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Olivia Hussey, whose spirited portrayal of Juliet when she was just a teenager herself became iconic for generations of people watching the 1968 film adaptation of Shakespeare's play, died on December 27, 2024. In 2019, we were lucky enough to record an interview with Hussey. To honor her life and work, we're bringing it to you again. Olivia Hussey was just fifteen when Franco Zeffirelli cast her in Romeo and Juliet. When the film was released in October 1968, it catapulted her and Leonard Whiting, the young actor playing Romeo, to global stardom. For many Shakespeare lovers, Zeffirelli's film is still the definitive film adaptation of the play. Fifty years after the movie's release, Hussey's memoir, The Girl on the Balcony: Olivia Hussey Finds Life After Romeo and Juliet, told the story of the actress's life before, during, and after Romeo and Juliet. We talked with Hussey and asked her how she felt about Shakespeare before making the movie (“very boring”), filming the balcony scene (“I'd bump my teeth into his chin”), the endless press tour, and whether she'd do it all again. Barbara Bogaev interviews Olivia Hussey. From the Shakespeare Unlimited podcast. Originally published on January 22, 2019, and rebroadcast on January 13, 2025 © Folger Shakespeare Library. All rights reserved. This podcast episode, “Speak Again, Bright Angel,” was produced by Richard Paul. Garland Scott is the Associate Producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer; updated by Paola García Acuña. We had technical help from Andrew Feliciano and Paul Luke at VoiceTrax West in Studio City, California.
Ending the year on a book review! Let us know if you have heard of this novel before! - Please send your emails to heresjohnnypodcast@gmail.com - To join our community, feel free to join our discord! (https://discord.gg/htr6kRB) - Check out our past reviews and lists on our show website at https://www.heresjohnnypodcast.com/ - If you are able, you can support us on Patreon (patreon.com/heresjohnnypodcast)
On this episode, we'll explore how our quality of life is intricately connected to your ability to think critically. I provide a few strategies to enhance your mindset and boost decision making. Books to help you improve your critical thinking skills:1. Thinking, Fast and Slow by Daniel Kahneman2. The Art of Thinking Clearly by Rolf Dobelli3. Critical Thinking: Tools for Taking Charge of Your Professional and Personal Life by Richard Paul and Linda Elder
Richard Paul Watson talks to Shane about his efforts growing and breeding a wide range of vegetable crops in windy New Zealand, and his successes in building a network of seed growers to create a collective seed sales organisation, the Sentinels Group.Check out more of Richard's work at https://www.sentinelsgroup.co.nz
This week's program is a special edition, brought to you by our friends at Center Maryland with industry disruptor, Quantum Loophole, the first master-planned data center community reshaping the way site selection and giga-watt scale data centers are brought to market. Richard Paul-Hus joins Center Maryland's The Lobby to discuss the Quantum Loophole data project in Maryland. In 2021, Quantum Loophole acquired over 2,100 acres of land in Frederick County, Maryland to develop a first-of-its kind master-plan data center community. Richard Paul-Hus is the Senior Vice President of Quantum Loophole. Learn more about the Quantum Loophole project here. Building Data Centers – And Maryland's Future: https://centermaryland.org/blog/building-data-centers-and-marylands-future/ Subscribe to Center Maryland's Daily Newsletter, The Morning Rundown, here.
In this first episode of our Critical Thinking 101 series, Hannah joins us to discuss the intellectual virtues of a critical thinker as defined by critical thinking thought-leaders, Linda Elder & Richard Paul. Follow along & review the list of virtues here: Intellectual Virtues & Sources Follow us on Instagram/Threads at @theaetetus.podcast. Also, help get the word out by subscribing on your favorite podcast app & leaving a rating. Please reach out if you have questions, comments, or would like to be interviewed at theaetetuspodcast@gmail.com.
On this week's minisode, Steve is joined by Richard Paul, Propellernet's Creative Director. This time it's all about ideas, with conversation topics including creative campaigns, how to overcome an ideas block, and what Richard does in the shower that Steve does in the car....
Richard Paul is the founder of Art of the Spirits, a cask strength whiskey company. Every bottle they put out is cask strength, and most of them are single barrels. Richard came to St. Louis to release a few barrel picks he did in the area and Dan quickly joined him at the St Louis Bourbon Society Speakeasy for some time on the casting couch...I mean office... Take a look at https://artofthespirits.com/
Hôm nay mình xin chia sẻ tới các bạn một cuốn sách cực kỳ bổ ích về Tư duy phản biện, mang tên "Critical Thinking: Tools for Taking Charge of Your Professional and Personal Life", tạm dịch là "Tư duy phản biện – Công cụ để đảm đương công việc và cuộc sống" của Richard Paul và Linda Elder. ------------------------- ❤️ ỦNG HỘ KÊNH TẠI: https://beacons.ai/betterversion.donate
This new show is a bit crazy. The listeners send me messages letting me know that my life is so bad it makes them feel great about their life! Ha! Another shout out to a listener Richard Paul and then … Continue reading →
Steve and Jeremy interview Reneé Bemis, co-founder of Driftless Glen Disitllery in Baraboo, Wisconsin. Richard Paul about his brand, Art of the Spirits. The Bourbon Show music (Whiskey on the Mississippi) is by Kevin MacLeod (incompetech.com). Important Links: Steve Akley's New Book, Bourbon Assignments: https://amzn.to/2Y68Eoy ABV Network Shop: https://shop.abvnetwork.com/ YouTube: https://bit.ly/3kAJZQz Our Club: https://www.abvnetwork.com/club Patreon: https://www.patreon.com/theabvnetwork Check us out at: abvnetwork.com. Join the revolution by adding #ABVNetworkCrew to your profile on social media.
Steve and Jeremy interview Richard Paul about his brand, Art of the Spirits. The Bourbon Show music (Whiskey on the Mississippi) is by Kevin MacLeod (incompetech.com). Important Links: Steve Akley's New Book, Bourbon Assignments: https://amzn.to/2Y68Eoy ABV Network Shop: https://shop.abvnetwork.com/ YouTube: https://bit.ly/3kAJZQz Our Club: https://www.abvnetwork.com/club Patreon: https://www.patreon.com/theabvnetwork Check us out at: abvnetwork.com. Join the revolution by adding #ABVNetworkCrew to your profile on social media.
A new opera version of Hamlet is onstage at New York's Metropolitan Opera through June 9. Composer Brett Dean and librettist Matthew Jocelyn talk with host Barbara Bogaev about adapting the texts of the earliest editions of Hamlet to create a libretto that subverts expectations and composing orchestrations that take audiences inside the minds of Hamlet and Ophelia. The Saturday, June 4 performance of Hamlet will be transmitted live to movie theaters around the world via The Met's Live in HD series. Watch it at a cinema near you. Brett Dean is the composer and Matthew Jocelyn is the librettist for Hamlet, which premiered at Britain's Glyndebourne Festival in 2017. The opera is onstage at the Metropolitan Opera through June 9. From the Shakespeare Unlimited podcast. Published May 24, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Sing Thee to Thy Rest,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.
Director Oleksandr “Les” Kurbas's 1920 Macbeth was the first production of a Shakespeare play in Ukraine. Kurbas staged the play in the midst of the famine and violence of the Russian Civil War: Lady Macbeth fainted from hunger in the wings, and Kurbas used series of hand signals to warn the actors onstage that they were about to be shot at. Kurbas was one of the main subjects of “‘What's Past is Prologue': Shakespeare and Canon Formation in Early Soviet Ukraine,” a presentation given by Dr. Irena Makaryk at Shakespeare and the Worlds of Communism, a 1996 conference sponsored by the Folger, Penn State University, and the Russian Embassy in Washington. The event looked at Shakespeare's role in the formation of culture within the bloc of countries that had been allied with the newly-collapsed Soviet Union. Makaryk's paper explored the ways Ukrainians used Shakespeare's plays to assert the existence and value of Ukrainian culture. She also examined how the Russians—first the Czars, and then the Soviets—repressed Ukrainian theater order to keep Ukrainian culture under their thumb. As Vladimir Putin's savage invasion of Ukraine continues, we spoke with Makaryk about her research on Shakespeare, theater, and Ukrainian national identity. She is interviewed by Barbara Bogaev. Dr. Irena Makaryk is a Distinguished University Professor in the Department of English at the University of Ottawa. Her book Shakespeare in the Undiscovered Bourn: Les Kurbas, Ukrainian Modernism, and Early Soviet Cultural Politics was published by the University of Toronto Press in 2004. You can read her paper “‘What's Past is Prologue': Shakespeare and Canon Formation in Early Soviet Ukraine” in Shakespeare in the Worlds of Communism and Socialism. The paperback edition was published by the University of Toronto Press in 2013. From the Shakespeare Unlimited podcast. Published May 10, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I Do but Dream on Sovereignty,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano, Lucas Kuzma and Evan Marquart at Voice Trax West in Studio City, California.
