Shakespeare For All
Books & Literature
Shakespeare For All is an engaging, accessible introduction to the life and work of William Shakespeare, featuring world-class scholars and performers. You’ll learn who Shakespeare was and what historical events shaped his writing. You’ll be guided through his most popular poems and plays by leading scholars, actors, and interpreters of Shakespeare. And you’ll find the tools you need to become an interpreter of Shakespeare yourself and join in the ongoing global discussion his works have inspired. The first course offers a tour through Shakespeare’s moment in history and his life. You’ll also discover strategies for understanding Shakespeare’s stories, characters, and language across his plays. At the heart of the series are courses on Shakespeare’s most thought-provoking and beloved plays. Each begins with a detailed summary of the story. Then, a top Shakespeare scholar takes you on a deep dive into the play’s characters, language, and most important questions. Finally, you’ll hear Shakespeare’s language come to life, with original performances from professional Shakespearean actors. Shakespeare For All also features a course on Shakespeare's sonnets -- his sequence of 154 short poems that explore revolutionary new directions within the conventional poetry of love -- and a bonus course on Game of Thrones and Shakespeare, “The Wooden O and the Iron Throne." Except where otherwise noted, the texts used for this course are from Shakespeare’s Plays, Sonnets and Poems, from The Folger Shakespeare, ed. Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Folger Shakespeare Library. Shakespeare For All is a Lyceum original production. Team: Zachary Davis (Executive Producer) Zachary Davis is the president of Lyceum and host of Ministry of Ideas and Writ Large. He has a graduate degree from Harvard Divinity School and is the founder and organizer of the Sound Education conference. Jemma Deer (Associate Producer and Narrator) Jemma Deer is a Researcher in Residence at the Rachel Carson Center for Environment and Society, currently working on a book on extinction. She also hosts and produces EcoCast, the official podcast of the Association for the Study of Literature and Environment (ASLE). Maria Devlin McNair (Course Creator and Managing Producer) Maria Devlin McNair received her PhD from Harvard University in English literature with a specialization in Shakespeare and Renaissance Drama. She is a writer and Managing Producer for the Harvard Divinity School podcast Ministry of Ideas. She is currently developing a book project on ethics and Renaissance comedy. Jack Pombriant (Composer and Sound Designer) Jack Pombriant is the associate producer of Writ Large. He received his BM from Berklee College of Music, where he studied music composition and production. He is also a graduate of the Salt Institute for Documentary Studies, where he studied radio and podcast production.
Location:
United States
Description:
Shakespeare For All is an engaging, accessible introduction to the life and work of William Shakespeare, featuring world-class scholars and performers. You’ll learn who Shakespeare was and what historical events shaped his writing. You’ll be guided through his most popular poems and plays by leading scholars, actors, and interpreters of Shakespeare. And you’ll find the tools you need to become an interpreter of Shakespeare yourself and join in the ongoing global discussion his works have inspired. The first course offers a tour through Shakespeare’s moment in history and his life. You’ll also discover strategies for understanding Shakespeare’s stories, characters, and language across his plays. At the heart of the series are courses on Shakespeare’s most thought-provoking and beloved plays. Each begins with a detailed summary of the story. Then, a top Shakespeare scholar takes you on a deep dive into the play’s characters, language, and most important questions. Finally, you’ll hear Shakespeare’s language come to life, with original performances from professional Shakespearean actors. Shakespeare For All also features a course on Shakespeare's sonnets -- his sequence of 154 short poems that explore revolutionary new directions within the conventional poetry of love -- and a bonus course on Game of Thrones and Shakespeare, “The Wooden O and the Iron Throne." Except where otherwise noted, the texts used for this course are from Shakespeare’s Plays, Sonnets and Poems, from The Folger Shakespeare, ed. Barbara Mowat, Paul Werstine, Michael Poston, and Rebecca Niles. Folger Shakespeare Library. Shakespeare For All is a Lyceum original production. Team: Zachary Davis (Executive Producer) Zachary Davis is the president of Lyceum and host of Ministry of Ideas and Writ Large. He has a graduate degree from Harvard Divinity School and is the founder and organizer of the Sound Education conference. Jemma Deer (Associate Producer and Narrator) Jemma Deer is a Researcher in Residence at the Rachel Carson Center for Environment and Society, currently working on a book on extinction. She also hosts and produces EcoCast, the official podcast of the Association for the Study of Literature and Environment (ASLE). Maria Devlin McNair (Course Creator and Managing Producer) Maria Devlin McNair received her PhD from Harvard University in English literature with a specialization in Shakespeare and Renaissance Drama. She is a writer and Managing Producer for the Harvard Divinity School podcast Ministry of Ideas. She is currently developing a book project on ethics and Renaissance comedy. Jack Pombriant (Composer and Sound Designer) Jack Pombriant is the associate producer of Writ Large. He received his BM from Berklee College of Music, where he studied music composition and production. He is also a graduate of the Salt Institute for Documentary Studies, where he studied radio and podcast production.
