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StandardS addreSSed by attending thiS performance

fine artS/ theater content Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas.content Standard 5: Observe, discuss, analyze and make critical judgments about artistic works.LangUage artSStrand i: Reading & Listening for ComprehensionContent Standard I: Students will apply strategies and skill to comprehend information that is read, heard and viewed.Strand iii: Literature & MediaContent Standard I: Students will use literature and media to develop an understanding of people, societies and the self.

As part of our mission to integrate the arts into classroom academics, the Dreamcatchers Study guides are designed to provide helpful information to be used by teachers and students before and after they attend our performances. The activities in these guides are suggested to stimulate multi-sensory explorations of themes and concepts, so that the theatrical events are used for cross-cultural and language arts learning. Educators are encouraged to use our suggestions as springboards to lead students into meaningful, dynamic learning, thus extending the experience of the plays.

Selected Dreamcatchers materials provided by Aquila Theater Company, California Shakespeare Theater’s Teachers Guide for Taming of the Shrew and other resources noted throughout the guide.

The ShrewThe Taming of The Shrew

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Written by William ShakespearePresented by The Aquila Theatre Company

Famed for its linguistic acrobatics, The Taming of the Shrew stands as one of Shakespeare’s sharpest and funniest scripts. This one-hour minimalist version of the show tells a timeless battle-of-the-sexes story. Themes of love, money, power and transformation are explored in this play-within-a-play. Bianca, the beautiful daughter of a lord, is eligible for marriage but cannot be courted until her elder sister, Katherine (Kate), finds a husband. Kate’s quick temper and acerbic wit, however, frighten off all prospects. In desperation, two of Bianca’s suitors hire a newcomer named Petruchio to seduce and “tame” Kate. And so the games begin!Stay for our 15-minute Q & A session with the cast after the performance.

monday, march 4, 2013 10:15am onlygrades: 7 - 12Curriculum Connections: Language Arts, Fine Arts/Theater, Classical Languages

In this issue of Dreamcatchers–Introduction & Synopsis .................................. 2Key Facts .................................................................................. 2Fun Facts .................................................................................. 3Vocabulary .............................................................................. 3About William Shakespeare ......................... 3Pre-performance Activities ............................ 4 Post-performance Activities ......................... 6Outreach Activities .................................................... 8Resources & Websites............................................. 8About the Company ................................................. 9Handouts ................................................................................... 10Etiquette ...................................................................................... 12

PleASe NoTe: The staging and interpretation of any production is the artistic interpretation of the company’s director and producer. Popejoy Hall does not necessarily know what these decisions will be, but supports those made by the professional, reputable companies we book. Shakespeare’s plays, especially his comedies, include physical comedy, sexual antics and mistaken identities. He wrote for the unwashed masses that loved bawdy tales and slapstick humor. While many consider Shakespeare’s work “high brow”, he was equally “low brow.”

Introduction & Synopsis(http://www.novelguide.com/tamingoftheshrew/themeanalysis.html) The Taming of the Shrew is one of Shakespeare's most famous comedies. According to Elizabethan custom, older daughters had to marry before younger daughters could. But in Baptista’s household, his elder daughter, Katherine, is shrewish and therefore unattractive, while his younger daughter, Bianca, is lovely and sweet-tempered. Men desperate to marry Bianca dress up, switch identities, and make up elaborate stories just to have the chance to marry her because she appears to be the perfect wife material. They also plot to find someone fool enough to marry Katherine so Bianca will be free to wed.Like many of Shakespeare's comedies, The Taming of the Shrew is a love story but also an example of real life. Although one has its problems initially, the two couples do fall in love and the audience is led to assume they live happily ever after. Each relationship is very different, however. Lucentio and Bianca marry each other for the attraction and love they initially felt. Petruchio and Katherine represent the society in which Shakespeare lived where people did not marry for love but learned to love each other over time. To make their marriage “work,” Petruchio goes about taming Katherine. The methods Petruchio uses to "tame" Katherine would be considered abusive now, but provided a wealth of entertainment for Shakespeare's audiences. Like life in his time, Shakespeare's play also illustrates the importance of money to upper class families. Money is the reason Petruchio marries Katherine (though their personalities make them perfect for each other), and the reason Lucentio wins Bianca's hand from Sir Gremio. Though Gremio loves the girl, in the end it is his inability to compete with the rich Lucentio that loses him Bianca's hand.Now that you’re familiar with Shakespeare’s play, read this “60 Second STAR Review” version from the BBC: http://www.bbc.co.uk/drama/shakespeare/60secondshakespeare/themes_shrew.shtml.

