MAY

J UN
2017
INTERACTIVE STUDY GUIDE

TEACHERS: PREP YOUR STUDENTS FOR THE SHOW

Book your pre- or post-show classroom workshop!
Contact the Director of Artistic Learning at 510.548.3422 x113.
 in this GUIDE As You Like It Index 2

Cal Shakes
Mission, Funders, and Partners ..................................................................... 3
Artistic Learning at Cal Shakes ...................................................................... 4

As You Like It | The Basics 5

Character Map ............................................................................................ 6
Plot Summary ............................................................................................ 7
Whos WhoThe Characters......................................................................... 9
Whos WhoThe Cast................................................................................. 10

As You Like It | Teacher Section 11

City Versus Country ...................................................................................... 12
Core Concepts of the Production .................................................................... 13
Interview with the Director ........................................................................... 14

As You Like It | Student Section 17

Shakespeares Language .............................................................................. 18
Whats in a Name?....................................................................................... 19
Seeing the Play: Before and After................................................................... 21
Cal Shakes Critique: Middle and High School................................................... 22

Behind the Scenes 23

Costumes ................................................................................................... 24
Set ............................................................................................................ 26

Resources 27
GUIDE As You Like It: on Film ................................................................................. 28
CREDITS As You Like It: Online ................................................................................... 29
Shakespeare: Online ..................................................................................... 30
Compiled
by Trish Shakespeare: in Print .................................................................................... 31
Tillman

Editor Stay Connected 32

Alicia
Coombes

Design
Den
Legaspi

Welcome to our NEW interactive study guide! Navigate through the book by clicking page numbers, title headers
and icons here in table of contents, and return to the index using the icon next to Cal.Shakes in lower left hand
CAL.SHAKES corner. Click on most images to see online articles and resources for more information! -2-
 Cal Shakes redefines the classical theater for the 21st Century, making works of
our mission
extraordinary artistry that engage with our contemporary moment so we might
learn about ourselves and each other in the fullness of our world.

We believe that art represents the best of what we can do, and that the making of it makes us better.

We forge community by dismantling barriers to participation.

We nurture a culture of learning where we are both teacher and student.

Artistic Learning programs are supported by generous contributions of numerous donors to

our annual Gala Make-a-Difference Fund, Art for Oakland Kids, the Dale Family Foundation,
Dean and Margaret Lesher Foundation, Dodge & Cox, Ida and William Rosenthal Foundation,
MCJ Amelior Foundation, and the Sam Mazza Foundation.

Cal Shakes 2017 Main Stage season is funded by the corporate sponsors below:
our funders & partners

PRESENTING PARTNERS

SEASON PARTNERS

PRODUCTION PARTNERS
NCE 1899
SI

MA .
TTRES S CO

SEASON UNDERWRITERS

California Shakespeare Theater 701 Heinz Avenue, Berkeley, CA 94710

510.548.3422 www.calshakes.org

CAL.SHAKES -3-
 ARTISTIC LEARNING
@ cal shakes
We want to help every young audience member become a thoughtful and engaged citizen.
Cal Shakes creates a culture of life-long learning, nourishing young imaginations in preparation
for the work of life. We offer a variety of theater programs taught by theater professionals
throughout the school year and summer.

IN-SCHOOL ARTIST RESIDENCIES

Shakespeare comes alive! Our teaching artists can work with classroom teachers in subjects like
English and History, or we can work with Theater teachers to provide workshops like Acting or Stage
Combat. Appropriate for grades 4-12, our residencies consist of eight to ten hours of instruction
over several weeks.

STUDENT DISCOVERY MATINEES (Field trips)

Inspire appreciation for theater! We offer special student matinees of selected shows. A day of
performance at Cal Shakes includes an interactive Teachers Guide, lively pre-performance
engagement at the theater, and a post-show Q&A with the actors, all included in the price of a ticket.

