Podcasts about Polonius

How often have you heard this saying: To thine own self be true? That sounds like it might come from the Bible. However, I'm pointing out five things the Bible does not say, and this is definitely one of them! This is actually a quote from Polonius in the Shakespearean play, Hamlet. It sounds nice, doesn't it? This is the kind of saying that appeals to us because it makes us feel good about ourselves. It appeals to my self-esteem—Be true to yourself, Mary, because your “self” is a good thing. I could use this saying to validate my selfishness and self-centeredness. I could use it to justify my unbiblical bad habits or lifestyle. After all, I tell myself, I'm being true to myself. Everything I read in Scripture tells me my “self” is primarily my biggest problem. It teaches me that self-control is one of the fruits of the Spirit, and because the Holy Spirit resides in me by faith in Christ, it should be evidenced in controlling my “self,” not being true to myself. If you are always “true to yourself,” you will make decisions based upon what you want. The Bible tells us we are by nature and choice prone to selfishness and greed. Jeremiah 17:9 tells me: The heart is deceitful above all things and beyond cure. Who can understand it? (Jeremiah 17:9) Being true to my heart—if it is not controlled by God's Spirit—would mean being true to a heart that deceives me and makes me think I'm good when I'm not. A lot of ungodly stuff can reside in my heart—and in yours. For example, your heart is the place where resentment and bitterness take root and cause you all kinds of trouble. It is where pride, envy, and jealousy all start to grow. Being true to your self—or your inner person, your heart—could cause you much grief and confusion. Your self, on its own without being transformed by God, is not trustworthy. I wouldn't advise you to be true to yourself. But I would challenge you to be true to Jesus. Consistently and intentionally devote time and effort to know Jesus. Follow this prayer from Bishop Chichester in 1253: “To see Christ more clearly, love him more dearly, and follow him more nearly.” Don't let Shakespeare's poetic saying—To thine own self be true—blind you to the truth that Jesus is the way, the truth, and the life. He is the truth that will never fail you or disappoint you. To Jesus be true.

In Hamlet, Polonius says, "This above all, to thine own self be true." Shakespeare realized that knowledge of values and authenticity can create great leaders. Katherine of Aragon and Mary I put this into practice.Show Notes:Carol Ann Lloydwww.carolannlloyd.com@shakeuphistorypatreon.com/carolannlloydThe Tudors by NumbersCourting the Virgin QueenHistory shows us what's possible.

Today's poem is some of the greatest ironic advice ever offered on the stage–do as Polonius says, not as he does, and you'll be just fine. Happy reading. Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

Tucson's Polonius moment? Gary Vaynerchuk Squawk Box interview on what marketers can learn from politicians on social media

Commentator David Bouchier offers some unwanted advice to this year's freshmen.

Neither a Borrower Nor a Lender Be- Ep#69Welcome to episode 69 of the One for the Money podcast. I am so very grateful you have taken the time to listen. In this episode, I shared whether it is wise to lend money to family or friends. In the tips, tricks, and strategies portion, I share a tip regarding loans from a 401k. In this episode...Just Say No [1:24]If You Can't Say No [6:06]401k Emergency Loan [9:20]MAINRecently I re-read The Tragedy of Hamlet by William Shakespeare. There are so many great quotes from this play. Just a few of these include:Brevity is the soul of witthere is nothing good or bad but thinking makes it soand one of the more famous lines - to be or not to be, that is the question.But the quote most relevant to the subject of this podcast episode comes from Polonius' counsel to his son Laertes. Amongst other sage advice he provides his son, he tells him t0 “Neither a borrower nor a lender be; for loan oft loses both itself and friend.”Over the course of life, we will invariably all experience times where friends and family will ask us for money. It's important to prepare prior to such a request as the wrong approach could ruin some of our closest relationships. Charles Barkley shared his thoughts on giving money to family.Barkley and the rest of the Team USA basketball players were in Atlanta preparing for the 1996 Olympic Games when he heard a conversation between his teammate Grant Hill and Hill's mother. Janet Hill told her son that she was only staying in town for a few days, because she had to return to work. Barkley wondered why she was still working, considering that her son was making tens of millions of dollars playing in the NBA. And Grant Hill's mom said the following:“Do not start taking care of your family and friends. They never gonna stop, and it's gonna ruin all your relationships,” She also said. “When you start giving people money, they never gonna ask for money [just] one time. No matter what you do for them, the first time you tell them no, they hate you.”Barkley took the advice to heart and started to tell people no when they asked for money, which temporarily led to some ruined friendships.“It was a tough and painful lesson for me,” Barkley said.Some would think that professional athletes should share. Here is why most shouldn't:Nearly 80% of NFL players go bankrupt or are under financial stress within two years of retirement and 60% of NBA players go broke or are bankrupt within five years of retirement. Just look at the sad cases of Antoine Walker, Bernie Kosar and others.When a family or friend asks for money, there could be a variety of reasons. Investing in their startup or helping them during a financially hard time. -The first thing I recommend is to thank them for coming to you and before you can consider helping them you will need to ask them for more details.For those wanting you to invest in their startup or small business, you have every right to ask for their business plan. How will they generate profits, what sort of experience do they have in that line of business, how many others have invested, what is their path to profitability, etc. If they can't answer those basic business questions, they are likely doomed to failure as most...

