Podcasts about hortensio

Next Chapter Podcasts presents the complete Play On Podcast series, Shrew!, in its entirety. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Lucentio and Bianca hurry to meet the priest Biondello bribed to perform the marriage. Gremio greets Petruchio, Katherine, Grumio and the real Vincentio at Lucentio's house, where they are met by the Merchant, who insists that he's Lucentio's father. Vincentio challenges him and chaos ensues as Tranio tries desperately to keep up the ruse. The newlyweds finally arrive and seeing no way out, they confess their gambit and beg forgiveness from their fathers. Once all is sorted out, Katherine confronts her father and forces him to reckon with his poor treatment of her. Later, the three newlywed couples (Katherine and Petruchio, Lucentio and Bianca, and Hortension and “The Widow”) celebrate their unions. Bianca and Lucentio are already off to a rocky start as they squabble over how much she's allowed to eat. Hortensio realizes he may not live long as the widow's fourth husband. Only Petruchio and Katherine seem to be partners in marriage, and when put to the test, Katherine finds new words to describe the meaning of true love. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Seeing he has no chance against Lucentio (AKA “Cambio”), Hortensio drops his “Licio” disguise and swears off women. Biondello, meanwhile, has found an old merchant who will pretend to be Lucentio's father, Vincenzio, so that Lucentio can marry Bianca without getting his real father's permission. Meanwhile, Katherine wakes in the comfort of Petruchio's home and is further smitten as he describes the goings-on at his farm. Later, Baptista gets all rights to Vinzentio's property from the man he thinks is Lucentio's father but is really the old and very agreeable merchant. Hortensio goes to Petrucio's house and is greeted by Grumio. As they rush to attend Bianca's hasty marriage they're interrupted by the arrival of an old gentleman who's lost his way trying to find his son. It doesn't take long for everyone to realize the gentleman is none other than Vincenzio, Lucentio's real father. Incensed to learn that his son is being married without his consent, he joins Petruchio, Katherine, Grumio and Hortensio on their way to the wedding. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Katherine reluctantly goes to church to be married, only to learn through an elaborate pantomime performed by Grumio and Biondello that Petruchio is running late. Finally, a drunk priest arrives with Petruchio, who is dressed as a gondolier. They make a mockery of the wedding but a humiliated Katherine is nonetheless sent off with her new husband by her clueless father, who reminisces fondly about young love. The newlyweds eventually arrive at Petruchio's frigid home in the pouring rain, where he tells her that he lives selflessly in poverty with seven penitents who share his bed and follow elaborate rituals before eating. Katherine nearly goes mad with hunger as Petruchio demands that they follow every step of the ritual before dining on the food delivered by the kitchen mistress, Dorcas. At last, Katherine realizes it's all a joke and she devours her food with joy and laughter. Once sated, she tells Petruchio she's going upstairs to get ready to lose her virginity to him, but Petruchio tells her he has no intention of making love to her until she is well rested and truly wants to be with him. It only makes Katherine more attracted to him, but Petruchio insists that she get a good night's sleep as he privately confesses to feeling the rekindling of his long dormant passion.  The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Petruchio negotiates with Baptista for Katherine's hand until Licio emerges from his tutoring session bruised and battered. It only strengthens Petruchio's resolve to woo Katherine and when she arrives, the two engage in a spirited match of wits. Katherine reluctantly agrees to go with Petruchio when he tells her that her father has agreed to marry her off to him. Gremio and Tranio (as Lucentio) immediately try to out-do each other in their bid for Bianca's hand, with Baptista as auctioneer. Tranio wins the contest and is promised Bianca's hand in marriage provided his father (Vincentio the tomato king) comes to the wedding in person. Tranio privately conspires to find a look-alike to pretend to be Vincentio. Meanwhile, Hortensio (still pretending to be Licio the Banjo Tutor) tries to woo Bianca with his instrument until Lucentio (as Cambio the Latin Tutor) interrupts and sends him away. He confesses his love to Bianca, who secretly invites him to her chamber after lunch. Hortensio returns and tries again with Bianca, failing miserably. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Petruchio tells Hortensio he's come to Padua to find a partner to give him renewed life after grieving the loss of his first wife. Hortensio tells him about Baptista's daughter, Katherine, but warns him that she's quite the shrew. Petruchio realizes he knows her father and is not put off. Hortensio agrees to provide an introduction if, in exchange, Petruchio presents him to Signior Baptista as a tutor for the object of his affection: Bianca. As they agree to the deal, Grumio announces the arrival of two other rivals vying for Bianca: Gremio and Lucentio, now disguised as Cambio. Hortensio introduces them to Petruchio and tells them of his intentions with Katherine, who once coupled will make Bianca available for marriage. Meanwhile, Katherine laments her isolation in her chamber at Baptista's house. She impulsively frees her sister's canaries from their cage to find the freedom she craves. When Bianca enters and sees what Katherine's done, the two fight savagely until Signor Baptista arrives to break it up. He sends Bianca away and scolds Katherine, lamenting his struggles as a single father until he hears the arrival of Gremio, Grumio, Tranio (as Lucentio), Lucentio (as Cambio), Hortensio (as Licio) and Petruchio. Petruchio tells Baptista of his lineage and his desire to woo Katherine. Baptista says she'll never agree but Petruchio persists, introducing Hortensio (as “Licio”), who he says will make inroads as her banjo tutor. The others go to great lengths to outdo each other as they compete for Bianca. Gremio presents a Latin tutor (Lucentio-as-Cambio) and Tranio-as-Lucentio claims to be the son of Vincentio, “the Tomato King”.  Baptista welcomes them all to his house and wishes them luck with his daughters. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Mistress Slapbottom clears the pub of all its rowdy revelers, leaving her alone with a woman who laments being tasked with ghost writing a sexist play about the taming of a shrew. She begins a page one rewrite, making the female protagonist, Katherine, a woman who loves learning and cannot stand being cooped up by the men who try to control her. We meet Lucentio and Tranio, who are visiting Padua. Strolling through the university, Lucentio is immediately smitten by Katherine's sister, Bianca, an airhead who loves being in a man's world. He conspires with Tranio to disguise himself as a tutor in order to gain access to Bianca by way of instruction. Meanwhile, Petruchio arrives in town with his trusty servant, Grumio, to visit his friends. They are greeted by Petruchio's old pal, Hortensio. The PLAY ON PODCAST SERIES, “SHREW!”, was written by AMY FREED and directed by ART MANKE. Radio play by CATHERINE EATON.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINE MINOLA and THE WOMAN WRITER      ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA MINOLA           MARTIN KILDARE                        as        BAPTISTA MINOLA BRETT RYBACK                         as        LUCENTIO KYLE T. HESTER                           as        TRANIO                MIKE McSHANE                           as        GREMIO              J. PAUL BOEHMER                 as        HORTENSIO and THE MERCHANT    DANNY SCHEIE                            as        GRUMIO KASEY MAHAFFY                        as        BIONDELLO and DORCAS STEPHEN  CAFFREY                 as        VINCENTIO, THE PRIEST, AND A SERVANT TESSA AUBERJONOIS            as        THE WIDOW and MISTRESS SLAPBOTTOM   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   This podcast was recorded under a SAG-AFTRA AGREEMENT.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering and mixing by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “SHREW!” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTER PODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to Play On Podcasts dot com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life.  And remember: “Better now than never, and never too late!”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Next Chapter Podcasts presents the complete Play On Podcast series, THE TAMING OF THE SHREW, in its entirety. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS       as    KATHERINA     ALLEN GILMORE          as    PETRUCHIO     ANNIE ABRAMS            as    BIANCA                MIKE McSHANE           as    BAPTISTA TOM PATTERSON          as    LUCENTIO KYLE T. HESTER           as    TRANIO                DANNY SCHEIE            as    GREMIO and CURTIS J. PAUL BOEHMER        as    HORTENSIO and PEDANT       ROB NAGLE                 as    GRUMIO and VINCENTIO KASEY MAHAFFY            as    BIONDELLO and TAILOR TESSA AUBERJONOIS      as    WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Biondello tells Bianca and Lucentio that he's arranged for a priest to perform their marriage and sends them on their way as Gremio approaches. Petruchio, Kate and Vincentio arrive at Baptista's house and are greeted by the Pedant who (much to the real Vincentio's consternation) claims to be Lucentio's father. Biondello returns from the hasty marriage to find both the real and fake Vincentio with Baptista and is forced to pretend the Pedant is his master. As Vincentio berates Biondello for pretending not to know him, Tranio returns and tries to continue the ruse, claiming the Pedant is his father. Chaos ensues until Lucentio returns with Bianca. With no way out, Lucentio confesses all to his father. Vincentio, overjoyed to see his son alive, forgives him. Baptista accepts the marriage. Gremio accepts he's been beaten and joins the group for a free meal at Baptista's. Kate and Petruchio revel in their newfound love. After dinner, Petruchio challenges all the newly married men to see whose wife respects her husband the most. In the end, it's Kate who helps her husband win, ending the series with a speech about a woman's responsibility to her husband. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS       as    KATHERINA     ALLEN GILMORE          as    PETRUCHIO     ANNIE ABRAMS            as    BIANCA                MIKE McSHANE           as    BAPTISTA TOM PATTERSON          as    LUCENTIO KYLE T. HESTER           as    TRANIO                DANNY SCHEIE            as    GREMIO and CURTIS J. PAUL BOEHMER        as    HORTENSIO and PEDANT       ROB NAGLE                 as    GRUMIO and VINCENTIO KASEY MAHAFFY            as    BIONDELLO and TAILOR TESSA AUBERJONOIS      as    WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Grumio taunts Katherine (as instructed by his master) until Petruchio and Hortensio arrive for dinner. Petruchio rushes Kate through her meal before welcoming a tailor and haberdasher who have made exquisite clothing for Katherine. Petruchio rejects all their offerings over Katherine's objections, but she begins to catch on to his strategy, realizing that she must play along with everything Petruchio does and be “agreeable” in order to get what she wants. Meanwhile, Biondello has primed Baptista for a visit from Tranio (disguised as Lucentio) and the Pedant (disguised as Lucentio's father, Vincentio). Baptista welcomes them and seals the deal for Lucentio to marry his daughter. On the road back to Baptista's home, Kate and Petruchio keep up their game of opposites until they are met by an old man who is making his way to Padua. He introduces himself as Lucentio's father (the real Vincentio). Petruchio embraces him as family, telling him that his son has just married the sister of his wife. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS       as    KATHERINA     ALLEN GILMORE          as    PETRUCHIO     ANNIE ABRAMS            as    BIANCA                MIKE McSHANE           as    BAPTISTA TOM PATTERSON          as    LUCENTIO KYLE T. HESTER           as    TRANIO                DANNY SCHEIE            as    GREMIO and CURTIS J. PAUL BOEHMER        as    HORTENSIO and PEDANT       ROB NAGLE                 as    GRUMIO and VINCENTIO KASEY MAHAFFY            as    BIONDELLO and TAILOR TESSA AUBERJONOIS      as    WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Grumio reaches Petruchio's house ahead of the newlyweds and prepares the servants for their arrival. But nothing could brace them against Petruchio's abuse. He rejects the meals they've made and treats them so poorly that Kate implores him to be more patient. Petruchio insists they go straight to bed, where he lectures her on the virtues of abstinence. Meanwhile, as Tranio keeps up his Lucentio impersonation, Hortensio drops his “Litio '' persona and laments Bianca's affection for Cambio (the real Lucentio). Together, they renounce Bianca and Hortensio declares that he'll seek the affections of a wealthy widow. Free of Hortensio, Tranio celebrates with Bianca and Lucentio until Biondello arrives with the news that he's found a drunk Pedant who will be the perfect person to impersonate Luentio's father, Vincenzio. Tranio and Lucentio work up a plan to fool the Pedant into believing he's in danger in Padua because he's from Mantua but that he'll be safe if he pretends to be Lucentio's father. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS       as    KATHERINA     ALLEN GILMORE          as    PETRUCHIO     ANNIE ABRAMS            as    BIANCA                MIKE McSHANE           as    BAPTISTA TOM PATTERSON          as    LUCENTIO KYLE T. HESTER           as    TRANIO                DANNY SCHEIE            as    GREMIO and CURTIS J. PAUL BOEHMER        as    HORTENSIO and PEDANT       ROB NAGLE                 as    GRUMIO and VINCENTIO KASEY MAHAFFY            as    BIONDELLO and TAILOR TESSA AUBERJONOIS      as    WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember: “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The guests assemble for the wedding but the groom is nowhere to be found. Katherina frets with her father until Biondello arrives with word that Petruchio is on his way. The groom arrives, disheveled and drunk, on a shabby horse, with his servant by his side. As the wedding finally gets underway, Tranio tells Lucentio they have to find someone to play the part of his father (Vincentio) in order to convince Baptista that Lucentio is as rich as Tranio promised in Episode Three. Gremio emerges from the church and describes Petruchio's lewd behavior at the altar. Petruchio steps out with his bride and announces that they have to be on their way. Katherina pleads with her husband to stay for the celebration but Petruchio refuses. Incensed, she rails at him, at her father and at all the guests, to no avail. The crowd gets rowdy and clamors for the feast. Petruchio puts Kate on his horse and rides off. Tranio (disguised as Lucentio) steals a moment to woo Bianca and Baptista invites everyone to eat cake. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINA     ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA                MIKE McSHANE                       as        BAPTISTA TOM PATTERSON                    as        LUCENTIO KYLE T. HESTER                       as        TRANIO                DANNY SCHEIE                        as        GREMIO and CURTIS J. PAUL BOEHMER                 as        HORTENSIO and PEDANT       ROB NAGLE                                  as        GRUMIO and VINCENTIO KASEY MAHAFFY                        as        BIONDELLO and TAILOR TESSA AUBERJONOIS            as        WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Kate and Petruchio meet at last! The fireworks are lit and the couple goes head to head until Baptista arrives to check on their progress. Petruchio announces (over Kate's objections) that the two have agreed to marry that Sunday. Baptista celebrates the news and turns his attention to the marriage of his second daughter, Bianca. Gremio and Tranio (disguised as Lucentio) compete to prove who has the most to offer in the way of riches. Tranio outbids Gremio and Baptista promises him his youngest daughter provided Tranio can prove his father has the resources he claims. Once alone, Tranio conspires to find someone who can pretend to be Lucentio's wealthy father. Back in Baptista's house, the real Lucentio “tutors” Bianca in Latin and secretly reveals his true identity. Bianca is receptive to Lucentio's overtures but warns she needs to get to know him before she agrees to marry. Hortensio finishes tuning his lute and takes over from Lucentio to teach Bianca how to read music, whereupon he confesses his love to her. She is not nearly as receptive to this fop, who stews in anger and vows to defeat Lucentio. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINA     ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA                MIKE McSHANE                       as        BAPTISTA TOM PATTERSON                    as        LUCENTIO KYLE T. HESTER                       as        TRANIO                DANNY SCHEIE                        as        GREMIO and CURTIS J. PAUL BOEHMER                 as        HORTENSIO and PEDANT       ROB NAGLE                                  as        GRUMIO and VINCENTIO KASEY MAHAFFY                        as        BIONDELLO and TAILOR TESSA AUBERJONOIS            as        WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit podcastchoices.com/adchoices