AFTER-SCHOOL CLASSES
Short & sweet samplings of many aspects of theater including acting, physical comedy, improvisation,
as well as Shakespeare. First grade and up. Research shows: enhancing learning with art yields
powerful results in a short amount of time.

SUMMER SHAKESPEARE CONSERVATORIES

Build character and confidence! Summer Conservatory for young actors (ages 8-18) gives kids the
same rigorous training and exploration that actors use to create award-winning performances on
our Main Stage. A few of our Conservatory alumni have gone on to productions at the Bruns and
beyond, and many more continue to return to camp year after year to experience the joy of working
intensely on theater fundamentalsacting, improvisation, stage combat, and voice.

Eric Ting Clive Worsley Mary Cait Hogan

Artistic Director Director of Artistic Learning Artistic Learning Associate
Susie Falk Jacinta Sutphin
Managing Director Artistic Learning Coordinator

For more information or to register for any of our programs, please call Clive Worsley,
Director of Artistic Learning at 510.548.3422 x113, or email learn@calshakes.org.

CAL.SHAKES -4-
overview

AS YOU LIKE IT:

The Basics

CAL.SHAKES -5-
 CHARACTER MAP

CAL.SHAKES -6-
 AS YOU LIKE IT
plot summary

1 Duke Frederick has taken power after banishing his older brother, Duke Senior to the Forest.

2 Duke Frederick has uneasily permitted Duke Seniors daughter Rosalind to stay at court. Duke
Fredericks daughter, Celia, and Rosalind have grown up together as cousins and best friends.

3 Oliver, Jacques, and Orlando are brothers, and sons of the late Sir Rowland de Boys. The middle
son Jacques is away at school and the eldest Oliver has turned Orlando into a working man for
the estate and the land, with only an old servant Adam for a friend.

4 Determined to prove his worth, Orlando enters into a wrestling match at the court against the un-
defeated wrestler Charles. Oliver encourages Charles to kill Orlando in the ring.

5 Rosalind and Celia attend the wrestling match, which Orlando miraculously wins. Rosalind and
Orlando are immediately attracted to each other.

6 Duke Frederick suddenly decides to banish Rosalind to the forest as well. Celia and Rosalind
dress in disguise and run away together. Rosalind dresses as a young man named Ganymede,
and Celia dresses as a country girl named Aliena. With help from the jester Touchstone, they
leave the court.

7 The old servant Adam warns Orlando that Oliver plans to kill him by burning his room to the
ground. Orlando and Adam flee to the forest.

8 Orlando meets Duke Senior and his attending lords, who are all quite happy living in the forest,
where life is much more peaceful than in the politics of court life.

9 Rosalind/Ganymede and Celia/Aliena meet the shepherdess Phebe and her ardent lover, Silvius,
who begs for Phebes slightest attention. Upon meeting Rosalind/Ganymede, Phebe immediately
falls in love.

10 Orlando now spends his time writing bad love poems about Rosalind, and hangs the pages on
every tree in the forest. Rosalind discovers these poems, and decides to befriend Orlando
disguised as Ganymede. Ganymede gives Orlando a series of love lessons instructing Orlando
on how to win a woman.

11 Touchstone finds a country goatherd named Audrey. Despite a comical mismatch of intellect,
they have much in common, and fall in love.

CAL.SHAKES -7-
 AS YOU LIKE IT
plot summary
12 In the meantime, Oliver, ragged and starved, searches for Orlando in the forest. When Orlando
rescues him from wild animals, they put aside all their hatred and become close again.

13 Oliver comes to deliver a message from Orlando to Ganymede, and he and Celia meet and im-
mediately fall in love.

14 Rosalind decides that enough is enough and it is time to reveal the truth. Ganymede gathers
everyone in Arden together.

15 Rosalind then reveals herself as both Ganymede and Rosalind to the assembled crowd. She
re-unites with her father Duke Senior, and she and Orlando engage to marry. Phebe decides to
marry the devoted Silvius when her attraction to Ganymede evaporates along with the disguise.

