SpongeBob mournfully plays Phantom of the Opera-style organ music. It’s a huge symbol of many, many things. [looks in the bathroom and finds a peanut plant in front of the window] Good thing I still have these peanut plants growing in the windowsill. Both: We stink! TED Talk Subtitles and Transcript: Can we break bad habits by being more curious about them? "Something Smells" is a SpongeBob SquarePants episode from Season 2. [Wobbles takes out some money] I mean, you know, they’ve got to make ends meet. SpongeBob: Was it something I said? [he walks down the street] Something weird is going on today. [The stench goes toward Patrick, but bounces off him, as he has no nose.] Tiffany Stern is a Professor of Shakespeare and Early Modern Drama with the University of Birmingham’s Shakespeare Institute at Stratford-upon-Avon. So why don’t we start with you, Tiffany: is there a misconception about the experience of theater in Shakespeare’s day and, if so, where does this bias or this interpretation come from? SpongeBob: No, I mean just this morning. Patrick: You look at it! BOGAEV: Well, this has been so much fun. The logo now reads "Marvel Studios". 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. SpongeBob: Good one, Patrick. If it smells bad, it probably means it's not decomposing — maybe your pile might be too wet or you might need to readjust your ratios of greens and browns. 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. I am very ugly. Season №: [crossing guard gets a whiff of his bad breath] [he reaches in his pocket and pulls out some of his sundae] I've got some of my peanut-onion sundae we can share! BOGAEV: And, they get into the real nitty-gritty of how Shakespeare and the playwrights interwove the physical and sensual theater with the text. [the stench ball rolls down the street, knocking the band out like a bunch of bowling pins and scattering them about. [we see SpongeBob has a alien-like leach sucking on his chest] SpongeBob leans over Patrick to the man beside Patrick, who is a blue version of Fred.] [he picks SpongeBob up, without glasses or cape, up and puts him in his comfy chair] It's called, 'The Ugly Barnacle.' KARIM-COOPER: Unless, you’re watching Superman [LAUGHTER]. Yes, which is part of the magic of them. [Gary burps] Hmmm... [snaps fingers] Wait! 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. We stink! You mentioned disguise in terms of people, but before we get to that: scenery. BOGAEV: I’ve seen pictures of this. We’d really appreciate your help. Like the theater itself, it was a form of hypocrisy. Patrick: [Relaxed] Ahhhhhhhh, what a relief... [throws the plant into the sundae bowl] A little texture never hurt. 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? Fish bands: My leg! Firstly, I think I give a couple of examples of Shakespeare talking about spectating, but also Evelyn Tribble writes a whole interesting chapter on the importance of the visual side of Shakespeare. Patrick: Better try the reflection test. [he hears Patrick sobbing. It reeks. If you’ve been enjoying Shakespeare Unlimited, I hope you’ll consider reviewing the podcasts on whatever platform you get the podcast from. Here's my money! BOGAEV: It’s like Disney’s Mulan or something. BOGAEV: I was struck though by just how much of a point that essay makes about how special effects were big selling points, as they are now, right? It was a world of color. is it swevel? Scene cuts to SpongeBob running up to a citizen] Hello. STERN: The audience know he’s in hell. Guess I'll have to use something else... Ketchup! [mailman smells SpongeBob's bad breath and he breaks his skin into a smaller fish and then into another smaller fish. And, what is. I mean, I suppose it’s, as students of Shakespeare, what we always want to do is get to the bottom of his plays or to find out more, to find out what we didn’t know before. We stink! I just remembered. So we have a drawing by Henry Peacham, which scholars have suggested is a sort of scene from Titus Andronicus. [The exterior of SpongeBob's pineapple is shown. A tire bounces by and lands on SpongeBob, who is on the ground.] Episode №: Here’s something Danny wrote in February 2001, almost exactly a year before his death, from the site of an earthquake disaster in the Indian town of Anjar. "Bossy Boots" I always thought if I was as ugly as that guy, I don't know what I'd do. But what "smells" is doing here is connecting the idea of cinnamon, to the bear. You would have seen a lot of audience members wearing it, and what was really wonderful about the theater is that actors were donning this face paint quite blatantly and openly, and sort of revaluing it, giving it a kind of currency and an importance, while women in the social sphere were being marked as prostitutes, people trying