Language:
English
Episodes
Antony and Cleopatra Part 3 - The Language
7/28/2022
Part 3 features close-readings of three key scenes in which Antony and Cleopatra articulate their cosmic self-conceptions in language so transcendent that it helps transform their vision into reality. Speeches and Performers: Enobarbus, Act 2, “The barge she sat in …” (Andrew Woddall) Antony, Act 4, “I will o’ertake thee, Cleopatra …” (Scott Ripley) Cleopatra, Act 5, “I dreamt there was an emperor Antony … ” (Dame Harriet Walter and Dame Janet Suzman)
Duration:00:35:03
Antony and Cleopatra Part 2 - The Language
7/28/2022
Part 2 explores the play’s varied and conflicting perspectives on its leading characters. From the Roman point of view, Antony and Cleopatra are figures who fall from greatness, and their story is a tragedy or even, at times, farce; but from other points of view, Antony and Cleopatra represent a kind of success that could scarcely be achieved or even conceived of in Rome. The episode analyzes the play’s characters, language, and mythic archetypes to ask how the play makes so many viewpoints compelling, and where these competing perspectives leave the audience when the play comes to its end.
Duration:00:27:18
Antony and Cleopatra Part 1 - The Story
7/28/2022
Antony and Cleopatra, the last of Shakespeare’s Roman plays, is an epic story that begins with the material of politics and history but expands into the realm of romance, poetry, and myth. Following the events of Julius Caesar – Caesar’s assassination and the triumph of Mark Antony and Octavius Caesar in the resulting civil wars – Antony and Caesar are now joint rulers of Roman Empire. But Antony has left behind Rome and his imperial duties to be with his beloved Cleopatra, the captivating queen of Egypt. Personal and political rivalries bring Antony and Cleopatra to war with Caesar, in a conflict in which “the greater cantle of the world” is at stake. In the end, the lovers are forced out of the field of politics, but enter the space of legend. In this course, you’ll learn the story of Antony and Cleopatra, study two of the most monumental personalities that Shakespeare ever created, and discover how these characters descend into and transcend tragedy In Part 1, you’ll be guided through a detailed account of the story with commentary by Joyce MacDonald, Professor of English at the University of Kentucky. This episode includes key background and context for the play’s historical source material. The summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:26:20
Titus Andronicus Part 3 - The Language
7/28/2022
Part 3 features close-readings of several significant scenes that show how religion, race, and literary tradition function within the violent world of Titus Andronicus and sometimes provoke that violence. Speeches and Performers: Titus, Marcus, and Publius, Act 4, “Terras Astraea reliquit …” (Jonathan Oliver) Aaron, Lucius, and the Goths, Act 5, “And if it please thee? …” (Yolanda Ovide) Tamora, Titus, Chiron, Demetrius, Act 5, “If thou didst know me … ” (Tiffany Abercrombie)
Duration:00:40:59
Titus Andronicus Part 2 - The Characters
7/28/2022
Part 2 opens with a discussion of the place of Rome in Renaissance culture. It then analyzes the Roman classical sources – sources his audience knew well – that Shakespeare uses to construct his plot, and how Shakespeare’s use of those sources calls their moral values into question. It goes on to discuss the elements of the play that have generated most shock and revulsion – the graphic violence, the irreverent dark humor – and how they relate to the very purpose of theatre.
