Download Teacher Resource Guide - University Musical Society

Love’s Labour’s Lost
SHAKESPEARE’S GLOBE THEATRE
King Ferdinand: Let fame, that all hunt after in their lives,/Live register’d upon our brazen tombs/And then grace us
Teacher
Resource
Guide
2009 | 2010
SUPPORTERS
Michigan Council for Arts
and Cultural Affairs
University of Michigan
Anonymous
Arts at Michigan
Arts Midwest’s Performing Arts Fund
Bank of Ann Arbor
Bustan al-Funun Foundation for Arab Arts
The Dan Cameron Family Foundation/Alan and Swanna Saltiel
Community Foundation for Southeast Michigan
Consulate General of the Netherlands in
New York
Doris Duke Charitable Foundation
Doris Duke Foundation for Islamic Art
DTE Energy Foundation
The Esperance Family Foundation
David and Phyllis Herzig Endowment Fund
Honigman Miller Schwartz and Cohn LLP
JazzNet Endowment
W.K. Kellogg Foundation
Masco Corporation Foundation
Miller, Canfield, Paddock and Stone, P.L.C.
THE MOSAIC FOUNDATION (of R. and P. Heydon)
The Mosaic Foundation [Washington, DC]
National Dance Project of the New England Foundation for the Arts
National Endowment for the Arts
Prudence and Amnon Rosenthal K-12 Education Endowment Fund
Rick and Sue Snyder
Target
TCF Bank
UMS Advisory Committee
University of Michigan Credit Union
University of Michigan Health System
U-M Office of the Senior Vice Provost for Academic Affairs
U-M Office of the Vice President for Research
Wallace Endowment Fund
This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched, written, and edited by Omari Rush.
We would like to thank Liz Stover, Jeff Beyersdorf, Michael Kondizolka, Claire Rice, Charles Reynolds, Sara Fink, Mark Johnson,
Barbara Hodgdon, Leonard Navarro, Doug Trevor, Carol Stepanchuk, and Suzanne Camino for their suggestions, feedback, and
support in developing this guide .
Love’s Labour’s Lost
SHAKESPEARE’S GLOBE THEATRE
DOMINIC DROMGOOLE artistic director
Fri, Oct 23, 12 NOON – 3 PM
POWER CENTER
Sponsored by the Prudence and Amnon Rosenthal K-12 Education Endowment Fund.
Teacher Resource Guide
UMS Youth Education Program
2009 | 2010
Table of Contents
Attending the Performance
*
*
7
8
10
11
Guide Highlights
Attending the Show
Accessibility
Venue
Shakespeare’s Globe Theatre
*
*
13
14
15
16
19
21
22
The Globe
Personnel
Cast
Liz @ the Globe
Renaissance Staging
Power Center in the Round?
Renaissance Instruments
Shakespeare & Love’s Labour’s Lost
*
24
25
26
27
28
Shakespeare in London
11 Keys to Shakespeare
Synopsis
People & Place
Sources
Themes & Ideas
*
31
32
34
Resources
*
*
37
38
39
40
41
42
About UMS
*
45
46 47
48
50
Gender Roles
Listening to the Language
Sonnets
Media
Community
Recommended Reading
Vocabulary
Lesson Plans
Bibliography
What is UMS?
UMS Artistic Statement
UMS Theater: Shakespeare
Youth Education Program
How to Contact UMS
death;/When, spite of cormorant devouring Time,/The endeavor of this present breath may buy/That honour which shall
*Short on time?
If you only have 15 minutes to review this guide, just read the pages with an asterisk
next to the page number in the Table of Contents. Those pages will provide the most
important information about this performance.
Photos & Illustrations
Page Title
2009 | 2010
5
1
Title page of the first quarto of William Shakespeare's ''Love's Labour's Lost'' (1598). Public Domain-England 1988
7
Love’s Labour’s Lost by John Haynes (both).
8
School Busses lined up outside Hill Auditorium.
9
UMS Transportation Map for Love’s Labour’s Lost Youth Performance.
11
Love’s Labour’s Lost by John Haynes.
13
Visscher's map of 1616 London.
14
Portrait of Shakespeare known as the Cobbe portrait - authenticity disputed.
15
Cast Photographs. Courtesy of Shakespeare’s Globe Theatre.
16
(Clockwise) Outside the Globe Theatre. Interior view of the Globe Theatre. Audience facing actors on stage at the Globe. The Swan Restaurant at the Globe. Courtesy of Liz Stover.
17
The Globe’s poster for its production of Love’s Labour’s Lost. Courtesy of Liz Stover.
18
Hand Drawn Picture of The Swan Theatre.
20
Love’s Labour’s Lost by John Haynes.
21
English Elizabethan clown Will Kempe dancing a jig from Norwich to London in 1600.
22
Photos of instruments from the U-M Stearns Collection of Musical Instrument. Courtesy of the Collection.
24
This was long thought to be the only portrait of William Shakespeare that had any claim to have been painted from life.
25
William Shakespeare's birthplace, Stratford-upon-Avon, Warwickshire, England. Property of Stuart Yates.
26
Signature of William Shakespeare from Page 3 of his Last Will and Testament.
27
Map of 16th Century Spain. Property of the University of Texas Libraries. http://www.lib.utexas.edu/maps/historical/
spanish_kingdoms_1360.jpg
28
The title page of the First Folio of William Shakespeare's plays.
30
The English Gentleman and Gentlewoman Codes of Contact by Rich Braithwait. Public Domain England 1988.
33
Love’s Labour’s Lost by John Haynes.
35
Procession portrait of Elizabeth I of England, January 1600.
38
Detail from Wenceslas Hollar’s “Long view of Southwark”, 1644, showing the second Globe Theatre.
43
Love’s Labour’s Lost by John Haynes.
45
Love’s Labour’s Lost by John Haynes.
46
Photos of recent UMS Theater presentations: (left to right) Complicite’s A Disappearing Number, Shen Wei Dance Arts’ Second Visit to the Empress, Maly Drama Theater’s Uncle Vanya.
49
Ann Arbor area students attending UMS Youth Performances.
50
Ann Arbor area students attending UMS Youth Performances.
And I, forsooth, in love! I, that have
been love's whip;A very beadle to a
humorous sigh; A critic, nay, a nightwatch constable; A domineering
pedant o'er the boy; Than whom no
mortal so magnificent!This whimpled,
whining, purblind, wayward boy; This
senior-junior, giant-dwarf, Dan Cupid;
RegentAttending
of love-rhymes, lord
of
folded
the
arms, The anointed sovereign of sighs
and groans, Liege of all loiterers and
Performance
malcontents,
Dread prince of plackets,
king of codpieces, Sole imperator and
great general Of trotting 'paritors:--O
my little heart:-- And I to be a corporal
of his field, And wear his colours like
a tumbler's hoop! What, I! I love! I sue!
I seek a wife! A woman, that is like a
German clock, Still a-repairing, ever
out of frame, And never going aright,
being a watch, But being watch'd
that it may still go right! Nay, to be
perjured, which is worst of all; And,
among three, to love the worst of all;
GUIDE
HIGHLIGHTS
2009 | 2010
7
• Shakespeare’s Globe Theatre’s production of Love’s Labour’s
Lost, written by William Shakespeare and directed by
Dominic Dromgoole.
• Love’s Labour’s Lost was likely written by Shakespeare 15951596.
• Though Shakespeare wrote lived and wrote in the 16th
and 17th centuries, his work is still studied, analyzed, and
adored because of the universality of themes and the
complex beauty of language in his writings.
• The Globe is re-creating the Renaissance theater
experience, so the costumes and music will match 16thcentury styles.
bate his scythe’s keen edge/And make us heirs of all eternity./Therefore, brave conquerors,--for so you are,/That war against
• The stage will extend out into the audience and much of
the action of the production will happen on this thrust.
• This production’s actors are from the United Kingdom and
have years of experience performing live theatre.
• Musicians will play music in the lobby prior to the
start of the performance in the lobby and in
the audience.
• The performance lasts for three hours and will include a
20-minute intermission.
• The plot is about four young guys who make a pact to stop
chasing love in favor of studying; however, some young
ladies visiting from France make keeping this vow difficult!
• Figurative language dominates Love’s Labour’s Lost. Many
of the poetic devices that Shakespeare has filled his play
with are specific to the time period in which the work was
written, so in the performance, some of the language may
not be immediately understandable. However, the actors of
Shakespeare’s Globe Theatre are world-class and will make
meaning clear through their movement and staging.
Globe Guide
8
ATTENDING THE SHOW
bate his scythe’s keen edge/And make us heirs of all eternity./Therefore, brave conquerors,--for so you are,/That war against
We want your to enjoy you time wit UMS; PLEASE review the important info
below about attending the show:
Tickets: We do not use paper tickets for Youth Performances. We hold school
reservations at the door and seat groups upon arrival.
