Q: Teaching

The Shakespeare Conference: SHK 10.2167  Tuesday, 7 December 1999.

From:           Linda Graceffo <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 06 Dec 1999 14:58:52 -0500
Subject:        Q: Teaching

I am a masters student attempting to develop an interesting method for
teaching Shakespeare. It's difficult for students on the secondary level
to appreciate Shakespeare when they're trying to interpret the meaning
of the language. Only beyond that difficulty can an appreciation of
Shakespeare emerge. Presenting Shakespeare with modern English obviously
makes it easier to grasp. Altering the setting to accommodate present
day society would also bring understanding within the grasp of a much
larger population.

Do you have any suggestions as to how Shakespeare might be taught to
high school students that will bring them closer to the inner
Shakespeare?  Can you recommend any web sites or educational software
which might be helpful?

Below are two which I thought might be useful
Opening Night,
Emphasis: Drama Story-telling; Creative Writing
Opening Night draws it's inspiration and visual appeal from the British
stage, with actors, settings, props, and sound effects designed for the
classic Sherlock-Holmes-type mystery. This title features
photo-realistic actors, including aristocrats, sleuths and chimney
sweeps who appear in castles and tea rooms, Stonehenge, the Tower Bridge
and other actual sites.

Opening Night offers intricate stage and editing options which simulate
the feel of a real theatre. The user can manipulate a huge number of
sets, sound effects, lighting types (floods or footlights), and props.
They can arrange furniture, barrels and plants, put books or food on
tables, and even have the actors sit down, stand up, curtsy and perform
other movements.  Changes in any of these elements are automatically
updated in the playbill and script.

This software arrives with a CD, which offers an inside look at the
workings of a real theater, providing a solid support for a class drama

Hollywood, price
Emphasis: Storytelling; Drama
Hollywood allows students to plan, write, and script their own animated
stories and movies.  Students can choose from an range of sets, add
characters and start typing. A well-designed, straightforward interface
offers step-by-step guidance throughout, with endless storehouse of
story starters, plot twists, and dialogue suggestions-all completely
customized to each character

Re: Flags over Globe

The Shakespeare Conference: SHK 10.2166  Tuesday, 7 December 1999.

From:           Vince Locke <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 06 Dec 1999 11:54:59 PST
Subject: 10.2153 Q: Flags over Globe
Comment:        Re: SHK 10.2153 Q: Flags over Globe

>When a flag was flown outside the Globe Theater what did Black - Red -
>Mean? I am at a lost.... comedy, History, tragedy

Since theatres were forbidden from advertising their plays, they raised
flags from their roofs that signified what sort of play was being
performed that day: white was comedy, black was tragedy, and red was

Vince Locke
Eastern Michigan University

Re: Shakespeare and Milton

The Shakespeare Conference: SHK 10.2164  Tuesday, 7 December 1999.

From:           Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 06 Dec 1999 12:23:37 -0500
Subject: 10.2146 Re: Shakespeare and Milton
Comment:        Re: SHK 10.2146 Re: Shakespeare and Milton

>Nancy Charlton wrote:
> >Dom Saliani responded to Roy Flannagan's posting:
> >
> >>I shared Roy Flannagan's post concerning Shakespeare and Milton with a
> >>friend Nina Green, who is interested in this period. In her response to
> >>the posting, she cautions Flannagan on the identity of Alice Spencer:
> >>
> >>> Alice Spencer was the widow of Ferdinando
> >>> Stanley (d.1594), Lord Strange and Earl of Derby, not the widow of
> the Sir
> >>> Edward Stanley whose tomb is at Tong.
> >
> >Would Lady Alice have been a Spencer of the Herberts and Spencers of
> >Penshurst?
>She was the daughter of Sir John Spencer of Althorpe, Northamptonshire.
>I don't know offhand whether there's any connection.
>Dave Kathman
>This email address is being protected from spambots. You need JavaScript enabled to view it.

