UMS Teacher Resource Guide - Shakespeare's Globe Theatre

Love’s Labour’s Lost SHAKESPEARE’S GLOBE THEATRE

King Ferdinand: Let fame, that all hunt after in their lives,/Live register’d upon our brazen tombs/And then grace us

Teacher Resource Guide 2009 | 2010

SUPPORTERS Michigan Council for Arts and Cultural Affairs University of Michigan

Anonymous Arts at Michigan Arts Midwest’s Performing Arts Fund Bank of Ann Arbor Bustan al-Funun Foundation for Arab Arts The Dan Cameron Family Foundation/Alan and Swanna Saltiel Community Foundation for Southeast Michigan Consulate General of the Netherlands in New York Doris Duke Charitable Foundation Doris Duke Foundation for Islamic Art DTE Energy Foundation The Esperance Family Foundation David and Phyllis Herzig Endowment Fund Honigman Miller Schwartz and Cohn LLP JazzNet Endowment W.K. Kellogg Foundation Masco Corporation Foundation Miller, Canfield, Paddock and Stone, P.L.C. THE MOSAIC FOUNDATION (of R. and P. Heydon) The Mosaic Foundation [Washington, DC] National Dance Project of the New England Foundation for the Arts National Endowment for the Arts Prudence and Amnon Rosenthal K-12 Education Endowment Fund Rick and Sue Snyder Target TCF Bank UMS Advisory Committee University of Michigan Credit Union University of Michigan Health System U-M Office of the Senior Vice Provost for Academic Affairs U-M Office of the Vice President for Research Wallace Endowment Fund

This Teacher Resource Guide is a product of the UMS Youth Education Program. Researched, written, and edited by Omari Rush.

We would like to thank Liz Stover, Jeff Beyersdorf, Michael Kondizolka, Claire Rice, Charles Reynolds, Sara Fink, Mark Johnson, Barbara Hodgdon, Leonard Navarro, Doug Trevor, Carol Stepanchuk, and Suzanne Camino for their suggestions, feedback, and support in developing this guide .

Love’s Labour’s Lost SHAKESPEARE’S GLOBE THEATRE DOMINIC DROMGOOLE artistic director

Fri, Oct 23, 12 NOON – 3 PM POWER CENTER Sponsored by the Prudence and Amnon Rosenthal K-12 Education Endowment Fund.

Teacher Resource Guide

UMS Youth Education Program 2009 | 2010

Table of Contents Attending the Performance * *

7 8 10 11

Guide Highlights Attending the Show Accessibility Venue

Shakespeare’s Globe Theatre *

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13 14 15 16 19 21 22

The Globe Personnel Cast Liz @ the Globe Renaissance Staging Power Center in the Round?

Renaissance Instruments

Shakespeare & Love’s Labour’s Lost

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24 25 26 27 28

Shakespeare in London 11 Keys to Shakespeare Synopsis People & Place Sources

Themes & Ideas

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31 32 34

Resources

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37 38 39 40 41 42

About UMS

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45 46 47 48 50

Gender Roles Listening to the Language Sonnets Media Community Recommended Reading Vocabulary Lesson Plans Bibliography What is UMS? UMS Artistic Statement UMS Theater: Shakespeare Youth Education Program How to Contact UMS

death;/When, spite of cormorant devouring Time,/The endeavor of this present breath may buy/That honour which shall

*Short on time?

If you only have 15 minutes to review this guide, just read the pages with an asterisk next to the page number in the Table of Contents. Those pages will provide the most important information about this performance.

Photos & Illustrations Page Title

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1

Title page of the first quarto of William Shakespeare's ''Love's Labour's Lost'' (1598). Public Domain-England 1988

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Love’s Labour’s Lost by John Haynes (both).

8

School Busses lined up outside Hill Auditorium.

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UMS Transportation Map for Love’s Labour’s Lost Youth Performance.

11

Love’s Labour’s Lost by John Haynes.

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Visscher's map of 1616 London.

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Portrait of Shakespeare known as the Cobbe portrait - authenticity disputed.

15

Cast Photographs. Courtesy of Shakespeare’s Globe Theatre.

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(Clockwise) Outside the Globe Theatre. Interior view of the Globe Theatre. Audience facing actors on stage at the Globe.

The Swan Restaurant at the Globe. Courtesy of Liz Stover.

17

The Globe’s poster for its production of Love’s Labour’s Lost. Courtesy of Liz Stover.

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Hand Drawn Picture of The Swan Theatre.

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Love’s Labour’s Lost by John Haynes.

21

English Elizabethan clown Will Kempe dancing a jig from Norwich to London in 1600.

22

Photos of instruments from the U-M Stearns Collection of Musical Instrument. Courtesy of the Collection.

24

This was long thought to be the only portrait of William Shakespeare that had any claim to have been painted from life.

25

William Shakespeare's birthplace, Stratford-upon-Avon, Warwickshire, England. Property of Stuart Yates.

26

Signature of William Shakespeare from Page 3 of his Last Will and Testament.

27

Map of 16th Century Spain. Property of the University of Texas Libraries. http://www.lib.utexas.edu/maps/historical/

spanish_kingdoms_1360.jpg

28

The title page of the First Folio of William Shakespeare's plays.

30

The English Gentleman and Gentlewoman Codes of Contact by Rich Braithwait. Public Domain England 1988.

33

Love’s Labour’s Lost by John Haynes.

35

Procession portrait of Elizabeth I of England, January 1600.

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Detail from Wenceslas Hollar’s “Long view of Southwark”, 1644, showing the second Globe Theatre.

43

Love’s Labour’s Lost by John Haynes.

45

Love’s Labour’s Lost by John Haynes.

46

Photos of recent UMS Theater presentations: (left to right) Complicite’s A Disappearing Number, Shen Wei Dance Arts’

Second Visit to the Empress, Maly Drama Theater’s Uncle Vanya.

49

Ann Arbor area students attending UMS Youth Performances.

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Ann Arbor area students attending UMS Youth Performances.

And I, forsooth, in love! I, that have been love's whip;A very beadle to a humorous sigh; A critic, nay, a nightwatch constable; A domineering pedant o'er the boy; Than whom no mortal so magnificent!This whimpled, whining, purblind, wayward boy; This senior-junior, giant-dwarf, Dan Cupid; RegentAttending of love-rhymes, lord of folded the arms, The anointed sovereign of sighs and groans, Liege of all loiterers and Performance malcontents, Dread prince of plackets, king of codpieces, Sole imperator and great general Of trotting 'paritors:--O my little heart:-- And I to be a corporal of his field, And wear his colours like a tumbler's hoop! What, I! I love! I sue!

I seek a wife! A woman, that is like a German clock, Still a-repairing, ever out of frame, And never going aright, being a watch, But being watch'd that it may still go right! Nay, to be perjured, which is worst of all; And, among three, to love the worst of all;

GUIDE HIGHLIGHTS

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• Shakespeare’s Globe Theatre’s production of Love’s Labour’s Lost, written by William Shakespeare and directed by Dominic Dromgoole.

• Love’s Labour’s Lost was likely written by Shakespeare 15951596.

• Though Shakespeare wrote lived and wrote in the 16th and 17th centuries, his work is still studied, analyzed, and adored because of the universality of themes and the complex beauty of language in his writings.

• The Globe is re-creating the Renaissance theater experience, so the costumes and music will match 16thcentury styles.

bate his scythe’s keen edge/And make us heirs of all eternity./Therefore, brave conquerors,--for so you are,/That war against • The stage will extend out into the audience and much of the action of the production will happen on this thrust.

• This production’s actors are from the United Kingdom and have years of experience performing live theatre.

• Musicians will play music in the lobby prior to the start of the performance in the lobby and in the audience.

• The performance lasts for three hours and will include a 20-minute intermission.

• The plot is about four young guys who make a pact to stop chasing love in favor of studying; however, some young ladies visiting from France make keeping this vow difficult!

• Figurative language dominates Love’s Labour’s Lost. Many of the poetic devices that Shakespeare has filled his play with are specific to the time period in which the work was written, so in the performance, some of the language may not be immediately understandable. However, the actors of Shakespeare’s Globe Theatre are world-class and will make meaning clear through their movement and staging.

Globe Guide 8

ATTENDING THE SHOW bate his scythe’s keen edge/And make us heirs of all eternity./Therefore, brave conquerors,--for so you are,/That war against

We want your to enjoy you time wit UMS; PLEASE review the important info below about attending the show: Tickets: We do not use paper tickets for Youth Performances. We hold school reservations at the door and seat groups upon arrival.

