Podcast appearances and mentions of Titus Andronicus

I have an uncle who used to sing the craziest (and often off-color songs). He was a WWII vet and looked like the Canadian actor Lorne Greene. He would rip out the kinds of songs that sailors sang and I would rush to write down the lyrics so I could learn them. And learn them I did. The hard way. It was irritating and frustrating. Even though they say the hand builds the mind and it wasn’t the end of the world that I spent so much time writing them down and rewriting them, I was still relying on rote learning. If only I knew then what I know today about memory techniques! You see, I now memorize and regularly demonstrate poems I’ve committed to memory almost every month during my live memory training bootcamps. I’ve memorized everything from ancient Sanskrit poems to some of the most inventive contemporary poetry. And today I’m going to share a few case studies and key tips I know you’re going to love. How to Memorize Poetry Fast The fastest way I know to memorize poetry involves a combination of ancient memory techniques. These are: The Memory Palace Technique Alphabetical association Numerical association (where relevant) Spaced repetition based on solid active recall principles Now, I know that weaving together so many memory techniques to memorize poetry or even song lyrics, sounds like a lot. But if you want to memorize poems fast, stick with me. Bringing all of these strategies together is much easier than it might seem at first glance. But first, let me demonstrate that I can actually memorize poetry. I believe proof is important because there are a lot of people out there who talk about skills they cannot do. In the case of mnemonics, there are even entire forums filled with people giving advice about memory techniques when they clearly haven’t lifted a finger to memorize a poem. That, or they’ve used rote memorization and are only pretending they used mnemonics. So with those issues in mind, here are a few examples. Please be sure to watch each example because I will refer back to these recitations to help you rapidly memorize poems of your own. Example One: A Univocalic Poem In this video, you’ll see me at the Memory Palace Bookshop I’m developing practicing the recitation of a univocalic poem by Christian Bök: https://youtube.com/shorts/b6oFIOnAwng?feature=share That’s from a fantastic book of poetry called Eunoia. Example Two: Shakespeare This video not only shows me reciting lines from Titus Andronicus. It includes a very important teaching point. That’s because I also demonstrate reciting the lines forward and backward to help teach you how to more easily commit even the most difficult poem to memory using a process I call Recall Rehearsal: https://youtu.be/nhjIkGu32CA?si=s6gIJz6Poq9Zpo6C&t=1380 Now, I regularly memorize Shakespeare. But in the case of the example shared in the video above, I had a special purpose in mind. I was doing it to reproduce the memory technique Anthony Hopkins describes in his autobiography. Here’s the full case study. Example Three: Song Lyrics In this video, you’ll see and hear me singing a famous song called The Moon Represents My Heart in Chinese: https://youtu.be/dCyPV6qfKkI The entire song took just over forty minutes to commit to long-term memory. Even though it’s been a few years since I sang the whole song, I still remember most of the lyrics to this day. Every once and awhile, I whip it out and it always brings a smile to my wife’s face. The reason this Chinese poem set to music took a bit longer to memorize other poems I’ve memorized is because it’s in a foreign language that I was only just beginning to study at the time. Example Four: Poetry Quoted in a Speech When I wrote my TEDx Talk, I incorporated lines from a Sanskrit piece called the Ribhu Gita. This was an interesting challenge because it called me to recall the speech and the poetry that had already been memorized. https://www.youtube.com/watch?v=kvtYjdriSpM This particular performance was a lot of fun, but also challenging due to the combination of a live audience, cameras and the fact that the world was starting to go into lockdown at the beginning of Covid. I had a lot on my mind, but thanks to the memory techniques you’re about to discover, I still think the talk came off fairly well. It’s been seen over four million times now, so I must have done something right. Example Five: Real-Time Poetry Memorization If you want to see me memorize in real time, check out this discussion with Guru Viking. Steve, the host, throws Shakespeare at me and I memorize a few lines and discuss how I did it in real time: https://www.youtube.com/watch?v=J62IN_ngYH0 Now let’s get into the steps, many of which come directly from my premium course on memorizing poetry. Step one: Use the Memory Palace Technique A Memory Palace is essential for memorizing poetry, or anything verbatim. What is this technique? A Memory Palace is a mental recreation of a familiar location. For example, in the first video example above from the poem Eunoia, I used my mom’s home from where she lived years ago. I moved from the master bedroom to the kitchen and living room, to a few other bedrooms and finally out the door and down the driveway in front of the house. How to Memorize a Poem in an Hour (or Less) Using This Technique Using the method of loci, you place mnemonic images along a mental journey. As I just mentioned, I started in one room, then moved to the kitchen, the living room, and so forth. On each corner and wall, I placed an association. For example, for the line, “Awkward grammar appals a craftsman,” I placed an image of Apollinaire in a state of awe changing into being appalled. Now, what exactly it means to “place” an association along a journey in an imaginary version of a building can feel a bit abstract in the beginning. But basically, you’re taking a corner, a wall or a piece of furniture and elaborating it with strange, exaggerated ideas and feelings that remind you of each word of the poem or song lyric. You can do it in any language and if you look at the Guru Viking video above, you’ll see me demonstrate exactly how and why it works in any language. In that particular example, I use the wall behind me for Shakespeare in the same way I memorize Sanskrit phrases when memorizing ancient mantras. To Speed Up The Process When You’re Just Starting Out, Do This Learning to use the Memory Palace technique can feel challenging in the beginning. To reduce the cognitive load, I suggest making a quick sketch of a familiar location that you will turn into a Memory Palace. You don’t have to be artistic. I don’t try to make fine art of it at all. To wit, here’s a quick sketch of a bookstore in the Zamalek area of Cairo I have used many times to memorize poetry and other types of information: A Memory Palace drawn on an index card to maximize its value as a mnemonic device. This one is based on a bookstore in Zamalek, a part of Cairo. The reason for drawing out the journey is to get it clear in your mind. That way, you can spend more time on the next step. But failing to simply draw a Memory Palace in advance can lead to a lot of unnecessary frustration. That’s because you will ultimately wind up trying to encode the poem while developing the Memory Palace at the same time. To memorize any poem as quickly as possible, you need to separate the two activities. Step Two: Lay Down Your Associations One Word At A Time (Most Of The Time) Shakespeare opens King Henry the Fifth like this: O for a Muse of fire, that would ascend The brightest heaven of invention, A kingdom for a stage, princes to act And monarchs to behold our swelling scene! When I memorized these lines, I started at station one with an image of the constellation Orion over the Statue of Liberty. Using the pegword method, I associated Orion with O. Then, using the general concept of a woman that inspires people, I placed the Statue of Liberty in the Memory Palace. In this case, the Memory Palace was a workplace where I was writing curriculum in Vancouver, B.C., Canada. You might choose a completely different image for the words “muse of fire.” But the technical point is that you want to find a direct sound and spelling correspondence that is: Based on ideas and images already in your memory Makes sense to you Making sure that the associations you choose are personal is part of what scientists call active recall. For me personally, Lady Liberty is an especially apt choice not only because she represents inspiration, as the muses. She’s also holding a torch, which helps me encode the word “fire.” But I also lived in both Manhattan and Brooklyn for awhile and often crossed the Manhattan Bridge. This makes the memory of the Statue of Liberty even stronger for me, and another reason why you need to think about the images that make most sense for you. How to Associate “Little Words” for Rapid Memorization What about a word like “that”? Tricky and abstract, right? Not really. You just need to pick an association that makes sense to you while sounding or seeming as close as possible to the target information as you can get it. In the case of the Henry the Fifth line, I just took “th” and linked it with Thor and then used rhyming to have him put on a hat in a dramatic way. Thor + hat = that. When it comes to the Bök poem, there’s a part of the sequence (full poem here) where I used Thor with his hat again: Awkward grammar appals a craftsman. A Dada bard as daft as Tzara damns stagnant art and scrawls an alpha (a slapdash arc and a backward zag) that mars all stanzas and jams all ballads (what a scandal). For a small word like “all,” I used the Punk Rock band All, but only in part. Drawing upon the