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Archive for the ‘Shakespeare on Film’ Category

Ben Jonson once wrote of Shakespeare, “He was not of an age, but for all time.”  Now, almost 400 years after Shakespeare’s death, we live in a world where it gets more difficult every day to convince students of the Bard’s relevance. Cell phones, iPads, and video games seem to have taken center stage in the common teenager’s life.  Is it really as difficult as some suggest to engage today’s student in the study of Shakespeare and his play?  I would argue that Shakespeare is doing just fine in 2013.  In a recent Folger Education Facebook entry, there was a link posted about seven upcoming film or television projects that all involved Shakespeare.  PBS recently began their six episode series entitled “Shakespeare Uncovered” and the first episode examined my all time favorite play, Macbeth.  As someone who feels they have a strong grasp of the play, I was fascinated at all the little insights I gained from watching this episode.  It was especially thrilling for me to see Dunsinane Hill and possibly the remnants of Birnam Wood in the surrounding countryside. As I watched, I was already plotting which clips from the show I wanted to share with my students next year when we study Macbeth.

In addition, I am amazed at how many newspaper and magazine headlines, syndicated columnists, and television shows make references to the Bard’s works.  One recent example that comes to mind was an opinion piece about the US tax code and how it relates to Shakespeare.  On television, CBS’s The Mentalist had two episodes from 2012 where Shakespeare had a major role in the outcome of the show. In the episode, “Something’s Rotten in Redmund” the lead character Patrick Jane investigates a teacher’s death by hanging around rehearsals of Hamlet.  By the end of the episode, Jane is on stage playing the ghost of Hamlet’s father and let’s just say that this ghost has other things to reveal than a usurping uncle. In another episode, “Cheap Burgundy,” Jane catches a killer by misquoting lines from Macbeth that the killer supposedly knew nothing about, but who felt the need to correct Jane’s mistake.  In this week’s Sports Illustrated, there is a college basketball article by Luke Winn entitled “Cry Havoc and Let Slip the Dogs of Hoops.”  I love seeing references to Julius Caesar in my favorite sports magazine.

While this was a long-winded introduction to what I want to share, I think it is important that students be shown the numerous examples of how the Bard’s works are alive and well in the 21st Century.   With that said, I also think that, we as educators, need to embrace the technology of today and also get the students out of their desks and experience the plays on their feet.  In this blog, I would like to share two of the activities that I have done in my classroom over the past three years to make the Bard come alive and allow the students to use a plethora of the technology that they love.

One of my most popular classroom activities is the making of a movie trailer after we study a play.  With the majority of newer iPads and cell phones  possessing video cameras that are HD quality, many of the students can film these projects using their own devices.  Of course, actual video cameras may be used as well.  The simplicity of movie editing programs like iMovie, Windows Movie Maker, and other similar programs allow students to use edit the film and use effects that we could only dream of having at our fingertips ten years ago.  So far, my classes have done Hamlet and Othello.  None of them will earn Oscars, but they all have a special place in my heart and the students appear to really enjoy this particular week of my class.

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Chris’s students act out scenes from HAMLET for their trailer project.

I will give you a general overview of what the students are responsible for, but if anyone has more specific questions feel free to contact me.  First, the students make groups of 7-10 depending on class size.  Together, we view some film trailers in class and have a short discussion on what was effective or ineffective about each.  Next, the students decide on which scenes or lines must make an appearance in the film.  I try and stress to them that short clips are most effective, but if you watch the links that I provide you will see that they don’t always follow those instructions.  Sometimes their disobedience was effective and other times not so much.  After building the script, Students also need to discuss scene locations(we are limited to our school grounds), costumes, and props.  We usually borrow clothes from the drama department closet, but you will see in the Othello trailers that some were just dressed in normal school clothes. Finally,  we begin the filming process.  Even though the trailer will probably be no more than one to four minutes long, it will probably take at least three or four days to film and we have the block schedule at my high school.  One can never underestimate how many times the “actors” will stumble over their lines, unexpected encounters with  students from other classes or cars that appear in your video backgrounds forcing a cut, or when the laughter bug hits and nobody can keep a straight face.  You can view the bloopers reel at the end of our trailer videos to see what I mean.