Join John, Jenn, Randy Bell and RFM as we go through Randy's 15 steps of critical thinking for Mormons. What steps did you skip as an active believing Mormon? Show Notes: Post Traumatic Thriving Mormonism Live Heaven's Gate Mormon Stories Podcast with Randy Bell Mormon Stories Podcast with RFM Mormon Stories "From TBM to RFM Part 1" Mormon Stories "From TBM to RFM Part 2" Miniature Guide to Critical Thinking by Richard Paul and Linda Elder Tom Phillips Case Hugh Nibley Recovering Agency Mormon Stories Luna Lindsey Combating Cult Mind Control by Steven Hassan Steven Hassan on Mormon Stories ————— We are 100% donor funded! Please click HERE to donate and keep this content coming! Click here to donate monthly: $10 $25 $50 ————— MSP on Spotify MSP on Apple Podcasts MSP Blog Instagram Patreon TikTok Discord Contact Us! *MormonStories@gmail.com *PO Box 171085 Salt Lake City, UT 84117
Madison school board approves new career tech director: https://www.richlandsource.com/education/madison-school-board-approves-new-career-tech-director/article_fcf4f1fc-c8cc-11ec-b191-67d05954dda2.html Out of this world: Coyne Incident focused UFO attention on north central Ohio in 1973: https://www.richlandsource.com/area_history/out-of-this-world-coyne-incident-focused-ufo-attention-on-north-central-ohio-in-1973/article_5f6ee1be-c4ca-11ec-a36f-3b450ce4e0e8.html 179th salutes end to flying mission, preps to make cyber warfare history: https://www.richlandsource.com/business/community_development/179th-salutes-end-to-flying-mission-preps-to-make-cyber-warfare-history/article_c0d0b402-c7c0-11ec-8f97-7fc47da54fad.html Richard Paul Clinage: https://www.richlandsource.com/obituaries/richard-paul-clinage/article_24b4332a-c7c3-11ec-b615-7b60c297fb49.html Jacob Grove has witnessed first-hand the excitement and passion students have for their career technical education courses. Now, he wants to continue building the program at Madison Comprehensive High School. Grove was recently approved by the school board to take on a new role next fall as career tech director. He currently serves as assistant principal.Support the show: https://www.sourcemembers.com/See omnystudio.com/listener for privacy information.
In Hamlet, Shakespeare writes that theater holds a “mirror up to nature.” In his new book, Princeton professor Leonard Barkan tells us that when he reads Shakespeare, it holds a mirror up to Leonard Barkan—and that when you read Shakespeare, it holds up a mirror to you. When most of us read, Barkan reminds us, we bring our own experiences to the text, asking personal questions like “What about my life?” and “How does this make me feel?” His book Reading Shakespeare Reading Me combines memoir and literary criticism, analyzing ten Shakespeare plays and locating their parallels in the intimate details of his parents' marriages and early lives, his coming of age as a gay man, and many of the deaths, loves, achievements, and disappointments that have made up his time on Earth. Leonard Barkan is interviewed by Barbara Bogaev. Leonard Barkan is the Class of 1943 University Professor at Princeton University. He is the author of numerous books including The Hungry Eye: Eating, Drinking, and the Culture of Europe from Rome to the Renaissance; Michelangelo: A Life on Paper; and Unearthing the Past: Archaeology and Aesthetics in the Making of Renaissance Culture. Reading Shakespeare Reading Me was published by Fordham University Press in 2022. From the Shakespeare Unlimited podcast. Published April 26, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Who Is It That Can Tell Me What I Am?” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California, and Josh Wilcox and Walter Nordquist at Brooklyn Podcasting Studio in New York.
In 1921, Asta Nielsen, one of the world's biggest movie star in the world had just formed her own production company, and decided to open it up by playing Hamlet. Plenty of women had done that on the stage in the 19th century, but Nielsen's performance had a twist. Inspired by a mysterious American's quirky book, Nielsen decided to make a version of Hamlet where the lead character was born a woman, a fact that was kept secret from nearly all of the play's characters for her entire life. We talk about this film and Nielsen's remarkable career with Pamela Hutchinson, a writer and film historian who recently curated the British Film Institute's Asta Nielsen film festival about Nielsen's Hamlet. Pamela Hutchinson is a freelance writer, film historian, and curator. You can read her film writing in Sight & Sound, Criterion, and in The Guardian. She's a regular on BBC radio. Her website, devoted to silent films, is Silent London, at silentlondon.co.uk. Visit the British Film Institute's website at bfi.org.uk for information about their recently concluded Asta Nielsen film festival. Find Hamlet and more of Nielsen's films on the Danish Film Institute's website, stumfilm.dk. From the Shakespeare Unlimited podcast. Published April 12, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “What Woman Then?,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California, and Ali Gavan at Brighton Road Recording Studios in South Downs National Park, West Sussex, England.
Women didn't act on London's professional stages until after the Restoration of the English monarchy in 1661. But Dr. Pamela Allen Brown, author of The Diva's Gift to the Shakespearean Stage, believes that the movement towards women in the theater actually began in the 1570s, when Italy's commedia dell'arte troupes first stepped set foot in London. The troupes featured something most English people hadn't seen at that point: the Divina—a woman who played the Innamorata role, one of the two lovers in plays we'd characterize today as romantic comedies. English diplomats had seen the women who played these parts—who would later be called “divas”—but in the 1570s, divas started coming to England. And, Professor Brown says, their presence began to change attitudes about what theater could be, what plays should be about, and—maybe most importantly—about what kinds of people could play female roles. Pamela Allen Brown is interviewed by Barbara Bogaev. Pamela Allen Brown is a Professor of English at the University of Connecticut at Stamford. Her previous books include Better a Shrew than a Sheep: Women, Drama, and the Culture of Jest in Early Modern England, published by Cornell University Press in 2003, and Women Players in Early Modern England: Beyond the All-Male Stage, which she co-edited with Peter Parolin. That was published by Ashgate in 2005. Her new book, The Diva's Gift to the Shakespearean Stage, was published by Oxford University Press in 2021. From the Shakespeare Unlimited podcast. Published March 29, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I Shall See Some Squeaking Cleopatra Boy My Greatness,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California, and Josh Wilcox and Walter Nordquist at Brooklyn Podcasting Studio in Brooklyn, New York.
An Argentine woman translates "A Midsummer Night's Dream" while incessantly taping travel postcards to a wall. An actress in Buenos Aires seduces her colleague while rehearsing a scene for "Twelfth Night." A theater troupe flirts its way through rehearsals of "As You Like It" in an Argentine forest. If you're noticing a pattern here, you're not mistaken. These scenes all come from the films of Argentine filmmaker Matías Piñeiro. Born in Buenos Aires and now living in New York, Piñeiro has developed a cycle of six beautifully-filmed movies he calls “The Shakespeare Reads,” all of which are based around the female roles in Shakespeare's comedies. Piñeiro talks with Barbara Bogaev about his unique approach to his work and his craft. Matías Piñeiro is a screenwriter, director, and filmmaker. The six films in his “The Shakespeare Reads” series are "Rosalinda," "Viola," "The Princess of France," "Hermia & Helena," "Isabella," and the short film "Sycorax." Stream all of these films on MUBI, or buy them on Blu-ray and DVD from the Cinema Guild. Piñeiro teaches filmmaking at Brooklyn's Pratt Institute and coordinates the filmmaking department at the Elías Querejeta Film School in San Sebastián, Spain. From the Shakespeare Unlimited podcast. Published Tuesday, March 15. © Folger Shakespeare Library. All rights reserved. This podcast episode, “To Play a Pleasant Comedy,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Josh Wilcox at Brooklyn Podcasting Studio in Brooklyn, New York.
Over the centuries there have been hundreds of editions of Shakespeare's plays: Small, inexpensive schoolbook copies of individual plays, massive, leatherbound editions of the complete works, and everything in between. At some point, every one of those editions passed under the eyes of an editor who decided which version of which disputed word would be included, how characters' names would be spelled, whether a quarto's version was the best to use here or maybe the version in the First Folio, and so on. While the names of the many of Shakespeare's male editors are well-known, up until now there has been little to nothing written about another group of Shakespeare editors: Women, who—since the early 19th century—have labored editing Shakespeare in the shadows of men, sometimes getting no credit at all, and sometimes—as you'll hear—only getting blame. While Molly Yarn was writing her doctoral thesis on women editing Shakespeare, she discovered almost seventy female editors of Shakespeare. Now, she's written about them in a new book, Shakespeare's “Lady Editors.” She talks with Barbara Bogaev about Elizabeth Inchbald, Laura Valentine, Charlotte Stopes, and their editorial sisters in the 19th and early 20th centuries. Dr. Molly G. Yarn, an independent scholar living in Athens, GeorgiA, is the author of Shakespeare's ‘Lady Editors': A New History of the Shakespearean Text. It was published by Cambridge University Press and released in the United States in 2022. From the Shakespeare Unlimited podcast. Published March 1, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “A Woman's Voice May Do Some Good” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California, and Andrew Feyer at Brooklyn Podcasting Studio in New York.