This sermon is based on James 1:26-27. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on Acts 2:42-47. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on 1 John 4:7-12. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

Laertes returns to Denmark incensed over the murder of his father, Polonius, and seeking revenge. Things go from bad to worse when Laertes finds out that his sister has gone mad and then drowns herself. But Claudius is able to turn the wrath of Laertes away from himself and toward Hamlet, whom Claudius has sent… Read More »“To Cut His Throat I’ Th’ Church”: Hamlet Act IV, scenes 6 & 7: Brush Up Your Shakespeare: 019

This sermon is based on 1 Peter 1:3-5. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on John 14:25-27. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on Galatians 5:6. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on Matthew 6:28-34. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

This sermon is based on Titus 3:4-7. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

With Hamlet safely on his way to certain death in England, Claudius must deal with another threat to his throne: Laertes, the son of slain Polonius, is coming back from France to seek revenge for HIS father’s murder, and Laertes has his sights set on Claudius as the likely suspect! Adding to his rage, Laertes… Read More »“When Sorrows Come, They Come Not Single Spies, But In Battalions”: Hamlet, Act IV, scene 5: Brush Up Your Shakespeare: 018

This sermon begins our new series and is based on Titus 3:4-7. You can also view each week's sermon/worship service on our YouTube Channel: https://www.youtube.com/channel/UC5ncsq_QNvCv61bIwKUpP5A SERIES OVERVIEW: To have a favorite or not to have a favorite, that is the question. Okay, “Hamlet” is loaded with possible favorite quotes, and it is hard to pick just one. But if I had to, it would be when Polonius interrupts Hamlet in the library and asks, “What do you read, my lord?” And Hamlet replies, “Words, words, words.” Now, Polonius is an accomplice of the evil king and Hamlet is feigning insanity, so we can't take everything that is said here at face value. In fact, we all know that something is rotten in the library. Besides, if Hamlet didn't believe in the power of words, he would never have uttered a single soliloquy. No, methinks the lad doth protest too much here. See, words matter. They are not just ink on a page. Words have meaning and history and emotion and hopes and truth built into them. And that is especially true about many of the words in the New Testament. And that is why it is important to go back every once in a while and look at some of those words that we know are important, to make sure we have a good grasp of their full depth and significance and feeling. “What's the Good Word?” is not just another summer series. What's salvation? What's righteousness? What's faith? What's religion? That is the question!

Many people will (hopefully) identify the above quote as coming from the speech of Polonius in Act 1, Scene 3 of Shakespeare's Hamlet. It was part of the fatherly talk he gave to his son Laertes before the boy moved away to university. It is now often quoted as a bit of perennial wisdom for life (it was written by Shakespeare, after all). It is not as often known that it was part of a speech that Shakespeare meant to be recognized as almost meaninglessly platitudinous, a kind of Elizabethan “blah-blah-blah, yada-yada-yada”.

Many people will (hopefully) identify the above quote as coming from the speech of Polonius in Act 1, Scene 3 of Shakespeare's Hamlet. It was part of the fatherly talk he gave to his son Laertes before the boy moved away to university. It is now often quoted as a bit of perennial wisdom for life (it was written by Shakespeare, after all). It is not as often known that it was part of a speech that Shakespeare meant to be recognized as almost meaninglessly platitudinous, a kind of Elizabethan “blah-blah-blah, yada-yada-yada”.

Hamlet killed Polonius in the last scene. The king is now sending Hamlet off to England. But is it just to get Hamlet out of Denmark until things cool down? Or does Claudius have something more sinister in mind? Could Claudius be sending Hamlet on a one-way trip to England? One from which Hamlet will… Read More »Hamlet, Act IV, scenes 1-3: Brush Up Your Shakespeare 016

The tension mounts as Hamlet’s mother, Queen Gertrude, summons Hamlet to her chambers after the “Mousetrap” play to demand of her son what he thinks he is up to. Hamlet quickly turns the tables on her, causing her to cry out for help. This causes Polonius, hidden behind the arras in the same room, to… Read More »“Hoist With His Own Petard”: Hamlet, Act III, scene 4: Brush Up Your Shakespeare: 015

Welcome to the Instant Trivia podcast episode 1189, where we ask the best trivia on the Internet. Round 1. Category: Bill Clinton 1: Clinton won first chair in this instrument in the Arkansas state band. the saxophone. 2: His birthplace; it's where he lived the first 7 years of his life. Hope, Arkansas. 3: The day before taking office, Clinton prayed at this president's Arlington, Va. grave. John F. Kennedy. 4: Bill Clinton met Hillary Rodham while both were attending this law school. Yale. 5: Clinton got his bachelor's degree at this D.C. school, the only college he applied to. Georgetown. Round 2. Category: Song Of Poets. With Song in quotation marks 1: William Blake published this collection in 1789; "Experience" would come a few years later. Songs of Innocence. 2: Sections of this 1855 poem include "The Peace Pipe", "The White-Man's Foot" and "Blessing the Corn Fields". The Song of Hiawatha. 3: Read during Passover, it's also referred to as the "Canticle of Canticles". Song of Songs. 4: Before the 1881 edition, it was simply titled "Poem of Walt Whitman, an American". "Song of Myself". 5: An insignificant battle between Charlemagne and the Basques at Roncesvalles is the basis for this French epic poem. The Song of Roland. Round 3. Category: Rewriting Hamlet 1: Fair one, thy dad had thee repel my letters and deny me access to thee... but a restraining order? What is uppeth with that?. Ophelia. 2: Zounds! I saw thee not behind that arras! Denmark needeth a new minister to the king! My bad!. Polonius. 3: Though I did say of thee "Frailty, thy name is woman", Mother, I hope thou acceptest my wedding gift from Pottery Barn. Gertrude. 4: 'Tis okay ye killed Dad and wed Mom--thou said thy "offence is rank, it smells to heaven", but I'm a live and let live kind of guy. Claudius. 5: You "two-school-fellows, whom I will trust as I will adders fanged" ...Aw, I ain't mad atcha! Giveth me hugs!. Rosencrantz and Guildenstern. Round 4. Category: The 19Th Century 1: Much of the fighting in this war, 1853 to 1856, took place on a peninsula in the Black Sea. the Crimean War. 2: In 1893 this labor leader founded the American Railway Union. (Eugene) Debs. 3: In 1825 patriots crossed the Rio de la Plata from Argentina to fight for this country's freedom from Brazil. Uruguay. 4: King John VI of this country died in 1826 and left his throne to Dom Pedro of Brazil who became Pedro I. Portugal. 5: This family was restored to power in the 1870s when Alfonso XII ascended the Spanish throne. the Bourbons. Round 5. Category: Ad-Jectives 1: In other words this common pair of advertising adjectives could be "novel as well as ameliorated". new and improved. 2: In a slogan almost a century old, Maxwell House coffee is this "to the last drop". "good". 3: In other words, this common pair of adjectives could be "novel as well as ameliorated". new and improved. 4: Taking this adjective literally, the ads say that BMW is the last driving machine that'll be made. ultimate. 5: Since 1975 BMW has been touting its vehicles as this kind of "driving machine". "ultimate". Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