Arrival Time: Please arrive at the Power Center between 11:30 – 11:50am to
allow you time to get seated and comfortable before the show starts.
Drop Off: Have buses, vans, or cars drop off students on Fletcher Street in front
of the Power Center. If there is no space in the drop-off zone, circle the block
until space becomes available. Cars may park at curbside metered spots or in the
visitor parking lot behind the Power Center. Buses should wait/park at Briarwood
Mall.
Door Entry: A UMS Youth Performance staff person will greet your group at your
bus as you unload. You will enter through the front doors of the Power Center,
which faces Fletcher Street.
Seating & Ushers: When you arrive at the front doors tell the Head Usher at
the door the name of your school group and he/she will have ushers escort
you to your block of seats. All UMS Youth Performance ushers wear large, black
laminated badges with their names in white letters.
Before the Start: Please allow the usher to seat individuals in your group
in the order that they arrive in the theater. Once everyone is seated you may
then rearrange yourselves and escort students to the bathrooms before the
performance starts. PLEASE spread the adults throughout the group of students.
During the Performance: At the start of the performance, the lights will dim
and an on-stage UMS staff member will welcome you to the performance and
provide important logistical information. If you have any questions, concerns,
or complaints (for instance, about your comfort or the behavior of surrounding
groups) please IMMEDIATELY report the situation to an usher or staff member in
the lobby.
Performance Length: 3 hours (approximately) with one 20-minute intermission
Bus Pick Up: When your group is released, please exit the performance hall through the same door
you entered. A UMS Youth Performance staff member will be outside to direct you to your bus.
AAPS EDUCATORS: You will likely not get on the bus you arrived on, a UMS staff member or AAPS
Transportation staff person will put you on the first available bus.
Other
• Lost Students: A small army of volunteers staff the performances and will be ready to help or direct
lost and wandering students.
• Lost Items: If someone in your group loses an item at the performance, contact the UMS Youth
Education Program ([email protected]) to attempt to help recover the item.
• Sending Feedback: We LOVE feedback from students, so after the performance please send us any
letters, artwork, or academic papers your students create in response to the performance: UMS Youth
Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.
• No Food: No food or drink is allowed in the theater.
• Patience: Thank you in advance for your patience; in 20 minutes we aim to get 1,300 people from
buses into seats and will work as efficiently as possible to make that happen.
Power Center Contact Information:
Power Center
121 Fletcher St
Ann Arbor, MI 48109
Emergency Contact Phone Number: 734-764-2538
(Call this number to reach a UMS staff person or audience member at the performance)
This map, with driving directions
to the Power Center, will be mailed
to all attending educators 3 weeks
before the performance.
9
2009 | 2010
After the Performance: When the performance ends, remain seated. A UMS staff member will come
to the stage and release each group individually based on the location of your seats.
Globe Guide
10
ACCESSIBILITY
your own affections/And the huge army of the world’s desires, /Our late edict shall strongly stand in force:/Navarre shall
The following services are available to audience members:
Wheelchair, companion, or other special seating
Courtesy wheelchairs
Hearing Impaired Support Systems
Parking
There is handicapped parking very close to the Power Center on Fletcher
Street and in the parking structure behind the Power Center on Palmer
Drive. The first three levels of the Palmer Drive structure have 5 parking
spots on each level next to each elevator. There are a total of 15 parking
spaces in the garage.
Wheelchair Accessibility
The Power Center is wheelchair accessible and has 12 seats for audience
members with special needs.
Bathrooms
ADA compliant toilets are available in the green room (east corner) of the
Power Center for both men and women.
Entry
The front doors are not powered, however, there will be an usher at that
door opening it for all patrons.
be the wonder of the world;/Our court shall be a little Academe,/Still and contemplative in living art./You three, Biron,
VENUE
POWER CENTER
The Power Center for the Performing Arts grew out of a realization that the University of
Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium
was too massive and technically limited for most productions and the Lydia Mendelssohn
Theatre was too small. The Power Center was built to supply this missing link in design and
seating capacity.
In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major
gift to the University. The Powers were immediately interested in supporting the University’s
desire to build a new theater, realizing that state and federal governments were unlikely to
provide financial support for the construction of a theater.
Opening in 1971, the Power Center achieved the seemingly contradictory combination of
providing a soaring interior space with a unique level of intimacy. Architectural features
include two large spiral staircases leading from the orchestra level to the balcony and the well
known mirrored glass panels on the exterior. The lobby of the Power Center presently features
two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by
Pablo Picasso.
The Power Center seats approximately 1,300 people.
Spring. When daisies pied and violets
blue And lady-smocks all silver-white
And cuckoo-buds of yellow hue Do
paint the meadows with delight,
The cuckoo then, on every tree,
Mocks married men; for thus sings
he, Cuckoo; Cuckoo, cuckoo: O word
of fear, Unpleasing to a married ear!
When shepherds pipe on oaten straws
And merry larks are ploughmen's
clocks, Shakespeare’s
When turtles tread, and rooks,
and daws, And maidens bleach their
summer
smocks The
cuckoo then, on
Globe
Theatre
every tree, Mocks married men; for thus
sings he, Cuckoo; Cuckoo, cuckoo: O
word of fear, Unpleasing to a married
ear! Winter. When icicles hang by the
wall And Dick the shepherd blows
his nail And Tom bears logs into the
hall And milk comes frozen home in
pail, When blood is nipp'd and ways
be foul, Then nightly sings the staring
owl, Tu-whit; Tu-who, a merry note,
While greasy Joan doth keel the pot.
2009 | 2010
13
The First Globe
The New Globe
During the first years of the reign of Queen
Elizabeth I, the English theater companies used
inns, college halls, and private houses for their
performances. It was not until 1576 that The
Theatre was built in the Shoreditch neighborhood:
the first purposefully-built playhouse in London.
Shakespeare probably joined the Theatre’s resident
troupe in the 1580s and the company (later known
as the Chamberlain’s and then the King’s Men)
flourished there for 20 years.
What did the first Globe look like? No one knows
for sure. Printed panoramas, written accounts,
building contracts, a sketch of the Swan Theatre,
and suggestive descriptions in the plays give some
idea of the theatre’s exterior and interior. Also,
in 1989, a small portion of the Globe itself was
excavated, from which two important inferences
were drawn: that it was a 20-sided polygonal
building with a diameter of 100 feet.
A lease dispute involving The Theatre ultimately led
to its demolition. The Chamberlain’s Men leased a
plot near the Rose, a rival theatre in Southwark, and
carried The Theatre’s timbers over the river to build
a new playhouse—the Globe, which thrived for 14
years, presenting many of Shakespeare’s greatest
plays.
In 1613, during a performance of Henry VIII, an
on-stage cannon mishap ignited the Globe’s
thatched roof and the theatre quickly burned
to the ground. The playhouse was rebuilt with a
tiled roof and this “second Globe” remained the
home for Shakespeare’s old company until the
closure of all the theatres under England’s Puritan
administration in 1642. No longer of use, the Globe
was demolished to make room for tenements in
1644.
The process and project of rebuilding the Globe
was initiated by Sam Wanamaker and techniques
used to reconstruct the theatre were painstakingly
aligned with Renaissance craftsmanship:
• ‘Green’ oak was cut and fashioned according to
16th-century practice
• Lime plaster was mixed according to a
contemporary recipe and covers the walls
• The roof is made of water reed thatch, based on
samples found during the excavation
The new Globe also includes 21st-century
elements: fire retardant materials and some
modern backstage machinery. The reconstruction
is as faithful to the original as modern technology
and scholarship allow, and for now the new Globe
is – and is likely to remain – the ‘best guess’ at
Shakespeare’s theatre.
THE GLOBE
Dumain, and Longaville,/Have sworn for three years’ term to live with me/My fellow-scholars, and to keep those statutes/
Globe Guide
14
Artistic Director
Behind the Scenes
Dominic Dromgoole is the Artistic Director of
Shakespeare’s Globe. Previous work at the Globe
includes King Lear, Love’s Labour’s Lost, Coriolanus,
and Antony and Cleopatra. He was born in 1964;
grew up in Somerset, England; schooled at
Cambridge; and has worked with various theater
and companies: Oxford Stage Company (19992005), the Bush theatre (1990-1996), and the Peter
Hall Company (1996/1997). Dominic has written
two books and directs this revival of his 2007
production of Love’s Labour’s Lost.
