Our plan for tomorrow is:
11.00am - 12.00 : Music and singing (Amanda, Jon-Michael & EVERYONE else who is/wants to sing/play music)
12.00 - 12.30 : Act 1, Sc.5 (continued)
12.30 - 1.00 : Act 3, Sc.1
1.00 - 1.30 : Act 2, Sc.4 (again)
1.30 - 2.10 : Act 3, Sc.2
2.10 - 3.00 : Malvolio letter - just Nic Ducassi
Friday, August 29, 2008
Sebastian's Playlist
Hey there everybody!
I decided that i would make a list of song's that bring up a certain emotion in me that Sebastian is going through. here are a couple and please let me know what you think. I'll explain each.
In the begining Sebastian comes in very upset and angry at the world for the injustice of having his sister stripped from him. The song "Bukowski" by Modest Mouse is perfect to explain this emotion through music. the stiffness and jolting Bass line is really good for the wringing that is going on inside. he feel's sick because of his lack of control.
"If God controls the land and disease
Keeps a watchful eye on me
If he's really so damn mighty
My problem is that I can't see
Well who'd want to be
Who'd want to be such a control freak?
Well who'd want to be
Who would want to be such a control freak?"
In the next scene the song "Lacrimosa" by Regina Spektor has a very sad and defeated feeling to it. alot of lightness but despair as well. The song and its rhythm remind me of the shallow breath that is used when going through a panic attack/ reminds me of spinning out of control.
"We keep on burying our dead
we keep on planting their bones in the ground
but they won't grow
the sun doesn't help
the rain doesn't help"
Sebastian has been burying his family since he first entered the world. Katie and i talked and im pretty sure we decided that our mother died in childbirth and had it only been one child she would have made it. Sebastian hold's himself responsible for her death. the Father died when they turned thirteen and now Viola has died.
"if you are but a dream"- Frank Sinatra
Sebastian always makes referenece to whats going on as if he is in a dream.
"or i am mad or else this is a dream
Let Fancie still em sense in lethe steepe
if it be thus to dream still let me sleep"
When he sets his eyes on Olivia for the first time i imagine this song playing.
"If you are but a dream
I hope I never waken,
It's more than I could bear
To find that I'm forsaken.
If you're a fantasy
Then I'm content to be
In love with lovely you,
And pray my dream comes true."
It really is so close to the actual text. but the music itself is what im interested in and its warmth and fluidity remind me of all the tension and grief leaving Sebastians body as he see's Olivia. is he REALLY in love with her? I'll get back to you on that!
I decided that i would make a list of song's that bring up a certain emotion in me that Sebastian is going through. here are a couple and please let me know what you think. I'll explain each.
In the begining Sebastian comes in very upset and angry at the world for the injustice of having his sister stripped from him. The song "Bukowski" by Modest Mouse is perfect to explain this emotion through music. the stiffness and jolting Bass line is really good for the wringing that is going on inside. he feel's sick because of his lack of control.
"If God controls the land and disease
Keeps a watchful eye on me
If he's really so damn mighty
My problem is that I can't see
Well who'd want to be
Who'd want to be such a control freak?
Well who'd want to be
Who would want to be such a control freak?"
In the next scene the song "Lacrimosa" by Regina Spektor has a very sad and defeated feeling to it. alot of lightness but despair as well. The song and its rhythm remind me of the shallow breath that is used when going through a panic attack/ reminds me of spinning out of control.
"We keep on burying our dead
we keep on planting their bones in the ground
but they won't grow
the sun doesn't help
the rain doesn't help"
Sebastian has been burying his family since he first entered the world. Katie and i talked and im pretty sure we decided that our mother died in childbirth and had it only been one child she would have made it. Sebastian hold's himself responsible for her death. the Father died when they turned thirteen and now Viola has died.
"if you are but a dream"- Frank Sinatra
Sebastian always makes referenece to whats going on as if he is in a dream.
"or i am mad or else this is a dream
Let Fancie still em sense in lethe steepe
if it be thus to dream still let me sleep"
When he sets his eyes on Olivia for the first time i imagine this song playing.
"If you are but a dream
I hope I never waken,
It's more than I could bear
To find that I'm forsaken.
If you're a fantasy
Then I'm content to be
In love with lovely you,
And pray my dream comes true."
It really is so close to the actual text. but the music itself is what im interested in and its warmth and fluidity remind me of all the tension and grief leaving Sebastians body as he see's Olivia. is he REALLY in love with her? I'll get back to you on that!
A present from Amanda
I found the clip from ELIZABETH I where the relationship between Elizabeth and her confidant Robert Dudley Earl of Leicester is introduced. And now I understand a bit more the intimacy and trust between the two. There is so much love. And I really like running with the idea that Olivia loses a lover that I did not approve of. I have been mulling over what my ‘secret’ is in this play, and this scenario adds to the truth of it. I’m not sure if watching this is of interest to anyone but the link is as follows:
http://www.youtube.com/watch?v=JBRQVEQlFAE&feature=related
http://www.youtube.com/watch?v=JBRQVEQlFAE&feature=related
Top Secret. Not For Sir Toby
So just to get at the meat of the subject, no beating around the bush, no lolly-gagging or shuffling about on this one. No avoiding the inevitable, as they say. No tip-toeing around it, I suppose. I might as well just come out and say it. I know why I am here. I am not about to make any claims to intellectual brilliance or even the possession of smartish thoughts. I admit that words like Pourquoy leave me rather flummoxed, and I know that my caper is more of a hop than anything else. I know that only a very particular taste finds my hair attractive, and I happen to possess that palate. But the point is, I have realized that Sir Toby needs me. Truly needs me.
Sure, you might say, he’s nothing more than a prop, comic relief, a goofy-man for Sir Toby to have by his side, and you are exactly right. I am a prop. I walk into a room, trip on a banana, mix up words or say the wrong thing, and Sir Toby beams. I know that I am here so that he can always have a reason to smile. And as far as I am concerned, there is not a more important role for me to carry in the world right now. I have never been this worried for a friend in my life. Ever since Sir Toby came back from his battling he has been nothing short of terrifying. He doesn’t sleep, he doesn’t eat real food anymore, he doesn’t even bathe. All he does is drink, fight, and shout. The man does not know his own strength, and sometimes I worry that he might kill one of Mistress Olivia’s stewards. He doesn’t know that I know this, but my room is next to his and whenever I can shake him off long enough to get a bit of sleep, I think I can hear him crying next door.
My friend is falling apart at the edges, and I may be an asse, but I can see what is right in my nose. So I have come to be with him. Now, please don’t get me wrong here. I think that Mistress Olivia is as fair a woman as ever there’s been, and she is gentle and I am sure there exists some kindness in her. And I would have no qualms about marrying a woman of her caliber, not in the slightest, but she is not the only reason for my board in this mansion. Whenever Sir Toby get in one of his moods and he begins to hit tables and break glasses and his voice makes those terrible moans, I know then that he needs me by his side. So I put on my cap, force a smile, stumble to his side and pretend to be even dumber than I really am. I caper, I fall over, I let him know that he is still in control of something or somebody in his life. I like to make him smile, and sometimes he even laughs. He needs me. And I need him to need me like he does. I am not trying to say that I am smart or wise or worldly, but I am a bit more aware than people tend to give me credit for. Right now, I am worried about my friend, but I have faith that with enough laughs and maybe with enough drinks, the moaning will end and Sir Toby will sleep one of these nights. And then maybe I can get on with my hobbies.
Sure, you might say, he’s nothing more than a prop, comic relief, a goofy-man for Sir Toby to have by his side, and you are exactly right. I am a prop. I walk into a room, trip on a banana, mix up words or say the wrong thing, and Sir Toby beams. I know that I am here so that he can always have a reason to smile. And as far as I am concerned, there is not a more important role for me to carry in the world right now. I have never been this worried for a friend in my life. Ever since Sir Toby came back from his battling he has been nothing short of terrifying. He doesn’t sleep, he doesn’t eat real food anymore, he doesn’t even bathe. All he does is drink, fight, and shout. The man does not know his own strength, and sometimes I worry that he might kill one of Mistress Olivia’s stewards. He doesn’t know that I know this, but my room is next to his and whenever I can shake him off long enough to get a bit of sleep, I think I can hear him crying next door.
My friend is falling apart at the edges, and I may be an asse, but I can see what is right in my nose. So I have come to be with him. Now, please don’t get me wrong here. I think that Mistress Olivia is as fair a woman as ever there’s been, and she is gentle and I am sure there exists some kindness in her. And I would have no qualms about marrying a woman of her caliber, not in the slightest, but she is not the only reason for my board in this mansion. Whenever Sir Toby get in one of his moods and he begins to hit tables and break glasses and his voice makes those terrible moans, I know then that he needs me by his side. So I put on my cap, force a smile, stumble to his side and pretend to be even dumber than I really am. I caper, I fall over, I let him know that he is still in control of something or somebody in his life. I like to make him smile, and sometimes he even laughs. He needs me. And I need him to need me like he does. I am not trying to say that I am smart or wise or worldly, but I am a bit more aware than people tend to give me credit for. Right now, I am worried about my friend, but I have faith that with enough laughs and maybe with enough drinks, the moaning will end and Sir Toby will sleep one of these nights. And then maybe I can get on with my hobbies.