Have you measured out your life in coffee spoons? Feeling like a pair of ragged claws today? Afraid to eat messy food while other people are watching? Or are you just channeling a little too much Polonius? If so, today's poem–the classic modernist anthem of insecurity and isolation (and mermaids)–will feel very familiar. Happy reading!(And for an even better reading of this poem, you should discover Jeremy Irons reading Eliot's complete poems.) Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

In her new book, Shakespeare: The Man Who Pays the Rent, Dame Judi  Dench and actor/director Brendan O'Hea chat about her long history with the Bard. On this episode, Dench and O'Hea join host Barbara Bogaev to talk about Dench's experiences playing Ophelia, Gertrude, Lady Macbeth and Titania. Plus, parrots, Polonius, dirty words, Ian McKellen, why it's easier to laugh while working on a tragedy, and more. Dame Judi Dench has played nearly all of Shakespeare's great roles for women, plus a few non-Shakespearean parts, too, including the title role in Stephen Frears' Philomena, M in 8 of the James Bond films, Granny in Kenneth Branagh's Belfast, and Queen Elizabeth in Shakespeare in Love, for which she won an Academy Award. Brendan O'Hea has acted in and directed multiple productions at Shakespeare's Globe in London, and appeared with Dench in the film Quantum of Solace. Their book Shakespeare: The Man Who Pays the Rent is available from St. Martin's Press. From the Shakespeare Unlimited podcast. Published April 9, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica, with help from Kendra Hanna. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from London Broadcast Studios and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