Duration:00:27:28
Titus Andronicus Part 1 - The Story
7/28/2022
Shakespeare wrote numerous plays and poems engaged with ancient Roman history. Shakespeare’s Renaissance culture had ancient Rome as its foundation stone. Roman language and literature were at the heart of English Renaissance education, and Rome was held up as a model for English civilization. But in Titus Andronicus, the earliest of his Roman works, Shakespeare crafts a bloody tale of violence and revenge that subjects this entire cultural edifice to searing critique. Are the violence and moral vacuums of this play a perversion of Roman values, or are they a central part of the classical tradition? In this course, you’ll learn the story and historical context behind Titus Andronicus, discover the classical sources that structure this play, and see how the play’s most controversial elements pose a serious question about the purpose of tragedy. In Part 1, you’ll be guided through a detailed account of the story with commentary by Russ Leo, Associate Professor of English at Princeton University. This episode introduces the key historical, political, and literary contexts that shape the play’s questions and themes. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:26:47
Cymbeline Part 3 - The Language
7/28/2022
Part 3 features close-readings of three key speeches that reflect together the central structuring element of the story: how characters fall in order to rise. Speeches and Performers: Iachimo, Act 2, “The crickets sing …” (Mark Quartley and Donald Sumpter) Imogen, Act 3, “Why, I must die…” (Gabrielle Sheppard) Posthumus, Act 5, “Yea, bloody cloth…” (Stuart Vincent)
Duration:00:37:52
Cymbeline Part 2 - The Characters
7/28/2022
Part 2 begins with a discussion of the sexual violence and jealousy depicted in the play. It goes on to examine how the play’s sprawling romance plot represents, in symbolic but recognizable form, origin stories for some significant historical phenomena: Britain’s own monarchy, the Renaissance culture of Europe, and what would have been for Shakespeare’s audience the central event of world history: the birth of Christ. It concludes by discussing how these historical forces shape the unexpected moments of spiritual vision, repentance, and peace that conclude the play, and why the play’s particular vision of communities coexisting might be its most powerful legacy for the 21st century.
Duration:00:26:05
Cymbeline Part 1 - The Story
7/28/2022
Cymbeline is an epic romance that spans British history, the Roman Empire, religious epochs, and the central themes of Shakespeare’s career. Set in ancient Britain at the time of Augustus Caesar’s reign, it begins with two plotlines that in other of Shakespeare’s plays lead to tragedy: an enraged king disowns a beloved daughter, and a faithful wife is accused of betrayal by a jealous husband. In Cymbeline, however, the generic conventions of tragicomedy, symbolic sites from Britain’s past, and a time-setting that contains a transformational spiritual event, combine to bring unexpected recovery and renewal out of these tragic beginnings. In this course, you’ll learn the story of Cymbeline, see how Shakespeare brings its characters toward unexpected moral change, and discover how this fantastical play represents the origins of some of the most significant shaping forces in his historical world and ours. In Part 1, you’ll be guided through a detailed account of the story with commentary by Will Tosh, Head of Research at Shakespeare’s Globe, London. This episode discusses the structure, settings, and sources of the play and recounts the story using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:25:24
All's Well That Ends Well Part 3 - The Language
7/28/2022
Part 3 features close-readings of three key speeches from Helen that reveal her own mingled virtues and flaws and the “remedies” she hopes to find. Speeches and Performers: Helen, Act 1, “O, were that all! …” (Amanda Harris) Helen, Act 1, “Our remedies oft in ourselves do lie …” (Maya Smoot) Helen, Acts 3 and 4, “Why then tonight … Yet, I pray you …” (Amanda Harris)
Duration:00:25:27
All's Well That Ends Well Part 2 - The Characters
7/28/2022
Part 2 discusses the play’s most significant images, of sickness and death, of medicine, and grace. It asks how these themes are reflected in the complicated relationship between Helen and Bertram, focusing particularly on the deceptive plot that Helen uses to secure him in the “dark house” that becomes a place of mystery and renewal. The episode goes on to discuss the role of darkness in comedy more generally - do tragic events undermine comedy, or make it more meaningful? It concludes by asking how the play’s “mingled” character reflects a Shakespearean perspective on the character of human life: how time reveals and reshapes the meaning of our actions, and in that way, can help us recover.
