#Shakespeare education

[official-williamshakespeare]

How I start a lesson when I am brought into classrooms as a Shakespeare expert:

Hail, I am [name], I have seen [age] winters and as many summers. Thy master hath bid me come assist ye in the study and spectacle of the great Bard. Mine qualifications lie in the annals of Shakespearian hist'ry and scholarship, coupled with mine skill upon the stage as a performer. If any amongst thee hath queries regarding the language afore thee, the characters thou dost portray, the scenes thou dost enact, or the historical tapestry of the text, I do beseech thee, inquire of me.

Then, I ask them the following questions:

What is my name?

How old am I?

What am I here to do?

What are my qualifications?

What are some things you can ask me about?

And then, I let them break off into groups and rehearse their scenes, and I will walk around and help out and answer questions.

Feel free to use this!

[gaytravelinfo]

Shakespeare & Company - Lenox, MA

Shakespeare & Company | 70 Kemble Street | Lenox, MA 01240 | 1-413-637-3353 Shakespeare & Company was founded in 1978 by Tina Packer. Located in the Berkshires of Massachusetts, the Company offers performance, education, and actor-training opportunities year-round, and attracts more than 40,000 patrons annually with a core of more than 150 artists. The mission of Shakespeare & Company is to…

[biggest-gaudiest-patronuses]

the fact that shakespeare was a playwright is sometimes so funny to me. just the concept of the "greatest writer of the English language" being a random 450-year-old entertainer, a 16th cent pop cultural sensation (thanks in large part to puns & dirty jokes & verbiage & a long-running appeal to commoners). and his work was made to be watched not read, but in the classroom teachers just hand us his scripts and say "that's literature"

just...imagine it's 2450 A.D. and English Lit students are regularly going into 100k debt writing postdoc theses on The Simpsons screenplays. the original animation hasn't even been preserved, it's literally just scripts and the occasional SDH subtitles.txt. they've been republished more times than the Bible

[comicgeekscomicgeek]

This makes me incredibly angry.

[ID: Screenshots of a Facebook post from user Advocatus Peregrini, which reads:

I was conversing with a fully-grown adult a few days ago, born and educated in the USA, who let this little gem drop:

"Well, it's like Shakespeare said, "Love conquers all!""

I pointed out that Shakespeare never said that, Virgil did, (Eclogues X) and Chaucer after him (Canterbury Tales.)

She said, "Oh I'm sure Shakespeare said that. In Romeo and Juliet!"

I sighed. I've been in that play several times, in different roles, and even directed it. That text does not occur in it.

But the real grind-my-teeth moment here was that if Romeo and Juliet can be said to have a message, it is most certainly not "Love conquers all," seeing as the lovers die by their own hands with a trail of their friends and relations' corpses in their wake.

Neither this fact, nor the fact that I knew the play, nor my explanation that Virgil and Chaucer used the phrase long before Shakespeare's birth dented her determination that "Love conquers all" came from Shakespeare.

"You don't know ALL the versions!" she protested.

All the versions?

Alternative Bard?

With every instinct screaming at me to let the matter drop, warning me that some horror that will not soon be absent from my nightmares waited around the next corner of this conversation. I pressed on.

It was a decision I was soon to regret.

I asked when she had first read "Romeo and Juliet." She said she had only read it once, when she was in Junior High. In the version she was taught, Romeo and Juliet survive, are reconciled with their parents, and are married in the church with their friends Mercutio and Tybalt arm in arm in the wedding party.

"Help me into some house, Benvolio, or I shall faint."

It turned out that her school had their own "version" of Romeo and Juliet, with an "uplifting" ending. This was printed and distributed by a religious education publisher. And it was the only version of the story that she had ever read. Of course she had HEARD other people say that the story was a tragedy, but she just assumed they were wrong.

And she did not see why MY version of Shakespeare should be considered better than HER Shakespeare, which, after all, had a much more wholesome ending.

I explained, in vain, that "my" version is definitive because Shakespeare actually wrote it (quiet, you Oxfordians. Don't make me stop this car) and the message of the play - that when adult stubbornness meets youthful impulsiveness tragedy ensues - is lost in the ersatz, happy-clappy ending.

She said the ending that had been Frankensteined onto Shakespeare's play by the "Christian Education" publisher was better than the original ending, "if the ending is as sad as you say it is."

At this point, I concluded that this was a person who deserved to go through the rest of her life "...safest in shame! being fool'd, by foolery thrive!" I bid her adieu.

After the conversation, I wondered, darkly, if that was to be the fate of Shakespeare, and all other literature if the happy-clappy people get their way - as harmless and "uplifiting" as a cheerleader's chant.