16 Four couples marry: Rosalind and Orlando, Celia and Oliver, Touchstone and Audrey, and Phebe
and Silvius.

17 A messenger appears, and announces that Duke Frederick, after pursuing his usurped brother
into the forest in a fury, has met a religious man, was converted and is now a monk. Duke
Senior is now the unopposed ruler of the dukedom, and all is restored.

CAL.SHAKES -8-
 The CHARACTERS
whos who
OLIVER: eldest son of Sir Rowland de Boys

JACQUES: middle son of Sir Rowland de Boys (does not appear in this production)

ORLANDO: youngest son of Sir Rowland de Boys

ADAM: old servant to Oliver, but is loyal to Orlando

ROSALIND/GANYMEDE: daughter of Duke Senior, best friend to Celia. Ganymede is Rosalinds other
name, taken as she dresses as a man to escape to the forest

CELIA/ALIENA: daughter of Duke Frederick, best friend to Rosalind. Aliena is Celias other name,
taken as she dresses as a shepherdess to escape to the forest

DUKE SENIOR: the exiled duke, brother of Duke Frederick

DUKE FREDERICK: the usurping brother of Duke Senior, who banished Duke Senior to the forest
after taking power

CHARLES: a wrestler at Duke Fredericks court

TOUCHSTONE: the court jester and servant

JAQUES: a lord attending Duke Senior in exile, averse to people and cheerfulness

AMIENS: a lord attending Duke Senior in exile, a musician

PHEBE: a snooty shepherdess

SILVIUS: a young shepherd in love with Phebe

CAL.SHAKES -9-
 CAST
whos who

James Carpenter Patty Gallagher William Thomas Hodgson

Duke Frederick, Audrey Silvius
Duke Senior

Lisa Hori-Garcia Warren David Keith Craig Marker Patrick Russell

Phebe Touchstone, Adam Oliver Orlando

Jomar Tagatac Maryssa Wanlass Jessika D. Williams

Jaques Celia Rosalind

The Actors and Stage Managers employed in this production are members of Actors Equity
Association, the Union of Professional Actors and Stage Managers in the United States.

CAL.SHAKES - 10 -
techer section

CAL.SHAKES - 11 -
 Core Concepts of the Play
City vs. Country
Touchstone: Why, if thou never wast at court, thou never sawest good manners; if thou
never sawest good manners, then thy manners must be wicked; and wickedness is sin, and
sin is damnation. Thou art in a parlous state, shepherd.

Corin: Not a whit, Touchstone: those that are good manners at the court, are as ridiculous in
the country as the behaviour of the country is most mockable at the court. You told me you
salute not at the court, but you kiss your hands; that courtesy would be uncleanly if courtiers
were shepherds.
As You Like It Act 3, Sc. 2

The setting of As You Like It is crucial to its meaning. There are two major environments: the court and
the forest. How the characters react and appear in the two major environments determines their behavior,
their concerns, even their core beliefs.

Shakespeare was working with the common dramatic and literary form of the pastoral story,
conventionally framed as a genre that has a country setting, peaceful lives, and romantic occupations
such as writing poetry, waxing philosophic, and perhaps encountering the occasional delightful farm
animal or fairy being. There seem to be no farm animals in evidence at all in Shakespeares country,
although Hymen, God of Marriage makes a pleasant, if sudden, entrance at the end of the play.

CAL.SHAKES - 12 -
 Core Concepts of the Play
In this Production

This production will be concerned primarily with authentic identity. We will see it mainly through the
character of Rosalind, who discovers that her female and male identities in the play are of equal value
to her as a person. Mirroring that idea is Duke Seniors group of people who have been banished to the
forest. In this production, they are not necessarily cast out into an actual forest, but to a new habitat
outside of established norms. Through this upending of their lives, they are also finding their true selves
away from the dominant culture, away from the families they were born into, perhaps even away from
established ideas of what normal is.