Arrival Time: Please arrive at the Power Center between 11:30 – 11:50am to allow you time to get seated and comfortable before the show starts.

Drop Off: Have buses, vans, or cars drop off students on Fletcher Street in front of the Power Center. If there is no space in the drop-off zone, circle the block until space becomes available. Cars may park at curbside metered spots or in the visitor parking lot behind the Power Center. Buses should wait/park at Briarwood Mall.

Door Entry: A UMS Youth Performance staff person will greet your group at your bus as you unload. You will enter through the front doors of the Power Center, which faces Fletcher Street.

Seating & Ushers: When you arrive at the front doors tell the Head Usher at the door the name of your school group and he/she will have ushers escort you to your block of seats. All UMS Youth Performance ushers wear large, black laminated badges with their names in white letters.

Before the Start: Please allow the usher to seat individuals in your group in the order that they arrive in the theater. Once everyone is seated you may then rearrange yourselves and escort students to the bathrooms before the performance starts. PLEASE spread the adults throughout the group of students.

During the Performance: At the start of the performance, the lights will dim and an on-stage UMS staff member will welcome you to the performance and provide important logistical information. If you have any questions, concerns, or complaints (for instance, about your comfort or the behavior of surrounding groups) please IMMEDIATELY report the situation to an usher or staff member in the lobby.

Performance Length: 3 hours (approximately) with one 20-minute intermission

Bus Pick Up: When your group is released, please exit the performance hall through the same door you entered. A UMS Youth Performance staff member will be outside to direct you to your bus.

AAPS EDUCATORS: You will likely not get on the bus you arrived on, a UMS staff member or AAPS Transportation staff person will put you on the first available bus.

Other • Lost Students: A small army of volunteers staff the performances and will be ready to help or direct lost and wandering students.

• Lost Items: If someone in your group loses an item at the performance, contact the UMS Youth Education Program (umsyouth@umich.edu) to attempt to help recover the item.

• Sending Feedback: We LOVE feedback from students, so after the performance please send us any letters, artwork, or academic papers your students create in response to the performance: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

• No Food: No food or drink is allowed in the theater.

• Patience: Thank you in advance for your patience; in 20 minutes we aim to get 1,300 people from buses into seats and will work as efficiently as possible to make that happen.

Power Center Contact Information: Power Center 121 Fletcher St Ann Arbor, MI 48109 Emergency Contact Phone Number: 734-764-2538 (Call this number to reach a UMS staff person or audience member at the performance)

This map, with driving directions to the Power Center, will be mailed to all attending educators 3 weeks before the performance.

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After the Performance: When the performance ends, remain seated. A UMS staff member will come to the stage and release each group individually based on the location of your seats.

Globe Guide 10

ACCESSIBILITY your own affections/And the huge army of the world’s desires, /Our late edict shall strongly stand in force:/Navarre shall The following services are available to audience members:

Wheelchair, companion, or other special seating Courtesy wheelchairs Hearing Impaired Support Systems

Parking There is handicapped parking very close to the Power Center on Fletcher Street and in the parking structure behind the Power Center on Palmer Drive. The first three levels of the Palmer Drive structure have 5 parking spots on each level next to each elevator. There are a total of 15 parking spaces in the garage.

Wheelchair Accessibility The Power Center is wheelchair accessible and has 12 seats for audience members with special needs.

Bathrooms ADA compliant toilets are available in the green room (east corner) of the Power Center for both men and women.

Entry The front doors are not powered, however, there will be an usher at that door opening it for all patrons.

be the wonder of the world;/Our court shall be a little Academe,/Still and contemplative in living art./You three, Biron,

VENUE POWER CENTER The Power Center for the Performing Arts grew out of a realization that the University of Michigan had no adequate proscenium-stage theater for the performing arts. Hill Auditorium was too massive and technically limited for most productions and the Lydia Mendelssohn Theatre was too small. The Power Center was built to supply this missing link in design and seating capacity.

In 1963, Eugene and Sadye Power, together with their son Philip, wished to make a major gift to the University. The Powers were immediately interested in supporting the University’s desire to build a new theater, realizing that state and federal governments were unlikely to provide financial support for the construction of a theater.

Opening in 1971, the Power Center achieved the seemingly contradictory combination of providing a soaring interior space with a unique level of intimacy. Architectural features include two large spiral staircases leading from the orchestra level to the balcony and the well known mirrored glass panels on the exterior. The lobby of the Power Center presently features two hand-woven tapestries: Modern Tapestry by Roy Lichtenstein and Volutes (Arabesque) by Pablo Picasso.

The Power Center seats approximately 1,300 people.

Spring. When daisies pied and violets blue And lady-smocks all silver-white And cuckoo-buds of yellow hue Do paint the meadows with delight, The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo: O word of fear, Unpleasing to a married ear!

When shepherds pipe on oaten straws And merry larks are ploughmen's clocks, Shakespeare’s When turtles tread, and rooks, and daws, And maidens bleach their summer smocks The cuckoo then, on Globe Theatre every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo: O word of fear, Unpleasing to a married ear! Winter. When icicles hang by the wall And Dick the shepherd blows his nail And Tom bears logs into the hall And milk comes frozen home in pail, When blood is nipp'd and ways be foul, Then nightly sings the staring owl, Tu-whit; Tu-who, a merry note, While greasy Joan doth keel the pot.

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The First Globe

The New Globe

During the first years of the reign of Queen Elizabeth I, the English theater companies used inns, college halls, and private houses for their performances. It was not until 1576 that The Theatre was built in the Shoreditch neighborhood: the first purposefully-built playhouse in London.

Shakespeare probably joined the Theatre’s resident troupe in the 1580s and the company (later known as the Chamberlain’s and then the King’s Men) flourished there for 20 years.

What did the first Globe look like? No one knows for sure. Printed panoramas, written accounts, building contracts, a sketch of the Swan Theatre, and suggestive descriptions in the plays give some idea of the theatre’s exterior and interior. Also, in 1989, a small portion of the Globe itself was excavated, from which two important inferences were drawn: that it was a 20-sided polygonal building with a diameter of 100 feet.

A lease dispute involving The Theatre ultimately led to its demolition. The Chamberlain’s Men leased a plot near the Rose, a rival theatre in Southwark, and carried The Theatre’s timbers over the river to build a new playhouse—the Globe, which thrived for 14 years, presenting many of Shakespeare’s greatest plays.

In 1613, during a performance of Henry VIII, an on-stage cannon mishap ignited the Globe’s thatched roof and the theatre quickly burned to the ground. The playhouse was rebuilt with a tiled roof and this “second Globe” remained the home for Shakespeare’s old company until the closure of all the theatres under England’s Puritan administration in 1642. No longer of use, the Globe was demolished to make room for tenements in 1644.

The process and project of rebuilding the Globe was initiated by Sam Wanamaker and techniques used to reconstruct the theatre were painstakingly aligned with Renaissance craftsmanship: • ‘Green’ oak was cut and fashioned according to 16th-century practice • Lime plaster was mixed according to a contemporary recipe and covers the walls • The roof is made of water reed thatch, based on samples found during the excavation The new Globe also includes 21st-century elements: fire retardant materials and some modern backstage machinery. The reconstruction is as faithful to the original as modern technology and scholarship allow, and for now the new Globe is – and is likely to remain – the ‘best guess’ at Shakespeare’s theatre.

THE GLOBE Dumain, and Longaville,/Have sworn for three years’ term to live with me/My fellow-scholars, and to keep those statutes/

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Artistic Director

Behind the Scenes

Dominic Dromgoole is the Artistic Director of Shakespeare’s Globe. Previous work at the Globe includes King Lear, Love’s Labour’s Lost, Coriolanus, and Antony and Cleopatra. He was born in 1964; grew up in Somerset, England; schooled at Cambridge; and has worked with various theater and companies: Oxford Stage Company (19992005), the Bush theatre (1990-1996), and the Peter Hall Company (1996/1997). Dominic has written two books and directs this revival of his 2007 production of Love’s Labour’s Lost.

