I wanna hear about not only prosthetics, but first: stage blood. Really bad. And, for Shakespeare’s audiences, sometimes all you needed was a few gestures here and there for the symbolic meaning to resonate. KARIM-COOPER: Well, it depends on how you look at it. Patrick: [Relaxed] Ahhhhhhhh, what a relief... And, in fact, I think the whole book deals with Shakespeare as a man of the senses: aural, visual, and touch and taste, all the senses. The original post for this episode can now be found here.. John August: Hello and welcome. Yes, in that it was competing with that, that then makes it interesting when those moments when we think actual animal blood is being brought on the stage. You poor ugly thing, you. SpongeBob: [louder] I'm ugly and I'm proud. It’s a huge symbol of many, many things. We had production help from Cathy Devlin and Dom Boucher at the Sound Company in London and Paul Luke and Andrew Feliciano at at Voice Trax West in Studio City, California. The two go down the front row] Pardon me. STERN: Yes. She makes the case that the world needs people on the autism spectrum: visual thinkers, pattern thinkers, verbal thinkers, and all kinds of smart geeky kids. On one level, it’s femininity. Patrick: That may be fine for you, but I was one of the beautiful people. SpongeBob: I'm ugly and I'm proud. [Patrick looks bummed out] KARIM-COOPER: And, very likely written for the Blackfriars specifically, and so, was very deliberate in the way in which it was sort of staging or representing storm effects, and it may have been the very first storm staged indoors as well. And, you know, there is evidence that they painted the theaters, and that they were very keen to upkeep that paint, because it was an important visual component of their theater-making. SpongeBob? Clay: You tryin' to kill us?! SpongeBob: I don't know. [SpongeBob laughs for an extended time, then stops] He was so ugly that everyone died! Squidward: Is that what he calls it? John: And this is Episode 485 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Patrick: You look at it! So when you’ve got a much smaller space that’s quite intimate, that's indoors, what might be a thrilling, loud noise like a firework going out in the outdoor theater, might actually be deafening, or unpleasant, or downright dangerous, and in fact... STERN: Impractical in an indoor, wooden space. Instructor Yolanda Williams ... such as sound and smells, are all a part of perception. I'm confused. Now from what I understand, doesn't your queen give birth to all the bee children in the hive? STERN: So theater also references the clothing of the time. And so, what you see is a kind of surrogacy of paint happening in other kinds of buildings like theaters, like big country homes, where huge amounts of money were spend on paint. It’s not just hearing. So, it’s just that face paint was quite common. Patrick sighs with relief, but he starts to feel funny, His stomach makes engine spluttering noises] Oh, I gotta go to the restroom! Or there was a debate about it? Fish bands: My leg! KARIM-COOPER: So, yeah, it was a world of paint. Their book, Shakespeare’s Theatre and the Effects of Performance, offers copious examples of just how playwrights did this: fireworks hissing and shooting across the stage, fake blood, fake body parts, disguises, paint on the walls and on the actors’ faces, the smell of blood and death, and worse. We stink! Working at The Globe where we were thinking about a new indoor theater, that phrase had come up a few times in our own committee, that, you know, “hearing a play,” “these were auditory spaces.” So it was something that was very important to me because the theater spaces were places where bodies were pushed together. She’s really interested in those, and kind of that hazy line between sort of realism and kind of unbelievable symbolism and kind of fictionality. And, what is. Scene cuts to SpongeBob coming out of the kitchen with a bunch of stink coming out with him. I would like to ask you about the costumes because in the same way that the sets were less elaborate and perhaps more metaphorical, were the costumes as well? [Plays a violin while SpongeBob cries while peeling the onions into the bowl] I'll help you. Sixteenth-century theater companies used a variety of physical and sensual staging effects in their productions to create a full-body experience for playgoers: fireworks hissing and shooting across the stage, fake blood, fake body parts, the smell of blood and death, and more. KARIM-COOPER: I mean, the point of the book is to really make people aware of that, but also how those effects work in concert with the writing itself. And, the company wanted to sort of showcase its capacities by staging, in 1599, Julius