Talk back to Shakespeare
(Basic Concepts and Format developed by KRS Murthy)
Prelude
Dear Scholars and Literary Enthusiasts,
I humbly invite all you to participate in setting up a novel tradition in literature and art. Please feel free to invite your friends and other literary enthusiasts to participate in this project.
I have developed the basic concepts and format for a new literary tradition. I envision this to be a project for people, run by the people and for the benefit of the people. “People” could be scholars and novices, adults or youngsters, and most importantly of all languages, backgrounds and cultural / art / literary interests and accomplishments.
It is time that we really talked back to these literary masters and asked them directly anything all of us want to really ask.
In general, my intention and vision is to lay the foundation for a novel tradition of talking back to authors.
Please Note: I have intentionally not doented the details, for it is a people’s project.
Theme and Vision
This is actually a people’s project for setting a novel tradition of direct debate and discussion with the authors of famous works. The debate will take the form of dialogues, critical and constructive discussion groups and extravagant theatre presentations.
This is a master plan for critical and constructive dialogue with the greatest literary master of all times. The vision is to set up a foundation for a new tradition of continuing dialogue for many years and generations of scholars and literary enthusiasts. The foundation will set the stage for a new approach to study literary masterpieces, applicable to all languages.
This is only a high level overview of the plan. Details will be developed with a team of motivated and creative core group. During deployment of the dialogue and critical ysis, both scholars and novices would be encouraged to participate actively.
Debates and discussion of special characters
In the first project, we will be talking back to Shakespeare. I have chosen Shakespeare because I have the greatest admiration for him for his contribution to English literature. Great authors like him had superhuman literary gifts. These authors have mesmerized generations by their great writing. These authors have spoken to their readers through characters, events and even direct messages in their stories, poetry and especially dramas. We can also talk back to the author’s through the same characters that talked to us. For example, as authors, we could create a drama in which Shakespearean characters talk back to Shakespeare. The drama we create may have characters from only one of his dramas, or a combination of characters from his different dramas. We could even be creative and come up with our own characters. The central person we talk back to is Shakespeare, but through his characters. We could create events in our drama in which the characters (potentially from different Shakespearean dramas) interact with each other and debate and discuss among them, and also with Shakespeare. As an example, let us imagine a scene in King Lear’s court in his palace. The scene could start with King Lear presiding and many characters from Shakespeare’s dramas present in his court. The characters in the king’s court may not have to be limited from the drama “King Lear”, but also other dramas like “Romeo and Juliet”, “Macbeth” or “Othello”. After few tradition dialogues and little proceedings in the king’s court, someone demands that they bring in Shakespeare. Soon, Shakespeare is brought dragged into the court by some soldiers. The characters start questioning Shakespeare about some situation of his drama or the motive behind the shaping of a particular character. Juliet may be in tears very angry with Shakespeare and accuse him of what happened to her and her lover Romeo. Shakespeare responds. Some other character from another drama may come to the rescue of Juliet, while another character may support Shakespeare in the discussions and debates. King Lear may declare that Shakespeare be subjected to the same fate he was subjected to, when Fool may speak on behalf of Shakespeare. It can even take the form of cross-examining Shakespeare by different characters. In time, the topic may turn into another character like Othello. Please keep in mind that in all of these dialogues, debates and cross- examining, we as, dramatists or authors, are really talking back to Shakespeare.
Please also note that this is really completely opposite and reciprocal to dramatists like Shakespeare talking to us as his readers through his characters. We are using his own characters to talk back to him.
Many corollaries are possible to this central technique, in which we may use any genre of literature like poetry, short story, novel, and drama to implement the “talk back to the author” tradition. We can choose a poet like William Wordsworth or William Blake to write a poem (or even a drama) using the “talk back” technique. We may choose a novelist or short story writer. We can incorporate humor as needed.
