Episódios
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It's time for what Rob Crighton is calling the "most theatrical play ever written!" Get ready for a second look at John Heywood's play...and let us know what you think.
Hamlet to Hamilton
Beyond Shakespeare Company
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Today we're excited to bring you the Tudor master of rhyme, John Skelton and his short and shouty Skeltonics! Thanks to Rob of the Beyond Shakespeare Company for guiding us this season through the history of English verse drama!
Beyond Shakespeare Company
Hamlet to Hamilton
Patreon
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What was the importance of manuscripts, and the impact of the printing press on late Medieval drama? This episode introduces our first named playwright, John Lydgate, and his 1465 play, "Mankind."
Rob Crighton of the Beyond Shakespeare Company continues this tour through the History of English Verse Drama, along with your hosts Emily C. A. Snyder and Colin Kovarik.
Hamlet to Hamilton: Website
Beyond Shakespeare Company: Website
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And now for something completely different:
H2H is partnering with the Beyond Shakespeare Company, and this time we're pleased to present the BSC's full audio cast production of "The Harrowing of Hell" - one of the very first Anglophone verse dramas, from around 1250 CE.
We'll be back soon with the beginning of the Tudor period as we continue to explore the history of English drama. In the meantime, you can listen to our exploratory session with this text and other Medieval dramas in S4 E1: the Earliest English Verse Drama: http://www.hamlettohamilton.com/s4e1.html
Beyond Shakespeare: https://beyondshakespeare.org/
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As we draw near the end of the Middle Ages, we take a look at interlude and debate plays. Rob Crighton of the Beyond Shakespeare Company continues this tour through the History of English Verse Drama, along with your hosts Emily C. A. Snyder and Colin Kovarik.
Hamlet to Hamilton: Website
Beyond Shakespeare Company: Website
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It's time to look at morality plays. What are they? How wacky can they get? Rob Crighton of the Beyond Shakespeare Company continues this tour through the History of English Verse Drama, along with your hosts Emily C. A. Snyder and Colin Kovarik.
Hamlet to Hamilton: Website
Beyond Shakespeare Company: Website
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Welcome to the long-awaited Season 4 of "Hamlet to Hamilton!" This season, we're joined by Robert Crighton of the Beyond Shakespeare Company. Rob will be our guide through the earliest English verse drama, as hosts Emily C. A. Snyder and Colin Kovarik try out scenes from morality plays and mystery cycles and see just how we got from some highly stylized rhyming drama to the blank verse we know and love today.
Hamlet to Hamilton: Website
Beyond Shakespeare Company: Website
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Playwright Monica Cross is back, chatting about some of the tricks and tips she uses as a neurodivergent person when sitting down to write (and rewrite) her verse drama.
CONTENT WARNING: Monica and Emily do (gently) discuss the script formatting and Monica's direction of Sarah Kane's play, 4:48 Psychosis, a brilliant contemporary verse play which does deal with mental trauma and suicidality. These are mentioned only insofar as they relate to the play.
Make sure to check out Monica's previous interview: S3 E13: Monica Cross Discusses Line Endings!
Monica Cross Online: https://monicaatcross.wixsite.com/theroaringgirl
Monica Cross Twitter: https://twitter.com/theroaringgirl
Monica Cross on New Play Exchange: https://newplayexchange.org/users/1040/monica-cross
Website: hamlettohamilton.com
Patreon: patreon.com/hamlettohamilton
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For Shakespeare's Birthday, we're kicking off a mini-season of interviews before we dive into Season Four. Let us introduce you to Kyle J. McCloskey (He/They), a two-time recipient of the Paula Vogel Prize from the Kennedy Center, here to chat with us about Paula Vogel's concepts of plasticity, as well as how soliloquies can be powerful political tools.
Official Website: https://www.kylejmccloskey.com/
New Play Exchange: https://newplayexchange.org/users/576/kyle-j-mccloskey
Paul Vogel Interview: https://www.youtube.com/watch?v=XLqM2xXYbzU
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Sometimes art really does come Velveteen Rabbit-alive. In February 2023, Mary Baldwin University gave the Virginia Premiere of Emily C. A. Snyder's Cupid and Psyche. Here's Emily's reflection on what it was like to let her artistic baby go, and what it's like to see art grow up and become alive.
Please Note: What follows is said with all love and respect to anyone who has ever born, lost, or gestated a child in their body. Metaphors are imperfect. Experiences grope for words. Thank you for understanding.
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We're at our Season 3 finale! Looking at how to use poetic imagery and poetic techniques to enhance your verse drama...or to ruin it. (Bless you T. S. Eliot, for showing us what not to do.) We're looking at how Shakespeare succeeds (Antony and Cleopatra) and fails (Romeo and Juliet) at using poetic imagery, as well as how T. S. Eliot uses poetic techniques well in his poetry (Four Quartets)...aaaaand not so well in his plays (The Cocktail Party). PLUS! You get to hear Emily laugh for a full minute, before attempting her version of a very posh British accent for good old Eliot's work.