After all of the filming is completed, the editing process takes over. I usually do most of the editing with the help of a few students.  I think this is a mistake that I need to remedy.  There is a pretty slick trailer feature on iMovie that my dog could probably figure out with a little time.  My plan this year is to arm the students with iPads and allow them to use the iMovie app to create their masterpieces.  I have included links to our previous trailers here.  Hamlet #1 , Hamlet #2 , Both Othello Trailers.

Staying on the theme of video production, I’d like to quickly share a project that two of my students created on their own that I now plan on having my future classes do as a formal assignment.  They called it the “Shakespeare Infomercial”. Neil and Spencer picked a product to sell that played a role in a specific play.  In one Othello infomercial, they sell an Egyptian handkerchief complete with strawberry embroidery. If the customers acted soon enough, they would also throw in a complimentary scimitar and scabbard.  They finished the video with several satisfied customer’s remarks.  What I enjoyed most about the infomercials was how they threw in several references to the plays and the Bard that were very clever.  Watch the Othello informercial here and then check out their Macbeth infomerical where they sell witch cauldrons among other items.  The portion of the assignment that takes the longest is the writing out of the script. They filmed and edited the video on an iPad in under an hour.

I am out of space, but I hope to share some more activities from my classroom in the future.  Thanks for taking the time to read this and making your classroom one that makes the Bard come alive!

Chris Lavold has been  an English teacher and baseball coach at Mauston High School in Mauston, WI for the past 16 years.  As a 2010 Folger Library Teaching Shakespeare Institute participant, he learned many valuable techniques and insights about Shakespeare and the teaching of his plays.  He has spoken at the NCTE conference for the past two years on behalf of the Folger on topics specializing in technology and the use of film in the classroom. Lavold can be reached at clavold@maustonschools.org  or follow him on Twitter @Shakehitch.

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~by Josh Cabat

It is a trope with which we have become extremely familiar, from endless reality shows higher quality fare like Modern Family and The Office. A scene is played out, only to be interrupted by what in the business is known as a cutaway. Here, the character breaks the fourth wall, addresses the audience directly and describes what was going through his or her head while the action of the scene was happening. Perhaps they might offer some analysis of their own actions or comment upon the actions of others; perhaps they will reveal their deepest fears and wishes. Perhaps they will offer predictions and hopes for what is to come, and maybe even reveal plans for how they intend to accomplish those ends. Does this sound familiar?

Yes, it could be The Situation in Jersey Shore, or a conniving member of this season’s cast of Survivor. But this also describes the opening of Richard III or Macbeth’s dagger fantasia. It is a small stretch to say that today’s ubiquitous cutaways have their roots in the kind of intimate revelation to an audience that was essentially perfected, if not invented, by Shakespeare in his use of the soliloquy. So while I may not be entirely comfortable having Rosalind and Snooki this close together in a sentence, it is certain that our students’ familiarity with the cutaway is an easy path towards approaching the subtext of the plays and the rich interior life of Shakespeare’s characters.

To put this to the test, try this simple exercise, as I did with my 9th graders in our reading of Romeo and Juliet. You can begin in one of two ways; either have the students perform the scene themselves and film it, or rip a pre-existing scene (no longer than 3 minutes’ worth, if you please). We chose the latter approach in addressing the meeting of the play’s doomed lovers in Act I, scene v. Students in each group chose the roles they wanted to play, and as a group came up with the questions that they wanted each character to respond to. For example, the students wanted to know how Tybalt felt when he saw a Montague at his family party but was restrained by Capulet from doing anything about it, or what Romeo was planning to do once he realized the identity of his newfound love. The students playing the respective roles had to come up with answers, in modern English but supported by Shakespeare’s text.

Finally, the students filmed their answers to the questions. After editing them down, they loaded them onto iMovie and intercut them at the appropriate moments of the original clip they had downloaded. They added simple titles, such as the character’s name as their cutaways play out, and that was it. The beauty of this activity was that the students were forced, as any actor or close reader would be, to comb through the text to find support for their character’s responses. I invite you to check out the result, “Modern Families (Both Alike in Dignity)” on YouTube here. As a way inside their characters’ heads, using this trope with which they are so familiar was both intuitive and fun.

Josh Cabat is the Chair of English of the Roslyn, NY Public Schools. He was the co-founder of the NYC Student Shakespeare Festival, and is currently a Teaching Artist at the Brooklyn Academy of Music. He is an alumnus of the Folger TSI from 1993, and earned his MA in English Literature from the University of Chicago and his BA in English Literature from Columbia University.