Ceasar, which has quite few requirements for pyrotechnics, including a storm. Maybe a story will cheer you up. KARIM-COOPER: It’s sort of Shakespeare constantly asking you to hold two things in your view at the same time, and that’s a really complicated position for the audience. [He turns around] Aren't you going to help me, Gary? But you should enjoy the movie anyway. But, there’s an interesting essay in this book by Bridget Escolme. I want all of you to look at it! Driver: My eyes! Oh, what next? Lesson Transcript. SpongeBob: That felt great! STERN: At the same time, I think we’d got a little frustrated with the schoolroom approach to Shakespeare, which doesn’t go further than the book. STERN: Yes. [he pulls it off and throws it aside] All rights reserved. Yes, in that theater was in direct competition with bear-baiting, which also took place in round, outdoor spaces that looked very much like the round theaters, and cost similar money. If there was a surface, you painted it. ["morning" comes out of SpongeBob's mouth and wraps itself around Gary's eyes, twisting them. STERN: Yeah, if you go down that trap, it’s always bad because it goes down to hell. Patrick: Good! His alarm clock goes off. ART Box H688 no.1 pt.4. SpongeBob, what's wrong? Here's my money! BOGAEV: And, just to clarify, you mean “heaven” was whatever the rafters above the stage… and “hell” is below the stage? Okay, let's see my to-do list. For instance, Farah, did actors wear togas for the Roman plays? You just need to be very, very careful with those things. [he runs off. TED Talk Subtitles and Transcript: Can we break bad habits by being more curious about them? I'm spiraling! On another level, it sort of, I suppose, materializes the cultural anxiety about the discrepancies between appearance and reality, which is something that Shakespeare’s plays are constantly grappling with. Patrick: I bet there's no line at the snack bar. If you’ve been enjoying Shakespeare Unlimited, I hope you’ll consider reviewing the podcasts on whatever platform you get the podcast from. SpongeBob mournfully plays Phantom of the Opera-style organ music. [he puts a finger in his mouth, wipes his forehead with it, then strikes a pose. BOGAEV: Did it also, though, have many layers of meaning? The whole town is soon deserted] I’m thinking that the Queen wears cosmetics, but respectable women might not, or might be ashamed of it. Smell me! SpongeBob waves] Some people are even late on Sunday. BOGAEV: — which sinks into the trap in the stage directions. [SpongeBob clings on Patrick] Well, it depends on how you look at it. [screaming] Scream! I always thought if I was as ugly as that guy, I don't know what I'd do. Onions! It was a world of color. Throughout the logo, an Asgardian is reporting a distress signal.] They all run out wailing in pain and disgust. But, the audience know. And, Hamlet goes, oh, I don’t know whether this is really a ghost, or is it a goblin damned. [the stench burns the woman's eyes, complexion, and hair off, and her head is now all charred. Patrick: Yes, I am. What’s interesting is that it was actually a kind of fledgling industry for women in the period and there was a huge outcry against face painting. Throughout the early modern period, we have equal references to hearing and seeing plays. Their book, Shakespeare’s Theatre and the Effects of Performance, was published by Arden Shakespeare in 2013. BOGAEV: Well, that was understood by Shakespeare and by playwrights that this is what the theater was called, but it was terminology that the people in the audience understood, right? It’s about a fair, and all the good and awful smells you get at the fair, and she is fascinated by the fact that this smelly play takes place in a smelly environment. And, that makes your sound. SpongeBob: I know, Patrick. STERN: But, its title is “They Eat Each Other’s Arms.”. And so, it’s really important to think about Shakespeare’s theater as a space where bodies are kind of pressed together because they would have had quite a lot of contact with each other if you fit 3,000 spectators into a space that’s about 82 – 90 feet in diameter. Thanks. Patrick: Stink? Patrick looks in the mirror.] We very much want to think of him as more than just a man of the word on the page. Tiffany Stern is Professor of Shakespeare and Early Modern Drama with the University of Birmingham’s Shakespeare Institute at Stratford-upon-Avon. Patrick: Maybe it's your voice. Click on the highlights to read what others are saying. [crossing guard gets a whiff of his bad breath] I mean, you know, Game of Thrones has a massive following and it’s not just because of the interesting story lines. SpongeBob: Was it something I said? [the stench bounces off the