Duration:00:26:07
All's Well That Ends Well Part 1 - The Story
7/28/2022
All’s Well That Ends Well reverses the usual fairy-tale trope and depicts a young woman on a quest to win a man. Helen, an extraordinary character with elements of the modern professional and the medieval saint, sets out to secure Bertram, a nobleman, for her husband. But the fairy tale plot is further reversed when Helen appears to win Bertram, only to have him flee from her. Helen embarks on a second quest to win him for a second time, with a plot that deceives Bertram but may also help cure him. This ambiguous but moving comedy asks how marriage is made real, how we can heal from our mistakes, and what it means to end well. In this course, you’ll learn the story and context of All’s Well That Ends Well, explore its questions around cure and care, and discover how this play reflects Shakespeare’s search for a dramatic form that captures the complex, “mingled” form of the good and ill in human life. In Part 1, you’ll be guided through a detailed account of the story with commentary by Julia Lupton, Professor of English at the University of California, Irvine. This episode introduces the historical, religious, and literary contexts that shape this play, which combines modern, progressive political dimensions, elements of myth and folklore, and spiritual notions of grace. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:25:44
Love's Labours Lost Part 3 - The Langauge
7/28/2022
Part 3 features close-readings of three key speeches from Berowne, the most reflective of the lords. Taken from the beginning, middle, and end of the play, these speeches chart his imperfect but growing awareness of ideals beyond the “fame” that comes from study. Speeches and Performers: Berowne, Act 1, “I can but say their protestation over …” (Esmonde Cole) Berowne, Act 4, “Consider what you first did swear unto …” (Esmonde Cole) Berowne, Act 5, ““Taffeta phrases, silken terms precise …” (Esmonde Cole)
Duration:00:24:04
Love's Labours Lost Part 2 - The Characters
7/28/2022
Part 2 discusses both the play’s humor and its serious engagement with Renaissance culture, especially the humanist-style program of education that the lords pursue. This Renaissance model inspired many of the educational programs we continue today, but as the episode discusses, the play questions what goals lie behind the Renaissance ideal: does it pursue sympathy, knowledge, or power? The episode also charts the male characters’ moral failures and growth, and how the play treats marriage more seriously than many comedies do by refusing to end with marriage.
