#shakespeare tag

[hercorrupterofwords]

happy twelfth night everybody, remember to celebrate by: experiencing a shipwreck; crossdressing; entering a gay love triangle; duelling with swords; getting your identity horribly mistaken or just wearing some yellow stockings

[neighbourhoodtwo]

they hate me for my epicurean lifestyle and also the murder

[i-am-trans-gwender]

Hamlet would have been a lot shorter if Ophelia had a gun.

[septembermorningbells]

when I was a sophomore in college I was in a production of Julius Caesar set at an all-girls boarding school and we performed it in one of our school’s lecture halls, so we drew silly Roman graffiti all over the chalkboard. Five days after it ended I realized I was into women. Happy Ides 🗡️🗡️🗡️🗡️

[harrietvane]

Anyway, Sigourney Weaver Prospero

[jewish-elphaba]

benedick: this can be no trick!!!!

narrator: it was, in fact, a trick

[alphacrone]

production of lear where he wears a #girldad shirt the whole time

[realm-of-tas]

" Expectation is the root of all heartache. " -William Shakespeare

[kipperlillycopperkettle]

“romeo and juliet weren't really in love” l + ratio + when they talk to each other it becomes a sonnet

[all-is-fair-in-poetry-and-war]

Tempest in a Poem

this is a poem I wrote about Shakespeare’s “the tempest”. It was originally created for a school project (i might have gone overboard)

 In an Island far away,

Where magical creatures stray.

Lived Miranda and Prospero,

With magic, peace and sorrow.

Prospero's nemesis arrives-

A grand big ship he drives 

Prospero is filled with rage,

He summons Ariel- a spirit so strange.

A disastrous storm hits

Caused by peculiar spirits 

Pitiful Miranda snapped 

 Her father makes her understand 

Prospero reveals pasts of his kingdom.

Ariel wants freedom.

Ferdinand enchanted by magical music,

Miranda and him fall in love -how romantic

Meanwhile, the loss of his son- Alonso’s grieving.

“Cheer up” the other’s pleading.

Mischievous Ariel brings slumber to Alonso,

Antonio prompts Sebastian to murder his own bro.

They raise their swords all ready to kill,

And vengeance is in the air still.

But Ariel ruins the mid snooze assassination,

He makes the two realise their sin.

Trinculo- the jester, searching for land.

Stephano- the butler, washed up drunk on the sand.

Staephano pours into caliban’s mouth- wine.

The booze acts up, about prospero he whines.

Caliban praises staphano calling him god,

Trinculo for one is quite shocked.

Caliban wants stephano to rule the island,

So he can be free of prospero - the tyrant.

Somewhere else, Miranda sneaks out.

To meet her beloved, that’s no doubt.

Ferdinand seems to be noble.

Prospero doubts him because he’s royal.

Ariel warns Prospero of Caliban.

To stop him, they think of a plan.

Ariel lures them to a trap with new clothes.

None would’ve thought of that as a coax.

Miranda and Ferdinand approach Prospero,

To talk their true love through .

For their marriage he agrees,

And arranges an event for them with glee.

In the meantime, Alonso and others facing the blue.

Ariel gives them a talking to-

Disguised as a perilous harpy,

He makes them all feel guilty.

Alonso and Antonio finally find Prospero.

They apologise and express their sorrow.

Prospero’s grudges are all gone,

Alonso’s happy to see his son.

Ariel finally gets his freedom, 

All of them go back to their kingdom.

Antonio, who was once a villain 

Now rules with Prospero - Milan.

[hercorrupterofwords]

im a bit bored so have some twelfth night sketches

maria

toby

feste

orsino and maria (with some notes about clothing)

viola

andrew and toby

[neighbourhoodtwo]

[aguecheek]

directing troilus and cressida this fall and as i’m doing my textwork i’m definitely falling more and more in love with it. it’s such a weird fucking play and when i was going into my preproduction work on it, troilus and cressida were easily my least favorite characters and their romance was, to me, the least interesting thing about the play. but the way that troilus and cressida express a metatextual awareness of their own fates as poetic iconography in 3.2 is really getting to me, especially with the way that it’s interwoven with their general emotional attitudes. cressida knows she cannot be loyal to troilus, not only because she is poetically destined to become “false cressid” but because she knows her own emotional limits. she knows that she will inevitably harm the man she loves because she cannot guarantee her own commitment, and this sends her into a panic. it’s genuinely one of the better and more emotionally resonant depictions of an avoidant attachment style i’ve seen in any bit of media, and i’m really excited to direct that scene. cressida is slowly working her way into my heart and becoming my favorite character.

[muppetjackrackham]

"lion what are your thoughts on shakespeare" i own a shakespearean insult mug

[cha0ticr0b0tic]

I lived for 12 years on an island

and The Tempest is my favorite of Shakespeare's plays. Caliban is my favorite of all the characters he's created. The trick to adapting him – no matter whether you're going more supernatural or more anticolonial – is to make him the voice of reason. As long as he comes across, personality-wise, as a normal, sympathetic guy who is clearly Sick of Prospero's Shit and is justified in these feelings, you're golden.

And he also has to say fuck a lot. A LOT. Let him say fuck

[jewish-elphaba]

we give romeo and juliet a lot of shit about moving too fast as a couple and all that but i am of the firm belief that if they had just been lesbians, it all wouldve made sense