When I moved to FL this last time, I, for medical reasons, had to step away from my passion: theatre. Entirely. I couldn’t Stage Manage anymore; worst of it all, I couldn’t act, sing, or dance. I have cried many tears over how much that fact hurts; I do now. That said… two years later, I still cannot rejoin with my passion. Then, by miracle of circumstance and coincidence, I fell across socialshakespeare's blog (I think via one of motherfuckingshakespeare's posts). And so I got to participate in a read-through of Richard II.
It may sound silly… but theatre is so much a part of me that I literally feel completely empty without it in my day to day life. Yet after 2 year’s hiatus to treat my medical problems, I am so afraid to rejoin that miraculous community. But there Social Shakespeare is.
I want to thank EVERY SINGLE PARTICIPANT in this. You’ve brought me back home. I haven’t had the pleasure of even pretending to act or stage manage until this. I got to lead two of our readings of Richard III this month. That is such a huge deal to me. I feel a member of theatre again. And I wouldn’t be nearly as close to the woman that I am at heart were it not for any single one of you.
So freaking thank you, all of you. I don’t know how to tag all of you… just so many lol, but thank you from the bottom of my heart. I will remember this for the rest of my life. You’re my doorway back to the stage.
I wish I had records of the Catesby and Aslan conversations but I forgot to get screenshots of them.
So here are other highlights from the RIII readthrough. Everyone was amazing, ghosts haunted the Skype, Catesby either existed or exited, no one was ever sure which, though when he was existing he did the hokey pokey in a revolving door. Buckingham does not like the block of shame, Richard thinks Elizabeth should get over it, and Richard has a few relationship problems. All the markings of a great readthrough.
(also it bears mentioning that I was not the source of any of these comments, but I don’t know who actually was so there)
Those comments were GOLD.
I’m emailing the whole chatlog to socialshakespeare so they can send it around as they like.
The best part of As You Like It is when the freaking god of marriage just shows up at the end like what was Shakespeare even THINKING
casual wedding blessings, as you do. beats getting a toaster
brb changing my blog title to Erotic Punning
in case you thought I was joking
I’m not the most into the histories so I can’t say I’ve given Poins a ton of thought. I appreciate the headcanon that Hal saves the tavern world part of himself in a spy kind of way.
Could my history people chime in with their tavernworld headcanons?
i would love to see a comparison of the scene in cymbeline where imogen wakes up next to cloten’s beheaded disguised body and thinks hes her murdered husband (4.2) and the scene in the duchess of malfi where ferdinand gives the duchess a dead guy’s hand and she thinks its antonio’s because its wearing his wedding ring (4.1)
actually come to think of it with all the ring business and supernatural horror elements i would actually LOVE to see comparisons between cymbeline and the duchess of malfi, in general
I really like sassy/ vaguely predatory/ 1000% done with everyone’s shenanigans Olivia and I think she and Viola/ Cesario share a lot because they’re sort of at the same place when they meet, both having just lost brothers. Olivia uses her loss defensively against Orsino, and there are fairly definitive power dynamics with her relationship with Cesario/Sebastian where she is very much in charge. I think the contrast between her authority when she’s running her household and her whimsy falling for Cesario is pretty important. I tend to think of her as being older than the twins but young enough that Orsino is perving on her (also bc irl Shakes was a good few years younger than his wife).
My headcanon about Viola/Cesario views the character as a trauma survivor b/c lets be real surviving a shipwreck has got to be pretty traumatic. I’d love to see someone explore that aspect of the character, and play with the physicality of Viola as Cesario drawing masculinity around herself when she feels unsafe versus relaxing back into femininity when she feels comfortable. I think there would be a hyper-vigilant aspect to her, as well as reactivity to loud noises/ sudden movements.
I think there’s a giddiness to their relationship/ a lot of the relationships in the play that reflects how all of the characters get swept up in the period of holiday.
All of this said, I’m not an actor, but break a leg & let me know how it goes! Other Acting People please chime in!
TAKE TWO! Ostensibly for hitting 1000 followers but like the person who won at 500 never got in touch SO I’m adding a couple more things so should you win you get
- three little cute shakespeare buttons
- one large prose before bros button
- twenty small prose before bros stickers (which I encourage you to apply to the nearest bro) (I may throw in other stickers but we’ll see)
- shakespearean insult bandaids
- AND LAST BUT NOT LEAST! THE SHAKESPEARE RUBBER DUCK!!!