Key Facts (http://www.sparknotes.com/shakespeare/shrew/facts.html)

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"Katharine" from Park's Shakspearean

Characters. Hand-colored print, ca. 1830. Courtesy of www.folger.edu/

James Dromgole Linton. Taming of the Shrew. Katherine and Petruchio. Watercolor, late 19th century. Courtesy of www.folger.edu/

full title  · The Taming of the Shrew author  · William Shakespearetype of work  · Playgenre  · Romantic comedyLanguage  · Englishtime and place written  · around 1592, Londondate of first publication  · 1623

tone  · the overall tone of the play is light and comic, though the exploration of larger social questions, such as the proper relation of the sexes in marriage, lends much of the comedy a more serious tone.Settings (time)  · unspecific, though presumably sometime during the Italian RenaissanceSettings (place)  · Padua, a city-state in Italy prominent during the Renaissanceprotagonist  · there is no single protagonist; Katherine and Petruchio are the main characters.major conflict  · Petruchio’s attempt to “tame” Katherine; that is, to assert his authority in their marriage and overcome her resistance to playing the role ascribed to her by society as some man’s wiferising action  · Petruchio and Katherine’s early verbal conflicts; Kather-ine’s many scenes of shrewish behavior, including her attack on Bianca;

the various disguises and subterfuges of the subplot; Katherine and Petruchio’s comical wedding; the methods Petru-chio employs to subjugate Katherineclimax  · there is no single moment of intense action in the play, but rather a long process of development culmi-nating in Katherine’s fully changed behavior. It might be possible to see a climax in the wedding scene in Act III, or in Katherine’s decision in Act IV to submit to Petruchio when he says the sun is really the moon, or her agreement to throw shame to the winds and kiss him in the middle of the street in Act IV.falling action  · the banquet at Lucentio’s house in Act V, scene iiThemes  · marriage as an economic institution; the effect of social roles on individual happinessmotifs  · disguise; domestication; fathers and their childrenSymbols  · Petruchio’s wedding costume; the haberdasher’s cap and tailor’s gown; the lute Lucentio playsforeshadowing  · Petruchio’s declaration to Katherine in Act II that he is the man to tame her

Fun Facts – Shakespearean Theatre Fun Facts – Shakespearean Theatre

Vocabulary (http://www.william-shakespeare.info/william-shakespeare-dictionary.htm)The language used in the works of the Bard is rich and colorful, but many of his words are no longer in current use and the original meanings of some Elizabethan words are totally unfamiliar. To the modern ear, William Shakespeare sometimes seems to have invented a language of its own. Indeed, he did in fact invent many of the words that he used. Inventing new words for the English language seems to have been a definite objective for Shakespeare!