Josh has previously written for Folger Education in his post Vindication: Coriolanus and the Modern Audience.

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During this month’s Teaching Shakespeare Institute, some of our Summer Scholars have chosen to blog their experiences on their own sites, and have given permission to share some of them here. Today we’ll look back on yesterday’s very full day of activities with Greta Brasgalla:

And we are back for another week!  Today was a bit strange because we had lectures all day including an extra one in the evening.

Morning Lecture:  David Schalkwyk on The Sonnets

David is the epitome of the Shakespearean professor–suit, tie, errant hair, and British accent.  In short, completely charming to listen to.  He discussed the sonnets and some of the themes that are present.  He framed his lecture by saying his son was getting married and he wanted to read a sonnet at the wedding.  He soon discovered that none of them are appropriate.

Helen Vendler says that unlike a play, the lyric is empty of any particular voice.  Any person who speaks them, becomes them.

We learned the importance of pronouns in the sonnets.  For those of you who have no idea about this (as I did), here is a summary

  • thee and thou are used for close family, for God, and from Master to servant
  • you is more formal
  • this is similar to the use of tu and usted in Spanish

As one looks through the sonnets ( we looked at 13, 57, 58, 121, 135, 126) you see Shakespeare making use of these pronouns to emphasize his intimacy with the subject and his displeasure with their relationship.

Interesting fact:  The phrase “Do you love me?” is only used once in Shakespeare (the Tempest). “Dost thou love me?” is used many times.

Independent Research and Lunchtime Colloquium on LUNA database

We had some time after lecture to go into the Reading Room and begin research, or work with Stephen [Dickey] and Margaret [Maurer, two of TSI's resident instructing scholars] on EEBO (Early English Books Online).  Both of them really helped me find some items on my research topic:  Venice as another  “other” in Merchant and Othello.

At lunch, we learned about the LUNA database which is accessible to the public.  It hold digital images of everything the Folger has photographed over the years.  You can search “Hamlet” and find pics of costumes and renderings of productions as well as pics of the Folio.  Really great for showing your students different ways of staging a play.  Click on the link and check it out!

Curriculum Presentation:  Mary Ellen Dakin “Reading Shakespeare with Young Adults”

MaryEllen had us doing some video projects today using her idea of the relationship between the Literary/Theatrical/Cinematic connection.  MaryEllen calls this “transmediation.”

Our assignment was to film a scene, but add in scenes of us planning, expert advice, and other tidbits.  MaryEllen used the sample of Al Pacino’s “Looking for Richard” for this.  We filmed our scene and my friend Melanie did some speed editing on Moviemaker.

After dinner, we went back to the Folger for a great lecture by Ralph Cohen about the Blackfriars Theater.  Interesting that the seating in the BF was exactly the opposite of the Globe:  rich people were onstage and in the front of the theater to be seen.

A great day today made even better by the mild weather over here!

Greta heads the English Department at El Dorado Ninth Grade Academy in El Paso, TX.  She holds a Master of Arts degree in English and American Literature and a Bachelor of Arts in English and Theatre Arts from the University of Texas at El Paso, and now has 20 years of classroom experience.

Check back during the month of July for more “TSI Experiences” from participants and staff!

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A new version of Romeo and Juliet, directed by Alan Brown, and featuring an all-male cast,  is sure to become an important film adaptation of this play. Private Romeo will be shown in New York City at the Cinema Village Theatre on E. 12th Street on Friday, February 10th.  If you’re in New York City on the 10th, you should get to the theatre and see it.  The film is suitable for high school students.  It is sure to provoke intense discussion of the play as well as the age-old motifs of love at first sight and all of the implications that come with it.

The film features Matt Doyle and Seth Numrich (War Horse, Lincoln Center run) as two military school students restricted to base, along with a few of their comrades, on a weekend when their fellow cadets go away on a training exercise.  The cadets who remain on base are assigned to continue reading Romeo and Juliet, and the film unfolds from there, with Doyle and Numrich taking on the title roles.  Director Brown has edited the text to a tight 92 minutes, and keeps the vitality of Shakespeare’s language intact. 

Private Romeo (Trailer) from The Film Collaborative on Vimeo.