So just be following the blog the last day or two of August I’ll probs be insane and moving into/out of places but I will def pick a winner!!
If you win! please please please get in touch with me! I will @ mention you in the winner post and send you a message! Please reply and tell me where to send these lovely things or I will be forced to keep them all to myself!!
I’m announcing the winner September 1st!
ONE POST TO RULE THEM ALL, ONE POST TO FIND THEM, ONE POST TO BRING THEM ALL AND IN THE DARKNESS BIND THEM.
- TITUS ANDRONICUS
- ROMEO AND JULIET
- JULIUS CAESAR
- KING LEAR
- ANTONY AND CLEOPATRA
- THE COMEDY OF ERRORS
- THE TAMING OF THE SHREW
- TWO GENTLEMEN OF VERONA
- THE MERCHANT OF VENICE
- A MIDSUMMER NIGHT’S DREAM
- LOVE’S LABOR’S LOST
- AS YOU LIKE IT
- MUCH ADO ABOUT NOTHING
- TWELFTH NIGHT
- ALL’S WELL THAT ENDS WELL
- MEASURE FOR MEASURE
- THE MERRY WIVES OF WINDSOR
- KING JOHN
- RICHARD II
- HENRY IV PART I
- HENRY IV PART II
- HENRY V
- HENRY VI PART I
- HENRY VI PART II
- HENRY VI PART III
- RICHARD III
- HENRY VIII
THERE YOU GO. THAT SHOULD BE EVERY FUCKING PLAY IN THE FIRST FOLIO.
Cassius and Brutus checking their makeup in their daggers in the rehearsals for the production of Julius Caesar that I directed at my college
HERE’S THE LATEST SERIES OF THINGS. THIS IS YOUR SHAKESPEARE STARTER KIT. IF YOU PARSE THROUGH THESE A LITTLE BIT YOU’LL BE ABLE TO UNDERSTAND A LOT BETTER OR AT LEAST BULLSHIT YOUR WAY THROUGH YOUR CLASS A LOT MORE CONVINCINGLY.
- BRIEF BIO
- FOLIO VS. QUARTO
- TYPES OF PLAYS
- AUTHORSHIP AND DUBIOUSNESS
- THE LANGUAGE OF SHAKESPEARE
- HOW TO READ THIS SHIT
- HOW TO CLOSE READ THIS SHIT
- WHAT THE FUCK IS IAMBIC PENTAMETER? (BONUS CLEAN VERSION)
- HOW THE FUCK IS IT A SHAKESPEAREAN SONNET?
- VERSE VS. PROSE
- USING VERSE AND PROSE
- HOW TO: THOU/THEE/THY/THINE/YE
- HOW TO USE -ETH/-EST
IF YOU WANT MORE INFO OR NEED CLARIFICATION LEMME KNOW. ALSO TELL ME IF YOU WANT A CLEAN VERSION OF A POST OR GRAPHIC TO USE AS AN EDUCATIONAL TYPE THING. YOU CAN FIND ALL OF THESE POSTS TAGGED ‘GENERAL’ &/OR ‘HOW TO’
UPDATED TO INCLUDE SOME NICE NEW STUFF LIKE USING PROPER CONJUGATION WITH THOU AND WHEN PROSE AND VERSE HAPPEN!
GONNA CONTINUE TO BE WEIRDLY OPTIMISTIC/ EVANGELICAL ABOUT EVERYONE MAKING IT THROUGH SHAKESPEARE
Good point! You should try thegeekyblonde's condensed Shakespeares, much ado is on netflix & I have a slew of links tagged video
If I were you I’d go Twelfth Night or A Midsummer Night’s dream because comedies are usually easier to parse than tragedies. I also like recommending Titus Andronicus because it’s one of the early tragedies and it’s super violent but unintentionally hilarious at times.
I like recommending Much Ado About Nothing early on, just because it’s so damn funny.
Like romantic comedy? Check it.
Also, seeing them is a better way to start than reading them. You can always read them after— they make more sense that wwy.