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About William ShakespeareShakespeare is considered one of the greatest writers of all-time and the greatest of all English dramatists. Scholars and readers alike have marveled that one man could have such a comprehensive understand-ing of the human psyche. He understood lovers, tyrants, kings and queens, servants, clowns, the lucky, the jealous and the powerful. He wrote 38 plays, including tragedies, comedies, romances and histories in addition to 151 sonnets and other poetry. He created a pantheon of unforgettable, timeless and complex characters.Shakespeare set his plays all over the world. Yet, it appears that he never traveled out of his native England nor had a terribly eventful life. He culled and conjured his characters, plots and settings in part from books and his great fund of general information, but most of all from his inspired imagination.Often genius goes hand in hand with a colorful, and sometimes tortured life. However, it appears from the few remaining relevant documents that this giant among dramatists lived a rather prosaic, undramatic life. Shakespeare did not possess a vivid personality: his friends found him genteel, even self-effacing. He was also extremely practical, a sober man of business. Perhaps his genius had not had time to waste in the real world, so William Shakespeare put all his passion and drama into his work, both as an actor and a playwright. The Romantic poet and critic, Samuel Coleridge called him “myriad-minded.” He had a gift of insight unsurpassed and the ability to get inside the hearts and minds of all manner of men and women.

Although Shakespeare’s plays were performed at several venues, the Globe Theatre in London was where his best-known stage works were produced.

The original Theatre stood until June 29, 1613, when its thatched roof was set ablaze by a cannon fired in a performance of Henry VIII and the theatre burned to the ground.

The Globe was reconstructed in 1614, with tiles replacing flammable straw on its partial roof.

We know the names of 26 “Principal Actors”of Shakespeare’s company at the Globe.

Prior to the Globe’s opening in 1599, Will Kemp was the leading comic actor of the Chamberlain’s Men, Shakespeare’s first company.

Shakespeare’s name also appears on cast lists, although there is no indication of the roles he played. Tradition ascribes him two parts: the Ghost of Hamlet’s Father and Adam, the loyal, aged servant in As You Like It.

The Globe had a capacity of between 2,000 and 3,000 spectators. Rich and poor alike rubbed elbows in this “microcosm or little world of man”.

Most performances happened during the day because there was no artificial lighting.

There was no background scenery, although costumes and props were utilized.

There were no curtains and no stagehands besides the actors themselves. The theatre was surrounded by a pit, where “one-penny” spectators stood,

and a gallery with seating for the “two-penny” goers. Adjacent to the theatre was a “tiring” house where costume changes were made. In 1642, a quarter-century after Shakespeare’s death, a new, Puritanical and

decidedly anti-theater regime assumed power in England and closed down all the country’s theaters. Two years later, the site was leveled to make room for tenement housing.

Affect – to love

Assay – to attempt, test, make proof of

Cheek by jowl – side by side

Con – to memorize or learn by heart

A sear expense – worth the trouble

Favors – tokens of love

Give me your hands – applaud!

Gleek – to jest or scoff

Mistempered – angry

Misthink – to think ill of

Moused – torn or bitten

Quip – sharp jest, a taunt

Quench – to grow cool

Rash – quick or violent

Render – account

Rood – the crucifix

Spotted – morally deficient or sinful

Tear a cat – rant or rave

Waggish – playful or mischievous

Wanting – lacking

photos courtesy of www.folger.edu/

1564 Born in Stratford-upon-Avon, England, the eldest son of John and Mary Arden Shakespeare.

1578 Completes seven years of education at local grammar school.

1582 Marries Anne Hathaway.

1583 Daughter Susanna born.

1585 Twins Hamnet and Judith are born.

1592 Moves to London.Writes HenryVI – Part I, his first play.

1595 The Lord Chamberlain’s Men, his acting company, has great artistic and financial success.

1596 Hamnet dies at age 11.

1597 Buys New Place, the grandest house in Stratford.

1599 The open-air Globe Theater, the home of many of Shakespeare’s plays, opens in London.

1600 As You Like It is written.

1603 Queen Elizabeth I dies. King James I is crowned. The Chamberlain’s Men becomes The King’s Men, playing about 12 perform- ances each year at court.

