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Archive for the ‘Shakespeare on Film’ Category

Photo: PBS

 

The second season of Shakespeare Uncovered begins on January 30th.  The Folger has been asked to work with WNET THIRTEEN to create support material for teachers and their students. I’ve been lucky to have seen the series already and want to share some of the highlights with you.

Some of the Learning Media Resources have already been posted. Each resource takes clips from the episode and includes Teaching Tips, Discussion Questions, Handouts, and the appropriate Standards.  Take a look at these:

Just as PBS did with Season 1, all episodes will be streamed for free and available on DVD. I encourage you to watch them. Here is the schedule for Season 2:

  • January 30
    • A Midsummer Night’s Dream hosted by Hugh Bonneville
    • King Lear hosted by Christopher Plummer
  • February 6
    • The Taming of the Shrew with Morgan Freeman
    • Othello with David Harewood
  • February 13
    • Antony & Cleopatra with Kim Cattrall
    • Romeo and Juliet with Joseph Fiennes

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75thMacbeth508F-WeirdSisters-small

“Double, double, toil and trouble / Fire burn and cauldron bubble.”: The Weird Sisters (Andrew Zox, Cleo House, Jr., and Eric Hissom) in Macbeth at Folger Theatre (2008). Folger Shakespeare Library.

By Chris Lavold

If you are a fan of Folger Education, you are well aware of the focus on performance-based teaching and how getting kids up on their feet is an effective way to understand and appreciate Shakespeare’s plays.

I have found that an excellent complement to this is to view film clips of performances to generate intelligent class discussions. Some of the most interesting and insightful days of my ninth grade Macbeth unit were the days we watched multiple interpretations of the same scene. This also fits the Common Core Standard RL.7  perfectly:

Analyze multiple interpretations of a story, drama, or poem (e.g., recorded or live production…), evaluating how each version interprets the source text.

The clips I mostly use are from the Folger 2008 production and the Polanski 1971 film. For certain scenes I might use the 2006 Australian version, the 2010 BBC version starring Patrick Stewart, or the 1948 Orson Welles film.

On  video analysis days, my class uses Michael LoMonico’s video expert sheet. I break the students up into four or five groups. Each group has five individual jobs, and each student in the group will do their task while watching the film clips.

  • The screenwriters follow the text and write notes about which lines were omitted or rearranged.
  • The cinematographers watch the camera angles and lighting. They ask questions such as  “Is the lighting trying to portray a theme?  Does a low camera angle tell the viewer someone is in an authoritative position?”
  • The sound editors are not allowed to watch the clip. They must have their backs to the screen and write down sounds they hear. Examples would be natural background sounds like a dog barking or the wind blowing. They also observe what the music tells us about what may be taking place on the screen.
  • The set and costume designers pay attention to the location, costumes, and props. This is always fun to talk about during the opening witch scene in Macbeth or the banquet scene where Banquo’s ghost appears.
  • The last group are the actors who concentrate on an actor’s performance paying close attention to accents, tone, subtext, and emphasis on certain words or lines.

(more…)

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By Deborah Gascon

Have you ever seen any silent films of Shakespeare’s plays?

During the 2014 Teaching Shakespeare Institute, I sat for hours in the belly of the Folger Shakespeare Library watching black-and-white silent films of Othello and Romeo and Juliet—and it was the best day ever.

I was fascinated—how does a play with such essential language become silent? I realized while sitting in that basement that this would be an effective and quick tool to teach emotion, facial expressions, and pantomiming in acting (which all lead to understanding tone!).

When you watch a silent film, the most important words and emotions pop up on the screen, which makes it an effective way to help students engage in close reading and narrow the text for the main idea (which leads to understanding theme!).

(more…)

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The amount of new technology springing up around us can be dizzying, especially when our students are picking it up so quickly. Much of their daily life is conducted online – so how can our classrooms extend into that area of their life?

Teacher to Teacher - Technology

In these Teacher to Teacher Videos, we’re highlighting some ways teachers are using technology and the internet to engage their students even more deeply in their Shakespeare studies:

Videos in class are tried-and-true, but sometimes might feel like a cop-out. In this video, Josh Cabat gives us several ways in which to use video effectively as a teaching tool with many active applications to try right away!

 

Why should you even consider using new technologies? “It’s collaborative, and it’s available 24 hours a day,” says teacher Robert Barker. Students can connect in their own time to their classwork and each other – strengthening their connection to the material.