7. Hamlet in Howth - Psychologist Maureen Gaffney on Polonius's advice to Laertes. Act 1. Sc. 3. Lines 205 -220

14. Hamlet in Howth - Polonius. Act 1.Sc. 3. Lines 57 - 81. …There my blessing with thee. And these few precepts

20. Hamlet in Howth - Polonius's Verbosity

Hamlet regressa ao teatro do Odéon pela mão da encenadora brasileira Christiane Jatahy. A encenadora habituou-nos a olhar para as fronteiras do passado e do presente, as fronteiras do cinema e da cena como elementos de transformação. "A primeira coisa que podemos fazer para escapar à possibilidade de repetir [acontecimentos] é olhar para o passado e não o apagar", defende Christiane Jatahy que propõe uma revolução sem violência através de uma "Hamlet com uma energia feminina". RFI: Christiane Jatahy estamos no Teatro Odéon, em Paris, onde tem em cena "Hamlet", o seu novo espectáculo. São nesta altura, 19h50, de dia 7 de Março, dentro de instantes, os actores sobem ao palco. Ainda sente um nervosismo antes de apresentar a sua criação ao público?Christiane Jatahy: Sim, sempre, claro. Conforme a gente vai fazendo mais vezes, vamos entendendo melhor a reacção do público e o público também vai entendendo melhor a peça e aí esse nervosismo diminui. Mas sim, é um nervosismo que eu acho saudável. Acho que para os actores [esse nervosismo acontece] todos os dias, para mim é principalmente na estreia.Hamlet reúne reflexões políticas, filosóficas, históricas, literárias, aborda temas que podem parecer desarticulados, desordenados. O que traz uma coerência na sua encenação é o movimento, e mais do que a vontade de mudança, a própria mudança. Adapta a quase a integralidade do texto de Shakespeare, muda o destino dos personagens e, logo no início da peça, através de um holograma, confronta os fantasmas de Shakespeare, personagens que já tem mais de 400 anos, aos personagens que cria, personagens de 2024.Sim, realmente Hamlet é um oceano, mas ao mesmo tempo a gente precisa de a conter e dar contorno. Para mim, era muito importante pensar essa peça a partir da perspectiva da mudança, como você disse, mas evidentemente, com a ideia de que esses personagens estão aqui hoje e, portanto, essa história está sendo revivida, mesmo que eles não tenham consciência dessa repetição. A acção, que é uma das questões do Hamlet, que é sobre ir ou não, agir ou não agir, ela se transforma em alguma coisa que já está impregnada de movimento, porque ela está impregnada de passado. Hamlet está lembrando e vivendo ao mesmo tempo e se confrontando com seus actos e se confrontando com seus actos de maneira diferente. Porque Hamlet agora tem uma energia feminina. Continua sendo uma coisa que é um pouco repetitiva nos meus trabalhos, que é sobre a questão da mudança, sobre a questão da transformação. Mas neste momento ligada à ideia de que já estamos num processo de mudança, ou seja, a mudança já está acontecendo. Por isso essa ideia da revolução, da transformação, mas ainda se perguntando sobre como é que a gente quebra as estruturas que estão introjectadas em nós mesmos para que a gente possa transformar para um outro futuro.Quando o apresenta e quando criou este espectáculo, sente que há dois Hamlet em cima do palco ao Hamlet shakespeariano e o seu Hamlet?Eu acho que tem muitos Hamlet; tem um Hamlet shakespeariano que não é mais só de Shakespeare.. é de todas as pessoas que já fizeram Hamlet, tanto nas suas encenações.E são tantas...Nossa, são 400 anos de história e tantas pessoas que já actuaram no papel do Hamlet. É o meu Hamlet como ideia, mas se transforma no Hamlet das pessoas que estão em cena, se transforma no Hamtel da Clotilde, quando ela está agindo e actuando, se transforma no Hamlet das pessoas que estão vendo e estão projectando seus Hamlet nesse Hamlet. Acho que essa ideia de que um personagem é alguma coisa é uma ideia que eu acho que ela é reducionista porque um personagem ele pode ser muitas coisas e ser outras coisas não tira, na verdade, a potência dele vir a ser de novo em outras montagens aquilo que a gente espera que ele seja.Fala muito do verbo ser. Esta talvez será uma nova fronteira que cria. A Christiane habituou nos às fronteiras do tempo e do espaço, aos meios que usa para comunicar entre a cena e o público, para comunicar entre os actores. Em Hamlet, cria novas fronteiras, a fronteira do interior dos personagens, a fronteira da memória, dos fantasmas e das acções. E esta fronteira entre o ser e não ser, também é ela própria uma fronteira?Sim, sim, realmente as fronteiras, elas são limites que me interessam transpassar. Eu penso sobre elas. Além de todas essas fronteiras que você disse, se aprofundando numa delas, a fronteira da fantasmagoria, porque ela é a fronteira do sonho. Ela é a fronteira, na verdade, do que a gente projecta do nosso inconsciente. Interessava-me uma discussão psicanalítica também sobre a obra, seguindo assim...Anúncio de que a peça vai começar daqui a dez minutosTem uma coisa que é a fronteira que está sempre presente no meu trabalho, que é a fronteira do passado com o presente e a fronteira também do cinema e da cena, pensando essa relação agora como uma presentificação de quem não pode estar ali, porque são os fantasmas do passado. Nas fronteiras de que fala, em cena as personagens ocupam o espaço de um apartamento composto por um quarto, uma sala, uma cozinha e uma casa de banho. A estrutura das janelas e das portas assumem a função de fronteira entre o presente e a memória, onde circulam o consciente e inconsciente dos personagens. Junta se aí, como estava a dizer, a realidade que o público pode escolher  ver e os fantasmas que pode escolher ocultar ?Quando pensei nessa ideia do apartamento e que depois foi desenvolvida na cenografia por mim e pelo Thomas Walgrave. A minha questão sobre o apartamento era [perceber] como é que essas pessoas, esses fantasmas porque são todos personagens que morreram de alguma forma na história da ficção, eles estão revivendo suas memórias, mas eles já morreram. Pensei nesse apartamento como um lugar onde eles convivem. É um apartamento todo envidraçado e, de alguma maneira, quando a gente quebra, como se a quarta parede que precisasse ser quebrada, a quarta parede já foi quebrada há muito tempo, mas quando a gente fisicamente derruba a quarta parede e integra o espaço do público, para mim era a ideia de construir, esse ovo, esse espaço único em que tudo interage e em nenhuma cena tem como se esconder. Eles são obrigados a conviver.Se na peça Claudius pode ter uma conversa com Guildenstern e Rosencrantz escondido em algum lugar, nessa peça tudo é visto assim. Por outro lado, é claro que nesse tudo é visto, também tem essas misturas dos tempos. Então, algumas vezes nem tudo o que é visto faz parte do mesmo tempo. Algumas coisas estão no tempo e outras estão em outro tempo. Isso também ressignifica essa ideia da relação em cena.Para concluir, que eu acho que é que é importante assim, de falar sobre o que você disse, que também quando eu abro o espaço para as laterais, eu também estou dando outros pontos de vista para o público. Além do ponto de vista da câmara e além do ponto de vista da cena, também o espectador pode decidir que ele vai olhar, incluindo o que não é a cena principal ou que ele vai escolher o foco só da cena principal. Então também tem uma questão que me interessa, que é que cada lugar do teatro te possibilita uma apreensão diferente da obra.Possibilita também uma interpretação sobre e para a mudança?Sim, claro. Porque através da direcção do nosso olhar é que a gente transforma.É isso que nos propõe?Também. Na peça trágica de Shakespeare, Hamlet procura a própria identidade através da vingança do pai. Por isso simula a própria loucura. Destaca-se o carácter trágico da violência vingativa e da relação com a luta pelo poder. A Christiane questiona mais profundamente essa identidade e cria um Hamlet no feminino. Esta peça, vista e interpretada no feminino, vai mudar o percurso e o decurso desta história.Sim, essa Hamlet ela tem ainda o seu ímpeto de vingança. Ela revive a história e ao reviver a história e revê obcecadamente a imagem do Pai que lhe impulsiona a agir, ela traz dentro dela esse impulso. Ela traz, assim como o personagem original do Shakespeare. Ela traz neste impulso a dúvida sobre ir ou não para a acção e a não compreensão, principalmente por que é que ela não consegue realizar o acto. O importante para mim é que ao se defrontar com essa violência novamente, porque é uma peça cuja violência é realizada pelos homens, ao se defrontar ela mesma com a violência que ela carrega e com a violência que ela encontra, ela não reage da mesma maneira que o Hamlet da peça original. Anúncio de que o espectáculo vai começar dentro de cinco minutos...Portanto, a não reprodução da violência?Sim, ela  não quer reproduzir a violência. E quando ela se vê sendo jogada nessa mesma violência, como por exemplo, quando ela mata Polonius, isso para ela não é alguma coisa que ela aceita nela mesma porque as estruturas que ela está lutando, de alguma maneira, que nós, como mulheres, estamos lutando hoje em dia. Acho que é muito importante falar sobre isso porque somente a transformação de um personagem, historicamente masculino, na ideia de como é que seria esse personagem se não se ele fosse uma mulher, mas se ele tivesse sido um homem e num determinado momento. Dou sempre o exemplo de Orlando da Virginia Woolf, que ele se visse como uma mulher, se essa mulher pensa sobre as questões das estruturas do patriarcado e não só fora de nós. Eu acho que isso é super importante falar nessa peça porque essa estrutura ela domina todas as estruturas do mundo. Mas também como é que essas estruturas estão introjectadas em nós mesmos e como é que essas estruturas estão introjectadas nesse personagem do Hamlet. Existe também uma questão de auto-consciência de processo de percepção, como por exemplo, como é que ela vai agir como mulher quando ela se confronta com uma situação que é super misógina na peça, que é a maneira como Hamlet trata Ofélia. Assim, ela não consegue tratar da mesma maneira.A escolha que Hamlet vai fazer também vai ter repercussões no destino de Ofélia, que por uma vez, não tem um destino trágico.Super. Acho que tem uma questão sobre o sistema e eu acho que a gente está falando sobre questões sistémicas e também familiares, porque é sobre uma família. Quando a gente quebra, quando alguma peça muda o seu comportamento nesse sistema, algum elemento, isso também é física, os outros elementos também se transformam e se libertam dos seus, dos seus padrões. A libertação da Ofélia, de alguma maneira, é decorrência de uma transformação que também está no Hamlet.Ouvimos duas vezes a citação "O mundo antigo está a morrer, mas o novo tarda em nascer", do filósofo italiano António Gramsci. Ele falava sobre a crise, sobre o desenlace, sobre a importância de reagir a esta frase, tantas vezes usada, sobretudo na política. As personagens partilham este espaço íntimo do apartamento do nosso tempo, com dispositivos tecnológicos com um texto de 400 anos. A estrutura mudou e o conteúdo pouco mudou. Como é que se pode escapar à repetição do passado? É apenas uma escolha?A primeira coisa para se escapar da possibilidade de repetir e reconhecer é olhar para o passado, não apagar o passado. O apagamento do passado é que provoca essa ideia de que alguma coisa pode se cumprir de maneira diferente, mesmo que a gente faça as mesmas coisas. É por isso que eu acho que nesse trabalho, em muitos dos meus trabalhos, quando eu estou fazendo uma relação do passado com o presente e trabalhando essas fronteiras do tempo, eu também estou falando sobre a ideia de como que ao eu reconhecer um passado que aconteceu, como é que ao me defrontar com uma situação similar, de que maneira que esse meu passado....Agora a peça vai começarComo é que eu me comporto de uma maneira diferente porque eu tenho a trajectória de reconhecimento do ponto em que isso me levou para que eu não precise repetir. Eu acho que essa é uma discussão também sobre a humanidade.Fala de humanidade e projecta imagens de guerra que vivemos hoje, actualmente e que também fazem parte dessa mudança de reconhecer o que aconteceu no passado para poder não reproduzir. Estamos a reproduzir erros do passado?A guerra é muito importante também nessa peça, apesar de que ela está sempre na volta da peça. Tudo começa por causa de uma guerra, por perder uma guerra. É uma discussão também sobre esse sistema da violência, da crueldade, da ideia de vingança, essas vinganças que se perpectuam. A guerra é o começo da peça. A guerra é o motivo, na verdade, da chegada de Fortinbras e toda essa ameaça que começa a existir. Ela está presente o tempo todo nesse entorno.Não existe guerras longe de guerras perto, as guerras são guerras e elas estão realmente sempre perto. A nossa inacção diante das guerras e a gente vive muito isso hoje; como agir diante dessa repetição novamente, dessa violência das guerras? Também está presente de alguma maneira na peça, nas reflexões que o próprio Hamlet já faz, mas que a gente traz agora de uma maneira que é mais direccionada a se perguntar que sentido que isso tem?  Porque na peça ele se pergunta como é que Fortinbras está lutando e ele não está conseguindo lutar. Fortinbras e está lutando pelo que seu pai perdeu e ele não consegue. Aqui é o oposto, como é possível que tantas pessoas precisem morrer por uma luta que é na verdade, uma luta de uma pessoa, de uma ideia, de um desejo, na verdade, na verdade intelectual e de vingança ou de ganância.Hamlet diz que é preciso ser cruel para ser justo e acaba por reconhecer no fim da peça que não é, afinal, necessário ser cruel para ser justo.Sim, é super importante essa frase. Ela se repete de muitas maneiras, como perguntas, como afirmações, como acusações e até que finalmente tem uma tomada de consciência que é a gente realmente precisa ser cruel para ser justo?E o silêncio no meio disso tudo?O silêncio está ali. É o final da peça, o resto é silêncio. No resto, escutar esse silêncio também. 

