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plays","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=156.71,160.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/59","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as one might have seen them in the club theater.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=160.07,162.663"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/60","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Our speaker tonight will address that subject","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=163.64,166.045"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/61","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and his topic is Shakespeare in his own Playhouse,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=166.045,170.071"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/62","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the conditions for performance","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=170.071,172.32"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/63","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and their influence on Shakespeare's life.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=172.32,175.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/64","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Professor Ronald Watkins","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=175.16,177.042"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/65","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(congregation claps)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=177.042,180.125"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/66","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e Speaker 2:\u003c/strong\u003e Thank you Dr. Haggard","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=186.093,187.764"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/67","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for your very kind welcome","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=187.764,189.67"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/68","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and all of you for being here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=189.67,192.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/69","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If you are a wandering minstrel","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=192.12,194.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/70","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or a Sterling player,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=194.46,195.53"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/71","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"such as I are you never quite know","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=195.53,197.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/72","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"how you are going to be received.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=197.07,198.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/73","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I was once introduced to a platform at Stratford upon Avon","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=198.54,202.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/74","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as an I quote that dangerous person,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=202.87,206.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/75","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"a man with a mission.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=206.01,207.93"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/76","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it is true\n(congregation 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tough","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=218.63,221.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/83","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and hard to swallow.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=221.49,222.793"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/84","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The doctrine I am here to preach is a simple one","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=223.79,226.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/85","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and being both radical and reactionary,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=226.98,229.79"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/86","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it is as I say unpopular,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=229.79,231.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/87","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"briefly it is this that to understand","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=231.85,234.62"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/88","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and appreciate Shakespeare's plays to the full","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=234.62,237.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/89","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we must present them","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=237.54,238.45"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/90","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or if we can't do that, imagine 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designers","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=244.01,248.72"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/93","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"no with the lighting experts,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=248.72,251.44"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/94","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"no altogether with the ladies","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=251.44,253.27"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/95","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for the very understandable reason that it threatens","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=253.27,255.86"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/96","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"this is a threat only","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=255.86,257.09"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/97","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"not a very serious one either","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=257.09,258.51"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/98","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to exclude them","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=258.51,259.343"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/99","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"from the delights of Shakespearian production.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=259.343,262.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/100","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is unpopular with most actors to","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=262.19,265.055"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/101","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and this is likewise understandable because it suggests","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=265.055,268.134"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/102","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that they must learn a new approach to their 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mine","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=649.29,650.57"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/243","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"then as a practical suggestion","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=650.57,652.52"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/244","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for rebuilding that Playhouse in the 20th century","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=652.52,656.46"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/245","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"though, of course there's plenty of room here.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=656.46,658.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/246","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And let me confess I have never in all these 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star","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=671.48,673.5"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/251","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the globe might rise again.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=673.5,676.28"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/252","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But meanwhile, let us not be afraid to entertain 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one,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=702.8,705.02"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/263","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"whether polygon, octagon or circle","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=705.02,707.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/264","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"it was round a wooden 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Arden","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3516.397,3518.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1360","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"says resident","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3518.65,3519.65"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1361","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and we take her at her 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elsewhere.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3549.444,3554.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1376","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A clear illustration of this could be seen","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3554.07,3556.24"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1377","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in the passage of Julius 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drama","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3566.5,3569.63"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1382","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but the poor camera man is kicking his heels.