Maria thoughts
1. Illyria is an island, ergo surrounded by water. So I keep thinking about the idea of this constant "ebb and flow" in the world of the characters, and of water's connotations in the characters' lives. Although I think Maria is an earth element, she has bits of water in her, which can be dark and brooding at times.
2. Ironically, this "third scene partner", drink, is both a friend and an enemy. While it consumes Toby, it also allows me to mother and take care of him.
3. Beckie and Amanda and I had a great conversation today. Olivia and Maria have a sort of sister-in-law relationship, but are not close; much like the idea of two people who bond out of necessity and location, rather than chemistry. We ellaborated on this idea of Beckie trying to make Maria be "the living dead" with her, by wearing black and mourning, etcetera. This is a helpful backstory and definitely informs Maria's breathing. Inside Olivia's room, she has shallow, mechanical breathing. Getting out into the rest of the house and world is such a SIGH (literally) of relief! Toby's spontaneity and enhtusiasm for living is an even GREATER relief! While I'm toying with the idea that Maria struggles with expressing affection, she does deeply love this joie de vie. Feste and Maria also have a history together. Feste is more well-liked by Olivia, so there is a bit of competition between them. However, they also recognize the need to defend each other, as Olivia has complete cont!
rol. This is why Maria offers to make an excuse for Feste (when she sees he has returned), but only if he lets her in on the secret of where he has been.
2. Ironically, this "third scene partner", drink, is both a friend and an enemy. While it consumes Toby, it also allows me to mother and take care of him.
3. Beckie and Amanda and I had a great conversation today. Olivia and Maria have a sort of sister-in-law relationship, but are not close; much like the idea of two people who bond out of necessity and location, rather than chemistry. We ellaborated on this idea of Beckie trying to make Maria be "the living dead" with her, by wearing black and mourning, etcetera. This is a helpful backstory and definitely informs Maria's breathing. Inside Olivia's room, she has shallow, mechanical breathing. Getting out into the rest of the house and world is such a SIGH (literally) of relief! Toby's spontaneity and enhtusiasm for living is an even GREATER relief! While I'm toying with the idea that Maria struggles with expressing affection, she does deeply love this joie de vie. Feste and Maria also have a history together. Feste is more well-liked by Olivia, so there is a bit of competition between them. However, they also recognize the need to defend each other, as Olivia has complete cont!
rol. This is why Maria offers to make an excuse for Feste (when she sees he has returned), but only if he lets her in on the secret of where he has been.
Thursday, August 28, 2008
From Jon-Michael
Here's something that might be of interest. As I was looking for any information on captain ranks and such, I came across this 2002 "Globe Research Bulletin" for the RSC Twelfth Night, with none other than Mr. Shakespeare - Mark Rylance (!)
I don't know how helpful it is, as I just scanned it, because I have to be in rehearsal now, but it's worth a look.
JMR
(I didn't send the link in the first, so here it is)
http://www.globelink.org/docs/Twelfth_Night.pdf
I don't know how helpful it is, as I just scanned it, because I have to be in rehearsal now, but it's worth a look.
JMR
(I didn't send the link in the first, so here it is)
http://www.globelink.org/docs/Twelfth_Night.pdf
Viola...
I just wanted to thank you so much for the rehearsal tonight. I'm so excited! It was such a positive, healthy, fun environment.
Here are a couple thoughts after tonight:
Some interesting definitions of 'will':
-In Elizabethan context: both the assertion of power and sexual desire
- to wish; desire; like
- power of choosing one's own actions
- disposition, whether good or ill, toward another.
- Diligent purposefulness; determination:
- to yearn for; desire:
After tonight's rehearsal, I got to thinking about Viola's stakes and a couple of things have changed for me. Last year in Don's class I did the ring speech and found it truly hard to find the balance between where she is having fun in her disguise and where she is not. Upon thinking more about it, however, I don't think this is a "fun" disguise for her. She does have some fun as Cesario and sees the absurdity of her situation, but the Viola underneath is anything but carefree. She is completely different from the other cross dressing heroines of Shakespeare. Rosalind, for example, enjoys her disguise and uses it to have a good time, whereas Viola has to keep it carefully guarded. She plays Cesario well, but never forgets that that is all she is doing - pretending to be someone she is not. She is stuck.
There are also a couple of pictures. I just liked the design of the first one, and the second is oh so true of the show.
Feste Again
First, I’d like to say that I had a thoroughly invigorating time watching all of us work on our feet! Thank you everyone for bringing so much to rehearsal tonight. And thank you, Matt, for the cupcakes mmm.
Over the past few days I’ve been going mad over this role. I felt as if I was floundering. What does he want? What is his journey? But today I felt like I discovered some fresh things about Feste, because of the music and discovering my relation to other characters. Feste wants to make sure that each of the other characters gets their genuine love. And because he has both witnessed and experience enough about relationships to know about them, he drops his bits of wisdom in the ears of his friends. He wants money. He needs money. He is ashamed that he needs coins ands prizes from others but also resentful that they have so much and give so little. I have noticed in the text that the times when Feste is most unsure of himself or awkward or embarrassed, the activity is begging. I was thinking that Feste has been away from this land for long time and he’s realized that he cannot make it ‘out there’ alone. So he roams back to his home to try and collect enough money to go sail away from Illyria for good. Start a new life. This makes the journey interesting. Because throughout the play, he realizes that he maybe that ‘plan’ is just a way to make him feel less embarrassed about needing money. Feste actually just wants them to be happy because he cares about their wellbeing. They are the characters of the story he tells.
Also, in each of the songs that I sing, there is a line or two that is profoundly meaningful in Feste’s life. More on this later!
“Goodbye my sweet-heart,
Goodbye my dear-o”
“My peace I would crave”
“Is it wrong to wish you still need me?”
Lastly, this image is what Feste falls asleep in every night (image at the top).
Wednesday, August 27, 2008
New Team Members
I ask you all to join me in welcoming our lighting designers :
Sarah Hupcey and Jordan Groves
Woo HOO!!!!!!
Sarah Hupcey and Jordan Groves
Woo HOO!!!!!!
Malvolio
So, after two days of brilliant rehearsal time that has churned up numerous ideas as well as feelings, I've discovered some stuff about the melancholy steward. I don't know how much you would want to post on the blog, but cut and paste what you will (pun intended).
I had been wracking my brains about how to get the audience to like, or at least sympathize, with a character whose name means "ill-will." And also, why any man would subject himself to being a "steward." I've often wondered this of butlers and servants that dedicate their lives to being essentially, slaves. Talk about a wall in front of me. But as we've gone around and discussed how each character aches for love, and the general winnings and losings of it, and how that changes each of them, some things have become clear:
Malvolio is "melancholy" because he is utterly lonely. This is clear. He has no friends within the court. Olivia orders him about, and everyone ridicules him. And this is not playful jesting. This is utter hate. And not totally undeserved. He no doubt comes off as an "itchy asshole," if you'll pardon my french. He hates everything that brings pleasure, and is not afraid to let people know of it. What a wonderful mask it is to take displeasure in pleasure, as many people around Purnell are akin to. To work work work and judge the drinkers and such, is a nice way to become respected, and this is what Malvolio believes. His devotion to god, to his faith, etc will bring him respect, and respect will bring him money, and money will bring him friends. This explains his wish to be "Count Malvolio." But it is driven by a deep sense of loneliness. He drives people away by putting down their foolery, and reassures himself by thinking he is helping people get to heaven by admonishing !
their negative behaviors. Unfortunately, this crutch leads him to live an utterly sad life, whereby the other characters of the Countess's house abhor him. He essentially spends the whole play struggling between his faith, which he believes will lead him to salvation, and his dark desires to sleep with Olivia, and join in on the revels. In plainest terms, and in view of the "caterwauling" scene, it plays out like this. Malvolio hears tomfoolery. He wants to join in. His superego checks him, and reminds him that joining in will send him to hell. He must admonish. When he arrives to find the revelers, he is at a decision point. He chooses to follow his faith, as has become his habit his entire life (probably because at an early age his parents praised him for his devotion to god. or maybe because he was sent away to become a choir boy at an early age, so it's all he knows, and he has been too afraid these 30 years to choose the other path) He therefore alienates those reveler!
s, leading them to initiate the "letter" ploy.
But the man just wants one friend, and when he discovers the letter, it is the first sign that maybe, just maybe, there is a chance it could happen. ALSO, having to do with his "puritanism," puritans believed in pre-determination. This has led to Malvolio believing something external will change him, and it will be god's doing. Well, that letter is a beautiful jumpstart to that. Unfortunately, when he finally toss his faith out the window, it all blows up in his face, and he is sent to the dark room as punishment. I can imagine this would drive Malvolio to believe he has brought this punishment upon himself, as the line of logic would be: "i disregarded my faith, and god has put me in this dungeon." The interesting thing is that it doesn't. He complains that he has been "notoriously abused" and clings onto his sanity with both hands, tightly. He has given in to what he believed was love, changed himself to his very core (religious devotion being his core), and when it goes h!
orribly wrong, he does not blame himself, as many Christians who have sinned would believe, but rather realizes the culprits. Therefore, he has been changed for good. MORE THAN THAT, at the end of the play he swears revenge "on the whole packe of you." Revenge, which could be interpreted either of two ways from a biblical standpoint: "an eye for an eye," or from the "forgive those who trespass you" standpoint. He chooses the former, signifying his change.