Sounds & Sweet Airs - The Complete Works of Shakespeare Hamlet Act 2 Hamlet's mission to unnerve the king's court begins, leaving Ophelia distraught and ensnared in Claudius and Polonius' plans to investigate the prince's behaviour. When a band of traveling players arrive at Elsinore, Hamlet devises a plan of his own to unmask a murderer... CAST Hamlet - Kati Herbert Claudius - Phil Donnelly Gertrude - Jac Knight Ophelia - Stephanie Hull Polonius - Robert Aldington Rosencrantz - Beatrice Benedek Guildenstern - Micky Scott First Player - Daniel McGinty CREW Writer - William Shakespeare Producer / Director - Dario Knight Sound Engineer - Stephan Medhurst Title Music - Dream Cave Additional Music - John Bjork & Philip Ayers

In today’s scene, we find Polonius, the King’s counselor, being sneaky and using spies to gain information. It is a habit that not only contrasts with the “wise” Polonius we have already seen in Act I, it is a practice that will eventually lead to his death. Then his daughter, Ophelia, tells Polonius about an… Read More »Hamlet Act II, scene 1: “By Indirections Find Directions Out”: Brush Up Your Shakespeare: 007

"And this, our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in everything.” Today we discuss the bard himself: what we can learn from his life and apply to our conception of the utopian Solacene, how theatre is the art of personal growth, and why the 'renaissance man' should make a resurgence. ft Polonius, Aaron's Iago audition, and Gnomeo & Juliet. Contact the hosts or buy a handmade Solacene zine here: https://www.solacene.org

The panel reads Act III of Hamlet with attention to Hamlet's feigned (or semi-feigned) madness, his suicidal or existentially fatalistic attitude, and the instability and even fatal measure of his interactions with Ophelia, Polonius, and Queen Gertrude.Continue reading

The panel begins with a brief exercise in parsing Shakespearean prose, followed by a reading of Act II's scenes, with attention to Polonius' ambitious scheming, and Hamlet's feigned (or genuine?) madness with his friends, Rosencrantz and Guildenstern.Continue reading

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act II, Scene 2, Part 3, Polonius boards Hamlet in the sequence that inspired this whole project. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon; the 2000 Hamlet, starring Ethan Hawke; and the 1990 Hamlet, starring Mel Gibson. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Kenneth Branagh; Hamlet 1948 by Laurence Olivier, starring Laurence Olivier; Hamlet 1980 by Rodney Bennett, starring Derek Jacobi; Hamlet 1990 by Franco Zeffirelli, starring Ian Holm and Mel Gibson; Hamlet 2000 by Michael Almereyda, starring Ethan Hawk and Bill Murray; Hamlet 2007 by Alexander Fodor, starring William Belchambers; Hamlet 2009 by Gregory Doran, starring David Tennant and Oliver Ford Davies; and "Je lis" by Johnny Hallyday. Leave a comment, I love to read!

