Pericles, Prince of tyre Guide Pericles, Prince of tyre California’s Home for the Classics...

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Pericles,Prince of tyre

California’s Home for the Classics



By William Shakespearedirected by Julia Rodriguez-elliottSeptember 7 – November 24photo by craig schwartz

2 A Noise Within 2013/14 Repertory Season

A NOiSe WitHiN’S eduCAtiON PROGRAMS MAde POSSiBLe iN PARt By:the Ahmanson Foundation, Alliance for the Advancement of Arts & education, Lourdes Baird, the Sheri & Les Biller Family Foundation,

the Capital Group Companies Charitable Foundation, Kathleen & James drummy, Sharon & Rick ellingsen, employees Community Fund of Boeing California, the Green Foundation, Heather & Paul Haaga, drs. Jennifer & Robert israel, the Jewish Community Foundation Michael and irene

Ross endowment Fund, Anonymous, terry & Jeanie Kay, Alan M. & Sheila R. Lamson, John K. & Barbara Lawrence, Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission, terri Murray, National endowment for the Arts: Shakespeare for a New Generation,

the Kenneth t. & eileen L. Norris Foundation, Pasadena Arts & Culture Commission and the City of Pasadena Cultural Affairs division, Leonard Pronko, the Charles & elizabeth Redmond Scholarship Fund, in Loving Memory of Charles R. Redmond — Father, Robert & Ann Ronus, the Rose Hills Foundation, the Shubert Foundation, Lyn Spector, the Steinmetz Foundation, James & trevessa terrile, Wells Fargo Foundation,

Roy H. Wishard & William O. Boden, WWW Foundation

Pericles,Prince of TyreStudy Guide table of Contents

3 Pericles, Prince of Tyre: A Note on Subject

4 Pericles, Prince of Tyre: Characters

5 About the Play: Synopsis

6 William Shakespeare: Biography

7 William Shakespeare: timeline

8 Pericles’ travels

9 Hero’s Quest

10 Verse & Prose

12 About the Production: Music

13 About the Production: Costume design

14 About the Production: Lighting

15 About the Production: Scenic design

16 Voyage of Pericles

18 Shakespeare’s Pericles

20 Classroom Activities

21 Resource Guide

22 About theatre Arts & Key terms

24 About A Noise Within

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ShakeSpeare’S Pericles brings up two sensitive issues for student audiences. At the beginning of the play, Pericles solves the answer to a riddle and discovers that King Antiochus is committing incest with his daughter. Later on, pirates sell Pericles’s daughter Marina to a brothel, presumably into prostitution. these scenes are brief, but are critical to the plot, which focuses on the triumph of virtue.

the incestuous relationship between Antiochus and his daughter is mentioned at the beginning of Act i, but is not emphasized visually. the riddle scene serves as a catalyst for Pericles to begin his adventure. the scenes with Marina in the brothel are another opportunity for good to triumph over evil. Marina convinces every would-be customer to renounce wickedness, and even persuades the brothel owner’s servant to help her escape.

Shakespeare places his characters in challenging circumstances for dramatic effect. Pericles is a story of a journey that includes the themes of honor, love, family and integrity.

We understand that teachers, administrators, and parents must individually assess what is appropriate for their students. Please contact A Noise Within’s education department at 626.356.3104 or email [email protected] for more information. ❖

Pericles: A note about subject matterph

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mailto:[email protected]


Pericles, Prince of Tyre: Character Map

Character Map

Mytilenepander: Brothel owner who buys Marina from the pirates

Bawd: Pander’s wife

Bolt: Servant to Pander and Bawd who is sympathetic towards Marina and helps her

Marina: despite being sold into prostitution, she remains virtu-ous and pure. She winds up engaged to Lysimachus after reuniting with her family

Lysimachus: Governor of Mytilene who falls for Marina and reunites her with her father. At the end of the play, he is engaged to Marina

Diana: Goddess who appears to Pericles and tells him to go to her temple

pericles: Reunited with his daughter

Return to TarsusMarina: Left to grow up on tarsus under dionzya’s care

Lychordia: Nurse who stays with Marina on tarsus

Dionzya: Grows jealous that Marina is prettier and smarter than her own daughter and hires an assassin

philoten: dionzya’s daughter, seen as inferior to Marina

Leonine: Servant hired by dionzya to kill Marina, but leaves her with pirates and lies about her death

pericles: devastated when he returns to tarsus and is informed about his daughter’s death

Gower: Narrator

The character of Cleon does not appear in this production

Antiochantiochus: King of Antioch who is having an incestuous

relationship with his daughter. He gives all of her suitors a riddle they must solve or die

antiochus’ Daughter

Thailard: Hired by Antiochus to kill Pericles

pericles: Vies for Antiochus’ daughter’s hand before solving the riddle and fleeing

At SeaThaisa: After giving birth to her daughter, she is presumed dead

and thrown overboard

Marina: daughter of thaisa and Pericles, born at sea

Lychordia: thaisa’s nurse who cares for Marina

pericles: Forced to bury thaisa at sea

Tyrepericles: the titular Prince of tyre who is searcing

for a wife. After solving the riddle he flees Antioch and returns home

helicanus: A Lord of tyre who remains loyal to Pericles and tells him to flee

TarsusDionzya: Governor of tarsus dealing with famine across her land

pericles: Arrives with food to supply the people of tarsus, turning dionyza into his ally

PentapolisSimonides: King of Pentapolis who holds a jousting tournament

for his daughter’s hand

Thaisa: Simonides’ daughter who marries Pericles

pericles: Wins the jousting tournament for thaisa’s hand and marries her

EphesusCerimon: A Lord of ephesus who revives thaisa after discovering

her body ashore

Philemon: Servant to Cerimon

Thaisa: travels to the temple of diana when she believes that her family died in a shipwreck

Return to Ephesuspericles: Finds his wife at the temple of diana and his family

is reunited


periCLeS’ aDvenTure BeGinS in the faraway land of Antioch, where he is determined to solve a riddle composed by King Antiochus. if he decodes the riddle he wins the hand of the King’s beautiful daughter. if Pericles fails, he will be put to death like numerous princes before him. to his dismay, and the King’s fury, Pericles discovers the true meaning of the riddle-that King Antiochus is committing incest with his daughter. Fleeing for his life, he heads back home to tyre. Fearing an attack upon his country by the enraged Antiochus, Pericles takes the advice of his trusted friend Helicanus and sets sail. Pericles lands on the shores of the famine-stricken land of tarsus, and befriends its Governor, dionyza, by an offer of food from his ship. After a short stay, and still fearing for his life, he once again sets sail.