1609 The King’s Men begin performing indoors at Blackfriars Theater.

1610 Retires and moves to Stratford.

1613 Henry VIII, his final play, is written.

1616 Dies in Stratford.

A Shakespeare Timeline

pre-performance activities

I Am A Pirate With A Wooden Leg (Stomping Iambic Pentameter)(http://www.folger.edu/eduLesplandtl.cfm?lpid=692)grades: 7 – 12

Objectives:� Students will learn the basics of iambic pentameter by studying the rhythm of blank verse orally, aurally, visually, and kinesthetically. Materials: q Lines from Taming of the Shrew (see procedure #5 for suggestions)

Procedures: 1. Review the idea of meter as a pattern in verse. Define an “iamb” as being a meter with two syllables; one that is not stressed followed by one that is stressed. Introduce the term "iambic pentameter." Allow students to guess the definition of iambic pentameter based on their knowledge of the meanings of meter, iambic, and “penta”. They should conclude that iambic pentameter is a 5 beat poetic line, where each unit contains a pattern of a weak syllable followed by a strong syllable. 2. An excellent way to demonstrate the syllable pattern in iambic pentameter is to have students repeat the phrase “I am” five times, with the emphasis on the "am" syllable. Explain that this is one way to remember the iambic rhythm. “i AM, i AM, i AM, i AM, i AM” 3. Have students practice saying some sentences that begin with “I AM” in a weak-STRONG pattern: “I AM a GREAT studENT; I AM goING to HAVE a GREAT MonDAY.” 4. To really feel the iambic rhythm, get students up on their feet. Write the phrase “I am a pirate with a wooden leg” on the board. Tell students to say the line using the iambic rhythm, dragging their wooden legs on the unstressed syllables and stepping strongly on the stressed syllables. “I AM a PIrate WITH a WOODen LEG”. 5. Have students read some lines from The Taming of the Shrew, exaggerating the iambic rhythm as they read. Example: “That have by marriage made thy daughter mine While counterfeit supposes bleared thine eyne” “We will have rings and things, and fine array; And kiss me, Kate; we will be married a Sunday.” 6. Finally, have students write their own iambic pentameter lines in pairs, as a conversation. Example: “I’m hungry. Is it almost time for lunch? “Not yet- the soup is heating on the stove.” Have the pairs perform their conversations. 7. Reflect on the experience of writing dialogue using this form of verse.

Extensions / Modifications: È Write your own dramatic scene using iambic penta- meter. rehearse it in class for a small performance. practice stressing the syllables correctly without making the dialogue sound overly exaggerated.

Assessment: Q Students use correct emphasis and meter when speaking in iambic pentameter. Q Students write proper lines of blank verse using iambic pentameter. Q Quality of participation

StandardS

LangUage artS:Strand i: Reading & Listening for Comprehensioncontent Standard i: Students will apply strategies and skill to comprehend information that is read, heard and viewed.Strand ii: Writing and Speaking for Expression content Standard ii: Students will communicate effectively through speaking and writing.Strand iii: Literature & Mediacontent Standard i: Students will use literature and media to develop an understanding of people, societies and the self.fine artS/ theater:content Standard 1: Learn and develop the essential skills and meet technical demands unique to dance, music, theatre/drama and visual arts.content Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas.

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Newes from sea, of two notorious pyrats Ward the Englishman, and Danseker the Dutchman. London, 1609 (Detail). Courtesy of www.folger.edu/

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StandardS

LangUage artS:Strand i: Reading & Listening for ComprehensionContent Standard I: Students will apply strategies and skill to comprehend information that is read, heard and viewed.Strand ii: Writing and Speaking for Expression content Standard ii: Students will communicate effectively through speaking and writing.Strand iii: Literature & Mediacontent Standard i: Students will use literature and media to develop an understanding of people, societies and the self.fine artS/ theater:content Standard 1: Learn and develop the essential skills and meet technical demands unique to dance, music, theatre/drama and visual arts.content Standard 2: Use dance, music, theatre/drama and visual arts to express ideas.content Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas.