Dominic Dromgoole Director
Jonathan Fensom Designer
Claire van Kampen Composer
Siân Williams Choreographer
Renny Krupinski Fight Director
Paul Russell Lighting Designer
Gile Block Text Work
Glynn MacDonald Movement Work
Jan Haydn Rowles Voice Work
Musicians
Nicholas Perry
Musical Director
Recorder/Shawms
Dulcian/Ocarina
Hurdy-Gurdy
Claire McIntyre
Recorders/Sackbut Recorders
Shawms/Tenor
David Hatcher
Viol/Percussion
George Bartle
Sackbut/Hunting Horn
Arngeir Hauksson & Benjamin Narvey
Baroque Guitar/Theorbo/Percussion
PERSONNEL
That are recorded in this schedule here:/Your oaths are pass’d; and now subscribe your names,/That his own hand may
2009 | 2010
15
Seroca Davis
Moth
Paul Ready
Don Armado
Siân Robins-Grace
Katherine
Tom Stuart
Boyet
Patrick Godfrey
Sir Nathaniel
Michelle Terry
Princess of
France
Trystan Gravelle
Berowne
Andrew Vincent
Dull
Phil Cumbus
Ferdinand
Jade Anouka
Maria
Jack Farthing
Dumaine
William Mannering
Longaville
Thomasin Rand
Rosaline
Fergal McElherron
Costard
Christopher Godwin
Holofernes
Rhiannon Oliver
Jacquenetta
CAST
strike his honour down/That violates the smallest branch herein:/If you are arm’d to do as sworn to do,/Subscribe to your
Globe Guide
LIZ @ THE GLOBE
16
Hi! I'm Liz, and I work at UMS. This summer,
when my family went on vacation to London
for a week, we spent a day at Shakespeare's
Globe Theatre and saw Romeo and Juliet! Here I
am in front of the theatre.
This is the inside of the Globe. The seats were uncomfortable:
wooden benches with no backs (just like the good ‘ole days),
though you are able to rent seat cushions. There’s also standing
room in front of the stage.
King: Ay, that there is. Our court, you know, is haunted/With a refined traveller of Spain;/A man in all the world’s new
Still inside the theatre: Many of the standing
audience members are wearing funny-looking
white hats--they are actually used to keep the
sun out of their eyes...remember it’s an openair theatre.
Yum, I had a delicious three-course meal here
at The Swan, the Globe's restaurant, which is
known for having one of London’s best views
of the Thames River!
2009 | 2010
17
This is a picture of the poster advertising Love's
Labour's Lost just outside the theatre. Because
the Globe is an outdoor theatre, they only
stage productions from May through October.
Love's Labour's Lost will be the last production
performed at the Globe during the 2009 season,
then they will bring it to the States for a U.S. tour!
fashion planted,/That hath a mint of phrases in his brain;/One whom the music of his own vain tongue/Doth ravish like
LIZ @ THE GLOBE
I had a blast visiting the Globe this summer and am looking forward
to their performances in Ann Arbor in just a few weeks.
RENAISSANCE STAGING
2009 | 2010
19
Shakespeare’s Globe Theatre’s production of Love’s Labour’s Lost employs Renaissance
staging, music, and costuming. Below are some characteristics of the theatrical stage in
the Elizabethan period that have informed the work of the Globe.
enchanting harmony;/A man of complements, whom right and wrong/Have chose as umpire of their mutiny:/This child of
Stage Play
Continuous
Setting
Exciting action on stage
was categorized as either
wordplay (linguistic blows
heard by the ear) or swordplay
(physical blows seen with the
eye) and the more spacious
performance venues, like
the Globe, often featured
swordplay over wordplay.
Sword fighting was quite
popular at this time, especially
with the servant class who
formed the core of theater
companies’ actors. Since
law prohibited servants
from carrying swords on the
street, stage fighting with
swords in the playhouse
provided a perfect outlet for
these repressed desires of
aggression.
Most plays were performed with no
stoppages, intermissions, or breaks.
Most often divisions between scenes
and acts were identified by one group
of characters leaving the stage and
another group entering. At other times,
a dance or song would serve as a
transition between scenes.
The settings of plays performed
in the Globe were most often
unlocalized. The stage may have
been adorned with a mural,
tapestry, or metaphorical stage
hanging to set a mood (a white
hanging might signify heaven).
Generally, language and
movement were used to set the
scene, especially important since
some evening scenes would be
performed in the bright daylight
of the open-air playhouse).
Scene settings were changed
by characters coming on or off
stage, with the newly arrived
making some mention of place
in his or her opening lines.
The actors’ speech was continuous;
silence usually occurred during big
battles or gasps for air during hand-tohand stage combat.
Lines were also spoken by actors at a
much quicker pace than what is heard
in modern theatrical productions. Early
accounts note that works of 2500 lines
lasted 2 hours, while today the same
works are 3 hours—and that is with cuts
to the text.
Stage and Audience
Costumes
The stage was almost never empty. Given
that the audience was standing for 3
hours at the stage’s edge, it was too risky
for actors to leave the stage, thereby
leaving the audience to create their
own drama. When the stage did clear,
audience members were known to have
thrown food on stage to get the action
started again. The playhouse audience
also surrounded the actors on stage,
which meant that actors had to always
perform to all sides: right, left, center,
high and low.
Costumes mostly came from servants
who were bequeathed nice dresses
and clothing by their master (a custom
of the time). By law, however, servants
were not allowed to wear these
garments, so they would sell them to
theater companies for cash. So, many
theater companies owned extravagant
and lavish costumes that they never
would have been able to commission or
make themselves.
Power Center in the Round?
2009 | 2010
21
The Globe Theatre is bringing the beauty of Shakespeare’s words and
movement on tour with them. Though the Power Center cannot be
physically transformed into Shakespeare’s Globe, it will be modified in
a way as to re-create the general experience of the Globe audience.
fancy, that Armado hight,/For interim to our studies shall relate/In high-born words the worth of many a knight/From
About 100 seats will be removed from Power’s main floor and the stage
will be “thrust” into the audience. This will bring the action (75% of it!)
into the audience, involving them in the drama (similar to the Globe).
The audience will watch the performance from the side or front of the
thrust stage. This is different from the typical Power Center theatrical
performance, which frames and contains a play much like a TV. The
thrust stage will also allow actors to walk through the aisles of the
audience (the “house”) to get on and off the stage.
The set will resemble the Globe’s: there will be two levels with
entrances on the main stage (the “earth” as the Globe calls it) and on
the second level.
The lobby will also be a “stage.” Prior to the show, the musicians will be
playing live in the lobby and will stroll into the theater for the show’s
start. These musicians will be wearing
microphones so that the audience
members already seated in the house
can hear them. The actors on stage will
not be wearing body mics to amplify
their voices; rather, mics will be hung
over the stage to simply reinforce the
sound.
Globe Guide
22
RENAISSANCE INSTRUMENTS
This hurdy gurdy, Stearns #1329, was constructed in
1866 by makers Pouget Pere et Fils in Ardentes, France.
This shawm (#1766) from the Collection is a 20th century
instrument based on an early instrument. It was made by
Otto Steinkopf in Celle, Germany.
The instruments featured above are from the U-M
Stearns Collection of Musical Instruments. See page 38
for additional info.
tawny Spain lost in the world’s debate./How you delight, my lords, I know not, I;/But, I protest, I love to hear him lie/And I
A Note on the Music:
In composing the dance music for this production I have taken a wide interpretation of the term ‘renaissance’,
drawing on music from Spain, France and Italy; Italy in particular, with the saltarello (a type of hopping
dance), the caccia (or ‘hunt’) and the robust, vigorously sensual and Arab-influenced trotto. All these were
enjoyed in the 15th-century Florence of Marsilio Ficino, one of the renaissance founders of the kind of
philosophical ‘academe’ which, fostered by the Medici, spread from Florence to France, and to which the King
and his friends have sworn their allegiance.
The trumpet and cornet fanfares familiar from many regal contexts on the Globe stage have been put aside
in favour of the bagpipe, frame drum, horn and, occasionally the shawm and hurdy-gurdy, an ensemble more
suitable to a forest and a royal hunting retreat. These instruments are joined by recorders for ‘Concolinel’, the
song sung by Moth in Act 3. This French chanson, with its bawdy and rhythmically repetitive style, playfully
exploits the words ‘con’ (‘cahn’ or ‘coun’ being the then sound of the word for female genitalia) and ‘cul’, the
French equivalent of ‘arse’ or ‘bum’. Armado, the Spanish courtier has no idea of the real meaning of these
words, but thinks that the song is innocently about the sweetness of spring cuckoos, so Moth succeeds in
mocking the Spanish and the French at the same time, which would have very much pleased Shakespeare's
audience of the 1590s.
The influence of a more serious vein in Spanish music is felt in the piece I have chosen from Robert Dowland’s
Musicall Banquet of 1610, a collection that includes contributions from composers of different European
nationalities. The beautiful anonymous piece ‘Vuestros Ojos’ - originally written for the vihuela, a forerunner of
the modern Spanish guitar – creates part of the musical background to a story in which young people can’t
help falling in love with each other in spite of their resolutions.