Malvolio has lived his life in a metaphorical dark box, that box being his religion, which has shielded him from revelrey, convinced him he does not need said revelry, and has kept him alone. Funny that this is where he ends up in Act IV.
Those are just some thoughts around midnight.
The rehearsals have been absolutely fantastic. I have never been part of a more rewarding experience, and we are only 2 days in. Our cast, even in just the reading stage, sounds fantastic, and I can't WAIT to get this thing on its feet.
I had been wracking my brains about how to get the audience to like, or at least sympathize, with a character whose name means "ill-will." And also, why any man would subject himself to being a "steward." I've often wondered this of butlers and servants that dedicate their lives to being essentially, slaves. Talk about a wall in front of me. But as we've gone around and discussed how each character aches for love, and the general winnings and losings of it, and how that changes each of them, some things have become clear:
Malvolio is "melancholy" because he is utterly lonely. This is clear. He has no friends within the court. Olivia orders him about, and everyone ridicules him. And this is not playful jesting. This is utter hate. And not totally undeserved. He no doubt comes off as an "itchy asshole," if you'll pardon my french. He hates everything that brings pleasure, and is not afraid to let people know of it. What a wonderful mask it is to take displeasure in pleasure, as many people around Purnell are akin to. To work work work and judge the drinkers and such, is a nice way to become respected, and this is what Malvolio believes. His devotion to god, to his faith, etc will bring him respect, and respect will bring him money, and money will bring him friends. This explains his wish to be "Count Malvolio." But it is driven by a deep sense of loneliness. He drives people away by putting down their foolery, and reassures himself by thinking he is helping people get to heaven by admonishing !
their negative behaviors. Unfortunately, this crutch leads him to live an utterly sad life, whereby the other characters of the Countess's house abhor him. He essentially spends the whole play struggling between his faith, which he believes will lead him to salvation, and his dark desires to sleep with Olivia, and join in on the revels. In plainest terms, and in view of the "caterwauling" scene, it plays out like this. Malvolio hears tomfoolery. He wants to join in. His superego checks him, and reminds him that joining in will send him to hell. He must admonish. When he arrives to find the revelers, he is at a decision point. He chooses to follow his faith, as has become his habit his entire life (probably because at an early age his parents praised him for his devotion to god. or maybe because he was sent away to become a choir boy at an early age, so it's all he knows, and he has been too afraid these 30 years to choose the other path) He therefore alienates those reveler!
s, leading them to initiate the "letter" ploy.
But the man just wants one friend, and when he discovers the letter, it is the first sign that maybe, just maybe, there is a chance it could happen. ALSO, having to do with his "puritanism," puritans believed in pre-determination. This has led to Malvolio believing something external will change him, and it will be god's doing. Well, that letter is a beautiful jumpstart to that. Unfortunately, when he finally toss his faith out the window, it all blows up in his face, and he is sent to the dark room as punishment. I can imagine this would drive Malvolio to believe he has brought this punishment upon himself, as the line of logic would be: "i disregarded my faith, and god has put me in this dungeon." The interesting thing is that it doesn't. He complains that he has been "notoriously abused" and clings onto his sanity with both hands, tightly. He has given in to what he believed was love, changed himself to his very core (religious devotion being his core), and when it goes h!
orribly wrong, he does not blame himself, as many Christians who have sinned would believe, but rather realizes the culprits. Therefore, he has been changed for good. MORE THAN THAT, at the end of the play he swears revenge "on the whole packe of you." Revenge, which could be interpreted either of two ways from a biblical standpoint: "an eye for an eye," or from the "forgive those who trespass you" standpoint. He chooses the former, signifying his change.
Malvolio has lived his life in a metaphorical dark box, that box being his religion, which has shielded him from revelrey, convinced him he does not need said revelry, and has kept him alone. Funny that this is where he ends up in Act IV.
Those are just some thoughts around midnight.
The rehearsals have been absolutely fantastic. I have never been part of a more rewarding experience, and we are only 2 days in. Our cast, even in just the reading stage, sounds fantastic, and I can't WAIT to get this thing on its feet.
Belching & Fadging
I hope this doesn't come across as incoherent, but I have been doing a lot of thinking about our dear Toby, and not a whole lot of documentation. I had a somewhat minor spew the other day in rehearsal, but I think I owe us all something a bit more substantial. I'm not exactly sure where I want to start, so I'm just going to let the spraying begin.
I was doing some thinking regarding what was said today in class about what makes us hate. If it's true that our repulsion of a person or characteristic is only the result of the recognition of the same trait within ourselves, that raises some very interesting questions about our dear Toby.
"I am sure care's an enemie to life." Now Toby, as he is presented to us in the play, is given to constant drunkenness and debauchery, and has nothing but contempt for structure and discipline. He is a symbol of freedom and the suspension of inhibition, and this is a source of great friction between he and the hyper-prudent Malvolio.
It is for this reason that I find Sir Toby's history in the military extremely intriguing. Toby was a soldier, and presumably, a very good one, judging from the reverence he is given by some of his peers. But the military (at least from my intimate exposure to it) is all about DISCIPLINE. It's where young, reckless kids go to get their acts together and make something of themselves. Because in the military, if you fuck up, or if you're not on top of your shit, you get the shit slapped out of you (at least, it used to be like that, although not so much anymore). So, at some point, in order to rise through the ranks, Toby must have adhered pretty religously to the structure he now denounces, and I think the reason he is so insistent on distancing himself from that lifestyle, is that it reminds him of the atrocities he comitted while serving.
On top of his guilt, it seems to me that Sir Toby is someone who has quit trying simply because he's afraid of FAILURE. There is a great deal of self doubt, and that's why Maria, Sir Andrew, and Malvolio are so important to him. They make him feel validated, and provide him with an identity that he can tolerate. I believe Malvolio is particularly precious to him, because he provides Toby with a target upon which he can unleash his resentment for the structure that used to dominate his life. Toby, I think, has come to define himself not by what he is, but what he refuses to be. "I don't care who Toby is. Just as long as he's nothing like Malvolio."
Kate Rusby's "Sleepless Sailor" song goes:
I once was a sailor, a young man and brave
My nights were once sleepless
My peace I would crave
Carry me home to the sea
There was a time in his life when Toby felt like a hero. He loved fighting, and serving, and he loved the discipline of the military, but to be a part of that world, meant he had to continue to take life. In the same way the sailor loved the sea that would kill him, Toby felt most alive and heroic when he was causing pain and death, and he knew he had to escape.
This is why Maria and Andrew are so dear him, because they make him feel like the hero he always wanted to be. Maria distracts him and reminds him he deserves to be loved, and Andrew provides him with the most genuine relationship he's had since he retired. I believe Toby's super-objective is along the lines of "Absolve me from my sins, and love me in the way I can no longer love myself."
A couple other thoughts:
Toby's...
Element- Earth. Think plate tectonics. On the earth's surface, flowers grow, and can smell wonderful, and the sun can beat down and make the ground feel soft and warm, and everything seems solid but underneath there is ubearable heat, pressure, tension, and the potential for an earthquake at any minute.
Color- Purple. The pride, showmanship, and passion of red. The heart, the sadness, and the longing of blue.
Animal- I was thinking Kodiak, but I liked the thought about the gorilla. I obviously want something with a great deal of weight and power, that also has a propensity for lethargy and gluttony. There needs to be enormous pride, but without the grace of a lion or other feline. I love the idea of a placid exterior with enormous potential energy and danger.
I'd like to explore Toby's addiction more, as well, so I'll try to dig up some stuff about that in the next couple days.
I was doing some thinking regarding what was said today in class about what makes us hate. If it's true that our repulsion of a person or characteristic is only the result of the recognition of the same trait within ourselves, that raises some very interesting questions about our dear Toby.
"I am sure care's an enemie to life." Now Toby, as he is presented to us in the play, is given to constant drunkenness and debauchery, and has nothing but contempt for structure and discipline. He is a symbol of freedom and the suspension of inhibition, and this is a source of great friction between he and the hyper-prudent Malvolio.
It is for this reason that I find Sir Toby's history in the military extremely intriguing. Toby was a soldier, and presumably, a very good one, judging from the reverence he is given by some of his peers. But the military (at least from my intimate exposure to it) is all about DISCIPLINE. It's where young, reckless kids go to get their acts together and make something of themselves. Because in the military, if you fuck up, or if you're not on top of your shit, you get the shit slapped out of you (at least, it used to be like that, although not so much anymore). So, at some point, in order to rise through the ranks, Toby must have adhered pretty religously to the structure he now denounces, and I think the reason he is so insistent on distancing himself from that lifestyle, is that it reminds him of the atrocities he comitted while serving.
