SEP

OCT
2017
INTERACTIVE STUDY GUIDE

Measure
Measure
for written by William Shakespeare
directed by Tyne Rafaeli

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 Measure for Measure Index 2

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

Measure for Measure | The Basics 5

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

Measure for Measure | Teacher Section 11

Measuring It Out: a Problem Play................................................................ 12
Measuring Power: the Serious Stuff ............................................................... 14

Measure for Measure | Student Section 15

Shakespeares Language .............................................................................. 16
Seeing the Play: Before and After................................................................... 17
The Political and the Personal........................................................................ 18
Cal Shakes Critique: Middle and High School................................................... 19

The Art Onstage 20

Costumes ................................................................................................... 21
Set ............................................................................................................ 23

Resources 24
GUIDE
CREDITS Measure for Measure: on Film ...................................................................... 25
Measure for Measure: Online ........................................................................ 26
Compiled Shakespeare: Online ..................................................................................... 27
by Trish
Tillman Shakespeare: in Print .................................................................................... 28
Editor
Alicia Stay Connected 29
Coombes

Design
Director
Den
Legaspi

Welcome to our interactive study guide! Navigate through the book by clicking page numbers, title headers and
icons in table of contents, and return to the index using the icon next to Cal.Shakes in lower left hand corner.
CAL.SHAKES 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:

PRESENTING PARTNERS
our funders & partners

SEASON PARTNERS

SEASON UNDERWRITERS

STUDENT DISCOVERY UNDERWRITERS

The National Endowment for the Arts in partnership

with Arts Midwest presents Shakespeare in American
Communities. California Shakespeare Theater is
one of 40 professional theater companies selected
to participate in bringing the finest productions of
Shakespeare to middle- and high-school students in
communities across the United States.

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

MEASURE for MEASURE:

The Basics

CAL.SHAKES -5-
 CHARACTER MAP

COURT

Duke Vincentio
ty

aka Friar Lodowick

ad
pu

vi
de

so
r
Angelo Escalus
eng

LAW
age

RE L IGI ON
d

GE NT RY
Provost Mariana
ar
re

Elbow
ste

un
Friars
d

en

Abhorson
vic

Claudio Isabella
no

siblings

Francesca,
Juliet
love
Bernadine, rs
a nun
a prisoner
Lucio Froth

CITY

Mistress Overdone servant

Pompey

CAL.SHAKES -6-
 MEASURE for MEASURE
plot summary

1The Duke of Vienna announces that he is leaving to travel abroad, and puts the government in
the hands of his deputy, Angelo.

2 The Duke disguises himself as a friar (or monk) and stays in Vienna in order to observe his citizens
and Angelos governance.

3 Angelo immediately enforces the law against sex before marriage by making an example of
Claudio, whose girlfriend Juliet is pregnant. Claudio is to be executed within 24 hours.

4 Claudios sister Isabella, who is on the verge of taking her final vows as a nun, goes to Angelo to
convince him to let Claudio go.

5 Angelo offers Isabella a deal: hell let Claudio live if she will sleep with himgiving up her
virginity (and her ability to return to the nunnery).

6 Isabella rejects Angelo, and visits her brother in prison to tell him about Angelos offer.
The disguised Duke overhears her accusations and decides to help.

7 The disguised Duke arranges for Angelos former fianc, Mariana, to sleep with Angelo in place of
Isabellathe bed trick is achieved by Isabella asking Angelo to meet her in a vary dark room.

8 In spite of thinking hed gotten Isabella to sleep with him and hold up her end of the deal,
Angelo sends the order for Claudio to be executed and his head sent to Angelo as proof that the
order was carried out.

9The disguised Duke again arranges for a way to fool Angelothe head trick is acheived by
substituting the head of another prison who had just died from illness.

10 The disguised Duke tells Isabella that her brother was indeed executed, and arranges for news of
his arrival back to Vienna to be proclaimed.

11 The Duke, as himself, returns to Vienna and greets Angelo as a excellent governor, but then
brings in Isabella to reveal Angelos gross abuse of power.

CAL.SHAKES -7-
 MEASURE for MEASURE
plot summary
12The Duke sentences Angelo to death, but at Marianas urging, Isabella begs for his life to be
spared.

