Tag Archives: drama/theater

Harlem Renaissance

“Harlem Renaissance: With the largest concentration of African-American, West Indian, and African populations in the U.S., Harlem had become the ‘Negro Capital’ (as it was then called) of America by the early 20th century. After World War I, the flourishing intellectual, artistic, musical and political scene focused on historical recollection and redefinition of the African-American experience. Among the best-known artists are Aaron Douglas, William Johnson, and Jacob Lawrence.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Aeschylus

OK, last but not least this morning, here is a reading on Aeschylus and its accompanying vocabulary-building and comprehension worksheet for all the budding classicists out there.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Cultural Literacy: All’s Fair in Love and War

OK, last but not least this morning, here is a Cultural Literacy worksheet on the idiom “All’s Fair in Love and War.” It’s a nice abstract expression that students, if you want to augment, could work to reify in a few sentences.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Kismet

“Kismet: A musical play (1953) based on a play (1911) by Edward Knoblock about a poet turned beggar who has a series of adventures reminiscent of The Arabian Knights. The music of Alexander Borodin was arranged by Robert Wright and George Forrest. The title comes from the Turkish qismet (‘portion’ or ‘lot’) and is now commonly understood to mean ‘fate.’ Kismet is sometimes advanced as a more becoming alternative to ‘Kiss me” in Horatio Nelson’s putative last words, ‘Kiss me, Hardy.’”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Bunraku

“Bunraku: Japanese puppet theater. Developed during the Tokugawa period, the most important bunraku plays were written by Chikamitsu Monzaemon. The dolls, about three feet in size, are remarkably lifelike; they are operated by their puppet masters who sit on stage and move about with their puppets. The musical narrative (joruri) is chanted by a reciter (gidayu) to the accompaniment of instruments. Many of the same plays have been adapted to kabuki drama.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

Review Essay: A Lesson Plan on Ghoti and Its Others

The amount of research on reading is voluminous. Even after reading what I consider and exhaustive (and occasionally exhausting) amount of this material across a period of 15 years, I still barely scratched the surface of this body of literature. At the classroom level, however, teaching practice demands keen attention to two things: decoding–i.e. recognizing the correspondence between letters and their sounds, known as phonemic awareness, and comprehension–i.e. understanding the meanings of words and applying that understanding, in synthesis, to the entire body of a text to understand it.

English is a tough language to decode. One person who recognized this and wanted to do something about it was the Irish playwright and Nobel Laureate George Bernard Shaw. Shaw was sufficiently concerned about the odd vagaries of English spelling that he actually bequeathed money in his estate for spelling reform. Indeed, there is a form of orthography known as the Shavian Alphabet (Aside: Shavian is both an adjective and a noun meaning, basically, related to George Bernard Shaw and his writings.)

In any case, one of the well-known representations of the challenges of English phonics, often erroneously (it first appeared, apparently, in a letter from Charles Ollier to Leigh Hunt) attributed to Shaw, is the word ghoti. It is possible, using English phonics, to pronounce this word as fish: take the gh from tough (i.e. f), the o from the plural women (i.e. short i), and the ti from action (i.e. sh).

Over the years, when I had a few minutes left in a class period, generally at the beginning of the school year, I would trot this out for the struggling readers and English language learners I served. After explaining–in summary of course–much of the foregoing in this essay, I would point out to students that if they struggled with English phonics and their representation in orthography, they were in very good company: George Bernard Shaw, Nobel prizewinning author whose plays are still routinely performed today.

This year, I finally wrote out this lesson plan on ghoti for use in a full class period. Here is the accompanying worksheet and the teacher’s copy of same. I added a few words, which I grabbed somewhere along the line. Now it’s yours if you can use it.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

The Algonquin Wits: George S. Kaufman Addresses a Critic

Kaufman was seldom open to outside suggestions concerning his work, especially from persons he didn’t know. One self-appointed critic, on being snubbed by G.S.K. remarked, ‘Perhaps you don’t know who I am?’

‘That’s only part of it,’ said Kaufman.’”

Excerpted from: Drennan, Robert E., ed. The Algonquin Wits. New York: Kensington, 1985.

Kyoka

“Kyoka (Izumi Kyoka, 1873-1939) Japanese fiction writer and playwright, known for his many tales of the bizarre, grotesque, and supernatural. One of the most distinctive Japanese stylists, Kyoka rejected the modernist trends of Meiji literary movements such as shizenshugi, which promoted a tedious confessionalism, and sought inspiration in traditional motifs and sources. His work thus recalls the nativism of Ueda Akinari and foreshadows the neotraditionalist writing of Tanizaki Jun’ichiro. The unorthodox quality of Kyoka’s writing has also been seen as symptomatic of a well-documented psychopathology, including  mother fixation and assorted obsessive-compulsive disorders.

One of Japan’s greatest authors, Kyoka has been little translated—in part owing to his notoriously difficult, labyrinthine prose style. Translations include the short stories Koya hijiri (1900; tr The Saint of Mount Koya, 1956) and Sannin mekura no hanashi (1912; tr A Tale of Three Who Were Blind, 1956). Kyoka was also a playwright, and many of his works were performed for the popular Shimpa stage.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

A Man for All Seasons by Robert Bolt

A Man for All Seasons: A play (1960), later a film (1967), by Robert Bolt (1924-95) about the Tudor statesmen Sir Thomas More and his opposition to Henry VIII’s divorce from Catherine of Aragon. The title was derived by Bolt from a description of More by his contemporary Robert Whittington (c. 1480 – c. 1530), who wrote:

 ‘More is a man of angel’s wit and singular learning; I know not his fellow. For where is the man of that gentleness, lowliness and affability? And as time requireth, a man of marvelous mirth and pastimes; and sometimes of as sad a gravity: as how say: a man for all seasons.’

Vulgaria (1521)

 Whittington in turn borrowed the tag from Erasmus, a friend of More’s, who had described More in his preface to In Praise of Folly (1509) with the words omnium horarum hominem (‘a man for all hours’).”

Excerpted from: Crofton, Ian, ed. Brewer’s Curious Titles. London: Cassell, 2002.

Cultural Literacy: Shylock and The Merchant of Venice

Here is a Cultural Literacy worksheet on the Shakespearean character Shylock, from The Merchant of Venice. This is a Shakespearean character, like many, who has been the subject of a great deal of critical inquiry and discourse.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.