Perhaps you’ve heard of a brand new magazine called ShakespeareScene. If you haven’t, their website describes the periodical as, “The twice yearly publication aims to provide a stimulating mix of topics on Shakespeare, his work and times, together with a comprehensive international listing of what, where & when plays & events are being held. Shakespeare Scene takes you exclusively to the heart of Shakespeare.”

There are a few Shakespeare journals published aimed at scholars and advanced students. There are other bulletins published for various other Shakespeare related organizations. This magazine seems to have been created to fill whatever demand there is for a magazine about Shakespeare performances, media, discoveries, etc. available to any Shakespeare-enthusiast. I happen to be subscribed to all the types of publications I mentioned above, including ShakespeareScene. I thought that one more couldn’t hurt. My curiosity was piqued when I first read about this new magazine.

The first issue recently found its way into my mailbox and subsequently into my hands. Any brand new resource starts on rocky ground as far as getting a subscriber base and generating enough interest to keep up production. And as much as I hate to say it, Shakespeare isn’t the most popular subject out there.

I’ve almost finished reading this issue. There are some interesting articles on various subjects: Shakespeare taught in Brazil, Examining Henry V and justifying war, as well resources on Shakespeare performances… they include a list of theatres showing Shakespeare all over the world! There’s also a fair share of not so interesting (in my humble opinion) sections. There are mistakes in the printing here and there, the layout needs some work, and I do like a magazine with lots of pictures. The magazine has its share of faults, but it’s a first issue! It could be the start of something really good. If the team of ShakespeareScene is reading this: keep it up! You’ve got a good thing going.

And if you are considering subscribing, it couldn’t hurt to try it for a couple issues right? For the casual Shakespearean fan, you can pick and choose from what’s online if you don’t want to spend the money OR you can forget the internet and have the info mailed right to you. If you’re a die-hard Bardolater like me, check it out. You might find something you like.

It is not very uncommon here in the USA for people without much experience with Shakespeare, when asked to speak his text, will attempt to do so with an English Accent. Usually a bad one, by that’s a different story for another blog (if I feel so inclined to start a new blog about my experience as a dialect coach… which isn’t likely).

What is it about Shakespeare that warrants so many – both young and old – to attempt to do away with their normal pronunciation and adopt another for reading this author? Simple. Shakespeare was British. Okay, maybe not so simple.

The fact is that most Americans hear Shakespeare’s words spoken by our friends across the pond. I have previously mentioned this problem but I feel that I should bring it up again a little differently. If you didnt know before reading this post… now you know not to speak Shakespeare in an English dialect just because you think it sounds more correct. If you’re Amerian.

But wait! Many of the plays – all of the histories – mainly take place in England! That’s really up to the director to decide. Maybe they’re not even setting their production in England. Let’s move on.

So how are Shakespeare’s words to be given life? What accent is best? There’s no real answer to that question. It is disputed by scholars, actors, directors, and especially teachers. Some say whatever dialect the actor has. Some want the region-neutral General American dialect. Other prefer an older, upper-class, east coast pronunciation… which sounds rather British. Before starting rehearsals as an actor, be sure to ask the director what he/she expects of you in this area. A range of accents can sound bad to an audience in certain situations.

Any range of accents can work, depending on where the director sets the production. It should match, if at all possible. Before I end this post I feel that I should mention that this isn’t just an American issue. In the UK it was required for some time for actors to only use Standard British/Recieved Pronunciation. As an auditor to one of the History plays, I enjoy hearing the corresponding modern accent of the historical figure, based on where he is from. I learned of a recent production of Richard III whose title character, who is from the house of York, spoke with a Yorkshire accent. Cool!

Shakespeare is not my dog’s name. I don’t even own a dog.

What I mean to say is that I spend a lot of time reading, reading about, memorizing, writing about, speaking, and speaking about Shakespeare instead of doing other things! I like to think of it as a full time hobby, although it is sometimes my work. Unfortunately that hobby seems to be eating up more and more of my time. I’m becoming a Bardaholic! I no longer talk Shakespeare exclusively at parties, mealtime, or among friends. Sometimes I’ll be alone at home and working on some Shakespeare. It’s even getting in the way of my other activities! Help!

It’s not a huge problem actually, I enjoy it. But I would rather read a scholarly journal about Shakespeare than write a scholarly essay on Neoclassic drama for something else. Who wouldn’t? Who else spends too much time with Shakespeare? If you read this blog regularly you’re probably among the ranks of B.A., Bardaholics Anonymous.

Shakespeare’s plays have been edited, re-edited, and re-published countless times over the past few centuries. The number of different editions available for purchase in your local bookstore is frightening to some. Many customers aren’t sure which to buy. I worked in a bookstore once upon a time. Clueless customers aren’t always fun.

I’m not going to be a salesman today and tell you which edition I would purchase. You, if you choose, will tell me. Sort of.

I’ve been paying extra attention to footnotes, introductions, and appendices in editions of Shakespeare’s plays lately. I’ve been hearing and reading what an editor of a text actually DOES. It fascinates me. The editor must choose what they feel is the best spelling/punctuation/definition for this passage. Are they creating what they feel is most “authentic,” “understandable,” or “performable”?

As one who works in theatre, my bias is towards what can be performed. If I were to direct a show I would be creating my own edit of the text, to some extent… but not as pedantic as published editions. Maybe someday I’ll do my own full scholarly edit of a text. Maybe when I have a whole year with nothing else to do. In other words: not anytime soon.