Richard is the founder and President of Richard A. Paul, Jr., CPA, P.C and has been an entrepreneur for 22 years. Website: https://www.richardpaulcpa.com/ Linkedin: https://www.linkedin.com/in/richard-paul-jr-09915619/ Facebook: https://www.facebook.com/Foandi CallumConnects Micro-Podcast is your daily dose of wholesome entrepreneurial inspiration. Hear from many different entrepreneurs in just 5 minutes what hurdles they have faced, how they overcame them, and what their key learning is. Be inspired, subscribe, leave a comment, go and change the world! Every entrepreneur featured has been recommended by one of our previous guests. www.CallumLaing.com
Even 400 years after his death, William Shakespeare's influence is profound. But is it right to say that he changed everything? That the assertion Stephen Marche makes in his book "How Shakespeare Changed Everything." In the book, Marche catalogs Shakespeare's influence on (among other things) sex, language, psychology, and starlings. He talks with Barbara Bogaev about those legacies and more. Stephen Marche is a novelist, essayist, and cultural commentator. His book "How Shakespeare Changed Everything" was originally published by Harper Collins in 2011. His newest book, "The Next Civil War: Dispatches from the American Future," has just been published by Simon & Schuster. From the Shakespeare Unlimited podcast. Published February 15, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Influence Is Thine,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Jenna McClennan at Voice Trax West in Studio City, California.
Between 1821 and 1960, it would have been vanishingly rare to see a Black woman onstage performing Shakespeare. In Dr. Joyce Green MacDonald's chapter in the new Cambridge Companion to Shakespeare and Race, “Actresses of Color and Shakespearean Performance,” she digs deep into the history of American professional theater in the United States to find records of every Black woman who has been paid to perform or recite Shakespeare on stage in the United States. Barbara Bogaev talks with MacDonald about four performers who took to the stage in those 139 years: The African Grove Theatre's “Miss Welsh,” Henrietta Vinton Davis, Adrienne McNeil Herndon, and Jane White. Dr. Joyce Green MacDonald is an Associate Professor of English in the College of Arts and Sciences at the University of Kentucky and a trustee of the Shakespeare Association of America. In 2011, she participated in the Folger Institute conference “An Anglo-American History of the KJV.” MacDonald's new book, Shakespearean Adaptation, Race, and Memory in the New World, has just been published by Palgrave Macmillan. Her chapter “Actresses of Color and Shakespearean Performance: The Question of Reception” appears in the new Cambridge Companion to Shakespeare and Race, published by Cambridge University Press. From the Shakespeare Unlimited podcast. Published February 1, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, ““Between You and the Women the Play May Please,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Nick Stevens and Caleb Songer at Downtown Recording in Louisville, Kentucky.
Steve and McNew interview moonshiner Pappy G and Richard Paul from Art of the Spirits for the sixth episode of season two of their YouTube series, The Bourbon Talk Show. TBD music is by Kevin MacLeod (incompetech.com). Important Links: Steve Akley's New Book, Bourbon Assignments: https://amzn.to/2Y68Eoy ABV Network Shop: https://shop.abvnetwork.com/ YouTube: https://bit.ly/3kAJZQz Patreon: https://www.patreon.com/theabvnetwork Check us out at: abvnetwork.com. Join the revolution by adding #ABVNetworkCrew to your profile on social media.
Once upon a time Richard Paul Evan's daughter asked him if he had ever seen a millionaire. He responded with he saw one in the mirror everyday as he shaved. So what are the lessons we can learn from everyday millionaires? What do they do about clothes, cars, and houses? And are they often flamboyant or ostentatious? --- Support this podcast: https://anchor.fm/frugal2free/support
It might surprise you to learn that just about every production of a Shakespeare play that you've ever seen onstage has been cut, from student shows to Broadway revivals. Cutting Plays for Performance: A Practical and Accessible Guide, a new book by Aili Huber and Dr. Toby Malone, lays out some of the reasons that theater-makers cut Shakespeare's plays, and suggests some handy questions directors and dramaturgs should ask themselves as they take a pen to the plays. Barbara Bogaev interviews Huber about the argument that brought Huber and her co-author together, strategies for cutting plays, and how a good cut can reveal a new and exciting story. Aili Huber has been a theater director for over 20 years. She holds an MFA in directing from Mary Baldwin University and the American Shakespeare Center. Her new book, co-written with Dr. Toby Malone of SUNY-Oswego, is called Cutting Plays for Performance: A Practical and Accessible Guide. It was published by Routledge in December 2021. From the Shakespeare Unlimited podcast. Published January 18, 2022. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Your Way Is Shorter,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Mikael Glago at Midnight Spaghetti Productions in Harrisonburg, Virginia.
Bowl season may be over but we're covering the cab fare in these two installments of It Was a Thing on TV. First, remember when FOX started airing college football games and took both a pro approach (in its personnel in front of the camera) and an amateur approach (with every other aspect)? We do. We're near the end of the bowl season and look back at a tumultuous 4 years of BCS coverage on the network. Then, we've seen it before--a star almost immediately gets a new show after the end of a popular show. Shirley Hemphill of What's Happening! was in just this position after the end of that show. She rebounded with One in a Million with podcast favorites Richard Paul and Carl Ballantine for all of 13 episodes. Remember to follow us on our social media feeds @ItWasAThingOnTVPodcast on Facebook and @ItWasAThingOnTV on Instagram and Twitter. Timestamps 1:14 - The BCS on FOX 1:22:29 - The Jenny Position Commercial 1:23:34 - One in a Million
We've seen it before--a star almost immediately gets a new show after the end of a popular show. Shirley Hemphill of What's Happening! was in just this position after the end of that show. She rebounded with One in a Million with podcast favorites Richard Paul and Carl Ballantine for all of 13 episodes.
A banished queen receives word that her husband and three daughters are dead. Learwife, a new novel by J.R. Thorp, picks up where Shakespeare's King Lear leaves off: The queen is Berte, Lear's wife and Regan, Goneril, and Cordelia's mother, and she has been exiled in an abbey for the past fifteen years. Now, newly informed of her family members' deaths, she remembers her life with them and tries to plot her way forward. Thorp talks with Barbara Bogaev about her inspirations (including Eleanor of Aquitaine, The English Patient, and a stray line from an Agatha Christie novel), her new backstories for Lear's characters, and the roles of grief and nothingness in the book. J.R. Thorp is a librettist and writer working across a variety of forms, primarily with composers, choirs, orchestras, and musical organizations. Learwife is her first novel. It was published in the US by Pegasus Books in December 2021. From the Shakespeare Unlimited podcast. Published January 4, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “All Her Mother's Pains and Benefits,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a trascript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Duncan O'Cleirigh at Blackwater Studios in Cork, Ireland.
In today's episode: With new Farming Rules for Water having a major impact on slurry usage, we spread the word about the latest solutions required to store it, cover it, stir it, separate it, pump it or spread it. The NFU's Sam Bradley is with John Tydeman, of slurry handling equipment manufacturer Tramspread We welcome back two past contributors - Richard Wordsworth, Senior BPS Advisor with the NFU, who shines the spotlight on the BPS Retirement Lump Sum Scheme, and Richard Paul from ACT, with some wise words about maximising soil health. The deadline is fast approaching for grant applications under the Farming Investment Fund. WBW's Molly Dakin guides farmers through the application process. Plus, Craven Farm Vets are back with sound advice on liver fluke and lugworm, while we also introduce the new Mart Chaplain, who recently met his flock for the first time up at the mart. And, in the latest Trade Talk, Ted Ogden looks at both recent and upcoming trade. LINKS: https://www.ccmauctions.comhttps://www.nfuonline.comhttps://www.actwessex.co.ukhttps://www.transpread.comhttps://www.wbwsurveyors.co.ukhttp://cravenfarmvets.co.ukhttps://www.holytrinityskipton.org.uk The Farming Country Podcast. Episode presented by: Ted OgdenEdited by: Vernon HarwoodProduced by: CCM Auctions Contributors: Richard Wordsworth, Richard Paul, John Tydeman, Molly Dakin, Andy Barrett, Rev James Theodosius Enquires to Ted at thefarmingcountrypodcast@gmail.com STREAM ALL EPISODES NOW ON SELECTED SERVICES: · SPOTIFY - https://open.spotify.com/show/5aBdEBbqRUbq8JmjnbXTDs· APPLE - https://podcasts.apple.com/podcast/id1552436394· GOOGLE - https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNjE2NzczLnJzcw==· YOUTUBE - https://www.youtube.com/channel/UCskMRFEnJ0mXyaiDHUpgYzw
Dr. Lena Cowen Orlin's new book, The Private Life of Shakespeare, isn't exactly a biography. Rather, it's an exhaustive return to the primary sources that document Shakespeare's life, a book that scholar James Shapiro says “demolishes shoddy claims and biased inferences that have distorted our understanding of Shakespeare's life.” Orlin focuses on five much-talked-about elements of Shakespeare's life, and then lays out fact after fact after fact about them drawn from her assiduous research. We talk with her about a few of those elements, including Shakespeare's relationship with Anne Shakespeare, how he escaped an apprenticeship and career in Stratford-upon-Avon, and his funerary monument in Stratford's Holy Trinity Church. Orlin is interviewed by Barbara Bogaev. Dr. Lena Cowen Orlin is an Emerita Professor of English at Georgetown University. From 1982 to 1996, Orlin coordinated postdoctoral seminars and conferences as Executive Director of the Folger Institute. In 2011 and 2012, she researched at the Folger as one of our Andrew W. Mellon Foundation Fellows. Her new book, The Private Life of William Shakespeare, was published by Oxford University Press in November of 2021. From the Shakespeare Unlimited podcast. Published December 7, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I See a Man's Life,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Lauren Schild and John Rigatuso at Clean Cuts studios in Washington, DC.