to trap men with their fake faces, their hypocritical faces. [he runs off. SpongeBob: I'm ugly and I'm proud. Patrick: [to SpongeBob] Don't worry about him, SpongeBob. SpongeBob: [plugging his nose] Patrick? SpongeBob: [louder] I'm ugly and I'm proud. It was edited by Gail Kern Paster and Esther Ferington. Thank you so much. [citizen runs off in disgust of his bad breath. The two go down the front row] Pardon me. These days we’re used to thinking about people going to the Elizabethan theater to hear a play. SpongeBob: Patrick, everyone is running away from me. So she looks at how carefully blood is used. So why don’t you just tell us very practically, how did Elizabethan theater companies make that effect? Take your favorite fandoms with you and never miss a beat. There’s a lot of water and rose petals and naked boobs. Airdate: And, I think maybe this whole book keeps getting at that moment where, as you think you get nearer the thing, you also get further away from the thing. Patrick sighs with relief, but he starts to feel funny, His stomach makes engine spluttering noises] Oh, I gotta go to the restroom! They came in recently to talk about how 16th-century theater companies wove physical and sensual staging effects into their productions. KARIM-COOPER: So, yeah, it was a world of paint. ; It is made from the rear leg of the black Iberian pig, a rare breed that can be found in the southern and western regions of the Iberian Peninsula, which comprises Spain and Portugal. BOGAEV: Oh, right, right, right. How long have I been ugly, Patrick? 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. The Folger is looking for exceptionally qualified individuals who are committed to the mission, vision, and values of our organization. Throughout the early modern period, we have equal references to hearing and seeing plays. This transcript is annotated! 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. And so, paint is used not just in terms of creating femininity, but also it creates blood, ghosts… it was a useful thing for actors. SpongeBob: They all ran away, Patrick. So he makes an interesting comparison between tempests taking place supernaturally and probably in a firework way in Julius Caesar and then the quieter, maybe more poetic tempests of the The Tempest, which he sees as not being embellished in quite the same way. These were well-known terms and, in fact, they’ll have been familiar with them anyway from things like churches, which also had the heavens and hell was below. Physical inactivity can also be a big factor towards developing mental illness. So almost certainly for an indoor theater, you’re going to use something like a thunder run, which is when you put a cannon ball in a long box. SpongeBob: That didn't help at all. I can't be ugly! BOGAEV: Well, I love this. KARIM-COOPER: Yes, it had many layers of meaning. That these areas were called heaven and hell the same way we think about upstage and downstage? No one else has ever one this! You can find more about the Folger at our website, folger.edu. The scene zooms into the interior of the pineapple, SpongeBob's bed room. It smells. Read the transcript of "Soul" (2020). And, that makes your sound. Excuse me, sir. Having decimated the peaceful Republic, Supreme Leader Snoke now deploys his merciless legions to seize military control of the galaxy. STERN: Yes, that’s Holly Dugan’s amazing chapter, which is on the Hope Theater. For instance, Farah, did actors wear togas for the Roman plays? Oh, no reason. 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. And, for Shakespeare’s audiences, sometimes all you needed was a few gestures here and there for the symbolic meaning to resonate. And that's the difference between a linking verb and an action verb. I reek! STERN: Yes. STERN: I think that the chapter title is, in fact, “They Eat Each Other’s Arms” [LAUGHTER]. Sw-ee-vel? [Everybody screams in terror and they all run out of the theater in a panic. My leg! 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? And, actually, there were a lot of recipe manuals being published at the same time. I'm spiraling! KARIM-COOPER: It’s a really great effect, yeah. A digital anthology of early modern English drama, Transcriptions, metadata, and images of manuscripts from the sixteenth and seventeenth centuries. Patrick: [points SpongeBob at the whole audience] Look at it! Mrs. BOGAEV: What about make-up and disguise? 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. Spiraling, over. [Plays a violin while SpongeBob cries while peeling the onions into the bowl] How does that affect one’s understanding of that play? I’m also thinking, besides the trap doors and on the stage the greatest effects were storms and, particularly, lightning. “Awake Your Senses” was produced by Richard Paul. Ugly sponge coming through. Home to the world’s largest Shakespeare collection, the Folger is dedicated to advancing knowledge and the arts. 