In the Name of the Father

Last month, we took a look at parenting in Titus Andronicus, so this month let’s do it again with some random thoughts on fatherhood in The Taming of the Shrew.
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Comedy of the Artists

Since one of the DVD versions of The Taming of the Shrew that I’ll be reviewing as part of this week’s podcast takes much of its visual style from commedia dell’arte, I figure now is as good a time as any to do a little regurgitation of dramatic data:
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It’s Contest Time Again!

OK, so you’re a director… and you’re about to mount a production of The Taming of the Shrew (or it could be a movie version)…

who would be your dream cast?

why?

 

And, why, gentle reader, why should you do this???
a free Bill / Shakespeare Project tee-shirt to the best/most original/most well-reasoned casting director

That’s why!

Enter by commenting to this blog entry.  Contest entries due before 12 Noon (Pacific) on Thursday, August 24.  I’ll announce the winner in the last podcast of the month (Sunday, August 27).

Good luck!

Bawdy, Body, Who’s got the Bawdy?

Back in my first experience with Shakespeare, I was lucky enough to have as my guide, Bill Lindquist, a fearless teacher who was more than willing to go that extra unexpurgated mile for us students and show the bawdiness behind the Bard.  So if last month’s play came down on the bloody side of the “sex and violence” equation, then The Taming of the Shrew definitely falls (or maybe that’s “stands up”) under the sticky sweet side.
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Disguises

Unlike a play like The Comedy of Errors, The Taming of the Shrew deals not with unintentional mistaken identity, but rather very intentional mistaken identity.
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Ovid: Bowm-Chicka-BowWah

Last month, we discussed the use of references to the Roman poet Ovid (and mostly to his Metamorphosis) in Titus Andronicus… we also mentioned near the end of the month that Shakespeare would be using more Ovid later in his career.  I mentioned a couple of plays where the references were obvious, but didn’t know at the time that The Taming of the Shrew would have its share of Ovid-ian (not a word I’m sure) focal points.
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Podcast 11: The Taming of the Shrew Intro and Overview

This week’s podcast includes an introduction to The Taming of the Shrew, a not-so brief synopsis, a discussion of the Induction (and thereby the play’s versions), and a review of this week’s blog topics.  Also, our monthly casting contest.
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Poetry/Verse (I’m not so sure about this play, Part Three — The Not-So Thrilling Conclusion)

A couple of days back, when we were discussing the Induction of The Taming of the Shrew, I used the term Bard-olaters, saying it was someone who was such a Bard-ophile that he cannot believe that Shakespeare can do wrong (or poorly).
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Rhyming (I’m not so sure about this play, Part Two)

In The Taming of the Shrew, nearly 4% of all lines (nearly 5% of poetic lines) are part of rhyming couplets.  Now this is MUCH less than our first comedy (The Comedy of Errors which had over 20% rhymed couplets of all lines, 23% of all poetic lines), and while it’s expected to have more rhymed lines than our first tragedy (Titus Andronicus), it’s surprising that it has so fewer more rhyming couplets than last month’s play (which had just under 2.5% of both total and poetic lines).
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Prose (I’m not so sure about this play, Part One)

There’s quite a bit of prose in The Taming of the Shrew… almost 21% of the play (even if you removed the Sly framing device, the percentage of prose goes down only .14%, with the total still rounded up to 21%).  This is nearly twice as much prose as was employed in The Comedy of Errors.
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