Examples of our intentions would be the following:
v Raise a lot of issues on the theme
v yze characters
v Question the author on the treatment of characters
v Debate with the author on moral and social values
v Dialogue with the author on the selection of heroes versus villains
v Understand the intentions of the author through direct discussions about good guys versus bad guys
v Pin point to the author on disturbing events and discuss regarding potential alternative events and other potential alternative tracks for the story.
v Understand the author’s intentions on the creation of VIP characters.
Implementation and Deployment Techniques
Ø Parallel efforts in all languages
Ø Team effort with open participation by all - novices and scholars would be participating different levels of activities.
Ø Many genres would be created - poetry, drama, essays, discussion with a potential for a movie
Ø Many debate and discussion groups are encouraged around the world.
Ø Encourage a lot of people to read literature seriously, not merely read pively, but critically and constructively.
Ø Encourage kids and youngsters to understand with a questioning and constructive mind
Ø Increase worldwide awareness of great literature in all languages around the world.
Ø Encourage translations of the masterpieces to many more languages
Ø In addition to taking current interpretations, encourage expanded constructive interpretations.
Ø Use internet for publicity, awareness, coordination and distribution.
Ø Encourage all web-based forums to participate and cooperate.
Ø Hold interim discussion groups on web and in many parts of the world
Ø Use characters in the masterpieces to ask questions back to its creator - the author.
NEXT STEPS
This is how I envision the first few steps. The actual track the program takes really should be by people participation, and not only by me.
v Create awareness and obtain buy-in from the scholars and enthusiasts.
v Conduct some pilot projects of discussion groups, drama and debates.
v Based on the response, plan and launch a larger scale campaign.
PILOT PROGRAMS
I need help, support, advice and especially full-hearted involvement by literature pioneers / enthusiasts like you in spreading the concept, refining the concept and trigger pilot programs. The pilot programs can be very simple. For example, it can take a simple focus with a title like "King Lear talks back to Shakespeare". In a debate or panel debate mode, there could be two sides on the stage.
On one side would be King Lear as the main character, with supporting characters like Fool. These characters are really scholars (well prepared and equipped for the debate) with or without any costumes. Being debate, costumes are not important. Both men and women can take any role if the costume is not necessary.
On the other side would be the "Shakespeare Team". This team can take two forms:
v Many scholars (well prepared and equipped) can play the part of Shakespeare at the same time. Any one or more Shakespeare(s) can respond to the question / challenge / statement made by the opposing team.
v One Shakespeare supported by some characters of the drama “King Lear” who may help in answering / responding.
Please note that similar pilots can be done for “Othello”, “Romeo and Juliet” or “Mac Beth”.
MOST IMPORTANTLY, the following are the benefits of such a debate panel:
v The panel debate would be recorded (audio and or video), for simultaneous scribe, supplemented by later doentation. Press (including internet reporters) could be invited so that people not being able to attend the panel debate would be able to read / view / hear the summary.
v This would trigger scholars of many types of genres to write poetry, drama, essay or story. The benefits are similar to that of a brain storming session.
v Based on the ideas and challenges presented by the King Lear team and the responses of the Shakespeare team, dramatists could prepare drama dialogues. This is better than a solitary dramatist trying to write it. Many heads are better than a lonely one. The dramatist could credit the scholars of the panel debate. Please understand that this type of writing a drama has never been attempted. This could make a new wave of dramas and movies to be made.
Explain the theme and vision to the participants clearly so that there is no confusion. Define and explain the panel debate procedures and guidelines. It is a good idea to conduct an informal debate panel in a limited group, so that you can contain the group and polish the coordination and panel participation, in the second round. Please make sure that you record the debate and have someone to scribe as well.
Panel Debate Ideas - Web based and Stage Debates
Here are some initial ideas for a web-based forum.
Ø We could set up a "King Lear talks back to Shakespeare" web based chat forum.
Ø The web forum is made up of two important parts:
· For invited scholars
· For general web forum readers / participants. (Based on the quality and substance of the posting by this group, selected individuals may be invited to the scholars group for a limited time.
Ø Everyone can read the posting in both groups, while only invited scholars can post (Web forum staff would post on their behalf) in scholars group.