Dominic Dromgoole Director Jonathan Fensom Designer Claire van Kampen Composer Siân Williams Choreographer Renny Krupinski Fight Director Paul Russell Lighting Designer Gile Block Text Work Glynn MacDonald Movement Work Jan Haydn Rowles Voice Work

Musicians Nicholas Perry Musical Director Recorder/Shawms Dulcian/Ocarina Hurdy-Gurdy Claire McIntyre Recorders/Sackbut Recorders Shawms/Tenor David Hatcher Viol/Percussion George Bartle Sackbut/Hunting Horn Arngeir Hauksson & Benjamin Narvey Baroque Guitar/Theorbo/Percussion

PERSONNEL That are recorded in this schedule here:/Your oaths are pass’d; and now subscribe your names,/That his own hand may

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Seroca Davis Moth

Paul Ready Don Armado

Siân Robins-Grace Katherine

Tom Stuart Boyet

Patrick Godfrey Sir Nathaniel

Michelle Terry Princess of France

Trystan Gravelle Berowne

Andrew Vincent Dull

Phil Cumbus Ferdinand

Jade Anouka Maria

Jack Farthing Dumaine

William Mannering Longaville

Thomasin Rand Rosaline

Fergal McElherron Costard

Christopher Godwin Holofernes

Rhiannon Oliver Jacquenetta

CAST strike his honour down/That violates the smallest branch herein:/If you are arm’d to do as sworn to do,/Subscribe to your

Globe Guide

LIZ @ THE GLOBE

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Hi! I'm Liz, and I work at UMS. This summer, when my family went on vacation to London for a week, we spent a day at Shakespeare's Globe Theatre and saw Romeo and Juliet! Here I am in front of the theatre.

This is the inside of the Globe. The seats were uncomfortable: wooden benches with no backs (just like the good ‘ole days), though you are able to rent seat cushions. There’s also standing room in front of the stage.

King: Ay, that there is. Our court, you know, is haunted/With a refined traveller of Spain;/A man in all the world’s new

Still inside the theatre: Many of the standing audience members are wearing funny-looking white hats--they are actually used to keep the sun out of their eyes...remember it’s an openair theatre.

Yum, I had a delicious three-course meal here at The Swan, the Globe's restaurant, which is known for having one of London’s best views of the Thames River!

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This is a picture of the poster advertising Love's Labour's Lost just outside the theatre. Because the Globe is an outdoor theatre, they only stage productions from May through October.

Love's Labour's Lost will be the last production performed at the Globe during the 2009 season, then they will bring it to the States for a U.S. tour!

fashion planted,/That hath a mint of phrases in his brain;/One whom the music of his own vain tongue/Doth ravish like

LIZ @ THE GLOBE I had a blast visiting the Globe this summer and am looking forward to their performances in Ann Arbor in just a few weeks.

RENAISSANCE STAGING

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Shakespeare’s Globe Theatre’s production of Love’s Labour’s Lost employs Renaissance staging, music, and costuming. Below are some characteristics of the theatrical stage in the Elizabethan period that have informed the work of the Globe.

enchanting harmony;/A man of complements, whom right and wrong/Have chose as umpire of their mutiny:/This child of

Stage Play

Continuous

Setting

Exciting action on stage was categorized as either wordplay (linguistic blows heard by the ear) or swordplay (physical blows seen with the eye) and the more spacious performance venues, like the Globe, often featured swordplay over wordplay.

Sword fighting was quite popular at this time, especially with the servant class who formed the core of theater companies’ actors. Since law prohibited servants from carrying swords on the street, stage fighting with swords in the playhouse provided a perfect outlet for these repressed desires of aggression.

Most plays were performed with no stoppages, intermissions, or breaks.

Most often divisions between scenes and acts were identified by one group of characters leaving the stage and another group entering. At other times, a dance or song would serve as a transition between scenes.

The settings of plays performed in the Globe were most often unlocalized. The stage may have been adorned with a mural, tapestry, or metaphorical stage hanging to set a mood (a white hanging might signify heaven).

Generally, language and movement were used to set the scene, especially important since some evening scenes would be performed in the bright daylight of the open-air playhouse).

Scene settings were changed by characters coming on or off stage, with the newly arrived making some mention of place in his or her opening lines.

The actors’ speech was continuous; silence usually occurred during big battles or gasps for air during hand-tohand stage combat.

Lines were also spoken by actors at a much quicker pace than what is heard in modern theatrical productions. Early accounts note that works of 2500 lines lasted 2 hours, while today the same works are 3 hours—and that is with cuts to the text.

Stage and Audience

Costumes

The stage was almost never empty. Given that the audience was standing for 3 hours at the stage’s edge, it was too risky for actors to leave the stage, thereby leaving the audience to create their own drama. When the stage did clear, audience members were known to have thrown food on stage to get the action started again. The playhouse audience also surrounded the actors on stage, which meant that actors had to always perform to all sides: right, left, center, high and low.

Costumes mostly came from servants who were bequeathed nice dresses and clothing by their master (a custom of the time). By law, however, servants were not allowed to wear these garments, so they would sell them to theater companies for cash. So, many theater companies owned extravagant and lavish costumes that they never would have been able to commission or make themselves.

Power Center in the Round?

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The Globe Theatre is bringing the beauty of Shakespeare’s words and movement on tour with them. Though the Power Center cannot be physically transformed into Shakespeare’s Globe, it will be modified in a way as to re-create the general experience of the Globe audience.

fancy, that Armado hight,/For interim to our studies shall relate/In high-born words the worth of many a knight/From About 100 seats will be removed from Power’s main floor and the stage will be “thrust” into the audience. This will bring the action (75% of it!) into the audience, involving them in the drama (similar to the Globe).

The audience will watch the performance from the side or front of the thrust stage. This is different from the typical Power Center theatrical performance, which frames and contains a play much like a TV. The thrust stage will also allow actors to walk through the aisles of the audience (the “house”) to get on and off the stage.

The set will resemble the Globe’s: there will be two levels with entrances on the main stage (the “earth” as the Globe calls it) and on the second level.

The lobby will also be a “stage.” Prior to the show, the musicians will be playing live in the lobby and will stroll into the theater for the show’s start. These musicians will be wearing microphones so that the audience members already seated in the house can hear them. The actors on stage will not be wearing body mics to amplify their voices; rather, mics will be hung over the stage to simply reinforce the sound.

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RENAISSANCE INSTRUMENTS This hurdy gurdy, Stearns #1329, was constructed in 1866 by makers Pouget Pere et Fils in Ardentes, France.

This shawm (#1766) from the Collection is a 20th century instrument based on an early instrument. It was made by Otto Steinkopf in Celle, Germany.

The instruments featured above are from the U-M Stearns Collection of Musical Instruments. See page 38 for additional info.

tawny Spain lost in the world’s debate./How you delight, my lords, I know not, I;/But, I protest, I love to hear him lie/And I

A Note on the Music: In composing the dance music for this production I have taken a wide interpretation of the term ‘renaissance’, drawing on music from Spain, France and Italy; Italy in particular, with the saltarello (a type of hopping dance), the caccia (or ‘hunt’) and the robust, vigorously sensual and Arab-influenced trotto. All these were enjoyed in the 15th-century Florence of Marsilio Ficino, one of the renaissance founders of the kind of philosophical ‘academe’ which, fostered by the Medici, spread from Florence to France, and to which the King and his friends have sworn their allegiance.

The trumpet and cornet fanfares familiar from many regal contexts on the Globe stage have been put aside in favour of the bagpipe, frame drum, horn and, occasionally the shawm and hurdy-gurdy, an ensemble more suitable to a forest and a royal hunting retreat. These instruments are joined by recorders for ‘Concolinel’, the song sung by Moth in Act 3. This French chanson, with its bawdy and rhythmically repetitive style, playfully exploits the words ‘con’ (‘cahn’ or ‘coun’ being the then sound of the word for female genitalia) and ‘cul’, the French equivalent of ‘arse’ or ‘bum’. Armado, the Spanish courtier has no idea of the real meaning of these words, but thinks that the song is innocently about the sweetness of spring cuckoos, so Moth succeeds in mocking the Spanish and the French at the same time, which would have very much pleased Shakespeare's audience of the 1590s.

The influence of a more serious vein in Spanish music is felt in the piece I have chosen from Robert Dowland’s Musicall Banquet of 1610, a collection that includes contributions from composers of different European nationalities. The beautiful anonymous piece ‘Vuestros Ojos’ - originally written for the vihuela, a forerunner of the modern Spanish guitar – creates part of the musical background to a story in which young people can’t help falling in love with each other in spite of their resolutions.