13The Duke tells Angelo he will not be executed if he marries Mariana. Angelo agrees.

14The Duke then reveals Claudio, alive, and brother and sister are reunited.

15Last of all, the Duke proposes marriage to Isabella himself. Isabella does not give an answer
and the play ends in silence.

CAL.SHAKES -8-
 The CHARACTERS
whos who
DUKE VINCENTIO: who, disappointed with his city turning increasingly to lawlessness, temporarily
leaves the government to disguise himself as a friar.

ANGELO: Deputy to the Duke, who strictly enforces the laws when the Duke has left.

ESCALUS: advisor to the Duke and to Angelo.

CLAUDIO: a young gentleman in love with Juliet, who has become pregnant by Claudio.

LUCIO: a hard-partying, wisecracking gentleman who is friend to both the nobility and the lower
classes.

PROVOST: superintendent to the Duke, whose duty is to enforce the law

ISABELLA: sister to Claudio. At the beginning of the play she is just about to take her final vows to
become a nun.

JULIET: a young gentlewoman

CAL.SHAKES -9-
 CAST
whos who

Tristan Cunningham Patty Gallagher David Graham Jones

Escalus, Juliet, Provost, ensemble Angelo, ensemble
ensemble

Kevin Matthew Reyes Lindsay Rico

Claudio, Pompey, Isabella, ensemble
ensemble

Adam Schroeder Rowan Vickers Annie Worden

Lucio, ensemble Duke, ensemble Elbow, Mistress
Overdone, Mariana,
Barnadine, ensemble
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 -
teacher section

CAL.SHAKES - 11 -
 Measure it Out
Judge not, that ye be not judged. For with what judgement ye judge, ye shall be judged,
and with what measure ye mete, it shall be measured to you again.
Matthew 7:1-2

A problem of a play
Students may be confused or unsatisfied by Measure for Measure, which offers ambiguous
indications of how the audience should understand the motivations of the characters. There
is not a conventionally satisfying plot; it confuses rather than illuminatesfor instance, what
exact time Claudio is to be executed, what kind of war is going on, why the Duke leaves, and
why it is set in Vienna and not any other European city. Puzzlingly, the Duke keeps Isabella and
Juliet ignorant that Claudio has been saved, so they think hes dead for a much longer time
than modern audiences are comfortable with. Angelo is seemingly punished for his immoral
and illegal conduct against Isabella, but then pardoned and sentenced to marry Mariana, who
seems quite gentle and sincere in her love for him. Isabella agrees to substitute Mariana for
herself in Angelos bed without a moments hesitation, seemingly sanctioning sex outside of
marriage, which she has described for herself as a souls death. The Duke and the Provost
easily agree to execute another prisoner instead of Claudio, from which Shakespeare saves
them by conveniently having a prisoner die of natural causes, whose head can substitute for
Claudios. The climactic end of the play is Isabellas silence to the Dukes offer of marriage.

It should be noted that not only students have this reaction. Since it was written, the play
has been characterized as difficult and unenjoyable. Samuel Taylor Coleridge described it as
the single exception to the delightfulness of Shakespeares plays. It is a hateful work
our feelings of justice are grossly wounded in Angelos escape. Isabella herself contrives
to be unamiable, and Claudio detestable. In the early 19th century English critic Frederick
Samuel Boas named it as one of the problem plays (in a group including Alls Well That Ends
Well and Troilus and Cressida.) This is based on the 19th century idea that a problem play
centered around topics with a high degree of moral difficulty and contention (a play about a
problem, rather than a play with problems.)

Actors and directors have worked hard to authentically motivate characters actions that
puzzle the audience, and Shakespeare himself lightens the load with comic action, but at the
heart of the matter, whatever feelings are excited in the viewers, one must continually ask the
question Why?

CAL.SHAKES - 12 -
 So whats the point?
The problem that Measure for Measure is choosing to grapple with is that of the power of
government and the potential to abuse it, specifically around the issue of sexual behavior.
Laws are put in place for the good of the populace, but the power of the law is abused by
those who would profit from it.

