Podcasts about pyramus

It's Valentine's Day! Let's look at some of the romantic stories in Greek mythology and... oh. Well, at least Ovid gave up a prototype version of Romeo and Juliet to work with. That's right, it's the story of Pyramus and Thisbe!Sources for this episode:TBA

Join us this week on 'Sleepy Seedlings: The Bedtime Podcast with Trees' as we delve into the serene world of the Magnificent Mulberry Tree, a tree that has gracefully woven its way through history, mythology, and nature. Against the tranquil backdrop of a babbling stream and twilight birdsong, we'll uncover the rich heritage of the mulberry, from its vital role in ancient silk production to the timeless tales of Pyramus and Thisbe. Embrace the soothing narrative as we explore the symbolism and significance of this remarkable tree, fostering a deep appreciation for its beauty and resilience. As the ambient sounds of nature guide you into relaxation, immerse yourself in the scientific wonders of Morus alba, Morus rubra, and Morus nigra. Discover the unique characteristics of each mulberry species, their ecological contributions, and the fascinating relationship between the white mulberry and silkworms. Let the gentle rustling of mulberry leaves and the imagery of their sweet, vibrant fruits transport you to a place of calm and serenity. This episode promises to enrich your connection with nature, providing a peaceful journey towards restful sleep and tranquility. Hosted on Acast. See acast.com/privacy for more information.

In this mega episode of English Plus Podcast, we embark on an epic journey through 40 of the greatest stories from Greek mythology. From the creation of the world to the heroic labors of Hercules, from the tragic love stories to the epic battles of gods and mortals, these tales have captivated audiences for millennia and continue to inspire and intrigue us today. Episode Highlights: The Creation of the World and the Titans The Twelve Labors of Hercules The Odyssey The Iliad Pandora's Box The Myth of Persephone and the Seasons Theseus and the Minotaur Jason and the Argonauts Oedipus Rex The Fall of Icarus The Tale of Arachne Echo and Narcissus Orpheus and Eurydice Prometheus and the Gift of Fire The Judgment of Paris The Adventures of Perseus Bellerophon and Pegasus The Curse of the House of Atreus The Myth of Sisyphus The Golden Touch of King Midas The Transformation of Actaeon The Anger of Hera Athena and Poseidon's Rivalry The Tale of Psyche and Eros The Gorgon Medusa The Abduction of Ganymede The Tragedy of Niobe Tantalus and His Eternal Punishment Atlas and the Sky The Tragic Love of Pyramus and Thisbe The Story of Admetus and Alcestis Cadmus and the Founding of Thebes The Vengeance of Medea The Birth of Athena The Wanderings of Aeneas The Transformation of Daphne The Prophecy of Cassandra The Love Triangle of Aphrodite, Ares, and Hephaestus The Tragic Tale of Atalanta The Birth of the Muses Join us for this enthralling episode filled with timeless tales of heroism, tragedy, love, and the fascinating world of ancient Greek mythology.

Relax with a Babylonian tale, the story of star-crossed lovers Pyramus and Thisbe as they fall in love over a rainy summer. This romantic sleep story for grown ups will lull you into relaxing sleep.  In the midst of our seemingly endless to-do list, stressful moments, and worries of the future, Soothing Pod aims to provide mindfulness and restful deep sleep for everyone, completely free. Enjoy our various and freshly updated content such as: Guided sleep meditation, mindfulness daily meditation, music for relaxation and sleep, nature sounds ambience, ASMR for sleep, bedtime sleep stories for both adults and kids. We are so proud to showcase the hard work of our compassionate and creative team from scriptwriters, our meditation instructor, composers, narrators, animator, editor and content maker :) I hope you enjoy our work and love them as much as we doBedtime Sleep Stories | Pyramus and Thisbe | Romantic Sleep Story for Grown UpsWritten by Faith-Ann BishopNarrated by Arif HodzicChapters: 00:00 Intro00:31 Relax / Prepare for Sleep08:39 Pyramus and Thisbe

Den Originalbeitrag und mehr finden Sie bitte hier: https://lisa.gerda-henkel-stiftung.de/kunstgeschichten_nicolaspoussin

It's time for the Thrillers! Hawk Chronicles #217, Hot Copy Radio #11, and The Count of Monte Cristo: Part 51 "Pyramus and Thisbe"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Le Comte de Monte-Cristo is an adventure novel and that deals with themes of hope, justice, vengeance, mercy and forgiveness. Alexandre Dumas' celebrated classic continues with Part 51- "Pyramus and Thisbe "! Learn more about your ad choices. Visit megaphone.fm/adchoices

It's time for the Thrillers! Hawk Chronicles #217, Hot Copy Radio #11, and The Count of Monte Cristo: Part 51 "Pyramus and Thisbe"! Learn more about your ad choices. Visit megaphone.fm/adchoices

Le Comte de Monte-Cristo is an adventure novel and that deals with themes of hope, justice, vengeance, mercy and forgiveness. Alexandre Dumas' celebrated classic continues with Part 51- "Pyramus and Thisbe "! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Act IV of The Song of Orpheus, we leave the kingdom of Hades for the upper airs, but there is much unfinished business still to sort out.  In answer to your questions - no, Orpheus does not try a third time to bring back his beloved Eurydice. That door has closed.  And yes, Virginia, it is true, Orpheus is a hot mess without the love of his life, and yet, despite his sad disarray, a cult organically develops around him and his music. Understandably, this does not sit well with some of the Olympian gods because it detracts from their respective cults of worship. They work a solution, or rather Dionysus enlists the unpredictable maenads of Thrace to work a solution, which has a strange sort of success.  No, Orpheus is not deified like Hercules, although his lyre does become a constellation.  And also no, there are no bootleg mixtapes of Pyramus or any other of Orpheus' sublime music. Nor any other merch for that matter lol! And yet, despite a lack of technology and social media, his legend has endured. How can this be? Keep puzzling this, and in the meantime, enjoy and embrace the strangeness that is the conclusion to The Song of Orpheus.  *Credit for original background music to Steve Hayden et al. for the hair raising exchanges between the fanboys in Thrace and on Lesbos. 

Join us on a literary journey through the transformative tales of Ovid's Metamorphoses and their profound impact on the works of William Shakespeare.  Ovid's Metamorphoses, a collection of mythological stories of change and transformation, serves as a rich source of inspiration for many of Shakespeare's most iconic plays and characters. Before diving into the Shakespearean connections, Elyse and Kourtney provide an overview of key stories in Ovid's Metamorphoses, ensuring that both enthusiasts and newcomers can appreciate the context. Join us as we discover the clear parallels between Ovidian stories like Pyramus and Thisbe  and Shakespeare's Romeo and Juliet and A Midsummer Night's Dream. Explore how a specific translation of Ovid's stories impacted Shakespeare and other early modern writers.  Shakespeare Anyone? is created and produced by Kourtney Smith and Elyse Sharp. Music is "Neverending Minute" by Sounds Like Sander. Follow us on Instagram at @shakespeareanyonepod for updates or visit our website at shakespeareanyone.com You can support the podcast at patreon.com/shakespeareanyone Works referenced: Blake, Harriet Manning. “Golding's Ovid in Elizabethan Times.” The Journal of English and Germanic Philology, vol. 14, no. 1, 1915, pp. 93–95. JSTOR, http://www.jstor.org/stable/27700642. Accessed 24 Sept. 2023. Britannica, The Editors of Encyclopaedia. "Metamorphoses". Encyclopedia Britannica, 14 Sep. 2023, https://www.britannica.com/topic/Metamorphoses-poem-by-Ovid. Accessed 16 September 2023. Ovid. The. Xv. Bookes of P. Ouidius Naso, Entytuled Metamorphosis, Translated Oute of Latin into English Meeter, by Arthur Golding Gentleman, a Worke Very Pleasaunt and Delectable. 1567. . Translated by Arthur Golding. London: William Seres, 1567. Early English Books Online Text Creation Partnership, http://name.umdl.umich.edu/A08649.0001.001. Accessed 24 Sept. 2023. Ovid.  Ovid's Metamorphoses in fifteen books. Translated by the most eminent hands. Adorn'd with sculptures:. London: Jacob Tonson, 1717. Early English Books Online Text Creation Partnership, http://name.umdl.umich.edu/A08649.0001.001. Accessed 24 Sept. 2023. “Ovid's Metamorphoses.” British Library: Collection Items, British Library, www.bl.uk/collection-items/ovids-metamorphoses. Accessed 24 Sept. 2023. Tosh, Will. “Shakespeare and Ovid's Metamorphoses.” Shakespeare's Globe: Blogs & Features, Shakespeare's Globe, 22 Sept. 2021, www.shakespearesglobe.com/discover/blogs-and-features/2021/09/22/shakespeare-and-ovids-metamorphoses/#0.    

Relax with a Babylonian tale, the story of star-crossed lovers Pyramus and Thisbe as they fall in love over a rainy summer. This romantic sleep story for grown ups will lull you into relaxing sleep. 

The Count of Monte Cristo

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literary-studies

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.  Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/performing-arts

CONTENT WARNING: This episode will mention various instances of suicide and attempted suicide and death through literary history. To be or not to be...as much of a Shakespeare nerd as Jackie is! Join us for a textual transmissionary tale of just where Romeo and Juliet could come from. And no, it's NOT Verona, Italy!Redhanded the PodcastMontecchio Maggiore castles!Questions/Comments/Concerns/Recommendations? Email us at ragingromantics@nopl.org! Other episodes we recommend:Dark RomanceAdaptations/stories Jackie mentions:Ovid "Pyramus and Thisbe" (Metamorphoses, 8 CE)Geoffrey Chaucer Legend of Good Women (1386)Masuccio Saleritano "Mariotto and Ganozza" (Il Novellino/Cinquante Novelle, 1476)Luigi Da Porto Historia novellamente ritrovata di due nobili amanti (1530/1531 pub. p.h.) - In ItalianMatteo Bandello's Giuletta e Romeo (1554)William Shakespeare "A Midsummer Night's Dream" (1591-1596 appr.)Shakespeare "Romeo and Juliet (1591-1596 appr.)Romeo and Juliet Before Shakespeare - Four Early Stories of Star-crossed Love (ed. Centre for Reformation and Renaissance Studies, 2000)Other books we mention:I'm Glad My Mom Died by Jeanette McMurdy The Woman in the Library by Sulari GentillOther sources:“Metamorphoses” (Britannica.com)“Shakespeare and Chaucer: Influence and Authority on the Renaissance Stage” (Teramura, 2016)“Shakespeare's Quartos: Romeo and Juliet” (British Library)“Ovid's Pyramus and Thisbe.” (Duke, 1971)“Chaucer's Pyramus and Thisbe.” (Spisak, 1984)“Midsummer Night's Dream.” (Shakespeare's Globe)“Pyramus and Thisbe Context” (Schmoop.com)“Pyramus and Thisbe,” (Britannica, 2023)The Original Romeo and Juliet (Pelkofsk, 2015)"The Basics" (The British Library, n.d.)"The Legend of Good Women" (The British Library)"Black Death" (History.com, 2023)"The True Story of Romeo and Juliet" (Veronissima.com, n.d.)"Romeo and Juliet before Shakespeare" (Levenson, 1984)"Luigi da Porto" (Thehistoryofromeoandjuliet.weebly.com, n.d.)"Sources: The Genealogy of Romeo and Juliet" (The Bill Shakespeare Project, 2010)"Pre- and Post-Shakespeare Romeo and Juliet" (Artsedge, Kennedy Center, n.d.)

In this latest episode, the Unexpected duo, Professor James Daybell and Dr Sam Willis scale the great heights of the UNEXPECTED history of WALLS! Which is all about ancient Rome (via Ovid's Metamorphoses and Pyramus and Thisbe), Hadrian's Wall, graffiti in Pompeii, and the House of Maius Castricius. It's also all about Medieval Castles and the Crusades, and the Great Siege of Malta in 1565. Who knew! Hosted on Acast. See acast.com/privacy for more information.

Liv reads part 1 of Ovid's Metamorphoses, Book IV, translated by Brookes More. The daughters of Minyas tell stories, including that of Pyramus and Thisbe. Help keep LTAMB going by subscribing to Liv's Patreon for bonus content!This is not a standard narrative story episode, it's a reading of an ancient source, audiobook style. For regular episodes look for any that don't have "Liv Reads..." in the title!Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Hosted on Acast. See acast.com/privacy for more information.

In Season Three, we're looking at soliloquy! For the conclusion of our look at Shakespeare's use of soliloquies, we turn to the meta-theatrical soliloquy, from Bottom playing Pyramus to Hamlet declaring that the play is the thing. Sure, we know that Characters can perform Soliloquies...but what happens when those Characters "play Characters?" We're talking about kangaroo pocket dimensions. We're talking about that one time an Elizabethan actor punched an audience member. We're talking about meta-theatrical soliloquies! Support: http://www.patreon.com/hamlettohamilton Website: http://www.hamlettohamilton.com

Pyramus ve Thisbe'den Bedri Rahmi'ye, “morus negra”, “marus rubra”, “horum dutu”, “urmu dut”, karsambaç, granita... Aylin Öney Tan bu hafta karadutlu hikayeler anlattı, tarifler verdi. Hafta boyunca yayınlanan 5 bölüm burada bir arada. İyi dinlemeler.  

Pyramus ve Thisbe'den Bedri Rahmi'ye, “morus negra”, “marus rubra”, “horum dutu”, “urmu dut”, karsambaç, granita... Aylin Öney Tan bu hafta karadutlu hikayeler anlattı, tarifler verdi. Hafta boyunca yayınlanan 5 bölüm burada bir arada. İyi dinlemeler.