Last but not least, two dulcians [small bassoon-like instruments used in the 16th century] suggest the world of Holofernes and his sidekick Nathaniel as they display the benefits of ‘a good old-fashioned English education’.

Claire van Kampen Composer

Good Lord Boyet, my beauty, though but mean, Needs not the painted flourish of your praise: Beauty is bought by judgement of the eye, Not utter'd by base sale of chapmen's tongues: I am less proud to hear you tell my worth Than you much willing to be counted wise In spending your wit in the praise Shakespeare of mine. But now to task the tasker: good Boyet, You are not ignorant, & Love’s all-telling fame Doth noise abroad, Navarre hath made a vow, Till painful Labour’s Lost study shall outwear three years, No woman may approach his silent court: Therefore to's seemeth it a needful course, Before we enter his forbidden gates, To know his pleasure; and in that behalf, Bold of your worthiness, we single you As our best-moving fair solicitor. Tell him, the daughter of the King of France, On serious business, craving quick dispatch, Importunes personal conference with his grace: Haste, signify so much; while we atte

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SHAKESPEARE IN LONDON Nathaniel: If love make me forsworn, how shall I swear to love?/Ah, never faith could hold, if not to beauty vow’d!/Though

We know little about Shakespeare’s first years in London. Between 1585 and 1592 his name disappears from the public records, likely because he was a ‘hireling’ in one of the city’s acting companies; as a junior member he would not be listed among the troupe’s principal players.

In the late 1580s theatrical activity in London was largely concentrated in Shoreditch, the district of the Curtain and Theatre playhouses, and in Southwark, the district of their great rival, the Rose. Shakespeare could have lived anywhere, and in his early career he may have moved from troupe to troupe in order to survive.

In 1594 Shakespeare’s name appears in the records of the Chamberlain’s Men and as the author of plays performed at the Theatre, the Curtain, and the Rose. He remained a ‘sharer’ in the Chamberlain’s (later the King’s) Men for the rest of his working life. This attachment offered him some stability amidst the notorious vagaries of a theatrical career.

By at least 1599, he had taken up residence in Southwark – very convenient for the newly-built Globe Theatre (see page 11). In 1608, Shakespeare’s troupe, now named the King’s Men, took on the lease of the indoor Blackfriars playhouse. It served as their winter theater and Shakespeare’s working life would have settled into a regular rhythm of alternate performance seasons at the Globe in summers and the Blackfriars in winters. We can only guess when he wrote his plays. He may have had his own writing ‘season’, perhaps in the quieter winter months, but he never stopped acting, probably taking two or three minor parts instead of a major one.

The destruction of the first Globe in 1613 probably prompted Shakespeare to sell his share in it and by the end of the year his writing career was over. In 1614 he returned to Stratford-upon-Avon, dying in 1616, seven years before the publication of many of his plays in the First Folio of 1623.

While many are generally familiar with the life and artistic works of William Shakespeare, here are 11 fascinating or important things to know about him that informed his work:

1. Shakespeare grew up in a small town and was

self-consciously rural his whole career -- most

other playwrights grew up in London.

2.

3.

4.

5.

6.

7.

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11 KEYS TO SHAKESPEARE

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In his life, there were no standardized spellings of words or dictionaries; the language was elastic and changing rapidly. So, he and other authors coined many phrases and invented words.

He didn’t go to college; school records show 8. His output of verse was great. He produced about everyone else in his grammar school class two plays a year for most of his life (total 39), attended either Oxford or Cambridge. His parents

plus some non-dramatic poetry (such as Venus likely didn’t have the money to send him.

and Adonis).

There was financial turmoil in his family life, which 9. He didn’t get into trouble. There are no records put his father’s life in a downward spiral.

of jail, drunkenness, adultery, illegitimate

children, etc.

The early death of his son was quite painful for him and affected him greatly.

10. He was self-taught and read certain books frequently (evident in his writings), especially He had an unconventional marriage: his wife was Plutarch’s Lives and Holinshed’s Chronicles. older by 8 years, she came from a wealthier family, and they lived apart for a while. This made 11. To him, originality didn’t mean coming up with marriage a focus of his thoughts and

a new story, but rather coming up with a new way playwrighting.

to tell it.

He lived during the Reformation, a time when there was great indeterminacy about what was appropriate and “right” within the rules of religion.

to myself forsworn, to thee I’ll faithful prove:/Those thoughts to me were oaks, to thee likeosiers bow’d./Study his bias

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SYNOPSIS leaves and makes his book thine eyes,/Where all those pleasures live that art would comprehend:/If knowledge be the The Vow The King of Navarre and his three friends, Berowne, Longaville and Dumaine, swear to devote themselves to three years of study, abstaining from all distractions, particularly of the female kind, with only Armado and Costard to entertain them. They are confounded, on signing the vow, when Berowne remembers that the Princess of France and her three ladies, Rosaline, Maria and Katherine, attended by Boyet, are on an embassy to Navarre’s court.

Love and Letters Armado has decided to arrest Costard for being in the company of a woman, thus breaking the King’s edict – the woman being Jaquenetta, with whom Armado himself is in love. The ladies arrive, and the King and his lords fall in love with them. Armado frees Costard, on condition he delivers a note to Jaquenetta; Berowne charges Costard with a letter to Rosaline; and the two letters get mixed up.

The Vow is Broken The four lords enter one by one and voice despair about their love for their particular woman, and one by one are overheard by the others. They decide to tear up their vow, and woo the ladies. They disguise themselves as Russians, but Boyet tells the ladies beforehand, and the ladies change identities with each other. The lords enter, and each woos the wrong woman. They leave, and on their return are mocked by the ladies.

The Nine Worthies Armado then approaches the schoolmaster Holofernes and the curate Nathaniel to join with him, Costard, and the page, Moth, to present the Nine Worthies as a play to entertain the nobles. This provides the nobles with many opportunities for comment and laughter. The mood changes when Marcade brings news that the Princess’s father has died.

Marriage Deferred As the ladies prepare to leave, the lords affirm that all their expressions of love were genuine, but the Princess claims that everything they said was in jest. The ladies tell the lords that, if they are serious, they must carry out certain tasks for a year, and then return to offer marriage. The lords agree. Armado then presents the learned men in a dialogue between the owl and the cuckoo, representing winter and spring, by way of conclusion.

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PEOPLE & PLACE Dramatis Personae

mark, to know thee shall suffice;/Well learned is that tongue that well can thee commend,/All ignorant that soul that sees Ferdinand, King of Navarre Lords Attending on the King Berowne (Buh-RONE) Longaville Dumaine (DOO-main) Don Adriano de Armado (Are-MAH-doe), a Spanish braggart Moth, a boy, his page Costard (Cost-ARD), a clown

Where is Navarre?

Jaquenetta (Jack-a-NEH-tuh), a dairymaid Anthony Dull, a constable Sir Nathaniel, a curate [clergyman] Holofernes (Hollow-FUR-nez), a pedantic schoolmaster The Princess of France Ladies Attending on the Princess Rosaline (ROZ-a-line) Maria (Mah-RYE-ah) Katherine Boyet (Boy-YET), a lord attending on the princess Monsieur Marcade (Mar-CAHD), a messenger from the King of France A Forester Lords, Ladies, Attendants

The Kingdom of Navarre was actually a real country in the 16th century. It was situated between the northern part of Spain and southern part of France and straddled the Pyrenees Mountains. It was eventually annexed by both Spain and France.

Globe Guide 28

SOURCES thee without wonder;/Which is to me some praise that I thy parts admire:/Thy eye Jove’s lightning bears, thy voice his Unusually, no literary source is known for the story of Love’s Labour’s Lost, although the play has a certain basis in historical fact. It is, in fact, unique in Shakespeare’s plays in portraying, if nominally, historical figures still living when the play was first performed. A King of Navarre (later Henry IV of France, 1553-1610) did keep about him two lords called the Duc de Longueville and the Duc de Biron.

Biron (in Shakespeare, ‘Berowne’) even became known in England as an associate of the Earl of Essex when Essex led a force to France in support of Henry during the French civil war of 1589-92.

The lives of the real Henry and his courtiers were spent largely in the field or conducting affairs of state – but the King is known to have had one (very extended) holiday, at his family seat at Nérac in south-west France in the late 1570s, He was joined there by the wife from whom he had been separated for some years, Marguerite de Valois. She brought with her not only her mother, Catherine de Medici, but also a train of attractive young women to divert the King.