I wondered what these bowdlerizers would do with "Hamlet?" or worse, "Titus Andronicus" or "MacB-" Nothing wholesome, I'm sure. Oh, that's right, what they can't appropriate, they ban. Or burn.

In trying to protect children, we leave them undefended from "...the slings and arrows" that life will no doubt throw their way. Shakespeare raises the issues of tragedy - the fatal flaw, the last turning, the role of fate, as well or better than any author before or since. He is a gentle tutor, much to be preferred over that stern and dangerous teacher, Experientia Inopinatum.

But, as ever, it really isn't about the children. It's about the adults, and their desire to avoid answering difficult questions from agile young minds, who know no fear and swarm like eager flies around questions that have been boggling our best minds for millenia. To answer the questions that literature raises, you have to have thought deeply about them yourself. And that is something that few dare to do.]  end id

[weirdly-specific-but-ok]

julius caesar but i've never watched it

...either the play or the actual man. I am not a time-travelling voyeur. Why does that give Doctor Who vibes? I haven't watched that either.

Anyway, happy Ides of March, tumblr. I am about as enthusiastic about the celebration as Neil Gaiman is, but here we are. Doing what I do worst, making a summary of things I have no authority to summarise... WAHOO LET'S GO. Whatever it is I know about the play:

Caesar was vibing sometime around the '40s. 0040s, not 1940s.

He has a wife named Calpurnia. A maggot wants to be her because and I quote 'no one ever listens to me either'.

She tells him not to go to some kind of coronation or speech or something on the Ides. He's like nah wifey 'sall gucci.

I regret saying that sentence. As did Caesar, because he went and got stabbed in 44. Spoiler alert.

People ship Mark Antony with Caesar but some ship Brutus and Caesar. *youtuber voice* Comment below with your favourite ship.

Don't do it I don't want to know. Anyway, he's also married to Cleopatra, who is killed by snake venom that may not have been snake venom or something.

Idk they were cute. They had a kid that ran away and Asterix and Obelix had to take care of him. Caesarian?

WAIT IS A C-SECTION CALLED A CAESARIAN BECAUSE YOU CUT IT OPEN AND CAESAR WAS STABBED? WHAT?

There is a soothsayer. He tries to soothwarn Caesar.

Caesar does not soothlisten. Caesar is a lil bitch.

On the Ides of March, Caesar goes up to the soothsayer who is lurking on the steps of the maybe-coronation place. He soothsays The Ides of March are come!

The soothsayer soothsighs and soothsays Aye, Caesar, but not gone.

The senators, otherwise known as the soothslayers, have been plotting for a while. Brutus is a very dear friend of Caesar. He thinks Caesar slays.

But the other senators convince him this is what's best for Rome. So he thinks Caesar should be slayed.

So now the soothslayers at the maybe-coronation gather around Caesar and start stabbing him. Et tu, Brute? and all that (though I remember something about that phrase not meaning the same thing as it does in popular context...).

The soothslayers are a bit extra. Like bro. One stab to the heart would have soothsufficed.

Anyway, Caesar is soothslayed like the soothsayer soothsaid.

There is a funeral thing. The People of Rome are cranky.

A maggot once said Moots, maggots, countrymen! and it lives rent-free in my head.

Anyway what Mark Antony actually says is a whole ass speech. FRIENDS, ROMANS, COUNTRYMEN, LEND ME YOUR EARS. I COME TO BURY CAESAR, NOT TO PRAISE HIM! THE EVIL THAT MEN DO LIVES AFTER THEM, THE GOOD IS INTERR'D WITH THEIR BONES (I THINK I HAVEN'T HEARD THE SPEECH IN A WHILE OK) SO LET IT BE WITH CAESAR.

So he gives the soothspeech and everyone is emotional. IF YOU HAVE TEARS, PREPARE TO SHED THEM NOW. Damn bro. It's like playing villain music just as the camera focuses on the villain.

Anyway then there is a lot of chaos and blah blah blah Mark Antony does some stuff Caesar's adoptive son Octavian does some stuff.

There's some bloke named Augustus who may or may not be Octavian (if he was sorry for the deadname Auggy my bad).

Brutus is killed? Or he kills Mark Antony? One of them die.

They were totally not fighting over who was a better lover to Caesar.

Roman Republic gone byebye as I say to Roxie. Roman Empire starts. The end.

Er.

That was a thing. I rather like summarising my homeboy Shakespeare haven't read him in a while and I only read his comedies. Maybe I should do more in honour of the Globe Theatre Maggots.

Happy Ides. Please don't soothslay me. I've been a good Maggot Prince to you, haven't I?

*runs just in soothcase*

[anchored-by-gravity]

Shakespeare in Space

All but 2 of the 27 Uranian moons are named after characters in English bard's plays. 14 are captured in this photo!