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3569.63,3572.36"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1383","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Once upon a row and just today","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3572.36,3574.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1384","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"says Cassius,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3574.77,3575.603"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1385","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the trouble Tiber chafing with our shores.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3575.603,3577.483"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1386","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And we are shown some interesting","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3577.483,3580.01"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1387","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but at this moment quite irrelevant architectural 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torrent","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3590.58,3592.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1392","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of the river with lusty sinews","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3592.87,3594.85"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1393","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and hearing sees that cry helped me Cassius","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3594.85,3597.07"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1394","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or I sink.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3597.07,3598.125"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1395","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But instead of that, we sense the boredom of the camera man","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3598.125,3601.81"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1396","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"who fidgets like an inattentive school boy","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3601.81,3604.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1397","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"when the speeches are too protracted.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3604.29,3606.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1398","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"The real moving picture of the race","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3606.8,3609.45"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1399","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the swollen Tibor would take too long","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3609.45,3611.896"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1400","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and greatly add to the expense of the film.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3611.896,3614.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1401","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(congregation laughs)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3614.8,3615.743"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1402","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But in fact","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3615.743,3616.778"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1403","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the boredom of the camera man","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3616.778,3619.164"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1404","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"is the symbol of the whole dilemma.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3619.164,3621.802"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1405","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And the conclusion is","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3621.802,3623.587"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1406","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and I hate to say that at the beginning of this week","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3623.587,3626.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1407","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"in Ames,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3626.8,3628.29"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1408","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"my conclusion is that you cannot photograph poetic drama","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3628.29,3632.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1409","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"whose appeal is not mainly through the 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words,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3638.61,3640.21"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1412","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the movements","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3640.21,3641.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1413","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and the gestures of the actors.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3641.12,3643.73"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1414","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This same dilemma exists in portraying","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3643.73,3646.16"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1415","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the familiar soliloquies of Hamlet and Macbeth","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3646.16,3649.34"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1416","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to be or not to be,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3649.34,3651.54"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1417","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to take arms against a sea of 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Lucrece","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3756.15,3759.122"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1462","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"towards his design moves like a ghost.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3759.122,3762.87"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1463","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This masterpiece of horrifying 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which","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3985.288,3987.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1536","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"no traveler returns.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3987.6,3989.163"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1537","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"If the audience don't form the habit of seeing","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3990.51,3993.49"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1538","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"with the mind's eye","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3993.49,3994.91"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1539","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"or then the poet's work is in vain.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3994.91,3997.72"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1540","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Actors and director must somehow induce them to see","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=3997.72,4001.658"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1541","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"work work your thoughts,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4001.658,4003.876"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1542","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and in them see these are Shakespeare's own words.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4003.876,4006.614"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1543","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But the habit once formed,","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4006.614,4009.04"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1544","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"we shall recognize the immense power of Shakespeare's poetry","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4009.04,4012.45"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1545","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"to create dramatic illusion.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4012.45,4014.77"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1546","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And let me tell you my favorite story to prove this.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4014.77,4017.9"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1547","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"A year or two ago in Scotland","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4017.9,4019.74"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1548","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"the performance of King Lear in these conditions","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4019.74,4021.98"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1549","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I've been trying to describe to you","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4021.98,4023.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1550","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and a large part of the audience consisting","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4023.48,4025.48"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1551","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"of quite young schoolchildren.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4025.48,4027.