A tremendous storm at sea destroys his ship and crew and he washes ashore at Pentapolis. through two local fishermen, Pericles learns that the good King Simonides is hosting a jousting tournament in honor of his daughter thaisa. the coveted prize of the contest is thaisa’s hand in marriage. the young Prince wins the tournament, thaisa’s hand, and her true love as well. After the marriage and a prolonged stay in Pentapolis, Pericles and his now pregnant young wife set sail for tyre. in the midst of another brutal tempest thaisa apparently dies while giving birth to Marina (so named by Pericles because she was born at sea). due to superstitious sailors, thaisa’s body is placed in a

water-tight coffin and thrown overboard where it drifts to the shore of ephesus. A renowned healer, Cerimon, discovers the casket and miraculously revives thaisa. Believing that both her beloved husband and newborn daughter have perished in the storm, thaisa vows to live the rest of her days as a votaress of the temple of diana. Pericles, fearful for the infant’s safety on the open seas, returns to tarsus and entrusts the child to Governor dionyza.

Fourteen years pass. Marina has become a beautiful and pure-spirited young woman, much to the consternation of dionyza who is poisoned with jealousy. dionyza is convinced that her own daughter, Philoten, has been overshadowed by Marina’s unparalleled beauty. dionyza hires an assassin to kill Marina. But,

just as the fatal blow is about to be administered, Marina is kidnapped by pirates headed toward the land of Mytilene. Arriving at Mytilene, she is sold to the proprietors of a brothel. Marina’s strength and purity of spirit convince every would-be customer of the house of ill-repute to renounce evil intentions forever more. With the help of the Governor of Mytilene, Lysimachus, she is freed from the brothel and becomes renowned for her healing powers. in the meantime, Pericles sails to tarsus and is told by dionyza that Marina has died. distraught, Pericles sets sail, vowing to neither cut his hair nor speak again.

Spying a ship anchored off the coast of Mytilene, Lysimachus comes aboard to find Pericles in deep mourning. Lysimachus summons Marina hoping her powers of healing may prove helpful to the ailing Prince. Pericles and Marina are overjoyed to discover each other’s true identity. Pericles’ fatigue sends him into a deep sleep in which he dreams that the Goddess diana instructs him to travel to her temple on ephesus. upon arriving there, Pericles and Marina recognize and unite with thaisa, bringing together the family so long split asunder. ❖

About the Play: Synopsis ph

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WiLLiaM ShakeSpeare (1564-1616), poet, playwright and actor, was likely born on April 23, 1564 to Mary Arden and John Shakespeare in Stratford-upon-Avon, england. Next year, 2014, will mark Shakespeare’s 450th birthday and celebrations will be held around the world to commemorate his contributions to literature and theatre.

Although much is written about him, very little documentation of his life survives beyond the public records of his christening, death, marriage and financial transactions. Shakespeare probably attended the edward Vi Grammar School, where his studies would have been almost exclusively in Latin.

At age 18, he married Anne Hathaway (age 26), who gave birth to daughter Susanna, just six months after the wedding. in 1585, Anne gave birth to twins Hamnet (who died at the age 11) and Judith. From 1585-1591, not much is known about Shakespeare’s life and this period is often referred to as the “lost years.” However, it is clear that he moved to London to pursue theatre during this time (probably around 1587).

in 1592, Shakespeare was listed as an actor with the Lord Strange’s Players, for whom he wrote his first play, the highly successful Henry VI, Part 1, followed immediately by the sequels Henry VI, Parts 2 & 3 in the same year. He later joined, and became part owner of the Lord Chamberlain’s Men continuing his career as a playwright. Over the course of twenty years, he wrote 148 sonnets, 3 long poems, and the 37 plays that continued to be performed around the world today. this season, alongside Pericles, Prince of Tyre, A Noise Within is producing Shakespeare’s Macbeth in Spring 2014.

in 1599, Shakespeare bought a share in the newly built outdoor Globe theatre where his plays were constantly performed. the Globe theatre was accidentally burned down in 1613 before being quickly rebuilt in 1614. However, the Globe closed in 1642 after all theatres were abolished by england’s Puritan administration and was demolished in 1644. today, visitors flock to London to visit Shakespeare’s Globe, a reconstruction of the original theatre that was opened in 1997.

Between 1610 and 1612, Shakespeare retired to Stratford-upon-Avon, where he died in 1616 at the age of 52. He supposedly died on the same day he was born, April 23rd. He is buried in the Church of the Holy trinity in Stratford-upon-Avon. ❖

William Shakespeare: Biography


William Shakespeare timeline

1564 William Shakespeare is born to John and Mary Shakespeare in Stratford-upon-Avon.

1587 the Rose theatre is founded in London. Shakespeare arrives in London to pursue theatre

1594 Shakespeare is an actor, playwright, and partial owner of the Lord Chamberlain’s Men.

1598 Shakespeare’s name begins to appear on the title page of his plays.

1599 Shakespeare buys a share in the newly built Globe theatre.

1603 the Lord Chamberlain’s Men become the the King’s Men in honor of James i’s coronation. the company is held in the king’s high favor.

1606 Macbeth written

1608 Shakespeare writes Pericles, Prince of Tyre.

1609 First publication of Pericles

1611 Macbeth performed

1611 The Tempest, another play by Shakespeare that features a shipwreck, is performed for the first time.

1613 during a Performance of Henry VIII, a cannon ignites and sets fire the thatched roof of the Globe theatre, burning the theatre down.

1614 the Globe theatre is quickly rebuilt. it closes in 1642 after england’s Puritan administration abolishes all theatres and was subsequently demolished in 1644.

1616 William Shakespeare dies at the age of 52 and is buried in the chancel of the Holy trinity Church in Stratford-upon-Avon.