A student (and eligible bachelor) named Lucentio arrives in Padua with his servant, Tranio, to study philosophy. As they take in the sights they come across the wealthy Baptista and his two daughters, Bianca and Katherina. Bianca is trailed by two suitors, Hortensio and Gremio, who are vying for her affection. Baptista tells them that neither of them will win Bianca's hand until he marries off his older daughter, Katherina. Meantime, Baptista will keep Bianca at home, seen only by the tutors who he employs to advance her education. Hortensio and Gremio scheme to find a husband for the contrary Katherina. Lucentio, smitten by the beautiful Bianca, hatches a plan with Tranio to gain access to Bianca's house by changing clothes with his servant and posing as a tutor while Tranio pretends to be Lucentio in order to build Lucentio's social profile and entertain his father's guests. When Lucentio's other servant, Biondello, arrives, Lucentio tells him that he and Tranio switched clothes because he killed a man and has to escape the city. He tasks Biondello with waiting on Tranio and instructs him to refer to Tranio as Lucentio. Elsewhere, the self-assured Petruchio, along with his servant, Grumio, arrives from Verona at his friend Hortensio's house. Hortensio greets him warmly and learns from Petruchio that he's come to Padua to find a wife from a wealthy family. Hortensio tells him about Baptista's daughter, Katherina, but warns him about her ferocious temper. Petruchio is intrigued and vows to make Katherina his wife. Hortensio offers to facilitate the introduction provided Petruchio helps him pass for a music teacher so he can get access to Bianca. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINA     ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA                MIKE McSHANE                       as        BAPTISTA TOM PATTERSON                    as        LUCENTIO KYLE T. HESTER                       as        TRANIO                DANNY SCHEIE                        as        GREMIO and CURTIS J. PAUL BOEHMER                 as        HORTENSIO and PEDANT       ROB NAGLE                                  as        GRUMIO and VINCENTIO KASEY MAHAFFY                        as        BIONDELLO and TAILOR TESSA AUBERJONOIS            as        WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA. Voice and Text Coach: JULIE FOH Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to the Instant Trivia podcast episode 1208, where we ask the best trivia on the Internet. Round 1. Category: Cello 1: This cellist founded a music collective called the Silkroad Ensemble, with whom he plays cello. Yo-Yo Ma. 2: When you think of a cello solo, you're probably thinking of this Baroque composer's cello prelude from around 1720. Bach. 3: The uncrowned king of the cello, David Popper has a work titled this, what you'd sing under the window of your beloved. a "Serenade". 4: An excellent piece for the cello is "The Swan", from this work by Camille Saint-Saens. The Carnival of the Animals. 5: Portrayed on film in "Hilary and Jackie", the life of this British cellist was cut short by MS at age 42. Jacqueline du Pré. Round 2. Category: Shakespeare Play By Gradually Easier Character 1: Bianca,Roderigo,Desdemona. Othello. 2: Baptista Minola,Gremio, Lucentio,Hortensio,Petruchio. The Taming of the Shrew. 3: Doctor,Duke of Cornwall,Goneril. King Lear. 4: Snug, Helena,Oberon. A Midsummer Night's Dream. 5: Flavius,Cicero,Calpurnia. Julius Caesar. Round 3. Category: Frontwords And Backwords 1: Bosses do this, to writers' dismay; also, what happens at sea twice a day. edit/tide. 2: A part of the body where the food goes; flip it around, it's a ship that tows. gut/tug. 3: This type of container can hold ale or mead; turn it around, it's a mouth part indeed. mug/gum. 4: Rivers do this, bend upon bend; reverse it for one who sends sheep to their end. flow/wolf. 5: Your colorless dress may earn this adjective, I fear; not so for this minstrel or other balladeer. drab/bard. Round 4. Category: Stock Up On Candy 1: You definitely want to trick-or-treat at the house that gives out candy from this company with the stock symbol HSY. Hershey. 2: KRFT is Kraft Foods, maker of these Jet-Puffed treats that come in spooky shapes for Halloween. marshmallows. 3: Warren Buffett liked See's Candies so much that he bought it and folded it into BRK.B, this company. Berkshire Hathaway. 4: Mondelez, MDLZ, owns a slew of brands, including these Scandinavian candies. Swedish Fish. 5: If you're stocking up on candy at Costco (symbol COST), you'll know this house brand is named for a city in Washington. Kirkland. Round 5. Category: On The Wall 1: ...of this museum is a portrait of Elizabeth Petrovna as a child (1712-13) by Ivan Nikitin. the Hermitage Museum. 2: A special black paint from Rust-Oleum will turn any wall into one of these writing slates. a chalkboard. 3: A large, concave one of these on your wall will make your room look bigger. a mirror. 4: Divided into 20 sections, it's often made of cork; take a shot!. a dartboard. 5: Perfect for your bedroom, this item is thought to provide protection through the night. a dream catcher. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

A student (and eligible bachelor) named Lucentio arrives in Padua with his servant, Tranio, to study philosophy. As they take in the sights they come across the wealthy Baptista and his two daughters, Bianca and Katherina. Bianca is trailed by two suitors, Hortensio and Gremio, who are vying for her affection. Baptista tells them that neither of them will win Bianca's hand until he marries off his older daughter, Katherina. Meantime, Baptista will keep Bianca at home, seen only by the tutors who he employs to advance her education. Hortensio and Gremio scheme to find a husband for the contrary Katherina. Lucentio, smitten by the beautiful Bianca, hatches a plan with Tranio to gain access to Bianca's house by changing clothes with his servant and posing as a tutor while Tranio pretends to be Lucentio in order to build Lucentio's social profile and entertain his father's guests. When Lucentio's other servant, Biondello, arrives, Lucentio tells him that he and Tranio switched clothes because he killed a man and has to escape the city. He tasks Biondello with waiting on Tranio and instructs him to refer to Tranio as Lucentio. Elsewhere, the self-assured Petruchio, along with his servant, Grumio, arrives from Verona at his friend Hortensio's house. Hortensio greets him warmly and learns from Petruchio that he's come to Padua to find a wife from a wealthy family. Hortensio tells him about Baptista's daughter, Katherina, but warns him about her ferocious temper. Petruchio is intrigued and vows to make Katherina his wife. Hortensio offers to facilitate the introduction provided Petruchio helps him pass for a music teacher so he can get access to Bianca. The PLAY ON PODCAST SERIES, “THE TAMING OF THE SHREW”, was written by WILLIAM SHAKESPEARE and translated into modern English verse by AMY FREED. All episodes were directed by ART MANKE. Radio play by AMY FREED and LEANNA KEYES.   The cast is as follows:   SUSANNAH ROGERS              as        KATHERINA     ALLEN GILMORE                     as        PETRUCHIO     ANNIE ABRAMS                        as        BIANCA                MIKE McSHANE                       as        BAPTISTA TOM PATTERSON                    as        LUCENTIO KYLE T. HESTER                       as        TRANIO                DANNY SCHEIE                        as        GREMIO and CURTIS J. PAUL BOEHMER                 as        HORTENSIO and PEDANT       ROB NAGLE                                  as        GRUMIO and VINCENTIO KASEY MAHAFFY                        as        BIONDELLO and TAILOR TESSA AUBERJONOIS            as        WIDOW and HABERDASHER   Casting by THE TELSEY OFFICE: KARYN CASL, CSA.   Original music composition, Mix and Sound Design by LINDSAY JONES. Sound engineering by SADAHARU YAGI. Mix Engineer and Dialogue Editor: LARRY WALSH. Podcast Mastering by GREG CORTEZ at New Monkey Studio. Coordinating Producer: TRANSCEND STREAMING (KYRA BOWIE and LEANNA KEYES). Executive Producer: MICHAEL GOODFRIEND.   The Play On Podcast Series “THE TAMING OF THE SHREW” is produced by NEXT CHAPTER PODCASTS and is made possible by the generous support of THE HITZ FOUNDATION. Visit NEXTCHAPTERPODCASTS.COM for more about the Play On Podcast Series. Visit PLAYONSHAKESPEARE.ORG for more about Play On Shakespeare.   Subscribe to Play On Premium on Apollo Plus for ad-free episodes and join our Patreon for exclusive merchandise and early commercial-free releases. Go to playonpodcasts.com for our Bonus Content, where you'll find interviews with the artists, producers and engineers who brought it all to life. And remember:  “A woman may be made a fool if she has not the spirit to resist”. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome back to Artbeat Radio!  ART Center had the amazing vocational opportunity to participate in The Inclusive Theater Festival this year. They Zoomed in from Long Beach to Chicago to share what they had been working on for the past semester in their Shakespeare class, performing monologues in costume from Taming of the Shrew, and participating in a panel for questions about their process. Listen in as they share their monologues in an ABR exclusive performance. With Nancy Terrey as Petruchio, Brian Corder as Sly Christopher, Aaron Francis as Bianca, and Eric Recillas as Baptista, this is an episode you do not want to miss! A special thank you to Seesaw Theater and the ART Center costume and props department. Becky Neuhaus, Lisa Mellow, Lorenia Varela, and Ricky Parral designed costumes and props to be used in the live performance.Seesaw Theatre's Seventh Annual Inclusive Theatre Festival is a weekend-long conference celebrating the strides being made in inclusive and accessible theatre. This event aims to bring together theatre artists and practitioners from across the country, giving us all the chance to learn about the amazing work being done and how we can improve our own work while supporting marginalized communities. This event is intended not only for theatre artists (students and professionals alike), but also for the disability community and their families, educators working with disabled individuals, and truly anyone interested in this ever-expanding and heart-warming field of inclusive theatre.Thanks for listening and tune in next time! For more information about our organization, please visit our website www.ableartswork.org  Audio Transcription: (Please listen on Podomatic or Spotify to view the full transcript) *Intro music by Artbeat Radio staff*  Music, stories, and more! You're listening to Artbeat Radio, a program of Able ARTS Work.  Aaron: Welcome to Artbeat Radio  Brian: This semester, we've been working on taming of the shrew. A play by William Shakespeare Nancy: In fact, we presented our work at the Inclusive Theater Festival in Chicago. Brian: You're about to hear the monologues that we've been working on for taming of the shrew. All: Enjoy! Brian as Christopher Sly: What, would you make me mad? Am not I Christopher? Sly's old, Sly's son of Burtonheath? By birth a peddler, by education, a cardmaker, by transmutation a bear-heard and now by present profession, a tinker? As Marian Hacket, the fat ale-wife of Wincot, if she know me not. If she say I am not 14 pence on the score for sheer ale, score me up for the lyingest knave in Christendom. What, I am not bestraught!  Aaron as Biana: Why, I am past my gamut long ago. Oh, alright. “A re”. To plead Hortensio's passion. “B me” Bianca, take him for thy lord. “C fa ut” that loves with all affection. “D sol re” one clef, two notes have I - “E la mi” show pity or I die. Call you this gamut? Tut, I like it not! Old fashions please me best; I am not so nice to change true rules for odd inventions *Shuffling noises* Eric Signor Baptista: Why, how now, dame. Whence grows this insolence? Bianca, stand aside- poor girl, she weeps. Go ply thy needle, meddle not with her. For shame, thou hilding of a devilish spirit. Why doust thou wrong her that did ne'er wrong thee? When did she cross thee with a bitter word? What, in my sight! Bianca, get thee in. Was ever gentlemen thus grieved as I? But who comes here? Nancy as Petruchio: They shall go forward, Kate, at thy command. Carouse full measure to her maidenhead, be mad and merry, or go hang yourselves; but, for my bonny Kate, I will be master of what is mine own.  She is my goods, my household stuff, my field, my horse, my ox, my ass, my anything; and here she stands, touch her whoever dare! Draw forth thy weapon, we are beset with thieves; rescue thy mistress if thou be a man. I'll buckler thee against a million! Nancy: Join us next time for more from Able ARTS Work. *Original piano orchestration of “Brush up your Shakespeare” from Kiss me Kate played by Eric Recillas on keyboard, accompanied by an original backtrack also written by Eric Recillas* Nancy and Brian: Goodbye from Able ARTS Work! Nancy: Cut! *Outro music by Artbeat Radio staff*  We hope you enjoyed this episode of Artbeat Radio. For more information, please go to our website. Ableartswork.org. Thanks for listening and tune in next time!  

CAST in order of appearance: Ali Tallman as Lucentio, Brittany Chandler as Petruchio, Caryl Farkas as Baptista & Widow, Zoe Margolis as Hortensio, Nicholas Koy Santillo as Katherine, William Wilder as Gremio, Morgan Hollingsworth as Bianca, Grayson Kirtland as Vincentio, Elizabeth Glass as Tranio, Mairi Chanel as Biondello. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Elizabeth Glass as Tranio, Zoe Margolis as Hortensio, Ali Tallman as Lucentio, Morgan Hollingsworth as Bianca, Mairi Chanel as Biondello & Pedant. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Grayson Kirtland as Grumio, Nicholas Koy Santillo as Katherine, Brittany Chandler as Petruchio, Zoe Margolis as Hortensio, Morgan Hollingsworth as Haberdasher, Ali Tallman as Tailor. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Brittany Chandler as Petruchio, Nicholas Koy Santillo as Katherine, Zoe Margolis as Hortensio, Grayson Kirtland as Vincentio. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Ali Tallman as Lucentio, Zoe Margolis as Hortensio, Morgan Hollingsworth as Bianca & Messenger. Facilitated, edited, and with music composed and performed by Ariana Karp.

And off we go to Act 3 of Taming of the Shrew!  We discuss how all of Bianca's suitors are under false pretenses, how the suitors are more interested in competing with each other than actually getting to know Bianca, the connection to the Lord's game of messing with Christopher Sly, the lack of danger or class barriers in Lucentio's and Hortensio's disguises, Kate trying out new tactics, Petruchio's rejection of societal norms, and the heavy cultural baggage of staging this play.  Our Ensemble for this production includes: Brittany Chandler, Mairi Chanel, Caryl Farkas, Elizabeth Glass, Morgan Hollingsworth, Grayson Kirtland, Zoe Margolis, Nicholas Koy Santillo, Ali Tallman, Will Wilder facilitated and directed by Ariana Karp.

CAST in order of appearance: Ali Tallman as Lucentio, Elizabeth Glass as Tranio, Caryl Farkas as Baptista & 1st Servingman, William Wilder as Gremio & Page, Nicholas Koy Santillo as Katherine, Zoe Margolis as Hortensio, Morgan Hollingsworth as Bianca, Mairi Chanel as Biondello & Christopher Sly. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Brittany Chandler as Petruchio, Grayson Kirtland as Grumio, Zoe Margolis as Hortensio, William Wilder as Gremio, Ali Tallman as Lucentio, Elizabeth Glass as Tranio, Mairi Chanel as Biondello. Facilitated, edited, and with music composed and performed by Ariana Karp.

CAST in order of appearance: Morgan Hollingsworth as Bianca, Nicholas Koy Santillo as Katherine, Caryl Farkas as Baptista, William Wilder as Gremio, Brittany Chandler as Petruchio, Elizabeth Glass as Tranio, Zoe Margolis as Hortensio. Facilitated, edited, and with music composed and performed by Ariana Karp.