Last but not least, two dulcians [small bassoon-like instruments used in the 16th century] suggest the
world of Holofernes and his sidekick Nathaniel as they display the benefits of ‘a good old-fashioned English
education’.
Claire van Kampen
Composer
Good Lord Boyet, my beauty, though
but mean, Needs not the painted
flourish of your praise: Beauty is bought
by judgement of the eye, Not utter'd by
base sale of chapmen's tongues: I am
less proud to hear you tell my worth
Than you much willing to be counted
wise In spending
your wit in the praise
Shakespeare
of mine. But now to task the tasker:
good Boyet,
You are not ignorant,
&
Love’s
all-telling fame Doth noise abroad,
Navarre hath
made a vow,
Till painful
Labour’s
Lost
study shall outwear three years, No
woman may approach his silent court:
Therefore to's seemeth it a needful
course, Before we enter his forbidden
gates, To know his pleasure; and in
that behalf, Bold of your worthiness,
we single you As our best-moving fair
solicitor. Tell him, the daughter of the
King of France, On serious business,
craving quick dispatch, Importunes
personal conference with his grace:
Haste, signify so much; while we atte
Globe Guide
24
SHAKESPEARE
IN LONDON
Nathaniel: If love make me forsworn, how shall I swear to love?/Ah, never faith could hold, if not to beauty vow’d!/Though
We know little about Shakespeare’s first years in London. Between 1585 and 1592 his name disappears from the public
records, likely because he was a ‘hireling’ in one of the city’s acting companies; as a junior member he would not be
listed among the troupe’s principal players.
In the late 1580s theatrical activity in London was largely concentrated in Shoreditch, the district of the Curtain
and Theatre playhouses, and in Southwark, the district of their great rival, the Rose. Shakespeare could have lived
anywhere, and in his early career he may have moved from troupe to troupe in order to survive.
In 1594 Shakespeare’s name appears in the records of the Chamberlain’s Men and as the author of plays performed at
the Theatre, the Curtain, and the Rose. He remained a ‘sharer’ in the Chamberlain’s (later the King’s) Men for the rest of
his working life. This attachment offered him some stability amidst the notorious vagaries of a theatrical career.
By at least 1599, he had taken up residence in Southwark – very convenient for the newly-built Globe Theatre (see
page 11). In 1608, Shakespeare’s troupe, now named the King’s Men, took on the lease of the indoor Blackfriars
playhouse. It served as their winter theater and Shakespeare’s working life would have settled into a regular rhythm
of alternate performance seasons at the Globe in summers and the Blackfriars in winters. We can only guess when he
wrote his plays. He may have had his own writing ‘season’, perhaps in the quieter winter months, but he never stopped
acting, probably taking two or three minor parts instead of a major one.
The destruction of the first Globe in 1613 probably prompted Shakespeare to sell his share in it and by the end of the
year his writing career was over. In 1614 he returned to Stratford-upon-Avon, dying in 1616, seven years before the
publication of many of his plays in the First Folio of 1623.
While many are generally familiar with the life and artistic works of William Shakespeare,
here are 11 fascinating or important things to know about him that informed his work:
1. Shakespeare grew up in a small town and was self-consciously rural his whole career -- most other playwrights grew up in London.
2.
3.
4.
5.
6.
7.
2009 | 2010
11 KEYS TO SHAKESPEARE
25
In his life, there were no standardized spellings of words or dictionaries; the language was elastic and changing rapidly. So, he and other authors coined many phrases and invented words.
He didn’t go to college; school records show 8. His output of verse was great. He produced about everyone else in his grammar school class two plays a year for most of his life (total 39), attended either Oxford or Cambridge. His parents plus some non-dramatic poetry (such as Venus likely didn’t have the money to send him.
and Adonis).
There was financial turmoil in his family life, which 9. He didn’t get into trouble. There are no records put his father’s life in a downward spiral.
of jail, drunkenness, adultery, illegitimate children, etc.
The early death of his son was quite painful for him and affected him greatly.
10.He was self-taught and read certain books frequently (evident in his writings), especially He had an unconventional marriage: his wife was Plutarch’s Lives and Holinshed’s Chronicles.
older by 8 years, she came from a wealthier family, and they lived apart for a while. This made 11.To him, originality didn’t mean coming up with marriage a focus of his thoughts and a new story, but rather coming up with a new way playwrighting.
to tell it.
He lived during the Reformation, a time when there was great indeterminacy about what was appropriate and “right” within the rules of religion.
to myself forsworn, to thee I’ll faithful prove:/Those thoughts to me were oaks, to thee likeosiers bow’d./Study his bias
Globe Guide
26
SYNOPSIS
leaves and makes his book thine eyes,/Where all those pleasures live that art would comprehend:/If knowledge be the
The Vow
The King of Navarre and his three friends, Berowne, Longaville and Dumaine, swear to devote
themselves to three years of study, abstaining from all distractions, particularly of the female kind, with
only Armado and Costard to entertain them. They are confounded, on signing the vow, when Berowne
remembers that the Princess of France and her three ladies, Rosaline, Maria and Katherine, attended by
Boyet, are on an embassy to Navarre’s court.
Love and Letters
Armado has decided to arrest Costard for being in the company of a woman, thus breaking the King’s
edict – the woman being Jaquenetta, with whom Armado himself is in love. The ladies arrive, and
the King and his lords fall in love with them. Armado frees Costard, on condition he delivers a note to
Jaquenetta; Berowne charges Costard with a letter to Rosaline; and the two letters get mixed up.
The Vow is Broken
The four lords enter one by one and voice despair about their love for their particular woman, and
one by one are overheard by the others. They decide to tear up their vow, and woo the ladies. They
disguise themselves as Russians, but Boyet tells the ladies beforehand, and the ladies change identities
with each other. The lords enter, and each woos the wrong woman. They leave, and on their return are
mocked by the ladies.
The Nine Worthies
Armado then approaches the schoolmaster Holofernes and the curate Nathaniel to join with him,
Costard, and the page, Moth, to present the Nine Worthies as a play to entertain the nobles. This
provides the nobles with many opportunities for comment and laughter. The mood changes when
Marcade brings news that the Princess’s father has died.
Marriage Deferred
As the ladies prepare to leave, the lords affirm that all their expressions of love were genuine, but the
Princess claims that everything they said was in jest. The ladies tell the lords that, if they are serious,
they must carry out certain tasks for a year, and then return to offer marriage. The lords agree. Armado
then presents the learned men in a dialogue between the owl and the cuckoo, representing winter and
spring, by way of conclusion.
27
2009 | 2010
PEOPLE & PLACE
Dramatis Personae
mark, to know thee shall suffice;/Well learned is that tongue that well can thee commend,/All ignorant that soul that sees
Ferdinand, King of Navarre
Lords Attending on the King
Berowne (Buh-RONE)
Longaville
Dumaine (DOO-main)
Don Adriano de Armado (Are-MAH-doe),
a Spanish braggart
Moth, a boy, his page
Costard (Cost-ARD), a clown
Where is Navarre?
Jaquenetta (Jack-a-NEH-tuh), a dairymaid
Anthony Dull, a constable
Sir Nathaniel, a curate [clergyman]
Holofernes (Hollow-FUR-nez),
a pedantic schoolmaster
The Princess of France
Ladies Attending on the Princess
Rosaline (ROZ-a-line)
Maria (Mah-RYE-ah)
Katherine
Boyet (Boy-YET), a lord
attending on the princess
Monsieur Marcade (Mar-CAHD), a
messenger from the King of France
A Forester
Lords, Ladies, Attendants
The Kingdom of Navarre was actually a real
country in the 16th century. It was situated
between the northern part of Spain and
southern part of France and straddled the
Pyrenees Mountains. It was eventually annexed
by both Spain and France.
Globe Guide
28
SOURCES
thee without wonder;/Which is to me some praise that I thy parts admire:/Thy eye Jove’s lightning bears, thy voice his
Unusually, no literary source is known for the story
of Love’s Labour’s Lost, although the play has a
certain basis in historical fact. It is, in fact, unique
in Shakespeare’s plays in portraying, if nominally,
historical figures still living when the play was first
performed. A King of Navarre (later Henry IV of
France, 1553-1610) did keep about him two lords
called the Duc de Longueville and the Duc de Biron.
Biron (in Shakespeare, ‘Berowne’) even became
known in England as an associate of the Earl of Essex
when Essex led a force to France in support of Henry
during the French civil war of 1589-92.
The lives of the real Henry and his courtiers were
spent largely in the field or conducting affairs of
state – but the King is known to have had one (very
extended) holiday, at his family seat at Nérac in
south-west France in the late 1570s, He was joined
there by the wife from whom he had been separated
for some years, Marguerite de Valois. She brought
with her not only her mother, Catherine de Medici,
but also a train of attractive young women to divert
the King.