1623 the First Folio is published by John Hem-minges and Henry Condell. Pericles, Prince of Tyre is curiously left out of the publication.

1564

1623


Pericles’ travels

penTapoLiS literally means “five cities” and refers to any close-knit group of five cities. in this play, it refers to a group of cities in North Africa. in the united States, some consider the Five Boroughs of New york City (Manhattan, the Bronx, Brooklyn, Queens and Staten island) to be a pentapolis.

anTioCh was a popular city in ancient Syria due to trade routes from Asia and Persia that allowed goods to be delivered into the Mediterranean. it is now a major town in south-central turkey.

aCTiviTieS Now pretend you are the writer. if you were making a fictional environment based on real life. Where would you write about? What characteristics would you include? What would you change? How would you describe the place and the people?

MyTiLene is the largest town on the Greek island of Lésbos. the most famous citizens from the town are Pittacus, a statesmen, and the poets Sappho and Alcaeus. Aristotle also lived in the town between 337-335 BC.

TarSuS is a Mediterranean city located in modern-day southern turkey. it was a popular destination for trade as a point of intersection between land and sea routes. it is famous for being the meeting place of Anthony and Cleopatra and the birthplace of Paul the Apostle. tyre is an ancient Phoenician city on the southern coast of Lebanon. tyrians were famous for their navigational skills in developing maritime trade routes and prosperous colonies, such as Carthage. tyre is also well known for its purple dye.

T u r k e y• M y t i l e n e

• p e n t a p o l i s • a l e x a n d r i a

• t a r s u s

• t y r e

• c a i r o

a T h e n S •a n t i o c h •

e G y p T

C y p r u S

B L a C k S e a

ShakeSpeare WaS aBLe To CreaTe a fiCTionaL pLay BaSeD on reaL pLaCeS.

Where exactly did Pericles Go?

epheSuS was an ancient Greek City famous for the temple of Artemis (Roman equivalent diana)completed circa 550 BC. it also was known for a large theatre that could hold up to 25,000 audience members. the theatre was originally built to perform plays and was later used for gladiator battles in Roman times. today, it is a modern tourist attraction as people travel to see the ruins of the great ancient city and of the temple of Artemiss, one of the Seven Wonders of the World. Artemis is the Greek equivalent of diana, and her temple is where Pericles and thaisa are reunited in the play.

• e p h e s u s


the plot of Pericles has a lot in common with the structure of a typical hero’s journey

Shakespeare’s Pericles is a fictional character, most likely based on the character of Apollonius

in the poem Apollonius of Tyre by a medieval poet named John Gower. Pericles is also the name of a

5th century Athenian statesman

Heros’ Quest

PERICLES and the Monomyth: Examining the Hero’s Journey

activities

What are the elements of a hero’s journey?1. Compare and Contrast Pericles’ journey to other hero’s quests: Odysseus, Aeneas, Gilgamesh, Jason and the Argonauts, Frodo, Harry Potter, others?

2. Marina’s character has her own heroic journey in Pericles. do female protagonists have different journeys? How and Why? Consider Viola from Twelfth Night, Katniss everdeen, others?

3. in literature, many works emphasize a hero’s journey home. Homer’s The Odyssey and Virgil’s The Aeneid are two epics that deal with the concept of homecoming (Greek: Nostos). After reading Pericles, Prince of Tyre, analyze the play and compare it to these epics.

What is similar and what is different? Cite examples and analysis from the text. is there a large difference between how the journey is portrayed in an epic versus in a play? in your research, think about how epics and plays were originally presented and imagine how audiences would receive the works.

For a challenge, think of Joyce’s Ulysses where part of Leonard’s journey is called the Nostos.

(Writing 2: write an essay with a thesis statement)

(Writing 9: draw evidence from text to support argument)

Bust of Pericles in marble, Roman copy after a Greek original from ca. 430 BC

1 0 A Noise Within 2013/14 Repertory Season

Shakespeare’s Verse & Prose

verSe is language with a set rhythm

the majority of Shakespeare’s plays are written in verse, for two primary reasons: tradition and memorization. Since the beginning of theatre, plays had been written in verse and verse is easier to memorize than prose. Shakespeare was one of the first playwrights to use both prose and verse when it suited him. Shakespeare uses verse to denote members of the nobility and the upper class.

Shakespeare uses a verse form called blank verse. While blank verse does not contain rhyme, each line has an internal rhythm and a regular rhyme pattern, like a heartbeat.

Shakespeare is known for utilizes iambic pentameter. An iamb is a poetic foot with one unstressed syllable followed by one stressed syllable. A pentameter means that there are ten syllables in a line. An iambic pentameter is then five iambs, forming a ten syllable line with a total of five stressed and five unstressed syllables per line.

example:

Which welcome we’ll accept, feast here a while, until our stars that frown, lend us a smile. —Pericles, Act i, Scene 4

Which welcome we’ll accept, feast here a while, until our stars that frown, lend us a smile.

dah-DuM, dah-DuM, dah-DuM, dah-DuM, dah-DuM

example:

“Fie, fie upon her…We must either get her ravished or be rid of her. When she should do for clients her fitment, and do me the kindness of our profession, she has me her quirks, her reasons, her master reasons, her prayers, her knees, that she would make a puritan of the devil if he should cheapen a kiss of her.” —Bawd, Act iV, Scene 5

proSe is language without a set rhythm or structure.

Prose is the form used by the common citizens in Shakespearean drama. there is no rhythm or meter in the line. it is everyday language that Shakespeare’s audience would recognize as their own language. in Shakespeare’s plays, prose is rarely used by nobility or members of the royal family.


Choose a lengthy speech by any character in Pericles, Prince of Tyre and have students read it aloud while walking around. Students should physically change direction every time they reach a comma, colon or full stop. this frequent change in direction will illustrate how each clause in a sentence suggests a new thought or idea for a character.

Repeat this exercise, but instead of changing direction, have students say the words “comma” and “full stop” out loud when they encounter punctuation. this exercise helps heighten awareness of where there is punctuation in our speech and what its purpose is.

using the same text, have students underline what they think are the natural stress words. if they spot an often repeated word, they should underline that as well. then students can practice speaking the text with an emphasis on these key stress words.

using the same speech, have students speak it aloud forcing themselves to make a physical gesture on every single word. this gesture can be clearly connected to the word (for example a finger point on “him”) or can be more abstract. this exercise helps students to value every word in the text. Students will prioritize the correct stresses because they will naturally gesture more when saying key words.