On top of his guilt, it seems to me that Sir Toby is someone who has quit trying simply because he's afraid of FAILURE. There is a great deal of self doubt, and that's why Maria, Sir Andrew, and Malvolio are so important to him. They make him feel validated, and provide him with an identity that he can tolerate. I believe Malvolio is particularly precious to him, because he provides Toby with a target upon which he can unleash his resentment for the structure that used to dominate his life. Toby, I think, has come to define himself not by what he is, but what he refuses to be. "I don't care who Toby is. Just as long as he's nothing like Malvolio."
Kate Rusby's "Sleepless Sailor" song goes:
I once was a sailor, a young man and brave
My nights were once sleepless
My peace I would crave
Carry me home to the sea
There was a time in his life when Toby felt like a hero. He loved fighting, and serving, and he loved the discipline of the military, but to be a part of that world, meant he had to continue to take life. In the same way the sailor loved the sea that would kill him, Toby felt most alive and heroic when he was causing pain and death, and he knew he had to escape.
This is why Maria and Andrew are so dear him, because they make him feel like the hero he always wanted to be. Maria distracts him and reminds him he deserves to be loved, and Andrew provides him with the most genuine relationship he's had since he retired. I believe Toby's super-objective is along the lines of "Absolve me from my sins, and love me in the way I can no longer love myself."
A couple other thoughts:
Toby's...
Element- Earth. Think plate tectonics. On the earth's surface, flowers grow, and can smell wonderful, and the sun can beat down and make the ground feel soft and warm, and everything seems solid but underneath there is ubearable heat, pressure, tension, and the potential for an earthquake at any minute.
Color- Purple. The pride, showmanship, and passion of red. The heart, the sadness, and the longing of blue.
Animal- I was thinking Kodiak, but I liked the thought about the gorilla. I obviously want something with a great deal of weight and power, that also has a propensity for lethargy and gluttony. There needs to be enormous pride, but without the grace of a lion or other feline. I love the idea of a placid exterior with enormous potential energy and danger.
I'd like to explore Toby's addiction more, as well, so I'll try to dig up some stuff about that in the next couple days.
Sebastian's Grief
In the last week I’ve been thinking about how enormous the jump is for Sebastian. From being incredibly melancholy to being ok after marrying Olivia. I taked to a therapist as well to talk over what happens to a person in this condition and he said its like living in a little glass bottle with all your possessions and then everything is turned upside down. You don’t know which was is up at first but slowly you put thing back together and adjust. Allthough we seem to be always growing towards the end its always so abrupt to us. We keep it out of our mind and it isn’t something we are conditioned too (like brave new world) even though we are surrounded by and a lot of us live in fear of it.
So I’ve been doing some research into the grief cycle and what happens to a person when they’ve lost someone they love. I’ve never actually ”Lost” anyone I truly loved. Misplaced maybe. But Sebastian is convinced at the beginning of Act 2 that his sister has been DEVOURED by the sea. So my big question was… what does a person do? I found an amazing cycle called the Kubler-Ross grief cycle. I was fairly impressed at how dead on it was with Sebastian so this is what I’ve found.
Sebastian in the first scene has already worked his way through the shock stage and the denial stage and enters the scene in the anger stage. Probably also fired up by something that has happened between he and Anthonio that confused him. I cannot stress how vulnerable Sebastian is at the beginning of the play. He has lost his greatest human connection so he is always waiting for another one t come along which is why he is confused by Anthonio and then by Olivia. He is reaching out trying to replace his sister. (sorry about that tangent) so he enters the scene in the anger stage and by the end of the first scene with Anthonio he is into the bargaining stage. He just needs to get out of their and he needs to be alone. In their next encounter Sebastian has seemed to make the jump to depression stage and needs a friend more then ever which is why he is obviously embarrassed and apologetic for the way he acted before. When he first see’s Olivia he is thrown into the testing sta!
ge because, now he has decided to accept that and is testing other realistic relationships. This is why I think he is so open to the random encounter with Olivia. Why not follow a friendly beautiful woman to her home? It isn’t until right before he actually see’s Viola that he has reached the acceptance stage. He has accepted he will never see her again and has started a new life in Illyria when he gets into another fight with Toby and Andrew and then is overjoyed to see Anthonio.
It should be known that the grief cycle doesn’t always work out as planned. There are sometimes cycles or relapses that occur. And I think that this might happen to Sebastian. There I don’t know if its possible for someone to get over the person they loved most in the word in such a short amount of time.
A common problem with the above cycle is that people get stuck in one phase. Thus a person may become stuck in denial, never moving on from the position of not accepting the inevitable future. When it happens, they still keep on denying it, such as the person who has lost their job still going into the city only to sit on a park bench all day.
Getting stuck in denial is common in 'cool' cultures (such as in Britain, particularly Southern England) where expressing anger is not acceptable. The person may feel that anger, but may then repress it, bottling it up inside.
Shock stage: Initial paralysis at hearing the bad news.
Denial stage: Trying to avoid the inevitable.
Anger stage: Frustrated outpouring of bottled-up emotion.
Bargaining stage: Seeking in vain for a way out.
Depression stage: Final realization of the inevitable.
Testing stage: Seeking realistic solutions.
Acceptance stage: Finally finding the way forward.
Other Thing I’ve been working on:
I started working on speed and agility through a fencers routine. As well as working on their breathing pattern. Fencers generally breath through both passages and exhale through their mouth when they attack. It is a weird feeling because I’m not used to taking in so much oxygen but when doing something strenuous it works really well. Fencers are incredibly agile, quick and their stamina is out of control.
Movement:
Movement is very important for Sebastian because he is always on guard he is kinesthetically ready for anything. Except in the first few scenes when he is so melancholy. He would be sloppy with his training due to his anger and depression.
Leads from his chest/ heart: is not over inflated but just proud and leads with his heart perhaps?
Yes definitely leads from his heart but is strong and fights with his heart as well. He is intelligent and so his movements are quick and strong. He isn’t a mental genius but he is when it come to fighting. His movements are very sure everything is perfectly planned within a seconds notice… maybe not when he is upset though because that’s a different beast. When he is upset he might be a little sloppy. Drunk on emotion? “Life is shit” sort of attitude although im sure he’s pulling through it
So I’ve been doing some research into the grief cycle and what happens to a person when they’ve lost someone they love. I’ve never actually ”Lost” anyone I truly loved. Misplaced maybe. But Sebastian is convinced at the beginning of Act 2 that his sister has been DEVOURED by the sea. So my big question was… what does a person do? I found an amazing cycle called the Kubler-Ross grief cycle. I was fairly impressed at how dead on it was with Sebastian so this is what I’ve found.
Sebastian in the first scene has already worked his way through the shock stage and the denial stage and enters the scene in the anger stage. Probably also fired up by something that has happened between he and Anthonio that confused him. I cannot stress how vulnerable Sebastian is at the beginning of the play. He has lost his greatest human connection so he is always waiting for another one t come along which is why he is confused by Anthonio and then by Olivia. He is reaching out trying to replace his sister. (sorry about that tangent) so he enters the scene in the anger stage and by the end of the first scene with Anthonio he is into the bargaining stage. He just needs to get out of their and he needs to be alone. In their next encounter Sebastian has seemed to make the jump to depression stage and needs a friend more then ever which is why he is obviously embarrassed and apologetic for the way he acted before. When he first see’s Olivia he is thrown into the testing sta!
ge because, now he has decided to accept that and is testing other realistic relationships. This is why I think he is so open to the random encounter with Olivia. Why not follow a friendly beautiful woman to her home? It isn’t until right before he actually see’s Viola that he has reached the acceptance stage. He has accepted he will never see her again and has started a new life in Illyria when he gets into another fight with Toby and Andrew and then is overjoyed to see Anthonio.
It should be known that the grief cycle doesn’t always work out as planned. There are sometimes cycles or relapses that occur. And I think that this might happen to Sebastian. There I don’t know if its possible for someone to get over the person they loved most in the word in such a short amount of time.
A common problem with the above cycle is that people get stuck in one phase. Thus a person may become stuck in denial, never moving on from the position of not accepting the inevitable future. When it happens, they still keep on denying it, such as the person who has lost their job still going into the city only to sit on a park bench all day.
Getting stuck in denial is common in 'cool' cultures (such as in Britain, particularly Southern England) where expressing anger is not acceptable. The person may feel that anger, but may then repress it, bottling it up inside.
Shock stage: Initial paralysis at hearing the bad news.
Denial stage: Trying to avoid the inevitable.
Anger stage: Frustrated outpouring of bottled-up emotion.
Bargaining stage: Seeking in vain for a way out.
Depression stage: Final realization of the inevitable.
Testing stage: Seeking realistic solutions.
Acceptance stage: Finally finding the way forward.
Other Thing I’ve been working on:
I started working on speed and agility through a fencers routine. As well as working on their breathing pattern. Fencers generally breath through both passages and exhale through their mouth when they attack. It is a weird feeling because I’m not used to taking in so much oxygen but when doing something strenuous it works really well. Fencers are incredibly agile, quick and their stamina is out of control.