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. I mean, Julius Caesar refers to his doublet and Cleopatra wants her lace cut. [puts a bowl on the kitchen counter] A sundae! STERN: So theater also references the clothing of the time. 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. It isn’t just sensationalism, it is sensation. Cole's dialogue contains a list of conversations he has with hiscompanions. [Patrick sighs with relief, his stench in the shape of a skull and crossbones] You just need to be very, very careful with those things. This is a play that’s very much about smell. Patrick: [In shock] Oh... Oh! SpongeBob leans over to a woman sitting next to him] He drops his spoon while Gary hides behind a coral plant.] Patrick: Why? Everyone is running away from me. We invite you to personally participate in the life of the Folger Shakespeare Library by making a tax-deductible donation to the institution. KARIM-COOPER: Swevel [ED: pronounced swivel]. ♫ To something new, something brave ♫ ♫ To someone I've never been ♫ ♫ I can't decide what's wrong, what's right ♫ ♫ Which way should I go ♫ ♫ If only I knew what my heart was telling me ♫ ♫ Don't know what I'm feeling ♫ ♫ Is this just a dream? [he starts sobbing] How long? And the way in which you know things is through the body, and it’s through the entire body. But, she’s able to point out how careful the staging is actually, to avoid too much ruination of expensive stuffs just because the bleeding’s taken place. [cut to the snack bar. SpongeBob: Ugly? Wobbles: Here! STERN: But, its title is “They Eat Each Other’s Arms.”. That’s Lucy Munro’s amazing chapter. And, again, it’s slightly different from us today, where disguise doesn’t have the same resonance. [the stench burns the woman's eyes, complexion, and hair off, and her head is now all charred. And then, she also wonders when that same play then performed at court, in Whitefriars, what difference will that have made? Driver: My eyes! [SpongeBob notices a mailman] Hi, Mailfish. You can’t stage a cultural aversion or horror to Roman ritual without demonstrating what that is. Ready, Gary? 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. It was edited by Gail Kern Paster and Esther Ferington. October 26, 2000See more... April 4, 2001 September 24, 2002 July 23, 2008 And now... [he notices a giant pink wad on a bench] ...giant piles of bubble gum?! He was so ugly that everyone died! My name is Craig Mazin. An actual, physical space, not just metaphorical? Published December 13, 2017. [he points SpongeBob at five people] You look at it! From the Folger Shakespeare Library, this is Shakespeare Unlimited. [The fish walkout murmuring. MICHAEL WITMORE: Here’s something I can pretty much guarantee. And, of course, this was a highly symbolic world where gesture and prop might be enough to symbolize a place or an era. And, what she draws attention to is if you’re a bear-baiting pit, then your place will smell of dead dog, poo... [LAUGH]. The whole town is soon deserted] I'm so ashamed! I'll help you. [He walks over to Gary while shaking the empty jar] Our peanuts jar is totally empty! 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. I mean, selling tickets, like with the flashy storm effects? STERN: Yes. In 2013, they edited a collection of essays, written by themselves and nine other theater historians, to give us an understanding of how, for Elizabethans, theater was a full-body experience. Look at it! Maybe it's the way you're dressed. KARIM-COOPER: She did quite an amazing survey of stage directions that require blood and that’s where the notion of “Enter Bleeding” comes from, where it would be, as Tiffany said, on your face or on your hands or on a prop of some kind, a handkerchief. Oh, well. It’s sometimes in the shape of a dragon. Patrick: Whatcha mean? Our building on Capitol Hill is closed due to a major building renovation project, but Folger events and programs continue online. 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. [runs off. He presented the contents of the report in a press conference on December 17, 2020. And so, when you understand the sort of experiential nature of these plays and that the language itself is speaking to that and gesturing to it, actually constantly—the technologies and the sensations of the body are sort of a really key part of Shakespearean imagery—then you get a, I suppose, much more well-rounded conversation with Shakespeare and the theaters of the time. I can't be ugly! STERN: Its title is “They Eat Each Other’s Arms: Stage Blood and Body Parts.”.

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