Can you identify three characters who speak in verse and three who speak in prose? do any of the characters use both?

in Pericles, Prince of Tyre, Marina speaks in both verse and prose.

Look at the following two passages, are they written in prose or verse? Reexamine these passages and the scenes in which they occur. Why does Shakespeare have Marina speak this way? How do characters that interact with her speak? What does the verse or prose reveal about the character?

“For me that am a maid, though most ungentle fortune Have placed me in this sty, where, since i came. disease have been sold dearer than physic. that the gods Would set me free form this unhallowed place, though they did change me to the meanest birth that flies i’th’ purer air!” — Marina, Act iV, Scene 5

“My lord, that maybe hath endured a grief Might equal yours, if both were justly weighed. though wayward Fortune did malign my state, My derivation was from ancestors Who stood equivalent with mighty kings…” — Marina, Act i, Scene 1

Shakespeare’s Verse & Prose Activities


QuestionsAfter reading the play and seeing A Noise Within’s production, analyze what the music added to the story. think of other art forms, such as television and film, that utilize music in your answer.

What elements need to be taken into consideration when scoring a production? Who does the composer have to interact and collaborate with in order to succeed?

Are there certain instruments or sounds that you associate with specific events? For example, what sounds would you expect to hear during a shipwreck? A wedding? A reunion?

How would approaching a film score be different than a theatrical score? How does the decision to approach the music as a film score affect A Noise Within’s production of Pericles?

Robert Oriol describes the range of “colors” a guitar offers. How does color apply to a musical score? How do you think of color?

Robert Oriol is a classical guitarist and composer in Los Angeles. this is his third production at A Noise Within. theater credits include The Grapes of Wrath (A Noise Within), God Save Gertrude, Oedipus El Rey, and A Picture of Dorian Gray (theatre @ Boston Court) and As You Like It (A Noise Within), Spider Bites (theater of Note).

artists’ StatementFor Pericles, the soundscape will be approached more along the lines of a film score than a theatrical score. three of the main charaters — Pericles, thaisa, and Marina — will each have a short theme, or “leitmotif” composed for them which we will hear throughout the play.

in terms of instrumentation, classical guitar will be the primary melodic instrument because of the wide range of colors it offers, and the background and underscoring will strings, brass and percussion. there may be modern elements to this score as well, since this play is not strictly a “period” piece.

in these early stages of development, we are planning on taking advantage of our actor’s rhythmic abilities by having them perform live percussion in some scenes to accentuate the recorded score.

Additionally there may be room in this world we are creating for some live vocals, but many of the compositional and design choices will depend on how the production unfolds. Often, the music we hear in our heads at the beginning of a production change dramatically as we move closer to opening night.

Robert Oriol

About the Production: Music


Angela Balogh Calin

About the Production: Costume Design

For A Noise Within, Angela Balogh Calin has designed costumes for many produc-tions including The Beaux’ Stratagem, Eurydice, A Christmas Carol, Cymbeline, Antony and Cleopatra, Twelfth Night, Or What You Will, The Comedy of Errors, The Chairs, Great Expectations, Waiting for Godot, Loot, A Midsummer Night’s dream, the Misanthrope, the imaginary invalid, Another Part of the Forest, the Little Foxes, the threepenny Opera, and As You Like It. She designed sets for Ghosts, The School for Wives, Julius Caesar, The Seagull, The Winter’s Tale, As You Like It, Twelfth Night, Cyrano de Bergerac (1995), and The Coun-try Wife. Ms. Balogh Calin earned an MFA in Set and Costume design at the Academy of Fine Arts in Bucharest, Romania, and is a member of the Costume designers Guild in the uSA and Romania. She has shown her graphic artwork in over 20 art exhibitions.

artists’ StatementAfter a few meetings with Julia we decided the best direction for the costumes would be to move them from one period to the next mixing contemporary with 17, 18, 19th century in order to underscore the long journey through life. each location in the play will be set in a different period and will have a specific color code. My hope is to make the costumes and the characters seam timeless and also give them a touch of playfulness

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Ken Booth has designed more than thirty productions for A Noise Within since 1998. Some of his favorites include The Bungler, The Chairs, Noises Off, Great Expectations, Richard III, Taming of the Shrew, Ubu Roi, Oliver Twist, Life is a Dream, Dear Brutus, A Wilde Holiday, Skin of our Teeth, Buried Child, and A Midsummer Night’s Dream at the Hollywood Bowl.

artists’ StatementPericles is very a much a play that uses the theme of journey literally and metaphorically. i had the opportunity to create environmental lighting to enhance our set and action which extended into and behind the audience. it was especially exciting to light actors who were placed on the ramps set designer Jeanine Ringer designed for the audience aisles. i focused those lights steeply so as to not intrude upon the audiences.

Like in many of Shakespeare plays, it is always important to isolate characters as much as possible. i included multiple single-light specials for the many opportunities there were to highlight speeches. i also dim the background as much as possible so the focus is entirely on the character(s).

When defining a different location, a time of day, or a sense of time having passed, light levels can create that feeling. to evoke the sense that several years had passed, i

Ken Booth

About the Production: Lighting

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brought down the front light levels low but made the back lights a little ‘crispy.’ i also gave a scene a feeling of ‘soft’ lighting when a mood of tenderness was important. to do that i made front and back lighting levels low and even.

i like to use saturated colors with non-realistic sets, especially when a play like Pericles takes place in several locations. the colors also helped to evoke the productions’ fairy-tale like feeling. i also covered the stage with break-up patterns to suggest exterior scenes.

Pericles allowed me to design a richly layered lighting tapestry for this epic production.


Jeanine A. Ringer

About the Production: Scenic Design

QuestionsA lot of hard work and dedication is put into a production. After watching A Noise Within’s pro-duction of Pericles, list all of the jobs required in order for the play to succeed. do not forget that this includes all of the actors, costuming, set design, lighting, and even music. Analyze how these jobs interact with one another and give examples of where two or more departments must work together.

o What are important traits that each member of the production must have? Pretend that you are the stage manager in charge of a production of Pericles, Prince of Tyre. What would you do to ensure that everyone was collaborating?

o if you could have any job in a production, what would it be and why? Justify your reasoning.