Often people with perceived differences are forced to leave their birth homes or communities because
they are not accepted into that particular place; they must find or create a family of their choosing to
support and nurture them as they are and wish to be. From the original Burning Man festival to the
popularity of authors such as Jenny Lawson and Allie Brosh speaking clearly and humorously about
mental illness, to Alison Bechdels musical Fun Home on Broadway painting the portrait of a life suffered
by a closeted gay father, to the creation in 2012 of ACCESS, the SFUSD program for mentally and
physically disabled college-aged young men and women to ensure their success, this idea of providing
space and acceptance is becoming more and more creative and actualized.

This production hopes to bring the idea of authenticity and the normal world that might peremptorily
reject any difference from its cultural norm into emotional clarity and experience for students and
teachers to experience together, discuss, and relate.

For a short activity with your students about Cultural Norms, created by ispir(ED), click here.

CAL.SHAKES - 13 -
 Directors Interview
with Desdemona Chiang
The fool doth think he is wise, but the
wise man knows himself to be a fool.
Touchstone, As You Like It

ARTISTIC LEARNING:
Many directors when they stage Shakespeare are passionate about connecting his situations and characters to
modern times. We know that you will be using a modern setting. How do you think As You Like It is relevant
to current cultural dialogues?

DESDEMONA CHIANG:
For me [As You Like It] is about perceptions of normalcy. The court is very upper class, very capable, very
privileged; its the dominant culture. The forest of Arden is the counterculture, where the unwanted people
might go, perhaps if you didnt grow up in a place that makes sense to you. [I wanted to explore the question
of] what does it mean to have a chosen family/community that is not given to you, and is also not a chosen
community/family that is perceived as normal? It feels like its about teenagersfinding the place that makes
sense to you when your home place doesnt seem to fit.

CAL.SHAKES - 14 -
 Directors Interview with Desdemona Chiang:
(continued)

AL: Shakespeares work has an unusual breadth and depth of psychological and situational matters, even in a
comedy. Directors must choose a specific focus when exploring such wide territory. I could see coming at this
play in any number of ways: as a pure entertainment, a satire of gender norms, a coming of age story about
finding authentic identity, an examination of a womans rebellion, an exploration of deep love and resentment
between family memberswhats the core idea you want to illustrate to the fullest in this production?

DC: Gender and race are the lenses I look through. Traditionally, the Rosalind arc is I must pretend to be a
boy, its very difficult, and what a relief it is to be a girl again. [I like the idea that] dressing like a boy actu-
ally feels surprisingly right to her. Its not about disguise, but about revelationthat these new clothes are a
liberation rather than a restriction.

This character is both Rosalind and Ganymedeshe is true to both parts of herself. The male part of her
self [signified by the male clothing] is just as authentic as any female clothing could signify about her being a
woman. Shes also been a very successful woman at courtDuke Frederick speaks about how she outshines
Celia, in fact.

Shakespeare wrote a very binary play in terms of genderwe hope to convey a sense of complexity about
who you love and how you present yourself.

Desdemona directs Big Love at the University of Washington. Photo by Frank Rosenstein.

CAL.SHAKES - 15 -
 Directors Interview with Desdemona Chiang:
(continued)
AL: How do you account for some of the most sudden turns of event in the play? For instance, Oliver and Ce-
lia falling in love in literally no time at all, or Orlandos winning the wrestling match?

DC: Oliver and Celia makes sense to me. Celia is the moral and emotional center of the play, Rosalind is the
intellectual center of the play. Celia sees the good in Oliver as she clearly sees the emotional truth in every-
oneand love makes us do crazy things. Its another example of things being revealedthe transformative
powers of being vulnerable and in love.

The wrestling event also is an interesting event to me. Ive been looking at the history of boxing in the U.S.,
and interestingly, this sport represented getting a shot at the American Dream. If you track the history of box-
ing, the first heavyweight champions were Irish and Polish, and then become more black and Latinowhoev-
er was the new immigrant group and not part of the dominant culture. So Orlando must fight his way out of
his repression, as he is disenfranchised.