mnemonic teaching of people like Peter of Ravenna, Jacobus Publicius and Giordano Bruno, I used the principle of reduction. Rather than imagine the entire band, or even an entire mascot, I just imagined the eyes of the mascot. To memorize at speed, I suggest you practice this principle of reduction. Also develop what I call the Magnetic SRS in my full poetry course in the Magnetic Memory Method Masterclass. By taking an hour or so to assign association to all the pronouns and other “operator” words like “that,” you won’t have to stop and come up with associations ever again. The Magnetic SRS training in my full program goes into further detail. It will help you develop dozens of images for words that seem like they’ll be tricky or repetitive. Done well, they can be used repeatedly, but never cause confusion. Step Three: Memorize Multiple Words When You Can Memorizing more than one word in a poem at a time is called mnemonic compression. This term can mean more than one thing. But in this case, I’ve technically just given you a description of how compression works with the Statue of Liberty example. After Orion for O, she represents five words: “for a Muse of fire.” In this case, it works because I’m familiar with the workings of English grammar. But you can’t always get away with this kind of compression, especially when memorizing poetry in another language. It’s just best to keep an eye out for compression opportunities as much you can. When I memorized my TEDx talk using these techniques for speech memorization, thanks to compression, I loaded one station in my Memory Palace with up to 17 words using just 3-5 images (depending on how you count them). Keep in mind that you don’t have to start with poems with long passages like the ones I included in my TEDx Talk. A lot of people like to start with short Bible verses. I’ve put together a list of Bible verses to memorize that address the theme of memory if you’d like to select a few for practice. Step Four: Use Intelligent, Creative Repetition As I mentioned above, rote learning is a real problem. What you want instead is something called spaced repetition. It provides a simple means of reviewing memorized material on a schedule that keeps it in memory. Different poems and lyrics will require different amounts of repetition, and it’s not easy to predict in advance how much content will require how much repetition. However, there’s something called context-dependent memory. Basically, it gives you a boost when you use a lot of content frequently. Or read continually within particular categories of information. So if you read literature and quote it often, you’ll probably need less repetition than someone who doesn’t. And if you memorize the sonnet form more than free verse, you’ll likely develop a stronger and faster reliability because you’ve internalized its rules. Creative Repetition for Long-Term Maintenance For most of us, poems will fade over time no matter what we do. Fortunately, there are creative repetition strategies that can help make sure you maintain them. One is to follow in the footsteps of geniuses. For example, Anthony Hopkins keep common place books where they store and regularly revisit favorite poems. People like Thomas Jefferson used this strategy too. Another strategy is to use reflective thinking to compare various poems you’ve memorized. You can do this from poem to poem or between poems and your favorite philosophy books, historical events, etc. Finally, look for opportunities to recite the poems. Even if you just quote isolated lines, this smaller recitation will help keep the full poem within your mental reach. 3 Alternative Ways To Memorize Poetry You might be wondering if it’s possible to memorize poetry without using the Memory Palace technique. Indeed, there are. Here are some options. Rote Repetition Although I personally don’t like how rote learning feels, it is an option you can explore. It’s a slower option for most of us. But one simple way to get more mileage out of sheer repetition is to choose the time of day and location where you practice it strategically. You’ll need a lot of focus and concentration on top of sheer will power to keep repeating the same lines without the fun of mnemonics, so make sure you aren’t interrupted. I’d also suggest focusing on shorter poems for use with rote. That way you can memorize more poems in their entirety and enjoy substantial accomplishments more often. Cloze Methods A cloze test involves showing yourself parts of a poem. As you read through the poem, you try and fill in the blanks. This activity can trigger some of the positive benefits of active recall. Here’s an example of how you would apply the cloze test methodology to help yourself remember The Tyger by William Blake: Tyger Tyger, burning _____,  In the _____ of the night;  What immortal ____ or ____,  Could _____ thy ______ ______? Visual Flashcards Finally, if you’re willing to make simple drawings, you can draw on flashcards. This approach is kind of like a visual cloze test. Instead of hiding the word “bright” in the phrase “burning bright,” you would sketch an image that helps trigger the phrase. I’ve done this a fair amount with memorizing the books of the Bible. It’s a fast and easy way to help the mind make connections without having to use a Memory Palace. That said, drawing can take a lot of time. I would save this approach for when you feel like an experimental learning experience. How to Practice Reciting Poetry from Memory There are three key ways that I practice reciting poetry, not only to ensure that they’re locked in long-term memory. The point is also to get the lines as fluid as possible and bring out various parts you want to emphasize. After all, it’s not fun to sound robotic. The point of poetry is to convey meaning and beauty, humor or to stimulate some kind of emotion. One: Write the Poetry from Memory Another aspect of proper active recall practice is to call the information to mind by revisiting your associations in your Memory Palace, then write the words down. When writing out what you’ve committed to memory, don’t worry about mistakes. If you catch yourself making a mistake, just scratch it out. Then, once you’ve written as many lines as you can recall, test them against where the verse is written in a book or online. Here’s an example of a test from another part of Eunoia I recently memorized:   At this point, I hadn’t memorized the entire poem and had to start a new journal. But the important point is to test in this exact manner so that you don’t fall into rote repetition. Two: Recite Verbally As demonstrated in several of the video examples above, I practice recalling the poetry verses from memory out loud. This step is important because it gets the poetry into the muscle memory of the mouth. And this is the best way to practice adding gravitas to your performance. I suggest that you also recite the poetry out of order as you see in the Anthony Hopkins video above. This will give each line primacy and recency using the serial positioning effect, as was codified by Hermann Ebbinghaus. During the learning process, it can also be helpful to make up a little tune to go with the poetry. Even if you don’t sing it later, there’s something to chanting and singsonging that aids memory. This is something Bruno notes in his memory guide, Cantus Circaeus (Song of Circe), available in this English translation. Three: Recite Mentally It’s also valuable to practice reciting what you’ve memorized purely in your mind. You can do this solely by reciting the lines while moving through your Memory Palaces. Or you can do it without thinking of the Memory Palace journey, which is a point you should practice as soon as possible. If you are going to perform the poem live, it’s also helpful to imagine yourself delivering it live on camera or in front of an audience. I’ve done all of these things and it has really helped make sure my performance is fluid. But it also creates that priceless feeling of preparation. Your audience will appreciate your delivery much more as well. Make Poetry Memorization Part of Your Daily Life Finally, I’d like to discuss how to make poetry memorization a daily activity. We’re all different, but I personally prefer to encode new poems during the morning. This is simply because my energy is highest. Then I practice reciting in the evening. You might find that you prefer the opposite pattern. The key is to experiment, all based on having developed your mnemonic tools. Plus, it only makes sense to have a lot of poetry that you like within reach. Along with having the right memory techniques for this kind of verbatim learning task. That’s ultimately the most important tip of all. To get fast with memorizing poetry, you need to have your mnemonics prepped in advance. If you’d like more help on how the Memory Palace technique and related mnemonic strategies will help you memorize poems of any length, please consider signing up for my FREE Memory Improvement Course: It will take you through developing Memory Palaces for memorizing any poem at speed. Those poems can be as short as a simple song or as long as the Bible (which as I discuss in this tutorial, is possible to memorize). Or you can memorize songs from your weird uncle like I often did… even if I can’t always repeat them in polite company. Frankly, I wish I’d known these techniques back when I was young. Not only because I’d remember more of the words to the songs he sang. I’d remember more about him too. And that’s ultimately the greatest thing about memorizing poetry. We’re memorizing the ideas, feelings and images that impacted others, literally integrating ourselves with the stuff of life through memory.

