As You Like It… a flashback

As You Like It.

Four years ago,  I was just returning from a three-year break from the Project. And the first play to get a discussion at that point was As You Like It.

And I’ve been thinking about that play a little lately.

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Podcast 83: As You Like It: an Overview, a Cast, a Direction, and a Wrap-Up

This week’s podcast concludes our two month-long discussion of As You Like It, with a general wrap-up and a directorial concept and a cast. Then we’ll talk about a new partner and look forward to the next play.

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As You Like It: Midpoint

Using Professor Rodes’ midpoint theory, let’s take a look at As You Like It.

There are 2678 lines in in the play, which means the midpoint is at line 1339, or at Act Three, Scene Two, line 213. This is the scene where everything regarding the Rosalind/Orlando relationship (and I mean just about EVERYthing) starts to come together: Orlando begins to hang poetry, Rosalind finds poetry, Celia finds more than poetry, and Orlando finds Ganymede.

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A Dip Into the Concordance

As I’ve mentioned in our “(the not-so-digital) Tools of the Trade” (and by its inclusion in the persistent left-hand navigation), I love OpenSource Shakespeare and their tools, especially their concordance.

What’s a concordance? It’s an exhaustive listing of the uses of any word within a given body of work. So… let’s say you need to know how many times the word “hand” is used in Titus? A concordance is where you find it.

Or in the case of As You Like It, I wanted to know how a handful of words were used, especially in comparison to their use in other plays…

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Speech Study: the Epilogue

As we near the end of our two-month discussion of As You Like It, let’s take a look at the end of the play–in particular, the epilogue to the play.

It is not the fashion to see the lady the epilogue; but it is no more unhandsome than to see the lord the prologue. If it be true that good wine needs no bush, ’tis true that a good play needs no epilogue; yet to good wine they do use good bushes, and good plays prove the better by the help of good epilogues. What a case am I in then, that am neither a good epilogue nor cannot insinuate with you in the behalf of a good play! I am not furnished like a beggar, therefore to beg will not become me: my way is to conjure you; and I’ll begin with the women. I charge you, O women, for the love you bear to men, to like as much of this play as please you: and I charge you, O men, for the love you bear to women–as I perceive by your simpering, none of you hates them–that between you and the women the play may please. If I were a woman I would kiss as many of you as had beards that pleased me, complexions that liked me and breaths that I defied not: and, I am sure, as many as have good beards or good faces or sweet breaths will, for my kind offer, when I make curtsy, bid me farewell.

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Cruel (and not to be kind)

I’m trying to think of a more sincere cruelty displayed by a protagonist in a play thus far than what is displayed by Rosalind toward Phebe in Act Three, Scene Five of As You Like It.

And I cannot.

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A Podcast Postponed

Greetings, all.

I’ve been running the regular Bill/Shakespeare Project podcasts every two weeks since we relaunched the site back in June.

This week, however, I’m going to postpone the last of the As You Like It podcasts to next week, to better cover and wrap up the play.

That being said, longtime listeners know that the last podcast of any play usually includes a directorial concept and a cast. Next week will be no different. However… if you would like to be included (with a verbal shout-out in the podcast) send me your concept/casting–it doesn’t have to be a full cast, it could just be a single character.

To get your ideas to me,  you can either use the comment area below, or the Contact form, or you can tweet your idea to @walthall and use the hashtag #AYLIconcept. But you need to do this relatively quickly… I’ll probably record the podcast on Friday, so try to get it to me by Thursday night.

I hope to hear from you.

Role Reduction

If the heroine of As You Like It is Rosalind, then her confidante and travelling companion is Celia. Rosalind’s counterpart, at least in love, is Orlando, and his confidante and travelling companion is Adam.

Now, we’re about a week away from discussing (at the end of our exploration of the play) the David Rodes “midpoint theory,” but humor me for a minute or two…

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