Theirs was a very open marriage. Gossip about the
atmosphere of the King’s long vacation may well
have had some influence on the composition of
Love’s Labour’s Lost. Theories advancing other, more
arcane influences, such as the long-held view that
Shakespeare was secretly representing an atheistic
coterie around Sir Walter Raleigh (the so-called
‘school of night’), have now been discredited. While
no direct source has been uncovered for the other
characters in the play, it is clear they owe something
to the clowns, pages, pedants, braggarts and
country priests of the Italian commedia dell’arte.
Nicholas Robins
Shakespeare’s Globe
Madam, your father here doth intimat
The payment of a hundred thousan
crowns; Being but the one half of a
entire sum Disbursed by my father in h
wars. But say that he or we, as neithe
have, Received that sum, yet ther
remains unpaid A hundred thousan
more; in surety of the which, One part o
Aquitaine is bound to us, Although no
valued to the money's worth. If then th
king your father will restore But that on
half which is unsatisfied, We will giv
up our right in Aquitaine, And hold fa
friendship with his majesty. But that,
& Ideas
seems,Themes
he little purposeth,
For here h
doth demand to have repaid A hundre
thousand crowns; and not demand
On payment of a hundred thousan
crowns, To have his title live in Aquitain
Which we much rather had depart with
And have the money by our father len
Than Aquitaine so gelded as it is. Dea
Princess, were not his requests so fa
From reason’s yielding, your fair se
2009 | 2010
31
GENDER ROLES
Within Love’s Labour’s Lost, males and females operate in two different spheres. The characters of the
play and the author himself, inhabit a time in which clear distinctions exist between what is proper for
men and what is proper for women. Below are excerpts from The English Gentleman and The English
Gentlewoman by Richard Brathwaite (1641) that describe the Renaissance codes of conduct regarding
marriage, love, and general behavior.
dreadful thunder,/Which not to anger bent, is music and sweet fire./Celestial as thou art, O, pardon, love, this wrong,/That
The Gentleman
The Gentlewoman
It was pleasantly spoken of him who
said; Wives are young men’s Mistresses;
Companions for middle age; and old-men’s
Nurses.
There is nothing which requires more discretion, than how to
behave or carry ourselves while we are enthralled to affection.
The Lover is ever blinded with affection towards his beloved.
Reason is laid asleep, while Sense becomes the master Wooer.
Whence came that usual saying, One cannot love and be wise.
But I wholly oppose myself to their assertion, who seem thus
far transported with the sensual opinion of affection. My Tenet
is, One cannot truly love, and not be wise.
He was reputed one of the wise men, that
made answer to the question; When a man
should marry? A young man not yet, an elder
man not at all.
But now to our Choice: for it is to be received
as already granted, that Marriage is honorable
among all: and every honorable thing is more
eligible, then that which is not honorable: So
as he that shunneth Marriage, and avoideth
society, is to be esteemed a foe to humanity.
Having now made choice of your wife, being
so well disposed (as it is to be intended),
thee should not be much restrained; for
she hath already resolved to be no gadder,
but, in resemblance of the Snaile, a good
housekeeper. The Egyptians, by an special
decree (as Plutarch reports) enjoined
their Women to wear no shoes, because
they should abide at home. The Grecians
accustomed to burn, before the door of
the new married, the axletree of that coach
wherein she was brought to her husband’s
house, letting her to understand, that she was
ever after to dwell there.
It is most certain, there is nothing more impatient of delay
than love, nor no wound more incurable while we live.
Array yourselves in comely apparel, with shame-fastnesse
and modesty, not with braided hair, or gold, pearls, or costly
apparel; But, as becommeth women that profess the fear
of God. For even after this manner in time past did the holy
women, which trusted in God, tire themselves.
…Where you walk, you may enjoy yourselves freed from light
eyes, gazing and admiring vanity.
Actions are to be seasoned with discretion, seconded by
directions, strengthened with instruction, lest too much
rashness bring the undertaker to destruction.
…In the Maze or Labyrinth of this life, many bee our cares,
mighty bee our fears, strong our assailants, weak our
assailants, unless wee have that brazen wall within us to fortify
us against all occurrents. O then, let not the least action betray
you to your enemy, for you have many within you, for they
are dangerous, because domesticall; without you, for they are
strangers, and therefore doubtfull!
Globe Guide
LISTENING TO THE LANGUAGE
32
The language of Love’s Labour’s Lost is full of witticisms, puns, extended metaphors, jokes, bizarre syntax, parody,
and a pile of other literary devices that demand an intense alertness of the listener. Also, much of this figurative
language is based on cultural happenings specific to the 1590s, so there are parts of the work that scholars still don’t
quite understand because of the specificity of their reference. Below are helpful hints for Listening to the Language
of Love’s Labour’s Lost”:
King: So sweet a kiss the golden sun gives not/To those fresh morning drops upon the rose,/As thy eye-beams, when their
Know the plot!
To ensure students can follow the production, make sure they know plot prior to attending (see page 24). It might
also help to do a micro exploration of theme and characters by analyzing one specific scene or moment in the
play. The Globe’s actors are world-class, so their gestures and movements will likely elucidate their thoughts and
intentions.
Memorize (any) 10 Lines
Having students memorize verse can do the following:
• Enhance engagement and connection with the performance; there’s something to latch onto in the work
• Prompt student reflection on ideas of interpretation: “How did the actor’s recitation differ from mine?”
• Build student appreciation for the acting profession: In the Renaissance actors often performed multiple roles in
a play, and each week they performed two plays a day AND rehearsed new plays. Each actor had a large amount of
text in his head, and this capacity is a sign of the oral tradition of the day. Most people heard speech orally and were
used to listening for long periods of time (for instance, church services were 3 hours). Nowadays, we are more visual
in our digestion: we see pictures or read text.
Rewrite the Text
By rewriting lines from Love’s Labour’s Lost in their own, 21st-century words, students can begin to internalize the
text and deepen connections to the performance.
Evening Listening
For additional opportunities to Listen to the Language of Love’s Labour’s Lost,
attend one of these public performances:
Love’s Labour’s Lost
Shakespeare’s Globe Theatre
Tuesday, October 20, 8 pm
Thursday, October 22, 8 pm
Friday, October 23, 8 pm
Saturday, October 24, 8 pm
Sunday, October 25, 2 pm
POWER CENTER
Call the UMS Ticket Office at 734-764-2538 for tickets to these public performances. Note: public
performance ticket prices differ significantly from Youth Performance ticket prices and Ticket
Office staff can provide full details on availability and cost.
Globe Guide
SONNETS
34
In Love’s Labour’s Lost, Shakespeare pokes fun at his own beloved sonnet form. By Shakespeare’s time the sonnet
form, dominated by Petrarch’s mastery of it in14th century Italy, was becoming exhausted: it was increasingly
difficult for a poet to use language that had not already become cliché. Also, at this time--the Elizabethan period-sonnets were not only the language of love, but also of patronage. The terms sonneteers used to praise a lady
were precisely the terms in which one would speak to Queen Elizabeth I (see Elizabeth’s picture on the next page).
The following pages include examples of good and “bad” sonnets, as well as explanations of what characterizes
each:
fresh rays have smote/The night of dew that on my cheeks down flows:/Nor shines the silver moon one half so bright/
“Bad”
Good
Longaville (4.3.50-63)
• The word choice, mixed meter, and misused
metaphors make this “bad” sonnet a bit unpoetic.
Shakespeare Sonnet #23
• Shakespeare likely crafted Sonnet 23 and
Love’s Labour’s Lost around the same time.
Did not the heavenly rhetoric of thine eye,
'Gainst whom the world cannot hold argument,
Persuade my heart to this false perjury?
Vows for thee broke deserve not punishment.
A woman I forswore; but I will prove,
Thou being a goddess, I forswore not thee:
My vow was earthly, thou a heavenly love;
Thy grace being gain'd cures all disgrace in me.
Vows are but breath, and breath a vapour is:
Then thou, fair sun, which on my earth dost shine,
Exhalest this vapour-vow; in thee it is:
If broken then, it is no fault of mine:
If by me broke, what fool is not so wise
To lose an oath to win a paradise?
As an unperfect actor on the stage,
Who with his fear is put beside his part,
Or some fierce thing replete with too much rage,
Whose strength's abundance weakens his own heart;
So I, for fear of trust, forget to say
The perfect ceremony of love's rite,
And in mine own love's strength seem to decay,
O'ercharg'd with burthen of mine own love's might.
O! let my looks be then the eloquence
And dumb presagers of my speaking breast,
Who plead for love, and look for recompense,
More than that tongue that more hath more express'd.
O! learn to read what silent love hath writ:
To hear with eyes belongs to love's fine wit.