Ø Anyone can decide to post on King Lear's side or Shakespeare's side. The posting can be a question, challenge, simple query or response.
Ø The web page on the web forum could contain two halves of the site: King Lear and Shakespeare. Both sides can have a picture, figure (artist's conception) or a simple icon.
Ø It would be suggested to the posters in submission guidelines that the posting would be in the form of a dialogue.
Ø Knowing that scholars would be invited and that they read all postings in the scholars group and open group, people will take pride in quality posting, so that they could get noticed. This is an opportunity for aspiring scriptwriters and upcoming authors.
Ø Example of invited scholars: Famous dramatists, Pulitzer Prize winners, Nobel prize winners, people of Shakespeare theatre fame, Shakespeare theatre researchers, directors, scholars from many languages, international scholars, professors from American and British universities.
Ø This could be a project for some research scholars in universities and Ph.D. students. This may also create serious interest from international universities.
Ø This web forum would be supplemented by a forum on the stage in different cities in the world. Serious posters may get selected and invited to participate.
Ø This web forum may be supplemented by radio and TV panel discussions by specially selected participants on web forum.
Ø Media would be invited to observe the forum on the web and live debate programs. Media coverage would really enhance the visibility and give a serious additional impetus to the movement.
Ø The basic theme is "Talk back to the author". Reverse communication with the author is the key. Normally the author talks to the readers using many techniques to include direct story telling, making the point through characters and events. This is true for a drama, story, poetry or novel. However, my technique attempts to create a reverse communication to the author.
Ø I was seriously thinking of a name for this style. This is not just a new genre. It sets up a new tradition of communication back to the author. So it could be called Reverse Dialogue literature. It can take the forum of drama, poetry, story, novel, or debate. This is nothing but literary criticism and author Q&A. It can be done in any genre.
Ø This technique and its implementation create a new movement of “Group Authored Literature”. This is really possible both real-time on stage and internet, as well as web-time debate and literature incubation on popular forums.
Ø The web forum would stand out as a web based literary incubation environment.
Ø Dramatists and filmmakers will start watching the forum. They can write powerful dramas based on this technique, where Shakespeare would be the real hero! After all, it is OK to talk back to the great master, and shine the spot light on him.
You may use internet / web sites to create awareness and some follow up discussions after the first panel.
General List of Questions To Ask the Author
· Why did you choose particular characters?
Example: Why did you really need a particular character? Could you have done away with a character?
· Why did you choose particular events?
Example: Could the event be designed different?
· Why did you choose particular sequence of events?
· What did you develop particular characters the way you did?
Example: Discuss about treatment of the character.
· What were the alternatives for each selection?
· Point out the inconsistencies and ask for clarification, or challenge them.
· Discuss the selection of the title, the opening and ending.
· Use the characters already created by the author to ask the questions.
· Use characters to ask questions on other characters and events.
· Use characters from other literary works of the authors to question and examine the author.
· Use characters from another author’s literary works (same language and culture or a different language and culture).
· Create your own fictional character to dialogue back to the author.
· Why did the author write the literary work? What was the event or experiences in the author’s life that triggered or prepared for this writing? Was there any reflection of personal life? Was it just observation of the society? Was it all or part imagination? How could Shakespeare write “Macbeth”, “Othello” and “Romeo and Juliet”, all of which have different themes and characters?
Internet / web as a powerful medium:
Web sites specializing in dramas and theater could be the forum for such web based panel debates. You could invite scholars of your choice. You can have a separate forum for the readers to respond. You never know, if the reader forum could generate very good responses better than the scholars’ forum! Another advantage is that it is inherently doented as scholars and readers respond!!!!
Please feel free to add / modify my initial thoughts.
There are very talented directors and organizers who can make this type of panel a success. They can make it dramatic to attract a lot of crowd.
Please let me know how you could participate in the new wave creation.
