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Excellent thread so far, keep it up. I have a personal Shakespeare fetish (spent my last three undergrad years tutoring it, still may go back for grad work), and on that note have a few questions for someone in the field right now: 1) I recently read Stephen Greenblatt's "Will in the World" and thought it was excellent on many counts. I've heard the theory before, but Mr. Greenblatt made it clear that he was convinced that Shakespeare at least dabbled in homosexual behavior and may have married solely for financial and social reasons. Your opinion? 2) What is your favorite play, and why? What is your least favorite, and why? 3) What is your opinion of 'modern' stage productions of the plays? I thought "Romeo+Juliet" was actually pretty good, since Leonardo DiCaprio captured Romeo's exuberant naivety perfectly, but they also retained the language. 4) Are there still things to write about Shakespeare that don't fall under the category of "reinterpreting meaning in a contemporary context"? E: I realized this is unclear. I'm not asking you to tell me a list of untouched categories - more like I'm wondering what the ratio of published articles is. Thanks in advance! e:^^^^^^ I used to disregard King until I read "On Writing". Still not a huge personal fan but it's great to see inside a working mind that way. Upright Sloth fucked around with this message at 17:12 on May 6, 2009 |
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May 6, 2009 17:05
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I really, REALLY want to derail this into a Shakespeare discussion, but I'll restrain myself. Two more questions: 1) If someone came in and broke your "teaching bone" so you HAD to do something else for a living, what would it be? 2) FUNNY ANECDOTES. You know you've got em, we wanna hear em. (Guess that wasn't a question per se but I'm not rewriting it.) e) I second the above question about your class size / teaching style.
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May 7, 2009 02:48
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Brainworm posted:calls my derail bluff. It's been a while since I've done this but here goes. 1) Tell us about the various editions of Shakespeare's plays. I know that a large body of collected documents exist and that his editors had a good deal of influence in shaping how we group the plays today, but I don't really know *what* documents exist, how they have been preserved, etc. I guess my question has to do with the physical transmission of the plays from then to now, and who decided which version is 'scripture'. 2) How would you stage /Enter Ariel, invisible/? What about /Exit, pursued by a bear/? What are your thoughts on WHY he would include these moments? 3) When I was taught "Much Ado About Nothing," we discussed the idea that the Benedick/Beatrice and Claudio/Hero couples represent Shakespeare's perception of two opposing styles of love. That is, B/B represent the English notion of a 'Merry War' between spouses that arises from a deep and real friendship (his preference), whereas C/H are the Petrachan, idealized notion of love. The latter, in this interpretation, is held up to mockery through the clod-like gullibility of Claudio (Margaret, "another Hero!") and the passive, utilitarian Hero. Agree/disagree? 4) Would you go to a bearbaiting with me? 5) How significant do you think are the occasional breaks from pure character drama? I'm thinking about Time in "The Winter's Tale," Chorus in "R&J," and whatever other ones I can't think of at the moment. I'll probably think of more questions but I'll leave it here for now.
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May 8, 2009 03:22
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