The two most visible settings in the play are the seat of the Viennese government, populated
with officials; and the bawdy streets, which are populated with houses of prostitutes and those
that frequent them. Pompey (one of the latter) states the problem clearly, when Escalus (one
of the former) says that the law will now enforce the punishment of sex outside of marriage:

Pompey: Does your worship mean to geld and spay all the youth of the city?
Escalus: No, Pompey.
Pompey: Truly, sir, in my poor opinion, they will tot then.
Measure for Measure, Act 2, Sc. 1

Angelo illustrates this in his behavior of condemning Claudio to death for an offense he
admits that many men do without punishment at all, and that he himself is willing to commit
in demanding that Isabella sleep with him in exchange for her brother Claudios release.
Isabella challenges Angelo on his hypocrisy even before he demands her virginity; she is not
unintelligent. However, she is stripped of her nave sensibility when she says she will out
Angelo and his immoral conduct, and he replies: And who would believe thee, Isabella?
She realizes, of course, as many do today, that the un-witnessed accusation of a powerless
individual against a powerful one will result in nothing.

The politics of the state are suddenly personally excruciating.

The other main theme that Shakespeare is grappling with is the idea of Mercy, and how
it can or should temper Justice. Isabella of course represents Mercy both in the pleas for
her brothers life and, at the end of the play, in asking for Angelo himself to be spared
from execution. Angelo represents Justice and the full severity of the law regardless of
circumstance. Each also pivot to the other sideIsabella refuses to give up her chastity for
her brothers lifefollowing her belief in giving justice to Gods lawand Angelo of course
bends the power of the law to his own desires, thereby showing that justice is not immutable
to circumstance.

Why read or experience dissatisfying literature? Art that is meant to awaken discussion will
be difficult, and our job as educators is to help students navigate through uncomfortable
topics or experiences with the hope not only of forming their characters as critical thinkers
and tolerant citizens, but also to give them the tools to address conflict and unpleasant
experiences through vibrant and intelligent reflection upon their personal experiences.

CAL.SHAKES - 13 -
 Measuring Power
The Serious Stuff
Angelo is obviously abusing his power by trying to coerce Isabella to sleep with him in
exchange for the life of Claudio. Why does such a strict man, whose words in the play to this
point have been almost exclusively about how he must enforce the law against sex outside of
marriage, want to break it now? Shakespeare makes it clear that Angelo is being sexually and
politically abusive and that he is aware of the unlawfulness of his actions. He also makes it
clear that Angelo knows he has enough power to silence Isabella in any public accusation she
might make: my false oerweighs your true. He knows he can get away with it.

This is all too common an experience, even today. Famous cases of sexual harassment and
abuse of power in the U.S. include the Anita Hill hearings before the Senate in 1991, in which
she accused Supreme Court nominee Clarence Thomas of sexual harassmentinappropriate
and demeaning comments of a sexual nature spoken to herwhen she worked for him; and
more recently the case of pop star Kesha seeking to void the contracts with and her record
producer Dr. Luke of Sony Records, whom she accused of drugging her and of repeated
sexual, physical, verbal, and emotional abuse.

Although Anita Hills case was not one of explicit sexually physical contact without consent,
it encompasses the major issues of truth versus lies, motivations, the power of those who
make the law to break the law, and what happens to those who challenge that power.

If your students are ready, you may have them read this article which outlines
Anita Hills case, her testimony and the issues involved in harassment
accusations for both parties involved. http://content.time.com/time/magazine/
article/0,9171,974096,00.html

Using the text of Act 2, Scene 2, have students pick out Isabellas arguments
for her brothers life, and Angelos refusals.

Look more closely at Angelos monologue at the end of Act 2 Scene 2 where

activity
he professes to be so attracted to Isabella as to consider himself a sinner. Have
students pick out Angelos justifications for the offer he is about to make to
Isabella.

Using the text of Act 2 Scene 4, find justifications that Angelo makes for his
proposition and that Isabella makes for her refusal.

Discussion: How do the arguments that Angelo and Isabella each make for their
point of view sound familiar? How do they relate to the Anita Hill vs. Clarence
Thomas case? Whom do you believe? Which character do you agree withor do
you? Why do you think Shakespeare is dramatizing this situation?