Dr. KRS Murthy
From United States, San Francisco
(Basic Concepts and Format developed by KRS Murthy)
Prelude
Dear Scholars and Literary Enthusiasts,
I humbly invite all you to participate in setting up a novel tradition in literature and art. Please feel free to invite your friends and other literary enthusiasts to participate in this project.
I have developed the basic concepts and format for a new literary tradition. I envision this to be a project for people, run by the people and for the benefit of the people. “People” could be scholars and novices, adults or youngsters, and most importantly of all languages, backgrounds and cultural / art / literary interests and accomplishments.
It is time that we really talked back to these literary masters and asked them directly anything all of us want to really ask.
In general, my intention and vision is to lay the foundation for a novel tradition of talking back to authors.
Please Note: I have intentionally not doented the details, for it is a people’s project.
Theme and Vision
This is actually a people’s project for setting a novel tradition of direct debate and discussion with the authors of famous works. The debate will take the form of dialogues, critical and constructive discussion groups and extravagant theatre presentations.
This is a master plan for critical and constructive dialogue with the greatest literary master of all times. The vision is to set up a foundation for a new tradition of continuing dialogue for many years and generations of scholars and literary enthusiasts. The foundation will set the stage for a new approach to study literary masterpieces, applicable to all languages.
This is only a high level overview of the plan. Details will be developed with a team of motivated and creative core group. During deployment of the dialogue and critical ysis, both scholars and novices would be encouraged to participate actively.
Debates and discussion of special characters
In the first project, we will be talking back to Shakespeare. I have chosen Shakespeare because I have the greatest admiration for him for his contribution to English literature. Great authors like him had superhuman literary gifts. These authors have mesmerized generations by their great writing. These authors have spoken to their readers through characters, events and even direct messages in their stories, poetry and especially dramas. We can also talk back to the author’s through the same characters that talked to us. For example, as authors, we could create a drama in which Shakespearean characters talk back to Shakespeare. The drama we create may have characters from only one of his dramas, or a combination of characters from his different dramas. We could even be creative and come up with our own characters. The central person we talk back to is Shakespeare, but through his characters. We could create events in our drama in which the characters (potentially from different Shakespearean dramas) interact with each other and debate and discuss among them, and also with Shakespeare. As an example, let us imagine a scene in King Lear’s court in his palace. The scene could start with King Lear presiding and many characters from Shakespeare’s dramas present in his court. The characters in the king’s court may not have to be limited from the drama “King Lear”, but also other dramas like “Romeo and Juliet”, “Macbeth” or “Othello”. After few tradition dialogues and little proceedings in the king’s court, someone demands that they bring in Shakespeare. Soon, Shakespeare is brought dragged into the court by some soldiers. The characters start questioning Shakespeare about some situation of his drama or the motive behind the shaping of a particular character. Juliet may be in tears very angry with Shakespeare and accuse him of what happened to her and her lover Romeo. Shakespeare responds. Some other character from another drama may come to the rescue of Juliet, while another character may support Shakespeare in the discussions and debates. King Lear may declare that Shakespeare be subjected to the same fate he was subjected to, when Fool may speak on behalf of Shakespeare. It can even take the form of cross-examining Shakespeare by different characters. In time, the topic may turn into another character like Othello. Please keep in mind that in all of these dialogues, debates and cross- examining, we as, dramatists or authors, are really talking back to Shakespeare.
Please also note that this is really completely opposite and reciprocal to dramatists like Shakespeare talking to us as his readers through his characters. We are using his own characters to talk back to him.
Many corollaries are possible to this central technique, in which we may use any genre of literature like poetry, short story, novel, and drama to implement the “talk back to the author” tradition. We can choose a poet like William Wordsworth or William Blake to write a poem (or even a drama) using the “talk back” technique. We may choose a novelist or short story writer. We can incorporate humor as needed.
Examples of our intentions would be the following:
v Raise a lot of issues on the theme
v yze characters
v Question the author on the treatment of characters
v Debate with the author on moral and social values
v Dialogue with the author on the selection of heroes versus villains
v Understand the intentions of the author through direct discussions about good guys versus bad guys
v Pin point to the author on disturbing events and discuss regarding potential alternative events and other potential alternative tracks for the story.
v Understand the author’s intentions on the creation of VIP characters.