The film will provide teachers with a number of teachable moments, not only about the language of Shakespeare’s play, but also about his observation that “the course of true love never did run smooth” (A Midsummer Night’s Dream, 1.1.136).  The film’s conclusion is sure to prompt debate among viewers.

What films of Shakespeare’s plays have you seen that have generated discussion in class? What’s been the focus of that conversation?

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~by Josh Cabat

Vindication.

That’s the word that kept going through my mind as I sat and watched Ralph Fiennes’ film adaptation of Coriolanus. It’s not so much that the movie will stand among the greatest attempts to put Shakespeare on film, which it surely will. For me, it went much deeper. This is an unloved play, and with good reason; it is a play with no clear moral center, a political tragedy in which all sides are unattractive and which features the most unlikable “hero” in all of Shakespeare. No less an authority than Stephen Booth summed up the general feeling when he said to me, “I don’t know how anybody could love that play.”

But I do, because it’s the play that made me a Shakespeare person. Like many, I didn’t particularly care for Shakespeare in high school. Perhaps it was being forced to sit through an audio recording of Burton’s Hamlet for four days. When I was asked to read it in college, I had never even heard of it. I was immediately and deeply struck by the sheer modernity of the play; aside from the language, and the antiquity of the setting, it felt as though it had been written yesterday. My high school teachers had tried to tell me that Shakespeare was relevant, but I wasn’t buying; Coriolanus finally showed me that this was so, and changed the direction of my career.

Fiennes’ adaptation, a remarkable directorial debut, confirms what I first felt in college. It was almost redundant of him to update the setting of the play, since the connections to modern times are plain to see in the text. That said, the contemporary setting presses the point home most effectively. In the end, I’ve always believed that there was a reason that Shakespeare essentially abandoned tragedy after this play. In playing out these personal and political difficulties to their logical conclusions, it’s as though he realized that these were knots so complex that they could never be untied. Is it any wonder, then, that he subsequently moved on to a genre where the thorniest of problems could be solved with a simple wave of a magic wand?

I have great hope that this brilliant film will deservedly bring the play more into the mainstream. Coriolanus is indeed unlovable; that what makes it such a crucial work.

Josh Cabat is the Chair of English of the Roslyn, NY Public Schools. He was the co-founder of the NYC Student Shakespeare Festival, and is currently a Teaching Artist at the Brooklyn Academy of Music. He is an alumnus of the Folger TSI from 1993, and earned his MA in English Literature from the University of Chicago and his BA in English Literature from Columbia University.

Coriolanus is currently playing in NY and LA, and will release for a wider run on January 20th. Will you and/or your students see it? Do you think there are more modern politics or references in Shakespeare’s canon? Let us know what you think in the comments!

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Students perform a scene from MACBETH during the 2011 Children's Festival

Some recent posts on this blog have noted that introducing Shakespeare’s plays to young students can be a very successful experience for the students and their teachers.  In addition to the Folger’s program for students in grades 3-6, Shakespeare Steps Out (SSO), the RSC has been creating shorter versions of the plays for youngsters.  Last year, for example, the RSC presented 70-minute versions of The Comedy of Errors and Hamlet.  The results were interesting.  Rather than finding the comedy to be more successful with students, the tragedy was the play students connected with because they were able to relate to the family issues within the play.  Now, the RSC is planning to film and make available for free to students in NYC a 70-minute version of King Lear.  Last year’s efforts were not filmed.  If students respond to family issues in a tragedy more than they do to a comedy, what other Shakespeare plays ought to be presented to students? Why? What’s the family-related issue(s) in the play?

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Recently the internet was abuzz with excitement over a secretly produced film of Much Ado About Nothing directed by Joss Whedon. Mostly, probably, because it’s one of the most well-loved nerds ever directing a cast of a few more of the most well-loved nerds.

I excitedly shared this information with my High School Fellowship mentees the day the news broke. I bounced in my seat, my eyes wide with excitement as I told them that Whedon had directed, and would release (eventually), a new setting for Much Ado on film.

Their blank looks knocked the wind right out of me. They had read Much Ado, they had had animated discussions about the play, and even more heated discussions about a local production they’d seen. They had written essays, become attached to characters, drawn out their own themes and morals from it. Nothing.