Theirs was a very open marriage. Gossip about the atmosphere of the King’s long vacation may well have had some influence on the composition of Love’s Labour’s Lost. Theories advancing other, more arcane influences, such as the long-held view that Shakespeare was secretly representing an atheistic coterie around Sir Walter Raleigh (the so-called ‘school of night’), have now been discredited. While no direct source has been uncovered for the other characters in the play, it is clear they owe something to the clowns, pages, pedants, braggarts and country priests of the Italian commedia dell’arte.

Nicholas Robins Shakespeare’s Globe

Madam, your father here doth intimat The payment of a hundred thousan crowns; Being but the one half of a entire sum Disbursed by my father in h wars. But say that he or we, as neithe have, Received that sum, yet ther remains unpaid A hundred thousan more; in surety of the which, One part o Aquitaine is bound to us, Although no valued to the money's worth. If then th king your father will restore But that on half which is unsatisfied, We will giv up our right in Aquitaine, And hold fa friendship with his majesty. But that, & Ideas seems,Themes he little purposeth, For here h doth demand to have repaid A hundre thousand crowns; and not demand On payment of a hundred thousan crowns, To have his title live in Aquitain Which we much rather had depart with And have the money by our father len Than Aquitaine so gelded as it is. Dea Princess, were not his requests so fa From reason’s yielding, your fair se

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GENDER ROLES Within Love’s Labour’s Lost, males and females operate in two different spheres. The characters of the play and the author himself, inhabit a time in which clear distinctions exist between what is proper for men and what is proper for women. Below are excerpts from The English Gentleman and The English Gentlewoman by Richard Brathwaite (1641) that describe the Renaissance codes of conduct regarding marriage, love, and general behavior.

dreadful thunder,/Which not to anger bent, is music and sweet fire./Celestial as thou art, O, pardon, love, this wrong,/That

The Gentleman

The Gentlewoman

It was pleasantly spoken of him who said; Wives are young men’s Mistresses; Companions for middle age; and old-men’s Nurses.

There is nothing which requires more discretion, than how to behave or carry ourselves while we are enthralled to affection.

The Lover is ever blinded with affection towards his beloved.

Reason is laid asleep, while Sense becomes the master Wooer.

Whence came that usual saying, One cannot love and be wise.

But I wholly oppose myself to their assertion, who seem thus far transported with the sensual opinion of affection. My Tenet is, One cannot truly love, and not be wise.

He was reputed one of the wise men, that made answer to the question; When a man should marry? A young man not yet, an elder man not at all.

But now to our Choice: for it is to be received as already granted, that Marriage is honorable among all: and every honorable thing is more eligible, then that which is not honorable: So as he that shunneth Marriage, and avoideth society, is to be esteemed a foe to humanity.

Having now made choice of your wife, being so well disposed (as it is to be intended), thee should not be much restrained; for she hath already resolved to be no gadder, but, in resemblance of the Snaile, a good housekeeper. The Egyptians, by an special decree (as Plutarch reports) enjoined their Women to wear no shoes, because they should abide at home. The Grecians accustomed to burn, before the door of the new married, the axletree of that coach wherein she was brought to her husband’s house, letting her to understand, that she was ever after to dwell there.

It is most certain, there is nothing more impatient of delay than love, nor no wound more incurable while we live.

Array yourselves in comely apparel, with shame-fastnesse and modesty, not with braided hair, or gold, pearls, or costly apparel; But, as becommeth women that profess the fear of God. For even after this manner in time past did the holy women, which trusted in God, tire themselves. …Where you walk, you may enjoy yourselves freed from light eyes, gazing and admiring vanity.

Actions are to be seasoned with discretion, seconded by directions, strengthened with instruction, lest too much rashness bring the undertaker to destruction. …In the Maze or Labyrinth of this life, many bee our cares, mighty bee our fears, strong our assailants, weak our assailants, unless wee have that brazen wall within us to fortify us against all occurrents. O then, let not the least action betray you to your enemy, for you have many within you, for they are dangerous, because domesticall; without you, for they are strangers, and therefore doubtfull!

Globe Guide

LISTENING TO THE LANGUAGE

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The language of Love’s Labour’s Lost is full of witticisms, puns, extended metaphors, jokes, bizarre syntax, parody, and a pile of other literary devices that demand an intense alertness of the listener. Also, much of this figurative language is based on cultural happenings specific to the 1590s, so there are parts of the work that scholars still don’t quite understand because of the specificity of their reference. Below are helpful hints for Listening to the Language of Love’s Labour’s Lost”:

King: So sweet a kiss the golden sun gives not/To those fresh morning drops upon the rose,/As thy eye-beams, when their Know the plot!

To ensure students can follow the production, make sure they know plot prior to attending (see page 24). It might also help to do a micro exploration of theme and characters by analyzing one specific scene or moment in the play. The Globe’s actors are world-class, so their gestures and movements will likely elucidate their thoughts and intentions.

Memorize (any) 10 Lines Having students memorize verse can do the following: • Enhance engagement and connection with the performance; there’s something to latch onto in the work • Prompt student reflection on ideas of interpretation: “How did the actor’s recitation differ from mine?”

• Build student appreciation for the acting profession: In the Renaissance actors often performed multiple roles in a play, and each week they performed two plays a day AND rehearsed new plays. Each actor had a large amount of text in his head, and this capacity is a sign of the oral tradition of the day. Most people heard speech orally and were used to listening for long periods of time (for instance, church services were 3 hours). Nowadays, we are more visual in our digestion: we see pictures or read text.

Rewrite the Text By rewriting lines from Love’s Labour’s Lost in their own, 21st-century words, students can begin to internalize the text and deepen connections to the performance.

Evening Listening For additional opportunities to Listen to the Language of Love’s Labour’s Lost, attend one of these public performances: Love’s Labour’s Lost Shakespeare’s Globe Theatre Tuesday, October 20, 8 pm Thursday, October 22, 8 pm Friday, October 23, 8 pm Saturday, October 24, 8 pm Sunday, October 25, 2 pm POWER CENTER

Call the UMS Ticket Office at 734-764-2538 for tickets to these public performances. Note: public performance ticket prices differ significantly from Youth Performance ticket prices and Ticket Office staff can provide full details on availability and cost.

Globe Guide

SONNETS

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In Love’s Labour’s Lost, Shakespeare pokes fun at his own beloved sonnet form. By Shakespeare’s time the sonnet form, dominated by Petrarch’s mastery of it in14th century Italy, was becoming exhausted: it was increasingly difficult for a poet to use language that had not already become cliché. Also, at this time--the Elizabethan period-sonnets were not only the language of love, but also of patronage. The terms sonneteers used to praise a lady were precisely the terms in which one would speak to Queen Elizabeth I (see Elizabeth’s picture on the next page).

The following pages include examples of good and “bad” sonnets, as well as explanations of what characterizes each:

fresh rays have smote/The night of dew that on my cheeks down flows:/Nor shines the silver moon one half so bright/

“Bad”

Good

Longaville (4.3.50-63) • The word choice, mixed meter, and misused metaphors make this “bad” sonnet a bit unpoetic.

Shakespeare Sonnet #23 • Shakespeare likely crafted Sonnet 23 and Love’s Labour’s Lost around the same time.

Did not the heavenly rhetoric of thine eye, 'Gainst whom the world cannot hold argument, Persuade my heart to this false perjury?

Vows for thee broke deserve not punishment.

A woman I forswore; but I will prove, Thou being a goddess, I forswore not thee: My vow was earthly, thou a heavenly love; Thy grace being gain'd cures all disgrace in me.

Vows are but breath, and breath a vapour is: Then thou, fair sun, which on my earth dost shine, Exhalest this vapour-vow; in thee it is: If broken then, it is no fault of mine: If by me broke, what fool is not so wise To lose an oath to win a paradise?

As an unperfect actor on the stage, Who with his fear is put beside his part, Or some fierce thing replete with too much rage, Whose strength's abundance weakens his own heart; So I, for fear of trust, forget to say The perfect ceremony of love's rite, And in mine own love's strength seem to decay, O'ercharg'd with burthen of mine own love's might.

O! let my looks be then the eloquence And dumb presagers of my speaking breast, Who plead for love, and look for recompense, More than that tongue that more hath more express'd.

O! learn to read what silent love hath writ: To hear with eyes belongs to love's fine wit.

King (4.3.16-32) • This “bad” sonnet has an extra couplet and is self-absorbed; the imagery is hyperbolized and the effect is one of excess.

