Shakespeare's plays are so densely rich and full of deep philosophy and wordplay (e.g. throwaway allusions which open - and, a line or two later, shut - huge worlds of insightful ideas) that I find it quite impossible to parse (much less absorb) all of what's being said and alluded to in real-time. And this is leaving completely aside the issues of outdated references and obsolete language. So: is it that people back then had nimbler minds, capable of absorbing densely-packed language in real time by rapidly spieling actors? Or.......? [more inside]
I want to offer super-cheap ($10 to free) Shakespeare tickets to educators and their students in the NYC area. I'm interested in contacting both high school and college teachers. Would they likely welcome this or consider it spam? Is there some kind of message board or other resource I can use to contact these folks.
If you were doing an outdoor guerrilla community Shakespeare play, where each scene was performed in a different public place, which one would you choose? [more inside]
HighSchoolTwelfthNightProductionFilter: Help me set some Shakespearean songs to 1920's dixieland jazz melodies. [more inside]
Can you recommend any good print editions of Shakespeare in non-modernized orthography, priced for regular folks (not university libraries)? [more inside]
What are some good (relatively) obscure monologues from Shakespeare? [more inside]
When did directors of plays and operas start the practice of overtly imposing their own visual interpretation of the play at the expense of the stage direction of the author? These days if you go to see a Shakespeare play, it's even odds that it's set in modern times, or the early 20th century, or what have you. Were there 19th century (or earlier!) productions of Shakespeare that set his plays in what were then "modern times"? At what point did staging old plays become just as much about the director's vision as the playwright's?