Movement:
Movement is very important for Sebastian because he is always on guard he is kinesthetically ready for anything. Except in the first few scenes when he is so melancholy. He would be sloppy with his training due to his anger and depression.
Leads from his chest/ heart: is not over inflated but just proud and leads with his heart perhaps?
Yes definitely leads from his heart but is strong and fights with his heart as well. He is intelligent and so his movements are quick and strong. He isn’t a mental genius but he is when it come to fighting. His movements are very sure everything is perfectly planned within a seconds notice… maybe not when he is upset though because that’s a different beast. When he is upset he might be a little sloppy. Drunk on emotion? “Life is shit” sort of attitude although im sure he’s pulling through it
Tuesday, August 26, 2008
REHEARSAL SCHEDULE
Tuesday
1.30pm – 2.30pm : Act 2
2.40pm – 3.40pm : Act 3
3.45pm – 4.20pm : Act 4
6.30pm – 7.30pm : Anthonio scenes
7.30pm – 8.30pm : Act 5
8.30pm – 9.00pm : Staging in Thrust
Wednesday
6.30pm – 7.10pm : I, i
7.10pm – 7.50pm : I, iii
7.50pm – 8.30pm : I, iv
8.30pm – 9.10pm : I, ii
9.10pm – 10.30pm : I, v
Thursday
1.30pm – 2.10pm : II, ii
2.10pm – 3.10pm : II, iii
3.10pm – 4.20pm : II, iv
6.30pm – 7.45pm : II, v
7.45pm – 8.45pm : III, i
8.45pm – 9.15pm : III, ii
9.15pm – 10.30pm : III, iv
Friday
Call backs – NO rehearsal
Saturday
12.00pm – 1.00pm : songs and music
1.00pm – 2.00pm : IV, ii
2.00pm – 3.30pm : V
3.30pm – 4.00pm : TBA
1.30pm – 2.30pm : Act 2
2.40pm – 3.40pm : Act 3
3.45pm – 4.20pm : Act 4
6.30pm – 7.30pm : Anthonio scenes
7.30pm – 8.30pm : Act 5
8.30pm – 9.00pm : Staging in Thrust
Wednesday
6.30pm – 7.10pm : I, i
7.10pm – 7.50pm : I, iii
7.50pm – 8.30pm : I, iv
8.30pm – 9.10pm : I, ii
9.10pm – 10.30pm : I, v
Thursday
1.30pm – 2.10pm : II, ii
2.10pm – 3.10pm : II, iii
3.10pm – 4.20pm : II, iv
6.30pm – 7.45pm : II, v
7.45pm – 8.45pm : III, i
8.45pm – 9.15pm : III, ii
9.15pm – 10.30pm : III, iv
Friday
Call backs – NO rehearsal
Saturday
12.00pm – 1.00pm : songs and music
1.00pm – 2.00pm : IV, ii
2.00pm – 3.30pm : V
3.30pm – 4.00pm : TBA
Illyria pt.1
- Former Yugoslavia now Bosnia
- During Shakespeare’s day – part of the Ottoman empire – culturally influenced by Italy (Madonna)
- “Illyria is a counterfeit Elysium, a fools paradise where nearly everyone is drowned, drowned in pleasure” (Goodard).
Olivia pt.2
Olivia’s Super–Objective
To find an honest soul
who challenges my fierce wit
and loves my true self as much as god
-so that I may exist free of deception -
unmasked and divine.
According to Ben Kingsley, “ all the characters in Twelfth Night are trying to avoid truth at every level.” This must be because what they all really want is to live unmasked and divine (divine meaning at holy balance, extremely good, happy, and balanced).
The truth Olivia is trying to escape from the moment the play opens is the truth that love exists and such human divinity is possible (a.k.a. she is trying to avoid what she truly desires).
Instead of seeking divine balance, the facts in Olivia’s life (the death of her father, followed by her brother, and Feste’s abandonment – all major betrayals of her faith in love) have led Olivia to conclude that she is incapable of love and no soul is capable of honestly loving her.
It is with this major obstacle in the way of Olivia’s super-objective that she begins the play, and all her actions throughout are directly related to the struggle between the two.
Olivia’s mourning is the most profound example of this:
a. Olivia says that she will mourn her brothers death for 7 years (and when the play starts she has already been mourning for approx. 11 months)
b. “Her carefully announced, absurdly long period of mourning, with its withdrawal from society, is evidently a pretext, however unconscious, for singling herself out, making herself interesting.” (Goddard).
i. Olivia’s mourning = an attempt to be seen (however twisted) because ultimately she is still driven by her super- objective to live unmasked and divine.
Act 1 Scene 5 (part 1): (Olivia, Feste, Malvolio):
Scene Objective: I need Feste to prove his honesty to me through his wit, so that I can forgive him of his trespasses and begin to smile again and rebuild my faith in love.
Major Obstacle (s): Feste betrayed and wounded me so deeply with his abandonment – that it will take great wit and faith for him to earn back my trust and forgiveness.
-This scene is vital for the rest of Olivia’s action in the play: because it is only through her forgiveness of Feste that she begins to open just enough to be affected by Viola (Cesario): she is still opposed to hearing Orsino – however, the idea of a young feisty boy who does not obey her orders is suddenly intriguing, but only because Feste has rekindled her dying wit!
Thus, she calls the boy in for a little repartee (something she probably did quite often before her brother and fathers death!
Act 1 Scene 5 part 2: (Olivia, Viola, Maria):
Scene Objective: I need this youth to permit me to quit living and continue mourning by proving my suspicion that no good enough suitor exists for me to love.
Really: I need this saucy youth to prove my belief that no man can ever love me honestly nor keep up with my wit false, so that I can continue to live in hope of finding an honest soul to love.
Major Obstacle (s): a.) I am still so doubtful and wounded from the male betrayals I have encountered, that to find a suitor of my liking seems near impossible.
b.) The youth reveals that he is from Orsino, whose motives epitomize my biggest fear (that no man will ever love me for me, but only for my beauty and power).
Main Action/Tactic: I test the youths wit and ability to banter and defend Orsino’s feigned love.
Scene Objective Outcome: Olivia is unaware of her true objective in this scene. She brings in the youth because she wants to test the legitimacy of her suitors claim to love. She wants to prove to herself right in her excessive deliberation to more for seven years.
She loses that objective, because the youth ignites the flame she thought had died with her brother.
She wins her true objective, because she makes headway in her super-objective.
To find an honest soul
who challenges my fierce wit
and loves my true self as much as god
-so that I may exist free of deception -
unmasked and divine.
According to Ben Kingsley, “ all the characters in Twelfth Night are trying to avoid truth at every level.” This must be because what they all really want is to live unmasked and divine (divine meaning at holy balance, extremely good, happy, and balanced).
The truth Olivia is trying to escape from the moment the play opens is the truth that love exists and such human divinity is possible (a.k.a. she is trying to avoid what she truly desires).
Instead of seeking divine balance, the facts in Olivia’s life (the death of her father, followed by her brother, and Feste’s abandonment – all major betrayals of her faith in love) have led Olivia to conclude that she is incapable of love and no soul is capable of honestly loving her.
It is with this major obstacle in the way of Olivia’s super-objective that she begins the play, and all her actions throughout are directly related to the struggle between the two.
Olivia’s mourning is the most profound example of this:
a. Olivia says that she will mourn her brothers death for 7 years (and when the play starts she has already been mourning for approx. 11 months)
b. “Her carefully announced, absurdly long period of mourning, with its withdrawal from society, is evidently a pretext, however unconscious, for singling herself out, making herself interesting.” (Goddard).
i. Olivia’s mourning = an attempt to be seen (however twisted) because ultimately she is still driven by her super- objective to live unmasked and divine.
Act 1 Scene 5 (part 1): (Olivia, Feste, Malvolio):
Scene Objective: I need Feste to prove his honesty to me through his wit, so that I can forgive him of his trespasses and begin to smile again and rebuild my faith in love.
Major Obstacle (s): Feste betrayed and wounded me so deeply with his abandonment – that it will take great wit and faith for him to earn back my trust and forgiveness.
-This scene is vital for the rest of Olivia’s action in the play: because it is only through her forgiveness of Feste that she begins to open just enough to be affected by Viola (Cesario): she is still opposed to hearing Orsino – however, the idea of a young feisty boy who does not obey her orders is suddenly intriguing, but only because Feste has rekindled her dying wit!
Thus, she calls the boy in for a little repartee (something she probably did quite often before her brother and fathers death!
Act 1 Scene 5 part 2: (Olivia, Viola, Maria):
Scene Objective: I need this youth to permit me to quit living and continue mourning by proving my suspicion that no good enough suitor exists for me to love.
Really: I need this saucy youth to prove my belief that no man can ever love me honestly nor keep up with my wit false, so that I can continue to live in hope of finding an honest soul to love.
