Ken Campbell was asked by Mark Rylance, the artistic director of Shakespeare's Globe, to stage a celebration of Shakespeare's work. Campbell responded with Shall we Shog?, a show in which actors played competitive improvisational games against each other in the idiom of Shakespeare. These included games like 'flyting' (a tournament of increasingly outrageous insults); an explanation and demonstration of the 'Nub' (a piece of poetic-sounding doggerel an actor uses to give himself a breathing space when he has forgotten his lines - the first sentence should contain the word 'nub' to warn the others that the actor is in trouble, and it should end with the words "Milford Haven"); and fastest recitation of Hamlet's To be, or not to be soliloquy; among many others. Campbell continued working with some of the actors from Shall We Shog, shedding and adding more along the way. He presented a series of literary improvisation shows, including a run at The Royal Court called Décor Without Production, in which the cast would create scenes and songs in the styles of poets, playwrights, novelists and songwriters. In 2006 Campbell worked with Adam Meggido's theatre company the Sticking Place (now Extempore Theatre) and staged a run of In Pursuit of Cardenio at the Edinburgh Festival Fringe, during which the cast were supposed to re-create a lost Shakespeare play through improvisational techniques. In practice it turned into a nightly-changing series of literary challenges for the performers. By the latter part of the run, a large section of the show was devoted to improvised songs. One example of the extent to which Campbell pushed the actors was that by the end, each member of cast had developed four musical styles in which they could improvise, each corresponding to a different Elizabethan humour. They would then perform fully sung-through scenes, swapping humours and song styles mid-sentence as the scene or Campbell demanded. The Cardenio shows used Campbell's now well-established "Goader and Rhapsodes" technique, in which the goader (Campbell) pushed the rhapsodes (the cast) into feats that they would not be able to achieve without the pressure he could apply. The group eventually consolidated and settled on the name "The School of Night", after Sir Walter Raleigh's secret society. Raleigh's School of Night (also called The School of Atheism) was a group of highly literate and intellectual men who would meet to discuss forbidden topics. Campbell's take on it was that