Shakespearean Insults(https://www.theatrefolk.com/free_resources )grades: 7 – 12

Objectives:� Students will create original insults using Shakespearean terminology.� Students will insert insults into a string of dialogue for comedic effect.

Materials: q Shakespearean insult handout (page 11) q Shakespearean dictionary (optional) q pen and paper

Procedures: 1. Distribute the Shakespearean Insult Handout to the students. Give them a few minutes to look the sheet over. 2. Explain that many of Shakespeare’s plays contain characters that exchange insults with each other and that Shakespeare was quite good at coming up with creative and expressive insults. Explain to the class that they will be using the handout to create their own Shakespearean insults to flesh out a simple scene. 3. Write the following scene up on the board:

4. Instruct students to create insults by picking one word each from columns A, B, and C. For example: taking the first word in each column gives you the insult: “artless base-court apple-john.” 5. Working in pairs, have students insert their insults into the scene written on the board. You may decide to have students use Shakespearean dictionaries to look up any words they do not know the meaning of, so that they know exactly what they are saying. The result may look something like this:

6. Encourage students to pepper the scene with as many insults as they see fit. Have students share their scenes with the rest of the class.

Extensions / Modifications: È create your own insult list using modern terms. Keep it clean and be creative. See how many combinations of insults you can come up with that a modern audience would find comical.

Assessment: Quality of participation

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A: Hey! B: Hello there. A: Let me by, I have to cross this bridge. B: You can’t. A: Why not?

B: Because. A: Cause why? B: Cause there’s a bear on the other side. A: Why didn’t you say so?

A: Hey thou gorbellied, motley-minded hugger-mugger! B: Hello there, thou yeasty, clapper-clawed strumpet. A: Let me by, thou frothy dizzy-eyed maggot pie. I have to cross this bridge. B: You can’t.

A: Why not? B: Because, thou surly guts gripping harpy. A: Cause why, thou dankish sheep biting pignut? B: Cause there’s a bear on the other side. A: Why didn’t you say so, thou mewling swagbellied footlicker?

Edward Topsell. The Historie of Foure-Footed Beastes. London, 1607. Courtesy of www.folger.edu/

“Breathe Merriman — the poor cur is embossed” “Let the dog, Merriman, breathe. The poor dog

is foaming at the mouth from exhaustion.”

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StandardS

LangUage artS:Strand i: Reading & Listening for ComprehensionContent Standard I: Students will apply strategies and skill to comprehend information that is read, heard and viewed.Strand ii: Writing and Speaking for Expression content Standard ii: Students will communicate effectively through speaking and writing.Strand iii: Literature & Mediacontent Standard i: Students will use literature and media to develop an understanding of people, societies and the self.

post-performance activities

Shakesbook: A Social Networking Character Study(Lesson - http://www.scribd.com/calshakes Handout - https://sites.google.com/a/sbsdk12.org/ms-carson-at-sbhs/read180-flex-2/announcements-for-read180-flex-2/thursdaymarch22) grades: 7 – 12

Objectives:� Students will be able to use basic facts from the text of Taming of the Shrew to imaginatively enter into the thoughts, feelings, and motivations of fictional characters by creating a mock facebook page.

Materials: q a copy of Taming of the Shrew for reference q Shakesbook profile handout (page 10) q magazines (optional)

Procedures: 1. Ask students how many of them have Facebook pages. Ask them to identify the types of information that they post about themselves on social networking sites, such as Facebook. 2. Distribute the Shakesbook Profile Handout. 3. Instruct students to choose a character from the play. Students will fill in the profile with information that is consistent with what they know about their chosen character. You can even fill in what you think other characters would post on this character’s wall. Students should use information drawn from their knowledge of the play (Example: Petruchio seems to like to mess with people), filled out by their imaginations (Example: when Petruchio was a teenager he was always in trouble for playing practical jokes on the teacher). 4. Profile photos may be drawn or cut out from magazines. Remember, many actual Facebook profile pages do not have an actual photo of the person who made them— Facebook members sometimes choose a picture of something they feel represents them, e.g., a tree or a poster they like. 5. Share the pages you have created in student pairs or in a group discussion.