But now I turn my attention toward you, gentle reader. What do you prefer to have in an edition of a play if you were to purchase one? Do you want summaries before each scene? A bio of Shakespeare at the beginning? Commentary on the differences between the Folio and Quarto editions? Do you want a copious cornucopia of footnotes? Definitions? Paraphrases? And what would you use this version for? Study in classroom? Performance? Reading for pleasure? Do you have different requirements for an edition for each of the aforementioned purposes? Maybe you wouldnt buy one at all, but instead download a freely available text from the internet?

If you have a favorite edition or two, tell me! And why? There’s a lot of Shakespeare out there, and a lot of Shakespeare fans out there who all want and need something different. I’ll share with you my preferences and processes of working with the text in an upcoming post. But what do YOU need in your book?

On Friday I was lucky enough to witness several students (seniors in college) do an end-of-the-year performance called The Shakespeare Projects. Each student did a 10 minute solo piece. They chose a character and used lines spoken by that character to tell a story. There were sets, costumes, and props were all present. I saw some very creative things ranging from a man whose life and family have been altered by the war in Iraq with lines from Titus to Romeo living his story and the other characters appear as he draws them.

This isn’t the usual way that Shakespeare is performed… but it’s not a bad one. To clarify, the students were not playing the exact character from the play. They were using some of a character’s lines to create their own original journey and agenda. One was a mad scientist far in the future using Prospero’s lines. Miranda was a robot and Ariel was shapes of light on the ceiling.

I know that not everyone likes this idea. Some say that Shakespeare’s words must remain in their own context! Says who?

What I saw here were student actors connecting to the text and meaning what they said. I think everyone in the audience knew what was going on all the time. That’s more than I could say for some professional productions I’ve attended.

Seeing this got me thinking if there might be a place for these sort of performances to take place outside an educational environment. It’s not horribly uncommon to have a night a scenes as a fundraiser or showcase. Why not a little something different? Various actors creating a story with lines from a character in Shakespeare and sets and props to go with it. It could be fun to see. What say you?

In the introduction Asimov reminds the reader that Shakespeare, although a writer “for all time,” was initially writing for an Elizabethan audience. The history, mythology, and other knowledge is what he was writing about. “Any yet, if we did know a little more of what that writing was about, would not the plays take on new dimensions and lend us still greater enjoyment?” And through the course of the rest of the book Isaac Asimov lets the reader know much more of what the writing was about – leading to greater enjoyment. Much greater. This reviewer, in fact, nearly leaped for joy after reading the chapter on Hamlet. A play regarded by many as Shakespeare’s greatest and most complex writing is made crystal clear. Each play is put into historical context, obscure passages and references are explained, and enjoyment of these plays increase exponentially.

The books can be used two ways. Primarily, a guide through the entirety of Shakespeare’s plays to be read from cover to cover. A tour guide requires you to be on the same path they are on, so if you haven’t read a play some of the chapter on that work might not be as helpful as it could be. The book can also be a reference. Each chapter need not be read in order. Each applies to a specific play, so during or after the reading of any play you may reference the appropriate chapter. Either way, be sure to read the introduction!

There’s a lot that can be said for this book, but in the end it really speaks for itself. Isaac Asimov doesn’t just prove his immense knowledge of Shakespeare’s language and history, but that once you know a thing or two about what The Bard is talking about you will have an appreciation for the plays. This work is strongly recommended to teachers and students of Shakespearean works both in the fields of Theatre and Literature. With Isaac Asimov as your guide you will truly find that William Shakespeare is a writer “for all time.”

Asimov’s Guide to Shakespeare: A Guide to Understanding and Enjoying the Works of Shakespeare

I’m a little late in posting, but it’s been a hectic week for me… I’m moving! My muscles hate me for being such Shakespeare nerd and having all those heavy books. But enough about me!

Let’s see what the month of April brought in the ShakesBlogoSphere! Not a bad turnout this month. I’m posting only things that were submitted, so if you missed it: too bad! There’s always next time!

Ioan Draniciar presents us with a poem entitled Shakespeare Created the World in Seven Days. It made me smile, how about you?

Ashok posted some very interesting reading material: The Coming Age, an essay on Macbeth. He said, “[it's] a reading of Macbeth – if the first part bores you, take a look at parts 3 & 4, which contrast Duncan and his son. The argument I’m advancing attempts to explain who the witches are ultimately, but takes a circuitous route.”

Nigel Beale has shared A Scene by Scene discussion between Prof. Joseph Khoury and Nigel Beale about Hamlet’s first and second acts. Download the mp3, give it a listen when you have the time. It’s 45 minute long so give yourself time to listen and think about it. It’s never bad to hear people’s interpretations. Nigel also plans to host a roundtable discussion on Hamlet next week. Stay tuned!

Craig Bryant introduces his new blog, “Another Shakespeare?” with the post, A beginning is a very delicate time… This blog actually isn’t about Shakespeare at all, rather Thomas Middleton. one of the Bard’s contemporaries and his writing hand plays a large role in the text of Macbeth.

Brent Diggs presents Loves Labor Little – A Tale Perspired By Recent Events, a funny little post. For entertainment purposes only.

Geoffrey posted something that’s hard to ignore: George Bush is Shakespeare. Not literally of course. Don’t blow up, just see for yourself what he has to say.

P.L. Frederick gives us a couple humorous tidbits this month: Shakespeare, Spelling, And 1¢ Gingerbread and The Spoon, Most Noble Of Eating Utensils. I enjoyed them, you might too!

And last, but not least, William S makes us do a little thinking as he talks about “the big book from 1623 that started it all.” The post is Folio? which is, of course, about the First Folio.

That’s all for this month. Be sure to submit the posts you would like to be featured in the next Shakespeare Blog Carnival!