Sir Antony Sher, one the greatest Shakespearean actors of the 20th and 21st centuries, died last week in Stratford Upon Avon. He was 72. In 2018, we were lucky enough to record an interview with Sir Antony and, to honor his life and work, we're bringing it to you again. What does it take to be a great Shakespearean? For Sher, the answer was preparation. On this podcast episode, Sher talks about his experiences with the Royal Shakespeare Company and his roles as Lear in 2016, Falstaff in 2014, and Richard III in 1984. In preparing for these roles, Sher kept meticulous diaries, which he later published as books. There was 'Year of the King' for Richard and 'Year of the Fat Knight' for Falstaff. Then, there was 'Year of the Mad King,' published by Nick Hern books in 2018, which chronicles his doubts, his fears, his marriage proposal, his illnesses, and all of the life and death that swirled around him as he prepared for the most grueling role Shakespeare ever wrote for an older actor: King Lear. Sher is interviewed by Barbara Bogaev. From the Shakespeare Unlimited podcast. © Folger Shakespeare Library. All rights reserved. This podcast episode, "Go Get It Ready," was originally published Published April 3, 2018, and was rebroadcast December 7, 2021. It was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster and Esther Ferington. Esther French and Ben Lauer are the web producers. We had help from Armani Ur-Rub and Philippa Harland at the Royal Shakespeare Company and Jon Barton at Nick Hern Books. We had technical help from Paul Luke at Voice Trax West in Studio City, California, and Dan Stirling and Cathy Devlin at The Sound Company in London.
Many of us have holiday traditions: we trim trees, spin dreidels, trick-or-treat, set off fireworks, and host parties. People had holiday traditions in Shakespeare's time too: they crossdressed, roleplayed, acted in amateur theatricals, fought, ate pancakes, and watched cockfights. If you're thinking some of those holiday traditions sound familiar from Shakespeare's plays… well, you're right. Dr. Erika T. Lin studies holidays in early modern England. Some of them, like Christmas and Easter, are still big dates on today's calendars, while others, like Martlemas, Shrovetide, Midsummer, or The May, are less familiar. Lin talks with Barbara Bogaev about how people celebrated and how they might have felt about Shakespeare's plays in a period when the line between holiday festivity and theater wasn't quite so clear. Dr. Erika T. Lin is an Associate Professor of Theatre and Performance at CUNY Graduate Center in New York. You can find her writing on Elizabethan festivals and holidays in a couple of places. Her article “Popular Festivity and the Early Modern Stage: The Case of George a Greene,” appeared in Theatre Journal in 2009. Her chapter entitled “Festivity” appeared in the 2013 book Early Modern Theatricality, edited by Henry S. Turner and published by Oxford University Press. From the Shakespeare Unlimited podcast. Published November 23, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Revels, Dances, Masques, and Merry Hours,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Josh Wilcox at Brooklyn Podcasting Studio.
Cynthia Santos DeCure and Micha Espinosa both grew up speaking English and Spanish, and they share memories of being made to feel like their voices, dialects, and identities weren't “good enough” for Shakespeare. Now, both DeCure and Espinosa are vocal coaches and actors. They share an example of how an actor might embody their text, praise on the late great Raul Julia, and explain how important it is for actors to bring their 'voces culturales' to Shakespeare's words. Cynthia Santos DeCure is an Assistant Professor of Acting at the Yale School of Drama. She was most recently the dialect coach for El Huracán at Yale Rep, and she was the on-set dialect coach for Orange is the New Black on Netflix. Micha Espinosa is a Professor in the School of Film, Dance, and Theatre at Arizona State University. Most recently, she was the Voice and Text Director for the Oregon Shakespeare Festival's world premiere production of La Comedia of Errors, a bilingual adaptation of Shakespeare's original play from the Play on! translation by Christina Anderson. DeCure and Espinosa wrote about vocal coaching in chapters in Shakespeare and Latinidad, a collection of essays in the field of Latinx theater, edited by Carla Della Gatta and Trevor Boffone and published by Edinburgh University Press in June 2021. From the Shakespeare Unlimited podcast. Published November 9, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Any Accent Breaking From Thy Tongue,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California, Josh Leal at Sun Studios of Arizona in Tempe, and Ryan McEvoy at the Yale University Broadcast Studio.
THE FARMING COUNTRY PODCASTBIO - EPISODE #13 POST-BREXIT BRIEFING, BPS PAYMENTS & THE ENERGY CRISIS In today's episode: The leading agricultural journalist and commentator Cedric Porter with his view on the world after Brexit. The roll-out of the latest BPS payments is now due, but farmers are rightly worried about planned cutbacks. The NFU is calling for the cuts to be put on hold. With some wise words is the NFU's Senior Advisor on Basic Payments, RichardWordsworth, talking to Skipton NFU's Sam Bradley. High prices and shortage of supply. How the Energy Crisis is affecting farms. We hear from Richard Paul from seed, feed and fertiliser farming supplies company ACT LINKS: • https://www.ccmauctions.com• https://www.brexitfoodandfarmimg.com• https://www.nfuonline.com• https://www.actwessex.co.uk The Farming Country Podcast.Episode presented by: Sam BradleyEdited by: Vernon HarwoodProduced by: CCM AuctionsContributors: Cedric Porter, Richard Wordsworth, Richard Paul Enquires to Ted at thefarmingcountrypodcast@gmail.com STREAM ALL EPISODES NOW ON SELECTED SERVICES: • SPOTIFY - https://open.spotify.com/show/5aBdEBbqRUbq8JmjnbXTDs• APPLE - https://podcasts.apple.com/podcast/id1552436394• GOOGLE - https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5idXp6c3Byb3V0LmNvbS8xNjE2NzczLnJzcw==• YOUTUBE - https://www.youtube.com/channel/UCskMRFEnJ0mXyaiDHUpgYzw
Close reading of Shakespeare is not a new concept. But this kind of close reading is more challenging—and it can help us interpret Shakespeare's words in new and profound ways. Our guests are two contributors to the new Cambridge Companion to Shakespeare and Race: Dr. Patricia Akhimie, who wrote a chapter on race in the comedies, and Dr. Carol Mejia LaPerle, who wrote a chapter on race in the tragedies. Together, they explore the ways that Shakespeare's language—think descriptors like “fair,” “sooty,” or “alabaster”—constructs and enshrines systems of race and racism. Akhmie and LaPerle are interviewed by Barbara Bogaev. Dr. Patricia Akhimie is an Associate Professor of English at Rutgers University in Newark, New Jersey. She is a 2021 - 22 Research Fellow at the Folger. Dr. Carol Mejia LaPerle is Professor and Honors Advisor for the Department of English at Wright State University in Dayton, Ohio. She has participated in numerous Folger Institute scholarly programs and was a speaker at the 2019 Race and Periodization Conference. The Cambridge Companion to Shakespeare and Race was published by Cambridge University Press and became available in the US in February 2021. From the Shakespeare Unlimited podcast. Published October 26, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “A Whole Theater of Others,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California.
Riyadh-based ACWA saw its shares jump by 30 percent on debut on the Saudi stocks exchange earlier this week. We speak to the CEO and President of Acwa Power, Paddy Padmanathan. Plus, we talk real estate with net migration rates in Dubai and Abu Dhabi projected to exceed 8% over the next five years. Richard Paul of Savills Middle East tells us more. And we were excited to have Manchester City's trophies live in our Expo 2020 Dubai studio - the Carabao Cup and English Premier League silverware - made possible by Etisalat. See omnystudio.com/listener for privacy information.
Theater artists José Cruz González and David Lozano join us in this episode. Their conversation “On Making Shakespeare Relevant to Latinx Communities” appears in the new book Shakespeare and Latinidad. González and Lozano talk with Barbara Bogaev about adapting and translating Shakespeare, performing and directing it in ways that make it relevant to Latinx audiences, and whether the Bard has a place at theater companies working to carve out a space for Latinx voices. José Cruz González received the NEA Directing Fellowship in 1985 and the 2010 Kennedy Center National Teaching Artist Grant. His plays include American Mariachi, Sunsets & Margaritas, and The Astronaut Farmworker. He's also a professor of Theatre Arts at Cal State Los Angeles. David Lozano is Executive Artistic Director of Cara Mía Theatre in Dallas. In 2014, he was recognized by The Dallas Observer as one of six “Masterminds of Arts & Culture.” He co-wrote and directed Deferred Action and Crystal City 1969, which was named the “Best New Play of 2009” by The Dallas Morning News. Their chapter on “On Making Shakespeare Relevant to Latinx Communities” appears in Shakespeare and Latinidad, a collection of essays in the field of Latinx theatre, edited by Carla Della Gatta and Trevor Boffone. Shakespeare and Latinidad was published by Edinburgh University Press in June 2021. From the Shakespeare Unlimited podcast. Published October 12, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “I Understand Thee and Can Speak Thy Tongue,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help on this episode from Andrew Feliciano & Evan Marquart at Voice Trax West in Studio City, California, and Todd Cotham and Aaron Carpenter at fifty50studios in Dallas.