[bethanydelleman]

There is something very Miranda & Caliban about Catherine Linton & Hareton Earnshaw meeting for the first time.

Miranda & Catherine: women who have been raised and educated in isolation by their father, seeing a new person for the first time

Caliban & Hareton: orphans who at one time were educated and cherished, only to be reduced to servitude and savagery (one for just cause, the other by no fault of his own)

And yet the endings could not be more opposite.

[shakespearenews]

Teenagers, we can be quite certain, will think about sex and snicker at dirty jokes no matter what, so why not let them read in Romeo and Juliet that “the bawdy hand of the dial is now upon the prick of noon”? After all, many of them will be more like Mercutio than the sulky Romeo. And if some parts of Shakespeare are not merely uncomfortable but offensive, why not confront them? I went to an orthodox Hebrew day school, and we read Merchant of Venice in a spirited English class—and it did not only no harm but some real good. Shylock gets most of the best lines, and his “Hath not a Jew eyes?” speech—including its chilling last line, “The villainy you teach me I will execute, and it shall go hard but I will better the instruction”—gave us enough to occupy an entire class.

[omegaphilosophia]

The Philosophy of Shakespeare

The philosophy of Shakespeare refers to the exploration of philosophical themes, questions, and ideas within the works of William Shakespeare. While Shakespeare was not a philosopher in the traditional sense, his plays and sonnets are rich with philosophical insights that address issues related to human nature, ethics, politics, love, fate, identity, and the human condition. Scholars and readers alike have long examined how Shakespeare’s writings engage with philosophical concepts and how these concepts are dramatized through his characters and narratives.

Key Themes in the Philosophy of Shakespeare:

Human Nature and the Human Condition:

Complexity of the Human Psyche: Shakespeare's characters are known for their psychological depth and complexity. His works explore the multifaceted nature of human beings, including the tensions between reason and emotion, ambition and morality, and appearance and reality.

The Tragic Flaw (Hamartia): Many of Shakespeare’s tragedies revolve around the concept of a tragic flaw, a characteristic that leads to the downfall of the protagonist. This theme raises philosophical questions about free will, fate, and the moral consequences of human actions.

Ethics and Morality:

Good and Evil: Shakespeare’s works frequently grapple with the nature of good and evil, exploring the moral ambiguities of his characters' actions. Plays like Macbeth and Othello delve into the corrupting influence of power, jealousy, and ambition.

Justice and Revenge: The tension between justice and revenge is a recurring theme, particularly in plays like Hamlet and The Merchant of Venice. These works examine the ethics of retribution, the consequences of revenge, and the pursuit of justice.

Fate and Free Will:

Destiny and Choice: Shakespeare often explores the tension between fate and free will, questioning the extent to which characters are in control of their own destinies. Romeo and Juliet and Macbeth are notable examples where the characters' actions seem predestined, yet their choices play a crucial role in their outcomes.

Prophecy and Foreknowledge: The use of prophecy, as seen in Macbeth and Julius Caesar, raises philosophical questions about whether knowledge of the future alters the course of events or if it leads inevitably to the fulfillment of that future.

Identity and Self-Knowledge:

The Fluidity of Identity: In plays like Twelfth Night and As You Like It, Shakespeare explores the fluidity of identity, particularly through themes of disguise and mistaken identity. These themes challenge the fixed nature of identity and raise questions about self-knowledge and authenticity.

Self-Deception: Characters in Shakespeare’s plays often engage in self-deception, either out of pride, fear, or desire. This theme is particularly prominent in King Lear and Hamlet, where characters’ inability to see themselves or their situations clearly leads to tragedy.

Politics and Power:

The Nature of Authority: Shakespeare’s historical plays and tragedies frequently address the nature of political power and authority. Richard III, Henry V, and Julius Caesar explore the ethics of leadership, the legitimacy of rulership, and the corrupting influence of power.

The Body Politic: The metaphor of the body politic, where the state is likened to a human body, is a recurring theme. In plays like Coriolanus and Measure for Measure, Shakespeare examines the health of the state and the moral responsibilities of rulers.

Love and Relationships:

Romantic Love: Shakespeare’s comedies and tragedies offer deep reflections on the nature of love, its joys, and its perils. Plays like Romeo and Juliet and Much Ado About Nothing explore the idealization of romantic love, the pain of unrequited love, and the complexities of human relationships.

Friendship and Loyalty: Beyond romantic love, Shakespeare also delves into themes of friendship and loyalty, as seen in The Merchant of Venice and Julius Caesar. These relationships often raise questions about the conflicts between personal loyalty and public duty.

Appearance vs. Reality:

Illusion and Truth: Many of Shakespeare’s plays involve themes of appearance versus reality, where characters and situations are not what they seem. Hamlet and Othello are prime examples of how deception and the search for truth drive the plot and philosophical inquiry.