Implementation and Deployment Techniques
Ø Parallel efforts in all languages
Ø Team effort with open participation by all - novices and scholars would be participating different levels of activities.
Ø Many genres would be created - poetry, drama, essays, discussion with a potential for a movie
Ø Many debate and discussion groups are encouraged around the world.
Ø Encourage a lot of people to read literature seriously, not merely read pively, but critically and constructively.
Ø Encourage kids and youngsters to understand with a questioning and constructive mind
Ø Increase worldwide awareness of great literature in all languages around the world.
Ø Encourage translations of the masterpieces to many more languages
Ø In addition to taking current interpretations, encourage expanded constructive interpretations.
Ø Use internet for publicity, awareness, coordination and distribution.
Ø Encourage all web-based forums to participate and cooperate.
Ø Hold interim discussion groups on web and in many parts of the world
Ø Use characters in the masterpieces to ask questions back to its creator - the author.
NEXT STEPS
This is how I envision the first few steps. The actual track the program takes really should be by people participation, and not only by me.
v Create awareness and obtain buy-in from the scholars and enthusiasts.
v Conduct some pilot projects of discussion groups, drama and debates.
v Based on the response, plan and launch a larger scale campaign.
PILOT PROGRAMS
I need help, support, advice and especially full-hearted involvement by literature pioneers / enthusiasts like you in spreading the concept, refining the concept and trigger pilot programs. The pilot programs can be very simple. For example, it can take a simple focus with a title like "King Lear talks back to Shakespeare". In a debate or panel debate mode, there could be two sides on the stage.
On one side would be King Lear as the main character, with supporting characters like Fool. These characters are really scholars (well prepared and equipped for the debate) with or without any costumes. Being debate, costumes are not important. Both men and women can take any role if the costume is not necessary.
On the other side would be the "Shakespeare Team". This team can take two forms:
v Many scholars (well prepared and equipped) can play the part of Shakespeare at the same time. Any one or more Shakespeare(s) can respond to the question / challenge / statement made by the opposing team.
v One Shakespeare supported by some characters of the drama “King Lear” who may help in answering / responding.
Please note that similar pilots can be done for “Othello”, “Romeo and Juliet” or “Mac Beth”.
MOST IMPORTANTLY, the following are the benefits of such a debate panel:
v The panel debate would be recorded (audio and or video), for simultaneous scribe, supplemented by later doentation. Press (including internet reporters) could be invited so that people not being able to attend the panel debate would be able to read / view / hear the summary.
v This would trigger scholars of many types of genres to write poetry, drama, essay or story. The benefits are similar to that of a brain storming session.
v Based on the ideas and challenges presented by the King Lear team and the responses of the Shakespeare team, dramatists could prepare drama dialogues. This is better than a solitary dramatist trying to write it. Many heads are better than a lonely one. The dramatist could credit the scholars of the panel debate. Please understand that this type of writing a drama has never been attempted. This could make a new wave of dramas and movies to be made.
Explain the theme and vision to the participants clearly so that there is no confusion. Define and explain the panel debate procedures and guidelines. It is a good idea to conduct an informal debate panel in a limited group, so that you can contain the group and polish the coordination and panel participation, in the second round. Please make sure that you record the debate and have someone to scribe as well.
Panel Debate Ideas - Web based and Stage Debates
Here are some initial ideas for a web-based forum.
Ø We could set up a "King Lear talks back to Shakespeare" web based chat forum.
Ø The web forum is made up of two important parts:
· For invited scholars
· For general web forum readers / participants. (Based on the quality and substance of the posting by this group, selected individuals may be invited to the scholars group for a limited time.
Ø Everyone can read the posting in both groups, while only invited scholars can post (Web forum staff would post on their behalf) in scholars group.
Ø Anyone can decide to post on King Lear's side or Shakespeare's side. The posting can be a question, challenge, simple query or response.
