shakespeare in Ethiopia :




Commedia shows :

Turandot, Pinocchio...

... 2009

Film-North * Shakespeare *

TOPICS: drama + comedy + postmodern + american age + space + time + chronotope + direct + event theory + present + sex + past + marxism + shows +
+ HamletDreams 2001 *

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1564-1616 Stratford

Shake script analysis

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Key Terms: Glossary

2006: new
GeoAlaska: Acting, Directing, Theory
GeoAlaska: Theatre & Film
The latest -- "romance": Cymbeline, The Winter's Tale, The Tempest (comedy + tragedy + supernatural)
Virtual Theatre
* NEW: goto.txt : AFTER 2009 : LUL pages : 2006 * * 100 years since Sam Beckett's birth * * 2007 : the art of theatre [flickr] * 2008 : Stoppard *

SHOWS: 12th Night
Bedford: "A Midsummer Night's Dream"


Shakespeare @ Amazon
* one act fest


Drama : Take 1st Quiz


Shrew 04: situation -- the compability test. They are in love, but what a start! She wants out of the father's house, he planned to marry for money. Comedy of characters? Kate is gentle with mask of a shrew. Pete is a gentleman, playing brute.
Bianca Story, tragic, like every good comedy (Bold Soprano) -- twenty years later.
Comedies: As You Like It * The Taming of the Shrew * The Tempest * A Midsummer Night's Dream * The Merchant of Venice
[ This is the BBC series marketed by Ambrose Video that many colleges and libraries have purchased (see ]


All's Well That Ends Well * As You Like It * The Comedy of Errors * Cymbeline * Love's Labours Lost * The Merry Wives of Windsor * The Merchant of Venice * A Midsummer Night's Dream * Much Ado About Nothing * Pericles, Prince of Tyre * Taming of the Shrew * The Tempest * Troilus and Cressida * Twelth Night * Two Gentlemen of Verona * Winter's Tale * Measure for Measure *

"Many times the question is asked: what makes a play a comedy instead of a tragedy? Comedies treat subjects lightly, meaning they don't treat seriously such things as love. Shakespeare's comedies often use puns, metaphors, and insults to provoke "thoughtful laughter." The action is often strained by artificiality, especially elaborate and contrived endings. Disguises and mistaken identities are often very common." *

I use a couple references to Aristotle (Poetics, see 200X files):

Comic Hero: below everage *

+ happy end *

Readings: Robert G. Hunter, Shakespeare and the Comedy of Forgiveness (1965); Arthur Kirsch, Shakespeare and the Experience of Love (1981); Alexander Leggatt, Shakespeare's Comedy of Love (1974, reprinted 1990); W. Thomas MacCary, Friends and Lovers: The Phenomenology of Desire in Shakespearean Comedy (1985); and Leo Salingar, Shakespeare and the Traditions of Comedy (1974).

DVD * Shakespeare Comedies 2003
Britain’s most distinguished actors, including Helen Mirren, John Cleese and Nigel Davenport bring The Comedies of William Shakespeare to live, including the sunny As You Like It, the comic battle of the sexes played out in The Taming of the Shrew, the enchanting romance of The Tempest and more. DVD Only. 11 hours WSD3475 * Country of Production: United Kingdom

Shake Comedies on the Web (100 top)

12th Night online from Google *

Twelfth Night (1996) DVD: B0009VNBKG

Four centuries of The Taming of the Shrew

"What to make of a play that for four hundred years has been wildly popular with audiences, has for half of that time appeared in various incarnations and disguises, and flies in the face of modem ideas about men, women, and marriage? Whether farce or protoferninist critique, moral tale of wifely duties or brutal burlesque of marriage and the married, The Taming of the Shrew stands as one of Shakespeare's most often performed and best loved comedies." *:

... Like much of Shakespeare, The Taming of the Shrew fell victim to the Restoration propensity for editing and reconstructing Elizabethan and Jacobean dramas. For almost two hundred years the play was seen not in its original form, but in adaptations, including Charles Johnson's The Cobbler of Preston and James Wardale's The Cure for a Scold. Pepys most likely saw John Lacy's risqu6 version titled Sauny the Scott, in which the action is moved from Padua to England, and Petruchio's comic servant, renamed Sauny, is the lead character.

In 1754 actor-manager David Garrick presented his own version, Catherine and Petruchio, which supplanted all other adaptations and became the prevailing form in which the play would be seen well into the nineteenth century. Garrick's play was a short, farcical, three-act rendition which omitted the Induction (in whid the drunken tinker, Christopher Sly, is tricked into believing he is a lord and is presented The Taming of the Shrew as entertainment) as well as the Bianco/Lucentio subplot. Katherina becomes Catherin and the story is condensed into four scenes-the courting, the wedding, the banquet, and the Tailor's visit Catherine was stronger and more direct than her predecessor; her final speech was truncated and she was given lines which suggest that she was doing some taming of her own. This stripped down, slapstick Shrew became a frequent afterpiece in the multi-faceted theatrical evenings of the day. Kerable, Macready, Irving, Siddons, and Terry are a few of the stars who appeared in Catherine and Petruchio in England and America, where it often followed Romeo and Juliet on the bill.

