2000

Apologies

The Shakespeare Conference: SHK 11.2103  Thursday, 16 November 2000.

From:           Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Nov 2000 08:29:17 -0800
Subject:        Apologies

Not that I really think he is reading, but my apologies to Michael
Maloney for dropping the Y from his name in yesterday's post.  I spotted
it as soon as I read it, which was one day too late.

Mike Jensen

Re: Fops

The Shakespeare Conference: SHK 11.2102  Thursday, 16 November 2000.

[1]     From:   Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 07:41:07 -0800
        Subj:   Re: SHK 11.2085 Re: Fops

[2]     From:   W. L. Godshalk <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 12:45:30 -0500
        Subj:   Re: SHK 11.2096 Re: Fops

[3]     From:   Mary Jane Miller <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 16:08:05 -0500
        Subj:   Re: SHK 11.2055 Re: Fops

[4]     From:   David Schalkwyk <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 16 Nov 2000 09:50:13 SAST-2
        Subj:   Re: SHK 11.2096 Re: Fops

[5]     From:   Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 16 Nov 2000 06:52:11 -0500
        Subj:   SHK 11.2028 Re: Fops

[6]     From:   Paul E. Doniger <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 19:14:37 -0800
        Subj:   Fw: SHK 11.2096 Re: Hamlet and indecision



[1]-----------------------------------------------------------------
From:           Sean Lawrence <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Nov 2000 07:41:07 -0800
Subject: 11.2085 Re: Fops
Comment:        Re: SHK 11.2085 Re: Fops

Bill Godshalk writes:

> And this is precisely where we part company.  Fictive characters have no
> agency.  Hamlet, for example, cannot decide to do anything.  He cannot
> make a claim upon me, although I can decide to read the play in which he
> is a character.

And my point is precisely that he doesn't have to have agency to make a
claim upon us.  Lavinia's claim upon those around her is strongest when
her agency is weakest.

Cheers,
Se


Shakespeare Riches in D.C.

The Shakespeare Conference: SHK 11.2100  Wednesday, 15 November 2000.

From:           Hardy M. Cook <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, November 15, 2000
Subject:        Shakespeare Riches in D.C.

Last week, I mentioned the joint Catholic University / Howard University
production of *Romeo and Juliet*, which concludes this weekend at
Howard's Ira Aldridge Theatre (through Sunday. Friday-Saturday at 7:30,
Sunday at 2:30. Ira Aldridge Theater, Howard University, 2400 Sixth St.
NW. 202/806-7700.)

To the joy of those who live in the area, this is only one of four
Shakespeare or Shakespeare inspired productions in Washington, D.C., at
the present.

*The Tempest* is playing at the Folger Shakespeare Library's Elizabethan
Theatre (through Dec. 3. Friday at 8, Saturday at 2 and 8, Sunday at 2
and 7:30, Wednesday-Thursday at 7:30. 201 East Capitol St. SE.
202/544-7077).

For a complete review, see

http://www.washingtonpost.com/wp-dyn/articles/A11543-2000Nov3.html

Here is the Post's mini-review of the production:

Joe Banno's production of "The Tempest" takes big liberties and big
risks. He and dramaturge Cam Magee haven't just cut severely (and on the
whole sensibly), they've rearranged the text, moving and repeating
lines, deliberately altering context to establish a new meaning. All the
adventures on the island, the very story of the play, are but a dream of
Prospero's. Further, Prospero's villainous, usurping brother, Antonio,
becomes his wife, Antonia. But if you're willing to go with it, the
production is a true spellbinder. This audacious production, which
succeeds marvelously--though only by a hair--would be impossible without
Michael Tolaydo (Prospero) at its center. He takes the stage with a new
confidence. Kevin Reese's King of Naples is hushed, broken by the
supposed loss of his son, Ferdinand, whom the talented Jon Cohn makes
both convincingly noble and goofily self-deprecating. Maia DeSanti is a
pure but funny Miranda, Emily Townley a zaftig, surprisingly gentle
Ariel, and Howard W. Overshown is the plotting Sebastian with a
conscience. You can quarrel with this "Tempest," and purists can find
legitimate objections to it. But it's directed by a man drunk on love of
Shakespeare.