 

Finally – you don’t even have to use the technology during class-time. Assigning online homework in a “flipped” classroom, according to Greta Brasgalla, gives you more time and more material to discuss in class.

You can hear more from Robert and Greta from their recorded “What’s Done is Done Online” webinar from last spring.

What technologies are you trying in your classroom? How are your students responding to it? Let us know in the comments!

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As you’re probably well aware, there are bazillions of versions of Romeo and Juliet on film. From the silent era through the present day, the pair has inspired countless adaptations from the faithful to the fun-house.  Below I’m listing a few of my favorites, but please share your favorites in the comments!

R&J Animated

When I was growing up, one of my favorite tapes to rent from Video Scene was the BBC Animated Romeo and Juliet featuring several famous voices and gorgeous animation by Christmasfilms. Using an abridgment of Shakespeare’s text, adapter Leon Garfield unfolded the tragic tale in under 30 minutes. It’s available on DVD, now, but preview it on YouTube!

The BBC Television Shakespeare series from the 1970’s might not be the most engaging to watch in its entirety, but if you’ve ever wanted to see a young Alan Rickman in tights as Tybalt, well, this version is a treat! No matter which scene you want to focus on, this full-text version is sure to have it, too. Keeping with the traditionally set, Franco Zeffirelli’s 1968 film is still held in high regard. It’s authenticity of setting and the leads’ ages, as well as the wonderful performances by the entire cast make it infinitely watchable, even today. (Though, of course, with at least one scene post-wedding edited out for classrooms!)

Romeo+JulietSome modern-setting versions have kept the original text, as well, most famously in Baz Luhrman’s 1996 version set in Verona Beach. Even while it pokes fun (the guns are named “Dagger” and “Longsword,” for example), the story, edited from Shakespeare’s text, moves with an intense urgency. Additionally, the independently conceived and filmed Private Romeo uses Shakespeare’s text with a group of army-school cadets left alone at their campus. While it falters in places, it’s beautiful to see these young men using Shakespeare’s words to express themselves.

Finally, there are some wonderful new stories inspired by Shakespeare’s inspiration to re-tell the timeless cautionary tale of two warring groups whose youthful innocents fall in love with each other. West Side Story is the most familiar along these lines, and is a theatrical hallmark in its own right. Comparing this musical to Shakespeare’s play when I was a kid is what led me to be so interested in adaptation as an art form. Potentially less-inspiring, however, it’s worth noting that both The Lion King II and Gnomeo and Juliet are also inspired by these themes, though with happier endings for their young audience.

Shakespeare in LoveThere’s not much room to mention Shakespeare in Love, but I’m going to have to. It’s a funny and touching imagining of how young Will Shakespeare was inspired to write this famous play from his own romantic experience . It’s totally laughably historically inaccurate, of course, but it does not claim to be so and is, instead, a whimsical love-letter to the Bard.

This could go on and on, of course. There are ballets, operas, TV mini-series, anime series, and so many other milieus into which this play has been re-imagined. Sometimes these adaptations illuminate different facets of Shakespeare’s play for consideration the next time we study it. Do these examples fit the bill? Not always, but at least we can enjoy the ride. What is your favorite example of Romeo and Juliet on the big screen?

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Well, that’s a disappoinment.

A closer watch of the trailer for the upcoming Romeo and Juliet adapted by Julian Fellowes reveals that the play has not only been adapted as a screenplay (which is all well and good), but has also had its language adapted. Sneakily, too, it took awhile for the differences from the lines used in the trailer to sink in.

And it wouldn’t be such a disappointment if it weren’t being advertised as:

R&J Trailer Still

R&J Trailer Still 2

Adaptation is a fine thing – it can illuminate the play in ways we never expected. Luhrman’s Romeo+Juliet, while garish and dizzying, gave us a new context for the play and a feeling of vitality and importance though we’ve all known the outcome of the story forever. I honestly cannot see the point of an adaptation in which little to none of the original text is used and it’s set in an all-too-familiar setting. It looks exactly like the lavish Italian set of the famous Zeffirelli film, yet the language is ever-so-slightly (and not-so slightly) tweaked. And why? For time? For clarity? What is the purpose of these textual edits? And why, then, advertise it as Shakespeare’s?