AL: In this comedy, Jaques is our one gloomier character. Does this comedy need a bit of shade to make the
brighter bits shine more? What purpose does Jaques serve for you?

DC: Im currently playing with idea of Jaques as an extreme environmentalist, who will shame you for eating
meat, for eating sugar, for wreaking havoc on nature with our livestock and crops, etc. In the text, he has
such reverence for nature and wilderness, [and I see him in modern times] as a judgmental purist vegan, not
to make fun of the ideas, but of the type.

AL: And now the meta-question: in Shakespeares time, a boy actor would have played Rosalind, making it a
boy playing a woman who is playing a man. How does this layering of meaning and identity inform your pro-
duction? Or does it?

DC: I imagine the complexity was inferred in Shakespeares time about how that female nature might be
actually subsumed. Theres time to see Rosalind make this change and discovery and questioning about her
identity between the binary poles of male and femaleshe doesnt go in disguise right awayagain, she lives
in court quite successfully as a woman. Theres something about her that she does all right.

AL: Whats the most favorite thing youve discovered in the play so far in working on As You Like It?

DC: Although I teach gender and race studies, I never thought about putting a gender-queer actor on stage
until I got the chance to do this play. As You Like It seems the right thing to be doing right now for me and for
our cultural moment. It is the center of our production. I always saw the adolescent coming of age experience
in the play, but to relate it to the present moment of understanding what gender construction means, particu-
larly from a gender queer perspective, is very present for me and for our time.

AL: Lastly, is there anything youd like teachers to know about the show?

DC: This play is FOR the educators and this generation of kids because of the visibility of these issues right
nowmore than Romeo and Juliet [the usual ninth grade Shakespeare curriculum], this play illustrates the
conflicts, emotional turmoil, and sexual complexity that young people are actually currently dealing with in
our social and political moment with this outpouring of visibility around trans and normal gender issues.
This play is very much about the kids youre teaching.

CAL.SHAKES - 16 -
student section

CAL.SHAKES - 17 -
 Shakespeares Language
When asked the number one challenge with Shakespeares works, modern day audiences will almost always
respond the language. Its true that the language does sound a bit different to our ears. And he uses
phrases that we no longer use in our everyday speech. But think of this: there are phrases that we use today
that would baffle Shakespeare, should he mysteriously time travel to this day and age. Thats because
language is constantly transforming.

Here are some original quotes from As You Like It.

Can you match them to their modern-day translations?

Sweet are the uses of adversity,
Which like the toad, ugly and venomous,
Wears yet a precious jewel in his head;
And this our life, exempt from public haunt,
Finds tongues in trees, books in the running
brooks,
Sermons in stones, and good in everything.
Duke Senior, Act 2, Scene 1
Thou art not for the fashion of these times,
Where none will sweat but for promotion.
Orlando Act 2, Scene 3
We that are true lovers run into strange capers.
-Touchstone Act 2, Scene 4
And so, from hour to hour, we ripe and ripe,
And then from hour to hour, we rot and rot:
And thereby hangs a tale.
Jaques Act 2, Scene 7
I do desire we may be better strangers.
Orlando Act 3, Scene 2
I am not a slut, though I thank the gods I am foul.
Audrey Act 3, Scene 3
I pray you, do not fall in love with me,
For I am falser than vows made in wine.
Rosalind/Ganymede Act 3, Scene 5
You are not made for todays culture, when someone
will only work if it benefits himself directly.
I dont sleep around, and I am thankful for my plain looks.
Its awful to see someone else being happy when you
want to be happy yourself.
Being in trouble can be good. Its like how a poisonous,
ugly toad can have something beautiful and rich inside.
Even though we live away from the public crowds
and have to work hard, we get the voices of the trees,
literature from the creeks, and religion from the stones
in nature and the best of the world.
Please dont fall for me, because I am a bigger liar than
when drunk people swear the truth.
We that truly love find ourselves doing weird things
sometimes.
As time goes by we grow and grow, but as it keeps going
we get older and older; and that makes for a story (or a
tail at the end of the story.)
Please leave me alone.
Its better to talk to the lady first, then when you dont
know what to say anymore, take that moment to kiss her.