Up next, we're going to be offering you various interviews from contemporary verse dramatists, before we jump into Season 4, which will look at the evolution of the history of Anglophone verse drama from the Medieval Ages through to the closing of the theatres in the 1640's. That's in conjunction with the brilliant Beyond Shakespeare Company podcast, so check them out while you're waiting for S4 to drop!
Website: http://www.hamlettohamilton.com
Patreon: http://www.patreon.com/hamlettohamilton
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It's a new year and a new Unhinged Rant! We're returning to T. S. Eliot, looking at his poetry in The Cocktail Party vs. Four Quartets. The cool thing is Eliot always sounds like Eliot. The cooler thing is that Ralph Fiennes performed Four Quartets (a poetry cycle) on the English stage in 2021. The weird thing is that Fiennes' works...and The Cocktail Party doesn't. What's going on with poetry on-stage anyway?
UNHINGED RANTS are Patreon-only monthly exclusives. We're unlocking this one for you, dear listeners. Like what you hear? Come join us over on patreon.com/hamlettohamilton!
(Listen on Patreon)
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We close out our exploration of creating character through line breaks by looking at Sir Gawain from The Table Round and The Siege Perilous by our own Emily C. A. Snyder. We're breaking down how a character can go from complete end-stopped thoughts, to open-ended insecurity, as well as how caesura and broken lines can define a character's arc. Strap in as we look at one character...and then tell us how you're using line endings, caesura and schwumpf in your own work!
PLEASE NOTE: Sir Gawain suffers sexual coersion and two of his speeches touch briefly on his feelings as he puzzles out what he experienced. These are flagged during the episode, so that the listener can skip if they prefer.Read the texts: http://www.hamlettohamilton.com/s3e15.html
Twitter: http://www.twitter.com/hamlettohamilton
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Let's look at some hyper contemporary verse to see how line endings are used in some Broadway and Off-Broadway plays. We're delving into Lucas Hnath's A Doll House, Pt. 2 and Jeremy O. Harris' Slave Play to see how enjambment and end stopped lines work when we're not in iambic pentameter.
(Note: Fear not! Although Slave Play contains difficult material, there is no content warning for this episode as the portion quoted is a neutral and not charged speech. Phew!)
Patreon: http://www.patreon.com/hamlettohamilton
Website: http://www.hamlettohamilton.com
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We're sitting down with the woman herself: Monica Cross sits down with us to chat about character building through line endings. We're looking at an early modern play and one of Monica's works in progress that makes Hero the heroine of Much Ado About Nothing.
Monica Cross Online: https://monicaatcross.wixsite.com/theroaringgirl
Monica Cross Twitter: https://twitter.com/theroaringgirl
Monica Cross on New Play Exchange: https://newplayexchange.org/users/1040/monica-cross
Website: hamlettohamilton.com
Patreon: patreon.com/hamlettohamilton
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How do you discover your character through the use of line breaks when writing verse? We're starting a mini-series on that very question, thanks to some great insight from playwright, Monica Cross. In this episode, we define five different dramatic reasons why a line ends (end stopped, enjambment, silence, stage direction and interruption), and we start looking at primarily end stopped lines. We also contrast King Arthur in Arthur Phillips' The Tragedy of Arthur, compared to King Henry V in William Shakespeare's Henry V. (And Emily goes nuts over good poetry.)
Patreon: http://www.patreon.com/hamlettohamilton
Website: http://www.hamlettohamilton.com
Monica Cross Twitter: https://twitter.com/theroaringgirl
Monica Cross on New Play Exchange: https://newplayexchange.org/users/1040/monica-cross
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We've talked about the basics of writing soliloquy...but how do you find your character's voice? In this episode, we look at T. S. Eliot's idea of the "Three Voices of Poetry," as well as examining Abigail Thorn (of PhilosophyTube)'s brilliant use of breaking iambic pentameter in her new verse play, "The Prince." BONUS! Emily guides you through exploring prosody. How do you feel about iambics? Trochees? Anapest? What rhythms do your characters speak in?
Patreon: http://www.patreon.com/hamlettohamilton
Website: http://www.hamlettohamilton.com
Prosody (metric rhythms): https://en.wikipedia.org/wiki/Foot_(prosody)
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Move over, Hamlet! Now that we've looked at what a soliloquy is, it's time to dive into how to write the classic soliloquy. Emily guides you through the different parts of a classic soliloquy so that you can begin to write or revise your own work.
We also share some listener feedback! Have a comment you'd like to be shared on-air? You can tweet at us @hamlet2hamilton or contact us at [email protected]. We love to hear your insights.
CONTENT WARNING: This episode looks at two speeches for characters who are processing through soliloquy sexual aggression. Isabella in Shakespeare's Measure for Measure, and Sir Gawain in Emily C. A. Snyder's The Table Round. Sexual aggression itself is not dwelt on, except insofar as it relates to the playwright's recognizing the context of the soliloquy they have created.
NEXT EPISODE: "Finding Your Character's Voice"
Patreon: http://www.patreon.com/hamlettohamilton
Website: http://www.hamlettohamilton.com
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