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1552","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"At the beginning of the storm scenes in act three","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4027.71,4030.71"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1553","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"shut up your doors by not will be a storm","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4030.71,4033.6"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1554","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"whose there besides foul weather","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4033.6,4036.76"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1555","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"blow winds and correct your cheeks.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4036.76,4039.343"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1556","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Blow","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4040.57,4041.99"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1557","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And to we last seated in the audience","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4041.99,4044.25"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1558","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"suddenly got up","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4044.25,4045.61"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1559","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"put on their Macintoshes","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4045.61,4047.12"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1560","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"and pulled up the hoods.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4047.12,4048.667"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1561","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(congregation laughs)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4048.667,4051.19"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1562","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It is this kind of experience","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4051.19,4053.935"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1563","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which is not by the way a solitary example","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4053.935,4057.1"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1564","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"which persuades me","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4057.1,4058.21"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1565","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"that Shakespeare could be","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4058.21,4060.35"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1566","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as vividly alive today","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4060.35,4062.03"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1567","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"as he was in his own lifetime.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4062.87,4064.523"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1568","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"(congregation claps)","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4068.54,4071.623"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1569","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e Speaker 3:\u003c/strong\u003e I always feel it's rather a ball","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4103.48,4106.8"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1570","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"for the rest of the congregation","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4106.8,4108.21"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1571","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"if people ask questions from the hall","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4108.21,4110.88"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1572","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"but everybody would like to ask questions privately","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4110.88,4114.657"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1573","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"only to read it to try to answer.","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4114.657,4117.55"},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1574","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"\u003cstrong\u003e Speaker 4:\u003c/strong\u003e Thank you very much","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=4117.55,4118.877"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29140/annotation/1575","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/140/original/AV168007_Shakespere_a.vtt?1623261221","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/029/140/original/AV168007_Shakespere_a.vtt?1623261221"}]},{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29141","type":"AnnotationPage","label":{"en":["AV168007_Shakespere_a.txt [Transcript]"]},"items":[{"id":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922/transcript/29141/annotation/1576","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"- [Speaker 1] Professor Ronald Watkins is a scholar of Beacon College and Kings College Kendra. For more than 30 years he taught classics in English at Herald School where he was also active in the design of Elizabethan stage, and in directing plays of Shakespeare. He has lectured at Stratford upon Avon in London, throughout the United Kingdom and in many other countries. He was on the council of St. George's Elizabethan theater, and as a vice-president of the Shakespeare readings society. In 1965, he was George former lecturer at the University of Colorado. And in a four month tour gave more than 50 lectures at American colleges and universities. Since then, he has made lecture tours in this country in 1969, 1971, 1972, 1974, 1976 and he is back again with us in 1978. Get the sheer amount of work that Professor Watkins continues to do as well as the joy that he brings to that work and the apparent rejuvenation that he draws from it become widely known. I would speculate that the learned world may begin to speculate on the virtue of abandoning their own fields of endeavor and taking up the study of Shakespeare. Professor Watkins has written moon light at the globe which describes the Mozambican performance of a Midsummer Night's Dream and on producing Shakespeare which discusses in detail, the methods he used to develop through his practical experience on the Elizabethan stage. He is also the coauthor with Jeremy Lemon of the series in Shakespeare's Playhouse. He has in addition written articles for such periodicals as theater, drama, the Shakespeare yard dog and the philological court. In May 1976, he received the honorary degree of Doctor of Humane Letters from the University of Colorado. We live in an age, which provides us sometimes with unusual and interesting performances of Shakespeare plays. We have for example Sean Hamill, shuffling about the stage of a South American Banana Republic or a huge sombrero or we are taken into Auschwitz in the Merchant of Venice and find all characters, save one in Nazi uniforms. Such performances may bring us delight and instruction but that same delight, an instruction can also be gained from seeing or hearing about the production of Shakespeare's plays as one might have seen them in the club theater. Our speaker tonight will address that subject and his topic is Shakespeare in his own Playhouse, the conditions for performance and their influence on Shakespeare's life. Professor Ronald Watkins\r\n\r\n- [Speaker 2] Thank you Dr. Haggard for your very kind welcome and all of you for being here. If you are a wandering minstrel or a Sterling player, such as I are you never quite know how you are going to be received. I was once introduced to a platform at Stratford upon Avon as an I quote that dangerous person, a man with a mission. And it is true I have a mission. But missionaries are not usually dangerous, they are just unpopular. Except of course, when it comes to boiling them for dinner and unpopular even then when they prove to be tough and hard to swallow. The doctrine I am here to preach is a simple one and being both radical and reactionary, it is as I say unpopular, briefly it is this that to understand and appreciate Shakespeare's plays to the full we must present them or if we can't do that, imagine them in the conditions for which they were first written. This is not popular with the stage designers no with the lighting experts, no altogether with the ladies for the very understandable reason that it threatens this is a threat only not a very serious one either to exclude them from the delights of Shakespearian production. It is unpopular with most actors to and this is likewise understandable because it suggests that they must learn a new approach to their art. And it is above all unpopular with ambitious directors because it seems to hamper the exercise of the invention. With all this weight of opposition before me let me therefore try to propitiate by limiting by aim. I don't wish to be understood as declaring that Shakespeare's way is the only way to perform Shakespeare. I am only saying that Shakespeare's way as far as my experience goes is the only way in the professional theater that is not tried. And this seems to me to be wrong if you believe as I do firmly, that Shakespeare knew very well what he was about. There should be somewhere in the English speaking world a Playhouse where you can be sure of seeing not those eccentric variations that are the fashion in London and Stratford upon Avon. And as Dr. Haggard has reminded us in the United States too but the thing itself, and I'm sure that half measures are not enough in this crusade. There is a tendency to pay lip service to the idea of Elizabethan-Jacobean production, to speak of fluid action on the Apron stage and speedy continuity against the background of a permanent set specially designed for each new occasion as if these which are set in the desirable features where all that was necessary to restore Elizabethan conditions. And as if any way it is the task of the 20th century director to present Shakespeare in a way more suited to the sophisticated tastes of a modern audience. The cult of the globe it