Send us a textLubaaba Al‑Azami discusses her book, Travellers in the Golden Realm: How Mughal India Connected England to the World For a complete episode transcript, http://www.womenandshakespeare.comLubaaba's Book: https://www.hachette.co.uk/titles/lubaaba-al-azami/travellers-in-the-golden-realm/9781529371321/Interviewer: Varsha PanjwaniGuest: Lubaaba Al‑AzamiProducer: Yu-Kuan Miao Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Al‑Azami, Lubaaba in conversation with Panjwani, Varsha (2026). Lubaaba Al‑Azami on Travel and Exchanges between India and England. Women & Shakespeare [podcast], Series 6, Ep.3. http://womenandshakespeare.com/Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

This week's Mixtape Rewind takes you back to where Matt and Sam reviewed memorable first tracks from albums.  The first track can make you stay, skip, or fall in love. We dove into 12 album openers that don't just start a record — they define it — and traced how a great intro sets the promise for everything that follows. From the sunlit optimism of the Beach Boys' Wouldn't It Be Nice to the neon stride of Taylor Swift's Welcome to New York, we explore how artists use track one to signal a theme, a shift, or a dare.We share the moments that hooked us: Alanis Morissette cutting straight to the bone on All I Really Want, Pearl Jam's Once roaring to life as a debut mission statement, and Chance the Rapper turning gospel joy into a full-album thesis on All We Got. We also talk about pivots and reinvention — Springsteen's The E Street Shuffle breaking from his Dylan-leaning debut, and Swift's leap from Nashville to skyscraper synth-pop — and why that boldness belongs right up front. Along the way, we celebrate high-voltage openers like Sleigh Bells' Tell 'Em, the literate punch of Titus Andronicus' A More Perfect Union, the tender sting of Dashboard Confessional's Hands Down, the bittersweet charm of The Shins' Kissing the Lipless, and Andrew Bird's Fiery Crash turning an airline safety demo into a meditation on mortality.This is a love letter to sequencing, storytelling, and the lost art of letting an album guide your night. Matt and Samer go through twelve songs that served as the opening tracks for some amazing albums.You can find the mix here on Spotify:https://open.spotify.com/playlist/04FSmhh5ejKJ5oDdPr1WED?si=060ea013ab8c4c761. A More Perfect Union - Titus Andronicus2. Somebody's Baby - Jackson Browne3. Tell 'Em - Sleigh Bells4. Wouldn't It Be Nice - The Beach Boys5. All We Got - Chance the Rapper6. All I Really Want - Alanis Morrissette7. Kissing the Lipless - The Shins8. The E Street Shuffle - Bruce Springsteen and the E Street Band9. Hands Down - Dashboard Confessional10. Once - Pearl Jam11. Fiery Crash - Andrew Bird12. Welcome to New York - Taylor Swift13. Let Go - Frou Frou14. Back on the Block - Quincy Jones15. Marching Bands of Manhattan - Death Cab for Cutie16. Where the Streets Have No Name - U2 Support the showVisit us at https://www.superawesomemix.com to learn more about our app, our merchandise, our cards, and more!

  Listen to the Show Right Click to Save GuestsHyde Park Theatre & ScriptWorks Frontera Fest Short FringeThe Stage Austin Titus Andronicus What We Talked About  

Cátia Pinheiro nasceu no Porto, em 1980. É formada em Teatro pela Academia Contemporânea do Espetáculo (2000). Estreou-se profissionalmente como atriz em 1999, tendo ao longo da sua carreira como atriz trabalhado com vários encenadores e estruturas como António Fonseca, Nuno Cardoso, Nuno Carinhas, Diogo Infante, Tiago Rodrigues, Nuno M. Cardoso, Marcantónio Del'Carlo, António Villareal, Philippe Quesne, Cão Solteiro, entre outros.Enquanto criadora, co-criou e interpretou os espetáculos “Receita para me Ouvires”, (2006), “A Festa”, (2008), “Geopolítica do Caos” (2009), “WTF?” (2010), “Wanted” (2015), “Uma Gaivota”(2016), “Geocide” (2017) e “The End” (2017), “M'18” (2018), “Pathos” (2019), “Party” (2019), “Língua” (2020), “F…”, “O Meu Primeiro Corpo” (2022), “descobri-quê?” (2023) e “Carta à Matilde” (2023). Em 2009 criou a Estrutura Associação Cultural com José Nunes, com quem partilha a direção artística. Foi responsável pela conceção plástica da maioria dos espetáculos da Estrutura e da instalação “Terceira Via” para o espetáculo de Rogério Nuno Costa (Festival Circular, 2013). Em 2011, foi bolseira do Centro Nacional de Cultura, onde desenvolveu o projeto de investigação “Projeto Rua”.Cátia Pinheiro participa na adaptação do texto, encenação, cenografia e interpretação de TITUS, que parte da peça Titus Andronicus, de William Shakespeare, uma das suas primeiras tragédias, marcada por uma violência extrema e por temas como o trauma de guerra, o desejo de vingança, a relação com o poder, a autocracia, a misoginia e a ausência de limites para atingir um fim, seja ele político ou pessoal. A peça estará no Centro Cultural de Belém, em Lisboa, entre os dias 16 e 25 de janeiro. LINKS FEMINA: https://linktr.ee/femina

Patrick Page to lead ‘Titus Andronicus’ Off-Broadway; Jones, Chanler-Berat, and Boyer to do Lee’s ‘Mother Russia’; watch ‘Ragtime’ opening number from Lincoln Center Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is read more

On this episode it's all about Shakespeare. A comedy. A tragedy. And a tale of utter savagery. The many moods of William Shakespeare – starting in a happy place with actors Alison Bell and Faysal Bazzi, and Shakespeare specialist Mark Wilson, who directs them in a tale of love and mischief – Much Ado About Nothing at the Melbourne Theatre Company. Original music excerpted is by composer and sound Designer Joe Paradise Lui.Then the Prague Shakespeare Company teams up with local company Th' Unguarded Duncan to offer a Japanese-horror influenced Titus Andronicus at Melbourne's Theatre Works. Original music excerpted is by Max Hopkins.And we finish with a new production of King Lear with villainous sisters Goneril and Reagan, played by Charlotte Friels and Jana Zvedeniuk — who assure us that they're really not so bad. The True History of the Life and Death of King Lear & His Three Daughters is on at Belvoir St Theatre in Sydney.Want more of the Bard? Don't miss Wherefore, Shakespeare? The Stage Show's special podcast series.

Merriam-Webster's Word of the Day for October 25, 2025 is: wreak • REEK • verb Wreak means “to cause something very harmful or damaging.” It is often used with on or upon. // The virus wreaked havoc on my laptop. See the entry > Examples: “Ours is a geography of cataclysm: Santa Anas wreak their psychic wrath; the odor of disaster seeps from the street like that sulfurous egg smell of the La Brea Tar Pits.” — John Lopez, The Hollywood Reporter, 6 Sept. 2025 Did you know? In its early days, wreak was synonymous with avenge, a meaning exemplified when Shakespeare's Titus Andronicus proclaims “We will solicit heaven, and move the gods / To send down Justice for to wreak our wrongs.” This sense is now archaic, but the association hasn't been lost: although wreak is today most often paired with havoc, it is also still sometimes paired with words like vengeance and destruction. We humbly suggest you avoid wreaking any of that, however, no matter how badly you may crave your just deserts.

Episode 103: Titus Andronicus by William Shakespeare Host: Douglas Schatz Guest: Max Webster Welcome to The Play Podcast where we explore the greatest new and classic plays. Each episode we choose a single play to talk about in depth with our expert guest. We'll discuss the play's origins, its themes, characters, structure and impact. For us the play is the thing. Titus Andronicus is Shakespeare's first tragedy, although in fact, scholars believe that Shakespeare did not write the whole play himself. Whatever its origins, the play is notorious for its graphic horror, which includes multiple killings, amputations, decapitations, rape and cannibalism. Horrors that have overwhelmed audiences and alienated critics for centuries. Although the play was hugely popular in Shakespeare's time, later critics dismissed it for its excessive violence and crude, fragmented structure. However, the play's bleak portrait of amoral leadership, sexual violence, racial conflict, and personal and political despair has struck a chord in more recent times, with several acclaimed productions and restored critical opinion. As we record this episode an exciting new production of the play is on stage at the Hampstead theatre in London, having transferred following its acclaimed run at the Royal Shakespeare Company in Stratford. The production is directed by Max Webster, who joins me to explore Shakespeare's full-blooded tragedy.

