Tag Archives: drama/theater

7 Supreme Works of Shakespeare

Henry IV * Hamlet * Measure for Measure * Othello * King Lear * Macbeth * Antony and Cleopatra

‘Just as there are seven wonders of the world and seven deadly sins, so there are (in my opinion) seven supreme peaks achieved by Shakespeare,’ wrote Giuseppi de Lampedusa, author of The Leopard. He also added that, ‘If I was told all the works of Shakespeare had to perish except one that I could select, I would first try to kill the monster who made the suggestion; if I failed, I would then try and kill myself: and if I could not manage even this, well then I would choose Measure for Measure,’”

Excerpted from: Rogerson, Barnaby. Rogerson’s Book of Numbers: The Culture of Numbers–from 1,001 Nights to the Seven Wonders of the World. New York: Picador, 2013.

Richard III

Here are a reading on Richard III and its accompanying vocabulary-building and comprehension worksheet that has a number of uses in both social studies and English language arts classes, I would think.

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.

Book of Answers: Aphra Behn

“Who was the first female professional author in English? Aphra Behn (1640-89), author of the play The Rover (1677) and the novel Oroonoko (1688). She wrote under the pseudonym Astrea.”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

The Algonquin Wits: Tallullah Bankhead on Maeterlinck

“Attending an unsuccessful revival of the Maeterlinck play Aglavaine and Selysette, Tallullah Bankhead commented to Aleck Woollcott, ‘There is less to this than meets the eye.’”

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

Book of Answers: What Is A Moor?

“What is a Moor? The Moors were the mixed Arab and Berber conquerors of Spain in the eighth century. In literature, the most famous member of this ethnic group is Othello, the Moor of Venice (c. 1604).”

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Ama Ata Aidoo

Ama Ata Aidoo: (1940-) Ghanaian dramatist, poet, novelist, and short-story writer. Aidoo’s career as a writer began while still an undergraduate at the University of Ghana with the 1964 performance of The Dilemma of a Ghost (pub 1965). Her work, consistently engaged with women’s issues, uses Africa’s oral traditions and styles to place these concerns in the larger context of the African struggle against colonialism, neocolonialism, and exploitation. Aidoo’s second play, Anowa (1970), is set in the late 19th, and is an adaptation of an old Ghanaian legend. In her collection of short stories, No Sweetness Here (1970), Aidoo turns her critical yet compassionate attention to the postindependence era, demonstrating her ability to as a storyteller and witty social critic. Our Sister Killjoy (1979) is an innovative novel which examines, through an interplay of prose and poetry, the maturation of a young Ghanaian woman who travels to Germany and England. Her second novel, Changes: A Love Story (1991), which won the 1992 Africa Section of the Commonwealth Writers’ Prize, recounts the trials and tribulations of the Esi Sekyi, a young educated career woman. In Aidoo’s sensitive depiction of Sekyi’s second marriage to a polygamous man, she explores the uses of Africa’s past to women and men who are attempting to create more meaningful personal and public lives. Aidoo’s other works include her two volumes of poetry, Someone Talking to Sometime (1985) and An Angry Letter in January (1991), and The Eagle and the Chicken and Other Stories (1987) and The Eagle and the Chicken and Other Stories (1987) and Birds and Other Poems (1987), both written for children. Aidoo is one of the most important African writers today.

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

Book of Answers: The Sign in Sidney Brustein’s Window

Where was The Sign in Sidney Brustein’s Window? In the 1964 play of the same name by Lorraine Hansberry, it was located in Greenwich Village, New York City.

Excerpted from: Corey, Melinda, and George Ochoa. Literature: The New York Public Library Book of Answers. New York: Simon and Schuster, 1993.

Rotten Reviews: William Shakespeare

“Shakespeare’s name, you may depend on it, stands absurdly too high and will go down. He had no invention as to stories, none whatever. He took all his plots from old novels, and threw their stories into a dramatic shape, at as little expense or thought as you or I could turn his plays back again into prose tales.”

Lord Byron, letter to James Hogg 1814

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998. 

A Trio of Rotten Reviews: George Bernard Shaw

George Bernard Shaw I, Arms and the Man

Shaw may one day write a serious and even an artistic play, if he will only repress his irreverent whimsicality, try to clothe his character conceptions in flesh and blood, and realize the difference between knowingness and knowledge.”

William Archer, World

George Bernard Shaw II, Major Barbara

“There are no human beings in Major Barbara: only animated points of view.

William Archer, World

George Bernard Shaw III, Man and Superman

“I think Shaw, on the whole, is more bounder than genius…I couldn’t get on with Man and Superman: it disgusted me.”

Bertrand Russell, letter to G.L. Dickinson

Excerpted from: Barnard, Andre, and Bill Henderson, eds. Pushcart’s Complete Rotten Reviews and Rejections. Wainscott, NY: Pushcart Press, 1998. 

Fiddler on the Roof

Fiddler on the Roof: A stage musical (1964) and film (1971), with a book by Joseph Stein, score by Jerry Bock and lyrics by Sheldon Harnick. Set in pre-revolutionary Russia, and culminating in a pogrom, it relates the story of Tevye, a Jewish father (memorably played by Topol in the film), and his disapproval of the matrimonial choices made by his daughters. The musical is based on the Yiddish short story collection Tevye and His Daughters by the Russian-born US writer Sholom Aleichem (1859-1916). The significance of the title is obscure: it may be based on the proverbial expression meaning to ‘eat, drink and be merry,’ but it may be taken generally to signify a person who cheerfully makes the best of things, whatever the circumstances.”

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