might be thought as had its day has been a passing fad and eccentric fashion of the purists which may not be put back on the shelf where it belongs. But it is because I know from the experience of now more than 30 years, that it is very much more than this. That I have put into words my believe, that this is a practical and simple way of rediscovering measuring by words rediscovering the last stage craft of one of the few great poetic dramatists of western civilization. The last stage craft to rescue Shakespeare's plays from oblivion in the 20th century. This might seem to be an arrogant or at least a quixotic ambition but in one respect, Shakespeare is in limbo. And that respect a Cardinal one, it's known of course that he was a poet of unique accomplishment. It's recognized that on almost every topic of human experience, even in our own sophisticated time he has something memorable to say. And it's generally agreed that as a creator of character studies are fine acting roles, he has no equal. And I suppose that the hardest bit of impresarios has a hunch that this fellow with proper adaptation of course will draw money to the box office, but that he knew how to make a play, that he knew better than any of his contemporaries, his predecessors, and his successors how to create the material of poetic drama. This neither the professional, whether director or critic seems to understand nor his dupe the uncritical playgoer or reader to believe. My purpose is therefore as I've said a missionary one to denounce the wanton and ignorant perversity of the priesthood, and to try to satisfy the yearnings of the would be faithful those hungry sheep who look up and are not fed but the first problem of missionaries is to persuade men of the need for conversion. Here then in plain terms is the abomination in our midst. The plays that Shakespeare made have not been publicly performed since the closing of the playhouses in 1642. Today, neither at Stratford upon Avon the poet's native place, nor in London the scene of his active life in the Playhouse, is it possible to taste his quality. His fellow countrymen do not know his greatness and visitors from overseas who come on pilgrimage from the ends of the earth to sample the essential genius of Shakespeare are sent away, baffled, bewildered, disappointed in attempt to find this, or what is worse to me tricked into thinking that they have seen the truth. The truth is that there is a fundamental difference of medium between Shakespeare's theater and our own. This fundamental difference can be quite simply stated. The Elizabethan Playhouse depended for its dramatic effect upon the creative power of the spoken word. Our theater of today for the most part it does not. We will be debtor of the Greeks with its traditional austerity of setting on the hillside bread poetic drama of universal theme meant cosmic expression that the Elizabethan Playhouse likewise bred poetic drama but it's greater intimacy which was due to its confinement within that wooden hall could house the particular as well as the universal, the domestic, no less than the cosmic. What was common to both Greek and Elizabethan? And what is lacking in the theater of today was a permanent familiar setting for the speech and action of the players though we cannot be certain of their form to the London of 1600. The features of the stage and starting house were so familiar that they could be ignored at the will of the Dramatists or else used by him for the setting of some episode in his drama, that it was the spoken word that controlled what Shakespeare's audience saw, the words contained and created the drama. So I would like in this lecture to present to you an impression of those first performances in Shakespeare's Playhouse. More as an exercise of our combined imagination, yours and mine then as a practical suggestion for rebuilding that Playhouse in the 20th century though, of course there's plenty of room here. And let me confess I have never in all these years given up the hope that sometime somewhere the man, the accompany, the conditions, the economy the opportunity might come together under the influence of some auspicious star and the globe might rise again. But meanwhile, let us not be afraid to entertain conjecture. This is after all what Shakespeare himself is fond of inviting us to do. So, first of all, let me set the scene for you. What can we assume? What are we allowed by the general consensus of scholarly opinion to think where the permanent features of Shakespeare's play house and what were the normal conditions of performance? Well, I think everybody knows that the building was around one, whether polygon, octagon or circle it was round a wooden hall and the dimensions of the greatest importance from the relative proportions of stage and auditorium the overall diameter from wall-to-wall not much more they tell us than 80 feet, that's the outside wall. And if your mathematical sense is as vague as mine that we help you by reminding you that the legs of a lawn tennis court is 78 feet. So that the outer wall of this building is not much wider than the length of a lawn tennis court and the stage more than 40 feet wide, that's half the width of the building. And there is 30 feet deep out that way. And the middle of the front of the stage was the central point of the whole building. And the yard where the groundlings stood was open to the sky. The afternoon London sky, usually a pretty Berkey affair. There were surrounded by galleries under cover and the ceiling of the top gallery out of three would be about 35 feet above ground level. And the audience sat or stood round three sides of the stage. The first thing to notice about this disposition it's extraordinary intimacy of the performance. Hamlet in soliloquy, out there in the front of the stage to be or not to be is no further from any member of his audience well than a tennis player standing up at the net is from the opponent's baseline. And that goes for the galleries as well as the yard. And the second is the paradoxical sense of being at a great crowd. The capacity of the galleries and the yard is estimated at something they tell us between two and 3000 people packed like sardines very uncomfortable, no doubt, but a great crowd. So that King Henry the fifth addressing his troops will seem to rally not only the dozen or 16 hired men of the actors company on the stage but the packed groundlings in the yard as well. And Mark Anthony's Roman audience since there's no intervening gulf will extend far beyond the rails that God the front edge of the stage. And the third thing is that the whole relationship between actors and audience is different from what at least until quite recently we've been used to in the modern theater we are accustomed aren't we to sit back in more or less comfortable chairs watching in detachment something which takes place in a different media from ours. We sit in darkness and an impalpable barrier separates us from what's happening up here under the lights. If we are moved to pity and fear, we are moved privately or at most in a sort of covered sympathy with our next door neighbors stealing a 30th glance to see if they catch the same impression as we do. If we are moved to laughter, we laugh certainly at the prompting of the actors and maybe take the infection from the laughter of others but we don't turn and rally our friends in the audience. We don't heckle the speaker. We are an audience, a passive company of spectators not the participants in the rowdy public meeting or the rollicking crowds at the football match sometimes good humored, sometimes in ugly vain. It's not difficult to imagine the relationship of the chamberlains men to the groundlings. If we extend from the stage to the yard, the cobbler you'll remember that men that have bad souls in the opening scene of Julius Caesar. Or for that matter the cries of the mob in the forum as Anthony bunks the rostrum, what does he say of rotors to our best to speak no arm of Brutus here. There's a story told of how during a performance of a play on the Trojan theme, this was not Shakespeare but it was in play on the familiar the famous scene of the Sack of Troy. At that moment when the unarmed Hector was surrounded by Achilles and his Myrmidons thugs ready for the kill. A fair-minded butcher among the groundlings wanting to see Fair play leaped the stage rails and laid about him with his cleaver to such good effect that he routed the would be murders. And, but for the intervention of Hector himself would have changed the whole course of the Trojan war. But it's not only the obstreperous groundlings who are in close contact with the players that are also those highly intelligent lawyers from the ends of court in that middle gallery, the Apple guard London's equivalent of the university wits and the noble patrons those judicious whose censure as Hamlet tells us must overweigh a whole theater of others. When Macbeth standing at the very front of the stage asks why do I yield to that suggestion whose horrid image that unfixed my hair and make my seated hearts knock at my ribs against the use of nature. He is sharing his sense of guilt with the judicious in the gallery being near to them. So it seems then to his fellow thins at the back of the stage, with all that fog and filthy air that the blasted heath between them and him. This sense of contact or involvement to use a fashionable modern word. This depends very largely upon the fact that we in the audience and the actors on the stage are in the same neutral daylight. This is the first important. It depends also upon the fact that we are all around them on three sides, that they are in our midst. We in the audience. participants on the edge of a central group, not detached spectators of a distant moving picture. We don't see them in a frame or against the background. They are in three dimensions like sculpture not flat like painting. We feel them to be among us and we feel with them as they do and suffer as if they were living their fictitious lives in reality. It's difficult to convey this difference of feeling and words, but a spectator sitting beside the rushed strewn stage of our Midsummer Night's Dream at Hedo said to me afterwards it was like being out in the woods yourself. And the corroboree of this central position, and the neutral daylight is the all important realization that the stage is the main acting arena for long stretches of the play, quite independent of the building behind it. Except in so far as the actors must come out of this building to tell their story and go back into it when they wish to be hidden from view. The doors of entry are often simply a means of access to the acting arena out here. Sandbox then for the stage and auditorium now for