Extensions / Modifications: È another popular social networking site is twitter. have students create twitter handles for some of the characters and ask them to create a list of tweets that their character would post throughout the play.

Assessment: Qprofiles accurately represent characters from the play. QQuality of participation

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Far Right: James Boaden, An Inquiry into the Authenticity of Various

Pictures and Prints of Shakespeare, 1824. Courtesy of www.folger.edu/

Reset and Recast(adapted from http://www.scribd.com/calshakes) grades: 7 – 12

Objectives:� Students will use clues from the text to relate Shakespeare’s characters to currently popular fictional characters, celebrities, and other famous people.� Students will consider how the time, place, and location of a scene change the meaning of character and relationship.

Materials: none

Procedures: 1. Review the plot of The Taming of the Shrew. Tell students that they will put themselves in the role of a director, coming up with a new cast and setting for the play. 2. Ask students to think of a concept for the play. Point out that this play has been performed in a variety of styles and locations, based on the concept of the director. Some examples of recent concepts for Taming of the Shrew include:

Discuss as a class how they imagine these productions may have been staged. How would the story fit into these alternate settings? 3. Ask students to cast the main characters from the play with figures from pop culture. Examples can include current actors and actresses, pop stars, politicians, characters from other movies, etc. Have students list their casting choices as well as a brief description of why they have chosen to cast that figure. Encourage them to think about their casting as it relates to their own artistic interpretation of the story. 4. Next, have your students pick a scene from the play and place it in a different time, place, and context. 5. Ask them to think about how this changes and affects the characters, text, and scene. For example: a. What would Katherine and Petruchio say to each other in marriage counseling? b. How might Katherine’s character change if the play was set during the women’s suffrage movement? In contrast, how would this affect Bianca’s character? c. Do the play’s themes change drastically if the action is moved to another country with a completely different social context, e.g., feudal Japan or post-World War II France? Why or why not? 6. Ask students to present their concepts to the class, explaining their casting and setting choices. Have the class comment on what they think of the concept.

Extensions / Modifications: È collaborate with your students’ history teacher to set the play in the specific time period they are studying. Stage one or two scenes in that time period using specific and accurate details about the concerns and/or behaviors of that time. remember that limitations or advancements in communication technology, especially, might connect the students to how the characters’ various relationships manifest themselves through language.

Assessment: QStudents casting decisions and placement of the scene demonstrate a clear concept. QStudent demonstrates understanding of the play by defending their concept.

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StandardS

LangUage artS:Strand i: Reading & Listening for ComprehensionContent Standard I: Students will apply strategies and skill to comprehend information that is read, heard and viewed.Strand ii: Writing and Speaking for Expression content Standard ii: Students will communicate effectively through speaking and writing.Strand iii: Literature & Mediacontent Standard i: Students will use literature and media to develop an understanding of people, societies and the self.fine artS/ theater:content Standard 1: Learn and develop the essential skills and meet technical demands unique to dance, music, theatre/drama and visual arts.content Standard 2: Use dance, music, theatre/drama and visual arts to express ideas.content Standard 3: Integrate understanding of visual and performing arts by seeking connections and parallels among arts disciplines, as well as other content areas.content Standard 5: Observe, discuss, analyze and make critical judgments about artistic works.