Shakespeare wrote a lot about English kings and queens. Over the last three hundred years, a lot of English kings and queens have gotten really into Shakespeare. Our guest Gordon McMullen is the Principal Investigator of Making History: Shakespeare and the Royal Family, a new online exhibition that examines the long relationship between Shakespeare and the British royal family. That includes queens pretending to love Shakespeare as much as they thought Elizabeth I did, princes patterning themselves after Hal, and kings writing melancholy marginalia in copies of The Complete Works. McMullan is interviewed by Barbara Bogaev. Gordon McMullen is a Professor of English and Director of the London Shakespeare Centre at King's College. From the Shakespeare Unlimited podcast. Published September 28, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Say, What Art Thou That Talk'st of Kings and Queens?” was was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, all available at folger.edu. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California.
In Mike Lew's play "Teenage Dick," Richard, a high-school senior with cerebral palsy, is determined to become class president by any means necessary. Commissioned by theater artist Gregg Mozgala and The Apothetae, the company Mogzala started to explore the disabled experience, Lew's comedy drops Shakespeare's "Richard III" in a modern American high school. Barbara Bogaev interview Lew about about the play's origins, tropes around disability, and how his story reframes Richard's motivations. Teenage Dick will be onstage three times this fall and winter, in a production directed by Moritz Von Stuelpnagel: at Washington, DC's Woolly Mammoth Theatre Company September 22 – October 17, at Boston's Huntington Theater December 3 – January 9, and at California's Pasadena Playhouse February 1 – February 27. Mike Lew is a 2021 Guggenheim Fellow, The Mellon Foundation Playwright-in-Residence at Ma-Yi Theater in New York, and the former La Jolla Playhouse Artist-in-Residence. His plays include Tiger Style!, Bike America, microcrisis, and the book to the musical Bhangin' It. From the Shakespeare Unlimited podcast. Published September 14, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Plots Have I Laid, Inductions Dangerous,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Evan Marquart and Susan Palyo at VoiceTrax West in Studio City, California. Leonor Fernandez edits our transcripts.
In her new novel, "All's Well," author Mona Awad combines elements of Shakespeare's "All's Well That Ends Well" and "Macbeth" and the 1999 movie "Election" to tell the story of Miranda Fitch, a theater professor with a mutinous cast of actors and excruciating chronic pain. What do those plays have in common, and how did Awad weave them together to create her darkly funny new book? She is interviewed by Barbara Bogaev. Dr. Mona Awad is the author of three novels. "13 Ways Of Looking At A Fat Girl," published by Penguin in 2016, won the Amazon Best First Novel Award. Her 2019 novel, "Bunny," was a finalist for a GoodReads Choice Award for Best Horror. Her novel "All's Well" was published by Simon & Schuster and Penguin Canada in August 2021. Awad has taught creative writing at Brown University, the University of Denver, Framingham State University, Tufts and in the MFA program at University of Massachusetts, Amherst. From the Shakespeare Unlimited podcast. Published August 31, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Lord, How We Lose Our Pains!,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits a transcript of every episode, available at folger.edu. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax-West in Studio City, California.
Matsyanyaaya #1: What Does Pakistan’s Cadmean Victory in Afghanistan Mean for IndiaBig fish eating small fish = Foreign Policy in action— Pranay Kotasthane(This is a draft of my article which appeared first in Times of India’s Tuesday, August 23rd edition.)Taliban's takeover of Kabul is forcing India to reassess its aims and objectives concerning Afghanistan. Of primary interest is the impact of this development on Pakistan. On this question, two views have come to light over the last few days.The first view cautions against the increase in terrorism from Pakistan. The recommendation arising from this view is that India needs to coalesce anti-Pakistan factions in Afghanistan. The counter-view focuses on the inevitability of a split between the Taliban and Pakistan. The assumption being that once the Taliban assumes political control over Afghanistan, it is bound to take some stances that will go against the interests of its sponsor. The recommendation arising from this view is that India should sit back. It should let things unfold because Pakistan's victory is a Cadmean one — it comes with massive costs for Pakistan's economy, society, and politics.Which of these two divergent views is likely to play out? To understand what the Taliban's victory means for Pakistan — and hence India — it is useful to model Pakistan as two geopolitical entities, not one. The first entity is a seemingly normal Pakistani state, presumably concerned first and foremost with the peace and prosperity of its citizens. The second entity is what my colleague Nitin Pai has named the Pakistani military-jihadi complex (MJC). Comprising the military, militant, radical Islamist and political-economic nodes, the MJC pursues domestic and foreign policies to ensure its survival and dominance. For the MJC, positioning and defeating the existential enemy — India — is key to ensure its hold over the other Pakistan.Taliban's takeover of Afghanistan will be perceived differently by these two Pakistani entities. The non-MJC Pakistan would be worried about the Taliban's march to power. It would fear the spillover of terrorism inside its borders, orchestrated by groups such as the Tehrik-e-Taliban Pakistan. Politically, a powerful Taliban would pose the threat of breathing new life in the Durand Line question. On the economic front, the prospect of a dependent Taliban government further draining Pakistan's dwindling resources would be another cause of concern. In short, if this entity were in charge of Pakistan's foreign policy, it wouldn't have doggedly invested in the Taliban.That's quite clearly not the case. Taliban's takeover, on the other hand, is a strategic victory for the MJC. Over the last two decades, it has played a risky game sheltering and guiding the Taliban's actions while also supporting the US in its Afghanistan campaign. When things went wrong, the MJC was able to pass the blame to the other, weaker Pakistan. Recently, it played a role in steering the Afghan Taliban to sign the Doha agreement. It worked over the last two decades to reduce the Indian economic and political footprint in Afghanistan. Given the efforts it has put in, the MJC is sure to perceive the Taliban's comeback as an indisputable victory. This success would bolster the MJC's strategy of long-term commitment to terrorist groups. More importantly, it consolidates its relative dominance over the other Pakistan. How does this affect India?As the MJC's domestic position strengthens, its anti-India aims will grow stronger. There is a possibility of the MJC moving its terror outfits to Loya Paktika in eastern Afghanistan, a hotbed of anti-India activities in the past. This scenario would allow the MJC to use terrorism against India while claiming it has no control over these elements.Many commentators have argued that the world in 2021 will not let off perpetrators of terrorism easily. But they seem to forget that the return of the Taliban illustrates that the opposite is true. As long as terrorism is portrayed as an instrument of a domestic insurgency, the world will continue to look away. For instance, the Taliban continued terrorist attacks inside Afghanistan even as it was negotiating with the US at Doha. And yet, the US, UK, Russia, and China chose to bring the group back in power. Second, to see the MJC threat from the issue of terrorism alone is to miss the bigger picture. By demonstrating the success of its policies in Afghanistan, the MJC would be energised to use other methods of asymmetric warfare against India. More than the means, the Taliban's victory is the reaffirmation of its objectives. What should India do?First and foremost, India must prepare for a reduced economic and diplomatic footprint in Afghanistan. Given the positive role India has played there over the last two decades, a sunk cost fallacy might drive India to make overtures to the Taliban. Such a policy is unlikely to pay dividends. The MJC will ensure that India's presence is severely restricted. In Afghanistan, it would be better to wait for the tide to change. Second, India would need to raise its guard on the Pakistan border. With the perceived threat of Indian presence close to Balochistan going away, the MJC is likely to be more adventurous in using conventional and non-conventional warfare against India. Domestically, it means returning Jammu & Kashmir to near-normalcy becomes all the more urgent. More the discontent there, the easier it would be for the MJC to exploit the situation. Third, strengthen the partnership with the US. The MJC has always been dependent on external benefactors for its survival. While China is playing that role today, it alone is insufficient to bear the burden. The MJC will be desperate to get the US to finance its ambitions based on its credentials to influence outcomes in Afghanistan. Hence, it's vital that India's relationship with the US must remain stronger than the relationship that MJC has with the US. Finally, amidst the current focus on US failures in Afghanistan, it shouldn't be forgotten that both India and the US need each other to confront the bigger strategic challenge: China.Regardless of the turn that Taliban-Pakistan relations take, an ideological victory for the MJC is bound to have repercussions in India. India must prepare to face the renewed challenge. (This is a draft of my article which appeared first in Times of India’s Tuesday, August 23rd edition.)India Policy Watch: Our Past, Our FutureInsights on burning policy issues in India- RSJA topic we often like to explore here is the history of thought. We cover a fair amount of western philosophy and we have tried gamely to include Indic thought while writing about current issues. In fact, a recurring section on international relations in this newsletter is called ‘matsyanyaya’. I’m no expert but I suspect writing here has helped me with a point of view on the Indian state and its relation to the history of Indian thought. Broadly, I have made three points on this over multiple editions:A nation is an imagined community and any newly independent State had to work on constructing this imagination. This meant they had to make three moves. One, they had to have a modern conception of themselves which was distinct from their past. Two, to make this ‘modernity’ acceptable, they had to present this conception as a ‘reawakening’ of their