King (4.3.16-32)
• This “bad” sonnet has an extra couplet and is
self-absorbed; the imagery is hyperbolized and
the effect is one of excess.
Thomas Wyatt’s Sonnet, “The Long Love”
• This is a great well-crafted example of the
historic form of the sonnet; it is based on
Petrarch’s Poem140.
So sweet a kiss the golden sun gives not
To those fresh morning drops upon the rose,
As thy eye-beams, when their fresh rays have smote
The night of dew that on my cheeks down flows:
Nor shines the silver moon one half so bright
Through the transparent bosom of the deep,
As doth thy face through tears of mine give light;
Thou shinest in every tear that I do weep:
No drop but as a coach doth carry thee;
So ridest thou triumphing in my woe.
Do but behold the tears that swell in me,
And they thy glory through my grief will show:
But do not love thyself; then thou wilt keep
My tears for glasses, and still make me weep.
O queen of queens! how far dost thou excel,
No thought can think, nor tongue of mortal tell.
The long love that in my heart doth harbor
And in mine heart doth keep his residence,
Into my face presseth with bold pretense,
And there campeth, displaying his banner.
She that me learneth to love and to suffer,
And wills that my trust and lust's negligence
Be reined by reason, shame, and reverence,
With his hardiness taketh displeasure.
Wherewith love to the heart's forest he fleeth,
Leaving his enterprise with pain and cry,
And there him hideth and not appeareth.
What may I do when my master feareth
But in the field with him to live and die?
For good is the life ending faithfully.
Through the transparent bosom of the deep,/As doth thy face through tears of mine give light;/Thou shinest in every tear
Concept
“Bad” Sonnets:
Good Sonnets:
Love Declarations
Sonnets were sincere declarations of love
similar to today’s Hallmark cards: people
recited a pre-composed and pertinent sonnet
to their loved one. These sonnets were reused
and retold over and over.
...Require the “declarer” be an
...Contain a universal message
impassioned presenter; the
easily deliverable by an
presence of this need accentuates impersonal presenter
a sonnet’s inherent staleness.
For Another’s Ears
The language of sonnets is specifically
meant to be shared with another person: a
characteristic central to the form.
...Are recited to an empty
audience. Interestingly, in LLL the
“bad” sonnets written for women
are actually only overheard by
men.
...Are recited to a special (and
present) person.
About “you” not “me”
Sonnets focus on the merits of the receiver
not of the presenter or author.
...Glorify the presenter and are
self-absorbed and self-indulgent,
like the King’s sonnet in LLL.
...Praise the other person with
scant or self-deprecating
references to the speaker.
Shakespearean Couplet
The final couplet of a Shakespearean sonnet
summarize the whole poem or turns it on its
head and is two rhymed lines.
...Over-emphasizes key structural
features, like the doubling of the
final couplet in the King’s sonnet.
...Ends with a simple, but
impactful couplet and
allow figurative language to
dominate the poem.
Meter
...Use mixed and inconsistent
meter.
...Use unforced meter
(usually iambic pentameter)
throughout.
A Poem, Not a Letter
...Use pedestrian and
conversational language that
sounds like an unpoetic letter to
another person.
...Use intentionally clear or
subtle language to create flow
and lyricism
Length
Shakespearean sonnets are 14 lines with the
rhyme scheme ABAB CDCD EFEF GG. (Some
English writers like, like Wyatt, used the Italian
ryhme scheme ABBA ABBA CDCD EE.)
...Are longer than 14 mines
without proper rhyme schemes:
Dumaine’s sonnet’s scheme is AA,
BB, CC, DD. Longaville’s sonnet
unaturally stresses “is” as a rhyme
word in both lines 9 and 11.
...Rhyme properly within 14
lines. (Shakespeare actually
wrote a 15-line sonnet and a
12-line sonnet too...)
Honest plain words best pierce the
ear of grief; And by these badges
understand the king. For your fair
sakes have we neglected time, Play'd
foul play with our oaths: your beauty,
ladies, Hath much deform'd us,
fashioning our humours Even to the
opposed end of our intents: And what
in us hath Resources
seem'd ridiculous,-- As love
is full of unbefitting strains, All wanton
as a child, skipping and vain, Form'd
by the eye and therefore, like the eye,
Full of strange shapes, of habits and of
forms, Varying in subjects as the eye
doth roll To every varied object in his
glance: Which parti-coated presence
of loose love Put on by us, if, in your
heavenly eyes, Have misbecomed our
oaths and gravities, Those heavenly
eyes, that look into these faults,
Suggested us to make. Therefore,
ladies, Our love being yours, the error
that love makes Is likewise yours: we
to ourselves prove false, By being
Arts Resources
www.ums.org
The official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about
community and family events, and more information about the UMS Youth Education Program.
2009 | 2010
37
Websites
www.artsedge.kennedy-center.org
The nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant
information, etc.
Shakespeare’s Globe Theatre
www.shakespeares-globe.org
The official website of the Shakespeare’s Globe Theatre. Site includes information on the Globe’s performances,
management, history, and current productions. The site also has panoramic views of the Theatre from several vantage
points.
Shakespeare
www.shakespeareinamericancommunities.org
Shakespeare in the Communities is an initiative sponsored by the National Endowment for the Arts and Arts Midwest.
On this site, teachers may order a teacher’s manual including lesson plans, a “Fun with Shakespeare” brochure with
word games, a recitation contest guide, timeline poster, audio CD, educational video, and bookmarks.
www.pbs.org/shakespeare/educators
Developed in partnership with the Folger Shakespeare Library, these classroom resources were designed around six
thematic strands: Shakespeare’s Language, Shakespeare on Film, Performance, Primary Sources, Teaching Shakespeare
to Elementary Students, and Teaching Shakespeare with Technology.
www.folger.edu/index_sa.cfm?specaudid=2
This site contains resources for lesson plans, study guides, and ways to use primary sources.
NOTE: Although UMS previewed each web site, we recommend that teachers check all web
sites before introducing them to students, as content may have changed since this guide was
published.
and still make me weep./O queen of queens! how far dost thou excel,/No thought can think, nor tongue of mortal tell.
Video
Love’s Labour’s Lost (2000)
Directed by Kenneth Branagh
Written by William Shakespeare
Screenplay by Kenneth Branagh
Rated PG
A fun movie musical of Shakespeare’s classic work, in
which the play’s love sonnets are replaced by musical love
songs by such greats as Cole Porter and Irving Berlin.
MEDIA
Globe Guide
38
University of Michigan Department
of Theatre and Drama
Walgreen Drama Center
1226 Murfin Avenue
Ann Arbor, MI 48109-1212
734.764.5350
[email protected]
www.music.umich.edu/departments/theatre
Wayne State University Department of Theatre
4841 Cass Avenue, Suite 3225
Detroit, MI 48202
313.577.3508
[email protected]
www.theatre.wayne.edu
Michigan Shakespeare Festival
PO Box 323
Jackson, MI 49204
517.788.5032
[email protected]
http://michshakefest.org
Grand Valley Shakespeare Festival
School of Communications
290 Lake Superior Hall
Grand Valley State University
Allendale, MI 49401
616.331.3668
www.gvsu.edu/shakes
Performance Network
120 E Huron St.
Ann Arbor, MI 48104-1437
734.663.0696
www.performancenetwork.org
Hilberry Theatre
At Wayne State University
4841 Cass Avenue, Suite 3225
Detroit, MI 48202
313.577.2972
www.hilberry.com
U-M Stearns Collection of Musical Instruments
Earl V. Moore Building
University of Michigan
Ann Arbor, MI 48109
734.936.2891
[email protected]
www.music.umich.edu/research/stearns_collection
Chicago Shakespeare Theater
800 East Grand Avenue
Chicago, IL 60611
312.595.5600
www.chicagoshakes.com
Folger Shakespeare Library
201 East Capitol Street, SE
Washington, DC 20003
202.544.4600
www.folger.edu
Stratford Shakespeare Festival
P.O. Box 520
Stratford ON
N5A 6V2
800.567.1600
www.stratfordfestival.ca
COMMUNITY
Longaville: Did not the heavenly rhetoric of thine eye,/’Gainst whom the world cannot hold argument,/Persuade my heart
2009 | 2010
39
RECOMMENDED READING
Aliki, William Shakespeare and the Globe. New York: HarperCollins, 1999.
A delightful picture book dividing Shakespeare’s life into ‘acts’ and ‘scenes.’
Bate, Jonathan and Eric Rasmussen, ed. William Shakespeare: Complete
Works. New York: The Modern Library, 2007.
Bloom, Harold. Bloom’s Major Dramatist: Shakespeare’s Histories. Broomall,
PA: Chelsea House, 2000.
Though this is about Shakespeare’s history plays, if you want to learn more about
Shakespeare, it is a fantastic book.
Chute, Marchette. Shakespeare of London. New York: E.P. Dutton, 1949.