Thomas Wyatt’s Sonnet, “The Long Love” • This is a great well-crafted example of the historic form of the sonnet; it is based on Petrarch’s Poem140.

So sweet a kiss the golden sun gives not To those fresh morning drops upon the rose, As thy eye-beams, when their fresh rays have smote The night of dew that on my cheeks down flows: Nor shines the silver moon one half so bright Through the transparent bosom of the deep, As doth thy face through tears of mine give light; Thou shinest in every tear that I do weep: No drop but as a coach doth carry thee; So ridest thou triumphing in my woe.

Do but behold the tears that swell in me, And they thy glory through my grief will show: But do not love thyself; then thou wilt keep My tears for glasses, and still make me weep.

O queen of queens! how far dost thou excel, No thought can think, nor tongue of mortal tell.

The long love that in my heart doth harbor And in mine heart doth keep his residence, Into my face presseth with bold pretense, And there campeth, displaying his banner.

She that me learneth to love and to suffer, And wills that my trust and lust's negligence Be reined by reason, shame, and reverence, With his hardiness taketh displeasure.

Wherewith love to the heart's forest he fleeth, Leaving his enterprise with pain and cry, And there him hideth and not appeareth.

What may I do when my master feareth But in the field with him to live and die?

For good is the life ending faithfully.

Through the transparent bosom of the deep,/As doth thy face through tears of mine give light;/Thou shinest in every tear

Concept

“Bad” Sonnets:

Good Sonnets:

Love Declarations Sonnets were sincere declarations of love similar to today’s Hallmark cards: people recited a pre-composed and pertinent sonnet to their loved one. These sonnets were reused and retold over and over.

...Require the “declarer” be an ...Contain a universal message impassioned presenter; the easily deliverable by an presence of this need accentuates impersonal presenter a sonnet’s inherent staleness.

For Another’s Ears The language of sonnets is specifically meant to be shared with another person: a characteristic central to the form.

...Are recited to an empty audience. Interestingly, in LLL the “bad” sonnets written for women are actually only overheard by men.

...Are recited to a special (and present) person.

About “you” not “me” Sonnets focus on the merits of the receiver not of the presenter or author.

...Glorify the presenter and are self-absorbed and self-indulgent, like the King’s sonnet in LLL.

...Praise the other person with scant or self-deprecating references to the speaker.

Shakespearean Couplet The final couplet of a Shakespearean sonnet summarize the whole poem or turns it on its head and is two rhymed lines.

...Over-emphasizes key structural features, like the doubling of the final couplet in the King’s sonnet.

...Ends with a simple, but impactful couplet and allow figurative language to dominate the poem.

Meter

...Use mixed and inconsistent meter.

...Use unforced meter (usually iambic pentameter) throughout.

A Poem, Not a Letter

...Use pedestrian and conversational language that sounds like an unpoetic letter to another person.

...Use intentionally clear or subtle language to create flow and lyricism

Length Shakespearean sonnets are 14 lines with the rhyme scheme ABAB CDCD EFEF GG. (Some English writers like, like Wyatt, used the Italian ryhme scheme ABBA ABBA CDCD EE.)

...Are longer than 14 mines without proper rhyme schemes: Dumaine’s sonnet’s scheme is AA, BB, CC, DD. Longaville’s sonnet unaturally stresses “is” as a rhyme word in both lines 9 and 11.

...Rhyme properly within 14 lines. (Shakespeare actually wrote a 15-line sonnet and a 12-line sonnet too...)

Honest plain words best pierce the ear of grief; And by these badges understand the king. For your fair sakes have we neglected time, Play'd foul play with our oaths: your beauty, ladies, Hath much deform'd us, fashioning our humours Even to the opposed end of our intents: And what in us hath Resources seem'd ridiculous,-- As love is full of unbefitting strains, All wanton as a child, skipping and vain, Form'd by the eye and therefore, like the eye, Full of strange shapes, of habits and of forms, Varying in subjects as the eye doth roll To every varied object in his glance: Which parti-coated presence of loose love Put on by us, if, in your heavenly eyes, Have misbecomed our oaths and gravities, Those heavenly eyes, that look into these faults, Suggested us to make. Therefore, ladies, Our love being yours, the error that love makes Is likewise yours: we to ourselves prove false, By being

Arts Resources www.ums.org

The official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about community and family events, and more information about the UMS Youth Education Program.

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Websites

www.artsedge.kennedy-center.org

The nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant information, etc.

Shakespeare’s Globe Theatre www.shakespeares-globe.org

The official website of the Shakespeare’s Globe Theatre. Site includes information on the Globe’s performances, management, history, and current productions. The site also has panoramic views of the Theatre from several vantage points.

Shakespeare www.shakespeareinamericancommunities.org

Shakespeare in the Communities is an initiative sponsored by the National Endowment for the Arts and Arts Midwest.

On this site, teachers may order a teacher’s manual including lesson plans, a “Fun with Shakespeare” brochure with word games, a recitation contest guide, timeline poster, audio CD, educational video, and bookmarks.

www.pbs.org/shakespeare/educators

Developed in partnership with the Folger Shakespeare Library, these classroom resources were designed around six thematic strands: Shakespeare’s Language, Shakespeare on Film, Performance, Primary Sources, Teaching Shakespeare to Elementary Students, and Teaching Shakespeare with Technology.

www.folger.edu/index_sa.cfm?specaudid=2

This site contains resources for lesson plans, study guides, and ways to use primary sources.

NOTE: Although UMS previewed each web site, we recommend that teachers check all web sites before introducing them to students, as content may have changed since this guide was published.

and still make me weep./O queen of queens! how far dost thou excel,/No thought can think, nor tongue of mortal tell.

Video Love’s Labour’s Lost (2000) Directed by Kenneth Branagh Written by William Shakespeare Screenplay by Kenneth Branagh Rated PG A fun movie musical of Shakespeare’s classic work, in which the play’s love sonnets are replaced by musical love songs by such greats as Cole Porter and Irving Berlin.

MEDIA

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University of Michigan Department of Theatre and Drama Walgreen Drama Center 1226 Murfin Avenue Ann Arbor, MI 48109-1212 734.764.5350 theatre.info@umich.edu www.music.umich.edu/departments/theatre Wayne State University Department of Theatre 4841 Cass Avenue, Suite 3225 Detroit, MI 48202 313.577.3508 theatre@wayne.edu www.theatre.wayne.edu Michigan Shakespeare Festival PO Box 323 Jackson, MI 49204 517.788.5032 thebard@michshakefest.org http://michshakefest.org Grand Valley Shakespeare Festival School of Communications 290 Lake Superior Hall Grand Valley State University Allendale, MI 49401 616.331.3668 www.gvsu.edu/shakes Performance Network 120 E Huron St. Ann Arbor, MI 48104-1437 734.663.0696 www.performancenetwork.org

Hilberry Theatre At Wayne State University 4841 Cass Avenue, Suite 3225 Detroit, MI 48202 313.577.2972 www.hilberry.com U-M Stearns Collection of Musical Instruments Earl V. Moore Building University of Michigan Ann Arbor, MI 48109 734.936.2891 stearns@umich.edu www.music.umich.edu/research/stearns_collection Chicago Shakespeare Theater 800 East Grand Avenue Chicago, IL 60611 312.595.5600 www.chicagoshakes.com Folger Shakespeare Library 201 East Capitol Street, SE Washington, DC 20003 202.544.4600 www.folger.edu Stratford Shakespeare Festival P.O. Box 520 Stratford ON N5A 6V2 800.567.1600 www.stratfordfestival.ca

COMMUNITY

Longaville: Did not the heavenly rhetoric of thine eye,/’Gainst whom the world cannot hold argument,/Persuade my heart

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RECOMMENDED READING Aliki, William Shakespeare and the Globe. New York: HarperCollins, 1999.

A delightful picture book dividing Shakespeare’s life into ‘acts’ and ‘scenes.’

Bate, Jonathan and Eric Rasmussen, ed. William Shakespeare: Complete Works. New York: The Modern Library, 2007.

Bloom, Harold. Bloom’s Major Dramatist: Shakespeare’s Histories. Broomall, PA: Chelsea House, 2000.

Though this is about Shakespeare’s history plays, if you want to learn more about Shakespeare, it is a fantastic book.

Chute, Marchette. Shakespeare of London. New York: E.P. Dutton, 1949.

A classic book on Shakespeare’s work in London.