This week I chatted to David Soncin. We chatted about all things acting, getting into Bell Shakespeare and touring with Shakespeare, mindset and some fun rapid fire questions! So, grab a coffee and enjoy! :) BIO: David is an Australian actor based in Sydney. Growing up in Far North Queensland, he graduated at Queensland University of Technology in Brisbane with a Bachelor of Fine Arts Acting in 2013. David immediately broke into the Sydney theatre scene with Bell Shakespeare’s Players, including a production of Macbeth at the Sydney Opera House. His Italian background has allowed him to explore a number of versatile ethnic roles in productions like The House of Ramon Iglesia, The Judas Kiss, The Shifting Heart, and The House at Boundary Road Liverpool. His most notable performance was Marco in Red Line Productions’ and Ensemble Theatre’s A View From The Bridge; winner of four Sydney Theatre Awards including Best Independent Production, and five Glugs Awards in 2017 including “Most Outstanding Independent Production”; David also received a Glugs nomination for “Most Outstanding Performance by an Actor in a Supporting Role.” Shakespeare has been a big influence on David’s career, recently performing in Sport for Jove’s Twelfth Night, and Romeo & Juliet (dir. Damien Ryan) as Tybalt, a PTSD soldier in post-WWII Italy. This year will be his first credit with Queensland Theatre playing Hortensio in The Taming of the Shrew. David’s film and television credits include Love Child (Season 4), On The Move, and River (Toronto Film Festival Official Selection) Instagram: @davidsoncin

durée : 00:34:47 - Les Nuits de France Culture - par : Philippe Garbit, Christine Goémé, Albane Penaranda - A l'occasion de la Nuit Spéciale Shakespeare 2/2, entretien avec l'auteur et illustratrice Caroline Guillot qui publie l'album "Le grand Shakespeare illustré " aux éditions du Chêne. - réalisation : Virginie Mourthé - invités : Caroline Guillot scénariste BD

Este episodio de CS se titula "Agustín – Parte 1."Tarde te he amado, Belleza siempre antigua y siempre nueva. Tarde te he amado. Y, he aquí que tú estabas dentro y yo fuera. Y te buscaba fuera. Desorientado, iba corriendo tras esas formas de belleza que tú habías creado. Tú estabas conmigo, y yo no estaba contigo cuando esas cosas me retenían lejos de ti, cosas cuyo único ser era estar en ti. Me llamaste, me gritaste e irrumpiste a través de mi sordera. Brillaste, resplandeciste y acabaste con mi ceguera. Te hiciste todo fragancia, y yo aspiré y suspiré por ti. Te saboreé, y ahora tengo hambre y sed de ti. Me tocaste, y ahora deseo tu abrazo ardientemente.Escribió Agustín de Hipona en su obra clásica Confesiones.Pasamos ahora a la vida y obra de un hombre de singular importancia en la historia de la Iglesia debido a su impacto en la teología. Seré contundente en decir lo que muchos, tal vez la mayoría, son cuidadosos de evitar cuando se trata de Agustín. Mientras que la gran mayoría de los historiadores lo elogian, un grupo mucho más pequeño está menos entusiasmado con él, como espero que quede claro a medida que revisamos al hombre y su impacto.Agustín es la culminación del pensamiento patrístico, al menos en el mundo Latino. Por "patrístico", me refiero a la teología de los Padres de la Iglesia. Si alguna vez has tenido la oportunidad de revisar colecciones de libros sobre teología o historia de la iglesia, es probable que hayas visto un conjunto masivo de tomos llamados Padres de la Iglesia Ante y Post Nicea. Eso significa simplemente los Padres de la Iglesia que vinieron antes del Concilio de Nicea y los que vinieron después y ayudaron a asentar los cimientos doctrinales de la Iglesia. Agustín fue LA influencia dominante para el Europeo Medieval; tanto es así, que se le conoce como el Arquitecto de la Edad Media. Agustín sigue siendo una gran influencia entre los Católicos Romanos por su teología de la iglesia y los sacramentos; y para los Protestantes con respecto a su teología de la gracia y la salvación.La historia de Agustín es bien conocida porque hay un montón de material sobre su origen por el cual lo podemos conocer. Algunos dicen que sabemos más de Agustín que cualquier otra figura del mundo antiguo porque, no sólo tenemos un registro de sus actividades diarias por uno de sus estudiantes; Possidius, Obispo de Calama; también tenemos un registro muy detallado de la vida interior de Agustín en su obra clásica, Confesiones. También tenemos una obra titulada Retracciones donde Agustín narra su desarrollo intelectual mientras enumera 95 de sus obras, explicando por qué fueron escritas y los cambios que les hizo a lo largo del tiempo.Permítanme comenzar su historia poniendo el trasfondo del mundo de Agustín...El fin de la persecución de los primeros 2 siglos fue un gran alivio para la iglesia. Sin duda, la conversión reportada del Emperador Constantino parecía un sueño hecho realidad. El apóstol Pablo dijo a los seguidores de Cristo que oraran por el rey y por todos los que tienen autoridad. Así que el informe de la conversión del Emperador fue una causa de gran regocijo. Probablemente sólo un puñado de sabios sintieron un llamado a la prudencia en lo que significaría esta nueva relación entre la iglesia y el estado y los peligros que podría traer.Durante el 4º siglo, las iglesias crecieron más rápidamente que nunca. Pero no todos los que se unieron lo hicieron con motivos puros. Con la persecución detrás de ellos, algunos se unieron a la Iglesia para cubrir sus apuestas y añadir una deidad más a su lista. Otros se unieron pensando que avanzaría su estatus social, ahora que ser cristiano podría ganarles puntos con los funcionarios. Algunos cristianos sinceros fueron testigos de la atonía moral y espiritual de la fe y huyeron al desierto para perseguir un estilo de vida ascético como ermitaños o en un monasterio como monjes. Pero la mayoría de los cristianos permanecieron en sus ciudades y pueblos para presenciar la creciente afiliación entre la iglesia y las instituciones terrenales. La iglesia invisible, universal o católica comenzó a asociarse cada vez más con las formas terrenales y las estructuras sociales.Necesito hacer una pausa aquí y asegurarme de que todos entiendan que la palabra Católica simplemente significa UNIVERSAL. Históricamente, esta es la Era del Cristianismo Católico, no el Cristianismo Católico ROMANO. Los historiadores se refieren a esta época y a la Iglesia Ortodoxa Oriental como Católica, para diferenciarla de los diversos grupos aberrantes y heréticos que se habían separado. Grupos como los Arrianos, los Maniqueos, los Gnósticos y los Apolinarcitos, y media docena de otras sectas difíciles de pronunciar. Pero hacia finales del 4º siglo, lo Institucional reemplazó los aspectos Comunes de la Fe. El Evangelio fue suplantado por dogmas y rituales en muchas iglesias.Jesús dejó claro que seguirlo significaba un llamado a servir, no ser servido. Los cristianos somos siervos. Servimos a Dios sirviéndonos unos a otros y al mundo. Durante los primeros 3 siglos, cuando la iglesia fue maltratada, el llamado a servir fue valorado como una prioridad. Los héroes de la fe sirvieron ofreciéndose a si mismos, con el sacrificio final de sus vidas. Pero cuando la Iglesia salió de las catacumbas para entrar en posiciones de influencia social y poder durante el 4º siglo, ser un siervo perdió la prioridad. Los líderes de la Iglesia, que habían guiado sirviendo durante 300 años, comenzaron a posicionarse para ser servidos. Los lideres-que-sirven se convirtieron en líderes de los siervos.Este cambio se intensificó con la desintegración del Imperio Occidental durante el 4º y 5º siglo. Mientras los barbaros entraban desde el Norte y el Este, y las autoridades civiles huían de las fronteras, la gente miraba cada vez más a los obispos y líderes de la iglesia para proporcionar orientación y gobernabilidad.Ya hemos visto cómo la Iglesia y el Obispo en Roma surgieron no sólo como un líder religioso, sino también como un líder político. La caída y el saqueo de Roma por los vándalos en el año 410 sacudió al Imperio, dejando a la gente profundamente sacudida. Un hombre surgió en ese momento para ayudarles a lidiar con su confusión y ansiedad sobre el futuro.Agustín nació en el año 354 en Tagaste, una pequeña ciudad comercial en el norte de Africa. Su padre Patricius era un pagano y miembro del liderazgo dominante local. Su madre Mónica era una cristiana comprometida. Aunque lejos de ser rico, los padres de Agustín estaban decididos que el tuviera la mejor educación posible. Después de asistir a la escuela primaria en Tagaste fue a Cartago para su educación secundaria. Fue allí, a la edad de 17 años, que se tomo a una amante con la que vivió durante 13 años y por quien tuvo un hijo llamado Adeodatus. Si bien esto parece un escandalo, tenemos que darnos cuenta de que no era tan raro que los jóvenes de las clases altas tuvieran tal arreglo. Agustín parece haber tenido un amor genuino por esta mujer, a pesar de que no nos da su nombre. Es seguro que amaba a su hijo. Y a pesar de que Agustín amaba a su novia. Más tarde escribió que a lo largo de estos años, fue continuamente golpeado por la tentación sexual y a menudo desesperado por superarla.Agustín continuó sus estudios de filosofía en general; sin elegir alguna escuela específica como el enfoque de su atención. Cuando tenía 19 años leyó la obra, ahora perdida, Hortensio por el orador romano Ciceró y fue convencido que debía hacer la búsqueda de la verdad el objetivo principal de su vida. Pero esta noble misión luchó con lo que ahora sentía era un deseo degradante hacia la inmoralidad. Para obtener ayuda moral y para resistir el tirón hacia abajo, el acudió a la fe de su madre y puso sus ojos hacia la Biblia. Pero siendo un amante del latín clásico, las traducciones que leía le parecían burdas y poco sofisticadas y no tenían ningún atractivo.Lo que si atraia a Agustín fueron los Maniqueos con los que ya hemos tratado. Para repasar, Mani fue un maestro en Persia a mediados del 3º siglo que machacó una religión con sabor Gnóstico junto con antiguas ideas Persas traídas del Zoroastrismo. Agustín era un intelectual, el tipo de persona que el Maniqueísmo apelaba. Ponían a un lado la fe, diciendo que ellos eran los guardianes intelectuales de la razón y la lógica. Explicaron al mundo en términos de oscuridad y luz. La luz y el Espíritu eran buenos, las tinieblas y lo físico; Malas. La clave para superar el pecado y era una forma temprana de la campaña utilizada en las escuelas públicas en los Estados Unidos hace años con respecto a las drogas: "¡Di que no!". A Augustine le dijeron que si empleaba la abstinencia total al placer físico le iría bien. Fue un Maniqueo durante 9 años hasta que vio las inconsistencias de lógica y lo dejo.Su relato de esta época revela que aunque permaneció dentro de estos lineamientos, tuvo problemas todo el tiempo. Suponiendo que sólo necesitaba que aprender más para aclarar los problemas, pero cuanto más estudiaba, más problemas surgieron. Cuando expresó sus preocupaciones, otros Maniqueos le dijeron que si solo podía escuchar la enseñanza de Fausto, todas sus preocupaciones se disolverían. El suponía que Fausto era el Maniqueo que tenía todas las respuestas.Bueno, Fausto finalmente llegó y Agustín escuchó con la expectativa de que todas sus dudas se evaporarían como el rocío al sol de la mañana. Pero esto no fue lo que pasó. Al contrario. Agustín dijo que mientras que Fausto era elocuente del habla, sus palabras eran como un plato elegante que sostenía carne podrida. Sonaba bien, pero su discurso estaba vacío.Agustín pasó tiempo con Fausto, tratando de superar sus dificultades, pero cuanto más escuchaba, más se dio cuenta de que el hombre no tenía ni idea. Bueno así termino la idea que el maniqueísmo fuera el guardián de la razón.A la edad de 20 años, Agustín comenzó a enseñar. Sus amigos reconocieron su genio intelectual y lo animaron a mudarse a Roma. En el año 382, acercándose a los 30 años, él y su madre se mudaron a la Capital, donde comenzó a enseñar.Como sucede a menudo cuando el hogar religioso o filosófico de alguien es destruido, la decepción de Agustín con el maniqueísmo condujo a un período de desencanto y escepticismo. Recuerden; se había entregado a la búsqueda de la verdad y había asumido durante varios años que Mani la había encontrado. Ahora sabía que no lo había hecho. Una decepción, lo volvió mas tímido, pasa en la filosofía, igual como en el romance.Agustín fue rescatado de su creciente escepticismo por el Neoplatonismo y la obra de Plotino, quien avivó el fuego de su chispa para ser ese ardiente anhelo de verdad.En el año 384, Agustín fue contratado como profesor de retórica en la Universidad de Milán, donde su ahora viuda madre Mónica y algunos amigos se unieron a él.Más por cortesía profesional como profesor de retórica que cualquier otra cosa, Agustín fue a escuchar al obispo de Milán Ambrosio predicar. Agustín se sorprendió de la elocuencia de Ambrosio. No es que fuera su primera vez en la iglesia. Había asistido a las iglesias del Norte de África mientras crecía allí. Pero nunca había oído a nadie hablar así. Ambrosio le mostró a Agustín que la fe cristiana, lejos de ser burda y poco sofisticada, era a la vez elocuente e inteligente.Un anciano llamado Simpliciano hizo de Agustín su proyecto personal. Le dio a Agustín una copia de un comentario sobre Pablo por Marius Victorinus, quien se había convertido del Neoplatonismo al Cristianismo 30 años antes. Siendo un Neoplatonista, Agustín pasó por algo así como una conversión intelectual, si no una transformación espiritual.El futuro de Agustín era brillante. Tenía un trabajo prestigioso, amigos comprometidos, riqueza, influencia y todavía era joven y saludable. Pero en su interior era miserable. Su madre Mónica sugirió que lo que el necesitaba era una familia normal. Por supuesto, ella estaba en contra de su larga pero ilícita aventura con su novia, la madre de su hijo. Ella lo había seguido en todos sus diversos movimientos; a Tagaste de Cartago, a Roma, luego a Milán. Mónica le dijo a Agustín que su novia le estaba impidiendo encontrar una esposa adecuada, alguien más apto para su posición social. Aunque Agustín la amaba, la constante petición de su madre de dejarla ir finalmente lo movió a enfocar su malestar interior con su amante. Así que terminó su relación. Luego le propuso matrimonio a una joven de mucha riqueza y de alta sociedad. El problema es que ella era demasiada joven para casarse, así que se fijó una fecha muy lejana. Agustín no podía dominar su lujuria, y después de sólo un corto tiempo después de romper con su amante, encontró otra. Por el propio relato de Agustín de su lucha en las Confesiones, podríamos describir su problema como una adicción sexual. Su batalla interna entre el llamado superior a la virtud y el tirón inferior hacia el vicio amenazó con destrozarlo en una crisis mental.Fue entonces, mientras devoraba libros en su búsqueda de la verdad, que oyó hablar de Ermitaños Cristianos como Antonio de Egipto que había dominado sus deseos carnales. Su ejemplo avergonzaba a Agustín. Hasta entonces había considerado a los cristianos como intelectualmente inferiores, sin embargo, ellos eran capaces de lograr una victoria sobre el pecado que el había sido impotente para lograr. Empezó a preguntarse que si tal vez el cristianismo poseía un poder que había perdido.La conversión se convirtió para Agustín, como lo ha sido para tantos en ese momento, no tanto una cuestión de fe como de acción. Estaba persuadido de la fuerza intelectual del cristianismo; simplemente no quería renunciar a su pecado, aunque sabía que debía hacerlo.Un día del año 386, mientras caminaba por el jardín de su casa, su alma se rebosaba en la confusión y la angustia moral, llevaba una Biblia con la esperanza de extraer algo que le guiara en ella. Pero no podía entenderla. La dejó caer en un banco y caminaba de un lado a otro; su mente en el tormento. Desde algún lugar cercano oyó la voz de un niño gritando la línea de lo que debe haber sido un juego, aunque Agustín no lo sabía. La voz dijo: "Tolle lege (tawlee Leggy) - Toma y lee." Se agachó y recogió la Biblia que acababa de caer. La página se abrió a Romanos 13, donde sus ojos cayeron en palabras perfectamente adecuadas hacia su estado mental actual. Leyó àAndemos como de día, honestamente; no en glotonerías y borracheras, no en lujurias y lascivias, no en contiendas y envidia, sino vestíos del Señor Jesucristo, y no proveáis para los deseos de la carne.Agustín escribió más tarde: "Al leer esas palabras, al instante fue como si la luz de la paz se derramara en mi corazón y todas las sombras de la duda se fueran". La siguiente Pascua, Agustín y su hijo Adeodatus fueron bautizados por el obispo Ambrosio. Unos meses más tarde, Agustín regresó al norte de Africa. En el camino, su madre Mónica murió y poco después de regresar a Tagaste, su hijo también murio. Agustín perdió el interés en vivir y anhelaba dejar el mundo que una vez anhelaba.Sus amigos se reunieron alrededor de el y le dieron un propósito para continuar. Formaron una comunidad monástica, de la cual saldría la famosa Orden y Regla Agustina.Mientras que Agustín probablemente se habría contentado en vivir su vida en el monasterio, la iglesia del Norte de Africa necesitaba desesperadamente un líder con sus dones. En el año 391 la iglesia de Hipona lo ordenó como uno de sus sacerdotes. El llevaba la predicación porque su obispo era Griego y no podía hablar ni Latín ni el Púnico local. Se convirtió en co-obispo 4 años más tarde, luego un año después, el único obispo en Hipona. Sirvió en esa capacidad durante los siguientes 33 años.Mantuvo la vida monástica durante su mandato como Obispo en Hipona. La suya fue una carrera extremadamente ocupada; dividida entre el estudio, la escritura y la supervisión general de los asuntos de la iglesia.Lo recogeremos en este punto en nuestro próximo episodio mientras consideramos algunos de sus escritos más importantes. Entonces entraremos a la carrera de Agustín como teólogo.