Karadut deyince akla ilk aşk gelmesi normaldir. Özellikle de Türkiye'de ünlü ressam şair Bedri Rahmi Eyüboğlu'nun “Karadutum, çatal karam, çingenem” diye başlayan şiiri yüzünden. Karadut hep acı sonla biten aşkların şiiri gibidir. Ama en acı son Yunan mitolojisindeki meşhur Pyramus ve Thisbe'nin aşkıdır. Karadut yazısı yazıp da bu aşka referans vermeyen yemek yazarı herhalde yoktur. Kraliçe Semiramis'in ülkesi Babil'in en yakışıklı genci Pyramus, Thisbe ise en güzel kızıdır. Ailelerinin birleşmesine izin vermediği komşu evlerde yaşayan gençler bir gece dut ağacının altında gizlice buluşmaya karar verirler ama kötü kader ağlarını örmüştür, hikâyenin sonu kanla biter. Efsaneye göre dut ağacının kar beyazı meyveleri bu hazin aşk öyküsü yüzünden artık kara olacaktır. Aylin Öney Tan'la bir tutam tarih biraz da tarif.  

Karadut deyince akla ilk aşk gelmesi normaldir. Özellikle de Türkiye'de ünlü ressam şair Bedri Rahmi Eyüboğlu'nun “Karadutum, çatal karam, çingenem” diye başlayan şiiri yüzünden. Karadut hep acı sonla biten aşkların şiiri gibidir. Ama en acı son Yunan mitolojisindeki meşhur Pyramus ve Thisbe'nin aşkıdır. Karadut yazısı yazıp da bu aşka referans vermeyen yemek yazarı herhalde yoktur. Kraliçe Semiramis'in ülkesi Babil'in en yakışıklı genci Pyramus, Thisbe ise en güzel kızıdır. Ailelerinin birleşmesine izin vermediği komşu evlerde yaşayan gençler bir gece dut ağacının altında gizlice buluşmaya karar verirler ama kötü kader ağlarını örmüştür, hikâyenin sonu kanla biter. Efsaneye göre dut ağacının kar beyazı meyveleri bu hazin aşk öyküsü yüzünden artık kara olacaktır. Aylin Öney Tan'la bir tutam tarih biraz da tarif.

Ein griechisches Märchen aus dem klassischen Altertum aus Ovids „Metamorphosen“. Ich habe die beiden Namen der Protagonisten noch von Shakespeares „Sommernachtstraum“ im Ohr. Sicher eine ungewöhnliche Folge in meinem Podcast, aber ich freue mich sehr auf eure Reaktionen || Gelesen von Dustin Peters || Liebende, Mauer, Flucht, Maulbeerbaum, Schwert || Das exklusiv-gemalte Bild zur Geschichte gibt es auf Instagram im Profil @dustins.maerchen.podcast || Nun hoffe ich, dass ihr die Folge oder den Podcast weiterempfehlt und freue mich auf die nächste Geschichte || Und wenn sie nicht gestorben sind, dann...Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

Sarah Guillot joins host Stephanie Crugnola on this week's episode to chat which of Shakespeare's characters has the best (and worst!) final lines! Through the episode we cover: Mercutio, York, Ophelia, Worcester, and Pyramus! Vote for who you think should win, and follow us on Facebook, instagram, Twitter, and TikTok! Make sure to follow Sarah on instagram and through her website! Please check out our Patreon for bonus materials and extra content - including my picks for each of the months' episodes, and some new audition monologue content! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

Inspired by a real-life case of wrongful imprisonment, Alexandre Dumas's The Count of Monte Cristo tells the story of Edmond Dantes. While imprisoned, Dante learns of a great hoard of treasure hidden on the Isle of Monte Cristo and he becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsible for his incarceration. The GSMC Audiobook Series presents some of the greatest classic novels, audiobooks, and theatrical presentations from a bygone era. Let Golden State Media Concepts take you on a ride through classic audiobooks read by some of the top audiobook performers of all time. This compiled collection of classic audiobooks contains a wide variety of classic Novels. ***PLEASE NOTE*** GSMC Podcast Network presents these shows and audiobooks as historical content and have brought them to you unedited. Remember that times have changed, and some Audiobooks might not reflect the standards of today's politically correct society. The shows do not necessarily reflect the views, standards, or beliefs of Golden State Media Concepts or the GSMC Podcast Network. Our goal is to entertain, educate and give you a glimpse into the past.

Wist je dat het gebruik van de moerbei een positief effect kan hebben op tinnitus, oorsuizen. Ik ga dat toch eens proberen want ik heb al zeven jaar lang een piep in mijn linkeroor, het is dus nooit meer stil. Wie er ook niet stil is is Annie's Groene Vingers, ook dit keer heb ik weer alles voor je uitgezocht over de Moerbei bv de mythe van Pyramus en Thisbe waardoor de vrucht donkerrood is geworden. --- Send in a voice message: https://podcasters.spotify.com/pod/show/annie-jan/message

Once upon a time, in a library not so far away, two librarians sat down to talk about retellings in romancelandia. We ask what makes an original tale? What even is a retelling? Join us as we break down some of the different layers of these types of stories!Did you catch how many times we said the buzzword? Email us at ragingromantics@nopl.org with your best guess!Jackie's proposed retelling schema:Original talesThese may not be the very first instance of the tale/trope/motif, but they are often accredited as being the source of inspiration for derivative worksRetellingsa derivative work where an author takes a classic story, and reworks the characters, plot, setting/situation, in a new way, thus creating a completely new versino of the originalWill often claim direct influence from the original tale by keeping the characters names/plot points/other identifiable fixturesHomageA derivative work that shows respect or attests to the worth or influence of another, original work. They may retain the names or the plot arc, or they may not. However they still claim influence from the original story.Rip-offDerivative works that pay no deference to original work. Can go all the way from ignoring their source of inspiration, to straightforward plagiarism where they rip pieces of another story and repackage it for their own monetary gainWorks/authors/books mentioned:Fifty Shades of Grey by EL JamesTwilight by Stephanie MeyersRomeo + Juliet and Midsummer Night's Dream by William ShakespeareLegend of Good Women by Geoffrey ChaucerPyramus + Thisbe by Ovid in MetamorphosesPride & Prejudice by Jane AustenAn Offer from a Gentleman by Julia QuinnGoose Girl by Shannon HaleLittle Thieves by Margaret OwensLunar Chronicles series by Marissa MeyerTouch of Darkness/Hades & Persephone series by Scarlett St. ClairDark Olympus series by Katee RobertBrazen and the Beast by Sarah MacLeanJane Eyre by Charlotte BronteA Court of Thorns and Roses and Crescent City series by Sarah J MaasOther podcasts listened to:S03.27: Retellings in Romance Novels with Kate ClaybornOmegaverse episode - #28 Shifting into Werewolf Romance + OmegaverseScandals episode- #30 the Drama with RWA, Omegaverse and Bad BooksLinks:"A More Inclusive Happy Ending: Romance Novels that Diversify the Classics" (Brown, 2021)"Fairy Tale Retellings? Or Fantasy Romances?" (Reddit)"What is a Retelling?" (bookseriesrecaps.com)"Homage or rip off?" (reddit)"Pyramus and Thisbe" (Britannica.com)"Disney didn't invent Cinderella. Her story is at least 2,000 years old" (McKinney, 2015)"Why We'll Never Get Tired of Literary Retellings" (Donohue, 2019)Why do you think "retellings" are currently so popular, particularly in young adult literature?" (Quora)"Why is publishing Plagiarism Still Possible?" (Nuttall, 2022)

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Happy Valentine's Day my lovelies. Here's one to get you in the mood. It's full of cracks, lions, and death, OH MY!Contact infoeffeduphistory@gmail.com@effeduphistory on all socialsBook a Tour of Salem, MAhttps://www.viator.com/tours/Salem/Curses-and-Crimes-Candlelight-Tour/d22414-325232P2Buy Me A Coffee:buymeacoffee.com/effeduphistoryInterested in starting a podcast of your own? I highly suggest using buzzsprout to list and post! If you use my affiliate link, you get a $20 amazon gift card after 2 paid months.https://www.buzzsprout.com/?referrer_id=1630084Music:Athena by JVNA Medieval Loop One and Celebration by Alexander Nakarada | https://www.serpentsoundstudios.comMusic promoted by https://www.free-stock-music.comAttribution 4.0 International (CC BY 4.0)https://creativecommons.org/licenses/by/4.0/SourcesMetamorphosis by OvidSupport the show (https://www.patreon.com/effeduphistory)

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Welcome to the full Play of the Play On Podcasts Series A Midsummer Night's Dream. A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. Synopsis: The players delight Theseus, Hippolyta, the lovers and the Court with their rendition of “Pyramus and Thisbe”; as Titania, Oberon and all the fairy kingdom bless the realm with their celebration of unity. The Cast: ALEXANDRA HENRIKSON as Helena AMARI CHEATOM as Oberon ARMANDO MCCLAIN as Egeus and Snug CEDRIC LAMAR as Flute CHRISTOPHER LIVINGSTON as Demetrius DAISUKE TSUJI as Puck DAVID FURR as Theseus GOPAL DIVAN as Lysander JAMIE ANN ROMERO as Hermia JEENA YI as Quince JENN HARRIS as Bottom MANILA LUZON as Hippolyta MICHELLE BECK as Titania Creative Team: JEFFREY WHITTY, Playwright CATHERINE EATON, Director and Script Adaptor GEORGE WHITTY, Composer ARJUN G. SHETH and PATRICK BURGESS, Sound Design and Mix SADAHARU YAGI, Engineer LARRY WALSH, Dialog Editor Play On Podcasts Series A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. New episodes go live every Friday. Please subscribe, rate & review on your app of choice. Visit ncpodcasts.com/playonpodcast for bonus content including interviews, images and bios of the full cast & creative team. Visit playonshakespeare.org for more about Play On Shakespeare.

Welcome to the sixth episode of the Play On Podcasts Series A Midsummer Night's Dream. Synopsis: The players delight Theseus, Hippolyta, the lovers and the Court with their rendition of “Pyramus and Thisbe”; as Titania, Oberon and all the fairy kingdom bless the realm with their celebration of unity. The Cast: ALEXANDRA HENRIKSON as Helena AMARI CHEATOM as Oberon ARMANDO MCCLAIN as Egeus and Snug CEDRIC LAMAR as Flute CHRISTOPHER LIVINGSTON as Demetrius DAISUKE TSUJI as Puck DAVID FURR as Theseus GOPAL DIVAN as Lysander JAMIE ANN ROMERO as Hermia JEENA YI as Quince JENN HARRIS as Bottom MANILA LUZON as Hippolyta MICHELLE BECK as Titania Creative Team: JEFFREY WHITTY, Playwright CATHERINE EATON, Director and Script Adaptor GEORGE WHITTY, Composer ARJUN G. SHETH and PATRICK BURGESS, Sound Design and Mix SADAHARU YAGI, Engineer LARRY WALSH, Dialog Editor Play On Podcasts Series A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. New episodes go live every Friday. Please subscribe, rate & review on your app of choice. Visit ncpodcasts.com/playonpodcast for bonus content including interviews, images and bios of the full cast & creative team. Visit playonshakespeare.org for more about Play On Shakespeare.

A Midsummer Night's Dream is one of Shakespeare's most popular romantic comedies. At the same time, it's a play that explores the darker and more dangerous side of love. Four young lovers flee into the forest where their romantic entanglements become even more entangled thanks to the magic of the fairy king, Oberon — who also puts a spell on his wife, Titania, so she falls in love with Bottom, a man with an enchanted donkey's head. In this course, you'll learn the story of A Midsummer Night's Dream, discover how the play's fantastical elements actually represent universal issues in our everyday lives, and hear the play's key speeches performed and analyzed by world-class Shakespearean actors and literary scholars. In Part 1, you'll be guided through a detailed account of the story with commentary by Tiffany Stern, Professor of Shakespeare and Early Modern Drama at the Shakespeare Institute. Professor Stern discusses the play's context, structure, and distinctive mix of comedy and tragedy, as created by the “play-within-a-play” — the “tragic” story of Pyramus and Thisbe performed by one group of characters to celebrate the others' weddings. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean. 