community. This gave them a link to their past. This past was a living truth for the members of this community and it couldn’t simply be erased. Three, historians were then called in to rewrite the past which served this narrative. This is the classic Benedict Anderson recipe and India is a fine example of using it in 1947. (Edition # 62)The Indian state formed post-independence was based on a radical act of forgetting the past. The Indian constitution wasn’t merely a legal framework to run the state. It was also a tool for social revolution. Society wasn’t trusted to reform itself with the speed that was necessary for India to modernise. It had to be induced from the outside by the state. (Edition #28)The hope was the liberal state would change the society before it could catch up. This hasn’t turned out to be true. Now the society looks likely to change the state in its image. And what’s the society like today? Like Hazari Prasad Dwivedi, once put it: ‘jab dil bhara ho aur dimaag khali hai’. Its heart is full of emotional torment but its mind is devoid of imagination. The society has somewhat vague notions of its ancient glory and civilisational sense of superiority because of it. But it’s not sure of what to make of it in today’s world. (Edition # 118 and Edition #128)So, I was happy to pick up Pavan K. Varma’s new book The Great Hindu Civilisation: Achievement, Neglect, Bias and the Way Forwardwhich as the name suggests covers these grounds. Varma is a former civil servant and a prolific writer whose works I have found tremendously engaging. Over the years he has written on a wide range of subjects - the great Indian epics, Ghalib and Gulzar, the Indian middle class, Kamasutra, Krishna and Draupadi. His last book was a well-researched biography of Adi Shankaracharya that also doubled up as a short introduction to various schools of Hindu philosophy with a special emphasis on Vedanta. Suppressing A Great CivilisationIn The Great Hindu Civilisation (‘TGHC’), Varma makes three arguments based on his deep understanding of ancient Indian texts and his scholarship on Indian history:Argument 1: India is a civilisational state. The achievements of ancient India in philosophy, metaphysics, arts, statecraft and science are unparalleled. These have been lost to us. We must reclaim their wisdom and apply it to our lives. Varma writes:Above all, it is my premise that this Hindu civilisation has few parallels in terms of the cerebral energy invested in it…. It was sustained by the unrelenting application of mind, in every field—metaphysics, philosophy, art, creativity, polity, society, science and economics. Nothing in it was random or happenstance. … When people are ruptured from their heritage, they are essentially rootless, not always lacking proficiency in their specific area of work, but essentially deracinated, mimic people, inured to another’s culture more than their own. Hindu civilisation was based on moulik soch or original thought, where each aspect of creativity was studied, examined, interrogated, discussed and experimented upon in the search for excellence. But when this great legacy was summarily devalued and looked upon as a liability to modernity, it left an entire people adrift from their cultural moorings, lacking authenticity and becoming a derivative people.Argument 2: Marxist historians, western Hinduphobic intellectuals, deracinated Indians and a self-serving Indian elite have long played a charade that there’s hardly anything real as a Hindu civilisation. This has given us a distorted picture of our past, about the impact of Islamic invaders and British colonialism on our culture and has prevented any honest inquiry into the real achievements of our civilisation. A false fear of Hindu aggrandisement is repeatedly stoked up at any such pursuit. The usual cast of deracinated suspects is named - Macaulay, Raja Ram Mohan Roy, Amartya Sen, Romila Thapar, Irfan Habib, Wendy Doniger and, of course, Nehru. Though Varma cushions the jabs on Nehru a bit by blaming it on his associates or his naiveté. As he argues:Marxist historians devalue the civilisational tag of ancient India by analysing it exclusively in class and economic terms. Certainly, this is also one way of studying the past, but the problem is twofold. Firstly, this approach excludes all other dimensions, and insists that this is the only way to evaluate history. Secondly, the tools used are highly derivative, an almost complete transplant of Marx’s outdated, uninformed and stereotypical analytical framework in the Indian context.There is, of course, a basic irony in Hinduism’s derogation by some ‘liberals’. One would have thought that liberal opinion would be appreciative of a religion that relies less on dogma and more on debate. It would make a virtue of the fact that Hinduism enables diversity to thrive when many other faiths are prescriptive and rely on diktat. However, instead of lauding this eclecticism, they conclude that Hinduism is only about diversity ad infinitum. Argument 3: Since the Hindu society has been systematically denied its real history, reactionary and lumpen elements have appropriated the task of peddling their version of history. This is the price to pay for distorting history instead of facing up to the truth. If we have to counter the thugs who have political and state patronage today, we have to make the ordinary Indians truly aware of their real Hindu heritage. This knowledge of the liberal, encompassing nature of Hindu philosophy is the best antidote to any fundamentalist ideology. He writes:The prescriptive element that the new, so-called evangelists of Hinduism are bringing in is anathema for most Hindus. Hinduism has always been a way of life. Hindus don’t like to be told what to do and what not to do, what to eat and what to drink, what to wear and how to behave, what to watch and what to read, who to meet and who not to, how to practise their religion and how to be good Hindus.The real danger is that we are witnessing the emergence of a lumpen leadership that believes that it has a monopoly to interpret Hinduism and Hindu civilisation. Since time immemorial, Hindus have faced many travails and setbacks but have survived them by drawing upon the great strengths of their culture: tradition and faith. Even in the greatest adversity, Hinduism have never allowed its core cerebration and idealism to be compromised. So What?My reaction while reading the book ranged from vigorous nods of approval to what is colloquially referred to as ‘abey yaar’. I will elaborate further here.Firstly, I agree with Varma about India being a civilisational state and Hinduism or sanatanadharma being a common cultural thread that runs through the length and breadth of this land. This is a lived experience for all of us and Varma quotes many examples of common rituals and practices that have been around for centuries to back this assertion. Denying this is an exercise in futility and serves no useful purpose except alienating a large section of Indians. Secondly, I’m happy to concede Varma’s contention that ancient Hindu civilisation was the pinnacle of human achievement during its time. “There was a holistic interconnectedness that informed it, and this unified vision permeated all aspects of its highly complex intellectual construct.” Fair enough. A bit over the top but that’s fine. My question is what do we do with such an ancient but highly complex intellectual construct now? Almost every text Varma refers to was written hundreds of years before CE. Many of these are metatexts unmoored from their context or what formed the basis for such scholarship. One could read the hymns of Rig Veda on the conception of the universe today but what does that do to our understanding of science. To merely say it is similar to what quantum physics postulates today has limited meaning. It is the equivalent of saying Da Vinci designed all sorts of futuristic machines so let’s study him for scientific insights today. Even Arthashastra can be read to appreciate the philosophy of statecraft and economics of ancient India but beyond a concept or two that might be relevant today, what purpose will it serve? The problem here is there has been no reinterpretation or updates on these texts over two thousand years. I come from a town that houses one of the four mathas (seats) of Shankaracharya. I always wondered what stopped the scholars of the matha to do more to make their knowledge accessible. Resources? Scholarship? Interest? My personal experience suggests even they do not know what to do with this knowledge in the modern world. To draw a parallel, the reason a few texts of Greek philosophers are still taught selectively in western universities is because many philosophers of the renaissance and enlightenment used them to build further on their thoughts on ethics, politics and the state . Nobody reads their views on science, for instance, anymore. That’s because later philosophers falsified it. Similarly, there’s an unbroken chain of thinking from Adam Smith to a Piketty or a Sowell (choose your poison) today. So, it makes sense to selectively read Smith to get a basic understanding of how economic thought has evolved and then apply it further today. This is missing with the great ancient texts that hold Varma in raptures. How will reading texts of Aryabhatta and Bhaskara help mathematics students of today? Knowing about them could be useful to impress others about our great mathematical tradition but what beyond that? Will our rank on PISA change because of it? I suspect not. I will be keen to hear from readers on this.Varma also goes overboard at places and loses objectivity. Natya Shastra was probably a great achievement as a treatise on arts and theatre. But to imagine that western thought on aesthetics began from a series of articles on ‘The Pleasures of the Imagination’, a 1712 piece by Joseph Addison in the Spectator, as he writes, is to ignore the entire history of ancient Greek playwrights or even Shakespeare whose plays were running in London almost a hundred years before Addison’s articles. Here Varma possibly betrays the same flaws he accuses the likes of Doniger or Romila Thapar through the book. Anyway, I find no convincing answer from Varma on how a deeper understanding of these texts will help us today. Some kind of pride and a sense of identity is alluded to as the benefits through the book but I failed to appreciate its material manifestation.Thirdly, Varma talks about caste and patriarchy in Hindu civilisation but almost in passing. There are possibly 15 pages (if that) on this topic across the book. Even in them, Varma talks about the usual tropes first. That the original Hindu texts were suffused with liberal doctrine, how Shankara came across a Chandala in Kashi and placed him at par with the Brahmin or the usual list of women of ancient India - Gargi, Maitreyi or even the fictional Draupadi - to suggest how open Hinduism in its original version was. Only after this does Varma go on for a few pages on how things went bad over time. Finally, he writes:However, in