CAL.SHAKES - 14 -
student section

CAL.SHAKES - 15 -
 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 Measure for Measure.

Can you match them to their modern-day translations?

Our doubts are traitors, Some people get rewarded even though they do bad
And make us lose the good we oft might win things, and sometimes people who do nothing but good
By fearing to attempt. things seem to get punished for it.
(Lucio, Act 1 Scene 5)
It is wonderful to be as strong as a giant, but it is unfair
Some rise by sin, and some by virtue fall. to use that strength to the full power of a giant.
(Escalus, Act 2 Scene 1)
Even though a person may look as wonderful and
Condemn the fault and not the actor of it? perfect as an angel, what they keep hidden inside may
(Angelo, Act 2 Scene 2) be dark and evil.

But man, proud man,
Drest in a little brief authority,
Most ignorant of what he s most assured
Plays such fantastic tricks before high heaven
As make the angels weep.
(Isabella, 2.2)
Should we condemn only the act of breaking a law, and
not punish the actual person who did it?
Our doubts betray our good intentionsthey make us
scared to try something that might actually turn out
well.

O, it is excellent Whose fault is it? The one who creates desire or the one
To have a giants strength, but it is tyrannous who has it? Which is the worst sin?
To use it like a giant.
(Isabella, Act 2 Scene 2) When someone gets even a little bit of power, they
act like they know everything even though they make
Is this her fault or mine? terrible mistakes. That kind of stupidity makes God and
The tempter or the tempted, who sins most? all the angels cry.
(Angelo, Act 2 Scene 2)
Theres a saying that the best people grow from their
O, what may man within him hide, flawsmost people are better for having weaknesses
Though angel on the outward side! than from being perfectly good.
(Duke, Act 3 Scene 1)

They say, best men are moulded out of faults,

And, for the most, become much more the better For Students: TRY THIS!
For being a little bad.
(Mariana, Act 5 Scene 1) 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 - 16 -
 Seeing the Play:
BEFORE & AFTER
BEFORE: what to watch for
Watch for which character you think could
be the main character of the play. Is there a
hero or heroine?
Look for when the Duke is testing other
characters.
Listen carefully to the argument Isabella
makes to save her brothers lifehow does
she try to persuade Angelo? Does it work?
Listen for how Angelo justifies his abuse of
power to himself.
Watch for how Shakespeare mixes comic
scenes with dramatic oneswhich comic
character appeals to you?
Watch for how the actors change into
different characters.
Watch and see if you can think of at least
two reasons why the Duke does not reveal
certain things until the end of the play.
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?
How do you think the Duke tests the other
characters in this play? Why do you think he
is doing it? What does Shakespeare want to
say by having this character do this?
How do the characters disguise themselves
in this play? The Duke literally takes on the
clothing of a friar, but others pretend to be
things or people they are not.
What do you think of Isabella and Angelo?
Are they very different kinds of people or are
they similar? How so?
How did the staging in the play surprise you?
Do you think this is a comedy, tragedy, or
some other genre? Describe why you gave
the answer you gave.
Do you think that the illegal and unfair situ-
ation that Angelo puts Isabella into still hap-
pens today? If you think yes, how can that
happen? If you think no, why not?
What do you think Isabellas answer is at the
end of the play to the Dukes proposal?
- 17 -
 The Political and the Personal
Laws are meant to regulate behavior in a way that is deemed to work for the benefit of the
society as a whole.

A law is defined as: A rule made by a government that states how people may and may not
behave in society and in business, and that often order particular punishments if they do not
obey, or a system of such rules.Cambridge Dictionary

Measure for Measure may be read as a comedy that makes fun of the assumed authority that
people take on. Both Isabella and Angelo are absolute in their convictions about the law of
government and the law of God, respectively, but both bend their convictions to achieve their
own end. Isabella agrees to let another unmarried woman sleep with Angelo in her place when
she professes to abhor sexual misconduct, and Angelo commits fornication while punishing
Claudio for the same offense.