Yes, there is a connection between the Spencers of Althorpe (Lady Di's
folks) and the Spencers of Penshurst (or at least with Sir Philip
Sydney), and Edmund Spenser.  The literary connections between Lady
Alice, Dowager Countess of Derby, of Harefield, and nearly every great
poet and playwright who existed during her lifetime are extraordinary.
She married Ferdinando Stanley, Lord Strange and then Earl of Derby, in
1579.  She and her husband became Spenser's Amaryllis and Amyntas, and
Spenser dedicated Teares of the Muses to her.  Ferdinando was a friend
of the Earl of Essex, and he was the patron of Lord Strange's men, who
staged Titus Andronicus.  Ferdinando was also, oddly, King of the Isle
of Man (as Earl of Derby).

Lady Alice was praised by Thomas Nashe; John Marston write a masque in
her honor; and she probably danced in at least one of Ben Jonson's
masques (see William B. Hunter, Milton's Comus: Family Piece [Troy, NY:
Whitstun, 1983]: 14).  Lady Alice's second husband was Thomas Egerton,
who became Lord Chancellor Ellesmere, who was, of course, connected with
his secretary, John Donne.  Milton creates a connection with Sydney by
calling his aristocratic entertainment for the Lady Alice Arcades.

Roy Flannagan

The 2000 Gielgud Award Festivities

The Shakespeare Conference: SHK 10.2165  Tuesday, 7 December 1999.

From:           John F. Andrews <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 06 Dec 1999 11:29:21 -0500
Subject:        The 2000 Gielgud Award Festivities

I'm pleased to announce that the 2000 Gielgud Award ceremony will take
place on January 16th at 7:00 p.m. in London's historic Middle Temple

We'll salute Shakespeare as the poet a recent BBC survey identified as
"The Man of the Millennium." In that context we'll pay tribute to Sir
John (whom we're expecting to attend, even though he's now approaching
96) as the dramatic artist who has probably done the most to keep the
classical tradition vibrant for 20th-century audiences. We'll then honor
Kenneth Branagh, our fifth Gielgud laureate, as the actor, director, and
producer who is probably doing more than anyone else today to extend Sir
John's legacy and convey a continuing appreciation for Shakespeare to
future generations.

You'll perhaps recall that the Gielgud Award was established in April of
1994 to mark its namesake's 90th birthday and preserve Sir John's
"character" and heritage with "golden quill" (Sonnet 85). The first
three presentations of John Safer's gleaming trophy took place at the
Folger Shakespeare Library in Washington, with Sir Ian McKellen (1996),
Sir Derek Jacobi (1997), and Miss Zoe Caldwell (1998), as recipients.
Our most recent ceremony occurred on May 17th at Broadway's Barrymore
Theatre, where the Guild's 1999 awardee, Dame Judi Dench, was earning
her first Tony in "Amy's View."  Participants in that sparkling program,
which was emceed by television journalist Robert MacNeil, included
performers Keith Baxter, Brian Bedford, Zoe Caldwell, Hal Holbrook,
Ronald Pickup, Christopher Plummer, and Toby Stephens, director Sir
Richard Eyre, producer Rebecca Eaton (who brings us "Mobil Masterpiece
Theatre" and "Mystery" from WGBH/Boston), and playwright Sir David Hare.

We're expecting a cast of at least equal eminence in January, and we've
already received commitments from actors Keith Baxter, Richard Briers,
Richard Clifford, Dame Judi Dench, Sir Derek Jacobi, and John Sessions.
We're also expecting to welcome producer David Parfitt (who gave us
"Shakespeare in Love"), composer Patrick Doyle (who has composed the
music for "Henry V," "Much Ado About Nothing," and several other films),
and a broad array of the honoree's other friends, professional
associates, and loved ones.