spite of such high-minded protestations, there is no denying that the working of caste in actual social practice was a pervasive evil. It was—and is—an indelible blot on the civilisational legacy of India; it kept large parts of the populace institutionally cut-off from the many achievements of Hindu India, and also unleashed inhuman suffering for no other reason than the accident of birth.Yet, in spite of such unforgiveable failings, the overall achievements of this period of our history are truly remarkable, and are crying out for a much delayed recognition. What we need to realise is that across the length and breadth of Bharatvarsha, there evolved, over millennia, a civilisation that showed a profound application of mind to every aspect of organised as well as abstract human behaviour. It demonstrated the capacity of great and courageous divergent thinking, refusing to restrict itself to simplistic certitudes, and a willingness to wade deep into concepts and constructs that challenged conventional thought. Varma thinks of caste as an unforgivable failing. Is it a mere failing? Or, is it, as it has been often argued, the inevitable outcome of our civilisational construct? Who can tell? If after all these centuries, the one pervasive cultural reality that has prevailed in our society is caste, how should we think about it? The same argument holds for patriarchy and the place of women in our society. The reclaiming of the wisdom of the texts that Varma advocates - can it be done without facing up to the ‘material’ reality of caste and patriarchy that will accompany it? At abstract, Varma may be right. But the act of reclaiming won’t restrict itself to the realm of the abstract. I will come back to this at the end of the piece. Fourthly, is Varma the first scholar to question the version of our history that has been fed to us by the colonialist academia? Is he the first to lament the state of the culturally unmoored Indian elite and educated class who need to be brought home to the glory of our ancient civilisation? If not, what happened to previous such attempts? This is an area that has held my interest for a few years. And I’d like to highlight two 20th century intellectuals who spent their lifetime studying ancient Indian texts, translating them and looking to find their relevance in the modern context - Shri Aurobindo and Hazari Prasad Dwivedi. These are no ordinary names. They were first-rate intellectuals with rare felicity in both western and eastern philosophies. Varma quotes Aurobindo a few times in the book. So, what did they conclude? I’m going to stick my neck out and make some broad generalisation here. Aurobindo started this pursuit with an aim to find the modern relevance of our ancient texts and to spread it far and wide. What did he end up with? A very personal journey into the self that was mystical and detached from the material. Anything else couldn’t be transferred. That’s what he concluded. Dwivedi translated some of the great works of our past and wrote on our literary history in Hindi. But, in the end, he had to contend with the reality of the present. If we were such a great civilisation, why is our present the way it is? And he wasn’t content blaming the colonial rule or our lack of appreciation of our past. There was something else that was missing. Now you could persuade me to believe it was the ‘foreign’ invaders for over thousand years that’s responsible for our present. Maybe it is true. But that rupture is a reality and that discontinuity is so large that any attempt to bridge it through a modern reinterpretation of ancient texts can only be an academic ‘feel good’ exercise. Not a way forward to the future. Separately, it is worth pointing out here another area where I think Varma had a weak argument. How did Hinduism survive the Islamic or Turkish onslaught and the Mughal hegemony while other countries like Indonesia or Malaysia turned Muslim under the sword. This is a question that’s often asked in many debates of this kind. Varma’s answer is below:The Bhakti movement was Hinduism’s response to the violent and proselytising Islamic invasion. In this sense, it was as much about renewal as it was about self-preservation. If Hinduism had not shown the suppleness and energy to reinvent itself, and had remained brittle and fossilised as in earlier structures without the mass support enabled by the Bhakti movement, it may have suffered the same fate that befell it (and Buddhism) in Indonesia with the advent of Islam. There are two problems with this thesis. One, the Bhakti movement in many areas of India predate the Islamic conquest of those areas. Between the 10th-12th centuries, large parts of West, South and East India where the Bhakti movement gained strength were still under Hindu (or Jain) kings. Two, what do a cursory look at the Bhakti movement and its output reveal? Women and those from the bottom of the social pyramid often led the way. Their songs spoke of their desire to be one with God without an intermediary in between. Those who opposed them were mostly upper-caste Hindu men. The Bhakti movement was indeed a rupture in Indian cultural history. But, to me, it appears it was more an internal response of the most exploited section of Hinduism to its entrenched caste establishment. Not to Islam. Fifthly, Varma is sincere in his defence of real Hinduism against what he calls the “illiterate bigotry of the self-anointed new ‘protectors’ of Hinduism.” He writes:Knowledge is a great enabler. Anyone who has studied Hinduism, or acquired even a basic familiarity about its lofty eclecticism and deep cerebration, would laugh out of the room those who seek to conflate this great faith only with violence and exclusion. Varma almost thinks the ‘lumpenisation’ of Hinduism (as he calls it) is a phenomenon in the abstract that has arisen because people don’t know real Hinduism. It might be true but empirical evidence goes against it. Any ‘nationalist’ exercise of reclaiming the past after the advent of modern nation-states runs the risk of ‘instrumentalising’ this past for political gains in the present. This holds true everywhere - in pre-WW2 Germany or Japan, in current-day Turkey and in communist China. For instance, there’s nothing that the Party in China learns from Confucius or some ancient Han dynasty view of the Middle Kingdom that it sincerely wants to apply today. It is a mere ‘instrument’ to homogenise its people, perpetuate the party supremacy or use it for diplomatic parleys with other nations. Varma believes one can ‘thread the needle’ by taking the great and the good from the past while avoiding the instrumental use of it which manifests in form of bigotry and minority persecution. But it is a difficult task. So here’s the thing. How should I think of Nehru, Ambedkar and other ‘liberals’? Those who decided to use the Constitution to rid India of the ‘deadwood of the past’. One way to think of them is as intellectuals who appreciated the glory of our ancient past but realised any kind of reclaiming of that past in the modern conception of the state will bring along with it all the baggage and the ‘deadwood’. They feared the good of that past will be buried soon under the ‘unforgivable failings’ that accompany it. So, they let it be. And decided to begin afresh. Varma is in a different reality today. He sees the hijacking of Hinduism, as he would put it, in front of his eyes. The ‘instrumental’ use of religion for narrow purposes by those who don’t understand it at all. Yet, he hopes it is possible to thread the needle between the good and the bad of the past. The likes of Nehru feared this would happen and tried to avoid it. Varma finds it around him and yet wants to go down that path. Maybe because he’s a good man and an optimist. Having read him over the years, I’d like to believe so. A Framework a Week: How to Analyse an AnalysisTools for thinking public policy— Pranay KotasthaneIf I were given the power to change one subject in school syllabi, I would introduce analytical thinking. In the Information Age, we are exposed to several opinions on any given topic. Impactful analogies and powerful metaphors can change our thinking about a topic. Sometimes, our views end up being a regurgitation of the last good opinion piece we’ve come across. Hence, wouldn’t it be great if we have a framework to analyse opinions, whether in the form of papers, articles, or books? That’s where Analytical Thinking comes in. To systematically think about how we think can help us deeply reflect on an opinion instead of being swayed by the fast brain into outrage or vehement agreement. Last week, I revisited this eightfold path for analysing the logic of a book/article/paper in the book The Thinker's Guide to Analytic Thinking by Linda Elder and Richard Paul. The framework forces us to reflect on eight dimensions:The main purpose of this article is ____. (Here you are trying to state, as accurately as possible, the author’s intent in writing the article. What was the author trying to accomplish?)The key question that the author is addressing is ____. (Your goal is to figure out the key question that was in the mind of the author when he/she wrote the article. What was the key question addressed in the article?)The most important information in this article is ____. (You want to identify the key information the author used, or presupposed, in the article to support his/her main arguments. Here you are looking for facts, experiences, and/or data the author is using to support his/her conclusions.)The main inferences in this article are ___ (You want to identify the most important conclusions the author comes to and presents in the article).The key concept(s) we need to understand in this article is (are) __. By these concepts the author means __. (To identify these ideas, ask yourself: What are the most important ideas that you would have to know to understand the author’s line of reasoning? Then briefly elaborate what the author means by these ideas.)The main assumption(s) underlying the author’s thinking is (are) _ (Ask yourself: What is the author taking for granted that might be questioned? The assumptions are generalizations that the author does not think he/she has to defend in the context of writing the article, and they are usually unstated. This is where the author’s thinking logically begins.)If we accept this line of reasoning (completely or partially), the implications are ___. (What consequences are likely to follow if people take the author’s line of reasoning seriously? Here you are to pursue the logical implications of the author’s position. You should include implications that the author states, and also those that the author does not state.) If we fail to accept this line of reasoning, the implications are __. (What consequences are likely to follow if people ignore the author’s reasoning?)The main point(s) of view presented in this article is (are) _. (The main question you are trying to answer here is: What is the author looking at, and how is he/she seeing it? For example, in this mini-guide we are looking at “analysis” and seeing it “as requiring one to understand” and routinely apply the elements of reasoning when thinking through problems, issues, subjects, etc.).