You were better speak first, and when you were

gravelled for lack of matter, you might take
occasion to kiss.
Rosalind as Ganymede Act 4 Scene 1
Oh! how bitter a thing it is to look into happiness
through another mans eyes.
-Orlando Act 5, Scene 2
For Students: TRY THIS!
Consider: do the translations here do the Shakespeare
quote justice? Can you make a better translation to
modern English and still capture the mood, tone, and
meaning of all of Shakespeares words? Try it out!

CAL.SHAKES - 18 -
whats in a name? Here are some particularly
pointed name choices
Shakespeare used in As You Like It.
Forest of Arden: incorporates Arcadia, the generally used name to indicate a gentle
peaceful country place, and Eden, the garden of paradise in the Christian Biblical creation
story; both places where peace and beauty reigned, free from trouble or worry. Arden was
also Shakespeares mothers maiden name, and therefore, in the literary tradition, conjures
up childhood memories of security, play, and worry-free existence. This forest contains all
kinds of fantasy: where shepherds spend time falling in love rather than tending sheep;
everyone writes poetry and philosophizes; and is home to lions, snakes, and palm trees as
well as the usual plants and animals one might expect in a more typical English forest.

Adam: man of the earth; reminiscent of Adam and Eve who lived in Eden

Rosalind: Pretty rose

Ganymede: Zeus cupbearer, so beautiful that he was loved by both men and women

Celia: Heavenly
Aliena: The lost one

Oliver: ancestors descendant, friend and advisor to the hero Roland in La Chanson de

OTHELLO:
Roland, a popular French epic story

Orlando: Italian form of Roland, his fathers name; which suggest a stronger tie to his father
than his two older brothers, Oliver and Jacques

Making the Choice

Roland de Boys: de Boys means of the woods from the French du bois or de bois

Touchstone: a touchstone was a kind of hard stone used in Renaissance times to determine
the substance and value of softer stones, usually to find how much gold might be in that
softer rock. The rock in question would be scraped against the touchstone, and the color of
the mark it left on the touchstone would indicate what percentage of gold, copper, or other
valuable materials were in it. Therefore the touchstone indicates a sort of truth-teller or
accurate measure of a person or situation in a literary sense.

Phebe: bright, pure

Silvius: forest
Audrey: Originally strength but associated in the late Middle Ages with the word tawdry
meaning cheap or ill-made.

CAL.SHAKES - 19 -
 JAQUES: Rosalind is your love's name?
ORLANDO: Yes, just.
JAQUES: I do not like her name.
ORLANDO: There was no thought of pleasing you when she was christened.
As You Like It, William Shakespeare

What does your name mean according to traditional sources?

Look up your name at www.behindthename.com. How do you think this illustrates your
personality? How do you think your name makes people perceive you? How do you see
othersjust according to their name? For instance, who do you picture if you hear the name
Bertha? Britney? Jose? Ahmed?

Now look at the popularity chart over time about your name and notice if you have a
relatively unusual name for this year, or if it is more common. Do you think having a popular
name influences how people see you, or how you see someone else? activity
Try to find out how and why you were named.

Do you like your name? If you had the chance to change your name, what would it be and
why?

What do you think about women taking their husbands last name when they marry? Should
women do this? Whats the advantage? Whats the disadvantage? How does a last name
change a persons identity in comparison with changing their first name?