It gives me great pleasure to report that in addition to the Middle
Temple festivities-a 90-minute potpourri of Shakespearean vignettes,
music, anecdotes, and tributes, to be followed immediately by an elegant
buffet reception-there will also be a special afternoon preview
screening of Kenneth Branagh's long-anticipated film of "Love's Labour's
Lost." Those who sign up for the 2000 Gielgud celebration will have a
choice of times- either a 1:30 or a 3:30 showing, each accompanied by a
light reception- and they'll have a chance to enjoy the comforts of
BAFTA's beautiful Princess Anne Theatre at 195 Piccadilly. I'm delighted
to acknowledge that these arrangements are being made possible through
the generosity of Intermedia and Pathe, the film's U.K. producer and
distributor, respectively.

For those not familiar with it, BAFTA (the British Academy of Film and
Television Arts) is the organization that bestows the U.K.'s
counterparts to the U.S.'s Oscar and Emmy awards. In addition to the
hospitality the Guild and its guests will be receiving from BAFTA,
moreover, we'll also benefit from the cooperation of a wide array of
other institutions, among them The British Council, Chicago Shakespeare
Theatre, The English-Speaking Union, The National Press Club
(Washington), The Royal National Theatre, The Royal Shakespeare Company,
The Royal Society for the Encouragement of Arts, Manufactures, and
Commerce, Sadler's Wells, The Shakespeare Birthplace Trust,
Shakespeare's Globe, The Shakespeare Institute, The Shakespeare Society
(New York), The Shakespeare Theatre Association of America, The Society
of London Theatre (the organization that bestows the annual Olivier
Awards), The Theatre Communications Group (U.S.), and The Theatre

As most readers of the SHAKSPER list will of course know, the site of
our January Gielgud presentation, Middle Temple Hall, is one of the four
Inns of Court that Shakespeare would have known and visited, and it has
two significant connections with the playwright's work. First, the
garden beside Middle Temple was the site the dramatist chose for the
scene (II.iv in "Henry VI, Part 1") in which he depicted the
commencement of the Wars of the Roses. And, second,  the Middle Temple
dining hall was the setting for a production of "Twelfth Night" on
February 2, 1602, that remains our earliest surviving record of the
play's being performed. In all likelihood, the author of the comedy that
Middle Temple resident John Manningham noted in his diary for this date
would have been among the actors who presented it.

Because Middle Temple can accommodate no more than 300 -- many of whom
will be dignitaries, friends of the honoree, and luminaries of the stage
and screen-we're expecting the 200-225 tickets that we'll be selling to
go quickly. We'll hope, then, to hear soon from SHAKSPER subscribers
who'd like to attend.

For further information-including a roster of price categories (listed
either in dollars or in pounds sterling), a special 15% discount offer,
and order forms that permit attendees to register by e-mail-please
direct your inquiries to This email address is being protected from spambots. You need JavaScript enabled to view it..

Many thanks,
John Andrews

Re: The Language of Shakespeare

The Shakespeare Conference: SHK 10.2163  Tuesday, 7 December 1999.

From:           Martin Jukovsky <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 6 Dec 1999 14:43:09 -0500
Subject: 10.2112 The Language of Shakespeare
Comment:        Re: SHK 10.2112 The Language of Shakespeare

>I am quite interesting in Shakespeare's play, and I would like to know
>whether you have some information about the language of Shakespeare in
>plays such as Henry IV. I am particularly analysing the first part of
>Henry IV, and all the things related to syntax, semantics, phonology,
>graphology and morphology in that part.  Do you know where I could find
>some information related to that?
>Thank you very much.
>Frank (from Spain).

I highly recommend A SHAKESPEARIAN GRAMMAR by E.A, Abbott (the author of
FLATLAND).  The third, revised edition was published in 1870, and Dover
Publications, in New York City, reprinted it in paperback in 1966.  It
is 511 pages.  Unfortunately, the Dover is way out of print.  It's worth
a diligent search through used bookstores to find it (I have).

As Abbott says in the Preface to the first edition, "The object of this
work is to furnish students of Shakespeare and Bacon with a short
systematic account of some points of difference between Elizabethan
syntax and our own."

Martin Jukovsky
Cambridge, Mass.

This email address is being protected from spambots. You need JavaScript enabled to view it.
Web site:  http://www.channel1.com/users/martyj/

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