Ms. Ringer has spent the last decade working in television, film, theater and other live events. She received her MFA from the university of California, irvine. there, she took a particular interest in immersive theater, where the scenic environment completely surrounds the audience, and provides the spectator with an opportunity to interact with the production. From there, she went on to work in film and television both as a Production designer and as a Stylist/dresser. She has since had opportunities to work on multiple theatrical productions, films, commercials, music videos, and live events. A Christmas Carol marks her first production with A Noise Within. Ms. Ringer is very excited to have the opportunity to design this holiday classic with a few new twists. www.jnicholasdesigns.com

artists’ Statement Pericles is a show that takes you around the world in 90 minutes. We are taken on a sort of whirlwind cruise through time and space as our characters go from port to port and encounter many different peoples and lands. the tricky thing for a theatrical designer in a show like this is to figure out a way to transport us seamlessly to each of these worlds.

Along with the rest of our amazingly creative design team we’ve come up with a sort of human curiosity cabinet for this production. We wanted the set to help invoke a sense of curiosity and excitement while still providing a neutral space that can quickly become any of the lands that we are journeying to. the set is meant to be a sort of blank canvas or blank page that the characters can very quickly sketch out a new

place on. Our set is predominantly composed of a wall of doors and cabinets that allow us to wonder what lies behind each one.

With minor tweaks we’re hoping to transport our audience to each port that we go to. using very specific props and color combinations as triggers that we’ve moved on. i think this show holds a lot of surprises and we’re inviting the audience to take a giant leap with us as we sail away to distant shores.

http://www.jnicholasdesigns.com


aT firST GLanCe, there doesn’t seem to be all that much in common between the two Shakespeare plays selected for A Noise Within’s upcoming season. Pericles is a tragicomedy, a storm-tossed odyssey of love lost and regained. Macbeth is tragedy in its purest sense: an anti-hero and partner motivated by ambition and haunted by guilt get what’s coming to them. But, like many Shakespeare plays, these two

— written perhaps a year or two apart, four centuries ago — touch, just for a moment, on a common idea.

in Pericles, dionyza walks on stage in scene 4.3 in medias res – that is, the scene begins in the midst of her conversation with her husband Cleon, governor of tarsus, after he has heard offstage of what they both believe at the time to be her murder of Pericles’ daughter Marina, who had been entrusted to their care. dionyza enters saying to Cleon, “Can it be undone?” What she is saying to her husband is, basically, you can stop freaking out about this: what’s done is done; there’s nothing we can do about it now. She is pleading with him that since the circumstance cannot be changed, he should overlook the horrific nature of her action.

Regret and horror over murder is of course a driving force in Macbeth, and Lady Macbeth (in a much more significant role) reacts much as dionyza does. Shortly after the murder of King duncan, Lady Macbeth tells her husband, “What’s done is done.” Later, in the sleepwalking scene as she tries to rid herself of the “damned spot,” Lady Macbeth says to herself nearly the same thing dionyza will tell Cleon: “What’s done cannot be undone.” in both plays, Shakespeare asks us to reflect on finality, on how our unalterable actions can send us down an alternative future path, for better or for worse.

dionyza’s rhetorical question — “Can it be undone?” — also helps frame the fascinating history that has made this play available for performance for us today. is a play text simply a dead body? do we accept the text as it was published, in this case in 1609, as final, finished, unchangeable (and perhaps, like dionyza, plead with the audience that what’s done is done — even if the publisher “murdered” it, there is nothing we can do about it now)? Conversely, if we make alterations to the text, is that the horrific act? Surely modernizing spelling, or correcting typographical errors, is simple enough. But what about giving a character an extra speech, to make clear a point that otherwise the script does not seem to explain? if that’s okay, why not add a whole scene? Or more?

if we do that, is it still “Shakespeare”? Are there limits before we have “undone” the play? Pericles forces us to consider these questions.

Pericles was immediately popular on stage. it was popular in print too: six quarto editions, attributed solely to Shakespeare, were published between 1609 and 1635. But the quartos were riddled with errors. each of the subsequent editions tried to fix things a bit, sometimes helping, sometimes introducing new problems. Most scholars believe that the first quarto text (called “Q1”) was recreated by memory, probably by one or two of the actors in the play.

The Voyage of Pericles

Mark Rabinowitz


their memories, while remarkable, were not perfect. there is a wonderful play in Q1, and a fair number of problems.

Soon after the first successful performances of Pericles, George Wilkins published a novella called The Painful Adventures of Pericles Prince of Tyre, combining his memory of the play with text he lifted (verbatim) from another novel, by Lawrence twine, called The Pattern of Painful Adventures. Wilkins was clearly trying to cash in on the play’s success; he subtitled his novel “the true history of the play of Pericles, as it was lately presented,” and he omitted any mention of Shakespeare, or twine, attempting to take all the credit for himself. He had a valid claim to some credit: scholars believe that Wilkins was co-author of Pericles, Wilkins being responsible for most of Acts 1 and 2, Shakespeare for most of Acts 3 through 5. if this is so, Wilkins’s novel may shed valuable light on how Pericles was originally staged. Substantial parts of Wilkins’s novel read just like the play, even though the play itself had not yet been published; at Act 3, both the language and the story begin to diverge significantly from the play. it seems logical that Wilkins’s memory of the play was better for the part he had written.

Certain passages in Q1 clearly need modification for performance. in scene 5.1, the recognition scene in which Marina and Pericles discover they are long lost daughter and father, Marina sings a song for Pericles. in Q1, there are no lyrics — the script simply says,

“The Song.” Similarly, in the jousting scene (2.1), Q1 states the nationality and the translation of the foreign language mottoes for only some of the six knights who pass before King Simonides and his daughter thaisa in procession. Painful Adventures is helpful: it provides lyrics for the song in 5.1 and provides the nationalities and translations for all six knights in 2.1. it seems far more likely that Painful

Adventures accurately reflects what transpired on the original stage here; stubbornly holding fast to Q1 would deprive the audience for little apparent reason.