Interestingly, every character here somehow judges someone else, whether endowed with
the power of the law to enforce it or not. Lucio in particular seems to enjoy this way of
making fun of others. We see this every day in our personal lives; we judge others on their
appearance, their voice, their comments on social mediaand others judge us. Its a bit of a
sport today. However, what if every comment, every judgment or critical remark made had an
equal judgment back? What if someone was in charge of monitoring every judgment anyone
ever made and had to make it all even? And now imagine that the person making the laws
doesnt really know how to enforce them, or even what the right law is! Shakespeare makes
us look at how the power of the law can fail due to human weaknesses, even as it tries to
distribute justice evenly: measure for measure.

In pairs, recount a true story of when you misjudged someone, or an example of

when you saw that justice was not being done. Each partner gets three minutes of
talking time with no interruption from the other partner. After the first story is told
by Partner A, Partner B asks: How did you feel about that situation? What would
you have changed?

activity
Then Partner B tells their story, Partner A asks the same questions, and listens to
the response.

Share out with the class.

Look for commonalities between stories. What situations seem to come up a lot?
What are the commonalities in what the students wish they had done differently?
What could students do in the future when finding justice mishandled, or their
judgments to be wrong?

CAL.SHAKES - 18 -
 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
examples 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. Do you think it is critical that a play resolve with all the storylines tied up neatly? Whether you answer yes
or no, say why you think that based on your experience of seeing this play.

5. 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.

6. Now, imagine you are the director of Measure for Measure, and use a new sheet of paper to create your
own imagined production.

Cast the characters of Duke, Isabella, and Angelo 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? (Think about a setting that makes sense to the
situations in the play. A spaceship might not make sense, but the colonization headquarters on a new
planet that needs new laws might.)
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 - 19 -
behind the scenes

The Art Onstage:

Costumes & Set

CAL.SHAKES - 20 -
 Heres a sneak peek at how the set and costume designers have brought this 400 year old
play into a modern setting. The personalities of the characters should come through in their
clothing and the mood of the play should show in the scene design. Teachers: ask students to
make predictions about the play just based on these images.

Top: Lindsay Rico (Isabella), Tyne Rafaeli (director, in street clothes), and Adam Schroeder (Lucio).
Bottom: Kevin Matthew Reyes (Claudio) and Annie Worden (Mistress Overdone). Costume designs by Montana Levi Blanco.

CAL.SHAKES - 21 -
 Left/Top: Lindsay Rico (Isabella).
Right/Bottom: David Graham Jones (Angelo).
Costume designs by Montana Levi Blanco.

CAL.SHAKES - 22 -
 Top: The cast and set of Measure for Measure. Bottom: Tristan Cunningham, Annie Worden, Patty Gallagher,
and Kevin Matthew Reyes. Set design by Annie Smart, Costume design by Montana Levi Blanco.

CAL.SHAKES - 23 -
film media books scripts

MEASURE for
MEASURE
RESOURCES

CAL.SHAKES - 24 -
 MEASURE for MEASURE:
On Film
There are not very many films of Measure for Measure. This partly stems from the fact that it has such
complex and changeable characters, plus a convoluted plot that does not sit well with a modern
audience used to tidy storylines. It also has long passages that are critical to the plays themes, but
that are not as friendly to the visual medium as one might want. However, films can often enhance
and make the situations and setting of the play more memorable, and are much more accessible to
enhance ones understanding. Here is a select group of films of Measure for Measure.

Measure for Measure (1979)

director:Desmond Davis
writers: William Shakespeare (play)
stars: Kenneth Colley, Kate Nelligan, Tim
Pigott-Smith

Measure for Measure (2006, UK)

Contemporary re-working of the Shakespeare
play set in the British army.
directors: Bob Komar
writers: Wendy Attwell (adaptation), William
Shakespeare (play)
stars: Josephine Rogers, Daniel Roberts,
Simon Phillips

MEASURE Measure for Measure (2016, UK)

director:Anne Clifford
FOR
MEASURE writers:William Shakespeare (play)
stars: Natalie Richardson, Richard Harper,
Craig Foster

CAL.SHAKES - 25 -
MEASURE for MEASURE: Online
Teaching Resources for Measure for Measure

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

CAL.SHAKES - 26 -
 SHAKESPEARE: Online
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

CAL.SHAKES - 27 -
 SHAKESPEARE: In Print

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 Measure for Measure

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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