Major Obstacle (s): a.) I am still so doubtful and wounded from the male betrayals I have encountered, that to find a suitor of my liking seems near impossible.
b.) The youth reveals that he is from Orsino, whose motives epitomize my biggest fear (that no man will ever love me for me, but only for my beauty and power).
Main Action/Tactic: I test the youths wit and ability to banter and defend Orsino’s feigned love.
Scene Objective Outcome: Olivia is unaware of her true objective in this scene. She brings in the youth because she wants to test the legitimacy of her suitors claim to love. She wants to prove to herself right in her excessive deliberation to more for seven years.
She loses that objective, because the youth ignites the flame she thought had died with her brother.
She wins her true objective, because she makes headway in her super-objective.
Olivia pt.1
Here is a bunch of stuff I began work on before last night - things have changed a bit but this was my foundation - so the beginning of my process :
Relationships (Olivia – 12th Night Players)
1. ORSINO
a. Why is Orsino’s love for Olivia Unrequited?
i. Historically -Possibly named for Don Virginio Orsino Duke of Bracciano – who was a Court Visitor to Elizabeth I in 1600.
1. A clue to this relationship could be that Elizabeth was so used to men extravagantly claiming (or rather feigning) their unsurpassable love for her – when in truth they were really in love with Elizabeth’s power, beauty, and succession to the thrown.
2. “Orsino is “far more in love with language, music, love, and himself than Olivia” (Bloom).
ii. Olivia knows in her soul that Orsino is not in love with her (her soul, her being) – rather he loves her shell (her mask, the veil she wears) – the exterior beauty, estate, riches and dowry.
- If Olivia’s Super – Objective is:
To find an honest soul who challenges my fierce wit and loves my true self as much as god – so that I may exist free of deception – unmasked and divine.
Then, Orsino is clearly not the man for her.
b. Orsino as Olivia’s “twin” or mirror character – Olivia and Orsino are characters of extreme (not moderation)
i. Orsino – “a willing prey to the Elizabethan affliction of melancholy” is so in love with love that he would choose to sicken himself with the indulgence of it.
ii. Olivia is similarly a prey to melancholy – she is in mourning for her brother’s “dead love”
iii. However – Orsino and Olivia are twins – but could never match or be a pair – they are too similar.
2. VIOLA
a. Why does Olivia fall for Cesario (Viola)?
i. Cesario is a seemingly “honest soul” (he is not interested in Olivia’s power, beauty, estate, or her as property).
ii. He presents a challenge to Olivia’s “wit” – which is oh so attractive
iii. He admits he is wearing a mask “ by the very fangs of malice I swear I am not that I play.” – this is unbearably attractive to Olivia because she can relate!
iv. He proves that he is a capable of loving a woman so greatly (possibly as much as God): “make me a willow cabin at your gate and call upon my soul within the house …”
v. Keep in mind for relationship: Similar attraction as the one Elizabeth had for Essex:
1. Like Essex, Cesario is bold, handsome, young, free, boundless, and unafraid to challenge nobility/royalty/ the queen.
b. Why is Olivia’s love unrequited?
i. Obviously – because Viola is not a match because she is a girl and in love with Orsino
ii. However, she is also a poor match because:
1. She is dishonest – “she pretends to be that which she is not”
3. FESTE
a. Historically – Feste’s character most likely represents Oxford or Shakespeare himself.
i. After the Essex rebellion Liz banished Shakespeare and his company from her court because of his relations to the earl of Southampton (Essex conspirator)
ii. In the play Feste is referred to as having been Olivia’s fathers favorite fool
1. This is an interesting family tie – which may give insight as to why Olivia needs Feste (despite his dishonorable behavior and possible Catholicism)
b. Why does Olivia Need Feste
i. She is repressed (because she runs from truth and is therefore bound/ veiled/cloistered) – and Feste’s wit is a release, unmasking through humor.
1. “Feste sees through Olivia’s artifice of grief, and would do his best to cure it” (Goddard).
2. Feste “carries his exhaustion with verve and wit and always with the air of knowing there is to know not in a superior way, but with sweet holiday melancholy” (Bloom).
ii. Without Feste, Olivia risks completely losing herself to the sea of excessive emotion – She is the water and Feste is the earth
4. MALVOLIO
a. Historically – A satire of Sir Christopher Hatton
i. Liz fancied Hatton’s dancing. Her nicknames for him included: Sheep, Mutton, Lyddes
ii. Hatton was “affected, self-righteous, deficient in qualities of honor, generosity, and finesse.”
iii. Hatton’s rival was the Earl of Oxford (Edward de Vere)
1. Oxford was an Elizabethan courtier, playwright, poet and sponsor of two acting companies – he is famous today for being the strongest proposed candidate for authorship of shaks. Plays
2. Hatton rivaled him for power
5. SIR TOBY
a. Historically – Peregrine Bertie (Oxford’s brother in law)
b. Olivia loves Toby because he is family, and puts up with him in a caring way, but does what she can to avoid him
6. SIR ANDREW AGUECHEEK
a. Historically- It has been said that Andrew is a caricature of Sir Phillip Sydney (father of the woman that the Earl of Essex wed)
b. Andrew is a figure of the several silly suitors who flocked after Liz, not for her soul, but for her image.
7. MARIA
a. Historically – Mary de Vere (Oxford’s sister)/ or Mary Bloody Mary?
b. The relationship here is closer to that of a lady in waiting and a queen.
Relationships (Olivia – 12th Night Players)
1. ORSINO
a. Why is Orsino’s love for Olivia Unrequited?
i. Historically -Possibly named for Don Virginio Orsino Duke of Bracciano – who was a Court Visitor to Elizabeth I in 1600.
1. A clue to this relationship could be that Elizabeth was so used to men extravagantly claiming (or rather feigning) their unsurpassable love for her – when in truth they were really in love with Elizabeth’s power, beauty, and succession to the thrown.
2. “Orsino is “far more in love with language, music, love, and himself than Olivia” (Bloom).
ii. Olivia knows in her soul that Orsino is not in love with her (her soul, her being) – rather he loves her shell (her mask, the veil she wears) – the exterior beauty, estate, riches and dowry.
- If Olivia’s Super – Objective is:
To find an honest soul who challenges my fierce wit and loves my true self as much as god – so that I may exist free of deception – unmasked and divine.
Then, Orsino is clearly not the man for her.
b. Orsino as Olivia’s “twin” or mirror character – Olivia and Orsino are characters of extreme (not moderation)
i. Orsino – “a willing prey to the Elizabethan affliction of melancholy” is so in love with love that he would choose to sicken himself with the indulgence of it.
ii. Olivia is similarly a prey to melancholy – she is in mourning for her brother’s “dead love”
iii. However – Orsino and Olivia are twins – but could never match or be a pair – they are too similar.
2. VIOLA
a. Why does Olivia fall for Cesario (Viola)?
i. Cesario is a seemingly “honest soul” (he is not interested in Olivia’s power, beauty, estate, or her as property).
ii. He presents a challenge to Olivia’s “wit” – which is oh so attractive
iii. He admits he is wearing a mask “ by the very fangs of malice I swear I am not that I play.” – this is unbearably attractive to Olivia because she can relate!
iv. He proves that he is a capable of loving a woman so greatly (possibly as much as God): “make me a willow cabin at your gate and call upon my soul within the house …”
v. Keep in mind for relationship: Similar attraction as the one Elizabeth had for Essex:
1. Like Essex, Cesario is bold, handsome, young, free, boundless, and unafraid to challenge nobility/royalty/ the queen.
b. Why is Olivia’s love unrequited?
i. Obviously – because Viola is not a match because she is a girl and in love with Orsino
ii. However, she is also a poor match because:
1. She is dishonest – “she pretends to be that which she is not”
3. FESTE
a. Historically – Feste’s character most likely represents Oxford or Shakespeare himself.
i. After the Essex rebellion Liz banished Shakespeare and his company from her court because of his relations to the earl of Southampton (Essex conspirator)
ii. In the play Feste is referred to as having been Olivia’s fathers favorite fool
1. This is an interesting family tie – which may give insight as to why Olivia needs Feste (despite his dishonorable behavior and possible Catholicism)
b. Why does Olivia Need Feste
i. She is repressed (because she runs from truth and is therefore bound/ veiled/cloistered) – and Feste’s wit is a release, unmasking through humor.
1. “Feste sees through Olivia’s artifice of grief, and would do his best to cure it” (Goddard).
2. Feste “carries his exhaustion with verve and wit and always with the air of knowing there is to know not in a superior way, but with sweet holiday melancholy” (Bloom).
ii. Without Feste, Olivia risks completely losing herself to the sea of excessive emotion – She is the water and Feste is the earth
4. MALVOLIO
a. Historically – A satire of Sir Christopher Hatton
i. Liz fancied Hatton’s dancing. Her nicknames for him included: Sheep, Mutton, Lyddes
ii. Hatton was “affected, self-righteous, deficient in qualities of honor, generosity, and finesse.”
iii. Hatton’s rival was the Earl of Oxford (Edward de Vere)
1. Oxford was an Elizabethan courtier, playwright, poet and sponsor of two acting companies – he is famous today for being the strongest proposed candidate for authorship of shaks. Plays
2. Hatton rivaled him for power
5. SIR TOBY
a. Historically – Peregrine Bertie (Oxford’s brother in law)
b. Olivia loves Toby because he is family, and puts up with him in a caring way, but does what she can to avoid him
6. SIR ANDREW AGUECHEEK
a. Historically- It has been said that Andrew is a caricature of Sir Phillip Sydney (father of the woman that the Earl of Essex wed)
b. Andrew is a figure of the several silly suitors who flocked after Liz, not for her soul, but for her image.