building, and it slowly moves away. I think that’s one thing that’s just interesting about theaters. [the two catch a whiff on the stench. The witch’s cauldron in Macbeth—. So we have a drawing by Henry Peacham, which scholars have suggested is a sort of scene from Titus Andronicus. And so, she is very interested in Ben Jonson’s Bartholomew Fair, the first play to be put on in that space. [Patrick's head pops out from it] There we go. SpongeBob: [The scene changes to show the two his kitchen. Previous Hamlet says to Ophelia, “I have heard of your paintings… God hath given you one face, and you make yourselves another.” It was a source of constant fear, but that was actually because it was a constant thing. You know, buildings or manor houses or churches? [closes cupboard door] Ah, here we go! Everyone is running away from me. Patrick walks up to him, and he stops playing.] My name is John August. That was a unique and very particular theatrical experiment, which ultimately didn’t work. KARIM-COOPER: I mean, and, you know, nowadays we can see special effects on our screens and, you know, in our phones, but it was such rare thing, and to produce wonder was probably one of the chief aims of theater-making in this period. Patrick: [points SpongeBob at the whole audience] Look at it! Johnny fucks Lisa’s belly button. 22a You can find more about the Folger at our website, folger.edu. Reading the book, I was thinking, it brings this alive. [SpongeBob coughs as Patrick's breath flies by him] Credits Patrick: That looks great! My eyes! Become a teacher member to get access to lesson plans and professional development. SpongeBob: Just remember what we talked about. STERN: But, there are practical differences. https://spongebob.fandom.com/wiki/Something_Smells/transcript?oldid=3455598. So it’s not just about the language. This article is a transcript of the SpongeBob SquarePants episode "Something Smells" from Season 2, which aired on October 26, 2000. I'm ugly and I'm proud! But, the sensationalism has meaning. Episode №: Patrick and SpongeBob are all alone in the theater.] But, I think this book confronts that head-on in a couple of ways. Iberian ham, or Jamón Ibérico, is one of the most expensive meats in the world. [they all run away from the stench] Garland Scott is the associate producer. Patrick: I just want some- STERN: I think that the chapter title is, in fact, “They Eat Each Other’s Arms” [LAUGHTER]. That these areas were called heaven and hell the same way we think about upstage and downstage? [puts a bowl on the kitchen counter] A sundae! Stage setting design drawing by Cyril Walter Hodges. Both: We stink! Proud. Denny exits, and a three-minute love scene commences, scored to terrible R&B. Otherwise, you’re using it as the grave, yeah. It was an all-around, incredible occasion and, I mean, you hear that when people went to the theater, when they left they’d be laughing, they’d be crying, they’d go off and masturbate, you know, they had big emotional responses and, for us, it’s therefore very sad when people get a bit holy about these plays, a bit careful about them, a bit somber about them and lose the kind of feisty, extraordinary physicality. Iron Bull's dialogue contains a list of conversations he has with his companions. We stink! BOGAEV: So, The Globe, which was outdoors, and Blackfriars was indoors. ; All three of the Sniper's items from the Sniper vs Spy Update make an appearance: . BOGAEV: That’s true, but yeah, the assumptions are different, that’s right, and they are more metaphorical, but also more shocking in a way. Absolutely. I just remembered. List of episode transcripts SpongeBob: I can't. Craig Mazin: Hey guys. The scene changes to show SpongeBob outside his house.] But was the motive sensationalism? [he hits down on the organ] You know, very often, either it’s on the face, or on the arms, kind of cleanable…. STERN: Yes, exactly. You mentioned disguise in terms of people, but before we get to that: scenery. Patrick: I don't either. Were a lot of spaces painted, period, in public space? [he hears Patrick sobbing. Patrick: Louder. BARBARA BOGAEV: Can we clear something up, right off the bat? There were all kinds of pyrotechnics that were used in the theaters. It helps us get the word out to people who haven’t heard it, people who might enjoy it. The scene zooms into the interior of the pineapple, SpongeBob's bed room. [runs to the freezer and finds it empty] Whoops... Looks like we're out of ice cream. Swevel? STERN: Well, I think what I was trying to draw attention to in that essay is that, yes, actors and their bodies and their clothes and their props and their voices have to create some of these extraordinary differences. Patrick walks out] What am I gonna