Paul Celan var askans diktare, men skrev också dikter fulla av färg. Författaren Eva Ström ger en inblick i arbetet med att översätta dem till svenska. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången i november 2020. När coronapandemin bröt ut 2020 isolerade jag mig. Jag kunde inte längre umgås nära med människor, men under sommaren började jag närma mig träden. Jag vandrade bland dem, fotograferade dem. Bara några hundra meter från mitt hem i Kristianstad upptäckte jag ett jättelikt mullbärsträd som övervakar barnens lekplats, ett träd som jag inte tidigare lagt märke till. Och kanske hade jag inte lagt märke till det om det inte vore för att jag samma sommar också vandrat omkring i den tyskspråkige judiske poeten Paul Celans poetiska universum. Tillsammans med Björn Sandmark arbetade jag med att ge hans tidiga poesi en svensk språkdräkt. Det var som att träda in i mörk kristall, en svart diamant, men efter hand kunde jag urskilja fler och fler kolörer. Celan, askans och mörkrets diktare har skrivit dikter som skimrar av färger. I hans dikter förekommer ord som stenblått och mögelgrönt, flaggrött och kungsblått, lergult  och oljegrönt. Här lyser också mängder av blommor, blommor som vallmo och fingerborgsblomma, syrener och maskros, ögontröst och krusmynta. I ett brev skickat från Paris till väninnan Erica Lillegg i Wien skriver Celan: Jag är bara ett blad, som man varje dag på nytt måste påminna att det finns träd Och i dikterna hittar man även mandelträd och plataner, popplar och cypresser, aspar och karelska björkar och så mullbärsträdet. Det återfinns i en senare samling, Andningsvändning; en bok som jag inte översatte ändå gick jag och grubblade över dikten hela sommaren: Du kan med förtröstan bjuda mig snö Var gång jag skred genom sommaren skuldra vid skuldra med mullbärsträdet skrek dess yngsta blad. Jag läste dikten om och om igen. Varför utövade den en sådan magi över mig, från dess första inledande förtröstan, till skriket i dess yngsta blad?  Var det silkesmaskarna som angrep bladet, för att skapa den vackraste av vävar ? En väv lika skimrande som en dikt? Hade det någon betydelse att Celan på sitt sommarställe i Moisville hade planterat tre stycken mullbärsträd med vita bär i stället för röda? Kanske var det just de där vita mullbären som var den snö han talade om i dikten? Jag läste sägnen om Pyramus och Thisbe, att blodet från deras genom missförstånd åstadkomna dubbla självmord färgade de från början vita bären röda. Samma natt hade jag en dröm. Paul Celan hade kommit till Skåne! Han satt på ett brunnslock i en trädgård och lutade sig framåt, han stödde underarmarna mot benen, han såg glad och avslappnad ut. Så fantastiskt att han tagit sig hit, så underbart att han såg så lycklig ut! Och vilket tillfälle jag hade nu att fråga honom direkt om hans dikt! Jag störtade mig fram i största förväntan. Men just innan jag skulle öppna munnen hejdade jag mig. Paul Celan dog redan i sitt femtionde år, då han dränkte sig i Seine i april 1970. Hans dikt fortsätter att fascinera genom sin gåtfulla utstrålning, med sin kristalliska, nästan skulpturala struktur. Men hur ta sig in i denna svarta diamant? Många som likt mig blivit fångade av hans dikt vill läsa så mycket som möjligt om hans verk och också om hans liv, eftersom de var så djupt förbundna. Meine Gedichte sind meine Vita, sa Paul Celan själv,  Mina dikter är mitt liv. Kanske kan man få några ingångar genom att läsa brevsamlingen  etwas ganz und gar Persöhnliches, (något helt och hållet personligt)  som innehåller 691 brev, där Paul Celan många gånger får anledning att berätta om sig själv och sitt liv. Även om han ofta nämner sin diktning ger han inga tolkningar, men han berättar sin livshistoria som flykting från det forna Östblocket, som tyskspråkig jude från Czernowitz i Rumänien, hans föräldrar dödades av nazisterna. Celan beskriver sin kamp som tyskspråkig diktare i exil, men också lyckliga stunder, i brev riktade till sin älskarinna Ingeborg Bachmann eller till hustrun Gisèle Lestrange. Men trots allt som har skrivits om Celan är det  dikterna man känner hans unika, gåtfulla särprägel, den som man aldrig  riktigt kan utröna, även om man känner förutsättningarna för hans dikt: Förintelsen och det judiska ödet. En av dikterna jag översatte bär den för 2020 så ödesdigra titeln Corona. Det är en kärleksdikt till Ingeborg Bachmann och här ingår de vackra orden som gett diktsamlingen Mohn und Gedächtnis dess titel: Vi älskar varandra som vallmo och minne.  Corona, är latin för krona, men det är också en musikalisk term för en fermat, alltså ett ställe i musiken där man håller ut tonen i en tonsatt vila, kärlekens vila. Under ett år präglat av pandemi gav mig läsningen av Paul Celans dikter just en sådan tonsatt vila, jag upplevde glädjen att få vistas i hans dikter och umgås nära och varsamt med dem, för översättning är framför allt noggrann och uppmärksam läsning. Det menade Celan själv som när människor fann hans dikter svårförståeliga, skrev i ett brev, att man skulle ägna dem uppmärksamhet, likt den uppmärksamhet en blind flicka ägnar den gata hon tar sig över med sin blindkäpp. Celan var själv översättare av ryska poeter som Mandelstam och Jesenin, och han förstod vilket mödosamt och svårt arbete det kunde vara. I ett annat brev säger han att en översättning var som att skeppa något över en flod: man ska därvid beakta inte bara antalet rader utan också roddartagen. I drömmen frågade jag aldrig Paul Celan om vad han menade med sin dikt. För det är inte så man gör. Man läser dikten, man tar den till sig, men man frågar inte. Och med denna insikt vaknade jag. Dikten behöll sina underjordiska flöden intakta, och poeten vaktade leende dess källor. Jag vet inte om de tre mullbärsträden med vita bär i Moisville i Frankrike ännu står kvar, men jag vet att det står ett mullbärsträd i hans dikt och ett i Tivoliparken i Kristianstad. Jag vet inte vet om det har hjälpt mig att förstå dikten bättre, men vill gärna tro det. Och när jag upptäckte det, med sina ännu ljusa mullbär, blev jag lycklig; lika lycklig som Paul Celan såg ut att vara i min dröm när han satt på ett brunnslock i en skånsk trädgård på Österlen. Jag är bara ett blad som man varje dag måste påminna om att det finns träd skrev han i sitt brev, ett utryck fylld av oändlig ensamhet. Jag tänker att alla vi som läser hans dikt är sådana träd, och att också vi är blad på dessa stora träd, och jag hoppas Paul Celan skulle glädja sig åt att förstå hur många vi är som läser hans dikt och finner den livsnödvändig. Eva Ström, författare Litteratur Paul Celan: Etwas ganz und gar Persönliches. Die Briefe 193470. Redaktörer Barbara Wiedemann och Bertrand Badiou. Suhrkamp Verlag AG, 2020. Petra Rychlo (redaktör): Mit den Augen von Zeitgenossen. Erinnerungen an Paul Celan. Suhrkamp Verlag AG, 2020.

Two stories from Greek/Roman mythology this week with the (not remotely) love story of Apollo and Daphne as well as the tale of Pyramus and Thisbe, where we'll see that a wall can bring people together as well as keep them apart. The creature is the Bakru, from Suriname, a mythological creature in the form of a child that stopped on the way to becoming a real boy and you can also hire him to burn down someone's house on Fiverr. -- Sponsors: Warby Parker: Try five pairs of glasses at home for free at http://warbyparker.com/myths Pretty Litter: Pretty Litter: Get 20% off by going to http://prettylitter.com and using the promo code "myths" KiwiCo: Get 30% off your first month plus free shipping on any crate line with code MYTHS at http://kiwico.com Literati: Reimagine what a book club can be. Redeem your free trial at http://literati.com/legends -- Links: Disclaimer: https://myths.link/227 Twitter: https://myths.link/twitter Store: https://myths.link/store Membership: https://www.mythpodcast.com/membership Public domain "Metamorphoses": https://myths.link/metamorphoses Not-public-domain "Metamorphoses": https://myths.link/ovid -- Music: "Sunset Stroll in the Wood" by Podington Bear "Douglas Fir" by Chad Crouch "The Speed of Life" by Podington Bear "Helado" by Blue Dot Sessions "OneEightFour" by Blue Dot Sessions "Kallaloe" by Blue Dot Sessions See omnystudio.com/listener for privacy information.

Ovidius diktning tycks ha närmast evigt liv, men drev honom själv i evig exil. Kristoffer Leandoer reflekterar över "Metamorfosers" ständigt nya skepnader i ljuset av ny forskning. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Kan vi förvandlas? I Ovidius diktverk Metamorfoser sker det hela tiden. På femton sånger hinner han berätta tvåhundrafemtio förvandlingssagor och dessutom sammanfatta trojanska kriget och romarrikets historia. Kvinnor förvandlas till floder och källor, deras armar blir till trädgrenar, på ryggen växer det ut vingar. Stjärnbilder, blommor, vilda djur och tama, kräldjur och fåglar, klippor, havsskum och vattendrag det finns ingen gräns för gudarnas makt, ett ord från dem och människor förlorar både form och talförmåga. Oftast sker det som straff, för att man trotsat gudarnas vilja, men ibland är det en sorts skyddad identitet, en räddning undan övergrepp. Någon gång sker rentav förvandlingen som belöning för lång och trogen kärlek, som när det äkta paret Filemon och Baukis på ålderns höst får stå träd intill varandra han en ek, hon en lind  eller Kadmos och Harmonia förvandlas till ormar, och fridsamt sammanslingrade kan dra sig tillbaka och se fram mot en lugn ålderdom i Illyriens land. De nöjda hör till undantagen, långt vanligare är Ios reaktion inför sin förvandling till kviga: hon flyr från sig själv i förfäran. Ovidius betonar reaktionen snarare än förloppet. Han är intresserad av den subjektiva upplevelsen, hur det känns att förvandlas. Det han vinnlägger sig om är att låta sina gestalter få ge ord åt själva förlusten förlusten av mänsklighet, förlusten av en älskad, förlusten av hemort, av familj. Åtskilliga av dessa förluster kommer han snart att få uppleva i sitt eget liv, men det vet han inte än. Än så länge är förvandlingen en lek. Men vad innebär den? Kan man byta sitt väsen, eller är det bara den yttre formen som fås att bättre spegla ens inre? Ja, påfallande ofta blir den våldsamme en varg, den fogliga ett vattendrag. Men vad som förvandlas är inte det centrala för Ovidius, utan att det sker; att tillvaron förblir instabil och stadd i ständig rörelse. Shakespeare, som sätter stabilitet högst av allt, värjer sig mot tanken på förvandling. När han låter hantverkarna i En midsommarnattsdröm göra teater av Metamorfosers berättelse om Pyramus och Thisbe är det för att få gyckla med den: sitt väsen kan man aldrig dölja hos Shakespeare, på sin höjd förklä det en stund. Med eller utan öron är Botten en åsna som det är förnedrande för en drottning att förälska sig i. Vi är minsann inga gudar. Idag ger den tekniska utvecklingen oss illusionen att vi med silikon och skalpell kan bli våra egna gudar, få vår yttre form att sammanfalla med den föreställning vi har om oss själva, eller åtminstone den föreställning vi vill inge andra. Tidigare var det psykoanalysen, nu är det i stället plastikkirurgi, genetisk ingenjörskonst och hormonbehandlingar som ger Metamorfoser en plats på läslistan i en modern värld där även den egna spegelbilden är ställd inför det ständiga kravet att leverera eller uppdateras. Det påpekar Alessandro Barchiesi i antologin Metamorphic Readings, där redaktörerna Alison Sharrock, Daniel Möller och Mats Malm samlat ett urval av dagens ledande Ovidiusforskning. Man tycker att vi borde veta allt som är värt att veta om ett verk som låg färdigt år 8 efter Kristus. Men det går att hitta nya dimensioner även i en dikt som vätts av studenters svett och tårar i åtminstone åttahundra år, sen medeltiden upptäckte den på nytt. Det går till och med att diskutera vad som hör till själva texten, och vad som lagts till efteråt: det är en möjlighet Ovidius öppnat för själv. I exilen vid Svarta havet, i romarrikets absoluta utkanter, dit han förvisats av kejsar Augustus samma år, försöker Ovidius nämligen hålla alla vägar fria. Han vill så gärna tillbaka till Rom, han är redo att avsvära sig allt, även den dikt som skulle blivit hans biljett till odödligheten. I sina klagosånger från exilen hävdar han nu att Metamorfoser är oavslutad, vilket gör honom fri att beveka kejsaren och ta tillbaka vartenda ord: dikterna speglar / bättre mitt jag, säger han, läs dem, vad deras värde än är / jag menar verket som handlar om hur mänskor förvandlas / och som jag ej hann få klart innan jag gick i exil. I Metamorphic Readings visar Mathias Hanses med hjälp av en hundratjugo år gammal filologisk studie från Österrike hur Ovidius med hjälp av radernas begynnelse- och slutbokstäver lagt in det dolda budskapet jag är en gud i sin dikt. Bara gudar har makten att förvandla, och den makten demonstrerar Ovidius gång på gång i sin dikt. Men att framställa sig som Jupiters like är en sak göra sig till kejsarens like en helt annan, och betydligt farligare. Metamorfoser bidrar till kejsar Augustus självmytologiska bygge, men undergräver det på samma gång diskret: att lyftas till den himmelska sfären var knappast lika mycket värt om man måste dela gudarnas hiss med en simpel versmakare. I klagosången från exilen talar Ovidius om dikten och misstaget, carmen et error, som fått honom förvisad. Det brukar antas att han syftar på Konsten att älska, men jag undrar om det inte snarare var en metamorfos för mycket; metamorfosen av sig själv till gud och därmed till kejsarens like. Kan man alltså förvandlas? Den frysande skalden vid Svarta havet, beredd till vilka eftergifter som helst för att få komma in i värmen igen, är nog övertygad om det. Han tycks som en helt annan person än den jublande självsäkre poet som nyss satte punkt för Metamorfoser med följande ord: Det som är ädlast hos mig skall lyftas högt över stjärnor, / odödligt blir mitt namn och utplånas inte av glömskan. / Överallt i en värld som styrs av Rom skall jag läsas, / och om de ting som förutspås av poeter besannas / kommer, av ryktet buren, min dikt att leva för evigt. Och det är möjligt att hans dikt för egen del har vad vi brukar kalla evigt liv, men sin upphovsman gav den snarare evig exil. Han kastar verket på brasan, men inte får han komma hem för det. Mathias Hanses menar att Ovidius och Augustus namn för evigt är knutna vid varandra i en härva av skuld, förvisning och förgudning. Om Augustus går till eftervärlden, blir det som fursten som förvisade Ovidius, menar Hanses. Det är vackert med en sån tro på skönlitteraturens kraft, men jag undrar om det ändå inte i första hand är en annan, något senare text som kommer att försäkra att Augustus namn aldrig suddas ut ur minnet. En text som är ännu kändare, ännu mer läst och begrundad än Metamorfoser. En text som också gör kejsaren till en bifigur i det egentliga händelseförloppet. Jag tänker givetvis på julevangeliet: Vid den tiden utfärdade kejsar Augustus en förordning om att hela världen skulle skattskrivas. Detta är alltså vad som återstår av världens stora och mäktiga när tiden fått utföra sitt arbete: ett pekfinger. Ett pekfinger som skickar poeter till exil vid Svarta havet, som skickar timmermän till skattskrivning i Betlehem. Det är också en form av förvandling. Och det enda som är säkert om förvandling är att den aldrig blir riktigt klar. Allting ändras, men inget förgår, säger Ovidius. Det gäller inte minst hans egna Metamorfoser. Litteraturen är outtömlig. Just dess förmåga att förvandlas gör att den finns kvar. Ännu efter tvåtusen år tycks dikten rymma lika många sätt att läsa som ett schackbräde rymmer spelmöjligheter. Som om Borges oändliga Babelsbibliotek rymdes i en enda bok. Nog är det tillräckligt skäl för viss optimism. Kristoffer Leandoer, författare och skribent  Första sändning 29-9-2020 Litteratur Alison Sharrock, Daniel Möller, och Mats Malm (red). Metamorphic Readings: Transformation, Language, and Gender in the Interpretation of Ovid's Metamorphoses. Oxford university press, 2020. Publius Ovidius Naso: Metamorfoser. Översättning Ingvar Björkeson. Natur & kultur, 2015.