In Season 2 of Show Me Something Wrong, we're focusing on rip offs, unofficial sequels, and wrong adaptations! In this episode, Dave shows Guy TITUS ANDRONICUS from 1998... or 1999... a Shakespearean adaptation shot on video in a warehouse in Tampa, Florida. This episode has been in the works for a long time with Dave digging through defunct websites and hunting down cast members. So much mad stuff is uncovered. Connections to strip club kings. Exploding pig corpses. Sets painted with... well... just listen!  Follow Show Me Something Wrong on Instagram and Twitter. Show Me Something Wrong theme song by JUNK!

Shakespeare's Julius Caesar feels urgently contemporary in Rosa Joshi's new production at the Oregon Shakespeare Festival—one of America's largest and longest-running theater festivals, now in its 90th season. Staged in partnership with Seattle's upstart crow collective, the production explores the threat of autocracy, drawing on global histories of dictatorship. Performed entirely by women and nonbinary actors, Joshi's Julius Caesar offers new perspectives on a historically male-dominated political landscape. The result is a fresh reading of Shakespeare's classic tale of power, loyalty, and betrayal. In this episode, Joshi reflects on the production, the politics of performance, and why Shakespeare's plays continue to illuminate moments of crisis. >> Discover more about Julius Caesar at the Oregon Shakespeare Festival From the Shakespeare Unlimited podcast. Published August 25, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc. Rosa Joshi (she/her) is a director, producer and educator. She currently serves as Associate Artistic Director of Oregon Shakespeare Festival. Rosa's directing work spans from Shakespeare to modern classics and contemporary plays. Throughout her career she has created work independently through self-producing, and in 2006 she co-founded upstart crow collective a company that produces classical plays with diverse casts of women and non-binary people. With upstart crow, she has directed King John, Bring Down the House, Richard III, Titus Andronicus, and Coriolanus. She is committed to creating ambitious productions of classical work featuring women, non-binary, and BIPOC artists. As Interim Artistic Director of Northwest Asian American Theatre, Rosa produced a range of Asian American performances, including: A-Fest, an international performance festival; Traces, a world premiere multi-disciplinary, multi-media, international collaborative work. She was also a Resident Director and Artistic Director of the Second Company at New City Theater, where she directed and produced various classical and contemporary plays. Rosa has been a faculty member at Seattle University and has also taught at The Old Globe University of San Diego Shiley Graduate Theatre Program, Hong Kong University, Hong Kong Academy of Performing Arts, and Cornish College for the Arts. Rosa holds an MFA in Directing from the Yale School of Drama and a BA in Theatre and Psychology from Bucknell University.

Mommsen, Oliver www.deutschlandfunkkultur.de, Rang 1

Sir Gregory Doran is the former artistic director of the Royal Shakespeare Company. He spent a total of thirty five years with the RSC directing fifty productions in the UK and abroad. He's been called “one of the great Shakespeareans of his age” and has won multiple awards for his work.Born in 1958, Greg was brought up near Preston and played a number of female Shakespeare roles when he was a young pupil attending an all-boys secondary school. He went on to study English and Drama at Bristol University followed by a stint studying classical acting at the Bristol Old Vic Theatre School. After a few bit parts in TV sitcoms and a spell at Nottingham Playhouse, Sir Greg decided that he would prefer to carve out a career as a director. He went on to stage some of the most critically acclaimed theatre productions – including an all-black cast of Julius Caesar and took Titus Andronicus to South Africa.More recently, he has been touring the globe on his Shakespeare's First Folio tour to look at as many different copies of the texts as possible. He survives his husband, the actor Sir Anthony Sher whom he met in 1987 whilst they were both part of a production of the Merchant of Venice at the RSC in Stratford. Sir Greg lives in London.DISC ONE: Giulio Cesare in Egitto, HWV 17, Act 1: Duetto. "Son nata a lagrimar" (Cornelia, Sesto) Composed by Georg Friedrich Händel and performed by Nathalie Stutzmann (contralto) Philippe Jaroussky (counter tenor) Oreo 55 (Orchestra) DISC TWO: Sicut cervus – The Choir of Preston Catholic College DISC THREE: Born Free - Matt Monro DISC FOUR: It's Raining Men - The Weather Girls DISC FIVE: Diamonds on the Soles of Her Shoes - Paul Simon DISC SIX: J.S. Bach: Cantata "Ich habe genug" BWV 82: I. "Ich habe genug, ich habe den Heiland". Performed by Thomas Quasthoff (bass-baritone), Berliner Barock Solisten, conducted by Rainer Kussmaul DISC SEVEN: Piano Concerto No. 12 in A, K.414: 2. Andante. Composed by Mozart and performed by Alfred Brendel (piano) and Academy of St Martin in the Fields, conducted by Sir Neville Marriner DISC EIGHT: Where the Bee Sucks - Paul Englishby, Royal Shakespeare Company BOOK CHOICE: A 1609 copy of Shakespeare's Sonnets LUXURY ITEM: A shelf of photo albums CASTAWAY'S FAVOURITE: Piano Concerto No. 12 in A, K.414: 2. Andante. Composed by Mozart and performed by Alfred Brendel (piano) and Academy of St Martin in the Fields, conducted by Sir Neville MarrinerPresenter: Lauren Laverne Producer: Sarah Taylor

Amanda Giguere is the director of outreach for Colorado Shakespeare Festival and her research and work putting together touring productions of Shakespeare in schools has resulted in her new book Shakespeare & Violence Prevention. Amanda discusses how valuable this work is and how it began; addresses the counter-intuitive notion that Shakespeare – the author of such violent plays – can be so useful in this kind of work; how Twelfth Night is a perfect tool, even for elementary school students, and why Titus Andronicus really isn't; the importance of climate awareness; the vital distinction that it's not the “Shakespeare Prevention Program,” it's the “Violence Prevention Through Shakespeare Program;” and how violence, like heart disease, is preventable. (Length 20:44) The post Shakespeare Prevents Violence?? appeared first on Reduced Shakespeare Company.

Welcome back to The Rehearsal Room: we share a recently recorded series that was our first dive into Shakespeare's Titus!

That's some pie, y'all.

The Author Events Series presents Rhodri Lewis  | Shakespeare's Tragic Art REGISTER In Conversation with Emily Wilson In Shakespeare's Tragic Art, Rhodri Lewis offers a powerfully original reassessment of tragedy as Shakespeare wrote it-of what drew him toward tragic drama, what makes his tragedies distinctive, and why they matter. After reconstructing tragic theory and practice as Shakespeare and his contemporaries knew them, Lewis considers in detail each of Shakespeare's tragedies from Titus Andronicus to Coriolanus. He argues that these plays are a series of experiments whose greatness lies in their author's nerve-straining determination to represent the experience of living in a world that eludes rational analysis. They explore not just our inability to know ourselves as we would like to, but the compensatory and generally unacknowledged fictions to which we bind ourselves in our hunger for meaning-from the political, philosophical, social, and religious to the racial, sexual, personal, and familial. Lewis's Shakespeare not only creates tragedies that exceed those written before them. Through his art, he also affirms and invigorates the kinds of knowing that are available to intelligent animals like us. A major reevaluation of Shakespeare's tragedies, Shakespeare's Tragic Art is essential reading for anyone interested in Shakespeare, tragedy, or the capacity of literature to help us navigate the perplexities of the human condition. After many years at the University of Oxford, Rhodri Lewis moved to Princeton in 2018-where he teaches English and comparative literature. His new book, Shakespeare's Tragic Art, was a New Yorker Book of the Year for 2024, and for the duration of the 2025-26 academic year he will be a Guggenheim Fellow. Previous books include Hamlet and the Vision of Darkness (Princeton UP 2017) and Language, Mind, and Nature: Artificial Languages in England from Bacon to Locke (Cambridge UP 2007). He is now at work on two projects: a biography of the great literary critic Frank Kermode, and a new edition (and translation) of Francis Bacon's Wisdom of the Ancients. The 2024/25 Author Events Series is presented by Comcast. Because you love Author Events, please make a donation when you register for this event to ensure that this series continues to inspire Philadelphians. Books will be available for purchase at the library on event night! All tickets are non-refundable. (recorded 4/23/2025)