A beggar gets a show... but where's Hortensio? Will Katherine be tamed? Find out on BTB's "The Taming Of The Shrew." Part 1!

Teachers and weddings and priests, oh my! We rally on reading Taming of the Shrew with our guest host Ben Cohen on today's episode who has more than a few words to say about our boy Petruchio. Lucentio and Hortensio are neck and neck in their race to woo over the lovely Bianca.  We've finally made it to the tumultuous wedding of Kate and Petruchio, which goes off without a hitch......not! Petey is late and shows up drunk, priests were tackled, and Biondello is confused as ever. Does Kate get kidnapped? Is it cool to swear at a wedding? WHAT'S WRONG WITH PETRUCHIO!? Give it a listen and find out! Shout out to Daniel Roth for the new logo design for Baffled by the Bard! We are now on Podbean! So give it a like, listen, follow, and download on there to help the podcast out!

We have a doozy of an episode here! The fantabulous Naomi Rose-Mock guest hosts with us today. Petruchio has entered the scene, and he comes in with a bang. We've got dueling disguised teachers for the Baptista household. Really, just a lot of disguised individuals....too many to count and follow if we're being honest. Sexy abacuses. Comparing Kate, Bianca, and their relationship as sisters. Double entendres galore! Does Daddy Baptista suck? (The answer: pretty much.) How are MATH, LANGUAGES, and MUSIC gonna help Hortensio and Lucentio woo Bianca? Can the irreverent Petruchio really woo the immovable Kate? WHAT DAY IS IT IN THE PLAY????? All of these topics and more, just waiting for you to hit that play button. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Les matinales – émission présentée par Sandrine Sebbane. Thème « Les adaptations au théâtre » avec Steve Suissa pour l’adaptation du livre « Les fleurs de soleil » de Simon Wiesenthal avec Thierry Lhermitte qui démarre le 16 janvier et Sara Biasini, comédienne, fille de Romy Schneider et Frédérique Lazarini adapteur et metteur en scène d’une version théâtre et film de « La mégère apprivoisée » deqShakespeare qui démarre le 14 janvier à l’Artistic théâtre À propos de la pièce : «Les fleurs de soleil » Mise en scène : Steve Suissa, assisté de Stéphanie Froeliger Texte : Simon Wiesenthal Adaptation : Daniel Cohen Décors : Emmanuelle Roy Costumes : Jean-Daniel Vuillermoz Lumières : Jacques Rouveyrollis, assisté de Jessica Duclos Musique/Son : Maxime Richelme Vidéo : Nathalie Cabrol Thierry Lhermitte interprète ici Simon Wiesenthal, né en Pologne en 1908, connu sous le nom de « chasseur de nazis ». Dès la fin de la Seconde Guerre mondiale, il n’a cessé de traquer les responsables de la « solution finale » afin de les livrer à la justice. En juin 1942, dans un camp de travail forcé, à Lemberg, dans d’étranges circonstances, un jeune SS à l’agonie rencontre un déporté juif pour une ultime confession. Le jeune officier, tiraillé par sa conscience, demande au déporté de lui pardonner, au nom de tous les juifs tués ou torturés, ses terribles crimes afin de mourir en paix… Simon Wiesenthal lui refuse cette grâce. Obsédé depuis ce jour par cette histoire, il décide de prendre la plume et de la raconter dans un livre. À la fin de ce livre, il pose la question qui, aujourd’hui encore, en raison de sa portée politique, philosophique et  religieuse, mérite qu’on y réfléchisse : « ai-je eu raison ou ai-je eu tort ? ». Mais peut-on réellement pardonner l’impardonnable ? La question reste entière. À propos de la pièce : «La mégère apprivoisée » Adaptation et mise en scène de Frédérique Lazarini avec Sarah Biasini (Catarina), Cédric Colas (Petruchio), Maxime Lombard (Baptista), Pierre Einaudi (Lucientio), Guillaume Veyre (Tranio) scénographie et lumières François Cabanat costumes Dominique Bourde réalisation du film Bernard Malaterre avec Charlotte Durand-Raucher (Bianca), Didier Lesour (Le Prêtre), Hugo Petitier (Gremio), Jules Dalmas (Hortensio) assistante à la mise en scène Lydia Nicaud assistante à la création des costumes Emmanuelle Ballon La Mégère Apprivoisée est une pièce pleine de contradictions. Shakespeare donne ici le rôle titre à un personnage de femme profondément insoumise, résolument moderne, qui revendique le droit à la parole et à une certaine liberté. Non, Catarina ne se laisse pas faire. Elle est en rébellion contre toutes les autorités patriarcales de son temps. Et on serait tenté d’imaginer que Shakespeare est de son côté et qu’il nourrit de l’admiration pour sa « Mégère ». En revanche, il n’hésite pas à clore son histoire par un texte misogyne, assumé par une Catarina métamorphosée. Surprise ? Dans cette adaptation de La Mégère, il convient de faire apparaître entre les lignes que notre héroïne n’est pas dupe, qu’elle n’a pas baissé les armes. Ce discours, finalement par trop provocateur, peut devenir un jeu amoureux, un jeu érotique, un jeu social. Catarina devient alors la métaphore de l’actrice, elle endosse le rôle de la femme docile dans une relation complice et ludique avec son mari. Humour et jubilation sont de mise dans cette comédie haute en couleurs, empreinte d’une extraordinaire vitalité. Dans la mise en scène de Frédérique Lazarini, l’histoire se noue autour d’un cinéma ambulant sur la place d’un village, dans les années 50 en Italie. L’intrigue se déroule sur la scène et à l’écran pour mettre en exergue cette mise en abyme chère à Shakespeare, où chacun joue son rôle dans une vie qui a tout d’une fiction et d’un grand théâtre.

Please see www.algarveaddicts.com for better info. Show notes Hortensio was born in Albufeira (at home!). Memories of taking his uncle breakfast on the beach at "Praia dos Pescadores" after a long night out on the ocean. Cliff Richard, one of the most famous people in Albufeira and Hortensio's uncle. Adega do Cantor, Cliff Richard's wine farm. Albufeira: the party capital of the Algarve and the city with the most hotel beds. Hortensio's advice on where to go in the Algarve, plus his perfect beach. Yellow Fish Transfers transported 250,000 people last year. Faro Airport , a little history, a few stats and the 50th anniversary renovations. Taxis versus Uber versus Transfer companies. Transfer routes and distances: Vilamoura / Albufeira / Praia da Rocha and Portimão / Lagos / Tavira. The A22 motorway (with tolls) and the EN125 main road that stretch across the Algarve. Yellow Fish Transfers started in 2011 and now has over 100 vehicles. Hortensio shares a few stories about what may or may not have happened on the road... :) The reason I called them was that they are currently number 1 on TripAdvisor (December 2017) for "Transportation in Faro". Great job guys!

In Shakespeare’s “The Taming of the Shrew,” the indelible Kate and Petruchio—a feisty, ferocious fiancé and her would-be “tamer”—together discover something truly amazing and surprising. They discover that even after 400 years, people will see a show about two people fighting with each other until they finally fall in love. Kate and Petruchio are amongst the most famous characters in western theatrical literature, and despite the datedness of the play, and the imbedded minefield of gender issues that are always part of the process of staging the show for modern audiences; people keep coming to see it. Why? Why not? The politics of love are not easy today, so why not look at a time when they were even more complex, and see if maybe we’ve learned anything. Besides, part of the pleasure of sitting down to a fresh production of such a well-known play is seeing if the cast, crew, and director will make it somehow seem new, or unpredictable, or surprising—or maybe fail miserably in the attempt. That’s always a possibility. I am happy to report that in Curtain Theatre’s rollicking outdoor production—free to the public and running weekends in the Old Mill Park in Mill Valley—the only real failure on display were those few unhappy audience members who failed to bring a sweater or coat, and were visibly shivering in the second act when the Mill Valley fog began rolling in. As for the production itself, it’s a blast. There are plenty of fresh ideas, uniformly strong performances, a boatload of clever theatrical flourishes, and a few moments of true genius. The fluid, fast-paced direction by Carl Jordan—here tackling Shakespeare for his first time—results in a buoyant, bouncy fluff-ball of a play, with a stunningly high laugh-to-minute ratio, and gallons of charm and visual razzle-dazzle The setting and basic attire of the production are fairly traditional, with a live band playing renaissance tunes before the show, but director Jordan lets us know early on that he will be taking a decidedly playful tone with the material, beginning with an original pop-rock-inspired tune that essentially stands as a prologue. In this production, people do tend to burst into song, tossing out snippets of popular rock songs, a few lovely originals by music director Don Clark, and one hilariously heartbreaking rendition of A Hundred Bottles of Beer on the Wall. Kate—a splendidly three-dimensional Melissa Claire—makes her initial appearance wielding a chainsaw, stalking across the stage while belting out the lyrics of George Thorogood’s Bad to the Bone. Petruchio—played by an excellent Alan Coyne—is not the brutish bully he is often depicted as, but a goofy sweetheart with a giddy knack for improvisational madness, and questionable taste in codpieces. The marvelous ensemble is too large to give proper credit to all, but notable standouts include a brilliant Heather Cherry as Petruchio’s frazzled servant Grumio, Tom Reilly as Kate’s gracefully befuddled father, Juliana Lustenader as Kate’s shallow-but-winsome sister, Steve Beecroft as the crafty servant Tranio, and an amiably silly Seth Dahlgren as Hortensio, a wildly persistent suitor to Bianca. And … did I mention the show is free? After 16 years, Curtain Theatre is still managing to exist solely on the donations audiences happily drop in the baskets at the end of the show. And trust me—this one is well worth paying to see. ‘Taming of the Shrew’ runs Saturdays, Sundays and Labor Day, through Sept. 13, at Old Mill Park Amphitheater in Mill Valley. All shows 2:00 p.m. Free. www.curtaintheatre.org

ACT III. SCENE I. Padua. BAPTISTA'S houseEnter LUCENTIO as CAMBIO, HORTENSIO as LICIO, and BIANCA LUCENTIO. Fiddler, forbear; you grow too forward, sir. Have you so soon forgot the entertainment Her sister Katherine welcome'd you withal? HORTENSIO. But, wrangling pedant, this is The patroness of heavenly harmony. Then give me leave to have prerogative; And when in music we have spent an hour, Your lecture shall have leisure for as much. LUCENTIO. Preposterous ass, that never read so far To know the cause why music was ordain'd! Was it not to refresh the mind of man After his studies or his usual pain? Then give me leave to read philosophy, And while I pause serve in your harmony. HORTENSIO. Sirrah, I will not bear these braves of thine. BIANCA. Why, gentlemen, you do me double wrong To strive for that which resteth in my choice. I am no breeching scholar in the schools, I'll not be tied to hours nor 'pointed times, But learn my lessons as I please myself. And to cut off all strife: here sit we down; Take you your instrument, play you the whiles! His lecture will be done ere you have tun'd. HORTENSIO. You'll leave his lecture when I am in tune? LUCENTIO. That will be never- tune your instrument. BIANCA. Where left we last? LUCENTIO. Here, madam: 'Hic ibat Simois, hic est Sigeia tellus, Hic steterat Priami regia celsa senis.' BIANCA. Construe them. LUCENTIO. 'Hic ibat' as I told you before- 'Simois' I am Lucentio- 'hic est' son unto Vincentio of Pisa- 'Sigeia tellus' disguised thus to get your love- 'Hic steterat' and that Lucentio that comes a-wooing- 'Priami' is my man Tranio- 'regia' bearing my port- 'celsa senis' that we might beguile the old pantaloon. HORTENSIO. Madam, my instrument's in tune. BIANCA. Let's hear. O fie! the treble jars. LUCENTIO. Spit in the hole, man, and tune again. BIANCA. Now let me see if I can construe it: 'Hic ibat Simois' I know you not- 'hic est Sigeia tellus' I trust you not- 'Hic steterat Priami' take heed he hear us not- 'regia' presume not- 'celsa senis' despair not. HORTENSIO. Madam, 'tis now in tune. LUCENTIO. All but the bass. HORTENSIO. The bass is right; 'tis the base knave that jars. [Aside] How fiery and forward our pedant is! Now, for my life, the knave doth court my love. Pedascule, I'll watch you better yet. BIANCA. In time I may believe, yet I mistrust. LUCENTIO. Mistrust it not- for sure, AEacides Was Ajax, call'd so from his grandfather. BIANCA. I must believe my master; else, I promise you, I should be arguing still upon that doubt; But let it rest. Now, Licio, to you. Good master, take it not unkindly, pray, That I have been thus pleasant with you both. HORTENSIO. [To LUCENTIO] You may go walk and give me leave awhile; My lessons make no music in three Parts. LUCENTIO. Are you so formal, sir? Well, I must wait, [Aside] And watch withal; for, but I be deceiv'd, Our fine musician groweth amorous. HORTENSIO. Madam, before you touch the instrument To learn the order of my fingering, I must begin with rudiments of art, To teach you gamut in a briefer sort, More pleasant, pithy, and effectual, Than hath been taught by any of my trade; And there it is in writing fairly drawn. BIANCA. Why, I am past my gamut long ago. HORTENSIO. Yet read the gamut of Hortensio. BIANCA. [Reads] '"Gamut" I am, the ground of all accord- "A re" to plead Hortensio's passion- "B mi" Bianca, take him for thy lord- "C fa ut" that loves with all affection- "D sol re" one clef, two notes have I- "E la mi" show pity or I die.' Call you this gamut? Tut, I like it not! Old fashions please me best; I am not so nice To change true rules for odd inventions.Enter a SERVANT SERVANT. Mistress, your father prays you leave your books And help to dress your sister's chamber up. You know to-morrow is the wedding-day. BIANCA. Farewell, sweet masters, both; I must be gone. Exeunt BIANCA and SERVANT LUCENTIO. Faith, mistress, then I have no cause to stay.Exit HORTENSIO. But I have cause to pry into this pedant; Methinks he looks as though he were in love. Yet if thy thoughts, Bianca, be so humble To cast thy wand'ring eyes on every stale- Seize thee that list. If once I find thee ranging, HORTENSIO will be quit with thee by changing. Exit