Will Candler joins host Stephanie Crugnola on this week's episode to argue which scene in Shakespeare is able to be most hammed up! Will brings Pyramus and Thisbe (Midsummer Night's Dream) and gives Stephanie the Balcony Scene (Romeo and Juliet! Vote for who you think should be the winner on Facebook (/p2mpod) or Twitter (@p2mpod)! Check out Will on twitter , have him officiate your wedding, or get him a date!!! Make sure to check out our Patreon for the bonus materials from this episode, including Will's Powerpoint and the videos of our hammed up scenes! Special thanks to our new network: Serious Business for bringing us on board and giving us the space to discuss such an important element of Shakespearean Theatre. Check out their other two shows Adventure Incorporated (an actual play DnD 5e podcast) and Ask The Pokedexpert (a highly academic question and answer podcast/stream about Pokemon)!

Dr. Floyd and Dr. Steve perform in the production of Pyramus & Thisby from William Shakespeare's A Midsummer Night's Dream! Will the reviewers be kind? Tune in now and find out! In another grand double-feature providing both Shakespearean and modern English translations! Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Floyd and Dr. Steve perform in the production of Pyramus & Thisby from William Shakespeare’s A Midsummer Night’s Dream! Will the reviewers be kind? Tune in now and find out! In another grand double-feature providing both Shakespearean and modern English translations! Learn more about your ad choices. Visit megaphone.fm/adchoices

Bu podcastimizde Yunan mitolojisi özelinde aşka bakışı işledik. Adonis, Psykhe ve Pyramus&Thisbe mitlerini de anlatarak aşkın mitolojideki yansımalarını konu edindik. Keyifle dinleyeceğinizi umuyoruz. #Eros #Aphrodite #Adonis #Psykhe #Aşk #Love #14Şubat #SevgililerGünü #

In a double-feature this week, Doctor Floyd is trapped in Shakespeare's A Midsummer Night's Dream, Dr. Floyd and Dr. Steve get cast in the production of Pyramus & Thisby! The two episodes are including one in Shakespearean English and right after the same thing in modern English. All for you! Learn more about your ad choices. Visit megaphone.fm/adchoices

In a double-feature this week, Doctor Floyd is trapped in Shakespeare's A Midsummer Night's Dream, Dr. Floyd and Dr. Steve get cast in the production of Pyramus & Thisby! The two episodes are including one in Shakespearean English and right after the same thing in modern English. All for you! Learn more about your ad choices. Visit megaphone.fm/adchoices

Pyramus and Thisbe, a classic love story from Greek mythology that inspired Shakespeare's Romeo and Juliet. Pyramus and Thisbe are a pair of ill fated lovers from the city of Babylon who long to be together, but in mythology, particularly Greek mythology, things rarely go smoothly and their fledgling relationship is tested to breaking point. Here at Raconteur, we bring to life the greatest stories from history and mythology to both entertain and educate. We are also on YouTube! For video versions of each story visit and subscribe https://www.youtube.com/channel/UCU4yfCCgXTUYcSPI0_5rP9w/?sub_confirmation=1 Video version of this story - https://youtu.be/_UkveRsf0Ds Music by Scott Buckley – www.scottbuckley.com.au New stories weekly. Thanks for listening!

On today's episode of “The great love stories”, I am presenting here the summarized story of “Pyramus and Thisbe”, a love story selected from theholidayspot.com. A very touching love story that is sure to move anyone who reads it is that of Pyramus and Thisbe. Theirs was a selfless love and they made sure that even in death, they were together. The tale has its origins in the Roman Mythology. It is best recounted by Ovid and the passion of love that blossomed between the two young lovers enthralls readers even today.

Aah, forbidden love. Don't we all love the tales? Romeo and Juliet. Pyramus and Thisbe. Rachel and Joey... why did they do that? BUT, what if I told you a Vegan and a Butcher fell in love? What would happen? You're about to find out.This week, Sami sits down with her partner Joshua Melara (@hijodereina), a cut-man, Harley rider and former butcher. He currently works for Japanese Knife Imports in Los Angeles. The pair talk passionately about the humanity of eating animals. They touch on his journey as a butcher and how it affects a carnivorous diet, veganism, animal cruelty, slaughterhouses and factory farming.Thanks for listening! To find cooking lessons, chef tips, and the Vegan in a Weekend cook book, visit www.lavenderlunch.com. Lavender Lunch is created by Sami Pollak, produced and engineered by Cameron Tagge, and executive produced by Izzy Pollak. Thank you for joining us on this adventure. Connect with us on Instagram @veganinaweekend

What's so special about Shakespeare? Let's take a look... Episode 2 - Upon the king; To bait fish withal; The quality of mercy; Pyramus and Thisbe Written by Lance Davis. Performed by PNT Players: Lance Davis, Mary Chalon, Paul Perri, John Rafter Lee; Barry Gordon; Aleta Soron; Trevor Teichmann. Sound Design by David Bennett

Link to bioRxiv paper: http://biorxiv.org/cgi/content/short/2020.07.27.222976v1?rss=1 Authors: Everetts, N., Worley, M. I., Yasutomi, R., Yosef, N., Hariharan, I. K. Abstract: In both vertebrates and invertebrates, generating a functional appendage requires interactions between ectoderm-derived epithelia and mesoderm-derived cells. To investigate such interactions, we used single-cell transcriptomics to generate a cell atlas of the Drosophila wing disc at two time points during development. Using these data, we investigate gene expression using a multi-layered model of the wing disc and catalogued ligand-receptor pairs that could mediate signaling between epithelial cells and adult muscle precursors (AMPs). We found that localized expression of the FGF ligands, Thisbe and Pyramus, in the disc epithelium regulates the number and location of the AMPs. In addition, Hedgehog ligand from the epithelium activates a specific transcriptional program within adjacent AMP cells, which is critical for proper formation of a subset of the direct flight muscles. More generally, our annotated atlas provides a global view of potential cell-cell interactions between subpopulations of epithelial and myogenic cells. Copy rights belong to original authors. Visit the link for more info

Tell Me a Story" is a project aimed at providing community, entertainment and courage for listeners around the world whose lives are disrupted by the covid-19 pandemic. Hosts Susan and John pledge to read a story a day until life begins to return to normal. Tonight we are reading a Greek Myth: "Pyramus and Thisbe"

A MIDSUMMER NIGHT'S DREAM Adapted from the Play by William ShakespeareTHE TIME: The not-too-distant past.THE PLACE: A park and a forest outside of Athens.THE SITUATION: Athens, a city not unlike Washington, D.C., has just won a war not unlike the Vietnam War. And love is in the air. THE CAST (In Order of Appearance):Theseus, Duke of Athens...Reed TawsHippolyta, Queen of the Amazon...Andrea PayettePhilostrate, Mistress of Revels...Barbara WimbleEgeus, father of Hermia...Paul VickersHermia, Egeus' daughter, in love with Lysander...Lillyana FreitasLysander, in love with Hermia...Riley CluffDemetrius, Hermia's approved suitor...Tim PouringHelena, in love with Demetrius...Alexandra McKeownPeter Quince, a carpenter (also Prologue)...Nick SoaresNick Bottom, a weaver (also Pyramus)...Will RodgersFrancis Flute, bellows mender (also Thisby)...Kamp GaryRobin Starveling, a tailor (also Moonshine)...Caroline WrightThomas Snout, a tinker (also Wall)...Brenden StakemSnug, a joiner (also Lion)...Saad SalihOberon, King of the Woodland Spirits...Reed TawsPuck, a.k.a. Robin Goodfellow, a Sprite...Noelle BrownTitania, Queen of the Fairies...Andrea PayettePeaseblossom, a fairy...Abigail JenkinsCobweb, a fairy...Jenna JenkinsMoth, a fairy...Jillian GallihughMustardseed, a fairy...Maddy OrrisMoonbeam, a fairy...Nicole VickersFirefly, a fairy...Kyra VickersTHE CREW:Director...Brent CirvesTechnical Director...Denis HouyouxSound Engineer...Galen GreenlawMusic and Sound Effects Engineer...Tim StakemCostumes and Makeup...The Cast, Laura Cirves, Barbara WimblePoster Design...Tim KingPublicity...Barbara Wimble

Mitolojika #11 - Pyramus Ile Thisbe

Shakespeare's original comedy, A Midsummer Night's Dream follows young lovers and old lovers into the mystical, natural space of the forest, where the rules don't apply the way they do anywhere else. Continuing the increasing sophistication of his plays of late, Shakespeare comments on both the nature of love and the nature of the theatre. Join us as we discuss one of our favourite of the Bard's comedies! Notes: - The content of 1 Corinthians is partly mixed up by Nick Bottom after his sojourn in the woods; it's one of the most famous parts from the New Testament, and passages from it are routinely recited at weddings (much like Shakespeare's sonnets!) - Joseph Campell's monomyth and later amendments by scholars like David Adams Leeming discuss the mythological underpinnings of the journey all heroic figures take as their stories are told; though not a strictly heroic tale, Midsummer does borrow from these ideas to describe the journey of the lovers from civilization to chaos and back again. - For more discussion about forests and liminal spaces, check out this blog post - Read up on the Coffee Shop AU, a common trope in the world of fanfiction - A funny version of the Tragedy of Pyramus and Thisbe, starring The Beatles, from 1964 for Shakespeare's 400th birthday -- a must watch! - We had the opportunity to chat with John Bernardy of 25YL Site about the thematic links between Midsummer and our old fave, Twin Peaks -- check out our discussion about faeries and Lodges and forested liminal spaces (oh my!) - If you haven't seen the 1999 theatrical version of this play, we recommend it! - ...and if you don't know what Nanaimo Bars are, here's a recipe Ancient Bickerings Of all the pairings and couplings going on in A Midsummer Night's Dream, which couple is our favourite?

In this episode we revisit the past episodes on Plato's theory of soulmates from his Symposium, and the story of Pyramus and Thisbe, the original Romeo and Juliet.CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing.Sources: Plato's Symposium, Ovid's Metamorphoses (see original episodes for translations).Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions See acast.com/privacy for privacy and opt-out information.

In this episode we revisit the past episodes on Plato's theory of soulmates from his Symposium, and the story of Pyramus and Thisbe, the original Romeo and Juliet. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Plato's Symposium, Ovid's Metamorphoses (see original episodes for translations). Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions Learn more about your ad choices. Visit megaphone.fm/adchoices

Flying solo this episode Bobby talks about the myths of Pyramus and Thisbe and Baucis and Philemon. The first myth is the tragic source of Romeo and Juliet. The second is a story about how love and kindness can reap magnificent rewards.

#44 Blending into change, rather than making harsh shock-to-the-system changes might be a better strategy. You can listen to Bloc Thinking on any of the major podcast platforms. You can find me, Werner Puchert on LinkedIn and Twitter.