CAL.SHAKES - 20 -
 Seeing the Play:
BEFORE & AFTER
BEFORE: what to watch for
Look for how Rosalind is perceived
differently by all the characters. She
is described in several different ways
depending on who is speaking with her or
about her.
Look for instances where Rosalind plays
with gender roles to her advantage.
Look for how class, e.g. economic status,
makes a difference in the lives of the
characters.
Watch for the differences between the
people who are in the court and the people
who are not.
Watch and see if you can think of two
reasons why Rosalind waits until the end of
the play to reveal her original identity.
See if you can understand why the
characters act the way they dois it
realistic or do you think Shakespeare is just
going for comic effect?
See the Write Your Own Critique page in the Activity Section for more
ideas about what to watch for and how to write about your reactions after the show.
CAL.SHAKES
AFTER: what do you think?
Shakespeare loves to write about what
happens when a person takes on the clothing
and perceived attitudes of an opposite
gender. You may be one of those people in
real life, or you may know people who do.
What do you think of the idea of playing with
gender norms?
Remember how Rosalind is perceived
differently by other characters. She is a
best friend, a male romantic ideal, a saucy
youth, a teacher, a magician, a rebel, a
wife. What do you think Rosalinds core
personality is?
What do you think of Rosalind? Would you
be her friend? What do you think are her best
personality traits, outside of any thoughts of
gender?
How did the staging in the play surprise you?
Do women still have to pretend to be
something theyre not in order to be accepted
in certain situations today? If you think yes,
what are those situations?
- 21 -
 YOURE THE CRITIC:
Cal Shakes Plays Critique
(Middle and High School)

Give this production a rating of one to five stars. (One star is the lowest rating and five stars is the highest.)
On a separate sheet of paper, write a paragraph describing why you gave it that rating. Give specific exam-
ples to support your reasons. On the same sheet of paper, reflect on the following questions:

Star rating: ___ stars

1. Why could you imagine that the director chose this play to stage out of all the plays in the world? What
did you see in the show that seemed most important about it?

2. How is what you saw different from what you expected?

3. Which character did you sympathize with most? Why?

4. Why do you think the director chose to change things about the original play? For instance, the setting is a
modern one and not set in Shakespeares time (1500s England), for example. Name one of the changes you
sawcostumes, setting, the ways in which the characters behaveand describe what it made you feel or
think about.

5. Now, imagine you are the director of As You Like It, and use a new sheet of paper to create your own
imagined production.

Cast the characters of Rosalind, Celia, and Orlando with famous actors. Why would you choose these
people?
Many directors set Shakespeare plays in time periods other than the Renaissance. What other setting
could you place the play in that would make sense? Why?
How about costumes? Imagine how the characters in your new production would be dressed that would
illustrate the kinds of characters they are and what setting you have put the play in.

CAL.SHAKES - 22 -
behind the scenes The Art
Onstage:
Costumes
& Set

CAL.SHAKES - 23 -
 Rosalind + Ganymede. Costume renderings by Melissa Torchia.

CAL.SHAKES - 24 -
 Left/Top: Celia. Right/Bottom: Jaques. Costume renderings by Melissa Torchia.

CAL.SHAKES - 25 -
 Top: Court. Bottom: Arden. Set sketches by Nina Ball.

CAL.SHAKES - 26 -
film media books scripts

AS YOU
LIKE IT
RESOURCES

CAL.SHAKES - 27 -
 AS YOU LIKE IT: On Film

Heres a sampling of a few of the most popular and available film versions:

As You Like It (1936) As You Like It (1992)

director: Paul Czinner
writers: J.M. Barrie (treatment), R.J.
Cullen (scenario), Carl Mayer (adap-
tation), William Shakespeare (play)
stars: Elisabeth Bergner, Laurence
Olivier, Sophie Stewart
director:Christine Edzard
writers: William Shakespeare (play)
stars: James Fox, Cyril Cusack,
Andrew Tiernan

As You Like It (1963) As You Like It (2011)

directors:Michael Elliott, Ronald Eyre director:Andrew Walkington
writers: William Shakespeare (play) writer: William Shakespeare (play)
stars: Vanessa Redgrave, Patrick Allen, stars: Charis-Elizabeth Deighton,
Max Adrian Rebecca Adkins, Adrian Baker