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act II, Scene 2, Part 2, Polonius tells the King and Queen what he thinks is ailing Hamlet. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon; the 2000 Hamlet, starring Ethan Hawke; and the 1990 Hamlet, starring Mel Gibson. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Richard Briars and Kate Winslet; Hamlet 1948 by Laurence Olivier, starring Felix Aymler, Basil Sydney and Eileen Herlie; Hamlet 1980 by Rodney Bennett, starring Eric Porter and Claire Bloom; Hamlet 1990 by Franco Zeffirelli, starring Ian Holm; Hamlet 2000 by Michael Almereyda, starring Bill Murray; Hamlet 2007 by Alexander Fodor, starring Lydia Piechowiak; Hamlet 2009 by Gregory Doran, starring Oliver Ford Davies and Penny Downie; and "Doute" by Johnny Hallyday. Leave a comment, I love to read!

Hyperion to a Satyr - The Fire and Water Podcast Network's Hamlet Podcast - continues Siskoid's scene-by-scene deep dive into Shakespeare's masterwork, discussing the text, but also performance and staging through the lens of several films, television, comics and even a rock opera. In Act II, Scene 1, Part 1, Polonius gives his spy Reynaldo a secret mission. Listen to the episode below or subscribe to Hyperion to a Satyr on Apple Podcasts or Spotify! This podcast is a proud member of the FIRE AND WATER PODCAST NETWORK: Visit the Fire & Water WEBSITE: http://fireandwaterpodcast.com Follow Fire & Water on TWITTER – https://twitter.com/FWPodcasts Like our Fire & Water FACEBOOK page – https://www.facebook.com/FWPodcastNetwork Support The Fire & Water Podcast Network on Patreon: https://www.patreon.com/fwpodcasts Use our HASHTAG online: #FWPodcasts Credits: Theme: "Fanfare" from 1996 Hamlet, by Patrick Doyle, with clips from that film, starring Ray Fearon; the 2000 Hamlet, starring Ethan Hawke; and the 1990 Hamlet, starring Mel Gibson. Bonus clips: Hamlet 1996 by Kenneth Branagh, starring Richard Byers; Hamlet 1980 by Rodney Bennett, starring Eric Porter and Raymond Mason; Hamlet 2007 by Alexander Fodor, starring Lydia Piechowiak and Hanne Steen; and Hamlet 2009 by Gregory Doran, starring David Ajala and Oliver Ford Davies. Leave a comment, I love to read!

“Those friends thou hast, and their adoption tried,Grapple them unto thy soul with hoops of steel”— Polonius, Hamlet Act I Scene 3   "We'll always be bosom buddies...." - Mame and Vera, Mame Act IIIn today's episode, we discuss those platonic (mostly!) relationships in Shakespeare which feed us, touch us, annoy us, and horrify us.Did we miss one you like?? Let us know which one and why!!To send us an email - please do, we truly want to hear from you!!! - write us at: thebardcastyoudick@gmail.com To support us (by giving us money - we're a 501C3 Non-Profit - helllloooooo, tax deductible donation!!!) - per episode if you like! -On Patreon, go here:  https://www.patreon.com/user?u=35662364&fan_landing=trueOr on Paypal:https://www.paypal.com/donate/?hosted_button_id=8KTK7CATJSRYJTo visit our website, go here:https://www.thebardcastyoudick.comTo donate to an awesome charity, go here:https://actorsfund.org/help-our-entertainment-communiity-covid-19-emergency-reliefLike us? Don't have any extra moolah? We get it! Still love us and want to support us?? Then leave us a five-star rating AND a review wherever you get your podcasts!!Episode Sources:Years and years of experience with Shakespeare from two - scratch that, SIX!!! -  rather opinionated theatre professionals, you dicks!!!!  And cunts. (Owen insisted we add this.)Many, many, many books.And the inter webs :) 

Welcome to Thank You – Places! an aural journey from Marlborough to Edinburgh.This episode, we'll tell you about Ghost Light Players, what we do, what our podcast is about, what its title means, and our upcoming trip to Scotland! The main event is our interview with Jonathan Dunlea, the actor behind the character of Polonius in Hamlet. We sat down to talk to Jonathan about returning to the show we so successfully mounted last year. For more information about Ghost Light Players, and especially our upcoming trip to the Edinburgh Festival Fringe, check out our website (ghostlightplayers.com/fringe), or Twitter/Facebook/Instagram (all @GLPlayers). Hosting and audio recording by Chris J.M. Maloney and Jacob C. McDonald.  Iffy editing by Jacob C. McDonald.  Original music by Fourpaws.  Special thanks to First Church in Marlborough, Gillian Griffith and Ariel Zuckerman.  The use of their spaces for recording our interviews is much appreciated. Questions? Praise?  Email jacob[at]ghostlightplayers.com or use the hashtag #GLPod.The official podcast of the Ghost Light Players of MetroWest. Find us online at http://ghostlightplayers.com/For more information about Ghost Light Players, check out our website (ghostlightplayers.com), or Twitter/Facebook/Instagram (all @GLPlayers). Audio recording and editing by Chris J.M. Maloney. Original music by Fourpaws. Special thanks to First Church in Marlborough.