Today we celebrate the Swiss botanist who started a botanical Dynasty and the man who coined the term osmosis. We’ll learn about the American landscape architect who made England his home and cheered on so many gardeners with his book Successful Town Gardening. Today’s Unearthed Words feature words about winter. We Grow That Garden Library™ with a book about hunting for medicinal plants in the Amazon. I’ll talk about a garden item to help you get growing and then we’ll wrap things up with the early spring warm-up of 1931 - it was extraordinary. But first, let’s catch up on a few recent events.   Subscribe Apple | Google | Spotify | Stitcher | iHeart   Curated Articles American Gardens: An American Garden In Bath American gardens: an American garden in Bath by Gardens Illustrated @gdnsillustrated What is an American garden? Discover more with our focus on the new garden at the American Museum and Garden in Bath   Gardens: Weeds To Love And Loathe | Life And Style | The Guardian Weeds to love and loath, an excerpt from Wild about Weeds by @JackWallington   Now, if you’d like to check out these curated articles for yourself, you’re in luck, because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. There’s no need to take notes or search for links - the next time you’re on Facebook, search for Daily Gardener Community and request to join. I’d love to meet you in the group.   Important Events 1778Today is the birthday of the Swiss botanist Augustin Pyramus de Candolle. Candolle named hundreds of plants. His seven-volume monumental work, Prodromus, was an effort to characterize all of the plant families and establishing the basis for the science of botany. He only finished two volumes. Augustin’s Candolle descendants would finish Prodromus after extensive and detailed research. His famous son, Alphonse, was born the year Linnaeus died. In 1855, Alphonse was awarded the Linnean gold medal. Augustin’s grandson, Casimir, was devoted to the study of the pepper plant family or the Piperaceae ("PIE-per-aye-see-ee"). The most commonly-known species in the family is Piper nigrum ("PIE-purr NYE-grum") - a flowering vine that gives us peppercorns that are ground to become black Pepper. The biggest consumer of Pepper, at almost 20% of the world’s total Pepper crop, is the United States. During the middle ages, pound for pound peppercorns was worth more than silver. Augustin de Candolle’s great-grandson, Richard Émile, was also a botanist. He died unexpectedly at the age of 51. After his death, the enormous Candolle family herbarium and Library - built over four generations was donated to the city of Geneva. Augustin’s great living legacy is the Botanical Garden of Geneva.   1847Today is the anniversary of the death of the French botanist and physiologist Henri Dutrochet. After studying the movement of sap in plants in his home laboratory, Dutrochet discovered and named osmosis. Dutrochet shared his discovery with the Paris Academy of Sciences on October 30th, 1826. Like the cells in our own human bodies, plants don’t drink water; they absorb it by osmosis. Dutrochet also figured out that the green pigment, chlorophyll, in a plant is essential to how plants take up carbon dioxide. Photosynthesis could not happen without chlorophyll, which helps plants get energy from light. And chlorophyll gives plants their color. Have you ever asked yourself why plants are green? Long story short, chlorophyll reflects green light, which makes the plant appear green. Dutrochet was a true pioneer in plant research. He was the first to examine plant respiration, light sensitivity, and geotropism (How the plant responds to gravity, ie, roots grow down to the ground.) The upward growth of plants against gravity is called negative geotropism, and downward growth of roots is called positive geotropism. The plant part that responds to positive geotropism is at the very end of the root, and it is called the root cap. So, what makes the roots turn downward as they grow? The root cap - responding to positive geotropism.   1879Today John H. Heinz received a patent for an improvement to Vegetable-Assorters - the machines used for sorting produce like fruits, vegetables, etc. I, myself, have created some excellent vegetable sorters - their names are Will, Emma, PJ, & John.   1912Today is the birthday of the American landscape architect, consummate plantsman, and writer who made England his home - Lanning Roper. When Vita Sackville-West read Lanning’s book Successful Town Gardening she wrote, “The book I have been reading, and which has cheered me up so much as to the answers I can in future return, is called Successful Town Gardening by Lanning Roper.” Today, Lanning’s book is regarded as a classic garden book. Many people use the wintertime as a chance to reconnect with the garden and dream about the following season as they read or reread Successful Town Gardening. Lanning’s grandfather was William Hartley Eveleth, who served as the Superintendent of the college grounds for Harvard University and Radcliffe College. Lanning, himself, went to Harvard and graduated in 1933. After Harvard, Landing enlisted in the Navy, and he ended up in charge of division 67, which is where he found himself on D-Day. After D-day, Lanning had a six-week deployment near the great Rothschild estate. He fell in love with the rhododendrons, the woodland, the gardens, and England. He decided to train as a gardener at the Royal Botanic Gardens at Kew and then pursued more training at Edinburgh (ED-in-bruh).” He began working as an editor for the Royal Horticultural Society. And In 1952, Lanning fell in love with a woman named Primrose. Primrose Harley. She was a muralist and a gardener. Her parents had named her Primrose because she was born on Primrose Day, April 19th, 1908. Primrose worked with Lanning on his many landscape projects. When it came to his gardens, Lanning wanted romance. Known as the father of borders, Lanning liked to see flowers spilling into paths - like lavender and roses. He wanted walls to be covered in vines - and more roses. As a designer, Lanning had a knack for creating beautiful hardscapes like paths and walkways. But, Lanning also cautioned about planting too much. He said, “Over-planting is a fault common to most gardeners. If you plant three shrubs that will grow quickly to fill an area where one alone would have been sufficient, two things may happen. If you remove two, the remaining one is in the wrong place. If you leave all three, they perhaps will be poor specimens, lacking the characteristic natural grace of the species.” Lanning designed nearly 150 gardens during his career. His work has mostly joined the many gardens that can only be seen through pictures or through the words that sang their praises. In 1987, Jane Brown wrote the only volume on Lanning Roper and his gardens. It it loaded with beautiful images of Lanning's gardens. You can get a used copy of Lanning Roper & His Gardens and support the show, using the Amazon Link in today’s Show Notes for under $6. But hurry, because I predict there won’t be many left of this gem in the coming decades. At the end of his life, Lanning was picked to completely redesign the garden at a new estate called Highgrove, which had recently been purchased by Prince Charles and Princess Diana. Camilla Parker Bowles had recommended Lanning; he had beautifully designed her parents’ garden in the 1960s. Lanning noted that, “the soil at Highgrove is alkaline, very different to the acid soil of the gardens which Prince Charles is used to at Windsor, Sandringham, and Balmoral where rhododendron and azalea flourish.” Lanning said, “Highgrove is ideal for lilac, roses and flowering shrubs, which make some of the prettiest gardens [and] Prince Charles [wanted Highgrove, his first garden,] to be fragrant.” Sadly, Lanning never had the chance to do the work, his cancer was taking a toll, and he declined the job. It was Lanning Roper who said, “People like myself are lucky to follow a profession which is so absorbing, satisfying, and pleasurable that at times it is not easy to decide where work ends and recreation begins.”   Unearthed Words Here are some words about winter: In winter, the stars seem to have rekindled their fires, the moon achieves a fuller triumph, and the heavens wear a look of a more exalted simplicity. Summer is more wooing and seductive, more versatile and human, appeals to the affections and the sentiments, and fosters inquiry and the art impulse. Winter is of a more heroic cast, and addresses the intellect. The severe studies and disciplines come easier in winter. — John Burroughs, American naturalist and nature writer   Winter is a season of recovery and preparation. — Paul Theroux, American travel writer, and novelist   How many lessons of faith and beauty we should lose if there were no winter in our year! — Thomas Wentworth Higginson, American Unitarian minister, and abolitionist   He knows no winter, he who loves the soil, For, stormy days, when he is free from toil, He plans his summer crops, selects his seeds From bright-paged catalogs for garden needs. When looking out upon frost-silvered fields, He visualizes autumn’s golden yields; He sees in snow and sleet and icy rain Precious moisture for his early grain; He hears spring-heralds in the storm’s ‘turmoil­ He knows no winter, he who loves the soil.” — Sudie Bower Stuart Hager, Idaho’s Poet Laureate, He Knows No Winter    Grow That Garden Library Witch Doctor’s Apprentice by Nicole Maxwell The subtitle to this book is: Hunting for Medicinal Plants in the Amazon This memoir features Nicole Maxwell who was hunting for medicinal plants in the rainforest. Despite setbacks and disillusionment, she never lost sight of her goals. Maxwell, a Fellow of the Royal Geographical Society, was scouring the Amazon rainforest for clues to ancient medicinal plants and practices. Maxwell has created an appendix that catalogs all of the plants mentioned in the text, with their scientific names, the names by which they are known locally, and their medicinal uses. This edition also includes a new introduction by the noted ethnobotanist Terence McKenna. “A spirited and engrossing personal narrative, as much about people and places, discomforts, and dangers, the beauty of the jungle." You can get a used copy of Witch Doctor’s Apprentice by Nicole Maxwell and support the show, using the Amazon Link in today’s Show Notes for under $6.   Great Gifts for Gardeners LED Grow Lights, Full Spectrum Panel Grow Lamp with IR & UV LED Plant Lights for Indoor Plants, Micro Greens, Clones, Succulents, Seedlings $18.44  Full Spectrum Plant Light - equipped with 75 High-power LED chips:47 Red 19Blue 3UV 3IR 3White. NOTE: The UV and IR LEDs are particularly DIM, but it is normal. PANEL SIZE: 12.2 * 4.7 *1.2 inches Wide Uses - This light can be used for both hydroponics and indoor plants in soil, mainly used for small plants, micro-greens, and perfect for you to add as a supplemental side panel during bloom. Easy Set-up - updated hanging kits make these fluorescent lights much more easy to assemble. With good heat dissipation and strength, ABS material body ensures your panel more durable and long-lasting. Lighting Cover: Max 1.2x3ft at 2ft height;Recommend Height: 8-30 inch. Highly Efficient - Estimated monthly cost roughly $3 in electricity (12 hours a day). Package contains: 1x 25W Halogen Equivalent Plant Grow Light, 1x Steel Hanging Kits (with four ropes), 1x Power Cord, 1x User Manual What You Get - 12 Months Warranty plus 30 Days Money Back Guarantee for any reason. You can contact our 24 hours available customer service by clicking “Sold by” on the product detail page or your Amazon order page.   Today’s Botanic Spark 1931On this day newspapers were reporting a shocking headline from Brainerd, Minnesota: Pansies In Bloom: “A bed of pansies came into full bloom today in a farm garden near Brainerd, the center of a section famous for severe winters. Other February oddities: Lilac trees were budding. Girls were playing tennis. Boys were shooting marbles. Men were pitching horseshoes. The temperature was climbing toward 60 above.”  

Xena breaks our hearts with a funeral dirge, & Gabrielle gets thrown in the stocks for helping a lovestruck prince!MEANWHILE Justine researches the original star-crossed lovers, Pyramus & Thisbe! AND we learn the truth about Mizentius: the Etruscan King/“Contemptor Divum” (DESPISER OF THE GODS)! AAND Hayley tells us about the beautiful Nereid Panope! AAAND about ancient Greek Funerary practices! for visuals on this episode, and every episode, follow us on Instagram @IATOAG_TheXenaPodcast

Have you started to think about your garden in geographical terms?   Aside from the zone you are gardening in, what are the micro-climates in your garden?   Areas sheltered by trees, buildings or other structures may be warmer and ideal locations for less hardy plants.   Low-lying areas may create boggy or marsh-like conditions - perfect for plants that like to have “wet feet”.   What is the composition of your soil; is it heavy and clayish? loamy or sandy?   Is your soil acidic?   Get to know your garden’s topography and micro-climates; then situate (or relocate) plants accordingly.   The more you know, the better your plants will grow. Brevities #OTD Botanist Alphonse Pyramus ("Peer-ah-mus") de Candolle (“Cundull”) died on this day at the ripe age of 87 in Geneva in 1893 (28 October 1806 – 4 April 1893).Born the year Linneas died, he was the son of the Swiss botanist Augustin Pyramus de Candolle. His father's monumentous work, Prodromus, was an effort to characterize all of the plant families and establishing the basis for the science of botany.  Alphonse and future generations of the Candolle family would finish Prodromusthrough extensive and detailed research. In 1855, Alphonse was awarded Linnean gold medal. The Candolle family are honored in the plant genera Candollea and Candolleodendron. The scientific journal, Candollea, is also named after the family. Candolle's ground-breaking book, Origin for Cultivated Plants begins, "It is a common saying, that the plants with which man has most to do, and which rendered him the greatest service, are those which botanists know the least.” Candolle set about correcting that gap in understanding which had persisted for 50 years. In 1885, The Glasgow Heraldreminded readers, "At the commencement of the present century but little was known respecting the origin of our cultivated plants, and even up till the middle of the present not much progress had teen made in determining the original condition and habitat of the different species, Alexander von Humboldtin 1807 said : 'The origin, the first home of the plants most useful to man, and which have accompanied him from the remotest epochs, is a secret as impenetrable as the dwelling of all our domestic animals. We do not know what region produced spontaneously wheat, barley, oats, and rye. The plants which constitute the natural riches of all the inhabitants of the tropics the banana, the papaw, the manioc, and maize have never been found in a wild state. The potato presents the same phenomenon.'"   In his magnum opus, Candolle attempted to record exhaustively and conclusively all that was known about each species using data from the expeditions of the time.  For instance, the apple was vital to the lake dwellers of Lombardy, Savoy  and Switzerland.    Candolle wrote, “They always cut them length-ways and preserved them dried as a provision for the winter."   That said, Candolle’s work was not without criticism.  One reviewer wrote in a piece called “Where do our crops come from",   “Instead of an interesting and readable book he has given us a painfully formal catalogue, about as enticing as a stock and share list or the prices current at the Queen Victoria-street stores.”   Yet, Charles Darwin learned plant geography from Candolle, and said, "no one […] could have worked […] with more zeal and sagacity”.  Candolle named growing regions and came up with climate classifications. Gardeners use them today when we refer to growing zones.  Alphonse Pyramus de Candolle is regarded as the father of geographical botany and Harvard botanist Asa Grayremarked, "De Candolle's great work closed one epoch in the history of the subject and [Sir Joseph] Hooker's name is the first that appears in the ensuing one." Alphonse devised the first code of botanical nomenclature - the International Code of Botanical Nomenclatureis its descendent.  These laws ensure that no two species of plants have the same name.  The botanical name is always given in Latin.   Fun Fact: Like his fatherAugustin, public service was important to Alphonse de Candolle.  After visiting England, Candolle introduced the use of postage stamps to Geneva.  Geneva became the fourth country in the world to use postage stamps, after Great Britain, Zurich, and Brazil. #OTD On 4 Apr 1969 architect Alois Ludwig died.One of his works is the floral design on the Majolikahaus in Vienna - a gem for gardeners and lovers of Art Nouveau.  A private residential building close to Naschmarkt, Ludwig adorned the front of the building with majolica tiles creating an intricate floral motif. It is an incredible sight and worth viewing whilst in Vienna, it is a few minutes walk from Kettenbrückengasse U-Bahn station. #OTD in 1901 in Nova Scotia, The Floral Emblem Act was passed, making the mayflower, ground laurel or trailing arbutus, the official flower of Nova Scotia.This is why the the mayflower is featured in the decorative ironwork outside of the Legislative Library.  Check it out the next time you’re in Nova Scotia.   The leaves of the mayflower have been used to make a diuretic tea and the roots live symbiotically with mycorrhiza. The mayflower is a really an early spring ephemeral.  Fragrant, it’s one of the most-loved wildflowers and a neat little woodland plant - the emphasis here is on woodland - don’t attempt to grow it in your garden, as noted in this post in The Hutchinson Newsout of Hutchinson, Kansas, on July 6, 1915: "Among the truly 'wild' ; flowers, two that ask of man only to be let alone in their native fastnesses, are the mayflower, or trailing arbutus, and the , twinberry, or partridge berry, the last-named a member of the madder family, and a distant relative of the coffee tree. The mayflower is wildest and shyest of all. No more is the eagle at home in the farmyard or the cardinal in the cage that the mayflower In the garden. As the imprisoned cardinal pines away and dies when the gilded bars of a bird-cage separate it from its liberty, so ' the mayflower sickens and withers away in the garden.”   Unearthed Words The Mayfloweris also the subject of a poem by John Greenleaf Whittier (Books by this author) here’s an excerpt:   O sacred flowers of faith and hope,   As sweetly now as then Ye bloom on many a birchen slope,   In many a pine-dark glen.    Behind the sea-wall’s rugged length,   Unchanged, your leaves unfold, Like love behind the manly strength   Of the brave hearts of old.    So live the fathers in their sons,   Their sturdy faith be ours, And ours the love that overruns   Its rocky strength with flowers.    The Pilgrim’s wild and wintry day   Its shadow round us draws; The Mayflower of his stormy bay,   Our Freedom’s struggling cause.    But warmer suns erelong shall bring   To life the frozen sod; And, through dead leaves of hope, shall spring   Afresh the flowers of God! Today's book recommendation  Endless Forms: Charles Darwin, Natural Science, and the Visual Arts (Yale Center for British Art) By Diana Donald This exhibition originated at the Yale Center for British Art and ended at Fitzwilliam in Cambridge. A visually magnificent book.  Published in 2009, new it sells for $45.  Used copies are available on Amazon for less than $10.   Today's Garden Chore Are the Spring-blooming bulbs  starting to pop up in every garden except yours? It happens. Don’t get jealous - get motivated. Now is the time to get inspired by the beauty.   Devote a page in the back your garden journalfor the bulbs you want to plant this fall. Write yourself a gentle reminder like, “Do this or else!”or “If you don’t get these, you’ll have garden-envy again next Spring” That should do the trick.   Set a date on your calendar today for planting bulbs during the last week of October or the first week of November.   Something Sweet  to revive the little botanic spark in your heart Here’s a sweet diary entry for today by Canadian NaturalistCharles Joseph Sauriolfrom 1938 shared by the Toronto Archiveson their fabulous twitter feed - which is a wonderful thing to follow:   "For a few minutes this morning I fumbled around my Wild Flower garden... Little points which will soon be Bloodroots. Cautious little down covered stems and buds that will later become Hepaticas. Narrow leaves the forerunners of spring beauty." Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