Duration:00:23:59
Love's Labours Lost Part 1 - The Story
7/28/2022
Love’s Labours Lost is one of Shakespeare’s funniest comedies and at the same time one of his most morally serious. The King of Navarre and three of his lords vow to spend three rigorous years studying and fasting – and isolating themselves from women. But no sooner are the vows made than four noblewomen of France turn up and tempt the men to break their vows. The comedy combines rhetorical fireworks and farcical stage-action – not to mention numerous reluctant revelations of love – that keep us laughing and prime us for a classic romantic-comedy ending. But a surprise twist in the final scene upends our expectations and drives home the play’s serious questions: what is the purpose of education? And how does one earn another’s love? In this course, you’ll learn the story of Love’s Labours Lost, see how it engages with key cultural issues of Shakespeare’s day, and ends as thoughtfully as it does unconventionally. In Part 1, you’ll be guided through a detailed account of the story with commentary by Gordon Teskey, Francis Lee Higginson Professor of English Literature at Harvard University. Many critics claim that Love’s Labours Lost is too difficult for modern readers to understand and enjoy, but here you’ll be guided on how to approach this play and on the kind of pleasures it offers. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:23:20
Coriolanus Part 3 - The Language
7/28/2022
Part 3 features close-readings of four key speeches and scenes that set out the play’s central dilemma, as they speak for a cooperative political community and the elite warrior ideal that Coriolanus is meant to embody. Speeches and Performers: Menenius, citizens, and Martius, Act 1, “I shall tell you a pretty tale …” (David Collins) Volumnia and Virgilia, Act 1, “If my son were my husband…” (Joyce Branagh) Coriolanus, Act 3, “Well, I must do ‘t…” (Keith Hamilton Cobb) Cominius and Menenius, Act 4, “He is their god …” (David Collins)
Duration:00:33:19
Coriolanus Part 2 - The Characters
7/28/2022
Part 2 begins with a discussion of those political questions – who should have power in a political community? Is power a right or a reward? – and how they are reflected in the play’s imagery. It goes on to explore the paradoxes within the values of Rome and how Coriolanus reveals and struggles with those paradoxes. It concludes by examining the surprising choices that Coriolanus makes at the play’s end to ask whether those choices reflect Coriolanus’s attachment to his inherited Roman values, or an ability to change – to metamorphose.
Duration:00:24:44
Coriolanus Part 1 - The Story
7/28/2022
The culmination of Shakespeare’s career writing Roman history plays and plays of war, Coriolanus is a searing, relentless story about what happens when a culture gets what it wants. Coriolanus is the elite soldier who’s been shaped by his mother and by his Roman culture to value military service, valor, and honor above all else. But when he’s rejected by the people he’s defended – and scorned – Coriolanus turns his Roman valor against Rome. In this course, you’ll learn the story and context of Coriolanus, explore the perennial political questions the play raises, and grapple with the fierce, implacable character of Coriolanus himself, to ask if this “unswayable” man ever changes, and how. In Part 1, you’ll be guided through a detailed account of the story with commentary by Philip Lorenz, Professor of English at Cornell University. You’ll learn key context behind the play, from the source story of the historical Coriolanus to events in Shakespeare’s own day, that will clarify the political questions that the play works to highlight. This summary is told using the language of the play itself, placing key quotations in context to help you understand where these lines come from and what they mean.
Duration:00:22:24
Measure For Measure Part 2 - The Characters
7/28/2022
Part 2 begins with the dark patterns of imagery in the play to examine the play’s close proximity to tragedy. It goes on, however, to discuss how the lead characters of Isabella and the Duke function as political protestors or activists undertaking a quest for social reform. This episode culminates in an analysis of how the play adopts a “transcendental perspective,” one that steps outside the human political realm in order to perceive new solutions to its problems, and how that transcendental perspective is enacted in the play’s stunning final scene, which devises new, more life-giving ways of meting out mercy and justice and of redressing crimes “measure for measure.”
Duration:00:26:39
Measure For Measure Part 3 - The Language
7/28/2022
Part 3 features actors’ renditions of two key scenes from the play between Isabella and Angelo, the seemingly virtuous but hypocritical governor, with commentary that tracks how the characters commit themselves in these scenes to integrity or evil. Speeches and Performers: Isabella and Angelo, Act 2, “You’re welcome. What’s your will? ...” and “How now, fair maid? …” (Juliet Stevenson) Angelo, Act 2, “What’s this? What’s this? …” (Paterson Joseph) Claudio, Act 3, “Ay, but to die …” (Dame Harriet Walter)
Duration:00:38:56