Part 6 of the 12 part series: Why Drama is so important in School. – TEAM BUILDING Working together is so important in life, yet we don’t teach this skill anywhere in school. Sure, many kids get some of this piece from sports, but not every kid plays sports. Hence the reason we need more team building…
I have directed Shakespeare’s Tempest for Kids at least 6 different times, and the costumes and kids always change. But, one thing is consistent, the THUNDER TUBE! I use this great drum thunder tube by REMO to make all the thunder sounds during the play. The kids LOVE it… so much that they want to…
I recently had the privilege to watch a video of a school group in New Jersey perform my Treasure Island for Kids, and of course, it was AWESOME! That being said, one thing I kept noticing…. they were saying “Rum” incorrectly… but wait! No, they weren’t, they were saying “Gum”!
When re-writing classics tales like I do, I do my best to stick to the original plotline as much as possible. However, there are several times where that’s not possible. Sometimes with the length of the story or around specific content covered in the stories. And Treasure Island is no different, because, when it comes to pirates, they drink rum! And there are no mixing words when Robert Louis Stevenson wrote Treasure Island, those pirates drank their rum!
I specifically remember wavering around this point when writing, if I should talk about rum or not. In the end, I stayed to the storyline and hoped that schools and directors would make modifications as they felt necessary. Well, good for this school… as those pirates were constantly searching for their GUM!
So, if you are performing Treasure Island, and don’t feel comfortable using the word rum, you are MORE THAN WELCOME to substitute GUM in there!
Until next time, have fun on the stage!
A theater group in India has put together a performance of The Tempest, done completely in mime. Designed specifically for grade school kids, in the fear that Shakespeare is leaving schools, this performance relies entirely on actions. No words, which makes the story telling that much more challenging. Read more about this impressive performance here in the New Indian Express.
As a classroom exercise, have your kids mime a short part of one of Shakespeare’s plays. You really need to be expressive and understand the language in order to deliver a mimed performance effectively. This will be great fun!
Let me know how it goes!
This is a great article about a teacher using a very ingenious way to get her kids to learn how to analyze and read into something using context clues, even when they don’t know what they are looking at. It’s a very clever and creative way to approach this skill set for use when analyzing Shakespeare’s…
REVEALING THE LOWEST OF THE LOW – THE MOST DEVIOUS SHAKESPEAREAN VILLAIN.
1. IAGO (Othello)
When we asked our global panel of experts to name the Shakespeare villain they most love to hate, there was one character who kept turning up like a bad penny: Iago.
This is a character who is single-mindedly evil. From the opening scene of Othello to the last, Iago does nothing but plot, connive and scheme to bring down Othello and all those who love him. In fact, Iago is so utterly evil that, for centuries, audiences have puzzled over what could possibly have driven him to such depths of depravity. As Shakespeare enthusiast Lis from the Hollow Crown Fans website, says: “You can’t figure out what drives his actions psychologically. They are out of proportion with simply being passed over for a promotion.”
Social researcher and writer Dr Rebecca Huntley also names Iago as public enemy number one: “You really can’t go past Iago. He’s an evil genius and extremely good at identifying people’s weaknesses and turning them against each other. He’d be an excellent office psychopath.”
That’s a view shared by Dr Huw Griffiths from the University of Sydney: “There is something incredibly stylish about this man, an outsider to Venice, who causes absolute havoc and appalling violence through an almost compulsive need to implant fantasies into other people’s brains, using his highly persuasive speech. But when asked for an explanation, he simply says, “Demand me nothing. What you know, you know. / From this time forth I never will speak word.” I love the irony of the situation: a man who has done nothing but talk, now that he is asked to tell the truth, is insisting on silence. He’s pleading the fifth and, as I said: stylish. This silence must, in part, be about the extent to which his malevolence is ultimately inexplicable. But it is also a further extension of his villainy. He continues to stick two fingers up to the system right to the end.”
Follow Rebecca Huntley on Twitter.
Follow Dr Huw Griffiths on Twitter.
OUR COUNTDOWN OF THE MOST DESPICABLE VILLAINS IN SHAKESPEARE’S PLAYS IS GETTING TO THE SHARP, POINTY END.
HERE, WE REVEAL NUMBERS FOUR, THREE AND TWO.
4. TYBALT (Romeo And Juliet)
Compared to some of the other villains on our list, Tybalt might not be considered the worst of the worst. He’s certainly a hateful little punk but he only leaves one dead body in his wake. So why does he rank so highly?
Because it’s Tybalt’s hot-headed violence that turns Romeo And Juliet from a romantic comedy into possibly the most heartbreaking tragedy in literary history. For most of the first two Acts, the play is really a story of puppy love, parties and wisecracks.
That all changes when Tybalt slays Mercutio (one of the most outrageously funny characters in the Shakespeare canon). From that moment, events spin dangerously out of control. Having seen Tybalt murder his best mate, Romeo turns from a lover into a fighter and kills Tybalt. And then everyone’s fate is sealed. (Way to go, Tybalt.)
3. LADY MACBETH (Macbeth)
While her husband provides the brawn, it is Lady Macbeth who is the brains behind the Macbeths’ bloody ascent to the Scottish throne. Actor and playwright Kate Mulvany played Lady Macbeth in Bell Shakespeare’s 2012 production and she’s lost none of her affection for the character since.
“Lady Macbeth’s villainy is strangely inspiring!” says Mulvany. “She is ambitious, funny, driven, sexy and smart. She’s not a villain for the sake of being a villain. She chooses villainy as a recovery from her own grief – the loss of her child. There is a deeper, darker psychology to her, which makes her choices all the more fascinating.”
Mulvany also admires Lady Macbeth’s powers of persuasion. “What a way with words! She can seduce the darkest spirits of hell in just a few words – ‘Come, you spirits that tend on mortal thoughts, unsex me here…’ Whoa. Her vernacular is delicious – not just for the actor, but for the audience. And no matter how despicable she is, you can’t help but secretly, naughtily, be cheering for her on the inside.”
Kate Mulvany played the title role in Bell Shakespeare’s production of Richard 3 in Sydney, Canberra and Melbourne from February to May 2017.
Follow Kate Mulvany on Twitter.
2. AARON THE MOOR (Titus Andronicus)
For pure bloodthirstiness, it’s hard to go past Aaron the Moor in Titus Andronicus. Aaron is the lover of Tamora, queen of the Goths. He encourages Tamora’s sons to commit rape, mutilation and murder, then he frames Titus’s sons for the crimes. Plus, he arranges their deaths and, just for good measure, forces Titus to amputate his own hand.
Finally, when Aaron’s wickedness is exposed and he’s apprehended, he shows no trace of remorse. Robert O’Brien, emeritus professor of English literature at California State University, Chico, nominates Aaron the Moor as his favourite villain in Shakespeare, for the character’s “thrillingly defiant speech” at the beginning of Act 5:
I have done a thousand dreadful things
As willingly as one would kill a fly,
And nothing grieves me heartily indeed
But that I cannot do ten thousand more.