In this episode we talk two tales of two lovers. Starting out is Pyramus and Thisbe who met through a glory hole?! And later we draw the parallels to the most well known doomed star-crossed lovers story: Romeo and Juliet. That once again proves Shakespeare stole it from the French, who stole it from Italy, who stole it from Greece, who stole it from Babylon. Drunk Mythology is a podcast created by Krista and Christian, recounting the feats and failures of world Mythology, with a few drinks along the way. Drunk Mythology is a podcast created by Krista and Christian, recounting the feats and failures of world Mythology, with a few drinks along the way.

Anya and Alan talk about the 1990’s animated MTV show Aeon Flux created by Peter Chung. This is one of Alan’s favorite cult 90’s shows. We talk about four episodes, including one about a wall that divides two nations- which has nothing to do with American politics. At all…The 2005 Aeon Flux movie has a 9% rating on Rotten Tomatoes.Peter Chung helped to create Rugrats, and has a diverse filmography.TV Tropes examples of Off-Model AnimationGnostismWatch the Pilot to Aeon Flux on DailyMotionAchilles goes down to his death with the most absurd weakness in history.The continuing Korean War began in 1950 and has killed thousands of people and separated generations of Koreans over American political posturing.Watch Tide on DailyMotionWatch Gravity on DailyMotionWatch Thanatophobia on DailyMotionAlan was on Ep 77 of Pop Culturally Deprived to discuss BraveheartThe story of Pyramus and ThisbeLesley Goldberg wrote about the Aeon Flux reboot for The Hollywood ReviewDesire Made Real features Anya as an expert on science, to comment on the portrayal of science in the TV adaptation of A Discovery of Witches.Listen to Shadows and Shamblers when American Gods returns!Our theme song is Background Blues Guitar by Blowball Music.Please visit our website to find out what we will be talking about in the future. If you would like to give us feedback, please email us: contact@hallowedgroundmedia.comFollow the podcast on Twitter @HGStoryCast, follow Anya @StrangelyLiterl

In this episode, Andrew Schofield gives his views, interpretations and opinion on invoking the Party Wall etc. Act 1996 without serving a notice; the scope of Section 7(2) compensation; rights and obligations in using drones for surveys; demystifying the old conflict between the Pyramus and Thisbe Club and the Faculty of Party Wall Surveyors.

The play revolves around the adventures of four young lovers, a group of amateur actors and their interactions with the fairies who inhabit a moonlit forest. The story takes place in Midsummer and is a complex farce featuring Hermia and Lysander, Helena and Demetrius. Their romantic intrigues are confused and complicated still further by entering the forest where Oberon King of the fairies and his queen Titania, preside. Puck (or Robin Goodfellow) is a major character who is full of mischief and tricks. Other visitors to the enchanted forest include Bottom, the Weaver and his friends Snug, Snout, Quince and Flute, the amateur dramatists who want to rehearse their terrible but hilarious version of the play Pyramus and Thisbe. Recorded on location in 22 acres of Sussex woodland, this production has an all-star cast. Director: Celia de Wolff Music by Stephanie Nunn Titania ..... Lesley Sharp Oberon ..... Toby Stephens Peter Quince ..... Robert Pugh Nick Bottom ..... Roger Allam Puck ..... Freddie Fox Theseus ..... Nicholas Farrell Hippolyta ..... Emma Fielding Lysander ..... Joseph Timms Demetrius ..... Ferdinand Kingsley Hermia ..... Emerald O'Hanrahan Helena ..... Anna Madeley Egeus / Starveling ..... David Collings Philostrate / Snug ..... Nicholas Boulton Fairy ..... Sara Markland Francis Flute ..... Sam Alexander Tom Snout ..... Sam Dale Peaseblossom ..... Jessica Sian Cobweb ..... Jay Carter Moth ..... Tressa Brooks Mustardseed ..... Stuart Walker.

STARRING: Patrick Bristow (The Suite Life Of Zack & Cody, Desperate Housewives), Kevin Berntson (Reno 911, Monk), Brian Clark (Sizzle, PuppetUp) and Michael Oosterom (The Amanda Show, Pushing Daisies). In This Episode... We figured that some of our fans may not be able to understand the Shakespearean English in the last episode of Dr. Floyd, so we had it translated! Contains a new Ranger Code as well! Dr. Floyd and Dr. Steve perform in the production of Pyramus & Thisby from William Shakespeare's A Midsummer Night's Dream! Will the reviewers be kind? Tune in now and find out! EPISODE #706T EPISODE TITLE: "Pyramus & Thisby!" (Translated) WRITTEN BY: Grant Baciocco & William Shakespeare RECORDED AT: Dr. Floyd Studios, Burbank, CA REGULAR CAST: Mr. Narrator - Himself Dr. Floyd - Himself Dr. Steve - Himself SPECIAL GUESTS: Peter Quince - Patrick Bristow Nick Bottom - Kevin Berntson Francis Flute - Brian Clark Robin Starveling - Michael Oosterom MUSIC BY: Jody Whitesides VOICEMAIL LINE: (818) 332-3053 - Please get your parent's permission before calling! Support the show! Get your own copy of A Midsummer Night's Dream From Amazon.com

STARRING: Patrick Bristow (The Suite Life Of Zack & Cody, Desperate Housewives), Kevin Berntson (Reno 911, Monk), Brian Clark (Sizzle, PuppetUp) and Michael Oosterom (The Amanda Show, Pushing Daisies). In This Episode... Dr. Floyd and Dr. Steve perform in the production of Pyramus & Thisby from William Shakespeare's A Midsummer Night's Dream! Will the reviewers be kind? Tune in now and find out! EPISODE #706 EPISODE TITLE: "Pyramus & Thisby!" WRITTEN BY: Grant Baciocco & William Shakespeare RECORDED AT: Dr. Floyd Studios, Burbank, CA REGULAR CAST: Mr. Narrator - Himself Dr. Floyd - Himself Dr. Steve - Himself SPECIAL GUESTS: Peter Quince - Patrick Bristow Nick Bottom - Kevin Berntson Francis Flute - Brian Clark Robin Starveling - Michael Oosterom MUSIC BY: Jody Whitesides VOICEMAIL LINE: (818) 332-3053 - Please get your parent's permission before calling! Support the show! Get your own copy of A Midsummer Night's Dream From Amazon.com

Pyramus and Thisbe, an Ovidian Shakespearean romance. CW/TW: far too many Greek myths involve assault. Given it's fiction, and typically involves gods and/or monsters, I'm not as deferential as I would be were I referencing the real thing. Sources: Ovid's Metamorphoses translated by Allen Mandelbaum. Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special holiday gift guide edition of Original Podcasts Episode 32, Satoyama Homestead stewards Sarah and Will share updates from winterizing the bee yard, attempts to reintegrate the chickens, and celebrate the winter bounty of the edible landscape. Will explains insulating the beehives with tar paper to regulate temperature and humidity during the winter. Sarah describes the flock dynamic since Mayapple has achieved empty nester status (correction: her literary reference should be to the Pyramus and Thisbe myth, not Tristan and Isolde!). We then share recipes for stewing hens and venison, highlight scientifically-proven home remedies for the flu recommended by Consumer Reports, and recommend cross-over gifts for the homesteader or aspiring homesteader on your holiday gift-giving list. We end the show with a fun new feature - dramatic, stylized readings of heirloom plant descriptions from 2018 seed catalogs. Links: 'Poultriculture' used in an 1889 Pacific Rural News letter to the editor: https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=PRP18890406.2.7.10&e=-------en--20--1--txt-txIN--------1 Pyramus and Thisbe myth: http://www.mythencyclopedia.com/Pr-Sa/Pyramus-and-Thisbe.html Jamie Oliver's Chicken in Milk: http://www.foodnetwork.com/recipes/jamie-oliver/chicken-in-milk-recipe-1951585 Consumer Reports How to Soothe Miserable Cold and Flu Symptoms: https://www.consumerreports.org/drugs/how-to-soothe-miserable-cold-and-flu-symptoms/ Leatherman Multi-Tool: https://www.leatherman.com/ Lancaster Online - Hunter Finds Dead Buck with Massive 12-point Antlers in Lancaster County http://lancasteronline.com/news/local/hunter-finds-dead-buck-with-massive--point-antlers-in/article_06c8623e-c939-11e6-92ed-7bc53d4e7a09.html Gorilla Carts: https://gorillacarts.com/ Find an Army Navy Store near you: https://localarmynavy.com/ High Mowing Organic Seed Catalog: https://www.highmowingseeds.com/ Southern Exposure Seed Exchange: http://www.southernexposure.com/catalog/sese-catalog-2018-for-web.pdf Sow True Seed: https://sowtrueseed.com/

Part two of our conversation with storyteller David Novak, featuring the story "Pyramus and Sandy."

Theseus and Hippolyta talk fairy tales Philostrate lays out the newlyweds’ entertainment options The mechanicals perform Pyramus and Thisbe Puck returns to sweep the way Oberon and Titania bless the house Puck’s epilogue The post Midsummer Part 6: Act 5, Scene 1 appeared first on Clear Shakespeare.