Called “the finest actor of his generation,” Sir Simon Russell Beale has played just about everyone in Shakespeare's canon—Hamlet, Lear, Macbeth, Falstaff, Malvolio, Iago—and most recently, Titus Andronicus, for the Royal Shakespeare Company. In this episode, Beale reflects on the Shakespearean roles that have shaped his career and how his approach to them has evolved over time. He shares what drew him to Titus, and how he found surprising tenderness in Shakespeare's brutal tragedy. The actor revisits past performances, exploring grief in Hamlet, aging and dementia in King Lear, and how time has deepened his connection to the plays and the characters. Beale's memoir, A Piece of Work: Playing Shakespeare & Other Stories, is a moving and often humorous reflection on acting, Shakespeare, and the power of performance to reveal something essential about being human. Sir Simon Russell Beale studied at Cambridge before joining the RSC. Described by the Daily Telegraph as “the finest actor of his generation,” he has been lauded for both his stage and TV work, winning many awards including the Olivier Award for Best Supporting Actor, the Evening Standard Best Actor Award, and the BAFTA Best Actor Award. From the Shakespeare Unlimited podcast. Published June 17, 2025. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the executive producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Episode 173:For this guest episode it is a very welcome return for Eleanor Conlon, who you will remember discussed Titus Andronicus with me in Episode 22 of this season. Having picked over the brutal actions of that play with Eleanor I was pleased to hear that she was interested in a return visit and to discuss the very different piece that is Love's Labour's Lost. As you will her Eleanor has a great love of this play and brings all the enthusiasm about it to our conversation that you as might expect. If you have not already done so I would recommend listening to my previous episode on Love's Labour's Lost before starting on this one, which adds a lot to what I said in that episode.Eleanor Conlon is an actor, director, and award-winning writer based in Sussex.After completing her BA in English Literature at Goldsmiths, University of London, Eleanor earned her MA in Shakespeare and Early Modern Drama at Kings College and Shakespeare's Globe. While at The Globe, Eleanor worked dramaturgically on productions by Dominic Dromgoole, Matthew Dunster, and Jeremy Herrin, and with Jenny Tiramani on the Original Practices Costume Archive.As an academic, her research focused on Renaissance Magic, Gender and Culture in Early Modern London, though for more than a decade her career has been less theoretical and more practical. After achieving success with her theatre company ‘The Barefoot Players' in the late 2000s and early 2010s, with which she produced plays including ‘Tis Pity She's a Whore', ‘Doctor Faustus' and ‘The Alchemist', the latter two of which she also directed, as well as productions of several of Shakespeare's works, plays by Ibsen, Oscar Wilde, and others. She founded her current theatre company ‘Rust & Stardust' where working with her puppet-maker partner Katie Sommers Eleanor has written over a dozen plays rooted in English folklore and toured these shows all over the UK.In addition to all this, and as you are about to hear, in 2023 she launched the Three Ravens Podcast with her partner Martin Vaux – also a writer and actor – which explores history, legends, and diverse aspects of folk culture.Link to Three Ravens Podcast website: www.threeravenspodcast.comFor the Three Ravens Folktales Book:Link to Amazon UK: https://www.amazon.co.uk/Three-Ravens-Folk-Tales-half-forgotten/dp/1803999683Link To Amazon US: https://www.amazon.com/Three-Ravens-Folk-Tales-half-forgotten-ebook/dp/B0CW1GB63M/ref=sr_1_1Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Laages, Michael www.deutschlandfunk.de, Kultur heute

Actor Sir Simon Russell Beale is widely acclaimed as one of the greatest actors of his generation. He has played many leading roles at National Theatre and RSC, including Hamlet, Macbeth and King Lear. He is currently starring in Titus Andronicus at the RSC. His awards include three Olivier Awards, two BAFTAs, and a Tony Award in 2022 for his leading role in The Lehman Trilogy, which had transferred from London. Simon Russell Beale was knighted in 2019 for services to drama. Simon tells John Wilson about his childhood and his visits to his family in the boarding school holidays at their home in Penang and Singapore. Trained as a chorister from an early age, he reveals how J.S. Bach's St Matthew Passion evokes the thrill of singing at his choir school. Simon very nearly embarked on a career in music before switching to drama and tells John about the significance of the Macbeth soliloquy that began a lifetime love of Shakespeare. He also reveals the central role that pubs play in the learning of his lines.Producer: Edwina Pitman

For the 15th anniversary of the second Titus Andronicus album, The Monitor, we take a detailed look at how it was made. After Patrick Stickles founded Titus Andronicus in Glen Rock, New Jersey in 2005, he worked with a rotating group of musicians, many of whom he had known in high school. By the time they were ready to record their first album, the lineup had coalesced around Stickles, Liam Betson, Dan Tews, Ian Graetzer and Ian Dykstra. The New Jersey label, Troubleman Unlimited, agreed to put out their debut album and pay for studio time with producer Kevin McMahon, who they had worked with on their early recordings. The Airing of Grievances was released in 2008 and was an unexpected success. XL Recordings became interested in signing the band and agreed to rerelease their debut album in 2009. Around this time, Eric Harm took over on drums, while Stickles moved to Somerville, Massachusetts and began writing the songs that would make up their second album. Using their advance from XL, they booked a month in Kevin McMahon's studio and began recording the album. The Monitor was eventually released in 2010. In this episode, Patrick Stickles describes his grand vision of a concept album framed around the American Civil War. He describes his routine at the time where he would stay up late, smoke pot and watch Ken Burns's Civil War documentary. Stickles talks about how gobsmacked he was by the film and how the words of historical figures like Abraham Lincoln and Walt Whitman inspired him to include their words as a framing device on this record. He also describes this time in his life when he was graduating college and applying to graduate school but deciding to abandon his plans as the band started to become successful. Partially inspired by Bruce Springsteen's Born to Run, Stickles talks about how he felt like he needed to take advantage of a potentially fleeting moment, where he had a deal with a new label, the attention of the music press, and a growing audience around the world. The result was the big swing of The Monitor, where the band had no qualms about attempting to create a generational touchstone. From the indie rock boom years to casting his friends in reenactment roles to ambitious song suites to incorporating the music of the Civil War to exploring the eternal us vs. them conflict to the continuing saga of mental health to the importance of conviction and raising the stakes, we'll hear the stories around how the record came together. Intro/Outro Music: “The Anniversaries” by The Tisburys, from the album, A Still Life Revisited Episode produced, edited and mixed by Dan Nordheim Additional mixing and mastering by Jeremy Whitwam

Anne Sheridan Smith plays the title role in the Redtwist Theatre production of Titus Andronicus, directed by Redtwist's co-artistic director Dusty Brown, and both actor and director talk about how their production evolved from its original conception. Dusty and Anne reveal how they navigated both Redtwist's beautifully renovated but incredibly intimate space, and the changing political landscape; how they discovered both real-life and theatrical inspirations; and how they're going to pair this production with next month's production of Taylor Mac's Gary: A Sequel to Titus Andronicus. (Length 21:52) The post Storefront Titus Andronicus appeared first on Reduced Shakespeare Company.

The Tyrant's Tomb, ch. 1 to 7 Crack open a cold one, girlies, it's time for the penultimate book in Apollo's The Trials of! This week we're starting off our discussion of the novel with one long, continuous corpse party, several pushbacks on pushbacks, some reevaluating of Hazel Levesque and Frank Zhang, the world's most disastrous romance to look forward to, Titus Andronicus foreshadowing, Meg's trauma (this time a different bit of it) (but also some of the old stuff too), total decimation, and a puny but powerful cover corner. Come back next week for The Tyrant's Tomb, ch. 8 to 13! Check out our Patreon! (https://www.patreon.com/unwisegirls) Follow the show (https://twitter.com/unwisegirls) Join our Discord! (https://discord.gg/XnhhwzKQ8d) Hosted by Jacqueline (https://twitter.com/swampduchess) and Jane (https://twitter.com/janeyshivers). Edited by Jacqueline. Cover art by Vera (https://twitter.com/Innsmouth_Inn). Intro/outro: "Super Mariocean" by spacepony (https://ocremix.org/remix/OCR01147) This podcast is powered by Pinecast.