Exit SERVANT leading HORTENSIO carrying the lute and LUCENTIO with the books BAPTISTA. We will go walk a little in the orchard, And then to dinner. You are passing welcome, And so I pray you all to think yourselves. PETRUCHIO. Signior Baptista, my business asketh haste, And every day I cannot come to woo. You knew my father well, and in him me, Left solely heir to all his lands and goods, Which I have bettered rather than decreas'd. Then tell me, if I get your daughter's love, What dowry shall I have with her to wife? BAPTISTA. After my death, the one half of my lands And, in possession, twenty thousand crowns. PETRUCHIO. And for that dowry, I'll assure her of Her widowhood, be it that she survive me, In all my lands and leases whatsoever. Let specialities be therefore drawn between us, That covenants may be kept on either hand. BAPTISTA. Ay, when the special thing is well obtain'd, That is, her love; for that is all in all. PETRUCHIO. Why, that is nothing; for I tell you, father, I am as peremptory as she proud-minded; And where two raging fires meet together, They do consume the thing that feeds their fury. Though little fire grows great with little wind, Yet extreme gusts will blow out fire and all. So I to her, and so she yields to me; For I am rough, and woo not like a babe. BAPTISTA. Well mayst thou woo, and happy be thy speed But be thou arm'd for some unhappy words. PETRUCHIO. Ay, to the proof, as mountains are for winds, That shake not though they blow perpetually.Re-enter HORTENSIO, with his head broke BAPTISTA. How now, my friend! Why dost thou look so pale? HORTENSIO. For fear, I promise you, if I look pale. BAPTISTA. What, will my daughter prove a good musician? HORTENSIO. I think she'll sooner prove a soldier: Iron may hold with her, but never lutes. BAPTISTA. Why, then thou canst not break her to the lute? HORTENSIO. Why, no; for she hath broke the lute to me. I did but tell her she mistook her frets, And bow'd her hand to teach her fingering, When, with a most impatient devilish spirit, 'Frets, call you these?' quoth she 'I'll fume with them.' And with that word she struck me on the head, And through the instrument my pate made way; And there I stood amazed for a while, As on a pillory, looking through the lute, While she did call me rascal fiddler And twangling Jack, with twenty such vile terms, As she had studied to misuse me so. PETRUCHIO. Now, by the world, it is a lusty wench; I love her ten times more than e'er I did. O, how I long to have some chat with her! BAPTISTA. Well, go with me, and be not so discomfited; Proceed in practice with my younger daughter; She's apt to learn, and thankful for good turns. Signior Petruchio, will you go with us, Or shall I send my daughter Kate to you? PETRUCHIO. I pray you do. Exeunt all but PETRUCHIO I'll attend her here, And woo her with some spirit when she comes. Say that she rail; why, then I'll tell her plain She sings as sweetly as a nightingale. Say that she frown; I'll say she looks as clear As morning roses newly wash'd with dew. Say she be mute, and will not speak a word; Then I'll commend her volubility, And say she uttereth piercing eloquence. If she do bid me pack, I'll give her thanks, As though she bid me stay by her a week; If she deny to wed, I'll crave the day When I shall ask the banns, and when be married. But here she comes; :Lnd.now, Petruchio, speak.Enter KATHERINA Good morrow, Kate- for that's your name, I hear. KATHERINA. Well have you heard, but something hard of hearing: They call me Katherine that do talk of me. PETRUCHIO. You lie, in faith, for you are call'd plain Kate, And bonny Kate, and sometimes Kate the curst; But, Kate, the prettiest Kate in Christendom, Kate of Kate Hall, my super-dainty Kate, For dainties are all Kates, and therefore, Kate, Take this of me, Kate of my consolation- Hearing thy mildness prais'd in every town, Thy virtues spoke of, and thy beauty sounded, Yet not so deeply as to thee belongs, Myself am mov'd to woo thee for my wife. KATHERINA. Mov'd! in good time! Let him that mov'd you hither Remove you hence. I knew you at the first You were a moveable. PETRUCHIO. Why, what's a moveable? KATHERINA. A join'd-stool. PETRUCHIO. Thou hast hit it. Come, sit on me. KATHERINA. Asses are made to bear, and so are you. PETRUCHIO. Women are made to bear, and so are you. KATHERINA. No such jade as you, if me you mean. PETRUCHIO. Alas, good Kate, I will not burden thee! For, knowing thee to be but young and light- KATHERINA. Too light for such a swain as you to catch; And yet as heavy as my weight should be. PETRUCHIO. Should be! should- buzz! KATHERINA. Well ta'en, and like a buzzard. PETRUCHIO. O, slow-wing'd turtle, shall a buzzard take thee? KATHERINA. Ay, for a turtle, as he takes a buzzard. PETRUCHIO. Come, come, you wasp; i' faith, you are too angry. KATHERINA. If I be waspish, best beware my sting. PETRUCHIO. My remedy is then to pluck it out. KATHERINA. Ay, if the fool could find it where it lies. PETRUCHIO. Who knows not where a wasp does wear his sting? In his tail. KATHERINA. In his tongue. PETRUCHIO. Whose tongue? KATHERINA. Yours, if you talk of tales; and so farewell. PETRUCHIO. What, with my tongue in your tail? Nay, come again, Good Kate; I am a gentleman. KATHERINA. That I'll try. [She strikes him] PETRUCHIO. I swear I'll cuff you, if you strike again. KATHERINA. So may you lose your arms. If you strike me, you are no gentleman; And if no gentleman, why then no arms. PETRUCHIO. A herald, Kate? O, put me in thy books! KATHERINA. What is your crest- a coxcomb? PETRUCHIO. A combless cock, so Kate will be my hen. KATHERINA. No cock of mine: you crow too like a craven. PETRUCHIO. Nay, come, Kate, come; you must not look so sour. KATHERINA. It is my fashion, when I see a crab. PETRUCHIO. Why, here's no crab; and therefore look not sour. KATHERINA. There is, there is. PETRUCHIO. Then show it me. KATHERINA. Had I a glass I would. PETRUCHIO. What, you mean my face? KATHERINA. Well aim'd of such a young one. PETRUCHIO. Now, by Saint George, I am too young for you. KATHERINA. Yet you are wither'd. PETRUCHIO. 'Tis with cares. KATHERINA. I care not. PETRUCHIO. Nay, hear you, Kate- in sooth, you scape not so. KATHERINA. I chafe you, if I tarry; let me go. PETRUCHIO. No, not a whit; I find you passing gentle. 'Twas told me you were rough, and coy, and sullen, And now I find report a very liar; For thou art pleasant, gamesome, passing courteous, But slow in speech, yet sweet as springtime flowers. Thou canst not frown, thou canst not look askance, Nor bite the lip, as angry wenches will, Nor hast thou pleasure to be cross in talk; But thou with mildness entertain'st thy wooers; With gentle conference, soft and affable. Why does the world report that Kate doth limp? O sland'rous world! Kate like the hazel-twig Is straight and slender, and as brown in hue As hazel-nuts, and sweeter than the kernels. O, let me see thee walk. Thou dost not halt. KATHERINA. Go, fool, and whom thou keep'st command. PETRUCHIO. Did ever Dian so become a grove As Kate this chamber with her princely gait? O, be thou Dian, and let her be Kate; And then let Kate be chaste, and Dian sportful! KATHERINA. Where did you study all this goodly speech? PETRUCHIO. It is extempore, from my mother wit. KATHERINA. A witty mother! witless else her son. PETRUCHIO. Am I not wise? KATHERINA. Yes, keep you warm. PETRUCHIO. Marry, so I mean, sweet Katherine, in thy bed. And therefore, setting all this chat aside, Thus in plain terms: your father hath consented That you shall be my wife your dowry greed on; And will you, nill you, I will marry you. Now, Kate, I am a husband for your turn; For, by this light, whereby I see thy beauty, Thy beauty that doth make me like thee well, Thou must be married to no man but me; For I am he am born to tame you, Kate, And bring you from a wild Kate to a Kate Conformable as other household Kates.Re-enter BAPTISTA, GREMIO, and TRANIO Here comes your father. Never make denial; I must and will have Katherine to my wife. BAPTISTA. Now, Signior Petruchio, how speed you with my daughter? PETRUCHIO. How but well, sir? how but well? It were impossible I should speed amiss.

ACT Il. SCENE I. Padua. BAPTISTA'S houseEnter KATHERINA and BIANCA BIANCA. Good sister, wrong me not, nor wrong yourself, To make a bondmaid and a slave of me- That I disdain; but for these other gawds, Unbind my hands, I'll pull them off myself, Yea, all my raiment, to my petticoat; Or what you will command me will I do, So well I know my duty to my elders. KATHERINA. Of all thy suitors here I charge thee tell Whom thou lov'st best. See thou dissemble not. BIANCA. Believe me, sister, of all the men alive I never yet beheld that special face Which I could fancy more than any other. KATHERINA. Minion, thou liest. Is't not Hortensio? BIANCA. If you affect him, sister, here I swear I'll plead for you myself but you shall have him. KATHERINA. O then, belike, you fancy riches more: You will have Gremio to keep you fair. BIANCA. Is it for him you do envy me so? Nay, then you jest; and now I well perceive You have but jested with me all this while. I prithee, sister Kate, untie my hands. KATHERINA. [Strikes her] If that be jest, then an the rest was so.Enter BAPTISTA BAPTISTA. Why, how now, dame! Whence grows this insolence? Bianca, stand aside- poor girl! she weeps. [He unbinds her] Go ply thy needle; meddle not with her. For shame, thou hilding of a devilish spirit, Why dost thou wrong her that did ne'er wrong thee? When did she cross thee with a bitter word? KATHERINA. Her silence flouts me, and I'll be reveng'd. [Flies after BIANCA] BAPTISTA. What, in my sight? Bianca, get thee in. Exit BIANCA KATHERINA. What, will you not suffer me? Nay, now I see She is your treasure, she must have a husband; I must dance bare-foot on her wedding-day, And for your love to her lead apes in hell. Talk not to me; I will go sit and weep, Till I can find occasion of revenge. Exit KATHERINA BAPTISTA. Was ever gentleman thus griev'd as I? But who comes here? Enter GREMIO, with LUCENTIO in the habit of a mean man; PETRUCHIO, with HORTENSIO as a musician; and TRANIO, as LUCENTIO, with his boy, BIONDELLO, bearing a lute and books GREMIO. Good morrow, neighbour Baptista. BAPTISTA. Good morrow, neighbour Gremio. God save you, gentlemen! PETRUCHIO. And you, good sir! Pray, have you not a daughter Call'd Katherina, fair and virtuous? BAPTISTA. I have a daughter, sir, call'd Katherina. GREMIO. You are too blunt; go to it orderly. PETRUCHIO. You wrong me, Signior Gremio; give me leave. I am a gentleman of Verona, sir, That, hearing of her beauty and her wit, Her affability and bashful modesty, Her wondrous qualities and mild behaviour, Am bold to show myself a forward guest Within your house, to make mine eye the witness Of that report which I so oft have heard. And, for an entrance to my entertainment, I do present you with a man of mine, [Presenting HORTENSIO] Cunning in music and the mathematics, To instruct her fully in those sciences, Whereof I know she is not ignorant. Accept of him, or else you do me wrong- His name is Licio, born in Mantua. BAPTISTA. Y'are welcome, sir, and he for your good sake; But for my daughter Katherine, this I know, She is not for your turn, the more my grief. PETRUCHIO. I see you do not mean to part with her; Or else you like not of my company. BAPTISTA. Mistake me not; I speak but as I find. Whence are you, sir? What may I call your name? PETRUCHIO. Petruchio is my name, Antonio's son, A man well known throughout all Italy. BAPTISTA. I know him well; you are welcome for his sake. GREMIO. Saving your tale, Petruchio, I pray, Let us that are poor petitioners speak too. Bacare! you are marvellous forward. PETRUCHIO. O, pardon me, Signior Gremio! I would fain be doing. GREMIO. I doubt it not, sir; but you will curse your wooing. Neighbour, this is a gift very grateful, I am sure of it. To express the like kindness, myself, that have been more kindly beholding to you than any, freely give unto you this young scholar [Presenting LUCENTIO] that hath been long studying at Rheims; as cunning in Greek, Latin, and other languages, as the other in music and mathematics. His name is Cambio. Pray accept his service. BAPTISTA. A thousand thanks, Signior Gremio. Welcome, good Cambio. [To TRANIO] But, gentle sir, methinks you walk like a stranger. May I be so bold to know the cause of your coming? TRANIO. Pardon me, sir, the boldness is mine own That, being a stranger in this city here, Do make myself a suitor to your daughter, Unto Bianca, fair and virtuous. Nor is your firm resolve unknown to me In the preferment of the eldest sister. This liberty is all that I request- That, upon knowledge of my parentage, I may have welcome 'mongst the rest that woo, And free access and favour as the rest. And toward the education of your daughters I here bestow a simple instrument, And this small packet of Greek and Latin books. If you accept them, then their worth is great. BAPTISTA. Lucentio is your name? Of whence, I pray? TRANIO. Of Pisa, sir; son to Vincentio. BAPTISTA. A mighty man of Pisa. By report I know him well. You are very welcome, sir. Take you the lute, and you the set of books; You shall go see your pupils presently. Holla, within!Enter a SERVANT Sirrah, lead these gentlemen To my daughters; and tell them both These are their tutors. Bid them use them well. Exit SERVANT leading HORTENSIO carrying the lute and LUCENTIO with the books