•Modern-dayLasVegas–ShakespeareontheGreen,NE •Modern-dayLondon–BBC(2005,Kateisapolitician) and Theatre Pro Rata •1930sHollywood–CincinnatiShakespeare

•TheWildWest–UtahShakespeareFestival •Pirates!–MarinShakespeare •MadMen1960s–TheatreBytheBay •Bollywood–FrancisMarionUniversity

Oregon Shakespeare Festival Courtesy of www.folger.edu/

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outreach activitiesWill power Shakespeare festivalEach summer, the Vortex Theater here in Albuquerque produces three different William Shakespeare plays in a festival they call “Will Power”. The Vortex always needs, actors, volunteers and audience members, so check them out during the summertime!http://vortexabq.org/

blackout Theater is a small and immensely creative Albuquerque-based theater troupe. Not only do they offer fresh and exciting theater, but also opportunities for classes and education! Learn from some of the funniest and most talented people in Albuquerque!http://www.blackouttheatre.com/

albuquerque is one of the most prolific cities in the country in terms of theater! More theatrical performances take place every weekend here in Albuquerque than in any other U.S. city of its size. There is no shortage of opportunities to view or take part in theater, so keep involved! http://www.abqtheatre.org/index.php

resources & websites good for information about words invented by ShakespeareBryson, Bill. Shakespeare The World as Stage. Harper Collins: New York, NY, 2007.

tips on teaching ShakespeareDavis, James E. and Ronald E. Salomone, eds. Teaching Shakespeare Today: Practical Approaches and Productive Strategies. National Council of Teachers of English: Illinois, 1993.

more on teaching ShakespeareFoster, Cass and Lynn G. Johnson. Shakespeare: To teach or not to teach. Five Star Publications: Arizona, 1994.

a biography of ShakespeareGurr, Andrew. William Shakespeare: The Extraordinary Life of the Most Successful Writer of All Time. Harper Perennial: New York, 1995.

background on Shakespeare’s worldPincess, Gerald M. and Roger Lockyer, eds. Shakespeare’s World: Background Readings in the English Renaissance. A Frederick Ungar Book: New York, 1990.

film: William Shakespeare's The Taming of the Shrew. Dir. Franco Zeffirelli. Perf. Lizabeth Taylor, Richard Burton. Columbia Pictures, 1967.

Taming of the Shrew. Perf. Aye Birk, Marc Singer. Broadway Theatre Archive, 1976. DVD.

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The Ashbourne portrait of Shakespeare / Sir Hugh Hamersley. Oil on canvas, 1612 with 19th-century alterations.

Courtesy of www.folger.edu/

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WebsitesAdditional information on Aquila Theatre Companywww.aquilatheatre.com

TheFolgerShakespeareLibrary–history,plays,lessonshttp://www.folger.edu

Fun with Shakespearian Insults Onlineinsults–http://www.petelevin.com/shakespeare.htmPrintablelist–http://housebarra.com/pasttimes/articles/insult.html

AbasiclistofvocabularyusedbyShakespeare–goodto familiarize students with the language of the Bard http://www.utenti.lycos.it/rocco_pollina/Shakes.htm

Sayings and familiar quotes from Shakespeare’s playswww.worsleyschool.net/socialarts/shakespeare/sayings.html

GettingtoknowShakespeare–hisplaysweremeanttobeperformed,not just read www.letticebell.com/Shakespeare

Various online resources and links about Shakespeare and his workwww.bardweb.net

Additional information about Shakespeare and his workwww.shakespeare-online.com

National Geographic article on Shakespeare and his languagehttp://news.nationalgeographic.com/news/2004/04/0419_040419_shakespeare.html

Quotes from Shakespearehttp://www.william-shakespeare.info/william-shakespeare-quotes.htm

Good for information about words “invented” by Shakespeare.http://www.dummies.com/Wileycda/dummiesarticle/appreciating-Shakespeare-s-influential-Language.id-1149,subcat-LangUage.html

Feminist Themes in and Critiques of Shakespeare’s Taming of the Shrewhttp://www2.cedarcrest.edu/academic/eng/lfletcher/shrew/efurstnau.htm

About the Company

The Aquila Theatre Company has a very particular mission to make classical theatre accessible and relevant to everyone. Peter Meineck manages to modernize plays while keeping true to the spirit of the original text. Encounters with works of art can change people, causing them to view the artwork and the world in a new way. In addition, artworks do not immediately reveal all that is there to be seen. Perception of artworks canbecomparedtopeelingthelayersofanonion–theycanbeseenonmanylevelsand from many perspectives.