Maybe I had focused too much on the aspect that Whedon was directing. After all, they were far to young for Buffy or Angel when it was out, and hardly anyone’s seen Firefly unless you were told about it first. “A new adaptation of Much Ado on film, though, guys! That’s got to be cool,” I pressed, hoping that they’d get interested. Still nada.

Now, HSFP students have – as we like to say – drunk the Shakespeare kool-aid. If they can’t get excited about a new film version of a play, will students who’ve never seen it?

So I suppose that’s my question for you, educators. What gets your students excited about Shakespeare outside of the classroom? New film versions by well-loved directors? Shakespeare lines set to hip hop? Novels (or graphic novels) inspired by Shakespeare? Local live performances? There’s a plethora of ways Shakespeare is presented in the modern world, but who is it reaching?

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After the highly anticipated opening of ANONYMOUS last weekend (well, there were a few people I’m sure who almost had to wait on line to see it), the excitement has diminished significantly.  Two people I know were underwhelmed by the experience of seeing it.  My sense is that this is the reaction the vast majority of those who venture to the movies will have regarding the film.  A good number of movie critics, not to mention an impressive list of scholars, have panned the movie and its premise. I am reluctant to join the group in piling on more negative commentary considering that the film is likely to fade into oblivion soon.  However,  the concern I have is that some teachers will use the film and the promotional materials sent to them by SONY Pictures in the guise of  lesson plans in their classrooms. Doing so would be a big mistake, in my book, and might influence students not to question the authorship of Shakespeare, but to ask why his work even matters at all.

The first activity (“Mistaken Identity”) invites students to “join the debate,” and then seems to lead the reader to conclude that the search for the “true” author of Shakespeare’s plays has merit:  ”Shakespeare supporters remind us that doubts about his authorship did not arise until more than 200 years after his death.” And then the question, ” What social and intellectual developments during that time might ahve prompted the search for the true author?” To be sure, a slanted question perhaps designed to get students thinking that there is an issue to be debated.

The second activity (“The Soul of the Age”) claims that the film presents a “compelling portrait of Edward de Vere as the true author of Shakespeare’s plays.” Remember, de Vere was dead for many years before a number of Shakespeare’s plays appeared on the scene (and there is no ”compelling” explanation about how de Vere could have managed to write from the grave).

And the third activity (“A Kingdom for a Stage”)  notes that the film has “all the elements of a Shakespeare play.”  Perhaps it does, but does that mean anything?  For those of you who have viewed the suggested activities associated with the film, you have undoubtedly found that they are based on lots of misinformation that will lead students far afield. This is one film that teachers should avoid.

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Ralph Fiennes is taking on the role of Prospero in The Tempest.  As you may remember, Fiennes plays the role of Voldemort in the Harry Potter movies.  According to an interview he did for BBC Radio 4′s Front Row,  “He hopes young Potter fans, who are not usually interested in Shakespeare, could be drawn to the play based on his past experience of moving between film and theatre.” He wants young people to understand that there is “an expressiveness, an extraordinary elasticity of expression in Shakespeare which is thrilling to me and I hope other people find it thrilling.”  Fiennes isn’t the only actor who has appeared in popular films and then done a Shakespeare play. And he may not be your favorite.  For me, Sir Laurence Olivier’s King Lear  (1984) was among the most moving I have ever seen on film.  For live performance, I would have to say that Sir Derek Jacobi’s recent portrayal of King Lear was heart-wrenching.  So, what actor have you seen in a Shakespeare play who gave a memorable performance?  What play and what role did he or she perform?  What was so memorable about the performance?

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This video was making the rounds a couple of weeks ago, and I finally had a chance to see it. Impressionist/Comedian Jim Meskin performs Clarence’s speech from Richard III (I.iv) as well-known celebrities and characters:

What I especially appreciate about his performance is that Meskin chose which voices to use based on the content of the line and how well it would relate to the character.

Meanwhile, in London, music artists Super Master Raver and Killa Kela collaborated on a piece inspired by the devastation of the recent London riots, but used Hamlet’s “What a piece of a work is man,” speech (II.ii) to illustrate their discontent with the violence:

It’s not so hard to apply Shakespeare’s words to our own lives: a soliloquy can capture our soul when we have no words for what is happening, a voice can speak to us across centuries with new and different meanings!

Have you seen, or used, Shakespeare in application to today’s news or experiences? How could students use celebrity references, music, or world news to relate to Shakespeare?

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