Marina’s rescue from the attempted murder by dionyza and Leonine comes at the hand of pirates, who kidnap her, bring her to Mytilene, and sell her into a brothel. Marina refuses to take part, using her wit to convince the customers of the errors of their ways. in scene 4.6, we witness her interview with Lysimachus, governor of Mytilene, who has come to the brothel seemingly as a client. Marina converts him to the side of honor and good — but in Q1, she really does not say very much before Lysimachus sees the light and becomes convinced she is pure, virtuous, a special person he should not harm. Critics, editors, and especially theater directors have found this scene unsatisfying, even unperformable. Something is missing: shouldn’t we see some evidence of Marina’s intelligence and charm, to motivate the change in Lysimachus?

despite the play’s significant initial popularity on stage, it was rarely performed after the 17th century until well into the 20th. it is now enjoying a resurgence, and beginning in 1969 for a Royal Shakespeare Company production, directors began using Wilkins’s Painful Adventures to fill in the gaps of motivation for Lysimachus. A 1983 BBC television production (available on dVd, highly recommended) did the same. in parallel with this growing theatrical tradition, editors embarked on a similar voyage, and this is where things began to get controversial. in 1986, two editors of the Oxford Complete Works developed what they called a “Reconstructed text” of Pericles, using Painful Adventures to make wholesale changes to a great number of scenes — even those where the Q1 text is largely adequate as is. these editors (or should one say

“authors”?) went far further than simply supplying missing lyrics or translation

– further even than responding to the scholarly and theatrical tradition of a problem with Lysimachus’s motivation in 4.6. Although the case for Wilkins as co-author of the play is compelling and no longer much disputed, the Reconstructed text is another matter. A reader of this text must ask: what is this “reconstructed” text? is it

“Shakespeare”? is it an adaptation? Has the Quarto been “undone”?

Much has been written about the ways in which Pericles has been edited for print and presented on the stage, and studying it is both entertaining and rewarding. editors and directors have been both creative and rigorous in their attempts to present the best possible text to audiences — and thinking about what “best” may mean: a text close to Q1 as it was published, or one with the gaps suitably filled, or one close to a hypothetical “original” staged version (as the Oxford hybrid of Q1 and Painful Adventures claims to be). in the play, Pericles, thaisa and Marina each lose and find love, either romantic or filial, traveling storm-tossed seas to a grand reunion. the text of Pericles, too, has been tossed by a storm, and we have scholars and directors to thank for reuniting us with it. ❖about the author: Mark Rabinowitz is a supporter of A Noise Within’s Classics Live! education program. He is a former business executive who now studies Shakespeare at uCLA.

QuestionMark Rabinowitz describes dionyza talking to Cleon about her terrible deed, but in A Noise Within’s production, the role of Cleon has been cut.

How does this change affect how you interpret the scene?”


“o for a MuSe of fire,” famously proclaims the Chorus at the opening of Shakespeare’s Henry V. “A kingdom for a stage, princes to act, / And monarchs to behold the swelling scene!” the Chorus goes on to urge the audience to “eke out our imperfections with your thoughts” while allowing the actors to “work”

“on your imaginary forces.” the Chorus encourages us, in other words, to be active participants in the world of the theatre and of the play, and to be proactively engaged in the performance, rather than be merely passive spectators. But who exactly is this Chorus? Part interpreter, part cheerleader, the Chorus figure in Henry V is seemingly everywhere at once, simultaneously commenting on the action and almost, at times, appearing to drive it. Historically the figure of the Chorus has its roots in ancient Greek drama, in which a group of actors (varying in size from twelve to as many as fifty) is thought to have stood to the side of the stage observing and commenting on the action. When Shakespeare employs a choric device, however, he typically reduces the number of the Chorus to a single voice. And in no other play does Shakespeare describe and delineate the Chorus so specifically as he does in the character of Gower, who guides us through the hectic and often chaotic world of Pericles.

the historical John Gower (1340-1408) was an english poet who is best remembered for his lengthy poem Confessio Amantis (c. 1383-1393), which includes the tale of Apollonius of tyre, considered a source for Pericles. in Shakespeare’s hands, Gower becomes a highly complex figure. Like the Chorus of Henry V, Gower’s is the first voice we hear in the play, and the last; unlike the Chorus, Gower distinguishes himself by speaking largely (though not entirely) in iambic tetrameter, a four-beat line rather than the familiar five-beat iambic pentameter that the rest of the characters speak. He is deferential to his audience, admitting that he “sing[s] a song that old was sung” and acknowledging that his tale is a familiar one. Nevertheless, despite his deference and his hope that his tale “May to your wishes pleasure bring,” he is very

Shakespeare’s Pericles and the World of the Play

Miranda Johnson-Haddad

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much in control of our experience of the play. From the opening scene he tells us where the events of the play are going, and he gives us information that the hero has yet to discover. Gower goes even further when he next appears at the beginning of Act 2; not only does he provide a helpful summary of the action thus far, including events that are staged in “dumb show” rather than acted out, but he also begins to assume the role of omniscient and even controlling narrator, saying that he will give his “benison” to Pericles and other deserving characters in the play. With his useful summaries and his judgments he stands throughout the play as both the narrator of the action and its moral compass, a “benign deity,” in scholar david Bevington’s phrase, who both steers and interprets the play’s events for us.

Mid-way through Act 4, Gower says to us, his audience, “i do beseech you / to learn of me, who stand i’ the gaps to teach you, / the stages of our story.” in his dual role as storyteller and judge, Gower also emphasizes what we may call the self-conscious theatricality of Shakespeare’s play. the four late Romances, a genre that includes Cymbeline, The Winter’s Tale and The Tempest, all owe much to the literary realms of fantasy and fairy-tales, none more so than Pericles. With their storms and shipwrecks,

deaths and resurrections, separations and reunions, and of course, the trials and tribulations of love, all the Romances occupy a dramatic and literary space that is, paradoxically, both deeply theatrical yet also challenging to stage. Pericles especially presents many wonderfully theatrical moments, from the colorful joust in Pentapolis in Act 2, to the ferocious storm of Act 3, to Marina’s abduction by pirates in Act 4, to the happy reunions of Act 5. these and many other moments may strain credulity, yet they also remind us of what we love about theatre — its spectacle, its fantasy, and its ability to take us out of ourselves. Shakespeare’s Choruses, especially Gower, call attention to and comment on the improbable and fantastical nature of the play, and of every play, even as they urge us to accept this very theatricality.