do? Run away like all the others. [SpongeBob listens attentively] Once there was an ugly barnacle. I'm so ashamed! STERN: A trough and roll it along. I've tried, and I've tried, but [he turns around, revealing an extremely deflated face] I'm not always as confident as I look. So she’s interested in the sort of information that costumes are giving and the way that audience would read them. From the Shakespeare Unlimited podcast series. And, what’s the interpretive valence of using costume as disguise versus using costume because now you’re doubling and you’re playing someone else? SpongeBob: Sundae... [he whips what's remaining of it out] Patrick! Asgardian PA: This is the Asgardian refugee vessel Statesman. FARAH KARIM-COOPER: Yes, I mean, it’s certainly one of the reasons why I wanted to do it. [He walks over to Gary while shaking the empty jar] Our peanuts jar is totally empty! You can’t stage a cultural aversion or horror to Roman ritual without demonstrating what that is. is it swevel? He opens the library door. SpongeBob: [louder] I'm ugly and I'm proud. Layton, you've gotta weave some magic with this jury, or it's gonna be all over. He squeezes a bunch of ketchup into the bowl. They must be on break. Folger Shakespeare Library. A musician who has lost his passion for music is transported out of his body and must find his way back with … And, if we’re constantly reading the plays just as pieces of literature or pieces of text, then that is really quite limiting, at the end of the day, because they were, obviously, conceived of as much more than that. Thank you so much. STERN: Yeah, and his point is that when, in Julius Caesar, you hear of going “through a tempest dropping fire…” again, it’s a sort of similar point, that one might think that’s sort of fictional, but it has also been factually staged. [the entire room empties out] Look at it! Encyclopedia SpongeBobia is a FANDOM TV Community. Cut to the bathroom, where Patrick and Wobbles wash their hands at the sink] I'm out of soap, can I borrow- [the stench reaches the guy] And then, she also wonders when that same play then performed at court, in Whitefriars, what difference will that have made? The Hope Theater was a round, outdoor theater that was, when first built, partly a bear-baiting pit and partly a theater for actors. A linking verb shows what something is, an action verb shows what something does. It isn’t just sensationalism, it is sensation. Garland Scott is the associate producer. [the stench pours into the audience] It's ugly, isn't it?! STERN: And, if you think of the theater as a sort of amazing kind of instrument and the people in it, what they’re doing resonates against that painted wooden structure and they’re all part of the weird, magic music that’s being created in that instrument, which consists of actors and audience, and the smell and the look and the everything. Hi, parade! SpongeBob: Patrick...? And, you know, we still have that kind of notional sense. SpongeBob: Hi. It makes them feel better about the way they look! We now call it make-up, we’ve made it different from the thing you put on houses, but it’s interesting that they are using the same terminology. Finally, the National Treasure script is here for all you quotes spouting fans of the movie starring Nicolas Cage, Diane Kruger, John Voight, Harvey Keitel, yadda yadda. BOGAEV: Well, that brings me to your chapter on smells and what the theater smelled like and how, in one case, the smells were part of the effect. SpongeBob runs off and latches onto a car's windshield] Am I ugly? Patrick: My hands aren't that dirty... [he walks over to a line of three fish waiting at a stall] Hey, you guys want to hear a bathroom joke? My sundae gave us rancid breath! BOGAEV: Well, I love this. How long have I been ugly, Patrick? Because according to a study from McMaster University, once an older individual loses muscle, it`s much harder for them to ever restore it. [he starts sobbing] How long? This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of National Treasure. A leg of it can cost as much as $4,500. For a gene to be turned on, something has to come in and loosen up the right section. But Farah Karim-Cooper and Tiffany Stern would like to invite you to see that world differently. Pat peeks through it] All of it designed to create wonder and sensation by appealing to every part of the body. Want more? [Gary burps] Hmmm... [snaps fingers] Wait! This article is a transcript of the SpongeBob SquarePants episode "Something Smells" from Season 2, which aired on October 26, 2000. [Patrick's breath reaches the fish and they make disgusted noises.] KARIM-COOPER: Swevel [ED: pronounced swivel]. We stink! They came in recently to talk about how 