A classic book on Shakespeare’s work in London.
Claybourne, Anna and Rebecca Treays. The Usborne Internet-Linked World of
Shakespeare. London: Usborne Publishing, 2001.
Greenhill, Wendy, and Paul Wignall. Shakespeare: Man of the Theater.
Chicago: Heinemann Library, 1999.
Written by RSC’s former Head of Education, this is an easy-to-read summary of
Shakespeare’s life, work and culture.
Lamb, Charles and Mary. Tales from Shakespeare. New York: Puffin Classics,1987.
Turns many of Shakespeare’s plays into fiction format. This work was
originally published in 1807, so the language may be difficult for some.
O’Brien, Peggy, ed. Shakespeare Set Free. New York: Washington Square
Press, 1993.
This book is geared specifically toward teaching Romeo and Juliet,
Macbeth, and A Midsummer Night’s Dream, but the activities are great and can be
adapted easily to other plays.
to this false perjury?/Vows for thee broke deserve not punishment./A woman I forswore; but I will prove,/Thou being a
Stanley, Diane. Bard of Avon: The Story of William Shakespeare. New York:
William Morrow and Company, 1992.
A text-heavy picture book of the life of Shakespeare. A good reference
book for high-interest, low-ability readers.
Wilson, Edwin. Theater: The Lively Art. New York: McGraw-Hill, Inc., 1991.
A beginning college textbook covering theatrical history, acting, and
design.
Globe Guide
40
Aside In a play, when a character speaks thoughts
aloud without others on stage noticing.
Blocking The movement of actors on stage
Body Mic A small, almost invisible mic that an actor
wears on his/her head or on another part of the
body.
Deck The stage floor, or a temporary stage floor that
has been built on top of the permanent floor.
Director The person who makes the final judgments
on all artistic decisions in the production.
Downstage The part of the stage closest to the
audience.
Dramatis Personae List of the characters in a play.
Elizabethan Period Of or relating to the Queen
Elizabeth I of England or her reign (1558-1603).
Exeunt A stage direction indicating the departure of
two or more characters from the stage.
Front-of-House (or House) Anything in the
audience.
Run The number of performances for a particular
show.
Scene A stage setting; or the structural units into
which acts of the play are divided; or the location of
a play’s action.
Shareholders In Elizabethan acting troupes,
members who received part of the profits as
payment. Unfortunately, this tradition has all but
died out.
Soliloquy A speech in which a character who is
alone on stage speaks inner thoughts. All soliloquies
are monologues, but not all monologues are
soliloquies. “To Be Or Not To Be,” from Shakespeare’s
Hamlet, is probably the most famous soliloquy in
theater history.
Stage Left The left side of the stage from the actor’s
perspective.
Stage Right The right side of the stage from the
actor’s perspective.
Strike The process of taking apart the show after the
last performance.
Monologue A long speech made by an actor.
Tiring House Dressing rooms of actors behind a wall
at the back of the stage. To tire means to dress–that
is, to attire oneself.
Period Any representation on stage of a former age,
as in period costume or period play.
Upstage The part of the stage farthest from the
audience.
Props Any items that could be carried by an actor
in the course of a show. Set props are props that are
used only as set dressing and are not handled by
actors.
Wings Left and right offstage areas; also, narrow
standing pieces of scenery, or “legs,” more or less
parallel to the proscenium, which form the sides of a
setting.
goddess, I forswore not thee:/My vow was earthly, thou a heavenly love;/Thy grace being gain’d cures all disgrace in me./
Proscenium (pro-SEEN-ee-um) arch: The
architectural wall that separates the backstage area
from the audience.
Within Stage direction indicating that a person
speaking or being spoken to is behind a door or
inside a room.
Renaissance The European period and movement
between 14th and 17th centuries that included a
blossoming of the arts and literature.
VOCABULARY
ArtsEdge
www.artsedge.org offers a wide range of arts-infused lesson plans for educators to use. Below are
three that relate to the life and work of William Shakespeare:
A Way with Words or Say What?
Shakespeare invented over 2,000 words and
expressive phrases. In this lesson, students
use drawing and pantomime to identify and
analyze some of Shakespeare's phrases. They
then write a story using the newly-identified
words, lines, and phrases.
http://artsedge.kennedy-center.org/
content/2166/
Artists as Explorers
2009 | 2010
41
The Poetics of Hip Hop
Analysis of hip hop music and lyrics can
provide students with a greater understanding
of rhythm, form, diction, and sound in
poetry. Students will analyze form in
Shakespearean sonnets, then analyze hip hop
music to determine common characteristics
between the Bard's work and the music of
hip hop artists. Students will reinforce their
understanding of the connections between
hip hop and poetry through close analysis
of the works of poets Saul Williams and Nikki
Giovanni, and through the creation of their
own poetry.
http://artsedge.kennedy-center.org/
content/3656/
Explorers exist in every field of human
endeavor, including geography, the arts,
sciences, and philosophy. In this lesson,
students will gain an understanding
of humans' need to explore. They will
create a "journey map" depicting the
accomplishments of artistic explorers, and
research the influences that caused the artists
to embark on these explorations.
http://artsedge.kennedy-center.org/
content/2301/
LESSON PLANS
Vows are but breath, and breath a vapour is:/Then thou, fair sun, which on my earth dost shine,/Exhalest this vapour-vow;
More Sonnet Activities
Good Sonnet/Bad Sonnet
Sonnets are important to Love’s Labour’s Lost (and are discussed in detail on page 34). Ask students to try to write a good
sonnet and bad sonnet themselves, so that they begin to connect with what’s eloquent and stylish in writing and what is
clunky and bumpy too.
Sonnet-to-Play
Tons of drama and information about character and setting are stored (even hidden) within the 14 lines of a sonnet. As
an exercise to enhance students’ understanding of sonnets, have students expand a Shakespearean sonnet into a play (a
scene or act) by imaging the situation or the person being addressed. Try Shakespeare’s Sonnets #96, #138, #29, or #87.
Globe Guide
42
BIBLIOGRAPHY
Brathwaite, Richard. The English Gentleman, and The English Woman.
London : Printed by B. Alsop and T. Fawcet, for Michaell Sparke, dwelling
in Greene Arbor, 1631 (p 30-31).
Bate, Jonathan and Eric Rasmussen, ed. William Shakespeare: Complete
Works. New York: The Modern Library, 2007.
Campbell, Drew. Technical Theatre for Non Technical People, second edition.
New York: Allworth Press, 2004 (p 40).
Claybourne, Anna and Rebecca Treays. The Usborne Internet-Linked World
of Shakespeare. London: Usborne Publishing, 2001.
“Dominic Dromgoole: Shakespeare's rule-breaker.” Interview by
Rhoda Koenig. The Independent. http://www.independent.co.uk/
arts-entertainment/theatre-dance/features/dominic-dromgooleshakespeares-rulebreaker-818584.html. Accessed September 10, 2009 (p
14).
Gurr, Andrew. The Shakespearean Stage, third edition. Cambridge:
Cambridge University Press, 1992 (p 19-20).
Henderson, Diana. Passion made public: Elizabethan lyric, gender, and
performance. University of Illinois Press, 1995 (p 35).
The Riverside Shakespeare, second edition. New York: The Houghton Mifflin
Company, 1997.
Shakespeare’s Globe Theatre. www.globe-theatre.org.uk/globe-theatremap.htm. Accessed September 10, 2009 (p 13, 24).
air:/Through the velvet leaves the wind,/All unseen, can passage find;/That the lover, sick to death,/Wish himself the heav
This guide’s sections on The Globe (p 13), Renaissance Music (p 22),
Shakespeare in London (p 24), Synopsis (p 26), and Sources (p 28) were
adapted from materials from Shakespeare’s Globe Theatre.
A time, methinks, too short To make a
world-without-end bargain in. No, no,
my lord, your grace is perjured much,
Full of dear guiltiness; and therefore
this: If for my love, as there is no such
cause, You will do aught, this shall you
do for me: Your oath I will not trust;
but go with
speed To UMS
some forlorn and
About
naked hermitage, Remote from all
the pleasures of the world; There stay
until the twelve celestial signs Have
brought about the annual reckoning.
If this austere insociable life Change
not your offer made in heat of blood; If
frosts and fasts, hard lodging and thin
weeds Nip not the gaudy blossoms of
your love, But that it bear this trial and
last love; Then, at the expiration of the
year, Come challenge me, challenge
me by these deserts, And, by this
virgin palm now kissing thine I will
be thine; and till that instant shut My
woeful self up in a mourning house,
Raining the tears of lamentation
2009 | 2010
45
What is UMS?
UMS is committed to connecting audiences with
performing artists from around the world in
uncommon and engaging experiences.