backstage building the Tiring house in which the actors are tired themselves, and from which they sell it forth to tell their story. One most important consideration when reconstructing whether an imagination or in fact, the Elizabethan Playhouse is to make this Tiring house a permanent feature. The audience entering the Playhouse should know what they would see. Always basically the same with maybe different hangings for tragedy comedy or history and other adjusted features of furniture or properties to suit the player of the afternoon, but basically the same architectural structure the excited interest for the audience coming into the Playhouse for each new production would be what will the poet and his fellow actors turn it into this time? There is at any rate, no doubt among the scholars that at either end of the Tiring house facade there are doors. These two great stage doors will be substantial in height and width for they have to admit the mast exits and entrances about rioters mob or an army carrying banners and pikes. They'll often be just a means of access to the stage only it comes on it's manifesting not marching through a doorway. Or in a woodland setting when as the folio text tells us enter the King of fairies at one door with his train and the queen at another with hers, we naturally don't think of them as doors. On the other hand, there are occasions where the door will be precisely what it is. And in such case the action and the dialogue will make the circumstances clear. Consider for instance the opening scene of Othello. Now here comes Rodrigo bursting impetuously from one of the doors, let's say this left hand door. And he is full of protest and Iago following more enigmatically is at pains to calm him down. When not to think of them as coming out of a door they emerged from the Tiring house to begin the play. They are walking through the streets and their progress brings them onto the stage. They are you'll note it in the middle of a conversation. There as they center around the front of the stage round the perimeter Yago in two or three vivid speeches puts us in touch with the situation and with his own concealed hatred of the boar and suddenly as they complete their half circle of the stage Rodrigo standing in front of the right door whispers here is her father's house. I'll call a lab rat Not upon both of them shatter the silence of the night with like Tim Morris accent and dire yellow as when by nighttime negligence. The fire is spied in popular cities. In this scene therefore, this right door is the door of preventious house Tim Morris father's house. And Mr. Shortly see the old man at the window about the door by the left is simply a means of access to the stage. And so likewise in as you like it when Orlando comes home in good spirits after his victory and the wrestling match old Adam the faithful retainer is standing in doorways, warns the young man, unhappy yous come not within these doors, within this roof the enemy of all your gracious lives, your brother, and this night he means to burn the lodging where you used to lie and you with any and Orlando realizes that he was free. And the good old man not only offers him his life savings but also begs leave to accompany him in his flight. And his joy had being accepted as this young masters escort is tempered by sadness as he turns back to this door where from 17 years till now almost four score here live but now live here no more. The stage door is here not only doing practical duty as a host store, but has very effective dramatic life as the symbol of a lifelong happiness at home to be forfeited at last in and forced exile. What lies between these doors we do not know. We are warned by the experts against talking about an inner stage and that are good practical reasons against confining scenes to this so-called study of the globe Playhouse. But if we ask ourselves, as in this voyage of conjecture we must constantly do what did the chamberlains men do. The answer would probably be something of this kind for certain scenes items of simple architectural furniture. I don't say scenery because this suggests visual illusion are disclosed in the middle of the Tiring house facade between these doors. I have in mind such examples as the Gates of a castle the bridge in the wall at half flow once more into the breach, a throne on the days. And this may have been done by drawing the curtains of a shallow inset space or by means of a temporary booths like structure built out in front of the facade, nevermind how it was done. But then, this is the important fact and that the whole stage then takes temporary color from this disclosure or exposure. It may be the doors of Gloucester's house which are closed to shut out old King Lear while his cruel daughters take refuge inside from the gathering store. It may be that most bank described by Oprah Alabama before on the bear stage so that when it does appear, we recognize that once the bank where the wild time blows, the bank on which Titania is to lie asleep and forgotten through some hundreds of lines of the play until that most famous moment when the Queen of the Fairies long unnoticed by the audience is rudely woken by bottoms playing baritone and cries out what angel wakes me from my flower bed. There's no question here already of the scenes I'd mentioned of the action being confined to the inset or disclosure space. We have all the freedom of the stage itself related when the story demands it. And only then to the furniture disclosed here. I can give you two examples from Julius Caesar where we can see most clearly this fluid into relation of stage and displeasure. The first is at the beginning of what the textbooks call act three, the passage which leads up to the assassination. The stage is thronged with the crowd of commoners out here and bang them that anonymous soothsayer the ides of March, man, you remember and his rival practitioner who is called Altima daughters and the procession of senators enters the stage by one of the great doors and they move at a stately pace round the perimeter and Caesar exchange is a word with the soothsayer. The ides of March are come. I Caesar, but not gone. And then as he reaches the front of the stage he has accosted by Altima daughters who wants him to read his schedule. I'm sorry. And this paper we in the audience know contains a categorical indictment of all the conspirators by name and a hint of their purpose and scenting danger. Two of the conspirators present a rifle petition and Cassius drives the suit on away with a Bruce club off. What earns you your petitions of the street, come to the Capitol and then Caesar with petitioners in portrait in his path on either side moves slowly from the front of the middle of the stage towards the Tiring house. Thus he approaches the festival, the curtains on the center part and disclose seats on a day's perhaps there's room for three senators. And before we know what's happened after a few brief moments of panic among the conspirators at the front of the stage that because one of the senators who is not in the plot greets them with the ambiguous words. I wish your enterprise today Bay thrive Caesar, who is sitting on the central seat in the discovery space speaks in his public dictatorial tone. Are we already, what is now I miss that Cesar and his Senate must redress. And thus easily does the whole stage which was the street, become the Senate house the Capitol and the violent struggle of Caesar's murder. If you want to see how violent the action is you must read the account as Shakespeare. Certain they did in North pre-talk. The struggle surges all over the bus stage and there's no doubt with Caesar falling at the base of pump his statue beside one of the stage posts. This method of changing the scene from outdoors to in from stage to stage come discovery is used again in Julius Caesar at the beginning of the famous caudal seed in the latter half of the play. Here the armies of Brutus and Cassius have marched onto the bare stage that is Banner Drum and Trumpet and the couple of opposites, a token army one army from each of the two doors. And Cassius blurts out his complaint without ceremony or hesitation, most noble brother you have done me wrong, but Bruce has cuts him short before the eyes of both armies here which should perceive nothing but love from us. Let us not wrangle bid them, move away. Then in my tent Cassius enlarge large your grips and Cassius gives orders to his men to withdraw. And Brutus says, let no man come to our tents until we have done our conference Lucius and Titanium guard our door mandate Brutus and Cassius says the folio clear in intention if somewhat faulty in Latin grammar. What in fact has happened? What did the chamberlains men do? The two armies withdrew each part of the door through which it entered the stage. And Brutus's offices open the discovery space and withdraw through it leaving Brutus and Cassius alone. What is discovered? Well, undoubtedly a table for the Drum Head conference later in the scene, when Brutus says to his fellow officers. Now sit, we close about this table this taper here and called in question on the intensities and no doubt for a few lines of the scene. The four are sitting close about this taper at the table and they're inset into the facade of the townhouse house. The taper would show to best effect even in the London afternoon. No doubt at this table Brutus is sitting with his book after the boy Lucius has fallen asleep in the middle of his song. And the Taper burns ill so that he cannot read and imperceptibly we find ourselves in the presence of Caesar's ghost. But for most of this scene, and it is the longest, most elaborate and subtlest scene in the play and its interchange of contrasting mood. The action arranges over the whole stage which has ceased to be the open ground where the arm is met and has become the inside of Brutus's tent. So then if we are building in imagination or in fact our 20th century globe lets us by all means leave that debated space between the doors adaptable. One season we may try out Walter Hodges impermanent special projecting structure. Another we may experiment with Dr. Adams's inset study, but that withdrawal behind curtains even to Shakespeare's audience may have seemed a characteristic symbol of the end of an afternoon's play. We may perhaps infer from a fine poem attributed to some Walter Raleigh with an equally fine musical setting by Orlando Gibbons in which life is compared to the action of a play in the theater. What is our life? A play of passion? Mother's wombs, the Tiring houses be where we are dressed for this brief comedy. Graves that hide us from the searching sun like drawn curtains when they play is done. It looks as if this was a