Shakespeare’s Choruses are further linked to the epilogues that he provides for many of his plays, including but not limited to those spoken by Puck, by Rosalind and by Prospero, all of which serve to remind us that what we have been viewing is fiction

— but what a rich and entertaining fiction it has been. these Choruses and epilogues serve another purpose as well. they remind us that ultimately, the fate of the play rests in the hands of us, the audience. the Chorus in Henry V observes that he will “Prologue-like your humble patience pray, / Gently to hear, kindly to judge our play.” At the end of Pericles, Gower neatly summarizes the complex spectacle that we have just witnessed, concluding cheerfully that “So, on your patience evermore attending, / New joy wait on you! Here our play has ending.” But if the play’s reception is, finally, up to us, we also have a responsibility to work with the playwright, and with his and our

guide, the Chorus. We are obligated to enter fully into the world of the play, fantastical and unrealistic as it may be, and to trust the guide who takes us through it. More than merely suspending disbelief, we must wholly embrace the play in all its grand theatricality and believe in the sometimes nonsensical world that it presents. Only then will we be able to participate fully in the play’s transformative power, and only then may we truly appreciate the beauty and the wisdom that it offers us. ❖

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When Pericles enters the jousting tournament in Pentapolis, each knight is represented by their shield. Recall and restate the shields that are presented to King Simonides. then, create your own shield. What would you put on your shield to describe yourself? Provide a brief paragraph to complement your illustration before presenting it to the class.

o (Speaking and Listening 5: integrate multimedia and visual displays to presentation)

Creativity & innovation

A lot of Pericles, Prince of Tyre takes place at sea. if you were staging this play, how would you convey the ocean and the shipwreck? After writing down your ideas and citing evidence from the text, gather in a small group of three. discuss your different approaches and produce a production plan to share with the class. Make sure to defend your own perspective as well as offer constructive criticism to your group members.

One group member is the designer and should draw a brief sketch of the final stage design. the second member is the secretary and should write out a brief one paragraph summary of what your group has decided. the third member is the orator and will present the plan to the class.

o After seeing the play, what do you think of how the A Noise Within production was staged? Judge if the production successfully captures the setting? do your group members agree?

o (Speaking 1: engage effectively in collaborative discussions)

o (Speaking 2: delineate a speaker’s argument and evaluate it)

o (Writing 9: draw evidence from text to support argument)

Communication

Pericles’s adventure begins after he solves King Antiochus’s riddle. Review the riddle and attempt to decode it yourself. Which lines stood out to you? Was there a rhyme scheme?

o (Reading 3: determine meaning of word and phrases used in text)

o (Language 4: determine of clarify meaning of unknown and multiple meaning words)

A Noise Within’s production of Pericles, Prince of Tyre is revised, eliminating a few scenes. After reading the original, what are the differences? do these differences add or subtract anything from your understanding of the play. if you were directing Pericles would you eliminate the same scenes, other scenes, or none at all?

o Many plays and novels are currently being adapted to film and television. Name an example of an adaptation that you witnessed. did the adaptation do the original justice? Besides time constraints, can you think of any reason the changes took place?

o (Reading 9: analyze live production and how it stays faithful to original)

Critical thinking Collaborationin groups of four, identify the major themes of Pericles making sure to cite examples from the text. then, pretend you an advertising team in charge of marketing a production of Pericles. How would you present Pericles to a brand new audience? Prepare a marketing strategy utilizing diagrams and/or a press release and present it to the class.

o After all groups have presented, evaluate which advertisement appealed to you the most. does it accurately advertise the play? decide which group created the best strategy and support your vote with evidence from both the play and the group’s presentation.

o (Reading 1: Cite textual evidence to support analysis)

o (Reading 2: determine central idea from text and analyze its development)

o (Speaking 1: engage effectively in collaborative discussions)

o (Speaking 2: delineate a speaker’s argument and evaluate it)

o (Speaking 4: present claims and findings with details, evidence)

o (Speaking 5: integrate multimedia and visual displays to presentation)

A Noise Within has developed these activities according to the Common Core State Standards for Language, Reading, Speaking, Listening and Writing

at the 9th grade level and the 21st Century Learning and thinking Skills.

Classroom Activities


Pericles, Prince of Tyre: Resource Guide

BookS on ShakeSpeare

• Asimov, Isaac. Asimov’s Guide to shakespeare. doubleday, 1978.

• Cahn, Victor L. The Plays of shakespeare: A Thematic Guide. Greenwood Press, 2001.

• Epstein, Norrie. The Friendly shakespeare. Penguin Books, 1993.

• Fallon, Robert Thomas. A Theatregoer’s Guide to shakespeare. ivan M. dee, 2001.

• Gibson, Janet and Rex Gibson. Discovering shakespeare’s language. Cambridge university Press, 1999.

• Greenblatt, Stephen. Will in the World. W.W. Norton, 2004.

• Holmes, Martin. shakespeare and His Players. Charles Scribner’s Sons, 1972.

• Kermode, Frank. shakespeare’s language. Allen Lane, the Penguin Press, 2000.

• Linklater, Kristin. Freeing shakespeare’s Voice. theatre Communications Group, 1992.

• Pritchard, R. E. shakespeare’s england. Sutton Publishing Limited, 1999.

• Papp, Joseph and Elizabeth Kirkland. shakespeare Alive. Bantam Books, 1988.

BookS on TeaChinG ShakeSpeare

• Gibson, Rex. Teaching shakespeare. Cambridge university Press, 1998.

• Reynolds, P. Teaching shakespeare. Oxford university Press, 1992.

• Rosenblum, Joseph. A reader’s Guide to shakespeare. Salem Press, inc., 1998.

• Toropov, Brandon. shakespeare for Beginners. Writers and Readers Publishing inc., 1997.