7. MARIA
a. Historically – Mary de Vere (Oxford’s sister)/ or Mary Bloody Mary?
b. The relationship here is closer to that of a lady in waiting and a queen.
Feste here
A few days ago as I was driving back to Pittsburgh on the Pennsylvania Turnpike, I tuned into a random radio station where Johnny Flynn, English actor and musician, was being interviewed. The woman interviewing him asked what his text was influenced by and he promptly answered, “Shakespeare.” When asked what characters inspired him the most, he told her that he was most intrigued by seeming background characters that tied plays together, like Feste, he said.
Here is some interesting stuff I found about him (I promise I will tie in how this effects my approach/discoveries at the bottom!)
*Already receiving rave re views across the musical spectrum, Johnny Flynn is proving quite a success. He has put his Shakespearian acting career on hold (having performed in Twelfth Night at the Old Vic) and is currently concentrating on his music.
Interviewer: I know you’re also an actor and have travelled companies performing Shakespeare, do the skills you develop as an actor, do they help you as a musician or are they two very separate crafts for you?
Johnny: They’re sort of abstractly linked in a way; all experience tends to bleed into other things. For me it’s like a sense of… stagecraft sounds contrived, but I mean just helping an atmosphere to create itself and helping you to relate to an audience. My firm belief has always been that good acting is not acting; it’s reacting, and so being in that place and being super aware can really help your music anyway because it’s all about communication.
"I Like Music because…when you are listening to music you can forget about the past or the future. JOHNNY FLYNN
On his album title: A Larum…
"The larum is also a warning bell, a call to arms. So it's a wake up call and an alarm, and a call to brings people together." Flynn hints at his thespian roots explaining yet another meaning. "A Larum is also a stage direction, 'A Larum Off' means that there is a commotion off stage, and I like to think that we are maybe the sound of the players just outside the main action."
Amanda again. I see some of Flynn in Feste. In many ways, Feste just as much an actor as he is a musician. I am picturing Feste as a guy who has lost love in many places (his father and a lover…possibly Olivia) and now seeks solace in his music. That is why tonight in rehearsal when we talked about our characters’ activities, I was thinking that Feste should be writing music or whittling a flute to devise his tunes. Not only does music bring Feste a sense of peace or escape, but it also gives him a way of providing for himself. The intention of getting money from his listeners is so clear, and I think that there needs to be a strong stake behind the need for it. What do I plan to do with the money? Of course, eat and live, but after I earn enough? Do I have bigger plans? This is something that I will be thinking about/looking to the text for in the next few days.
I think that Flynn’s quote about forgetting the past or the future rings true for Feste, who holds many burdens of his past and his anxiety of the future. I also think the former half of the “A Larum” quote illustrates Feste’s roll so well…a wake up caller.
Once Upon a Time...
Once upon a time there was a Duke and a Duchess who ruled a great beautiful land. The Duke and the Duchess had a baby, who became a Count of that land, and the only living heir to the throne. The Duke and the Duchess being so busy with their courtly duties, rarely saw the young Count, who was put into the care of all of the servants that lived in the castle.
The baby grew into a young boy who would stroll around the castle searching for a friend. Because the young Count rarely saw his mother and father he looked to find family in the servants that tended upon him, but only found himself surrounded by people wishing to appease him (I know appease is a big word for a kids story, but come on). The Count found that no matter how much he was surrounded by people he still felt lonely inside and wanted a family to give all of his love to. When he would not get his way he would throw a fit and demand things be done for him. This is how he learned to bring people to him, by playing on their sympathies (Yes, sympathies is a big word too, deal with it).
When the young Count had grown into a teenager his parents grew very sick and passed away. He was very very sad because he never had the chance to get to know his parents and wanted so much for them to love him and call him a part of their family. The Count, being the only heir to the thrown, then became the Duke and was made ruler of that beautiful land.
But very soon the beautiful land came under threat of war! The young Duke now was faced with the choice of sending his people to war or allowing their beautiful land to fall into the hands of those that would make it... not beautiful. Luckily the young Duke made the right decisions and the beautiful land was saved. Throughout all the land the young Duke was praised and honored for his heroic leadership capabilities (I know).
From then on the Duke, having now grown into a man, lived in his kingdom and surrounded himself by as many servants as he could afford. But no matter how many people the Duke was around, he never felt like he had found a person that truly loved him.
THE END?
The baby grew into a young boy who would stroll around the castle searching for a friend. Because the young Count rarely saw his mother and father he looked to find family in the servants that tended upon him, but only found himself surrounded by people wishing to appease him (I know appease is a big word for a kids story, but come on). The Count found that no matter how much he was surrounded by people he still felt lonely inside and wanted a family to give all of his love to. When he would not get his way he would throw a fit and demand things be done for him. This is how he learned to bring people to him, by playing on their sympathies (Yes, sympathies is a big word too, deal with it).
When the young Count had grown into a teenager his parents grew very sick and passed away. He was very very sad because he never had the chance to get to know his parents and wanted so much for them to love him and call him a part of their family. The Count, being the only heir to the thrown, then became the Duke and was made ruler of that beautiful land.
But very soon the beautiful land came under threat of war! The young Duke now was faced with the choice of sending his people to war or allowing their beautiful land to fall into the hands of those that would make it... not beautiful. Luckily the young Duke made the right decisions and the beautiful land was saved. Throughout all the land the young Duke was praised and honored for his heroic leadership capabilities (I know).
From then on the Duke, having now grown into a man, lived in his kingdom and surrounded himself by as many servants as he could afford. But no matter how many people the Duke was around, he never felt like he had found a person that truly loved him.
THE END?
On Maria
After our very eye-opening musings tonight, a lot of new thoughts about Maria are popping up for me. I'll just go with what I have up until now, but I have a feeling a lot of this will change in some way.
I feel like Maria's driving need throughout Twelfth Night is a need for realized commitment from Sir Toby Belch. In my mind, they have known each other for a very long time, and have always had some sort of chemistry between them. Maybe Sir Toby left and was involved with wars after the two initially began have feelings for each other. This may be why Maria so desperately tries to almost "rescue" Sir Toby? Maybe she is trying to rekindle what the two of them once had (the obstacle of a war-torn mind now stands as a huge obstacle for Maria). She cannot get close to Sir Toby as much, or look at him directly, because it threatens him. Yet she has not changed, and aches for that love to be returned and SOLIDIFIED. Also, Maria's general feelings about the implications of war may be why she reproves Feste when he jokes about needing to "fear no colours".
Maria is a lady-in-waiting to Olivia. She does at times speak with eloquence, and is also potentially thought to be the "lady of the house" when Viola first meets Olivia, dressed as Cesario. Something I found very curious on wikipedia (so it may not be the most reliable source, but it works as a starting place!) is the following sentence: "Sometimes Ladies-in-Waiting would be a lady's older sister who never got married and came to keep her sister company." Hmm. We know Maria is based on Mary, Elizabeth's (represented by Olivia) older sister. What if Maria were Olivia's older sister? Even if this choice does not work within the world we establish, I think this idea of a sister-to-sister relationship (with one in a slightly higher status) would be a revealing way to approach rehearsals and to learn about what their relationship looks like, their backstory together, etc.
Other terms I think describe Maria at this point in the process are: maternal (makes me think of blue color qualities, very compassionate; however, also fairly straightforward, except in the extent of her emotions for Toby); deeply concerned; clever; strong; humorous; easy-going (in terms of being approachable); resourceful; sensual (in a sexual way perhaps, but also in a soothing manner); precocious?; playful; lonely (I personally think you feel more lonely while in love than you ever could alone).
Something I am also interested in looking at more closely is if there are two plots of Twelfth Night which overlap. Some research suggests there is the plot of Orsino, Olivia, Viola, and Sebastian. There is also the plot of Sir Toby Belch, Sir Andrew, and Malvolio. Are there two separate stories being told here, or are we looking at this theme of "revealing the truth" through the lense of different experiences?
Whew. That's a bit to chew on. :)
I feel like Maria's driving need throughout Twelfth Night is a need for realized commitment from Sir Toby Belch. In my mind, they have known each other for a very long time, and have always had some sort of chemistry between them. Maybe Sir Toby left and was involved with wars after the two initially began have feelings for each other. This may be why Maria so desperately tries to almost "rescue" Sir Toby? Maybe she is trying to rekindle what the two of them once had (the obstacle of a war-torn mind now stands as a huge obstacle for Maria). She cannot get close to Sir Toby as much, or look at him directly, because it threatens him. Yet she has not changed, and aches for that love to be returned and SOLIDIFIED. Also, Maria's general feelings about the implications of war may be why she reproves Feste when he jokes about needing to "fear no colours".