recognizable symbol. We shall certainly direct the two stage posts to stand well forward on the stage. These are structurally important for they hold up the canopy over the stage. They are also very useful to the actors and their director in getting some shape and pattern to the stage itself and some logic to the movement and grouping of the figures on it. For instance, there seems to be a walk round the front of the stage from one door to the other outside the posts. What I have been calling the perimeter. This would give some definition to the walking in the street of Rodrigo and Diago in the opening scene which I've already described. And so he went the folio text of Romeo and Juliet tells us of the Moscow's that's Romeo, Mercutio, Benvolio and others on their way to gatecrash at the Capulet feast that they March about the stage and serving men come forth with their napkins. We may imagine the maskers sauntering round the perimeter while the serving men begin to create for us the illusion of the feast by emerging from or being discovered in the curtain center of the Tiring house. He posts to have the effect of cutting off those forward corners of the stage from the wrist. When those three witches have wound up their charm in the magic circle, in the center space between the posts at the sound of the drum, they will look downstage outside that left post-war neck best and backwards stagger from the right door against the weather and the fog and filthy air will make to the mind's eye of the beholder about a big distance between the two groups. And you can dodge behind the post. You can appear to hide behind it from your enemy, or your victim. You can even hide on the audience's side of the poster that they can see what you're doing. Now the enemy or victim cannot visualize four staff and his gang sharing the swag after their high Bay robbery. Their backroom suits of guy is cling one to each post plainly visible to us, but unseen to the high women. We do seem to be lucky with them ready to pounce on their prey. It's much more fun for us that way, much of the time the posts will like the doors and the rest of the permanent architecture, the invisible to the eye of make beliefs. But then again, as the circumstances demand they will serve their purpose in the telling of the story. There may be a pillars in an interior scene, one or other or both of them may become trees in the forest or in the open country. Here father, take the shadow of this tree. It says it got to Gloucester in the last act of King Leah. But Rona can be tied to such a post and breed a whole series of outrageous puns on the word tide and Mark Antony almost overrun by the rioting mob can spring on the base of one to recap to that attention you have forgot the winner I told you of, but meanwhile we've forgotten that their original purpose was to support the canopy of the heavens. The heavens with the underside painted blue and decorated with the sun and stars or the signs of the Zodiac. The heavens are the essential picture of this Playhouse overhanging the stage, which was Shakespeare's world. When the Feign of Ross comments on the unnatural darkness that follows on the night of Duncan's murder, the actor points a loft to the canopy, as he says, now see us the heavens as troubled with man's act threatens his bloody stage heavens act stage that all part of the same theatrical metaphor and hadn't led to in a familiar passage speaks of this most excellent canopy in the air, that look you this brave or hanging filament. And important in some of the same way for the symbolical part it plays in Shakespeare's imitation of the universe is that cap door which gives access to Hill below the stage. This again is a technical term, The Hill. All the world is a stage remember, and conversely the stage lying between heaven and hell is all Shakespeare's world and very content with it he was. This trap door was by the regular practice of the Elizabethan stage, the source from which ghosts and devils rose. By this trap door the ghost of Hamlet's father descends into his prison house and under the stages the Cellar Ridge from which that perturbed spirit cries swear to his son's oath ghost cries under the stage says the folio. The trap door will need to be large enough to accommodate affiliates' coffin. I remember an occasion when it was not and no doubt it could be put to more convivial uses then by the resourceful poet and his inventive collaborators from this Sir Toby and Sir Andrew with bottles and tankards and the candle preceding them may emerge in the small hours of the morning as if from the seller of the lady Olivia's house with the comfortable doctrine that not be at bed after midnight is to be up the times. And there will also in our reconstruction would be accommodation for acting above here and again in the uncertain state of current conjecture and debate it will be best for the architect of our new globe to leave room for experimental adaptation here. But in any case, Juliet must have the opportunity to open her casement and Romeo to descend his rope ladder which should pay attention as it must appear as dusty blushing discontented sun from the fiery portal of the East, on the battlements of Flint Castle and must be able to describe his surrender to Bolingbrook in such terms as down down I come like this string's tail from wanting the manage of unruly jades. It is indeed tempting to toy with the experiment of Dr. Adams his chamber up above there especially for scenes of domestic intimacy. The ladies at home as for instance, Porsche and the second that the merchant of Venice detaching them from the busy traffic of the stage below or for these static, or see no scenes in 12th night or for the sub plot of King Lear in which the private business of the early blusters household up there is continually contrasted with the public traffic of the main plot. And I wish I could find time to persuade you of the shape of the last act of Macbeth that great fifth act which becomes a farcical anticlimax in any other Playhouse. While Malcolm and Macduff and their English allies March and counter March on the broad stage below up there up above strongly fortified in Great Dunsinane is Macbeth's dis-tempered course the sickly wheel the mind diseased the Petronas stuff that weighs upon the heart. He is penned in Napa Loft. They're crimped cabined and confined that modern jargon has a word for his condition of claustrophobia. And that entails having the famous sleepwalking scene at the beginning of the act upper loft there in the chamber that this is systems and Terry and all the famous ladies who have played this part won't like that they'd prefer to hog the main stage but we must remember that the first lady Macbeth was a boy who could be told what to do. And if recalcitrant could be put quite literally in his place. This though is where the actual dimensions and proportions of the building are of paramount importance. We might find that the above there was well in the picture that it could indeed dominate the Playhouse that Burbage as Macbeth for instance would choose no other place to utter his great invocation of the murderous task in which Banquo is to be assassinated come sealing night scarf up the tender I have picked it for day and out on the stage below come his hired assassins. So let us in our reconstruction leave room to experiment with such an acting area above. And by the same token let it be possible to use the music room rehired still in case it was a regular feature of the Globe's performances. We indeed not use these items or even be shown them but let there be the chance to use them if we wish He must surely be a sad pedant or a constitutional spoilsport who doesn't read with delight. Dr. Adams is pages about the ship board scenes in the Elizabethan theater, in which and I quote him the platform stage serves as the main deck the terrace as the raised quarter deck at the music gallery as the main top or crow's nest. The pleasure of assisting at the shipwreck of the Tempest act one scene one can only be savored by actual experience but you can see can't you in your mind inside the King and his court surging up from the trap door, that's from their cabins and the boasting on the stage itself the deck bidding them keep below and the master on the terrace and the ship boy up in the music room and enabled bodied seaman, bailing water over the rail and perhaps a seasick passenger making his offering to the fishes in the yard. Nevermind that the mast seem to be rather oddly placed on either side of the deck, all the noise of the storm from the backstage men behind the Tiring house in sound and the added sound of rending timber, we split we split and when all is lost, what follows? The prosper and the render are discovered vested not be so in the center of the Tiring house wall and the calm after the storm is introduced by her words if by your art, by the artist father and that after the long narrative exposition of prosper with Miranda and Ariel and Taliban, and the first encounter with Prince Ferdinand, this will take place on the best stage with some suggestion of the magicians for poor settle in the center of the Tiring house wall. There's always the trap door for use as Calibans hall where Prospero stays him in this hard rock improvisation make do make believe are the very lifeblood of the theater. We must assume that the Chamberlain's men were like all their profession by nature and training, adaptable, inventive, resourceful, ready to improvise, and to create illusion. After all they were often driven out of their London Playhouse because of the plague or other inhibitions. And they were obliged to adapt their staging to all manner of inconvenience settings. We may mode over credit the beverages and their syndicate with a good deal of architectural invention in the building of the globe. And suppose indeed that in building the second globe after the first bump was burnt to the ground, they profited from that experience and using the first, it is a blend of practical sense, imaginative conjecture and empirical experiment that's needed to help us recreate the atmosphere of a performance in Shakespeare's lifetime. Let us not be afraid. As I said to entertain conjecture, we must be bold too like the chamberlains ban and not afraid being wrong. So much then for the structure and now for the feel of the performance, from the point of view of the audience, the psychological atmosphere. I'm sure that the very tang and taste of the open air would make a difference. And the uncompromising neutral daylight of the London afternoon. Walter Hodges speaks somewhere of birds flying down into the yard in the evening to pick up the crumbs left by the afternoon audience. And if this sounds, he continues