GRUMIO. Will he woo her? Ay, or I'll hang her. PETRUCHIO. Why came I hither but to that intent? Think you a little din can daunt mine ears? Have I not in my time heard lions roar? Have I not heard the sea, puff'd up with winds, Rage like an angry boar chafed with sweat? Have I not heard great ordnance in the field, And heaven's artillery thunder in the skies? Have I not in a pitched battle heard Loud 'larums, neighing steeds, and trumpets' clang? And do you tell me of a woman's tongue, That gives not half so great a blow to hear As will a chestnut in a fariner's fire? Tush! tush! fear boys with bugs. GRUMIO. For he fears none. GREMIO. Hortensio, hark: This gentleman is happily arriv'd, My mind presumes, for his own good and ours. HORTENSIO. I promis'd we would be contributors And bear his charge of wooing, whatsoe'er. GREMIO. And so we will- provided that he win her. GRUMIO. I would I were as sure of a good dinner.Enter TRANIO, bravely apparelled as LUCENTIO, and BIONDELLO TRANIO. Gentlemen, God save you! If I may be bold, Tell me, I beseech you, which is the readiest way To the house of Signior Baptista Minola? BIONDELLO. He that has the two fair daughters; is't he you mean? TRANIO. Even he, Biondello. GREMIO. Hark you, sir, you mean not her to- TRANIO. Perhaps him and her, sir; what have you to do? PETRUCHIO. Not her that chides, sir, at any hand, I pray. TRANIO. I love no chiders, sir. Biondello, let's away. LUCENTIO. [Aside] Well begun, Tranio. HORTENSIO. Sir, a word ere you go. Are you a suitor to the maid you talk of, yea or no? TRANIO. And if I be, sir, is it any offence? GREMIO. No; if without more words you will get you hence. TRANIO. Why, sir, I pray, are not the streets as free For me as for you? GREMIO. But so is not she. TRANIO. For what reason, I beseech you? GREMIO. For this reason, if you'll know, That she's the choice love of Signior Gremio. HORTENSIO. That she's the chosen of Signior Hortensio. TRANIO. Softly, my masters! If you be gentlemen, Do me this right- hear me with patience. Baptista is a noble gentleman, To whom my father is not all unknown, And, were his daughter fairer than she is, She may more suitors have, and me for one. Fair Leda's daughter had a thousand wooers; Then well one more may fair Bianca have; And so she shall: Lucentio shall make one, Though Paris came in hope to speed alone. GREMIO. What, this gentleman will out-talk us all! LUCENTIO. Sir, give him head; I know he'll prove a jade. PETRUCHIO. Hortensio, to what end are all these words? HORTENSIO. Sir, let me be so bold as ask you, Did you yet ever see Baptista's daughter? TRANIO. No, sir, but hear I do that he hath two: The one as famous for a scolding tongue As is the other for beauteous modesty. PETRUCHIO. Sir, sir, the first's for me; let her go by. GREMIO. Yea, leave that labour to great Hercules, And let it be more than Alcides' twelve. PETRUCHIO. Sir, understand you this of me, in sooth: The youngest daughter, whom you hearken for, Her father keeps from all access of suitors, And will not promise her to any man Until the elder sister first be wed. The younger then is free, and not before. TRANIO. If it be so, sir, that you are the man Must stead us all, and me amongst the rest; And if you break the ice, and do this feat, Achieve the elder, set the younger free For our access- whose hap shall be to have her Will not so graceless be to be ingrate. HORTENSIO. Sir, you say well, and well you do conceive; And since you do profess to be a suitor, You must, as we do, gratify this gentleman, To whom we all rest generally beholding. TRANIO. Sir, I shall not be slack; in sign whereof, Please ye we may contrive this afternoon, And quaff carouses to our mistress' health; And do as adversaries do in law- Strive mightily, but eat and drink as friends. GRUMIO, BIONDELLO. O excellent motion! Fellows, let's be gone. HORTENSIO. The motion's good indeed, and be it so. Petruchio, I shall be your ben venuto. Exeunt

HORTENSIO. Her father is Baptista Minola, An affable and courteous gentleman; Her name is Katherina Minola, Renown'd in Padua for her scolding tongue. PETRUCHIO. I know her father, though I know not her; And he knew my deceased father well. I will not sleep, Hortensio, till I see her; And therefore let me be thus bold with you To give you over at this first encounter, Unless you will accompany me thither. GRUMIO. I pray you, sir, let him go while the humour lasts. O' my word, and she knew him as well as I do, she would think scolding would do little good upon him. She may perhaps call him half a score knaves or so. Why, that's nothing; and he begin once, he'll rail in his rope-tricks. I'll tell you what, sir: an she stand him but a little, he will throw a figure in her face, and so disfigure her with it that she shall have no more eyes to see withal than a cat. You know him not, sir. HORTENSIO. Tarry, Petruchio, I must go with thee, For in Baptista's keep my treasure is. He hath the jewel of my life in hold, His youngest daughter, beautiful Bianca; And her withholds from me, and other more, Suitors to her and rivals in my love; Supposing it a thing impossible- For those defects I have before rehears'd- That ever Katherina will be woo'd. Therefore this order hath Baptista ta'en, That none shall have access unto Bianca Till Katherine the curst have got a husband. GRUMIO. Katherine the curst! A title for a maid of all titles the worst. HORTENSIO. Now shall my friend Petruchio do me grace, And offer me disguis'd in sober robes To old Baptista as a schoolmaster Well seen in music, to instruct Bianca; That so I may by this device at least Have leave and leisure to make love to her, And unsuspected court her by herself.Enter GREMIO with LUCENTIO disguised as CAMBIO GRUMIO. Here's no knavery! See, to beguile the old folks, how the young folks lay their heads together! Master, master, look about you. Who goes there, ha? HORTENSIO. Peace, Grumio! It is the rival of my love. Petruchio, stand by awhile. GRUMIO. A proper stripling, and an amorous! [They stand aside] GREMIO. O, very well; I have perus'd the note. Hark you, sir; I'll have them very fairly bound- All books of love, see that at any hand; And see you read no other lectures to her. You understand me- over and beside Signior Baptista's liberality, I'll mend it with a largess. Take your paper too, And let me have them very well perfum'd; For she is sweeter than perfume itself To whom they go to. What will you read to her? LUCENTIO. Whate'er I read to her, I'll plead for you As for my patron, stand you so assur'd, As firmly as yourself were still in place; Yea, and perhaps with more successful words Than you, unless you were a scholar, sir. GREMIO. O this learning, what a thing it is! GRUMIO. O this woodcock, what an ass it is! PETRUCHIO. Peace, sirrah! HORTENSIO. Grumio, mum! [Coming forward] God save you, Signior Gremio! GREMIO. And you are well met, Signior Hortensio. Trow you whither I am going? To Baptista Minola. I promis'd to enquire carefully About a schoolmaster for the fair Bianca; And by good fortune I have lighted well On this young man; for learning and behaviour Fit for her turn, well read in poetry And other books- good ones, I warrant ye. HORTENSIO. 'Tis well; and I have met a gentleman Hath promis'd me to help me to another, A fine musician to instruct our mistress; So shall I no whit be behind in duty To fair Bianca, so beloved of me. GREMIO. Beloved of me- and that my deeds shall prove. GRUMIO. And that his bags shall prove. HORTENSIO. Gremio, 'tis now no time to vent our love. Listen to me, and if you speak me fair I'll tell you news indifferent good for either. Here is a gentleman whom by chance I met, Upon agreement from us to his liking, Will undertake to woo curst Katherine; Yea, and to marry her, if her dowry please. GREMIO. So said, so done, is well. Hortensio, have you told him all her faults? PETRUCHIO. I know she is an irksome brawling scold; If that be all, masters, I hear no harm. GREMIO. No, say'st me so, friend? What countryman? PETRUCHIO. Born in Verona, old Antonio's son. My father dead, my fortune lives for me; And I do hope good days and long to see. GREMIO. O Sir, such a life with such a wife were strange! But if you have a stomach, to't a God's name; You shall have me assisting you in all. But will you woo this wild-cat? PETRUCHIO. Will I live? GRUMIO. Will he woo her? Ay, or I'll hang her.

ACT I. SCENE II. Padua. Before HORTENSIO'S houseEnter PETRUCHIO and his man GRUMIOPETRUCHIO. Verona, for a while I take my leave,To see my friends in Padua; but of allMy best beloved and approved friend,Hortensio; and I trow this is his house.Here, sirrah Grumio, knock, I say.GRUMIO. Knock, sir! Whom should I knock?Is there any man has rebus'd your worship?PETRUCHIO. Villain, I say, knock me here soundly.GRUMIO. Knock you here, sir? Why, sir, what am I, sir, that Ishould knock you here, sir?PETRUCHIO. Villain, I say, knock me at this gate,And rap me well, or I'll knock your knave's pate.GRUMIO. My master is grown quarrelsome. I should knock you first,And then I know after who comes by the worst.PETRUCHIO. Will it not be?Faith, sirrah, an you'll not knock I'll ring it;I'll try how you can sol-fa, and sing it.[He wrings him by the ears]GRUMIO. Help, masters, help! My master is mad.PETRUCHIO. Now knock when I bid you, sirrah villain!Enter HORTENSIOHORTENSIO. How now! what's the matter? My old friend Grumio and mygood friend Petruchio! How do you all at Verona?PETRUCHIO. Signior Hortensio, come you to part the fray?'Con tutto il cuore ben trovato' may I say.HORTENSIO. Alla nostra casa ben venuto,Molto honorato signor mio Petruchio.Rise, Grumio, rise; we will compound this quarrel.GRUMIO. Nay, 'tis no matter, sir, what he 'leges in Latin. If thisbe not a lawful cause for me to leave his service- look you, sir:he bid me knock him and rap him soundly, sir. Well, was it fitfor a servant to use his master so; being, perhaps, for aught Isee, two and thirty, a pip out?Whom would to God I had well knock'd at first,Then had not Grumio come by the worst.PETRUCHIO. A senseless villain! Good Hortensio,I bade the rascal knock upon your gate,And could not get him for my heart to do it.GRUMIO. Knock at the gate? O heavens! Spake you not these wordsplain: 'Sirrah knock me here, rap me here, knock me well, andknock me soundly'? And come you now with 'knocking at the gate'?PETRUCHIO. Sirrah, be gone, or talk not, I advise you.HORTENSIO. Petruchio, patience; I am Grumio's pledge;Why, this's a heavy chance 'twixt him and you,Your ancient, trusty, pleasant servant Grumio.And tell me now, sweet friend, what happy galeBlows you to Padua here from old Verona?PETRUCHIO. Such wind as scatters young men through the worldTo seek their fortunes farther than at home,Where small experience grows. But in a few,Signior Hortensio, thus it stands with me:Antonio, my father, is deceas'd,And I have thrust myself into this maze,Haply to wive and thrive as best I may;Crowns in my purse I have, and goods at home,And so am come abroad to see the world.HORTENSIO. Petruchio, shall I then come roundly to theeAnd wish thee to a shrewd ill-favour'd wife?Thou'dst thank me but a little for my counsel,And yet I'll promise thee she shall be rich,And very rich; but th'art too much my friend,And I'll not wish thee to her.PETRUCHIO. Signior Hortensio, 'twixt such friends as weFew words suffice; and therefore, if thou knowOne rich enough to be Petruchio's wife,As wealth is burden of my wooing dance,Be she as foul as was Florentius' love,As old as Sibyl, and as curst and shrewdAs Socrates' Xanthippe or a worse-She moves me not, or not removes, at least,Affection's edge in me, were she as roughAs are the swelling Adriatic seas.I come to wive it wealthily in Padua;If wealthily, then happily in Padua.GRUMIO. Nay, look you, sir, he tells you flatly what his mind is.Why, give him gold enough and marry him to a puppet or anaglet-baby, or an old trot with ne'er a tooth in her head, thoughshe has as many diseases as two and fifty horses. Why, nothingcomes amiss, so money comes withal.HORTENSIO. Petruchio, since we are stepp'd thus far in,I will continue that I broach'd in jest.I can, Petruchio, help thee to a wifeWith wealth enough, and young and beauteous;Brought up as best becomes a gentlewoman;Her only fault, and that is faults enough,Is- that she is intolerable curst,And shrewd and froward so beyond all measureThat, were my state far worser than it is,I would not wed her for a mine of gold.PETRUCHIO. Hortensio, peace! thou know'st not gold's effect.Tell me her father's name, and 'tis enough;For I will board her though she chide as loudAs thunder when the clouds in autumn crack.HORTENSIO. Her father is Baptista Minola,An affable and courteous gentleman;Her name is Katherina Minola,Renown'd in Padua for her scolding tongue.