Theatricality of Life: Shakespeare often blurs the line between reality and performance, as seen in As You Like It's famous "All the world's a stage" monologue. This raises philosophical questions about the nature of reality, the roles people play in life, and the construction of identity.

Mortality and the Meaning of Life:

Death and the Afterlife: Shakespeare’s works are deeply concerned with mortality, the fear of death, and the unknown aspects of the afterlife. Hamlet's "To be, or not to be" soliloquy is one of the most famous meditations on existence and the fear of what comes after death.

The Transience of Life: The fleeting nature of life and the inevitability of death are recurrent themes, particularly in Shakespeare’s sonnets and tragedies. These reflections often lead to a broader contemplation of the meaning and value of life.

Philosophical Skepticism:

Doubt and Certainty: Shakespeare’s characters often grapple with doubt and uncertainty, questioning their beliefs, their perceptions, and the world around them. This skepticism is evident in Hamlet's introspection and in King Lear's descent into madness.

Relativism and Perspective: Shakespeare frequently presents multiple perspectives within his plays, allowing for a relativistic view of truth and morality. This multiplicity of viewpoints invites the audience to question the nature of truth and the reliability of perception.

The philosophy of Shakespeare is not a unified doctrine but rather a rich and varied exploration of fundamental human concerns. Through his characters and narratives, Shakespeare engages with philosophical questions about human nature, morality, power, love, identity, and existence. His works continue to inspire philosophical inquiry, offering insights that are as relevant today as they were in the Elizabethan era.

[baharinnisani]

[limontuztequila]

"ALL THAT GLITTERS IS NOT GOLD"

-WILLIAM SHAKESPEARE

[liamlawsonlesbian]

No the motorsport education system makes me sick as an educator. Like so many didnt finish high school and a lot barely even started (even ones you would think did like GR dropped out at 14)

it's horrific! like i think it's really easy for them to slip through the cracks because they move around so much and are absent so often, but that's not an excuse for the way things are

the analog I always think of for motorsport kids is child actors, but there have actually been protections for child actor education in place for a LONG time, at least in the US and the UK (not that they always work)

and like...you can say "it worked out fine for them" about the current grid all you want, but what about the kids who were on the same path but can't make a living from racing as an adult/get injured/etc?

[tea-earl-grey]

i do like the general concept of dot and bubble but rtd please hire Black writers, i'm begging you.

[bumblingest-bee]

i really enjoy that as far as we can tell, shakespeare played all the stupidest roles in his own plays. i don't mean like comic characters or anything he just seems to have consistently cast himself as "some old guy who shows up once and leaves"

[thetardisisnotourdivision]

Idk if this is a hot take but if we're going to make kids study Shakespeare (and they should get the chance to! For a variety of reasons!) it should be in a theatre.

[withasideofshakespeare]

Can we talk for a second about how much Horatio sacrifices for Hamlet? He either takes a semester off from or completely drops out of college, risks his life and freedom by remaining at Hamlet’s side after his return to Denmark by which point he has literally committed murder, and after completely throwing away his own life for this man, Hamlet dies and leaves Horatio completely alone in a country he doesn’t seem to be from (evidenced by his unawareness of royal customs at the beginning of the play.)

Horatio is *clearly* a dedicated student if Hamlet’s comments that he wouldn’t hear Horatio called a truant by his enemy are anything to go by. One of the earliest bits of characterization we get for Horatio is that he’s a scholar and a dedicated one at that. He leaves Wittenberg sometime just before the beginning of the play and it ends over two months later (based on Ophelia’s and Hamlet’s comments throughout- Hamlet says his dad died two months ago at the start of the play and Ophelia, at *The Murder of Gonzago* tells him it’s been twice two months- four. Factor in Hamlet’s time spent sailing halfway to England and back and it’s been at least two and a half months since Horatio’s arrival.) Maybe he doesn’t start the play as a truant but by the end, it’s safe to assume that his career as a student is either over or severely hindered. How is he supposed to go back alone?

After all this, Hamlet dies. Whether he was completely aware that the duel was rigged (Horatio warns him to listen to his gut!) or not, he’s at least partially to blame for Horatio’s fate. Horatio also dies that day. He can’t go back to school without constant reminders of Hamlet, he doesn’t seem to have anywhere else to go, Denmark probably isn’t his native country (or at very least he doesn’t live near Elsinore), and as the last surviving witness to the tragedy, he’s absolutely going to be the one trying to explain this incredibly painful story to Fortinbras (on top of Hamlet’s dying wish to have his story told!) Horatio’s life is over and any prospects he had pre-play are thrown out the window. And if that isn’t a tragedy in and of itself…