merely a picturesque sentimentality considered nevertheless what a very different setting it conveys in reality. No artificial light that I've yet seen can really be the equivalent. To us, with our ideas of this theater and the theatrical the conditions prevailing at the globe the diffused daylight without obtrusive direction of shadow because the globe Tiring has had its back to the afternoon sun. And this might seem to be the very reverse of what would impress an audience. By evening in the world of sport. Now, artificial lighting is becoming the rigor. The fashion, the football itself is more often played after the sun has set, we should be looking back soon to the strange days where there was no floodlighting, but the globe Playhouse anyway, belongs to the era before the flood. I apologize for the pattern but it's necessary to make this point. I think it would be like sitting watching the tennis championships on the center court at Wimbledon. I think I can still say in this country forest Hills for this year, can I not a part of the crowd under cover but quite a large proportion of groundlings under the open sky and the game itself in the open air. And there you have this great concentration of a crowd upon certain individuals active in their midst. You can't really see the shifting expressions on their faces as you could, if you were watching them in grease paint and the theater lights. So under the microscopic lens of the movie camera or on television, but you are acutely aware of their movements and their justice. And if these tennis players are like actors of the demonstrative kind That we even those we have plenty examples nowadays you will understand their moods. You will feel with them the agony of a row of match points, deuce vantage server, deuce vantage Stryker, the tie breaker, the frustration of Alliance man's doubtful decision. You will find yourself groaning aloud in sympathy protesting audibly and when your champion scores a point giving vent to your relation in spontaneous cheers. But there is a difference here. What happens on our tennis court is after all predictable. We know the rules and the plot is stereotyped and somewhat repetitive. It needs no further interpretation than the monotonous pronouncements of the umpire. We know right from the start what the principal actors are trying to do. But as we sit in the top gallery of the globe we don't know a tool what's going to happen. We don't even know who the principal figures are. That Sally forth from the two great doors off in between the central curtains, we may recognize Richard Burbage by the trick of his famous voice or a Thomas Pope by a familiar mannerism or old Hemings by his stuttering speech or the comedian Dick Colette, whose spindly legs like to such writing rods, admit of no disguise. But we don't know who they are meant to be today until they are introduced to us by their own words or by some other actors' description. And then since we cannot really see for ourselves, we must be told what they look like and something of their character. Yon Cassius has a lean and hungry look. That's spare Cassius. He reads much, he is a great observer and he looks quite through the deeds of men. He loves no plays as loud as stand today. He hears no music. This kind of characterization Bernard Shaw, for instance, would confine to a long italicized bracket attached to the characters name but his first appearance in the text of the play. Seldom he smiles and smiles in such a salt as if he marked himself and scorned his spirit that could be moved to smile at anything. This in the medium of the movie house will be represented simply by the subtle facial expression of the actor in close up. Shakespeare's close-ups of which there are plenty of necessity. Verbal ones for the subtlety of facial expression cannot be seen in his Playhouse, certainly cannot be seen by more than a handful of his audience at any one moment. And it's not only their general character but their momentary demeanor that must be described. Here comes Caesar that he's escorting company return to the stage as from the marketplace where he's made a fool of themselves by fainting before the populous. And out here on the perimeter of the stage, Brutus and Cassius are standing apart and Brutus interprets for Cassius and also for our benefit, the demeanor of this distant group. The angry spot that glow on Caesar's brow and all the rest look back at cheek' train Calpurnia'S cheek is pale And Cicero looks with such ferret and such fiery eyes as we have seen him at the Capitol being crossed in conference with some senators. A nice little thumbnail sketch of Cicero but we can't of course see this except that he's there at the back of the stage. We have a vivid momentary glimpse of Iago's hypocrisy when Othello bids him given a cult of the brawl but she has himself engineered to get Casio into trouble and angry Othello says honest Iago that looks dead with grieving speak. Who began this? There he is looking dead with grieving, but all the while very pleased with themselves for what he's done to ditch Castillo. Shakespeare sometimes sees his story in a series of pictures, which must be communicated to the mind's eye of his audience. Consider what part this word painting plays in making the death of Desdemona unbearably painful, bending over her as the boy actor lies asleep in the curtain space in the middle of the Tiring house wall Burbage speaks of that whiter skin of hers than snow and smooth as Bhanu betel elder blaster man thinks of the recumbent figures on the great tombs in the Beecham Chapel of Warwick, no distance journey for a native of Stratford upon Avon. And beside this first step of Desdemona, we missed it to our fellow himself. As he bends over her in bed he heard terrified voices heard to say, you have fatal then your eyes roll so. And she asks him alas, why you sell your nether lip some bloody passion shakes your very frame, and then later in the scene, when she is dead and too late he realizes her inner sense. Now, how does that look now? Oh, ill start wench pale as I spoke, when we shall meet at comp it means the judgment day. This look of dying will hurl by solo from heaven and fields will snatch at it. Cold cold. My girl Even like your chested. Now these descriptive phrases are an essential part of the stagecraft of this Playhouse. Neither a fellow's face nor Desdemona is that these moments could well be visible to that audience. This look of dying We can't see it. And it's been noticed that these passages go beyond description to interpretation in the realistic drama of the movie closeup. We are left to read what we think into the expression of the actor in the poetic drama of Shakespeare's Playhouse. The poet does the interpretation for us. This look of dying even like just yesterday And it's not only the persons of the drama that must be so described and interpreted but the stage itself must be given character. In the words of the actors. This is a necessity arising out of the conditions of the Playhouse. Typical of the care which Shakespeare establishes and sustains is the illusion in the highway robbery on the Rochester road in Henry the fourth part one. Here the flat stage becomes a steep slope. And the 10 players who take part in the scene are carefully instructed in their mind mean to preserve the illusion of up and downhill. For stuff's horse, remember, has been removed as a practical joke by points the princess CDA companion and the fat kitten had Roscoe to whom So uneven ground is three score and 10 miles comes puffing up the Hill from this left door. And the Prince tells him the points has worked up to the top of the hill and himself follows about briskly towards the right here. And then the entry of the character called Geds Hill is a moment of melodramatic comedy. I thanks you that has false staff grumbles at the Prince go hang yourself into your own era parent gutters. He has his back to the central curtains of the towering house which slowly part to a gap of a few feet and reveal the figure of a masked Highwaymen pistol in hand perhaps under the weather beaten signposts one arm of which points left-handed down the hill. Stand rose the mass trigger So I do against my way, but as for staff who must stand because he has no horse and then amid our laughter we recognize the practical joker. And we hear that there's money of the Kings coming down the hill. So we expect the travelers to come from this right door and the Prince gives them that instructions. You fall also them in the narrow lane he indicates the gap in the curtains. Nate and I were walking Laura and the pair of them try to have down hill through the left door. And first staff and his gang bestowed themselves in the Curtin gap while the Franklin the auditor and the two carriers the potential victims appear through the right-hand door. Come neighbors says the Franklin. The boy shall lead our horses down the hill. We can't have them on the stage. Of course, we walk a foot vial and ease our legs. We need to pursue the scene to its uproarious timex to realize that the dialogue is most skillfully contrived to create on the flat stage of the globe the circumstances and atmosphere of the Queen's highway with a slope that's too steep for the comfort of the fat Knight, who must play the hybrid bun on foot because he has no horse. The atmospheric conditions are constantly evoked in the speech of the actors Romeo beneath Juliet's window, lady, I own the blessed moon I swear that tips with silver all these fruit tree tops. Brutus in his garden on the stormy night before the ides of March I cannot buy the progress of the stars give guests how near today. And then since he must read the anonymous letter which he holds in his hand the exhalations whizzing in the air I give so much light that I may read by them. Little later in the scene, one of the conspirators tells us that young gray lines that fit the clouds messengers of day and the clock interrupting the whispered conference of the conspirators strikes three. And when Porsche comes Brutus, chides her for convicting her weak condition to the raw cold morning. All the time Shakespeare is creating the atmosphere in this garden on the Eve of the ides of March. Many of these atmospheric lines are famous and justice So for their beauty. How still the evening is as hushed on purpose to grace harmony. How sweet the moonlight sleeps about this bank here will be set. And here is dawn at the end of the night of ghosts, but low the mourn in rusted mental clad works, or that you on young high Eastern Hill. The need to create the atmosphere breeds the poetry, but conversely the poetry comes into its own when it is actually doing what it is devised for. That is a danger on a stage where visible illusion