  Justin joins Derek to discuss Julie Taymor's feature film adaptation of one of William Shakespeare's earliest plays, Titus Andronicus!

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper's book The Great White Bard explores the language of race and difference in Shakespeare's plays. Dr. Karim-Cooper also looks at the ways Shakespeare's work became integral to Britain's imperial project and its sense of cultural superiority. But, for all this, Karim-Cooper is an unapologetic Shakespeare fan. It's right there in the subtitle of her book: “How to Love Shakespeare While Talking about Race.” Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. By drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare's continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more. Farah Karim-Cooper, is the new Director of the Folger Shakespeare Library, was previously a Professor of Shakespeare Studies at King's College London and Director of Education at Shakespeare's Globe. The Great White Bard is available now from Viking Press. From the Shakespeare Unlimited podcast. Originally published August 15, 2023, updated and rebroadcast November 5, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Paola García Acuña is the web producer and edited this transcript. We had technical help from Mark Dezzani in Surrey and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc

Shakespeare is often associated with tragedy, but did you know that he changed the genre? In this episode, Rhodri Lewis, professor of English at Princeton University and author of Shakespeare's Tragic Art, explores how Shakespeare redefined tragedy in ways that still feel modern today. Through a close examination of plays like Titus Andronicus, Romeo and Juliet, and King Lear, Lewis explains how Shakespeare shifted the traditional classical form of tragedy, introducing characters who deceive themselves and struggle to understand their own nature. From the slasher-style Titus to the complex interiority of Juliet, Shakespeare experimented with plot, language, and character to push the boundaries of tragic drama, giving audiences an unsettling yet profoundly human insight into the flawed nature of existence. Rhodri Lewis teaches English at Princeton University. His previous books include Hamlet and the Vision of Darkness (Princeton) and Language, Mind, and Nature: Artificial Languages in England from Bacon to Locke. Outside the academy, he writes for publications including The Times Literary Supplement, Prospect, The Literary Review, and The Los Angeles Review of Books. From the Shakespeare Unlimited podcast. Published October 21, 2024. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. We had help with web production from Paola García Acuña. Leonor Fernandez edits our transcripts. Final mixing services are provided by Clean Cuts at Three Seas, Inc.

Episode 138:Over the course of speaking about English Renaissance Plays and Shakespeare I have had cause to mention the play ‘A Knack to Know a Knave' several times. Most latterly because it is thought to include references to ‘The Taming of the Shrew' and ‘Titus Andronicus' and prior to that, in the season on the Early Renaissance Theatre it had a mention as one of the plays performed at the Rose Playhouse as recorded in Henslowe's Diary. Having been reminded of it while writing about the early Shakespeare plays I thought that it deserved a little time in the spotlight on it's own as it gives us a little snapshot of the plays, and particularly comedies other than Shakespeare and Jonson, that was circulating at the time of the earliest of Shakespeare's plays. So, here is a little interlude of an episode all about ‘A Knack to Know a Knave'.A quick word on ‘Shakespeare's Borrowed Feathers' by Darren Feebury-Jones, which is published in October 2024 and on Henry Porter and his possible involvement with ‘Dr Faustus'.The performances of ‘A Knack to Know a Knave' as reported in Henslowe's DiaryThe mystery of the low takings for repeated performances in a second run of the playThe printed quarto edition of the playA summary of the plotThe (possibly) missing parts of the play, including Kempe's extemporisingHow the fools of Gotham folk tale is worked into the playThe allusions to other plays in the textThe final lines of the playIf you would like to read the text of A Knack to Know a Knave, you can find it on google books here Support the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

More podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books.Please consider supporting ARB's Patreon!Credits:Guest: Juan MartinezTitle: Gilded Needles by Michael McDowellHost: Jake Casella BrookinsMusic by Giselle Gabrielle GarciaArtwork by Rob PattersonOpening poem by Bhartṛhari, translated by John BroughReferences:Juan's collection Best Worst American & horror novel Extended StayJackleg PressStoryStudioTananarive Due's The ReformatoryEden Robins' Remember You Will DieSofia Samatar's The Practice, the Horizon, and the ChainAnanda Lima's Craft: Stories I Told the DevilJesse Ball's The Repeat RoomT.E.D. Klein's The CeremoniesPeter StraubBeetlejuice, directed by Timothy BurtonTales from the Crypt & Tales from the DarksideThe Nightmare Before Christmas, directed by Henry SelickMcDowell's The Elementals"A little bit like Edith Wharton with more murder"Jaws, directed by Steven SpielbergArthur Conan Doyle's The Adventures of Sherlock HolmesVictor Hugo's The Hunchback of Notre Dame & Les MisérablesTriangle of Sadness, directed by Ruben ÖstlundAlexandre Dumas' The Count of Monte CristoThe Abominable Dr. Phibes, directed by Robert FuestThey Might Be GiantsLydia LunchRobert MapplethorpePatti SmithShakespeare's Titus Andronicus & Julie Taymor's film adaptationThomas Ligotti, Bruno Schulz, & Franz KafkaMcDowell's Death CollectionStephen King, Philip K. Dick, & C.J. CherryhAnne Lamott's Bird by BirdThe Ghosts of Where We Are FromJuan's DNC protest coverage at the Believer, parts one & twoFollow Juan on Instagram & Threads for the good doodle content

More podcasts, reviews, interviews, essays, and more at the Ancillary Review of Books.Please consider supporting ARB's Patreon!Credits:Guest: Juan MartinezTitle: Gilded Needles by Michael McDowellHost: Jake Casella BrookinsMusic by Giselle Gabrielle GarciaArtwork by Rob PattersonOpening poem by Bhartṛhari, translated by John BroughReferences:Juan's collection Best Worst American & horror novel Extended StayJackleg PressStoryStudioTananarive Due's The ReformatoryEden Robins' Remember You Will DieSofia Samatar's The Practice, the Horizon, and the ChainAnanda Lima's Craft: Stories I Told the DevilJesse Ball's The Repeat RoomT.E.D. Klein's The CeremoniesPeter StraubBeetlejuice, directed by Timothy BurtonTales from the Crypt & Tales from the DarksideThe Nightmare Before Christmas, directed by Henry SelickMcDowell's The Elementals"A little bit like Edith Wharton with more murder"Jaws, directed by Steven SpielbergArthur Conan Doyle's The Adventures of Sherlock HolmesVictor Hugo's The Hunchback of Notre Dame & Les MisérablesTriangle of Sadness, directed by Ruben ÖstlundAlexandre Dumas' The Count of Monte CristoThe Abominable Dr. Phibes, directed by Robert FuestThey Might Be GiantsLydia LunchRobert MapplethorpePatti SmithShakespeare's Titus Andronicus & Julie Taymor's film adaptationThomas Ligotti, Bruno Schulz, & Franz KafkaMcDowell's Death CollectionStephen King, Philip K. Dick, & C.J. CherryhAnne Lamott's Bird by BirdThe Ghosts of Where We Are FromJuan's DNC protest coverage at the Believer, parts one & twoFollow Juan on Instagram & Threads for the good doodle content

