If there is some schandal or movement starting, everyone knows about it. This was no the case in Shakespeare's time. It is because of this that plays and the like were so important. They served as a common medium for people to share their ideas and opinions. Funny enough, my date last night talked about this. He said that this is why Shakespeare's plays are so interesting to him. He said he likes to read them for the surface layer with the plot and characters that are entertaining, but he also likes to read deeper and find the issues and hidden themes that Shakespeare discusses as well. It was also really cool for me to see that you can run into Shakespeare everywhere, even on a casual Friday night date. Haha, I wonder if being able to talk Shakespeare made me more attractive?? :)

Yes, I am a "Psycho"

I know I am a TV gunky, but here is another one!
PSYCH! The Episode is called "Romeo and Juliet and Juliet". It features feuding Chinese gangs and for bidden love that works it's way into Kong Fu. You should check it out.  

Nerd, in the most affectionate way

I am sitting in class today, watching Dr. Burton pull one bad joke after another. I really wonder what his wife would say about him.
"Words, words, words."
"How are you doing hun?" "Oh, I am in poor humor today. It was a bad day at work."
"King Richard feeding off himself is like twilight!"
Anyone got any other funnies?

Midterm Status Update continued

Here are some things I missed when I did my update.
Blogging in general
I think I really started out pretty strong in this. I was really interested to learn about how to blog, and I found that I had a lot to share. However, when I started to have tests in other classes, and a heavier work load, I honestly dropped the ball a little. I need to get back on track with posting frequently. I need to post more to fill in my weak spots concerning the learning outcomes. I believe that I am in need of more social proof, but I know that I cannot expect this without giving it myself. I will just be more diligent in my frequency for my own blog and others' as well.
Self Directed Learning
I believe that it is not too hard to see that I am motivated and learn on my own through my posting. Still, I know that I need to improve here as well. I have gone forth and read the plays, making sure that I am solid in the plot and characters by using outside tools. I have also watched some movies of said plays (especially Hamlet). I have visited the library and looked at what has been published on the subject (posts to come). I have also been able to find something about each play that I was personally connected to (The Tempest = music, Henry V = humors, Merchant of Venice = Christianity, Hamlet = Symbolism). Still, sometimes I think that it is not really evident on my blog that I am thinking about Shakespeare a lot outside of class. Also, I know that I need to be much more frequent in reading others' blogs.
Collaborative and Social Learning
I have found that Anne and Marina especially have helped me a lot, and we have discussed a lot. This is probably because we are roommates (or neighbors). in the blogging world, I have connected the most with Andrew, Chloe, Kim, and Sara. I also know however that this is no where near the connection that I should have by now. I have always thought that class was really enriching and awesome. I love the structure where we come together in class and are able to discuss. I do not know however how I should be applying Shakespeare to my life, except that I am reading it.