WIL Festival 5.1: “The Taming of the Shrew”

¶ Staging a performance of William Shakespeare’s “The Taming of the Shrew” means managing ethics of conscription and of resistance. The role of Kate is appealing to many because she offers a full-throated and resistant character that third-wave Feminisms connect to, can conscript and inhabit. That is, until the last act and the infamous speech where she encourages the other brides, like herself, to put their hand under their husbands’ feet. How can a production recover Kate from being flattened by what we would now label as Stockholm Syndrome? Need we?

From left: Jessica Hirschhorn (Katherina), and Michael C. Jordan (Patruchio).

Continue reading “WIL Festival 5.1: “The Taming of the Shrew””

WIL Festival 3.2: “The Tempest”

 “The Tempest” is a play concerned with books and authority. Caliban has a great deal of anxiety about books especially, arguing that they are the root of Prospero’s power:

Why, as I told thee, ’tis a custom with him,
I’ th’ afternoon to sleep: there thou mayst brain him,
Having first seized his books, or with a log
Batter his skull, or paunch him with a stake,
Or cut his wezand with thy knife. Remember
First to possess his books; for without them
He’s but a sot, as I am, nor hath not
One spirit to command: they all do hate him
As rootedly as I. Burn but his books.

And where exactly did Prospero get his books? You might say that the conflict of the play is the elderly Gonzalo’s fault, who, when helping Prospero and Miranda escape the coup,

Out of his charity, being then appointed
Master of this design, did give us, with
Rich garments, linens, stuffs and necessaries,
Which since have steaded much; so, of his gentleness,
Knowing I loved my books, he furnish’d me
From mine own library with volumes that
I prize above my dukedom.

By the end of the play, Prospero connects the dismissal of his books and end of his powers—saying,

I’ll break my staff,
Bury it certain fathoms in the earth,
And deeper than did ever plummet sound
I’ll drown my book.

—with his own death. Having discarded these, married his daughter well, he plans his return to Milan, “where every third thought shall be [his] grave.” Like the play, the ways in which we talk about the relationship between William Shakespeare’s plays and their printing has much to do with managing narratives about death and books.

Brian Allard (Prospero).

Continue reading “WIL Festival 3.2: “The Tempest””