September marks the new Broadway musical season and the opening of fledgling shows like Natasha, Pierre and the Great Comet of 1812 and familiar revivals like Cats.
Reflective practice has the capability to facilitate deeper experiential understanding to enhance performance. It can release the dancer from the traditional ‘watch and repeat’ mode of dance training. Reflective practice and experiential learning is the crux of the process utilized in the Functional Awareness®: Anatomy in Action approach to somatic movement training.
Just as there were no real women on Shakespeare’s stage, there were no Jews, Africans, Muslims, or Hispanics either. Even Harold Bloom, who praises Shakespeare as ‘the greatest Western poet’ in The Western Canon, and who rages against academic political correctness, regards The Merchant of Venice as antisemitic. In 2014 the satirist Jon Stewart responded to Shakespeare’s ‘stereotypically, grotesquely greedy Jewish money lender’ more bluntly.
Fools, or jesters, would have been known by many of those in Shakespeare’s contemporary audience, as they were often kept by the royal court, and some rich households, to act as entertainers. They were male, as were the actors, and would wear flamboyant clothing and carry a ‘bauble’ or carved stick, to use in their jokes.
The latest film adaptation of the story of fictional Jewish noble Judah Ben-Hur is premiering in theaters today. You’ve probably seen the 1959 film version starring Charlton Heston, but do you know about the story’s rich history and impact over the last 136 years?
In many forms of dance the breath support for movement is not an integral part of training. It is not perceived to be important in the same manner that stretching, strengthening, and balance warrant focus. Little coaching and training time addresses breath support in most Western dance forms. We propose breath support is at the heart of expressivity and artistry in movement phrasing.
Shakespeare has inspired countless and varied performances, works of art and pieces of writing. He has also inspired music. In this 400th year since Shakespeare’s death we asked five composers ‘how did you approach setting the Shakespeare text you chose for your recent work?’
It is probable that Shakespeare observed, or at least heard about, many natural phenomena that occurred during his time, which may have influenced the many references to nature and science that he makes in his work. Although he was very young at the time, he may have witnessed the blazing Stella Nova in 1572.
It is a commonplace to say that, in Renaissance England, music was everywhere. Yet, however true the statement is, it obscures the fact that music existed in many different forms, with very different functions and very different meanings.
Like many Elizabethan gentlemen who had business in London but family in the provinces, Shakespeare would have spent a considerable amount of time on horseback. Few of his contemporaries, however, had Shakespeare’s talent for turning the vexations of travel into deathless verse. Sonnet 50 recounts a trip on horseback in which the poet’s reluctance to leave his beloved makes him keenly conscious of his body as a burden that increases the animal’s suffering: “The beast that bears me, tired with my woe, / Plods dully on to bear that weight in me”. According to Galenic medicine, black bile, or melancholy, was considered the heaviest of the four bodily humors.
Shakespeare’s characters can often appear far-removed from our modern day world of YouTube, Beyoncé and grime. Yet they were certainly no less interested in music than we are now, with music considered to be at the heart of Shakespeare’s artistic vision. Of course our offerings have come a long way since Shakespeare’s day, but we think it is a shame that they never had a chance to hear the musical delights of Katy Perry or Slipknot.
Music at that time was special— magical even— and its effect would have been diminished by constant presence even if that were possible for the musicians, which it was not. David Lindley, indeed, points out that, in contrast to the modern use of filmic underscoring, music in Shakespearean theatre was ‘always part of the world of the play itself, heard and responded to by the characters on- stage’.
Over the past few years, Britain has commemorated Shakespeare’s life, works, and death in parallel with an extensive remembrance of the First World War and those who served in it. The elision of Shakespeare’s work with this particular conflict is not a new trend: 100 years ago, similar celebrations of Shakespeare were occurring in the midst of wartime, and both Britain and Germany were employing his image and plays for propaganda and recruitment purposes.
How do you make fairytales into realism? Everyone agrees that doing this work means supplying them with material forms. This is not, however, a novelist’s novelty. Shakespeare’s fairies are small plant flowers and seeds, and his monster knows how to dig pignuts.
Psalm 137 begins with one of the more lyrical lines in the Hebrew Bible: “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” It ends eight lines later with one of the thorniest: “Happy shall he be, who taketh and dasheth thy little ones against the stones.” Partly because it deals with music—another famous verse asks, “How shall we sing the Lord’s song in a strange land?”—the psalm has been like poetic catnip, a siren song luring musicians and composers.
Since he was born a year after the Witchcraft and Conjuration Act of 1563 brought about the era of the witch trials in England, it is hardly a surprise that witches and witchcraft would come to feature in Shakespeare’s work.