Claybourne, Anna and Rebecca Treays. The Usborne Internet-Linked World of Shakespeare. London: Usborne Publishing, 2001.

Greenhill, Wendy, and Paul Wignall. Shakespeare: Man of the Theater.

Chicago: Heinemann Library, 1999.

Written by RSC’s former Head of Education, this is an easy-to-read summary of Shakespeare’s life, work and culture.

Lamb, Charles and Mary. Tales from Shakespeare. New York: Puffin Classics,1987.

Turns many of Shakespeare’s plays into fiction format. This work was originally published in 1807, so the language may be difficult for some.

O’Brien, Peggy, ed. Shakespeare Set Free. New York: Washington Square Press, 1993.

This book is geared specifically toward teaching Romeo and Juliet, Macbeth, and A Midsummer Night’s Dream, but the activities are great and can be adapted easily to other plays.

to this false perjury?/Vows for thee broke deserve not punishment./A woman I forswore; but I will prove,/Thou being a Stanley, Diane. Bard of Avon: The Story of William Shakespeare. New York: William Morrow and Company, 1992.

A text-heavy picture book of the life of Shakespeare. A good reference book for high-interest, low-ability readers.

Wilson, Edwin. Theater: The Lively Art. New York: McGraw-Hill, Inc., 1991.

A beginning college textbook covering theatrical history, acting, and design.

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Aside In a play, when a character speaks thoughts aloud without others on stage noticing.

Blocking The movement of actors on stage Body Mic A small, almost invisible mic that an actor wears on his/her head or on another part of the body.

Deck The stage floor, or a temporary stage floor that has been built on top of the permanent floor.

Director The person who makes the final judgments on all artistic decisions in the production.

Downstage The part of the stage closest to the audience.

Dramatis Personae List of the characters in a play.

Elizabethan Period Of or relating to the Queen Elizabeth I of England or her reign (1558-1603).

Exeunt A stage direction indicating the departure of two or more characters from the stage.

Front-of-House (or House) Anything in the audience.

Run The number of performances for a particular show.

Scene A stage setting; or the structural units into which acts of the play are divided; or the location of a play’s action.

Shareholders In Elizabethan acting troupes, members who received part of the profits as payment. Unfortunately, this tradition has all but died out.

Soliloquy A speech in which a character who is alone on stage speaks inner thoughts. All soliloquies are monologues, but not all monologues are soliloquies. “To Be Or Not To Be,” from Shakespeare’s Hamlet, is probably the most famous soliloquy in theater history.

Stage Left The left side of the stage from the actor’s perspective.

Stage Right The right side of the stage from the actor’s perspective.

Strike The process of taking apart the show after the last performance.

Monologue A long speech made by an actor.

Tiring House Dressing rooms of actors behind a wall at the back of the stage. To tire means to dress–that is, to attire oneself.

Period Any representation on stage of a former age, as in period costume or period play.

Upstage The part of the stage farthest from the audience.

Props Any items that could be carried by an actor in the course of a show. Set props are props that are used only as set dressing and are not handled by actors.

Wings Left and right offstage areas; also, narrow standing pieces of scenery, or “legs,” more or less parallel to the proscenium, which form the sides of a setting.

goddess, I forswore not thee:/My vow was earthly, thou a heavenly love;/Thy grace being gain’d cures all disgrace in me./ Proscenium (pro-SEEN-ee-um) arch: The architectural wall that separates the backstage area from the audience.

Within Stage direction indicating that a person speaking or being spoken to is behind a door or inside a room.

Renaissance The European period and movement between 14th and 17th centuries that included a blossoming of the arts and literature.

VOCABULARY

ArtsEdge www.artsedge.org offers a wide range of arts-infused lesson plans for educators to use. Below are three that relate to the life and work of William Shakespeare:

A Way with Words or Say What?

Shakespeare invented over 2,000 words and expressive phrases. In this lesson, students use drawing and pantomime to identify and analyze some of Shakespeare's phrases. They then write a story using the newly-identified words, lines, and phrases.

http://artsedge.kennedy-center.org/ content/2166/

Artists as Explorers

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The Poetics of Hip Hop

Analysis of hip hop music and lyrics can provide students with a greater understanding of rhythm, form, diction, and sound in poetry. Students will analyze form in Shakespearean sonnets, then analyze hip hop music to determine common characteristics between the Bard's work and the music of hip hop artists. Students will reinforce their understanding of the connections between hip hop and poetry through close analysis of the works of poets Saul Williams and Nikki Giovanni, and through the creation of their own poetry.

http://artsedge.kennedy-center.org/ content/3656/

Explorers exist in every field of human endeavor, including geography, the arts, sciences, and philosophy. In this lesson, students will gain an understanding of humans' need to explore. They will create a "journey map" depicting the accomplishments of artistic explorers, and research the influences that caused the artists to embark on these explorations.

http://artsedge.kennedy-center.org/ content/2301/

LESSON PLANS Vows are but breath, and breath a vapour is:/Then thou, fair sun, which on my earth dost shine,/Exhalest this vapour-vow;

More Sonnet Activities Good Sonnet/Bad Sonnet Sonnets are important to Love’s Labour’s Lost (and are discussed in detail on page 34). Ask students to try to write a good sonnet and bad sonnet themselves, so that they begin to connect with what’s eloquent and stylish in writing and what is clunky and bumpy too.

Sonnet-to-Play Tons of drama and information about character and setting are stored (even hidden) within the 14 lines of a sonnet. As an exercise to enhance students’ understanding of sonnets, have students expand a Shakespearean sonnet into a play (a scene or act) by imaging the situation or the person being addressed. Try Shakespeare’s Sonnets #96, #138, #29, or #87.

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BIBLIOGRAPHY Brathwaite, Richard. The English Gentleman, and The English Woman.

London : Printed by B. Alsop and T. Fawcet, for Michaell Sparke, dwelling in Greene Arbor, 1631 (p 30-31).

Bate, Jonathan and Eric Rasmussen, ed. William Shakespeare: Complete Works. New York: The Modern Library, 2007.

Campbell, Drew. Technical Theatre for Non Technical People, second edition.

New York: Allworth Press, 2004 (p 40).

Claybourne, Anna and Rebecca Treays. The Usborne Internet-Linked World of Shakespeare. London: Usborne Publishing, 2001.

“Dominic Dromgoole: Shakespeare's rule-breaker.” Interview by Rhoda Koenig. The Independent. http://www.independent.co.uk/ arts-entertainment/theatre-dance/features/dominic-dromgooleshakespeares-rulebreaker-818584.html. Accessed September 10, 2009 (p 14).

Gurr, Andrew. The Shakespearean Stage, third edition. Cambridge: Cambridge University Press, 1992 (p 19-20).

Henderson, Diana. Passion made public: Elizabethan lyric, gender, and performance. University of Illinois Press, 1995 (p 35).

The Riverside Shakespeare, second edition. New York: The Houghton Mifflin Company, 1997.

Shakespeare’s Globe Theatre. www.globe-theatre.org.uk/globe-theatremap.htm. Accessed September 10, 2009 (p 13, 24).

air:/Through the velvet leaves the wind,/All unseen, can passage find;/That the lover, sick to death,/Wish himself the heav This guide’s sections on The Globe (p 13), Renaissance Music (p 22), Shakespeare in London (p 24), Synopsis (p 26), and Sources (p 28) were adapted from materials from Shakespeare’s Globe Theatre.

A time, methinks, too short To make a world-without-end bargain in. No, no, my lord, your grace is perjured much, Full of dear guiltiness; and therefore this: If for my love, as there is no such cause, You will do aught, this shall you do for me: Your oath I will not trust; but go with speed To UMS some forlorn and About naked hermitage, Remote from all the pleasures of the world; There stay until the twelve celestial signs Have brought about the annual reckoning.

If this austere insociable life Change not your offer made in heat of blood; If frosts and fasts, hard lodging and thin weeds Nip not the gaudy blossoms of your love, But that it bear this trial and last love; Then, at the expiration of the year, Come challenge me, challenge me by these deserts, And, by this virgin palm now kissing thine I will be thine; and till that instant shut My woeful self up in a mourning house, Raining the tears of lamentation

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What is UMS? UMS is committed to connecting audiences with performing artists from around the world in uncommon and engaging experiences.

One of the oldest performing arts presenters in the country, the University Musical Society is now in its 131st season. With a program steeped in music, dance, and theater performed at the highest international standards of quality, UMS contributes to a vibrant cultural community by presenting approximately 60-75 performances and over 100 free educational and community activities each season.