is an important consideration that some of Shakespeare's atmospheric effects may seem to be mere superimposed ornament, lovely lyrical stuff but to be got through a hurried or eval for purposes of dramatic vigor cut and adjust because it is paradoxical. It must be emphasized at the very attempt to use mechanical means and gimmicks of whatever kind to help the poet out. As it were to put his media across. This is disastrous because the period has done all that was required by appealing not to the eye but to the mind's eye of his audience. A case in point is that prolonged conversation of Duke Theseus on his bright Hippolyta about their hunting experiences. Do you remember this horsey lady? I was with Alcuny and Cadmus once we landed a word of Crete, they buried the bell with hundreds of spotter and these two supplies my hones our bread to the Spartan kind. This protracted passage of what we would call one upmanship is absolutely necessary to dispel the night and the long night of the Midsummer night's dream takes some dispelling in the London afternoon. There's a paradox for you. How well indeed the poetry does its job at this point by hands are bred out of the spot and kind so fluid so sanded and their heads are hung with ears that sweep away the morning dew. We are a long way away already from Titanias bed on that bank where the wild time blows. And notice more over a of this. One of Banquos murderers has these lines. The West yet glimmers with some streaks of day. Now spurs the lake tid traveler a pace to gain the timely in. But you notice how it's not only necessary to bring down the Twilight over the best stage but there's also dramatic capital to be made out of the fear that's Twilight brings for the benighted rider much dramatic force in that word, timely, the timely in we all want to be under some hospitable roof. We all fear for the safety of Banquo and his young son in case they should be mugged as they walk through one of the stage doors, no doors, of course at this moment and the echo of their retreating horses' hooves still silent in our ears. Or to return to Julius Caesar in the fifth act. When Cassius lies on the very front of the stage dead and his friend Titanias kneels beside the body looks out at horizon level in the afternoon daylight of the globe that he says Oh, setting sun as in your red rays, you dusts sink tonight. So in his red blood, Cassius sun is set. The sun of Rome is set. Our day has gotten clouds deals and dangers come I would ask you to consider closely these lines of Titanias who was a minor member of the company, which epitomized the unique power of the poetic drama designed expressly for an only to be fully realized upon the bare stage of Elizabethan Playhouse. Your lighting expert can lay on a red Cyclorama at this point and your makeup man can imitate the red blood of the dead Cassius, but only the poet can fuse the two in an image of despair which colors the whole of this wonderful last act. The sun of Rome is set. Locality is often indicated by the simplest method of direct statement. Well this is the forest of Arden says resident and we take her at her word. But they cost call you this at hand here by load. Now that is an important converse proposition to this habitual practice of investing the stage with the necessary of character atmosphere and localities. Since there's no attempt at visual illusion and the towering house whatever its composition is permanent, habitual and therefore rigidly ignored. There are times when the poet will expect to to forget its appearance and character altogether. And instead of investing it with an illusion of locality we want you to travel in the mind's eye elsewhere. A clear illustration of this could be seen in the passage of Julius Caesar, which to the director of the movie version of the play cause inevitable difficulty. Cassius is persuading Brutus to join the conspiracy. It's a long dialogue charged with poetic drama but the poor camera man is kicking his heels. Once upon a row and just today says Cassius, the trouble Tiber chafing with our shores. And we are shown some interesting but at this moment quite irrelevant architectural vistas of a reconstructed Rome. We should surely be watching with the mind's eye a scene of Cassius and Caesar buffeting the roaring torrent of the river with lusty sinews and hearing sees that cry helped me Cassius or I sink. But instead of that, we sense the boredom of the camera man who fidgets like an inattentive school boy when the speeches are too protracted. The real moving picture of the race and the swollen Tibor would take too long and greatly add to the expense of the film. But in fact the boredom of the camera man is the symbol of the whole dilemma. And the conclusion is and I hate to say that at the beginning of this week in Ames, my conclusion is that you cannot photograph poetic drama whose appeal is not mainly through the eye but for the most part through the mind's eye as prompted by the words, the movements and the gestures of the actors. This same dilemma exists in portraying the familiar soliloquies of Hamlet and Macbeth to be or not to be, to take arms against a sea of troubles. And Olivia is filmed but taken to the top of a very high tower. If I remember rightly so that we could look down upon this surf breaking on the rocks below the sea of troubles. But there are 20 or more images in this one speech. And if we photograph the whole lot, they film will go on forever. We cannot keep up pace with the kaleidoscope of Shakespeare's' imagery. Consider how essential it is that the actor and we with him should be detached from all surroundings. When Macbeth just before going upstairs to murder Duncan utters these lines now are the one half world nature seems dead and wicked dreams abuse the curtained sleep. We want to be thinking of Duncan's curtained sleep shut up in mission less content was the wonderful phrase used of him. And of Banquo's wicked dreams, mercy for powers. He just said it was his bedtime prayer. Most super powers restraining be the thoughts that nature gives way to end repose Banquo's wicked dreams. And Burbage goes on which graft celebrates pale heck its offerings. And we remember because of his gesture, perhaps his attitude and because of the place where it took place. We remember the weird sisters and their grotesque dance hand in hand, and without murder Burbage will impersonate murder at this moment. Alarmed by his sentence the wolf who is how is his watch that's with his stealthy pace with talk wins ravishing strides and he'll give us a glimpse of that other nocturnal prouder on his way to the chamber of Lucrece towards his design moves like a ghost. This masterpiece of horrifying suspense needs for the moment to be detached from all background save what is visible to the mind's eye prompted by the poet's words and that after the two clinking strokes of the bell his wife's reminder that my drink is ready. The coast is clear, reminds Macbeth and us that we are at the foot of the stairs, which leads up to the King's bed chamber. The moral of all this is that Shakespeare's drama is almost complete in the spoken words. And it sat a try to remind ourselves that these are pretty well all that has survived of Shakespeare. We have next to no stage directions. We have certainly no bracketed adverbs after the speech headings in Shakespeare to tell us how to speak the speeches. And yet these words are astonishingly complete without need of additional business or offensively embroidery. And therefore it is the first duty of the actors and their director to interpret the words the four score contained in Shakespeare's text. I said that the words are astonishingly complete but we should not be so easily astonished. If we realize the need for completeness and understand that Shakespeare who was a practicing actor in the most successful company of his time was at pains to supply this need. He was a great poet. He was a supremely skilled for dramatists and he was one of the very few other, as many as a dozen of the history of Western civilization, who combined both arts in one who made poetry serve his dramatic purpose. We wrote not merely plays in verse or poetry in dramatic form, but poetic drama. And this truth we can discover if we make the poetry do the work it was originally designed for that is to close with flesh the bare bones of the Elizabethan Playhouse to transform the familiar setting of stage and Tiring house into the south streets of Verona, the moonlit clearing and an Athenian wood, the battle fields of England and France, the ghost written detriments of Elsinore, the blasted heath near a forest or with this like a kaleidoscope Rome, Egypt the planes are puffier and the deck of pump is Galle. And if our audience formed the habit of listening and reacting to this kind of poetry, which gives a local habitation to the air in nothing of Shakespeare's imagination, then they will fall into still closer attention and absorption and begin to people. This unworthy scaffold with the pictures beyond the visible illusion of place and persons we should see what takes place elsewhere and at other times, the death chamber of King Duncan it's fight hard to realize. We never actually see this room presented before our eyes. The funeral of old King Hamlet Country they born from which no traveler returns. If the audience don't form the habit of seeing with the mind's eye or then the poet's work is in vain. Actors and director must somehow induce them to see work work your thoughts, and in them see these are Shakespeare's own words. But the habit once formed, we shall recognize the immense power of Shakespeare's poetry to create dramatic illusion. And let me tell you my favorite story to prove this. A year or two ago in Scotland the performance of King Lear in these conditions I've been trying to describe to you and a large part of the audience consisting of quite young schoolchildren. At the beginning of the storm scenes in act three shut up your doors by not will be a storm whose there besides foul weather blow winds and correct your cheeks. Blow And to we last seated in the audience suddenly got up put on their Macintoshes and pulled up the hoods. It is this kind of experience which is not by the way a solitary example which persuades me that Shakespeare could be as vividly alive today as he was in his own lifetime.\r\n\r\n- [Speaker 3] I always feel it's rather a ball for the rest of the congregation if people ask questions from the hall but everybody would like to ask questions privately only to read it to try to answer.\r\n\r\n- [Speaker 4] Thank you very much","format":"text/plain"},"target":"https://iastate.aviaryplatform.com/collections/1150/collection_resources/43859/file/116922#t=0.0,4125.23102"}]}]}]}