Garrick's emphasis on farce was the beginning of a trend: stage business became increasingly elaborate, the servant's lazzi (stock gags and tricks) more prominent, and the entire proceedings more violent. A whip was introduced as one of Petruchio's standard props, a performance tradition that continues today. Through it all, however, Petruchio remained pretty much a well-dressed, eighteenth-century gentleman.

... Hollywood loved The Taming of the Shrew, making it the subject of at least four silent movies. When Hollywood went talkie, so did Shrew. The first Shakespeare sound film in 1929 featured Douglas Fairbanks and Mary Pickford as the quarrelsome twosome in a screwball comedy version-38 years before that other famous husband and wife team, Burton and Taylor, appeared in Franco Zeffirellis lusty, technicolor whirlwind. Pickford's final moment-anticipating Taylor's overly earnest delivery of the fifth act speech-was a wink to the assembled gentlewomen, and to the audience, entreating them not to worry, that everything is under control.

Recent productions continue to reveal a wide range of approaches and interpretations. Michael Bogdonov's 1978 Shrew at the RSC was a decidedly feminist staging. The Induction began in the audience, as an argument between an unruly audience member, who turned out to be Christopher Sly, and an usherette. The comedy played out as a revenge fantasy of the misogynist Sly, played by Jonathan Pryce, who also appeared as Petruchio. Set in modern dress, complete with motorbikes and Mafiosi, Bogdonov's interpretation exposed an ironic and disturbing edge underneath the farce. In contrast, director Jonathan Miller felt that Shakespeare's comedy must be looked at "on its own terms" and created a piece which "enthusiastically recognizes Tudor social ideas of the function of women in the household without agreeing with them." And in Central Park just five years ago, Tracey Ullman and Morgan Freeman fought it out cis more or less equals in a Wild West version directed by A. J. Antoon. [ The Shakespeare Theatre, Christopher Baker, Dramaturg ]

... lul-blog

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Shakespeare - Script Analysis

Shake Comedy

Damn it! Another page has to be deleted! No more commercial links! Sorry, folks.

Go to comedy page!

Mono Studies: As You Like It

[ A monologue from Act III, Scene V ]
PHEBE: Think not I love him, though I ask for him;
'Tis but a peevish boy; yet he talks well.
But what care I for words? Yet words do well
When he that speaks them pleases those that hear.
It is a pretty youth; not very pretty;
But sure he's proud; and yet his pride becomes him.
He'll make a proper man. The best thing in him
Is his complexion; and faster than his tongue
Did make offense, his eye did heal it up.
He is not very tall; yet for his years he's tall.
His leg is but so so; and yet 'tis well.
There was a pretty redness in his lip,
A little riper and more lusty red
Than that mixed in his cheek; 'twas just the difference
Betwixt the constant red and mingled damask.
There be some women, Silvius, had they marked him
In parcels as I did, would have gone near
To fall in love with him; but, for my part,
I love him not nor hate him not; and yet
I have more cause to hate him than to love him;
For what had he to do to chide at me?
He said mine eyes were black and my hair black;
And, now I am rememb'red, scorned at me.
I marvel why I answered not again.
But that's all one: omittance is no quittance.
I'll write to him a very taunting letter,
And thou shalt bear it. Wilt thou, Silvius? As You Like It was first published in the folio of 1623. It is now a public domain work and may be performed without royalties.

Comedy of Errors

A monologue from Act II, Scene ii
ADRIANA: Ay, ay, Antipholus, look strange and frown.
Some other mistress hath thy sweet aspects;
I am not Adriana, nor thy wife.
The time was once when thou unurged wouldst vow
That never words were music to thine ear,
That never object pleasing in thine eye,
That never touch well welcome to thy hand,
That never meat sweet-savored in thy taste,
Unless I spake, or looked, or touched, or carved to thee.
How comes it now, my husband, O, how comes it,
That thou art then estrangèd from thyself?
Thyself I call it, being strange to me!
For know, my love, as easy mayst thou fall
A drop of water in the breaking gulf,
And take unmingled thence that drop again
Without addition or diminishing,
As take from me thyself and not me too.
How dearly would it touch thee to the quick,
Shouldst thou but hear I were licentious,
And that this body, consecrate to thee,
By ruffian lust should be contaminate!
Wouldst thou not spit at me, and spurn at me,
And hurl the name of husband in my face,
And tear the stained skin off my harlot-brow,
And from my false hand cut the wedding-ring,
And break it with a deep-divorcing vow?
I know thou canst, and therefore see thou do it.
I am possessed with an adulterate blot;
My blood is mingled with the crime of lust.
For if we two be one, and thou play false,
I do digest the poison of thy flesh,
Being strumpeted by the contagion.
Keep then fair league and truce with thy true bed;
I live distained, thou undishonerèd.