UMS also commissions new work, sponsors artist residencies, and organizes collaborative projects with local, national, and international partners.

in thee it is:/If broken then, it is no fault of mine:/If by me broke, what fool is not so wise/To lose an oath to win a paradise?

UMS Education & Audience Development Department Mailing Address 100 Burton Memorial Tower 881 North University Ave Ann Arbor, MI 48109-1011

Staff Kenneth C. Fischer, UMS President Claire C. Rice, Interim Director Mary Roeder, Residency Coordinator Omari Rush, Education Manager

Interns Mark Johnson Neal Kelley Michael Michelon Leonard Navarro Bennett Stein

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ARTISTIC STATEMENT that I do weep:/No drop but as a coach doth carry thee;/So ridest thou triumphing in my woe./Do but behold the tears that The performances on any UMS Youth Performance Series are selected from UMS’s corresponding season of public performances and are programmed primarily based on a show’s relevance to the school community of learners, the availability of the artist(s), and the advice of our Teacher Advisory Committee. These Youth Performances also have the same content as our public performances; they are not watered down or censored because we feel that with enough preparation, our region’s students are able to engage with the world’s most sophisticated, entertaining, and important arts experiences.* The artistic experience of Shakespeare’s Globe Theatre is certainly one we wanted to expose our students to in the 09/10 season. The company meticulously aims to recreate the theatrical experience of the Elizabethan period through adopting the historical staging practices of the 16th-century Globe theaters, using period musical instruments, and constructing costumes using Renaissance techniques. These efforts animate twodimensional pictures that students regularly view in textbooks, providing “aha!” moments for youth audience members as they realize, “oh, that’s how they did it.” The skill with which the Globe moves the text from the page into the whole body also makes this company’s perspective an important component of UMS’s Youth Performance and theater series.

Only in the last 15 years of UMS’s 131-year history has UMS presented theatrical works with the intention of creating a sustained and permanent theater series. Within this recent focus, our presentations have explored human expression, storytelling, and consideration of life’s big questions, from antiquity to modern times. They have also explored the canon of William Shakespeare, works central to any initial study of literature in the classroom or theater on stage (see UMS’s history of presenting Shakespeare’s works on the following page).

Though Shakespeare’s work Love’s Labour’s Lost usually resides outside the circle of his most performed and beloved works, the play’s themes will likely resonate with students: commitment to school, youth and young love, and the social differences between males and females. This production is also a wonderful opportunity for students to feast on a fun and funny array of ink formations that flowed from Shakespeare’s quill pen.

Omari Rush UMS Education Manager *We generally do not program performances that contain nudity or excessive use of profanity or that are sexually suggestive.

93/94 THE STRATFORD FESTIVAL Shakespeare’s A Midsummer Night’s Dream Joe Dowling, director

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00/01 ROYAL SHAKESPEARE COMPANY Shakespeare’s Henry VI: Part 1 Shakespeare’s Henry VI: Part 2 Shakespeare’s Henry VI: Part 3 Shakespeare’s Richard III Michael Boyd, director swell in me,/And they thy glory through my grief will show:/But do not love thyself; then thou wilt keep/My tears for glass

UMS THEATER: SHAKESPEARE

02/03 ROYAL SHAKESPEARE COMPANY Shakespeare’s The Merry Wives of Windsor Rachel Kavanaugh, director Shakespeare’s Coriolanus David Farr, director

Recent history of UMS’s presentation of Shakespeare’s works.

03/04 THE GLOBE THEATER Shakespeare’s Twelfth Night Tim Carroll, director THE GUTHRIE THEATER Shakespeare’s Othello Joe Dowling, director 04/05 OAE/THE GLOBE THEATER [CONCERT PRODUCTION] A Midsummer Night’s Dream Shakespeare and Mendelssohn Tim Carroll, director 06/07 ROYAL SHAKESPEARE COMPANY Shakespeare’s Antony and Cleopatra Gregory Doran, director Shakespeare’s Julius Caesar Sean Holmes, director Shakespeare’s The Tempest Rupert Goold, director 09/10 THE GLOBE THEATER Shakespeare’s Love’s Labour’s Lost Dominic Dromgoole, director

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10 Things to Know About UMS Youth Education 1. QUALITY Every student deserves access to “the best” experiences of world arts and culture • UMS presents the finest international performing and cultural artists.

• Performances are often exclusive to Ann Arbor or touring to a small number of cities.

• UMS Youth Performances aim to present to students the same performance that the public audiences see (no watered-down content).

2. DIVERSITY Highlighting the cultural, artistic, and geographic diversity of the world • Programs represent world cultures and mirror school/community demographics.

• Students see a variety of art forms: classical music, dance, theater, jazz, choral, global arts.

• UMS’s Global Arts program focuses on 4 distinct regions of the world--Africa, the Americas, Asia, and the Arab World--with a yearly festival featuring the arts of one region.

3. ACCESSIBILITY Eliminating participation barriers • UMS subsidizes Youth Performance tickets to $6/student (average subsidy: $25/ticket) • When possible, UMS reimburses bussing costs.

• UMS Youth Education offers personalized customer service to teachers in order to respond to each school’s unique needs.

• UMS actively seeks out schools with economic and geographic challenges to ensure and facilitate participation.

4. ARTS EDUCATION LEADER One of the premier arts education programs in the country • UMS’s peer arts education programs: Carnegie Hall, Lincoln Center, Kennedy Center.

• UMS has the largest youth education program of its type in the four-state region and has consistent school/ teacher participation throughout southeastern Michigan.

• 20,000 students are engaged each season by daytime performances, workshops and in-school visits.

• UMS Youth Education was awarded “Best Practices” by ArtServe Michigan and The Dana Foundation (2003).

5. K-12 SCHOOL PARTNERSHIPS Working directly with schools to align our programs with classroom goals and objectives • 13-year official partnerships with the Ann Arbor Public Schools and the Washtenaw Intermediate School District.

• Superintendent of Ann Arbor Public Schools is an ex officio member of the UMS Board of Directors.

• UMS has significant relationships with Detroit Public Schools’ dance and world language programs and is developing relationships with other regional districts.

• UMS is building partnerships with or offering specialized services to the region’s independent and home schools.

Dumaine: On a day--alack the day!--/Love, whose month is ever May,/Spied a blossom passing fair/Playing in the wanton

YOUTH EDUCATION PROGRAM

6. UNIVERSITY EDUCATION PARTNERSHIPS Affecting educators’ teaching practices at the developmental stage • UMS Youth Education is developing a partnership with the U-M School of Education, which keeps UMS informed of current research in educational theory and practice.

• University professors and staff are active program advisors and workshop presenters.

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7. KENNEDY CENTER PARTNERSHIP • UMS Youth Education has been a member of the prestigious Kennedy Center Partners in Education Program since 1997.

• Partners in Education is a national consortium of arts organization and public school partnerships.

• The program networks over 100 national partner teams and helps UMS stay on top of best practices in education and arts nationwide.

8. PROFESSIONAL DEVELOPMENT “I find your arts and culture workshops to be one of the ‘Seven Wonders of Ann Arbor’!” – AAPS Teacher • UMS Youth Education provides some of the region’s most vital and responsive professional development training.

• Over 300 teachers participate in our educator workshops each season.

• In most workshops, UMS utilizes and engages resources of the regional community: cultural experts and institutions, performing and teaching artists.

9. TEACHER ADVISORY COMMITTEE Meeting the actual needs of today’s educators in real time • UMS Youth Education works with a 50-teacher committee that guides program decision-making.

• The Committee meets throughout the season in large and small groups regarding issues that affect teachers and their participation: ticket/bussing costs, programming, future goals, etc.

10. IN-SCHOOL VISITS & CURRICULUM DEVELOPMENT Supporting teachers in the classroom • UMS Youth Education places international artists and local arts educators/teaching artists in classes to help educators teach a particular art form or model new/innovative teaching practices.

• UMS develops nationally-recognized teacher curriculum materials to help teachers incorporate upcoming youth performances immediately in their daily classroom instruction.

UMS Youth Education Program umsyouth@umich.edu | 734-615-0122 | www.ums.org/education

air:/Through the velvet leaves the wind,/All unseen, can passage find;/That the lover, sick to death,/Wish himself the heav

Send Us Your Feedback!

UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS Youth Education Program Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • umsyouth@umich.edu www.ums.org/education