As You Like It (1978)

director:Basil Coleman As You Like It (2006)
writers:William Shakespeare (play) director: Kenneth Branagh
stars: Helen Mirren, Brian Stirner, writers: Kenneth Branagh
Richard Pasco (adaptation)
William Shakespeare (play)
stars: Brice Dallas Howard, Takuya
Shimada, Brian Blessed, Richard
Clifford

CAL.SHAKES - 28 -
 AS YOU LIKE IT: Online
Teaching Resources for As You Like It

Royal Shakespeare Company

RSC.ORG.UK/EDUCATION/TEACHER-RESOURCES/

Young Shakespeare Nation

A new initiative by the RSC to provide educational tools as the theater stages the 36 plays that make up the
First Folio of Shakespeares work over the next six years. Find out how to participate!
RSC.ORG.UK/EDUCATION

Folger Shakespeare Library WWW.FOLGER.EDU

Globe Theater in England

WWW.SHAKESPEARESGLOBE.COM

The Stratford Festival

STRATFORDFESTIVAL.CA/EDUCATION/TEACHERS.ASPX?ID=1096

Life in Elizabethan England

ELIZABETHAN.ORG/COMPENDIUM

Elizabethan England
WWW.BARDWEB.NET/ENGLAND.HTML

Specialized Acti

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Specialized Activities

Activities on Shakespeares Various Plot and Character Relationships

COLLABORATIVELEARNING.ORG/MUCHADOPLOTRELATIONSHIPS.PDF
(for Much Ado About Nothing, but can be adapted to any Shakespeare play)

The Kennedy Centers The Poetics of Hip Hop

ARTSEDGE.KENNEDY-CENTER.ORG/EDUCATORS/LESSONS/GRADE-9-12/POETICS_OF_HIP_HOP.ASPX

Shakespearean Insult Worksheet

WEB.MIT.EDU/DRYFOO/FUNNY-PAGES/SHAKESPEARE-INSULT-KIT.HTML

Folger Shakespeare Librarys Editing as Close Reading

HTTP://WWW.FOLGER.EDU/EDITING-CLOSE-READING-CUTTING-AND-PERFORMING-COMPLEX-TEXTS

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Recommended BOOKS
Asimov, Isaac. Asimovs Guide to Shakespeare. New York, New York: Random House, 1970.

Crystal, David, and Crystal, Ben. The Shakespeare Miscellany. The Overlook Press, Peter Mayer Publishers, Inc.
Woodstock and New York, 2005.

Crystal, David, and Crystal, Ben. Shakespeares Words: A Glossary and Language Companion. Penguin Books,
The Penguin Group. London, 2002.

Crystal, Ben. Shakespeare on Toast. Icon Books Ltd. London, 2012.

Davis, James E., ed. Teaching Shakespeare Today: Practical Approaches and Productive Strategies. Urbana, Ill:
National Council of Teachers of English, 1993.

Epstein, Norrie. The Friendly Shakespeare: A Thoroughly Painless Guide to the Best of the Bard. New York,
New York: Penguin Books, 1993

Foster, Cass and Lynn G. Johnson. Shakespeare: To Teach or Not To Teach. Grades three and Up. Scottsdale,
AZ: Five Star Publications, 1992.

Garfield, Leon. Shakespeare Stories. Boston: Houghton Mifflin Company, 1998.

Morley, Jacqueline and John James. Shakespeares Theatre: The Inside Story. East Sussex, London: Simon and
Schuster Young Books, 1994.

Papp, Joseph and Elizabeth Kirkland. Shakespeare Alive! New York, New York: Bantam Books, 1988.

Recommended play texts for As You Like It

For student editions of the play, we recommend the Folger editions of the plays.

For in-depth footnotes and background for teachers and advanced students, we recommend the Arden
Shakespeare series.

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