One of the oldest performing arts presenters in
the country, the University Musical Society is now
in its 131st season. With a program steeped in
music, dance, and theater performed at the highest
international standards of quality, UMS contributes
to a vibrant cultural community by presenting
approximately 60-75 performances and over 100 free
educational and community activities each season.
UMS also commissions new work, sponsors artist
residencies, and organizes collaborative projects with
local, national, and international partners.
in thee it is:/If broken then, it is no fault of mine:/If by me broke, what fool is not so wise/To lose an oath to win a paradise?
UMS Education & Audience Development Department
Mailing Address
100 Burton Memorial Tower
881 North University Ave
Ann Arbor, MI 48109-1011
Staff
Kenneth C. Fischer, UMS President
Claire C. Rice, Interim Director
Mary Roeder, Residency Coordinator
Omari Rush, Education Manager
Interns
Mark Johnson
Neal Kelley
Michael Michelon
Leonard Navarro
Bennett Stein
Globe Guide
46
ARTISTIC STATEMENT
that I do weep:/No drop but as a coach doth carry thee;/So ridest thou triumphing in my woe./Do but behold the tears that
The performances on any UMS Youth Performance Series are selected from UMS’s corresponding season of
public performances and are programmed primarily based on a show’s relevance to the school community
of learners, the availability of the artist(s), and the advice of our Teacher Advisory Committee. These Youth
Performances also have the same content as our public performances; they are not watered down or censored
because we feel that with enough preparation, our region’s students are able to engage with the world’s most
sophisticated, entertaining, and important arts experiences.*
The artistic experience of Shakespeare’s Globe Theatre is certainly one we wanted to expose our students to
in the 09/10 season. The company meticulously aims to recreate the theatrical experience of the Elizabethan
period through adopting the historical staging practices of the 16th-century Globe theaters, using period
musical instruments, and constructing costumes using Renaissance techniques. These efforts animate twodimensional pictures that students regularly view in textbooks, providing “aha!” moments for youth audience
members as they realize, “oh, that’s how they did it.” The skill with which the Globe moves the text from the
page into the whole body also makes this company’s perspective an important component of UMS’s Youth
Performance and theater series.
Only in the last 15 years of UMS’s 131-year history has UMS presented theatrical works with the intention of
creating a sustained and permanent theater series. Within this recent focus, our presentations have explored
human expression, storytelling, and consideration of life’s big questions, from antiquity to modern times. They
have also explored the canon of William Shakespeare, works central to any initial study of literature in the
classroom or theater on stage (see UMS’s history of presenting Shakespeare’s works on the following page).
Though Shakespeare’s work Love’s Labour’s Lost usually resides outside the circle of his most performed and
beloved works, the play’s themes will likely resonate with students: commitment to school, youth and young
love, and the social differences between males and females. This production is also a wonderful opportunity for
students to feast on a fun and funny array of ink formations that flowed from Shakespeare’s quill pen.
Omari Rush
UMS Education Manager
*We generally do not program performances that contain nudity or excessive use of profanity or that are sexually suggestive.
93/94
THE STRATFORD FESTIVAL
Shakespeare’s A Midsummer Night’s Dream
Joe Dowling, director
2009 | 2010
47
00/01
ROYAL SHAKESPEARE COMPANY
Shakespeare’s Henry VI: Part 1
Shakespeare’s Henry VI: Part 2
Shakespeare’s Henry VI: Part 3
Shakespeare’s Richard III
Michael
Boyd,
director
swell in me,/And they thy glory through my grief will show:/But
do not
love
thyself; then thou wilt keep/My tears for glass
UMS THEATER:
SHAKESPEARE
02/03
ROYAL SHAKESPEARE COMPANY
Shakespeare’s The Merry Wives of Windsor
Rachel Kavanaugh, director
Shakespeare’s Coriolanus
David Farr, director
Recent history of UMS’s presentation of
Shakespeare’s works.
03/04
THE GLOBE THEATER
Shakespeare’s Twelfth Night
Tim Carroll, director
THE GUTHRIE THEATER
Shakespeare’s Othello
Joe Dowling, director
04/05
OAE/THE GLOBE THEATER [CONCERT PRODUCTION]
A Midsummer Night’s Dream
Shakespeare and Mendelssohn
Tim Carroll, director
06/07
ROYAL SHAKESPEARE COMPANY
Shakespeare’s Antony and Cleopatra
Gregory Doran, director
Shakespeare’s Julius Caesar
Sean Holmes, director
Shakespeare’s The Tempest
Rupert Goold, director
09/10
THE GLOBE THEATER
Shakespeare’s Love’s Labour’s Lost
Dominic Dromgoole, director
Globe Guide
48
10 Things to Know About UMS Youth Education
1. QUALITY
Every student deserves access to “the best” experiences of world arts and culture
• UMS presents the finest international performing and cultural artists.
• Performances are often exclusive to Ann Arbor or touring to a small number of cities.
• UMS Youth Performances aim to present to students the same performance that the public audiences see
(no watered-down content).
2. DIVERSITY
Highlighting the cultural, artistic, and geographic diversity of the world
• Programs represent world cultures and mirror school/community demographics.
• Students see a variety of art forms: classical music, dance, theater, jazz, choral, global arts.
• UMS’s Global Arts program focuses on 4 distinct regions of the world--Africa, the Americas, Asia, and the
Arab World--with a yearly festival featuring the arts of one region.
3. ACCESSIBILITY
Eliminating participation barriers
• UMS subsidizes Youth Performance tickets to $6/student (average subsidy: $25/ticket)
• When possible, UMS reimburses bussing costs.
• UMS Youth Education offers personalized customer service to teachers in order to respond to each school’s
unique needs.
• UMS actively seeks out schools with economic and geographic challenges to ensure and facilitate
participation.
4. ARTS EDUCATION LEADER
One of the premier arts education programs in the country
• UMS’s peer arts education programs: Carnegie Hall, Lincoln Center, Kennedy Center.
• UMS has the largest youth education program of its type in the four-state region and has consistent school/
teacher participation throughout southeastern Michigan.
• 20,000 students are engaged each season by daytime performances, workshops and in-school visits.
• UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).
5. K-12 SCHOOL PARTNERSHIPS
Working directly with schools to align our programs with classroom goals and objectives
• 13-year official partnerships with the Ann Arbor Public Schools and the Washtenaw Intermediate School
District.
• Superintendent of Ann Arbor Public Schools is an ex officio member of the UMS Board of Directors.
• UMS has significant relationships with Detroit Public Schools’ dance and world language programs and is
developing relationships with other regional districts.
• UMS is building partnerships with or offering specialized services to the region’s independent and home
schools.
Dumaine: On a day--alack the day!--/Love, whose month is ever May,/Spied a blossom passing fair/Playing in the wanton
YOUTH EDUCATION PROGRAM
6. UNIVERSITY EDUCATION PARTNERSHIPS
Affecting educators’ teaching practices at the developmental stage
• UMS Youth Education is developing a partnership with the U-M School of Education, which
keeps UMS informed of current research in educational theory and practice.
• University professors and staff are active program advisors and workshop presenters.
2009 | 2010
49
7. KENNEDY CENTER PARTNERSHIP
• UMS Youth Education has been a member of the prestigious Kennedy Center Partners in Education Program
since 1997.
• Partners in Education is a national consortium of arts organization and public school partnerships.
• The program networks over 100 national partner teams and helps UMS stay on top of best practices in
education and arts nationwide.
8. PROFESSIONAL DEVELOPMENT
“I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” – AAPS Teacher
• UMS Youth Education provides some of the region’s most vital and responsive professional development
training.
• Over 300 teachers participate in our educator workshops each season.
• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and
institutions, performing and teaching artists.
9. TEACHER ADVISORY COMMITTEE
Meeting the actual needs of today’s educators in real time
• UMS Youth Education works with a 50-teacher committee that guides program decision-making.
• The Committee meets throughout the season in large and small groups regarding issues that affect teachers
and their participation: ticket/bussing costs, programming, future goals, etc.
10. IN-SCHOOL VISITS & CURRICULUM DEVELOPMENT
Supporting teachers in the classroom
• UMS Youth Education places international artists and local arts educators/teaching artists in classes to help
educators teach a particular art form or model new/innovative teaching practices.
• UMS develops nationally-recognized teacher curriculum materials to help teachers incorporate upcoming
youth performances immediately in their daily classroom instruction.
UMS Youth Education Program
[email protected] | 734-615-0122 | www.ums.org/education
air:/Through the velvet leaves the wind,/All unseen, can passage find;/That the lover, sick to death,/Wish himself the heav
Send Us Your Feedback!
UMS wants to know what teachers and students think about this Youth Performance.
We hope you’ll send us your thoughts, drawings, letters, or reviews.
UMS Youth Education Program
Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011
(734) 615-0122 phone • (734) 998-7526 fax • [email protected]
www.ums.org/education