Wesley: Hi, I’m Wesley.Robyne: and I’m Robyne.Wesley: and this is Obstructed View. Robyne: Today we’ll be discussing A Midsummer Night’s Dream presented by the Pearl Theatre Company and the Hudson Valley Shakespeare Festival. Wesley: For those of you who don't know the play, we've added a link to the plot summary as well as a performance. This particular production by the Hudson Valley Shakespeare Festival, used only five performers to tell the whole story. Those Performers are Mark Bedard, Sean McNall, Jason O'Connell, Joey Parson, and Nance Williamson. Robyne: We're gonna start off today discussing design. Our scenic designer was John McDermott, our costume designer was Jessica Wegener Shay, our lighting design was by Eric Southern, and sound design by Mikhail Fiksel. Wesley why don't you start us off?Wesley: The design work was very bare and sparse in terms of the scenic design. You got to see the back wall of the theater, and the stage was bare of any scenic element.Robyne: I found the scenic design to not quite be minimalist but barren.Wesley: The scenic design really tried to fight for the empty space sort of feel and the groundwork, the stage was covered with a bunch of pebbles-Robyne: or sand.Wesley: and there was neon tape, multicolored neon tape placed around the set. And hanging from the rafters in the upstage area, was a blue amorphous curtain like thing -Robyne: Yeah, it took me a while, but I really fell for the scenic design with the exception of that hanging back material, which I didn’t really see a purpose in, other than as a place for them to light. I really liked the bareness of the stage with the concept they were going for, at the same time I didn’t like the concept they went for.Wesley: Fair. I mean for me, the bareness of the stage made sense. I liked actually almost the entirety of the design on principal when I walked into the theater.Robyne: Yeah.Wesley: When I sat down I was excited for the performance we were about to see. I don’t think that the set elements necessarily meshed with the performers and the work they were doing on the same level. I think they were both well done but I didn’t see a unification of the two aesthetics.Robyne: Yeah, I really felt that there was no cohesion between the designs. I got the sense that the lighting, costume, and scenic, were all at least aiming for the same world, but not all in the same realm, if that makes sense, at least product wise. Design-wise, they may have all been on the same page. But the sound design, it was very barren, not in the same sense that the stage was, it was very lacking. There was not a lot of it. A lot of the sound was created by the performers. Which I get, but the choices that were made in the intermission, pre-music, and post show were all very non-cohesive.Wesley: And I do think a lot of that is based off of what I was reading the pearl theatre’s dramaturge about midsummer, which was that this is a dream world where times collide. It’s sort of like from The Frogs “The setting, Ancient Athens, the time, The Present Day.” That sort of dream sense you have when you walk into your house, and for some reason, you know it’s France. And I think they’re trying to get that sort of disjointed feel, however, I think that the design work really spoke for the directorial concept, but it didn’t really add much to the conversation of A Midsummer Night’s Dream.Robyne: Yeah, I just didn’t feel that the Dream aesthetic meshed. I didn’t feel as if I was in a dream. Somewhere between the - I’m really sorry Jessica, I hated those costumes, the jumpsuits with the neon strips, seemed really out of place and only there to be utilized by the lighting designer’s use of the neon lights, the black lights, which were fine every once and again but that’s how they communicated that magic was being done and that felt really kitschy and unstylized, to me, it felt sophomoric really, in it’s “NOW we’re doing magic” feel to it.Wesley: So, I think that this production takes after the Peter Brook 1970’s production of Midsummer Night’s Dream that came to New York City. If you don’t know the Peter Brook production, it was a legendary production in which he put all the actor’s inside of this white box set and using as minimal use of design techniques as possible, told the whole story of A Midsummer Night’s Dream. And a lot of directors since then have taken on Peter Brook’s sort of minimalist aesthetic and deconstructed story telling to create this “Theatre is Magic” kind of feel. The problem is I don’t feel as though the aesthetic, especially in the neon, with the jumpsuits, with the costumes, were brought to the present day. They felt very 1980s, very 1970s, and sort of what post apocalyptic was suppose to feel like in 1983.5:00Robyne: It really felt to me like a hip-hop 80s artist experiment with neons and black lights. And I harp on that in the lighting design because there were moments in that lighting design that were absolutely gorgeous. For the most part, the lighting was fantastic, there were two or three really distinct moments, in the getting lost in the woods scene, -Wesley: Loved it, yeah.Robyne: - that were gorgeous, absolutely gorgeous. And then it just felt like, I almost want to blame the director, Eric Tucker, for these moments of ‘and then I need this to happen,’ and so we had a flash of that neon magic, that was so unnecessary, and could have been conveyed in such a better manner.Wesley: The moments of lighting design that were really articulate about the world these characters are going through were incredible; especially this one scene, as you said, where they’re lost in the woods and everything goes dark, and we just get side lighting and every once in a while they pop up and you see their face then they disappear. It was beautiful. Once again, much like the scenic design, I thought the lighting design was, on it’s own merit, incredible. I enjoyed the neon, I enjoyed those moments of magic. I think a lot of power was given to those magically moments. Most people do Midsummer just for the mechanicals nowadays because they are hilarious and it’s really easy to get involved with them. It was nice of them to makes us care about the plight of Titania, the plight of Oberon, and to put that as sort of ethereal nature into their lighting design. However, there were a couple of choices that felt purely aesthetic for me and that didn’t articulate this world as well as others – the couple bars of neon on the back wall that didn’t transport me the way that when everything went dark as they’re lost in the woods, as you were talking about, that was a transportive moment.Robyne: Absolutely.Wesley: Even when Puck took the lights away, that was a moment of theater magic, for lack of a better term.Robyne: Absolutely, and then you had things like the natural sound of them running over that sandy pebble pit that really, in the darkness, gave you that sense of loss and confusion that was amazing.Wesley: There were just points that really felt as though they were painting, rather than producing a production of Midsummer.Robyne: There was a lot of concept put ONTO this production rather than concept drawn FROM this production.Wesley: The only point that never really meshed for me was the, and I’m once again sorry Jessica, but those costumes just baffled me as to how they fit in this world with these performers. Unless these costumes were suppose to be a commentary on 1980s underground theater troupes, which they kind of got to at the end with the mechanicals play and this sort of self-referential jab. But with how streamlined and how finished and how developed everything else was, to be Midsummer, those remained lagging in unfulfilled concept.Robyne: As we mentioned before, I loved all of the performers.Wesley: Yeah.Robyne: And it really felt like there were two different worlds. I said to Wesley as soon as we stepped out that this production definitely proves that you can do Midsummer with five people; I just don’t know why you would, if you can get a full cast. That being said, there were some phenomenal performances.Wesley: So using this cast of five, their breakdown was – Sean McNall playing Theseus, Peter Quince, and Demetrius, Jason O’Connell playing Puck, Bottom, and Aegeus, Nance Williamson playing Hippolyta, Helena, a fairy, Robin Starveling, and half of Snug the Joiner, Joey Parsons playing Hermia, Titania, and Tom Snout, and Mark Bedard playing Lysander, Oberon, Francis Flute, and Snug the Joiner.Robyne: My main issue with the performances I believe comes from the direction, that there was a lot of gross generalization and stereotypical, archetypal performance for minor characters to distinguish them in the on-stage transitions that happen that could have been much more easily conveyed through costumes. Wesley: Often what happens with double casting much less quadruple or even more casting is that you get broad generalizations in characterization. You don’t really get as much nuance and personality from each of these characters because they’re doing quick changes in front of you and that you need to be able to identify that these are new people every time. It’s fun story telling very often; there are a few times it doesn’t come fully to fruition. I would say everyone in the cast has at least one character they were able to knock out of the park.Robyne: Absolutely. Sean McNall’s Theseus was great.Wesley: Yeah. I really think that Jason O’Connell’s Bottom, especially during Bottom’s Dream was beautiful.10:00Robyne: That is one of the best, if not THE best, performances of Bottom’s Dream I have ever seen. Wesley: Yeah, it really grounded that character, which was needed by that point in time. Nance Williamson, she was a lot of fun in a lot of things. I’m trying to think of what I preferred her in, but I think just her variety really spoke for her. Going from Hippolyta to Helena to Robin Starveling, though I really like her emotional grounding of Helena, personally. Robyne: And the age difference really brought an interesting texture to that casting of the four lovers.Wesley: Yeah, so, the whole cast was of various ages, of various backgrounds, they don’t -Robyne: it was an interestingly diverse cast, in a way that I had not expected it to be. Upon the actors initial entrance I felt that it was a very white cast, but in just a very few moments, that disappeared for me. Their variety and diversity came from other aspects of their personages.Wesley: So also, you have Mark Bedard, who I really enjoyed as Oberon when he was playing with Puck, it really was a good counterbalance there. He was great as Francis Flute and Thisbe, with his little voice, I mean, that was a lot of fun for me. Robyne: I really liked him as Thisbe; I did not care for him as Francis Flute.Wesley: Joey Parsons playing Hermia, Titania, and Tom Snout – I can’t even point out which one was supposed to be the best because they were all so great.Robyne: This was Joey Parson’s show.Wesley: YeahRobyne: She stole it.Wesley: To be fair, she really meshed well with the mechanicals, she meshed well in the fairy world, not a scene stealer by any account; but her Titania was fantastic. It was so well formed.Robyne: Joey really brought out the best in her fellow cast, which is fantastic to see.Wesley: And it’s amazing that I was able to believe her as both the fan girl turned lover in Tom Snout, but at the same time this frightening and incredible magisterial Queen of the fairy world.Robyne: She gave Titania a real depth in not only conveying this thousands-year-old Queen of these immortal beings that have magic, but she at a moment broke when Bottom made a joke, and she giggled at him, and that is almost something you never see. You never see that real softness, it’s usually just a lust for Bottom, rather than the Love-in-Idleness that it’s suppose to be; and Joey really brought that out in this production. Wesley: I believed that she loved him. I believe that she fell for Bottom, not just in a sexual aspect but because she was enamored with him.Robyne: Yeah. That being said, the Puck-Bottom pairing was hard to swallow at times. Puck is a very high-energy character; if not played more mischievous. He kind of comes off as just an ass. Bottom can also be played as a very egotistical ass, which he was in this production as well. But when you have the same actor playing Puck and Bottom, it can really bring out the worst in both those characters. Finding those uniquenesses between the two can be very difficult.Wesley: Puck in particular, because while Bottom learns something and goes through Bottom’s Dream, and we get this moment of grounding with him that then transports us into the mechanicals play; sure there’s a couple of moments with Puck where he swallows his pride next to Oberon, but I wouldn’t say there’s any real point of learning with the character. He remained the mischievous fairy that he was in the beginning.Robyne: and while that can be fine in most productions, I didn’t get a real clear sense that Oberon was in charge of Puck, I didn’t see the fear in Puck of Oberon.Wesley: For me, it was just, they were asking for this particular performance to be too much when they put both Bottom and Puck on him. Those are very high energy, high comedy characters, especially seeing as Jason O’Connell was performing them much like the Genie in Aladdin. Very much the Robin Williams-y, going from impression to impression to impression, which isn’t wrong, it makes sense for Puck, it absolutely makes sense for Puck to be able to do these things. Robyne: Especially with this anachronistic concept to it.Wesley: And to have Bottom play Pyramus like The Godfather.Robyne: Yeah.Wesley: Those are fun things to add in. When those things get meshed together they really can overwhelm the humor and overwhelm the subtlety.One thing that I really did enjoy that sadly began to dissipate near the end of the production was that, when we first entered the fairy world, with Nance Williamson playing the fairy opposite Puck, I got a sense that these were creatures to be feared, and I rarely see that. Fairies are now very often just these pretty figures that go around the stage as an excuse for costumers to show off, and it was nice to see the fairies as something to be feared as part of this pagan world that the forest represents.15:00Robyne: The Fay are, from European tradition, these terrifying creatures that live in the woods and play tricks on people, and steal children to eat them, and have their way with humans in the forests. I kind of got the sense for that in the initial interactions between Oberon and Titania that got really lost towards the end of the production.Wesley: One thing I really want to give them here though is, this is the first production of Midsummer Night’s Dream that I have ever seen in which I cared about the outcome of the Indian child. Robyne: Yes.Wesley: I always forget about the Indian child by the end of the play.Robyne: Titania and Oberon have a very Martha-and-George relationship where new items tend to become weapons. But Joey Parson’s Titania really brought that emotional value of what that child meant to her and I loved that, that is something that gets completely forgotten about in most productions.Wesley: And also, Oberon’s apathy – “I’m bored, I want another member of my posse.” But this sort of surprise at the stakes Titania has regarding what this child means to her, it feels new for both of these characters.Robyne: Yeah.Wesley: And that was a fun entrance into the world of the fairy kingdom. And I think that that is added to by the fact that we get this disjointed staging where we go from all these different levels of worlds and stakes. That’s one thing that I think the director did very well, I think it was done very much in collaboration with this cast, but the disjointed set up, from going from the lovers to the royalty, to the fairy kingdom, to the mechanicals, you really got a sense of all the different layers in this world combining into one.Robyne: One of my issues with this production in particular was the first act felt as if it was a tribulation that was necessary to get to the fun of act two, which consisted of the lovers lost in the woods, the righting of Bottom and Titania, and the happy ending of the rude mechanicals and the nobles – which was the funniest I have ever seen that scene done. The gross juxtaposition of the actors judging their other characters performances was wonderful. That really made the show. Wesley: Well, also for Midsummer the first act has always been a necessary evil. If you read it, that first act, you like fly through it. There is no fat in that first act, it’s setting everything up to get you into the woods.Robyne: This just felt particularly trying.Wesley: Oh, no, it was very laborious and a lot of that had to do with the concept eeking its way into the actors’ position. The first part of the play I was thinking to myself, ‘what is this concept that I’m suppose to be grasping here?’Robyne: Yes.Wesley: Rather than really enjoying the play of the actors and what they were doing. Which, I think, that is what made the first part so laborious.Robyne: Well even that first scene was incredibly trying, where they started and stopped multiple times, with various actors portraying various characters in so many different referential styles. There was a 2001: A Spacy Odyssey entrance, in which they were all apes, and there was a southern accented entrance and we got that it was all referential, but it just set us on a very bad path for the rest of the productionWesley: Right and also for the fact that it was never brought up again really. There was a couple of points at intermission and at the end of the play, but there was never any other time in the meat of the piece where that kind of disjointed, cubist, multiple-referential framework was utilized. Now we got a lot of different forms, we got a lot of anachronisms, which are fine, but never on that level, so it really changed expectations for what was the reality of the piece we were going to see.Robyne: Right it started me off believing I was going to see a cocaine fueled, nightmarish, post-modern, Generation X, production and that’s not at all what we saw.Wesley: No. Now I do want to get back to the mechanicals and what you were saying about their scene. The mechanicals scene was hilarious, and a lot of that came from, and I do agree this is the best I’ve sen this dynamic used, between the nobles watching the work and the mechanicals performing the work. There were a lot of things that made the mechanicals a lot of fun, in particular their sort of self-referential, self-mocking sense of, “This is the Hudson Valley Shakespeare Festival coming to perform for the nobles. And it’s like change, change, change, each of them doing a real grotesque form of doing what they’d spent the whole playing doing, to tell this story. Throughout the whole play though, there was an added sort of sub-plot between Bottom and Joey Parson’s Tom Snout, who plays wall, where they slowly come to love each other or they become enraptured with each other.20:00Robyne: Where, where she becomes enraptured with him and he kind of just goes for it after he’s had the realization that he is lonely.Wesley: He is lonely but also she looks a lot like Titania.Robyne: Oh. Yeah.Wesley: So they added that in. And it’s difficult to add something like that in to a Shakespeare play and help it feel natural and make you feel excited about it. And I felt so excited for them when they started making out on the stage. And I was really enjoying that moment, a lot because I’d learned to love those two actors in those characters.Robyne: Right, my biggest issue, and maybe it’s there as a juxtaposition was the really ridiculous gay sex jokes that were out in with the whole Wall thing, talking and kissing through the wall, which was a guys crotch, it was so unnecessary.Wesley: And it didn’t match the levels that the rest of their staging met. Robyne: There were a number of times where we mixed high-brow with low-brow in this production and it made the low-brow sound so hollow because it wasn’t done well.Wesley: Yeah, there were a lot of gay jokes. There were a lot of poor interactions with the audience. There were a lot of anachronisms that -Robyne: There was that whole sex scene between Titania and Bottom that was not necessary.Wesley: It really felt desperate.Robyne: And Grotesque.Wesley: And it didn’t match what I think Titania felt for Bottom in what we saw in the scenes before.Robyne: yeah, and I’m all for a good Bacchanal but that, again, just rang hollow. Wesley: It seemed like performers trying to make people excited about Shakespeare by appealing to the lowest common denominator, which happens a lot in New York right now. It happens a lot in America right now.Robyne: I got the impression that we were suppose to excuse them for being rude mechanicals, but they didn’t earn that because of their treatment of the language and because of their level of skill was too high. They were not rude mechanicals in the least; they were some wonderful performers.Wesley: If this was suppose to have been possessing them to tell this story, as I think might have been the intention by that sort of epilogueRobyne: Right. There was a time warp epilogue at the end of the piece. After all the nobles retire to bed at midnight, the play rewinds for a second just to jump to the rude mechanicals rehearsing in the forest and Puck poseses them to deliver his final monologue, “if we be friends…” Wesley: “Robin will restore amends.” And then we all applaud and they look stunned at us as if they didn’t know they were performing for an audience this whole time. The difficulty with this is the difficulty with nearly any meta-performance which is, you start to then piece apart, “wait, if this was Puck the whole time, why was Puck using this poetic language? Why was Puck needing this performance to be told? How was this fun for Puck? What was Puck doing?” A lot of cracks came out of the plaster using this framework of the possessed performers.Robyne: And I felt that it was Eric Tucker just not being able to help himself with the direction. He just couldn’t leave well enough alone. He couldn’t trust that the production was doing what it was supposed to do.Wesley: If they would have ended with the mechanicals scene going then to Puck, I would have been happy for the whole cast then deliver Puck’s monologue. But if they would have ended with that sort of simplicity, it would have been a very different feeling leaving the play. But instead, I left a little baffled, and more irritated than curious. Robyne: Yeah, because I loved the ending up until that point and then they finished on that note and I left wondering why. Why? Why? Why did that have to happen?Wesley: And it didn’t excite me in the same way that the performes did.Robyne: And I can’t find a conceptual defense for it.Wesley: No, cause getting us in to intermission, they walked backwards off the set, and then getting us in to act two, they did the same exact thing, walking forward with some more wheel grinding and a lot of it was very impressive in terms of performance.Robyne: yeah, I’m sure that if you had recorded Bottom’s delivery and played it backwards it would be English.Wesley: It would be, probably, perfect verse, but-Robyne: It just didn’t need to exist.Wesley: The rest of it was so strong. The poetry was so strong. And Nance Williamson’s Helena – her delivery of sorrow, trying to chase after Demetrius was enough.Robyne: Yeah.Wesley: The performers put so much care into telling A Midsummer Night’s Dream that Eric Tucker’s concept became too much for it.Robyne: Which is not to say that his direction was terrible.Wesley: No.Robyne: There were moments where, while I did not at all care for what was happening on stage, I really appreciate how structured the, would you say post modern?Wesley: Oh yeah.Robyne: -movement styles were. The creation of Bottom and Bottom being completely lost while bound by his fellow actors – the actual, physical, human actors in this production not the actors in the production of Pyramus and Thisbe – was wonderful.25:00His sense of physicality as an ass, were wonderful. There were moments of the players leaving Athens in an elevator singing “Girl from Impanema,” that worked really well for me. And Just confused me as to why the other anachronistic pieces were not cut when they didn’t work and if they were recognized as not working.Wesley: This must have been very much devised. I can’t imagine that this was just a directing coming in going, “I know exactly how this is going to be staged, I know exactly what you all are going to be doing.” This clearly speaks well for collaborative theater. To have talented, very well seasoned actors playing and this director then parsing out what goes where and how best to tell the story. Those moments, they were cinematic moments with sharp cuts between places – with us being above people, and now below people, and now to the side of people – that were seamless and fun. The problem was when they got overshadowed by a looming concept.Robyne: And to me, directors are responsible for the end performances and it should have been up to him or a producer to have helped clean up those performances, to wipe away some of the stereotypical, archetypal mannerisms and vocal choices; unless that was the initial design, and then to work them further in. And there were things that just really irked me, like Demetrius’s Spanish. Not only his Spanish accent but his actual speaking of Spanish felt completely put on to this production. Egius’s homosexuality felt put on to this production. And I did not care for Snug the Joiner being this weird conjoined twin ‘Other’ thing.Wesley: So for me, Demetrius’s Spanish was enjoyable and made sense for the character, it didn’t seem so put upon. Egius’s homosexuality was just so broad, so unnecessary and didn’t really make sense for the character, I don’t really know howthey got to point B there. I loved Snug the Joiner. I laughed so hard. Just given how this is a world of such mania they’ve made, to have this sort of monster zombie come out, out of nowhere, it made no sense, and I thought it was hilarious. Especially given, always going back to her, Joey Parson’s reaction of “Oh God!” Every time, with terror. I mean, it just makes me laugh, every time. There was some diminishing returns there by the time we got to the final mechanicals’ scene. But we didn’t need that comedy adding in.Robyne: So Wesley, any other thoughts?Wesley: I think in general this is a, off/on production that stars some very incredible performances.Robyne: I completely agree. A Midsummer Night’s Dream runs at the Pearl Theater until October 31st. Wesley, my question is – Is the show worth the $65 ticket for non-members?Wesley: It is if you really enjoy seeing new versions of Shakespeare, but if your interests go anywhere beyond that I would say this is one to miss.Robyne: I would be very pleased if I saw this production at a $20 ticket.Wesley: Yeah, at La Mama. However, given that price, if you have the stakes to see deconstructed Shakespeare, or have made a hobby of seeing Midsummer or Shakespeare performances, this is one probably not to be missed.We hope you enjoy the podcast and that you will share your thoughts with us.Robyne: As always, you can find us and join the conversation on facebook at facebook.com/ObstructedViewPodcast, on twitter @Obstructed_View, on soundcloud at soundcloud.com/obstructedview, on tumblr obstructedviewpodcast.tumblr.com, or at Obstructed-view.comWesley: Special Thanks today goes out Ari Edelson, Alyssa Jenette, and Julian Fleisher for your love and support. This is Wesley.Robyne: And Robyne,Wesley: And remember,Robyne: Dream the Impossible Dream.