[Elder, Linda; Paul, Richard. The Thinker's Guide to Analytic Thinking (Kindle Locations 353-365). Foundation for Critical Thinking. Kindle Edition]The framework is intense but is super helpful in analysing topics you want to master. It shares similarities with the Indian debating tradition called the purva paksha — representing your opponent’s view faithfully before criticising it. Matsyanyaaya #2: US Credibility and India’s OptionsBig fish eating small fish = Foreign Policy in action— Pranay KotasthaneThe humanitarian crisis triggered by a botched US withdrawal has sparked an old debate on reliability in international relations. In several countries which count themselves as US partners, the question being posed is: will the US prove to be a fickle partner, like it did in Afghanistan?For a long time, I have wondered if using terms such as reliability or reputation is a case of category error. Trust, reliability, all-weather friendship apply to human relationships. Transplanting these ideas to an amoral domain such as international relations does not make sense, is what I believed. The current debate surrounding US credibility helped me update my priors. First up, if you want to read the literature on reliability and reputation in international relations, Paul Poast has a typically useful Twitter thread compiling important works on this topic. Out of these articles, Don Casler’s post stands out in its clarity. He writes in Duck of Minerva:“One major issue in discourse about credibility is that policy and media elites often conflate a group of interrelated but distinct concepts: credibility, reputation, and resolve.Credibility is the perceived likelihood that an actor will follow through on her threats or promises. Reputation is a belief about an actor’s persistent characteristics or tendencies based on her past behavior. Resolve is the willingness to stand firm and pay costs in the face of pressure to back down.In theory, an actor’s reputation for resolve — along with her capabilities and interests — contributes to her credibility by shaping observers’ estimates whether she is likely to follow through on her commitments.However, reputation and credibility are ultimately beliefs held by others. If we want to predict how foreign governments will react to U.S. foreign policy decisions, then we need to understand their theories about how the world works.” The last line is important from the Indian perspective. The sense of being wronged by the west is a continuing strand in India’s conception of the world. Specifically, the US’ anti-India stance in the 1971 war continues to cast a long shadow over India-US relations. The cohort that already holds these views will use the US withdrawal to reaffirm its scepticism.Even so, I would argue that this perceived lack of US credibility is not the most important determinant of India-US relations for three reasons:One, the younger cohort of millennials and post-millennials perceive the US differently. Their imagination about the US is shaped by the India-US civil nuclear deal, a decline in US-Pakistan bonhomie, and perhaps most importantly, the deep connections between the markets and societies in the two countries. Two, a common strategic adversary — China — reduces the salience of the reputation question. In an amoral setting, interests trump reputational concerns. When facing a powerful common adversary, you don’t get to pick or change your partners. Seen this way, China’s aggressive and arrogant approach further cements the India-US relationship. Perhaps, this would be a good time for the Quad to make a few major announcements on trade and technology to douse the reputation question. Three, the US backing of the Pakistani military-jihadi complex is less of a problem than it was a decade ago. The US administration’s statements on Kashmir and Balakot airstrikes are vastly different from what the older cohort of policymakers in India is used to. The US would do well to continue this strategy instead of empowering the military-jihadi complex with the false hope that it would make the Taliban behave. So, what do you think? In a world with just two options, should India choose a less reliable, more powerful partner or a more reliable, less powerful partner? HomeWorkReading and listening recommendations on public policy matters[Video] Pavan K. Varma talks about his book The Great Hindu Civilisation at HLF with Advaita Kala. I might have been a tad unfair about some arguments of Varma. So, it is best to read the book or listen to him directly.[Podcast] Ghazala Wahab was on Puliyabaazi discussing Indian Islam and its variants. In times when Hindu-Muslim bayaanbaazi is far more prevalent, we believe conversations such as these can help dismantle false notions the two communities hold. [Survey] Takshashila has put out India’s Global Outlook Survey. The survey is an effort to bridge the knowledge gap around how Indian policymakers, the strategic affairs community and ordinary citizens view India’s role in the world. Do take the survey. Get on the email list at publicpolicy.substack.com
In Shakespeare's time, people talked about going to hear a play and going to see one in equal measure. So, what exactly do we hear when we hear one of Shakespeare's plays? What information do we gather from its words, music, or sound effects? What if it has been adapted, updated, or translated? We ask Dr. Carla Della Gatta of Florida State University, co-editor of the new book "Shakespeare and Latinidad." Her study of Spanish-language or bilingual Shakespeare productions has led her to think a lot about the act of listening to a play. She talks to Barbara Bogaev about the ways a production of Shakespeare can challenge us to hear in new ways. Dr. Carla Della Gatta is an assistant professor of English at Florida State University. She is the author of "Latinx Shakespeares: Staging U.S. Intracultural Theater," which will be published in 2022, and co-editor of "Shakespeare and Latinidad," released by Edinburgh University Press in June 2021. She is a past recipient of a Folger fellowship. From the Shakespeare Unlimited podcast. Published July 20, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “You Have Heard Much,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Paul Luke at Voice Trax West in Studio City, California. Leonor Fernandez edits a transcript of every Shakespeare Unlimited episode, available at folger.edu.
The next time someone complains about a director changing or tampering with Shakespeare… we've got an answer for them. The first generation of theater artists after Shakespeare weren't particularly concerned about performing Shakespeare's plays the way they appear in the First Folio. After the English Civil War, the Puritan-led government outlawed theater for eighteen years. When Charles II ascended to the throne, in the period we now call the Restoration, theater came back to life. With no new plays, producers like William Davenant and Thomas Killigrew turned to Shakespeare… but they made some pretty big changes to keep up with the times. Restoration-era Shakespeare featured new characters, changed scripts, and grand musical interludes inspired by court masques. Dr. Richard Schoch of Queen's University Belfast lay out this history in his new book, "A Short History of Shakespeare in Performance." We spoke with Schoch about the theater in the Restoration and what we can learn from them after our own year without live theater. Schoch is interviewed by Barbara Bogaev. Richard Schoch is a professor in the School of Arts, English and Languages at Queen's University Belfast. “A Short History of Shakespeare in Performance: From the Restoration to the Twenty-First Century” was published by Cambridge University Press in 2021. From the Shakespeare Unlimited podcast. Published July 6, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Change It, Change It,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. We had technical help from Andrew Feliciano and Evan Marquart at Voice Trax West in Studio City, California, and Gareth Wood at The Sound Company in London. Leonor Fernandez edits a transcript of every episode, available at folger.edu.
In her play "Where We Belong," Mohegan director playwright, and performer Madeline Sayet recalls her 2015 journey to the UK to pursue the PhD in Shakespeare that she never ended up getting. The play, now available in a world premiere film adaptation produced by Woolly Mammoth Theater Company and the Folger, explains why she left the degree behind and explores what it means to belong in a complicated world. We talk to Sayet about growing up Mohegan in Connecticut and her evolving relationship with the Shakespeare today. Stream "Where We Belong," produced in association with Woolly Mammoth Theatre Company, on-demand through July 11. Madeline Sayet is a Mohegan theater-maker. She serves as the Executive Director of the Yale Indigenous Performing Arts Program (YIPAP) and Co-Artistic Director of Red Eagle Soaring: Native Youth Theatre. In addition to "Where We Belong," her plays include "Up and Down the River," "Antigone Or And Still She Must Rise Up," and "Daughters of Leda." This fall, she joins the faculty in the English Department at Arizona State University with the Arizona Center for Medieval and Renaissance Studies. From the Shakespeare Unlimited podcast. Published June 22, 2021. © Folger Shakespeare Library. All rights reserved. This podcast episode, “Farewell, Master, Farewell, Farewell,” was produced by Richard Paul. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leonor Fernandez edits our transcripts. We had technical help from Andrew Feliciano at Voice Trax West in Studio City, California.
In this episode, DJ Shanti Anne interviews Richard Paul Thomas, we play a number of awesome RPT songs, and host Sara Seven highlights everything cool and weird about Salado, Texas, a hub of the Central Texas music scene.
Richard and Paul chatting about anything they want!This week we're touching on our favourite childhood movies that we watch when we feel in need of comfort, astrology, fracking and just the usual chit chat from a couple of old queens! See acast.com/privacy for privacy and opt-out information.
The Blaze with Lizzie and Kat! The Original Beverly Hills 90210 Podcast
Multitalented actor Paul Gosselin (a.k.a. CosmoPAULitan) joins The Blaze with Lizzie and Kat! this week to discuss the episode B.Y.O.B. We go deep into the IMDb bio of actor Richard Paul, learn about the etymology of soap operas, and discuss Brandon's troubles with drinking and driving while his parents get propositioned by another couple. Subscribe to Paul's YouTube channel to watch every episode of his new web series Misguided as well as Getting Buzzed with Cosmo! What we were drinking: cosmopolitans, of course!What we were eating: pepperoni & mushroom pizza
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