Episode 136:Having given you my own thoughts on ‘Titus Andronicus' last time I'm pleased to say that for this special guest episode I was able to take the discussion even further with Eleanor Conlon, a fellow podcaster and a theatre professional as you will hear Eleanor has a lot to say about the play and insights that, in some cases, go in different directions from what I was able to say about the play.Eleanor Conlon is an actor, director, and award-winning writer based in Sussex.After completing her BA in English Literature at Goldsmiths, University of London, Eleanor earned her MA in Shakespeare and Early Modern Drama at Kings College and Shakespeare's Globe. While at The Globe, Eleanor worked dramaturgically on productions by Dominic Dromgoole Matthew Dunster and Jeremy Herrin, and with Jenny Tiramani on the Original Practices Costume Archive.After achieving success with her theatre company The Barefoot Players in the late 2000s and early 2010s, with which she produced plays including Tis Pity She's a Whore, Doctor Faustus and The Alchemist, the latter two of which she also directed, as well as productions of several of Shakespeare's works, plays by Ibsen, Oscar Wilde, and others, she founded her current and much acclaimed theatre company Rust & Stardust.Writing over a dozen plays rooted in English folklore, Eleanor has worked with her puppet-maker partner Katie Sommers to tour Rust & Stardust's shows all over the UK, including their plays The Wild Man of Orford, Black Shuck, The Marsh Demons of Iken, and Doctor Dee's Daughter and the Philosopher's with celebrated recorder quartet Palisander. In addition to recent adaptations of Shakespeare's plays including The Tempest and Macbeth with Trinity Theatre in Tunbridge Wells, in 2023 she launched the Three Ravens Podcast with her partner Martin Vaux – also a writer and actor – which explores history, legends, and diverse aspects of folk culture.Featuring original stories each week based on the lore of England's 39 historic counties, Three Ravens quickly rose into the Top 1% of podcasts globally. It currently sits in the Top 50 UK Fiction Podcasts, with 4.9/5 star ratings on iTunes, Apple Podcasts and Spotify and a passionate fanbase across social media.For Three Ravens contact:Website: https://www.threeravenspodcast.comInstagram: https://www.instagram.com/threeravenspodcast/Facebook: https://www.facebook.com/threeravenspodcastX: @threeravenspodFor Rust + Stardust TheatreInstagram: https://www.instagram.com/eleanorstardust/Website: https://www.rustandstardust.co.ukSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

Episode 135:Is Shakespeare's early tragedy more than just a gore-fest?The first performance of the play, maybeThe three playing troupes involved with the playIs the play a collaboration with George Peele?The popularity of violence in playsThe sources for the playA brief summary of the playThe establishing of characters in the first actThe justifications for Titus' desire for revengeThe role of young LuciusThe flaw in Titus' character that leads to tragedyFamily life as represented in the playThe contrasts drawn between Lavinia and TamoraThe portrayal of fatherhood in the playThe use of Ovid's ‘Metamorphosis'Shakespeare's use of personification, borrowed from medieval morality playsThe extreme violence in the playThe Peacham DrawingSupport the podcast at:www.thehistoryofeuropeantheatre.comwww.patreon.com/thoetpwww.ko-fi.com/thoetp Hosted on Acast. See acast.com/privacy for more information.

How can educators effectively incorporate discussions about race into the study of Shakespeare and other premodern texts in the college classroom? Barbara Bogaev speaks with scholars Ayanna Thompson and Ruben Espinosa about Throughlines, a pedagogical resource developed by the Arizona Center for Medieval and Renaissance Studies at Arizona State University. This free online tool offers professors a variety of accessible teaching materials for incorporating premodern critical race studies into their teaching. Specifically designed for use in higher education, the materials include lectures, syllabi, and activities on a unique and expansive range of topics that will continue to grow. >>Explore Throughlines, a free online resource for the college classroom at throughlines.org Espinosa and Thompson share their experiences teaching Shakespeare in diverse higher education settings. Their conversation underscores students' need for open dialogue and provides practical strategies for navigating these discussions. They offer valuable insights for experienced professors and those new to teaching, highlighting the value of integrating premodern critical race studies into studying Bard's works and other literature and history. Ayanna Thompson Ayanna Thompson is a Regents Professor of English at Arizona State University and Executive Director of the Arizona Center for Medieval and Renaissance Studies. Thompson, an influential Shakespeare scholar, is the author of many titles, including Blackface and Shakespeare in the Theatre: Peter Sellars. She is currently collaborating with Curtis Perry on the Arden4 edition of Titus Andronicus. Thompson's leadership extends beyond the university, serving on the boards of the Royal Shakespeare Company, Play On Shakespeare, and Folger Shakespeare Library. She is a Shakespeare Scholar in Residence at The Public Theater in New York. In 2021, she was elected to the American Academy of Arts and Sciences. Ruben Espinosa Ruben Espinosa is the Director of the Arizona Center for Medieval and Renaissance Studies and a Professor of English at Arizona State University. He is the author of many titles, and most recently, Shakespeare on the Shades of Racism. He is the current President of the Shakespeare Association of America, and he serves on the Editorial Boards of Shakespeare Quarterly, Exemplaria: Medieval, Early Modern, Theory, and Palgrave's "Early Modern Cultural Studies" series. He is working on his next monograph, Shakespeare on the Border: Language, Legitimacy and La Frontera.

Villain, I have done thy podcast!   The Becks are tackling the bard himself in this week's episode on Titus Andronicus, and its 1999 Julie Taymor adaptation Titus! Listen in as Codie and Billy break down this often forgotten Shakespeare tragedy, tell tales of theatre school, and try not to get too horny on main.   What is the strangest setting you've seen a play adapted into? Let us know at soonmajorpod@gmail.com   linktr.ee/soonmajorpod

Let me introduce my acting coach Christopher Chwee to you, my friends. This conversation is jam-packed with ideas on how developing acting skills can help public speakers.  Tune in and learn: Why public speakers are creators and artists How to take your audience on a journey using stories Why acting classes are so helpful for developing presentation skills How to get out of your head and be present when speaking How to deal with nervousness when going to auditions or before speaking How to connect to your emotions and sit with your feeling Why preparation and practice are essential for success How memorization works in acting and public speaking How acting classes help you get to know new sides of yourself As an Actor in New York, Christopher has worked for numerous theatre companies including ESPA @ Primary Stages, 59 E59 Street, NYC Fringe, and The Workshop Theatre. Some Favorite Off Broadway Credits include Four Dogs & A Bone, Titus Andronicus, & Tartuffe. When he is not acting or coaching he can be seen hosting & performing at comedy clubs such as Carolines (RIP), Gotham, Greenwich Village, & Broadway Comedy. Film/TV credits include Men in Black III, Vish Merrick on Amazon Prime, and Rare Birds of Fashion. Commercially he has shot print work for Zara, Ugg Boots, Target, and BMW/Mini Cooper and his voice can also be heard on Diet Coke, Colgate Education, and numerous US Mall commercials. In 2017 Christopher was nominated at the Indie Series Awards for Best Supporting Actor in a Comedy Series for his work in the series Rare Birds of Fashion. As an acting coach his students can be seen on Broadway, National Tours as well as the Disney Channel, Nickelodeon, Law & Order, Will & Grace, Marvel, HBO, CBS, ABC, Hulu and Netflix. Connect with Christopher: https://www.actfirststudios.com/ https://www.instagram.com/actfirststudios https://www.instagram.com/christopherchwee

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Whether you're a blockchain advocate, a film enthusiast, or an investor, this interview explores how blockchain technology is revolutionizing film financing and audience engagement through Mogul Productions. In this interview, Producer and Writer Richard Short discusses the challenges and creative decisions behind his groundbreaking project, "TITI". The film is a modern adaptation of one of Shakespeare's most controversial works, Titus Andronicus. Lyriq Bent, who plays the lead role as Titi Androniki, also shares insights into his approach to portraying a complex character grappling with trauma and revenge in a fictional West African setting.Tune in to learn how "TITI" tackles themes of revenge, racial tension, and the cycle of violence and the potential of Film3 to transform the entertainment industry by providing new opportunities for filmmakers and investors through blockchain integration.For more details, visit: https://www.mogulproductions.com/post/titi-brings-blood-soaked-story-of-revenge-to-mogul-productions/Learn more about Mogul Productions: https://www.mogulproductions.com/Watch the full YouTube interview here: https://youtu.be/YgnsKf6yFkgAnd follow us to stay updated: https://www.youtube.com/@GlobalOneMedia?sub_confirmation=1

Whether you're a blockchain advocate, a film enthusiast, or an investor, this interview explores how blockchain technology is revolutionizing film financing and audience engagement through Mogul Productions. In this interview, Producer and Writer Richard Short discusses the challenges and creative decisions behind his groundbreaking project, "TITI". The film is a modern adaptation of one of Shakespeare's most controversial works, Titus Andronicus. Lyriq Bent, who plays the lead role as Titi Androniki, also shares insights into his approach to portraying a complex character grappling with trauma and revenge in a fictional West African setting.Tune in to learn how "TITI" tackles themes of revenge, racial tension, and the cycle of violence and the potential of Film3 to transform the entertainment industry by providing new opportunities for filmmakers and investors through blockchain integration.For more details, visit: https://www.mogulproductions.com/post/titi-brings-blood-soaked-story-of-revenge-to-mogul-productions/Learn more about Mogul Productions: https://www.mogulproductions.com/Watch the full YouTube interview here: https://youtu.be/YgnsKf6yFkgAnd follow us to stay updated: https://www.youtube.com/@GlobalOneMedia?sub_confirmation=1