BAPTISTA. ... Bianca, get you in;And let it not displease thee, good Bianca,For I will love thee ne'er the less, my girl.KATHERINA. A pretty peat! it is bestPut finger in the eye, an she knew why.BIANCA. Sister, content you in my discontent.Sir, to your pleasure humbly I subscribe;My books and instruments shall be my company,On them to look, and practise by myself.LUCENTIO. Hark, Tranio, thou mayst hear Minerva speak!HORTENSIO. Signior Baptista, will you be so strange?Sorry am I that our good will effectsBianca's grief.GREMIO. Why will you mew her up,Signior Baptista, for this fiend of hell,And make her bear the penance of her tongue?BAPTISTA. Gentlemen, content ye; I am resolv'd.Go in, Bianca. Exit BIANCAAnd for I know she taketh most delightIn music, instruments, and poetry,Schoolmasters will I keep within my houseFit to instruct her youth. If you, Hortensio,Or, Signior Gremio, you, know any such,Prefer them hither; for to cunning menI will be very kind, and liberalTo mine own children in good bringing-up;And so, farewell. Katherina, you may stay;For I have more to commune with Bianca. ExitKATHERINA. Why, and I trust I may go too, may I not?What! shall I be appointed hours, as though, belike,I knew not what to take and what to leave? Ha! ExitGREMIO. You may go to the devil's dam; your gifts are so goodhere's none will hold you. There! Love is not so great,Hortensio, but we may blow our nails together, and fast it fairlyout; our cake's dough on both sides. Farewell; yet, for the loveI bear my sweet Bianca, if I can by any means light on a fit manto teach her that wherein she delights, I will wish him to herfather.HORTENSIO. SO Will I, Signior Gremio; but a word, I pray. Thoughthe nature of our quarrel yet never brook'd parle, know now, uponadvice, it toucheth us both- that we may yet again have access toour fair mistress, and be happy rivals in Bianca's love- tolabour and effect one thing specially.GREMIO. What's that, I pray?HORTENSIO. Marry, sir, to get a husband for her sister.GREMIO. A husband? a devil.HORTENSIO. I say a husband.GREMIO. I say a devil. Think'st thou, Hortensio, though her fatherbe very rich, any man is so very a fool to be married to hell?HORTENSIO. Tush, Gremio! Though it pass your patience and mine toendure her loud alarums, why, man, there be good fellows in theworld, an a man could light on them, would take her with allfaults, and money enough.GREMIO. I cannot tell; but I had as lief take her dowry with thiscondition: to be whipp'd at the high cross every morning.HORTENSIO. Faith, as you say, there's small choice in rottenapples. But, come; since this bar in law makes us friends, itshall be so far forth friendly maintain'd till by helpingBaptista's eldest daughter to a husband we set his youngest freefor a husband, and then have to't afresh. Sweet Bianca! Happy manbe his dole! He that runs fastest gets the ring. How say you,Signior Gremio?GREMIO. I am agreed; and would I had given him the best horse inPadua to begin his wooing that would thoroughly woo her, wed her,and bed her, and rid the house of her! Come on.Exeunt GREMIO and HORTENSIOTRANIO. I pray, sir, tell me, is it possibleThat love should of a sudden take such hold?LUCENTIO. O Tranio, till I found it to be true,I never thought it possible or likely.But see! while idly I stood looking on,I found the effect of love in idleness;And now in plainness do confess to thee,That art to me as secret and as dearAs Anna to the Queen of Carthage was-Tranio, I burn, I pine, I perish, Tranio,If I achieve not this young modest girl.Counsel me, Tranio, for I know thou canst;Assist me, Tranio, for I know thou wilt.TRANIO. Master, it is no time to chide you now;Affection is not rated from the heart;If love have touch'd you, nought remains but so:'Redime te captum quam queas minimo.'LUCENTIO. Gramercies, lad. Go forward; this contents;The rest will comfort, for thy counsel's sound.TRANIO. Master, you look'd so longly on the maid.Perhaps you mark'd not what's the pith of all.LUCENTIO. O, yes, I saw sweet beauty in her face,Such as the daughter of Agenor had,That made great Jove to humble him to her hand,When with his knees he kiss'd the Cretan strand.TRANIO. Saw you no more? Mark'd you not how her sisterBegan to scold and raise up such a stormThat mortal ears might hardly endure the din?LUCENTIO. Tranio, I saw her coral lips to move,And with her breath she did perfume the air;Sacred and sweet was all I saw in her.TRANIO. Nay, then 'tis time to stir him from his trance.I pray, awake, sir. If you love the maid,Bend thoughts and wits to achieve her. Thus it stands:Her elder sister is so curst and shrewdThat, till the father rid his hands of her,Master, your love must live a maid at home;And therefore has he closely mew'd her up,Because she will not be annoy'd with suitors.LUCENTIO. Ah, Tranio, what a cruel father's he!But art thou not advis'd he took some careTo get her cunning schoolmasters to instruct her?TRANIO. Ay, marry, am I, sir, and now 'tis plotted.LUCENTIO. I have it, Tranio.TRANIO. Master, for my hand,Both our inventions meet and jump in one.LUCENTIO. Tell me thine first.TRANIO. You will be schoolmaster,And undertake the teaching of the maid-That's your device.LUCENTIO. It is. May it be done?TRANIO. Not possible; for who shall bear your partAnd be in Padua here Vincentio's son;Keep house and ply his book, welcome his friends,Visit his countrymen, and banquet them?LUCENTIO. Basta, content thee, for I have it full.We have not yet been seen in any house,Nor can we be distinguish'd by our facesFor man or master. Then it follows thus:Thou shalt be master, Tranio, in my stead,Keep house and port and servants, as I should;I will some other be- some Florentine,Some Neapolitan, or meaner man of Pisa.'Tis hatch'd, and shall be so. Tranio, at onceUncase thee; take my colour'd hat and cloak.When Biondello comes, he waits on thee;But I will charm him first to keep his tongue.TRANIO. So had you need. [They exchange habits]In brief, sir, sith it your pleasure is,And I am tied to be obedient-For so your father charg'd me at our parting:'Be serviceable to my son' quoth he,Although I think 'twas in another sense-I am content to be Lucentio,Because so well I love Lucentio.LUCENTIO. Tranio, be so because Lucentio loves;And let me be a slave t' achieve that maidWhose sudden sight hath thrall'd my wounded eye.Enter BIONDELLO.Here comes the rogue. Sirrah, where have you been?BIONDELLO. Where have I been! Nay, how now! where are you?Master, has my fellow Tranio stol'n your clothes?Or you stol'n his? or both? Pray, what's the news?LUCENTIO. Sirrah, come hither; 'tis no time to jest,And therefore frame your manners to the time.Your fellow Tranio here, to save my life,Puts my apparel and my count'nance on,And I for my escape have put on his;For in a quarrel since I came ashoreI kill'd a man, and fear I was descried.Wait you on him, I charge you, as becomes,While I make way from hence to save my life.You understand me?BIONDELLO. I, sir? Ne'er a whit.LUCENTIO. And not a jot of Tranio in your mouth:Tranio is chang'd into Lucentio.BIONDELLO. The better for him; would I were so too!TRANIO. So could I, faith, boy, to have the next wish after,That Lucentio indeed had Baptista's youngest daughter.But, sirrah, not for my sake but your master's, I adviseYou use your manners discreetly in all kind of companies.When I am alone, why, then I am Tranio;But in all places else your master Lucentio.LUCENTIO. Tranio, let's go.One thing more rests, that thyself execute-To make one among these wooers. If thou ask me why-Sufficeth, my reasons are both good and weighty. ExeuntThe Presenters above speakFIRST SERVANT. My lord, you nod; you do not mind the play.SLY. Yes, by Saint Anne do I. A good matter, surely; comes thereany more of it?PAGE. My lord, 'tis but begun.SLY. 'Tis a very excellent piece of work, madam ladyWould 'twere done! [They sit and mark]

Enter the PAGE as a lady, with ATTENDANTSSLY. I thank thee; thou shalt not lose by it.PAGE. How fares my noble lord?SLY. Marry, I fare well; for here is cheer enough.Where is my wife?PAGE. Here, noble lord; what is thy will with her?SLY. Are you my wife, and will not call me husband?My men should call me 'lord'; I am your goodman.PAGE. My husband and my lord, my lord and husband;I am your wife in all obedience.SLY. I know it well. What must I call her?LORD. Madam.SLY. Al'ce madam, or Joan madam?LORD. Madam, and nothing else; so lords call ladies.SLY. Madam wife, they say that I have dream'dAnd slept above some fifteen year or more.PAGE. Ay, and the time seems thirty unto me,Being all this time abandon'd from your bed.SLY. 'Tis much. Servants, leave me and her alone.Exeunt SERVANTSMadam, undress you, and come now to bed.PAGE. Thrice noble lord, let me entreat of youTo pardon me yet for a night or two;Or, if not so, until the sun be set.For your physicians have expressly charg'd,In peril to incur your former malady,That I should yet absent me from your bed.I hope this reason stands for my excuse.SLY. Ay, it stands so that I may hardly tarry so long. But I wouldbe loath to fall into my dreams again. I will therefore tarry indespite of the flesh and the blood.Enter a MESSENGERMESSENGER. Your honour's players, hearing your amendment,Are come to play a pleasant comedy;For so your doctors hold it very meet,Seeing too much sadness hath congeal'd your blood,And melancholy is the nurse of frenzy.Therefore they thought it good you hear a playAnd frame your mind to mirth and merriment,Which bars a thousand harms and lengthens life.SLY. Marry, I will; let them play it. Is not a comonty aChristmas gambold or a tumbling-trick?PAGE. No, my good lord, it is more pleasing stuff.SLY. What, household stuff?PAGE. It is a kind of history.SLY. Well, we'll see't. Come, madam wife, sit by my side and letthe world slip;-we shall ne'er be younger.[They sit down]A flourish of trumpets announces the playACT I. SCENE I. Padua. A public placeEnter LUCENTIO and his man TRANIOLUCENTIO. Tranio, since for the great desire I hadTo see fair Padua, nursery of arts,I am arriv'd for fruitful Lombardy,The pleasant garden of great Italy,And by my father's love and leave am arm'dWith his good will and thy good company,My trusty servant well approv'd in all,Here let us breathe, and haply instituteA course of learning and ingenious studies.Pisa, renowned for grave citizens,Gave me my being and my father first,A merchant of great traffic through the world,Vincentio, come of the Bentivolii;Vincentio's son, brought up in Florence,It shall become to serve all hopes conceiv'd,To deck his fortune with his virtuous deeds.And therefore, Tranio, for the time I study,Virtue and that part of philosophyWill I apply that treats of happinessBy virtue specially to be achiev'd.Tell me thy mind; for I have Pisa leftAnd am to Padua come as he that leavesA shallow plash to plunge him in the deep,And with satiety seeks to quench his thirst.TRANIO. Mi perdonato, gentle master mine;I am in all affected as yourself;Glad that you thus continue your resolveTo suck the sweets of sweet philosophy.Only, good master, while we do admireThis virtue and this moral discipline,Let's be no Stoics nor no stocks, I pray,Or so devote to Aristotle's checksAs Ovid be an outcast quite abjur'd.Balk logic with acquaintance that you have,And practise rhetoric in your common talk;Music and poesy use to quicken you;The mathematics and the metaphysics,Fall to them as you find your stomach serves you.No profit grows where is no pleasure ta'en;In brief, sir, study what you most affect.LUCENTIO. Gramercies, Tranio, well dost thou advise.If, Biondello, thou wert come ashore,We could at once put us in readiness,And take a lodging fit to entertainSuch friends as time in Padua shall beget.Enter BAPTISTA with his two daughters, KATHERINAand BIANCA; GREMIO, a pantaloon; HORTENSIO,suitor to BIANCA. LUCENTIO and TRANIO stand byBut stay awhile; what company is this?TRANIO. Master, some show to welcome us to town.BAPTISTA. Gentlemen, importune me no farther,For how I firmly am resolv'd you know;That is, not to bestow my youngest daughterBefore I have a husband for the elder.If either of you both love Katherina,Because I know you well and love you well,Leave shall you have to court her at your pleasure.GREMIO. To cart her rather. She's too rough for me.There, there, Hortensio, will you any wife?KATHERINA. [To BAPTISTA] I pray you, sir, is it your willTo make a stale of me amongst these mates?HORTENSIO. Mates, maid! How mean you that? No mates for you,Unless you were of gentler, milder mould.KATHERINA. I' faith, sir, you shall never need to fear;Iwis it is not halfway to her heart;But if it were, doubt not her care should beTo comb your noddle with a three-legg'd stool,And paint your face, and use you like a fool.HORTENSIO. From all such devils, good Lord deliver us!GREMIO. And me, too, good Lord!TRANIO. Husht, master! Here's some good pastime toward;That wench is stark mad or wonderful froward.LUCENTIO. But in the other's silence do I seeMaid's mild behaviour and sobriety.Peace, Tranio!TRANIO. Well said, master; mum! and gaze your fill.BAPTISTA. Gentlemen, that I may soon make goodWhat I have said- Bianca, get you in;And let it not displease thee, good Bianca,For I will love thee ne'er the less, my girl.

THE TAMING OF THE SHREWby William Shakespeare1594Dramatis PersonaePersons in the InductionA LORDCHRISTOPHER SLY, a tinkerHOSTESSPAGEPLAYERSHUNTSMENSERVANTSBAPTISTA MINOLA, a gentleman of PaduaVINCENTIO, a Merchant of PisaLUCENTIO, son to Vincentio, in love with BiancaPETRUCHIO, a gentleman of Verona, a suitor to KatherinaSuitors to BiancaGREMIOHORTENSIOServants to LucentioTRANIOBIONDELLOServants to PetruchioGRUMIOCURTISA PEDANTDaughters to BaptistaKATHERINA, the shrewBIANCAA WIDOWTailor, Haberdasher, and Servants attending on Baptista andPetruchioSCENE: Padua, and PETRUCHIO'S house in the countrySC_1INDUCTION. SCENE I.Before an alehouse on a heathEnter HOSTESS and SLYSLY. I'll pheeze you, in faith.HOSTESS. A pair of stocks, you rogue!SLY. Y'are a baggage; the Slys are no rogues. Look in thechronicles: we came in with Richard Conqueror. Therefore,paucaspallabris; let the world slide. Sessa!HOSTESS. You will not pay for the glasses you have burst?SLY. No, not a denier. Go by, Saint Jeronimy, go to thy coldbedand warm thee.HOSTESS. I know my remedy; I must go fetch the third-borough.ExitSLY. Third, or fourth, or fifth borough, I'll answer him bylaw.I'll not budge an inch, boy; let him come, and kindly.[Falls asleep]Wind horns. Enter a LORD from bunting, with his trainLORD. Huntsman, I charge thee, tender well my hounds;Brach Merriman, the poor cur, is emboss'd;And couple Clowder with the deep-mouth'd brach.Saw'st thou not, boy, how Silver made it goodAt the hedge corner, in the coldest fault?I would not lose the dog for twenty pound.FIRST HUNTSMAN. Why, Belman is as good as he, my lord;He cried upon it at the merest loss,And twice to-day pick'd out the dullest scent;Trust me, I take him for the better dog.LORD. Thou art a fool; if Echo were as fleet,I would esteem him worth a dozen such.But sup them well, and look unto them all;To-morrow I intend to hunt again.FIRST HUNTSMAN. I will, my lord.LORD. What's here? One dead, or drunk?See, doth he breathe?SECOND HUNTSMAN. He breathes, my lord. Were he not warm'd withale,This were a bed but cold to sleep so soundly.LORD. O monstrous beast, how like a swine he lies!Grim death, how foul and loathsome is thine image!Sirs, I will practise on this drunken man.What think you, if he were convey'd to bed,Wrapp'd in sweet clothes, rings put upon his fingers,A most delicious banquet by his bed,And brave attendants near him when he wakes,Would not the beggar then forget himself?FIRST HUNTSMAN. Believe me, lord, I think he cannot choose.SECOND HUNTSMAN. It would seem strange unto him when he wak'd.LORD. Even as a flatt'ring dream or worthless fancy.Then take him up, and manage well the jest:Carry him gently to my fairest chamber,And hang it round with all my wanton pictures;Balm his foul head in warm distilled waters,And burn sweet wood to make the lodging sweet;Procure me music ready when he wakes,To make a dulcet and a heavenly sound;And if he chance to speak, be ready straight,And with a low submissive reverenceSay 'What is it your honour will command?'Let one attend him with a silver basinFull of rose-water and bestrew'd with flowers;Another bear the ewer, the third a diaper,And say 'Will't please your lordship cool your hands?'Some one be ready with a costly suit,And ask him what apparel he will wear;Another tell him of his hounds and horse,And that his lady mourns at his disease;Persuade him that he hath been lunatic,And, when he says he is, say that he dreams,For he is nothing but a mighty lord.This do, and do it kindly, gentle sirs;It will be pastime passing excellent,If it be husbanded with modesty.FIRST HUNTSMAN. My lord, I warrant you we will play our partAs he shall think by our true diligenceHe is no less than what we say he is.LORD. Take him up gently, and to bed with him;And each one to his office when he wakes.[SLY is carried out. A trumpet sounds]Sirrah, go see what trumpet 'tis that sounds-Exit SERVANTBelike some noble gentleman that means,Travelling some journey, to repose him here.