Shakespeare Pages: Tragedies, Shake and showcases!

I start all my classes with references to Hamlet (must know)!

Katharina * Taming of the Shrew William Shakespeare

Act 5 [ non-formatted ]

[In this scene the husbands have made a bet on whose wife will come first when sent for. Katharina obeyed her husband first to everyone's surprise. In this monologue she is shaming the other wives for not obeying their husbands, as they should.]

... After 2009:


Fie, fie! Unknit that threat'ning inkind brow; and dart not scornful glances from those eyes, to wound thy lord, thy king, thy governor: it blots they beauty, as frosts do bite the meads; confounds thy fame, as whirlwinds shake fair buds; and in no sense is meet or amiable. A woman mov'd is like a fountain troubled - muddy, ill- seeming, thick, bereft of beauty; and while it is so, none so dry or thirsty will deign to sip or touch on drop of it. They husband is thy lord, thy life, thy keeper, thy head, they sovereign; one that cares for thee and for they maintenance; commits his body to painful labour both by sea and land, to watch the night in storms, the day in cold, whilst thou liest warm at home, secure and safe; and craves no other tribute at thy hands but love, fair looks, and true obedience, - too little payment for so great a debt! Such duty as the subject owes the prince, even such a woman oweth to her husband; and when she is forward, peevish, sullen, sour, and not obedient to his honest will, what is she but a foul contending rebel, and graceless traitor to her loving lord? – I am asham'd that women are so simple to offer war where they should kneel for peace, or seek for rule, supremecy, and sway when they are bound to serve, love, and obey. Why are our bodies soft and weak, and smooth, unapt to toil and trouble in the world, but that our soft conditions and our hearts should well agree with our external parts? Come, come, you forward and unable worms! My mind hath been as big as one of yours, my heart as great; my reason, haply more, to bandy word for word and frown for frown: but now I see our lances are but straws; our strength as weak, our weakness past compare, - that seeming to be most, which we indeed least are. Then vail your stomachs, for it is no boot, and place your hands below your husband's foot: in token of which duty, if he please, my hand is ready, may it do him ease.
*** 2 Gents [ notes, 11.6.2007 Theatre UAF ] -- too many questions :
1. Play :
* 3 locations [ Verona, Milan, Forest ~ Manthua ] -- end in the forest? ("Another part of the forest"? -- what part, why?)
* "Double Wedding" -- no effort to bringe (Protheus and Julia)

2. Show :

3. Performance --


@1999-2004 film-north *

Don Juan
Compare with Don Juan by Moliere (in class) *

All's Well that Ends Well
William Shakespeare

HELENA: I confess 
Here on my knee before high heaven and you, 
That before you, and next unto high heaven, 
I love your son. 
My friends were poor but honest; so's my love. 
Be not offended, for it hurts not him 
That he is loved of me. I follow him not 
By any token of presumptuous suit, 
Nor would I have him till I do deserve him; 
Yet never know how that desert should be. 
I know I love in vain, strive against hope; 
Yet in this captious and intensible sieve 
I still pour in the waters of my love 
And lack not to lose still. Thus, Indian-like, 
Religious in mine error, I adore 
The sun that looks upon his worshipper 
But knows of him no more. My dearest madam, 
Let not your hate encounter with my love, 
For loving where you do; but if yourself, 
Whose agèd honor cites a virtuous youth, 
Did ever in so true a flame of liking, 
Wish chastely and love dearly, that your Dian 
Was both herself and Love, O, then give pity 
To her whose state is such that cannot choose 
But lend and give where she is sure to lose; 
That seeks not to find that her search implies, 
But, riddle-like, lives sweetly where she dies. 


Act 5, Scene 1 (end)

KATHARINA: Husband, let's follow, to see the end of this ado.

PETRUCHIO: First kiss me, Kate, and we will.

KATHARINA: What, in the midst of the street?

PETRUCHIO: What, art thou ashamed of me?

KATHARINA: No, sir, God forbid; but ashamed to kiss.

PETRUCHIO: Why, then let's home again. Come, sirrah, let's away.

KATHARINA: Nay, I will give thee a kiss: now pray thee, love, stay.

PETRUCHIO: Is not this well? Come, my sweet Kate: Better once than never, for never too late.


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