“Neither a borrower nor a lender be,” advised Shakespeare's Polonius. These words seem hopelessly out of touch in cost of living crisis with soaring inflation and astronomical levels of personal debt. The charity StepChange has warned that money borrowed by UK households to pay for Christmas could take years to repay. Meanwhile, a study by the Resolution Foundation suggests the British public are the worst in the developed world at saving. How did we get here? For some, our eye-popping indebtedness begins with a failure of personal responsibility, an absence of prudence, and an inability to discern between our ‘wants' and needs'. For others, the real problem is systemic, where borrowers are victims of a consumerist society that both pressurises and stigmatises the poorest. Pragmatists argue that debt itself is morally neutral and merely part of the furniture of modern life. Free market libertarians see debt as a democratising force, giving people greater personal agency. Whereas many religious and philosophical traditions have long believed that there is something intrinsically immoral about charging interest on lending. Is debt inevitable? Or a moral failing? If so, whose? Producer: Dan Tierney.

Cyril Nri is a BAFTA-nominated British actor whose career spans over four decades, traversing stage, film, and television. Notable roles with the Royal Shakespeare Company include Lucius in Julius Caesar, Ariel in The Tempest, and Polonius in Hamlet. He earned his BAFTA nomination playing Lance Sullivan in Russell T. Davies' 2015 Channel Four series Cucumber. Cyril joins Erick to share about his professional journey and what motivates him to be at the top of his game. Hosted on Acast. See acast.com/privacy for more information.

William Shakespeare was a genius in many ways, but there are two ideas of his which are crucial to building any brand. The first, which comes from the play As You Like It, is something that has become even more important over time: “All the world's a stage”. With the prevalence of platforms like social media, the entire world is truly our stage today, and we must take full advantage of that stage in order to build, grow, and sustain a brand. We can transmit our brand's frequency anywhere, with countless access points and mediums to connect with others, enabling us to potentially reach billions with our message. Using what I call the Stage Theory allows us to turn moments into content that elevates our brand and spreads awareness for the value it brings others. The other piece of the Bard's advice comes from the character Polonius in Hamlet: “This above all: to thine own self be true...”. Authenticity is a vital component of branding today, because the truth is what vibrates the fastest. Authentic truth is what connects us to others, logically and emotionally. The more truthful and authentic your brand's message is, as well as the people sharing it, the better it will resonate with others. We don't just want people to see or hear about the brand, we want them to feel it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In Shakespeare's Hamlet, Polonius counsels his son Laertes, exclaiming: “Neither a borrower nor a lender be; for loan oft loses both itself and friend”. If you've been a fixed income investor this year, you are nursing your wounds and might have wished you heeded this advice! At a global level we've seen over a decade of nominal bond returns wiped out for the first time since the early 1950s. Therefore this seems a good time to discuss fixed income, and to do so with PGIM Fixed Income, who manage $790 billion in bonds (as of 30/06/22). Greg explains his perspective of the flaws in the 60/40 model, before reviewing the question of whether and where the bond rout has created opportunity across the spectrum. He discusses government, corporate credit, emerging market debt, and index-linked bonds. He describes why the Fed may remain more hawkish than consensus believes, why restoring “yield” is a good thing, and explains how active fixed income management has delivered more consistent outperformance versus benchmarks (unlike the world of equity management!). Sign up to our newsletter for more in-depth insights | Follow us on LinkedIn The Money Maze Podcast is kindly sponsored by Schroders, Bremont Watches, LiveTrade and Mintus. DISCLAIMER: The Money Maze Podcast covers views, opinions and recommendations of other investment managers which may not represent the views of PGIM. The views expressed by PGIM is not intended to constitute investment advice, were accurate at the time of recording and are subject to change.        

William Shakespeare was a genius in many ways, but there are two ideas of his which are crucial to building any brand. The first, which comes from the play As You Like It, is something that has become even more important over time: “All the world's a stage”. With the prevalence of platforms like social media, the entire world is truly our stage today, and we must take full advantage of that stage in order to build, grow, and sustain a brand. We can transmit our brand's frequency anywhere, with countless access points and mediums to connect with others, enabling us to potentially reach billions with our message. Using what I call the Stage Theory allows us to turn moments into content that elevates our brand and spreads awareness for the value it brings others. The other piece of the Bard's advice comes from the character Polonius in Hamlet: “This above all: to thine own self be true...”. Authenticity is a vital component of branding today, because the truth is what vibrates the fastest. Authentic truth is what connects us to others, logically and emotionally. The more truthful and authentic your brand's message is, as well as the people sharing it, the better it will resonate with others. We don't just want people to see or hear about the brand, we want them to feel it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

When I think about branding today, I look back at one person for inspiration, William Shakespeare. He was a genius in many ways, but there are two ideas of his which are crucial to building any brand. The first, which comes from the play As You Like It, is something that has become even more important over time: “All the world's a stage”.  With the prevalence of platforms like social media, the entire world is truly our stage today, and we must take full advantage of that stage in order to build, grow, and sustain a brand. We can transmit our brand's frequency anywhere, with countless access points and mediums to connect with others, enabling us to potentially reach billions with our message. Using what I call the Stage Theory allows us to turn moments into content that elevates our brand and spreads awareness for the value it brings others.  The other piece of the Bard's advice comes from the character Polonius in Hamlet: “This above all: to thine own self be true...”. Authenticity is a vital component of branding today, because the truth is what vibrates the fastest. Authentic truth is what connects us to others, logically and emotionally.  The more truthful and authentic your brand's message is, as well as the people sharing it, the better it will resonate with others. We don't just want people to see or hear about the brand, we want them to feel it. Learn more about your ad choices. Visit podcastchoices.com/adchoices

