{"version":"1.0","type":"rich","provider_name":"Acast","provider_url":"https://acast.com","height":250,"width":700,"html":"<iframe src=\"https://embed.acast.com/$/66a9cbceec85576657c15c85/6877c30d6fb6cef50fd8290a?\" frameBorder=\"0\" width=\"700\" height=\"250\"></iframe>","title":"Much Ado About Nothing: 'A College of Wit-Crackers Cannot Flout Me Out of My Humour'","description":"<p>Episode 180:</p><p>Much Ado About Nothing remains one of the more popular comedies where the characters of Benedick and Beatrice are usually thought of as the leading characters, but this play is much more of an ensemble piece than might be usually remembered.</p><p><br></p><p>The dating of the play</p><p>The print history of the play</p><p>Early performances of the play</p><p>The sources for the play</p><p>The significance of the title</p><p>A Synopsis of the play</p><p>The views of the male character, all soldiers, in the play</p><p>The pairings of Hero and Claudio and Beatrice and Benedick</p><p>Margaret and her views on marriage</p><p>Communication and miscommunication</p><p>The changes Shakespeare made to his sources</p><p>Public honour and public shaming</p><p>Pride and pridefulness</p><p>Dogberry and the watch</p><p>Why didn’t Shakespeare dramatize the fooling of Claudio?</p><p>Reality and imagination in the play</p><p>‘Much Ado About Nothing’s relationship with ‘The Taming of the Shrew’</p><p>The performance history of the play</p><p><br></p><p>Support the podcast at:</p><p><a href=\"http://www.thehistoryofeuropeantheatre.com/\" rel=\"noopener noreferrer\" target=\"_blank\">www.thehistoryofeuropeantheatre.com</a></p><p><a href=\"http://www.patreon.com/thoetp\" rel=\"noopener noreferrer\" target=\"_blank\">www.patreon.com/thoetp</a></p><p><a href=\"http://www.ko-fi.com/thoetp\" rel=\"noopener noreferrer\" target=\"_blank\">www.ko-fi.com/thoetp</a></p>","author_name":"Philip Rowe"}