The Vibration of Love: What is it? How do we get it? What to do with it?   Storie of divine love, romantic love, family and friend love, loving thine enemies and so on have been some of the most popular stories retold through the thousands of years of recorded history. There has always been a focus on love since the dawn of time, why is that? From Romeo and Juliet, Cleopatra and Marc Antony, Pyramus and Thisbe, Jesus Christ's mission of love, Mother Teresa, etc and your own personal stories of the people you have loved most in your life. They all have a special place of joy, pain and history in our hearts. What if we could transform that pain with what got us there in the first place? What if we could practice Active Loving to heal our lives, and bodies? What if we could use this understanding to attract in not just romantic love, but love in all areas of our lives?    Join us to tonight for a discussion on Active Love to explore all of this and much more! :)  

A practical Masterclass looking at what clues Shakespeare puts into the verse for the actor. Students from Oxford University Drama Society will take part in the masterclass with an audience.

A practical Masterclass looking at what clues Shakespeare puts into the verse for the actor. Students from Oxford University Drama Society will take part in the masterclass with an audience.

A practical Masterclass with Greg Doran from the Royal Shakespeare Company looking at what clues Shakespeare puts into the verse for the actor. Students from Oxford University Drama Society rehearse Romeo and Juliet in front of an audience.

The loose format of the Quixote allows for the incorporation of different stories and texts, such as the Camacho's wedding, which was going to be a play. The episode, a form of epithalamium based on the myth of Pyramus and Thisbe, states one of the main themes of part two, that art corrects nature. As a way of turning deceit, which would normally lead to disillusionment, into a happy ending, in Camacho's wedding episode art helps nature to attain good ending. González Echevarría claims that in this episode there is a subtext in which marriage is not only a legal institution but also a transcendental metamorphosis of matter, or transubstantiation. The literal blending of bloods that makes marriage indivisible is echoed here through what González Echevarría calls 'the itinerary of blood.' In the interpretation of the myth Cervantes resembles Velázquez in that they both show the inner recesses of representation: they show creation as a layered process that ultimately involves the real.

The loose format of the Quixote allows for the incorporation of different stories and texts, such as the Camacho's wedding, which was going to be a play. The episode, a form of epithalamium based on the myth of Pyramus and Thisbe, states one of the main themes of part two, that art corrects nature. As a way of turning deceit, which would normally lead to disillusionment, into a happy ending, in Camacho's wedding episode art helps nature to attain good ending. González Echevarría claims that in this episode there is a subtext in which marriage is not only a legal institution but also a transcendental metamorphosis of matter, or transubstantiation. The literal blending of bloods that makes marriage indivisible is echoed here through what González Echevarría calls 'the itinerary of blood.' In the interpretation of the myth Cervantes resembles Velázquez in that they both show the inner recesses of representation: they show creation as a layered process that ultimately involves the real.

Listen to the cast of this NRT production to learn more about this William Shakespeare classic story of love, mischief and enchantment. "A Midsummer Night's Dream" is one of the greatest comedy plays by William Shakespeare. The play revolves around the adventures of four young lovers, a group of amateur actors and their interactions with the fairies who inhabit a moonlit forest. The story takes place in Midsummer and is a complex farce featuring Hermia & Lysander and Helena & Demetrius. Their romantic intrigues are confused and complicated still further by entering the forest where Oberon, the King of the Fairies and his Queen, Titania, preside. Puck (or Robin Goodfellow) is a major character who is full of mischief and tricks. Other visitors to the enchanted forest include Bottom the weaver and his friends Snug, Snout, Quince and Flute, the amateur dramatists who want to rehearse their terrible but hilarious version of the play Pyramus and Thisbe. THREE PERFORMANCES: Thursday, April 9 Friday, April 10 Saturday, April 11 All shows are at 8 pm in 111 Forum! Free!! Starring... Anthony Arbaiza Ashley Arbaiza Callie Hanau Alex Jones Adam Bouc Katherine Leiden Ryan Bergman Hilary Caldwell Mark Celeste Lauren Valasa Ted Chylack Katie Bucaro Nicole Wells Eric Furjanic Directed by Andrew Jen Assistant Directed by Laura Herrmann **The show is approximately 2 hours long, with a 10-minute intermission. Poster Design by Ashley Arbaiza

Oregon Shakespeare FestivalCostumes, props, sets, Shakespeare. What goes into putting together the Oregon Shakespeare Festival in Ashland? We tell you some of what we learned on the backstage tour at the Festival (a tour conducted by veteran Festival actor Rex Young), including an inside glimpse of the Elizabethan Stage (America's first Elizabethan theatre), the Angus Bowmer Theatre (named after the Festival's founder) and the New Theatre. Begun in 1935, the Oregon Shakespeare Festival runs 11 shows in three theatres from February through October every year. This year 82 actors protrayed 195 characters in close to 800 shows. Each actor plays 2 to 3 roles and understudies one to two other parts. And for every actor that you see on stage there are 4 people working backstage designing and building the costumes, sets, lights, and making the magic happen. More information about the Oregon Shakespeare Festival Zephyr Haunts Ashland and TumwaterScience Works Museum in Ashland offers hands-on educational (and fun!) exhibits for children, including the paper airplane launcher for flying airplanes they have been taught to make. A special exhibit of toys and games is coming soon, as is a Halloween haunted house which Zephyr helped design - having recently contributed his talents to a much larger attraction called Twilight's Terror in Tumwater, Washington. Romeo and Juliet (The Four Minute condensed comical version) William Shakespeare's classic tragedy about star-crossed lovers from dueling clans has roots in the Greek legend "Pyramus and Thisbe" (which he also invoked in "A Midsummer Night's Dream") and has inspired books, plays, movies and tv shows throughout the ages. Variations of this tale exist in many other cultures as well; a hit song on the radio in the Sixties called "Running Bear and Little White Dove" related a similar story involving Native Americans from warring tribes. "Romeo and Juliet" illustrates Shakespeare's extraordinary ability to transform a borrowed plot into something wholly original, and uniquely his own. And coming up for 2007 our own national tour of "Shakespeare Shazam", an introduction to the Bard's work. We act out passages from such Shakespearean masterpieces as "Romeo and Juliet", "Macbeth", and "Hamlet", in both the original version and modern English. More about Shakespeare Shazam Happy Listening, Dennis, Kimberly and Zephyr