 Greetings, Leaders. The mind is the most potent creation known to man. How we think determines the leader we are, the one we need to become for leading in the 21st century.  Our thinking will influence how we see ourselves, others, and the success we accomplish or miss in life.  Please do not allow this world to mold you in its image. Instead, be transformed from the inside out by renewing your mind. Early in my career, my thinking about what I desired to accomplish and how I thought of myself was not aligned. Consequently, I struggled with self-doubt, feelings of inadequacy, and fears of failure. My performance seemed superb on the outside, but within, I was divided in my thinking, doubting I could accomplish much or compete with so many seemingly more talented people than me. In a sense, I was masquerading. I was not authentic. "This above all: to thine own self be true, And it must follow, as the night the day, Thou canst not then be false to any man." Polonius in Hamlet, Act I, scene iii, lines 78–80. Not being true to who we are places extra burdens on us, and we are not as effective as leaders.  Our best interest is in the renewing of our thinking. Changing and rewiring how we view ourselves, perceptions, and attitudes. Neuroscience shows us that our minds are programmed to think in specific ways from childhood based on our life experiences.  The intentional development of new ways of thinking about ourselves aligns with the vision of who we are and what we envision becoming. Being transformed by renewing your mind became my new mission in life around my career's quarter-century mark. While becoming authentic, the first place was changing my thought patterns. I wrote on paper the person I envisioned becoming, the qualities I desired, and the impact I wanted my life to make. I was blessed to be associated with leaders who saw potential in me and nurtured my new leader's vision. The process is ongoing. These are the benefits I noticed. 1. Personal trust and responsibility in my client relationships became enriching. 2. My clients responded differently to my leadership and suggestions. 3. I began to experience the meaning of "trusted advisor." Someone once said, "People buy from people they like, admire, trust and respect." According to the Center for Creative Leadership, Trust = Ability + Loyalty + Integrity. Here are four outcomes.  1. We lead with purpose and meaning.  2. We are consistent in our responses to circumstances. 3. We give honest and caring feedback. 4. We lead with the integrity of the heart and skillful hands. We grow and rise as leaders when we elevate our thinking with more noble visions and take action!  The result is the release from old thought patterns and the joy of experiencing the new you."Keep your eyes fixed straight ahead. Look into the future. Always look up." Tomas J. Watson, Sr.  Victory! 

Isonette Polonius, who came to East Carolina from Curacao, had a stellar career with ECU Softball from 1997-99. The ECU Hall of Famer continues to hold the career marks for batting average (.415), HR (42) and RBI (185). She is now back in the Caribbean and doing big things!

Isonette Polonius, who came to East Carolina from Curacao, had a stellar career with ECU Softball from 1997-99. The ECU Hall of Famer continues to hold the career marks for batting average (.415), HR (42) and RBI (185). She is now back in the Caribbean and doing big things! --- Support this podcast: https://anchor.fm/thesportsobj/support

William Shakespeare was a genius in many ways, but there are two ideas of his which are crucial to building any brand. The first, which comes from the play As You Like It, is something that has become even more important over time: “All the world's a stage”. With the prevalence of platforms like social media, the entire world is truly our stage today, and we must take full advantage of that stage in order to build, grow, and sustain a brand. We can transmit our brand's frequency anywhere, with countless access points and mediums to connect with others, enabling us to potentially reach billions with our message. Using what I call the Stage Theory allows us to turn moments into content that elevates our brand and spreads awareness for the value it brings others. The other piece of the Bard's advice comes from the character Polonius in Hamlet: “This above all: to thine own self be true...”. Authenticity is a vital component of branding today, because the truth is what vibrates the fastest. Authentic truth is what connects us to others, logically and emotionally. The more truthful and authentic your brand's message is, as well as the people sharing it, the better it will resonate with others. We don't just want people to see or hear about the brand, we want them to feel it. Tweet me your takeaway from today's episode @davidmeltzer  Email Me! david@dmeltzer.com Sign up for my Free Weekly Training https://free.dmeltzer.com/friday-training-1 Text Me! (949) 298-2905 Learn more about your ad choices. Visit podcastchoices.com/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/SLB1rNqz85g Dear Ricahrd; What a wonderful time! I enjoyed every minute of it and thought you were terrific at asking questions that helped the audience get a well rounded picture of who I am and what I do.  Thanks a million! Big Hugs; Steve (TOQ) Steve Hayes is an actor/comedian and host of the hit YouTube show: “STEVE HAYES: Tired Old Queen at the Movies”. He was a guest host on Turner Classic Movies to celebrate their twentieth Reunion , introducing the sci-fi classic; “Them!” with Robert Osborne. He starred in Fine Line Features “TRICK”, “The Big Gay Musical” and is featured in the upcoming film “Hooked” written & directed by Max Emerson. He has performed his two one- person shows; “TOQ LIVE! and “Steve Hayes: Hollywood Reunion” throughout the country. He appeared at Conn. Rep. Thtr. Nutmeg Series playing Horton in “Seussical: The Musical”, Pseudolus in “A Funny Thing Happened On the Way To The Forum”, Mayor Shinn in “The Music Man”, The Barber in “Man Of La Mancha” starring Terrence Mann, Calliope in “Xanadu” and Twimble/Womper in “How To Succeed…” directed by Vincent J. Cardinal. He was also the Modern Major General in “The Pirates Of Penzance” directed by Terrence Mann. He played Edna in “Hairspray”, ”Polonius in “Hamlet”, Wendall in “The Penguin Tango”, Cogsworth in “Beauty and the Beast”, Larkin in “Six Degrees Of Separation”, Albin/Zaza in “la Cage Aux Folles” and most recently directed John Cariani “Almost, Maine” at The Red House Arts Center, Syracuse.

In this scene, Hamlet's friends from school, Rosencrantz and Guildenstern, have just arrived and the King and Queen ask them to find out what's going on with Hamlet. A short while later, Hamlet enter reading and is greeted by Polonius before Ros and Guil join us. DIRECTOR: Gigi Bermingham DRAMATURG: Gideon Rappaport HAMLET: Kwana Martinez POLONIUS: Seth David Mitchell ROSENCRANTZ: Max Herzfeld GUILDENSTERN: Danielle Reliford Fantastic work in Shakespeare's Hamlet from May 2021. After only a few weeks of work, the cast and director continue to work on and discuss the process. Part of The Rehearsal Room series. Prefer to watch the session? Find it here on YouTube! -- Get your copy of "10 Ways to Stop Worrying and Start Working!" See additional content on Facebook, Twitter, Instagram, and YouTube.