WeBSiTeS

• The folger Library: www.folger.edu

• play Shakespeare: the ultimate Free Shakespeare Resource -- www.playshakespeare.com

• american Shakespeare Center: www.americanshakespearecenter.com

MeDia LinkS

• Shakespeare’s Movies, Effective ways to use video in the classroom– www.folger.edu/Content/teach-and-Learn/teaching-Resources/Audio-Video/teacher-to-teacher-Series/Shakespeare-Movies.cfm

• Teaching Shakespeare, Audio and video resources– www.folger.edu/Content/teach-and-Learn/teaching-Resources/Audio-Video/teaching-Shakespeare-series/

periCLeS on fiLM

• pericles, prince of Tyre (tV Movie) dir. david Hugh Jones. With edward Petherbridge and Mike Gwilym. BBC television Shakespeare, 1984. Available on youtube

periCLeS TiMeLine

• Shakespeare in american Life: www.shakespeareinamericanlife.org

• encyclopedia Britannica: www.Britannica.com

• Mary rose: www.maryrose.org/

• Shakespeare’s Globe: www.shakespearesglobe.com/

periCLeS TraveLS

• encyclopedia Britannica: www.Britannica.com

• uneSCo World heritage Center: whc.unesco.org/en/list/299

• Triposo: www.triposo.com

oTher SChoLarLy affiLiaTionS

• Gower, John “Appolonius of tyre” from Confessio Amantis, Book 8 (1390)

• eliot, t.S. “Marina”


blocking: the instructions a director gives his actors that tell them how and where to move in relation to each other or to the set in a particular scene.

character: the personality or part portrayed by an actor on stage. conflict: the opposition of people or forces which causes the play’s rising action.

dramatic irony: A dramatic technique used by a writer in which a character is unaware of something the audience knows.

genre: Literally, “kind” or “type.” in literary terms, genre refers to the main types of literary form, principally comedy and tragedy. it can also refer to forms that are more specific to a given historical era, such as the revenge tragedy, or to more specific sub-genres of tragedy and comedy such as the comedy of manners, farce or social drama.

motivation: the situation or mood which initiates an action. Actors often look for their “motivation” when they try to dissect how a character thinks or acts.

props: items carried on stage by an actor to represent objects mentioned in or implied by the script. Sometimes the props are actual, sometimes they are manufactured in the theatre shop.

proscenium stage: there is usually a front curtain on a proscenium stage. the audience views the play from the front through a “frame” called the proscenium arch. in this scenario, all audience members have the same view of the actors.

set: the physical world created on stage in which the action of the play takes place.

setting: the environment in which a play takes place. it may include the historical period as well as the physical space.

stage areas: the stage is divided into areas to help the director to note where action will take place. upstage is the area furthest from the audience. downstage is the area closest to the audience. Center stage defines the middle of the playing space. Stage left is the actor’s left as he faces the audience. Stage right is the actor’s right as he faces the audience.

theme: the overarching message or main idea of a literary or dramatic work. A recurring idea in a play or story.

thrust stage: A stage that juts out into the audience seating area so that patrons are seated on three sides. in this scenario, audience members see the play from varying viewpoints. A Noise Within features a thrust stage.

today, movies and television take audiences away from what was once the number one form of amusement: going to the theatre. But attending a live theatrical performance is still one of the most thrilling and active forms of entertainment.

in a theatre, observers are catapulted into the action, especially at an intimate venue like A Noise Within, whose thrust stage reaches out into the audience and whose actors can see, hear, and feel the response of the crowd.

Although playhouses in the past could sometimes be rowdy, participating in the performance by giving respect and attention to the actors is the most appropriate behavior at a theatrical performance today. Shouting out (or even whispering) can be heard throughout the auditorium, as can rustling paper or ringing phones.

After A Noise Within’s performance of Pericles, Prince of Tyre, you will have the opportunity to discuss the play’s content and style with the performing artists and directors. you may wish to remind students to observe the performance carefully or to compile questions ahead of time so they are prepared to participate in the discussion.

key Theatrical Termsabout Theatre arts


Study Guide Credits

Claire Marie Mannle EditorCraig Schwartz Production Photographyteresa english Graphic DesignMelissa Lin and Allison Post Education Interns

Geoff elliott & Julia Rodriguez-elliott, Producing Artistic directors3352 e. Foothill Blvd., Pasadena, CA 91107tel 626.356.3100 / Fax 626.356.3120anoisewithin.org




a noiSe WiThin’S MiSSion is to produce great works of world drama and to foster appreciation of history’s greatest plays and playwrights through comprehensive educational programs. ANW is the only theatre in Southern California and one of only a handful in North America to exclusively produce year-round classical dramatic literature — from master works by euripides, Moliere and Shakespeare, to modern classics by Arthur Miller, Henrik ibsen and Samuel Beckett — in rotating repertory with a company of classically trained resident artists.

the company was formed in 1991. All of A Noise Within’s Resident Artists have been classically trained, and many hold Master of Fine Arts degrees from some of the nation’s most respected institutions.

in its 21 year history, A Noise Within has garnered over 500 awards and commendations, including the Los Angeles drama Critics’ Circle’s revered Polly Warfield Award for excellence and the coveted Margaret Hartford Award for Sustained excellence.

More than 27,000 individuals attend productions at A Noise Within annually. in addition, the theatre draws over 10,000 student participants to its arts education program, Classics Live! Students benefit from in-classroom workshops, conservatory training, subsidized tickets to matinee and evening performances, post-performance discussions with artists, and free standards-based Study Guides.

A Noise Within’s vision is to become a national leader in the production of classical theatre, creating an environment that continues to attract the finest classical theatre artists, educates, and inspires audiences of all ages, and trains the leading classical theatre artists of tomorrow. ❖

About A Noise Within

Study Guides

A Noise Within creates study guides in alignment with core reading, listening, speaking, and performing arts standards to help educators prepare their students for their visit to our theatre. Study guides are available at no extra cost to download through our website: www.anoisewithin.org. the information and activities outlined in these guides are designed to work in compliance with the California VAPA standards, the Common Core, and 21st Century Learning Skills.

Study guides include background information on the plays and playwrights, historical context, textual analysis, in-depth discussion of A Noise Within’s artistic interpretation of the work, statements from directors and designers, as well as discussion points and suggested classroom activities. Guides from past seasons are also available to download from the website.

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