At the Fichandler Stage at Arena Stage one can "hear" *Play On!*, based
on *Twelfth Night*, this production features the music of Duke
Ellington:

"Play On!," Sheldon Epps's musical that blends Duke Ellington's jazz
with Shakespeare's comedy of mistaken identity, "Twelfth Night," on the
Fichandler Stage at Arena Stage, 1101 Sixth St. SW (Metro: Waterfront).
The run continues through Jan. 7. Tickets are $32 to $50, with student
and senior discounts. Call 202/488-3300 (TDD: 202/484-0247).

A complete review can be found at

http://www.washingtonpost.com/wp-dyn/articles/A7470-2000Nov12.html

"If music be the food of love, play on," Duke Orsino commands in
"Twelfth Night"--and director Sheldon Epps has obeyed, splicing
Shakespeare's story to another Duke--Ellington--to create the boisterous
hybrid "Play On!," now rollicking at Arena Stage. Though Ellington is
one of the greatest 20th-century composers, "Play On!" isn't exactly a
case of the modern genius embracing the Renaissance one in joyous
partnership.

If these three were not enough, Richard II opened Monday at the
Shakespeare Theatre:

"Richard II," Shakespeare's historical play about the intelligent but
ineffectual monarch, is set in 1930s England in the production at the
Shakespeare Theatre, 450 Seventh St. NW (Metro: Gallery Place/Chinatown,
Archives/Navy Memorial). The show continues through Dec. 31. Tickets are
$14.25 to $62, with discounts for seniors and students. For tickets or
information, call 202/547-1122 (TDD: 202/638-3863).

For a complete review, see

http://www.washingtonpost.com/wp-dyn/articles/A14410-2000Nov13.html

I will be seeing Richard II on Saturday and only wish that I had time
enough to see the others.

Hamlet in Billy Madison Film

The Shakespeare Conference: SHK 11.2101  Wednesday, 15 November 2000.

From:           Richard Burt <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Nov 2000 00:03:54 -0500
Subject:        Hamlet in Billy Madison Film

The first few lines of Hamlet's "To be or not to be" soliloquy are cited
in a scene in the comedy Billy Madison (dir. Tamra Davis, 1995),
starring Adam Sandler.  Sandler plays a loser rich kid named Billy
Madison who goes back to school (K-12) in order to take over his
father's business. (He has to graduate each grade in two weeks to do so
or his rival, Eric Gordon (Bradley Whitford), will take over the
business instead.)  Madison ends up having an academic decathlon contest
with his rival, who at one point begins to read "to be or not to be"
from a copy of Hamlet.  Sandler then comes on in Elizabethan dress
(green, not black), interrupts Gordon, and finishes the sentence from
the soliloquy Godon had begun.  Later, the two men end the decathlon by
playing a jeopardy like game and one of the topics on the board is
Shakespeare.

Re: Spit in His Mouth

The Shakespeare Conference: SHK 11.2099  Wednesday, 15 November 2000.

[1]     From:   Arthur Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 11:15:40 +0800
        Subj:   Re: SHK 11.2089 Re: Spit in His Mouth

[2]     From:   Syd Kasten <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Wednesday, 15 Nov 2000 07:05:16 +0200 (IST)
        Subj:   SHK 11.2089 Re: Spit in His Mouth


[1]-----------------------------------------------------------------
From:           Arthur Lindley <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Nov 2000 11:15:40 +0800
Subject: 11.2089 Re: Spit in His Mouth
Comment:        Re: SHK 11.2089 Re: Spit in His Mouth

I find this method also works well with undergraduates.

Arthur Lindley

[2]-------------------------------------------------------------
From:           Syd Kasten <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Wednesday, 15 Nov 2000 07:05:16 +0200 (IST)
Subject: Re: Spit in His Mouth
Comment:        SHK 11.2089 Re: Spit in His Mouth

The thread on spitting in a dog's mouth brought to mind a TV documentary
on wild canines.  Among the gems photographed was the way in which the
cubs in the nest were nourished by the returning hunters.  Unlike
felines, who drag their kill to a safe storage place, it seems that
canines store excess food in the stomach.  Returning to the nest the
hunter faces the cub, who proceeds to lick his face around the mouth.
This sets off a reflex causing the hunter to regurgitate some of the
contents of his stomach, providing the cub with a warm, partially
predigested meal.  Sounds disgusting, but that's nature for you.  My
experience with dogs is limited, but I did have special relation with a
dog my son owned.  One of his signs of greeting was to lick my face
(Standing on his hind legs he was about as tall as I was).  I guess that
either because he was well fed, or had matured from cubhood or, being
domesticated, he had evolved enough he did not seem to be disappointed
at not getting his free meal.

Best wishes,
Syd Kasten

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