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2005©Lois Greenfield

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�POPEJOY SCHOOLTIME SERIES PRESENTS -The Taming of The Shrew 11.

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Shakespearean Insults

adult Supervision

required

Each touring production is selected with youth and family audiences in mind, from titles and materials that reflect the cultural diversity of our global community. They include new plays, familiar stories, literary works, biographies, mythology, folk tales, music, dance, and puppetry. These professional performing artists create educational experiences designed to encourage literacy, creativity, communication and imagination.With such a vast audience to serve, our productions are designed to target different grade ranges. please review these materials to make sure the grade recommendations and content are appropriate for your group.

Music, theater, dance, and opera are collaborative arts. This means they require the cooperation of many people: the directors, the performers, and the audience. Live performances can transport you to other times and places, but to do so, they require you, the audience to listen, observe, discover, and imagine.

A poster of Theater Etiquette is included on the website. Please post it and discuss it with your students before coming to the performance.

Seeing a live performance is a special experience. Although it is not required, many people enjoy dressing up when they attend the theater.

Gentlemen should remove hats or caps when inside the building. Please enjoy your food, drink, and gum in the lobby. Please allow ushers to seat your entire group before rearranging students

and/or taking groups to the restroom. Photography and recordings of the shows, as well as cell phones, texting,

or gaming are all strictly prohibited during the performances. Crying babies, unhappy siblings, and other loud noises disturb the actors and

the other patrons. Please be considerate and leave the hall during these periods. You may still enjoy the show in the lobby via our large screen monitors.

Some shows are interactive, and involve audience participation; some are not. Discuss with your class how to know the difference, as well as what is appropriate conduct in a theater, versus at a sports arena or outdoor concert.

During a musical, it is appropriate to clap at the end of a song. During a ballet or dance performance, it is appropriate to clap at the end of the number.

Curtain calls occur when the show has ended and the cast comes forward to take their bows. The best way to show the performers how much you appreciate their hard work is to stay at your seats and clap until the actors leave the stage, or until the curtain comes down and the house lights come on.

At the end of the show, after the applause, remain in your seats until you are dismissed from the theater.

If you are staying for the Question & Answer session, remain in your seats until the house clears and then move down front toward the stage.

SAFETY For the safety of our younger visitors, UNM requests clearly visible school identifiersonallstudentsPreK–2ndgrade.Ex.:matchingt-shirtsorhats, school/teacher tags, etc.Teachers and students should immediately report to the kiosk (round desk) in the main lobby if they become separated from their group.Restrooms are open to the public. Please escort students.Backpacks, strollers, car seats, and lunches must remain in the lobby, as per fire code. If possible, we recommend that these items are not brought into the building. We cannot monitor ownership, and UNM is not responsible for any misplaced or stolen items.

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“Marriage, in my view, should be a balanced stalemate between equal adversaries.”- Elizabeth Peters, The Mummy CaseDreamcatchers are produced by the Education Department of Popejoy Hall, Albuquerque, New Mexico. Find us at: www.schooltimeseries.comContact: pjoyedu@unm.eduJoin our community at: www.facebook.com/schooltimeseriesPopejoy Hall, New Mexico’s premier nonprofit venue for the performing arts and entertainment.

The Popejoy Schooltime Series is a program of The Univeristy of New Mexico.

The Popejoy Mission: To provide access to the performing arts for all New Mexicans.

2011 VINTAGE ALBUQUERQUE

the popejoy Schooltime Series is supported in part by awards from -

The Eugene and Marion Castiglia Popejoy Children’s Schooltime EndowmentThe Popejoy Schooltime Education Endowment