16th-century theater companies wove physical and sensual staging effects into their productions. Airdate: SpongeBob: Oh, guess what, Squidward? How different was the experience back then from what we know now? I mean, theater was competing with bear and dog fights, right? [he stands up, dropping his drinks in the process] Afraid to look ugliness in the face? SpongeBob: Good one, Patrick. Take your favorite fandoms with you and never miss a beat. BOGAEV: What about make-up and disguise? Gary! Guess I'll have to use something else... Ketchup! [two fish smell SpongeBob's breath, their pupils turn to crosses, and they float upward] Today on the show we make good on our promise to explain Hollywood’s guilds and … And, you can’t really do lightening. Basically, it smells like a landfill." Patrick: So whaddya wanna do now? Guess what's for breakfast? SpongeBob and Patrick run out and run up to Squidward, who is looking through the window of a wig shop.] These days we’re used to thinking about people going to the Elizabethan theater to hear a play. It smells. Look at it! So it puts a lot more pressure on other materials. And, I really enjoyed the essays and I really enjoyed talking with you, Tiffany and Farah. Shakespeare talked equally about audiences and auditors and about spectators. Maybe I'd better just go back and hide. [he walks over to a building] Hi, building! SpongeBob: Hello. Having decimated the peaceful Republic, Supreme Leader Snoke now deploys his merciless legions to seize military control of the galaxy. But it was a very, very painted culture in medieval England. Contents: Prepared Remarks; Questions and Answers; Call … KARIM-COOPER: They’re always commercial. I can't go out looking like this! SpongeBob recoils and gasps. Patrick: SpongeBob, you're never going to feel better unless you get this thing off your chest. SpongeBob: Go. KARIM-COOPER: I would say that may be one motive, yeah, I do think in that period that this was something that, like today, people are drawn to. BOGAEV: And, are they commercial accommodations? [the lights go on, and SpongeBob turns. Tiffany and Farah are interviewed by Barbara Bogaev. If you went to the theater, and the next day at work you told a friend about it, your friend did not respond by saying, “Oh, wow, how did it smell?” It turns out, in Shakespeare’s day, that was not such a safe bet. He presented the contents of the report in a press conference on December 17, 2020. They eat each other’s arms? [he whips the bag off. And, that then becomes very interesting because what you’re getting then is the look of blood and the smell... STERN: —of blood, you know? Patrick: Oh, some roast beef, some chicken, a pizza... But then, I read your book, and your whole book seems to be a rebuttal of that. And, he’s interested to wonder whether that was a particularly Globe thing and whether in the Blackfriars, which was a quieter, enclosed space, whether, in fact, they wouldn’t have gone all out in the firework way in the way that you did at The Globe. TIFFANY STERN: Yes, there is a misconception. It was a lie. Wobbles: Stay back! Patrick: Well, I had some of your sundae. SpongeBob: Just one more thing! And, I think, you know, if the audience is being denied the smell of blood and urine and death from the bear-baiting, well, they’re getting it in the theater instead. ♫ ♫ Ah oh, yeah ♫ ♫ If only I could read the signs in front of me ♫ TED Talk Subtitles and Transcript: Temple Grandin, diagnosed with autism as a child, talks about how her mind works -- sharing her ability to "think in pictures," which helps her solve problems that neurotypical brains might miss. [he drops it] Take it! We stink! Instructor Chris Clause ... it's our brain that determines how something tastes. - You got the tweezers? Is that the same one? [closes his mouth on SpongeBob's hand, and sucks out the sundae. But, that means when Hamlet talks about this “o’erhanging firmament…fretted with golden fire,” he’s on one level being fictional, talking about fictional heaven, but, he’s also in that stage, pointing at the factual, actual heaven and talking about it. That’s the thing. KARIM-COOPER: Yeah, I mean, the two settings are very different. STAR WARS: THE LAST JEDI Written and directed by Rian Johnson Based on characters created by George Lucas A long time ago in a galaxy far, far away... STAR WARS EPISODE VIII THE LAST JEDI The FIRST ORDER reigns. A tire bounces by and lands on SpongeBob, who is on the ground.] You know, so many people have this feeling like, oh, this is this dead thing, or I might have to read it in school. The Sniper wears the Trophy Belt.This was a teaser as hats had not been revealed when the video came out.

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