Part 2 of my conversation with guest Phil Stacey about the music of 2010. Show notes: Black Keys cancel arena tour after way overestimating their popularity Phil's #5: Black Keys establish their popularity with poppier blues sound Phil's and Jay's #4: Superchunk returns after a nine-year break with an energetic pop-punk ripper Phil's #3: Lo-fi psych from Philly duo Reading Rainbow (now called Bleeding Rainbow) Jay's #3: Nick Cave returns with his harder rocking Grinderman project Phil's #2 and Jay's #5: More rock-oriented album from Drive-By Truckers Jay's #2: Politically-driven melodic punk from Ted Leo and the Pharmacists  Phil's #1: Neil Young with a solo effort with a lot of guitar effects Jay's #1: Titus Andronicus with your typical epic Civil War-meets-modern-day NJ concept album  Jay: Titus Andronicus is one of my favorite current bands  Favorite songs: "Hitchhiker" (Phil), "Theme from Cheers" (Jay) Next time we get together, we'll sum up the decade of the 2010s Completely Conspicuous is available through Apple Podcasts. Subscribe and write a review! The opening and closing theme of Completely Conspicuous is "Theme to Big F'in Pants" by Jay Breitling. Voiceover work is courtesy of James Gralian.

Alexa Alice Joubin discusses Shakespeare and East Asia, Trans as Method, and AI in Shakespeare Studies and performance. For a complete episode transcript, click http://www.womenandshakespeare.comAlexa's Website: https://ajoubin.org/Interviewer: Varsha PanjwaniGuest: Alexa Alice Joubin Researchers:   Riley Coffman, Caitlin Finch, Alexandra BiancoProducers:  Bianca Thakur Transcript: Benjamin PooreArtwork: Wenqi WanSuggested Citation:  Joubin, Alexa Alice in conversation with Panjwani, Varsha (2024). Alexa Alice Joubin on Shakespeare & East Asia, Trans as Method, and AI in Shakespeare [Podcast], Series 5, Ep.2. http://womenandshakespeare.com/ Twitter: @earlymoderndocInsta: earlymoderndocEmail: earlymoderndoc@gmail.comTwitter: @earlymoderndoc Insta: earlymoderndocEmail: earlymoderndoc@gmail.com

Arguably the best month in Las Vegas is approaching, and we've got the guide to what you can't miss this April. Contributor and artist Brent Holmes joins co-hosts Sarah Lohman and Dayvid Figler to recommend where to eat, what to do, and how to get out of your comfort zone this month. Mentioned this episode: Red Rock Canyon Lone Mountain Park and Trail “Jones Ranch Egypt” Brent Holmes curated by Sydney Galindo at ASAP Gallery (end of April) Listen to our episode with Brent on Black cowboys here! Ride the Cyclone at Majestic Repertory Theatre (starts April 18) Titus Andronicus at 1600 Wigwam Pkwy (March 28 - April 6) Esther's Kitchen's new location on Main Street Early Birds on Blue Diamond Pioneer Saloon in Goodsprings, NV Raow Raow Free Earth Day Celebration at Lorenzi Park (April 20) University Forum Lecture with Kim Foster at UNLV (April 18) Dr. Neil Degrasse Tyson - Astronomy Bizarre at The Smith Center (2 shows on April 14) Nevada Preservation Foundation Home + History Bus Tour (April 25 - 28) We're on social media! Follow us @CityCastVegas on Instagram. You can also call or text us (or recommend somewhere for Sarah to find a passion fruit vine!) at 702-514-0719. Want some more Las Vegas news? Then make sure to sign up for our morning newsletter here. Learn more about your ad choices. Visit megaphone.fm/adchoices

While Matt is busy showing off his Le Coq Sportif in Paris, Paul and Jacob are joined by the performing power couple of Matt and Heidi Brucker Morgan! They talk live entertainment, what to do when you forget the lyrics, and what makes clowns scary. Also, you’ll never guess what the Blue Men are thinking. Make sure to check out https://www.nevadashakespearefestival.com/   https://www.theatre.vegas/ to get your tickets for Titus Andronicus and POTUS!!!

Nevada Shakespeare Festival's power couple, Matt and Heidi Morgan stop by to pump people up for their latest production of Titus Andronicus as well as possible confess a family murder... Matt tells a friends story from the early days of the Internet. Jacob remembers his brief time with the Nevada Shakespeare company. Jock Vs Nerd Trivia Price Is Skrite.

Friends, viewers, countrymen, loan us your ears? Ryan and Brian take turns in two different quizzing hot seats and a surprise audio segment includes MLB predictions and new developments in breakfast namesakes. Stuff to click: Where's Waldo got banned? Boswords' 2024 Winter Wondersolve The menu at First Watch Gary: A Sequel to Titus Andronicus (just to prove that Brian's sister was part of it) If you get bored (how could you?!), write something for the Fill Me In wiki. And if you're feeling philanthropic, donate to our Patreon. Do you enjoy our show? Actually, it doesn't matter! Please consider leaving us a 5-star review on Apple Podcasts. This will help new listeners find our show, and you'll be inducted into the Quintuple Decker Turkey Club. Drop us a note or a Tweet or a postcard or a phone call — we'd love to hear from you. Helpful links: Apple Podcasts link: https://podcasts.apple.com/us/podcast/fill-me-in/id1364379980 Google Play link: https://player.fm/series/fill-me-in-2151002 Amazon/Audible link: https://www.amazon.com/item_name/dp/B08JJRM927 RSS feed: http://bemoresmarter.libsyn.com/rss Contact us: Email (fmi@bemoresmarter.com) / Facebook / Twitter / Instagram We're putting these words here to help with search engine optimization. We don't think it will work, but you probably haven't read this far, so it doesn't matter: baseball, crossword, crosswords, etymology, game, hunt, kealoa, movies, musicals, mystery, oscar, pizza, puzzle, puzzles, sandwiches, soup, trivia, words

Can you love Shakespeare and be an antiracist? Farah Karim-Cooper's new book, The Great White Bard, explores the language of race and difference in plays such as Antony and Cleopatra, Titus Andronicus, and The Tempest. Karim-Cooper also looks at the ways Shakespeare's work became integral to Britain's imperial project, and its sense of cultural superiority. But for all this, Karim-Cooper is an unapologetic Shakespeare fan. It's right there in the subtitle of her book: "How to Love Shakespeare While Talking about Race." Far from casting Shakespeare out of the classroom or playhouse, Karim-Cooper shows new ways to appreciate him. And, by drawing connections between the plays and current events, she offers an eyes-wide-open tour of Shakespeare's continued relevance. Karim-Cooper talks with Barbara Bogaev about the role of race in Titus Andronicus, Othello, Romeo and Juliet, and more. Listen to Shakespeare Unlimited on Apple Podcasts, Google Podcasts, Spotify, Soundcloud, or wherever you get your podcasts. Farah Karim-Cooper is a professor of Shakespeare studies at King's College, London, and a director of education at Shakespeare's Globe theater. The Great White Bard is available now from Viking Press. From the Folger's Shakespeare Unlimited podcast. Published August 15, 2023. © Folger Shakespeare Library. All rights reserved. This episode was produced by Matt Frassica. Garland Scott is the associate producer. It was edited by Gail Kern Paster. Ben Lauer is the web producer. Leo Fernandez edits our transcripts. We had technical help from Mark Dezzani in Surrey and Voice Trax West in Studio City, California. Final mixing services provided by Clean Cuts at Three Seas, Inc.

John J. Miller is joined by Adam Carrington of Hillsdale College to discuss William Shakespeare's 'Titus Andronicus.'