I went through the trailer and picked out the lines used, then looked up what I believed to be their equivalents in the Folger Digital Texts to compare what’s being said. For some, it’s a simple word that’s been changed. For others, it’s an entire phrase that’s been re-edited for some reason.

“On honor of my blood, I’ll strike him dead”
vs “Now, by the stock and honor of my kin, To strike him dead I hold it not a sin.”

“I would not let any harm beset him in my house.”
vs: I would not for the wealth of all this town Here in my house do him disparagement.

“Juliet, if your heart like mine is full then tell the joy that weights us this night,”
“I cannot tell of what is limitless.”
vs: “My bounty as boundless as the sea, My love as deep. The more I give to thee, The more I have, for both are infinite”

“These violent passions can have violent ends.”
vs: “These violent delights have violent ends.”

“Then you are mine no more, so help me God.”
vs: “An you be mine, I’ll give you to my friend. An you be not, hang, beg, starve, die in the streets, For, by my soul, I’ll ne’er acknowledge thee, Nor what is mine shall never do thee good. Trust to ’t; bethink you. I’ll not be forsworn.”

“What have I done but murdered my tomorrow?”
vs: “O, I am Fortune’s fool!”

“There is no world beyond this city’s walls. Just purgatory… Heaven is here where Juliet lives. Every unworthy thing may look on her but Romeo may not.”
vs: “There is no world without Verona walls But purgatory, torture, hell itself… Heaven is here Where Juliet lives, and every cat and dog And little mouse, every unworthy thing, Live here in heaven and may look on her, But Romeo may not.”

“A greater power than we can contradict has thwarted all our plans.”
vs “A greater power than we can contradict Hath thwarted our intents.”
(not too bad, but is Friar Lawrence really saying that to Romeo? That’s supposed to be his line to Juliet in the tomb.)

“O, Furtune Fortune, send him back to me.”
vs: “O Fortune, Fortune, all men call thee fickle. If thou art fickle, what dost thou with him That is renowned for faith? Be fickle, Fortune, For then I hope thou wilt not keep him long, But send him back.”

“Take this vial… and drink through the last drop… and there will be no sign of life within you.”
vs: “Take thou this vial… And this distilling liquor drink thou off… No warmth, no breath shall testify thou livest.”

“Give me my Romeo. And when he shall die, cut him out in little stars. He will make the face of heaven so fine that all the world will be in love with night.”
vs:
“Give me my Romeo, and when I shall die, Take him and cut him out in little stars, And he will make the face of heaven so fine That all the world will be in love with night.”

This is a topic we keep coming back to:

“Bless thee, Thou Art Translated”
“Shakespeare… in Other Words”
“All Students Deserve Shakespeare”
“More to Fear from No Fear”

And it was addressed in our May 14th Webinar, of which you can watch an archived recording: Shakespeare in Other Words.

What do you think? What could the purpose of this sly translation be? What is lost or gained by these edits? How could it affect the way the audience perceives Shakespeare?

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Film adaptations of Shakespeare’s plays appear regularly each year. Some of the plays get more attention than others – I mean, just look at the wikipedia lists of film adaptations for Romeo and Juliet, Macbeth, and especially Hamlet! There was definitely a lot of (deserved) hype this summer for Joss Whedon’s independent Much Ado About Nothing, but nothing matches the well-trod tragedies for film popularity.

Even so, I was surprised to see that not one, but two new film adaptations of Romeo and Juliet are in the works this year. One is the highly publicized adaptation by Downton Abbey scribe Julian Fellowes, and the other is a… well… an operetta set in a trailer park in New Zealand? The former is certainly much more faithful to the text, but the latter has this vitality about it that reminds me of some of our student performances at the Festivals – the inspiration of imagination and making the text one’s own.

I’ve seen students present R&J on our stage as a comedy (with a little death at the end), as a serious love story, as a story about swords (with a little love thrown in), as characters from Twilight, as modern teenagers, and just about everything in between. Every class that presents the same play brings something different to the table, just as every film director will bring something new to light in their vision of the play on screen.

I, personally, can’t get enough of film adaptations of Shakespeare’s plays, but I am surprised by how much we’re still making the same ones! Why do you think that is? What plays would you like to see made into screenplays? I’m going to begin a push for Cymbeline, I think…

And can I mention just how much Hailee Steinfeld and Douglas Booth look like Olivia Hussey and Leonard Whiting?

twor&j

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