Ø The web page on the web forum could contain two halves of the site: King Lear and Shakespeare. Both sides can have a picture, figure (artist's conception) or a simple icon.
Ø It would be suggested to the posters in submission guidelines that the posting would be in the form of a dialogue.
Ø Knowing that scholars would be invited and that they read all postings in the scholars group and open group, people will take pride in quality posting, so that they could get noticed. This is an opportunity for aspiring scriptwriters and upcoming authors.
Ø Example of invited scholars: Famous dramatists, Pulitzer Prize winners, Nobel prize winners, people of Shakespeare theatre fame, Shakespeare theatre researchers, directors, scholars from many languages, international scholars, professors from American and British universities.
Ø This could be a project for some research scholars in universities and Ph.D. students. This may also create serious interest from international universities.
Ø This web forum would be supplemented by a forum on the stage in different cities in the world. Serious posters may get selected and invited to participate.
Ø This web forum may be supplemented by radio and TV panel discussions by specially selected participants on web forum.
Ø Media would be invited to observe the forum on the web and live debate programs. Media coverage would really enhance the visibility and give a serious additional impetus to the movement.
Ø The basic theme is "Talk back to the author". Reverse communication with the author is the key. Normally the author talks to the readers using many techniques to include direct story telling, making the point through characters and events. This is true for a drama, story, poetry or novel. However, my technique attempts to create a reverse communication to the author.
Ø I was seriously thinking of a name for this style. This is not just a new genre. It sets up a new tradition of communication back to the author. So it could be called Reverse Dialogue literature. It can take the forum of drama, poetry, story, novel, or debate. This is nothing but literary criticism and author Q&A. It can be done in any genre.
Ø This technique and its implementation create a new movement of “Group Authored Literature”. This is really possible both real-time on stage and internet, as well as web-time debate and literature incubation on popular forums.
Ø The web forum would stand out as a web based literary incubation environment.
Ø Dramatists and filmmakers will start watching the forum. They can write powerful dramas based on this technique, where Shakespeare would be the real hero! After all, it is OK to talk back to the great master, and shine the spot light on him.
You may use internet / web sites to create awareness and some follow up discussions after the first panel.
General List of Questions To Ask the Author
· Why did you choose particular characters?
Example: Why did you really need a particular character? Could you have done away with a character?
· Why did you choose particular events?
Example: Could the event be designed different?
· Why did you choose particular sequence of events?
· What did you develop particular characters the way you did?
Example: Discuss about treatment of the character.
· What were the alternatives for each selection?
· Point out the inconsistencies and ask for clarification, or challenge them.
· Discuss the selection of the title, the opening and ending.
· Use the characters already created by the author to ask the questions.
· Use characters to ask questions on other characters and events.
· Use characters from other literary works of the authors to question and examine the author.
· Use characters from another author’s literary works (same language and culture or a different language and culture).
· Create your own fictional character to dialogue back to the author.
· Why did the author write the literary work? What was the event or experiences in the author’s life that triggered or prepared for this writing? Was there any reflection of personal life? Was it just observation of the society? Was it all or part imagination? How could Shakespeare write “Macbeth”, “Othello” and “Romeo and Juliet”, all of which have different themes and characters?
Internet / web as a powerful medium:
Web sites specializing in dramas and theater could be the forum for such web based panel debates. You could invite scholars of your choice. You can have a separate forum for the readers to respond. You never know, if the reader forum could generate very good responses better than the scholars’ forum! Another advantage is that it is inherently doented as scholars and readers respond!!!!
Please feel free to add / modify my initial thoughts.
There are very talented directors and organizers who can make this type of panel a success. They can make it dramatic to attract a lot of crowd.
Please let me know how you could participate in the new wave creation.
Dr. KRS Murthy
From United States, San Francisco
Community Support and Knowledge-base on business, career and organisational prospects and issues - Register and Log In to CiteHR and post your query, download formats and be part of a fostered community of professionals.
Training feed back form.doc
Creativity.ppt