Este episodio de CS se titula "Agustín – Parte 1."Tarde te he amado, Belleza siempre antigua y siempre nueva. Tarde te he amado. Y, he aquí que tú estabas dentro y yo fuera. Y te buscaba fuera. Desorientado, iba corriendo tras esas formas de belleza que tú habías creado. Tú estabas conmigo, y yo no estaba contigo cuando esas cosas me retenían lejos de ti, cosas cuyo único ser era estar en ti. Me llamaste, me gritaste e irrumpiste a través de mi sordera. Brillaste, resplandeciste y acabaste con mi ceguera. Te hiciste todo fragancia, y yo aspiré y suspiré por ti. Te saboreé, y ahora tengo hambre y sed de ti. Me tocaste, y ahora deseo tu abrazo ardientemente.Escribió Agustín de Hipona en su obra clásica Confesiones.Pasamos ahora a la vida y obra de un hombre de singular importancia en la historia de la Iglesia debido a su impacto en la teología. Seré contundente en decir lo que muchos, tal vez la mayoría, son cuidadosos de evitar cuando se trata de Agustín. Mientras que la gran mayoría de los historiadores lo elogian, un grupo mucho más pequeño está menos entusiasmado con él, como espero que quede claro a medida que revisamos al hombre y su impacto.Agustín es la culminación del pensamiento patrístico, al menos en el mundo Latino. Por "patrístico", me refiero a la teología de los Padres de la Iglesia. Si alguna vez has tenido la oportunidad de revisar colecciones de libros sobre teología o historia de la iglesia, es probable que hayas visto un conjunto masivo de tomos llamados Padres de la Iglesia Ante y Post Nicea. Eso significa simplemente los Padres de la Iglesia que vinieron antes del Concilio de Nicea y los que vinieron después y ayudaron a asentar los cimientos doctrinales de la Iglesia. Agustín fue LA influencia dominante para el Europeo Medieval; tanto es así, que se le conoce como el Arquitecto de la Edad Media. Agustín sigue siendo una gran influencia entre los Católicos Romanos por su teología de la iglesia y los sacramentos; y para los Protestantes con respecto a su teología de la gracia y la salvación.La historia de Agustín es bien conocida porque hay un montón de material sobre su origen por el cual lo podemos conocer. Algunos dicen que sabemos más de Agustín que cualquier otra figura del mundo antiguo porque, no sólo tenemos un registro de sus actividades diarias por uno de sus estudiantes; Possidius, Obispo de Calama; también tenemos un registro muy detallado de la vida interior de Agustín en su obra clásica, Confesiones. También tenemos una obra titulada Retracciones donde Agustín narra su desarrollo intelectual mientras enumera 95 de sus obras, explicando por qué fueron escritas y los cambios que les hizo a lo largo del tiempo.Permítanme comenzar su historia poniendo el trasfondo del mundo de Agustín...El fin de la persecución de los primeros 2 siglos fue un gran alivio para la iglesia. Sin duda, la conversión reportada del Emperador Constantino parecía un sueño hecho realidad. El apóstol Pablo dijo a los seguidores de Cristo que oraran por el rey y por todos los que tienen autoridad. Así que el informe de la conversión del Emperador fue una causa de gran regocijo. Probablemente sólo un puñado de sabios sintieron un llamado a la prudencia en lo que significaría esta nueva relación entre la iglesia y el estado y los peligros que podría traer.Durante el 4º siglo, las iglesias crecieron más rápidamente que nunca. Pero no todos los que se unieron lo hicieron con motivos puros. Con la persecución detrás de ellos, algunos se unieron a la Iglesia para cubrir sus apuestas y añadir una deidad más a su lista. Otros se unieron pensando que avanzaría su estatus social, ahora que ser cristiano podría ganarles puntos con los funcionarios. Algunos cristianos sinceros fueron testigos de la atonía moral y espiritual de la fe y huyeron al desierto para perseguir un estilo de vida ascético como ermitaños o en un monasterio como monjes. Pero la mayoría de los cristianos permanecieron en sus ciudades y pueblos para presenciar la creciente afiliación entre la iglesia y las instituciones terrenales. La iglesia invisible, universal o católica comenzó a asociarse cada vez más con las formas terrenales y las estructuras sociales.Necesito hacer una pausa aquí y asegurarme de que todos entiendan que la palabra Católica simplemente significa UNIVERSAL. Históricamente, esta es la Era del Cristianismo Católico, no el Cristianismo Católico ROMANO. Los historiadores se refieren a esta época y a la Iglesia Ortodoxa Oriental como Católica, para diferenciarla de los diversos grupos aberrantes y heréticos que se habían separado. Grupos como los Arrianos, los Maniqueos, los Gnósticos y los Apolinarcitos, y media docena de otras sectas difíciles de pronunciar. Pero hacia finales del 4º siglo, lo Institucional reemplazó los aspectos Comunes de la Fe. El Evangelio fue suplantado por dogmas y rituales en muchas iglesias.Jesús dejó claro que seguirlo significaba un llamado a servir, no ser servido. Los cristianos somos siervos. Servimos a Dios sirviéndonos unos a otros y al mundo. Durante los primeros 3 siglos, cuando la iglesia fue maltratada, el llamado a servir fue valorado como una prioridad. Los héroes de la fe sirvieron ofreciéndose a si mismos, con el sacrificio final de sus vidas. Pero cuando la Iglesia salió de las catacumbas para entrar en posiciones de influencia social y poder durante el 4º siglo, ser un siervo perdió la prioridad. Los líderes de la Iglesia, que habían guiado sirviendo durante 300 años, comenzaron a posicionarse para ser servidos. Los lideres-que-sirven se convirtieron en líderes de los siervos.Este cambio se intensificó con la desintegración del Imperio Occidental durante el 4º y 5º siglo. Mientras los barbaros entraban desde el Norte y el Este, y las autoridades civiles huían de las fronteras, la gente miraba cada vez más a los obispos y líderes de la iglesia para proporcionar orientación y gobernabilidad.Ya hemos visto cómo la Iglesia y el Obispo en Roma surgieron no sólo como un líder religioso, sino también como un líder político. La caída y el saqueo de Roma por los vándalos en el año 410 sacudió al Imperio, dejando a la gente profundamente sacudida. Un hombre surgió en ese momento para ayudarles a lidiar con su confusión y ansiedad sobre el futuro.Agustín nació en el año 354 en Tagaste, una pequeña ciudad comercial en el norte de Africa. Su padre Patricius era un pagano y miembro del liderazgo dominante local. Su madre Mónica era una cristiana comprometida. Aunque lejos de ser rico, los padres de Agustín estaban decididos que el tuviera la mejor educación posible. Después de asistir a la escuela primaria en Tagaste fue a Cartago para su educación secundaria. Fue allí, a la edad de 17 años, que se tomo a una amante con la que vivió durante 13 años y por quien tuvo un hijo llamado Adeodatus. Si bien esto parece un escandalo, tenemos que darnos cuenta de que no era tan raro que los jóvenes de las clases altas tuvieran tal arreglo. Agustín parece haber tenido un amor genuino por esta mujer, a pesar de que no nos da su nombre. Es seguro que amaba a su hijo. Y a pesar de que Agustín amaba a su novia. Más tarde escribió que a lo largo de estos años, fue continuamente golpeado por la tentación sexual y a menudo desesperado por superarla.Agustín continuó sus estudios de filosofía en general; sin elegir alguna escuela específica como el enfoque de su atención. Cuando tenía 19 años leyó la obra, ahora perdida, Hortensio por el orador romano Ciceró y fue convencido que debía hacer la búsqueda de la verdad el objetivo principal de su vida. Pero esta noble misión luchó con lo que ahora sentía era un deseo degradante hacia la inmoralidad. Para obtener ayuda moral y para resistir el tirón hacia abajo, el acudió a la fe de su madre y puso sus ojos hacia la Biblia. Pero siendo un amante del latín clásico, las traducciones que leía le parecían burdas y poco sofisticadas y no tenían ningún atractivo.Lo que si atraia a Agustín fueron los Maniqueos con los que ya hemos tratado. Para repasar, Mani fue un maestro en Persia a mediados del 3º siglo que machacó una religión con sabor Gnóstico junto con antiguas ideas Persas traídas del Zoroastrismo. Agustín era un intelectual, el tipo de persona que el Maniqueísmo apelaba. Ponían a un lado la fe, diciendo que ellos eran los guardianes intelectuales de la razón y la lógica. Explicaron al mundo en términos de oscuridad y luz. La luz y el Espíritu eran buenos, las tinieblas y lo físico; Malas. La clave para superar el pecado y era una forma temprana de la campaña utilizada en las escuelas públicas en los Estados Unidos hace años con respecto a las drogas: "¡Di que no!". A Augustine le dijeron que si empleaba la abstinencia total al placer físico le iría bien. Fue un Maniqueo durante 9 años hasta que vio las inconsistencias de lógica y lo dejo.Su relato de esta época revela que aunque permaneció dentro de estos lineamientos, tuvo problemas todo el tiempo. Suponiendo que sólo necesitaba que aprender más para aclarar los problemas, pero cuanto más estudiaba, más problemas surgieron. Cuando expresó sus preocupaciones, otros Maniqueos le dijeron que si solo podía escuchar la enseñanza de Fausto, todas sus preocupaciones se disolverían. El suponía que Fausto era el Maniqueo que tenía todas las respuestas.Bueno, Fausto finalmente llegó y Agustín escuchó con la expectativa de que todas sus dudas se evaporarían como el rocío al sol de la mañana. Pero esto no fue lo que pasó. Al contrario. Agustín dijo que mientras que Fausto era elocuente del habla, sus palabras eran como un plato elegante que sostenía carne podrida. Sonaba bien, pero su discurso estaba vacío.Agustín pasó tiempo con Fausto, tratando de superar sus dificultades, pero cuanto más escuchaba, más se dio cuenta de que el hombre no tenía ni idea. Bueno así termino la idea que el maniqueísmo fuera el guardián de la razón.A la edad de 20 años, Agustín comenzó a enseñar. Sus amigos reconocieron su genio intelectual y lo animaron a mudarse a Roma. En el año 382, acercándose a los 30 años, él y su madre se mudaron a la Capital, donde comenzó a enseñar.Como sucede a menudo cuando el hogar religioso o filosófico de alguien es destruido, la decepción de Agustín con el maniqueísmo condujo a un período de desencanto y escepticismo. Recuerden; se había entregado a la búsqueda de la verdad y había asumido durante varios años que Mani la había encontrado. Ahora sabía que no lo había hecho. Una decepción, lo volvió mas tímido, pasa en la filosofía, igual como en el romance.Agustín fue rescatado de su creciente escepticismo por el Neoplatonismo y la obra de Plotino, quien avivó el fuego de su chispa para ser ese ardiente anhelo de verdad.En el año 384, Agustín fue contratado como profesor de retórica en la Universidad de Milán, donde su ahora viuda madre Mónica y algunos amigos se unieron a él.Más por cortesía profesional como profesor de retórica que cualquier otra cosa, Agustín fue a escuchar al obispo de Milán Ambrosio predicar. Agustín se sorprendió de la elocuencia de Ambrosio. No es que fuera su primera vez en la iglesia. Había asistido a las iglesias del Norte de África mientras crecía allí. Pero nunca había oído a nadie hablar así. Ambrosio le mostró a Agustín que la fe cristiana, lejos de ser burda y poco sofisticada, era a la vez elocuente e inteligente.Un anciano llamado Simpliciano hizo de Agustín su proyecto personal. Le dio a Agustín una copia de un comentario sobre Pablo por Marius Victorinus, quien se había convertido del Neoplatonismo al Cristianismo 30 años antes. Siendo un Neoplatonista, Agustín pasó por algo así como una conversión intelectual, si no una transformación espiritual.El futuro de Agustín era brillante. Tenía un trabajo prestigioso, amigos comprometidos, riqueza, influencia y todavía era joven y saludable. Pero en su interior era miserable. Su madre Mónica sugirió que lo que el necesitaba era una familia normal. Por supuesto, ella estaba en contra de su larga pero ilícita aventura con su novia, la madre de su hijo. Ella lo había seguido en todos sus diversos movimientos; a Tagaste de Cartago, a Roma, luego a Milán. Mónica le dijo a Agustín que su novia le estaba impidiendo encontrar una esposa adecuada, alguien más apto para su posición social. Aunque Agustín la amaba, la constante petición de su madre de dejarla ir finalmente lo movió a enfocar su malestar interior con su amante. Así que terminó su relación. Luego le propuso matrimonio a una joven de mucha riqueza y de alta sociedad. El problema es que ella era demasiada joven para casarse, así que se fijó una fecha muy lejana. Agustín no podía dominar su lujuria, y después de sólo un corto tiempo después de romper con su amante, encontró otra. Por el propio relato de Agustín de su lucha en las Confesiones, podríamos describir su problema como una adicción sexual. Su batalla interna entre el llamado superior a la virtud y el tirón inferior hacia el vicio amenazó con destrozarlo en una crisis mental.Fue entonces, mientras devoraba libros en su búsqueda de la verdad, que oyó hablar de Ermitaños Cristianos como Antonio de Egipto que había dominado sus deseos carnales. Su ejemplo avergonzaba a Agustín. Hasta entonces había considerado a los cristianos como intelectualmente inferiores, sin embargo, ellos eran capaces de lograr una victoria sobre el pecado que el había sido impotente para lograr. Empezó a preguntarse que si tal vez el cristianismo poseía un poder que había perdido.La conversión se convirtió para Agustín, como lo ha sido para tantos en ese momento, no tanto una cuestión de fe como de acción. Estaba persuadido de la fuerza intelectual del cristianismo; simplemente no quería renunciar a su pecado, aunque sabía que debía hacerlo.Un día del año 386, mientras caminaba por el jardín de su casa, su alma se rebosaba en la confusión y la angustia moral, llevaba una Biblia con la esperanza de extraer algo que le guiara en ella. Pero no podía entenderla. La dejó caer en un banco y caminaba de un lado a otro; su mente en el tormento. Desde algún lugar cercano oyó la voz de un niño gritando la línea de lo que debe haber sido un juego, aunque Agustín no lo sabía. La voz dijo: "Tolle lege (tawlee Leggy) - Toma y lee." Se agachó y recogió la Biblia que acababa de caer. La página se abrió a Romanos 13, donde sus ojos cayeron en palabras perfectamente adecuadas hacia su estado mental actual. Leyó àAndemos como de día, honestamente; no en glotonerías y borracheras, no en lujurias y lascivias, no en contiendas y envidia, sino vestíos del Señor Jesucristo, y no proveáis para los deseos de la carne.Agustín escribió más tarde: "Al leer esas palabras, al instante fue como si la luz de la paz se derramara en mi corazón y todas las sombras de la duda se fueran". La siguiente Pascua, Agustín y su hijo Adeodatus fueron bautizados por el obispo Ambrosio. Unos meses más tarde, Agustín regresó al norte de Africa. En el camino, su madre Mónica murió y poco después de regresar a Tagaste, su hijo también murio. Agustín perdió el interés en vivir y anhelaba dejar el mundo que una vez anhelaba.Sus amigos se reunieron alrededor de el y le dieron un propósito para continuar. Formaron una comunidad monástica, de la cual saldría la famosa Orden y Regla Agustina.Mientras que Agustín probablemente se habría contentado en vivir su vida en el monasterio, la iglesia del Norte de Africa necesitaba desesperadamente un líder con sus dones. En el año 391 la iglesia de Hipona lo ordenó como uno de sus sacerdotes. El llevaba la predicación porque su obispo era Griego y no podía hablar ni Latín ni el Púnico local. Se convirtió en co-obispo 4 años más tarde, luego un año después, el único obispo en Hipona. Sirvió en esa capacidad durante los siguientes 33 años.Mantuvo la vida monástica durante su mandato como Obispo en Hipona. La suya fue una carrera extremadamente ocupada; dividida entre el estudio, la escritura y la supervisión general de los asuntos de la iglesia.Lo recogeremos en este punto en nuestro próximo episodio mientras consideramos algunos de sus escritos más importantes. Entonces entraremos a la carrera de Agustín como teólogo.