Maria is a lady-in-waiting to Olivia. She does at times speak with eloquence, and is also potentially thought to be the "lady of the house" when Viola first meets Olivia, dressed as Cesario. Something I found very curious on wikipedia (so it may not be the most reliable source, but it works as a starting place!) is the following sentence: "Sometimes Ladies-in-Waiting would be a lady's older sister who never got married and came to keep her sister company." Hmm. We know Maria is based on Mary, Elizabeth's (represented by Olivia) older sister. What if Maria were Olivia's older sister? Even if this choice does not work within the world we establish, I think this idea of a sister-to-sister relationship (with one in a slightly higher status) would be a revealing way to approach rehearsals and to learn about what their relationship looks like, their backstory together, etc.
Other terms I think describe Maria at this point in the process are: maternal (makes me think of blue color qualities, very compassionate; however, also fairly straightforward, except in the extent of her emotions for Toby); deeply concerned; clever; strong; humorous; easy-going (in terms of being approachable); resourceful; sensual (in a sexual way perhaps, but also in a soothing manner); precocious?; playful; lonely (I personally think you feel more lonely while in love than you ever could alone).
Something I am also interested in looking at more closely is if there are two plots of Twelfth Night which overlap. Some research suggests there is the plot of Orsino, Olivia, Viola, and Sebastian. There is also the plot of Sir Toby Belch, Sir Andrew, and Malvolio. Are there two separate stories being told here, or are we looking at this theme of "revealing the truth" through the lense of different experiences?
Whew. That's a bit to chew on. :)
Sunday, August 24, 2008
Official Cast List
Feste : Amanda-Jane Cooper
Orsino : Frank Cappello
Valentine / Malvolio : Nicolas Ducassi
Viola : Katie Wieland
Captain / Anthonio : Jon-Michael Reese
Sir Toby Belch : Hunter Seagroves
Maria : Chelsea Vincent
Sir Andrew Aguecheek : John McKetta
Olivia : Beckie Berkman-Rivera
Sebastian : Ross Francis
Orsino : Frank Cappello
Valentine / Malvolio : Nicolas Ducassi
Viola : Katie Wieland
Captain / Anthonio : Jon-Michael Reese
Sir Toby Belch : Hunter Seagroves
Maria : Chelsea Vincent
Sir Andrew Aguecheek : John McKetta
Olivia : Beckie Berkman-Rivera
Sebastian : Ross Francis
Wednesday, August 20, 2008
ANNOUNCEMENT
It is my GREAT pleasure to officially announce Jon-Michael Reese as the Senior who will be playing Antonio.
I am so excited he will be able to work with us all, and I hope you all will join me in giving him a warm welcome.
... and what's even better, he has some thoughts to share:
"Very very excited to work on this with you guys.
Antonio is an interesting character. Full of manly grace, he's excitable, strong, willing, heroic, and quick. A little too quick - which is his problem. He jumps into situations far too quickly with all of his heart, which leads him into trouble.
We could take the Sebastian/Antonio relationship in many different directions, and I would love to talk to you and Ross about how we should handle it.
A) Antonio could be "straight up" gay (har har har) - and head over heels in love with Sebastian. Not that I ever intend to play him in a stereotypical "gay" fashion, but just in terms of thinking of him as someone who is comfortable with his sexuality.
B) Antonio is not necessarily gay - or doesn't know what he is, or it's a nonissue, but he is oddly struck by Sebastian and for the first time is seeking a man for his love, affection, and companionship.
C) Antonio is a really loyal, good natured guy, who really just wants to see this kid Sebastian through his hard times. Just a good healthy dose of some Pinapple Express "bro love" going on.
There is also a question of what's happened before our first scene together. When I first read through it, I had thoughts of their first scene being post coital - perhaps not as explicit as that, but that there is an element of something has happened that is a bit odd, or out of the blue for Sebastian, and he needs to get away, primarily to find his sister, but also to escape whatever is going on between him and Antonio.
Not to make this the "poor gay Antonio whos love goes unrequited from jerk Sebastian" version of Twelfth Night. It should never get so melodramatic as that, but these are just some random thoughts I had when reading it.
Bottom line is, he truly does love Sebastian, for reasons yet to be put into concrete.
I think there is an underlying sense of adventure in Antonio. He without hesitation both rescues Sebastian, and then follows him into his enemy's territory to make sure he is doing well.
Antonio is a red character. Different shades depending on the scene, he can be a deeper, soothing red to calm Sebastian, he can a bold brighter red when he comes to save Cesario whom we mistakes for Sebastian, or a fiery-orangish red when he's laying in to Cesario, or Orsino in the end.
I think of him as of now, as a young tiger cub. Very eager to pounce, but not always thinking through his decisions, or showing as much patience as the older tigers do. Vivacious, bold, quick, but vulnerable.
Sorry for rambling. Let me know what you think of these ideas. These are just my first repsonses to reading the play, so if they're inconsistent, incoherent, or just plain wrong; forgive me.
JMR"
No, no no Jon-Michael... nothing here is "plain wrong" at all... It all sounds very right...
I am so excited he will be able to work with us all, and I hope you all will join me in giving him a warm welcome.
... and what's even better, he has some thoughts to share:
"Very very excited to work on this with you guys.
Antonio is an interesting character. Full of manly grace, he's excitable, strong, willing, heroic, and quick. A little too quick - which is his problem. He jumps into situations far too quickly with all of his heart, which leads him into trouble.
We could take the Sebastian/Antonio relationship in many different directions, and I would love to talk to you and Ross about how we should handle it.
A) Antonio could be "straight up" gay (har har har) - and head over heels in love with Sebastian. Not that I ever intend to play him in a stereotypical "gay" fashion, but just in terms of thinking of him as someone who is comfortable with his sexuality.
B) Antonio is not necessarily gay - or doesn't know what he is, or it's a nonissue, but he is oddly struck by Sebastian and for the first time is seeking a man for his love, affection, and companionship.
C) Antonio is a really loyal, good natured guy, who really just wants to see this kid Sebastian through his hard times. Just a good healthy dose of some Pinapple Express "bro love" going on.
There is also a question of what's happened before our first scene together. When I first read through it, I had thoughts of their first scene being post coital - perhaps not as explicit as that, but that there is an element of something has happened that is a bit odd, or out of the blue for Sebastian, and he needs to get away, primarily to find his sister, but also to escape whatever is going on between him and Antonio.
Not to make this the "poor gay Antonio whos love goes unrequited from jerk Sebastian" version of Twelfth Night. It should never get so melodramatic as that, but these are just some random thoughts I had when reading it.
Bottom line is, he truly does love Sebastian, for reasons yet to be put into concrete.
I think there is an underlying sense of adventure in Antonio. He without hesitation both rescues Sebastian, and then follows him into his enemy's territory to make sure he is doing well.
Antonio is a red character. Different shades depending on the scene, he can be a deeper, soothing red to calm Sebastian, he can a bold brighter red when he comes to save Cesario whom we mistakes for Sebastian, or a fiery-orangish red when he's laying in to Cesario, or Orsino in the end.
I think of him as of now, as a young tiger cub. Very eager to pounce, but not always thinking through his decisions, or showing as much patience as the older tigers do. Vivacious, bold, quick, but vulnerable.
Sorry for rambling. Let me know what you think of these ideas. These are just my first repsonses to reading the play, so if they're inconsistent, incoherent, or just plain wrong; forgive me.
JMR"
No, no no Jon-Michael... nothing here is "plain wrong" at all... It all sounds very right...
Tuesday, August 19, 2008
Viola
Well, here is what I have been thinking for Viola:
Element
-I think Viola most identifies with air. She is definitely more of a warm air than a cold air and she has a slight bit of water in her. I chose air because it is associated with the head and she is extremely smart, resourceful and light. She is extremely quick-witted and knows how to twist difficult situations with her words. In this vein, she is much like Feste.
Animal
-The animal I chose for Viola is an Arabian Horse. I chose this because Arabians are very spirited and playful, but can also be patient and noble. I also thought a horse works well with air being that they are light on their feet and known for their intelligence. They are good natured, sensitive, versatile, alert and willing to please.
Color
-I struggled with this a little bit, but I'm pretty sure she is green. She definitely has yellow in her with her sense of play and fun. She has more yellow in her than blue, but the blue is there for sure. She doesn't wallow nearly as much as the other characters in the show, but there are a couple times when she almost chooses to. In the beginning for example, before she goes to Orsino, she wants to work for Olivia because she identifies with her and her recent loss of her brother. She says that she would love to be in a place where she can mourn and be away from the world until she is ready. However, she doesn't end up doing this and instead of mourning for her brother, has hope that he might have survived.
Some of the key words that come to my mind when describing Viola would be:
plucky, generous, articulate, loyal resourceful, witty, trusting, passionate, active, energetic, confident, kind, smart, educated, self-aware, peaceful, hopeful, positive, noble.
Element
-I think Viola most identifies with air. She is definitely more of a warm air than a cold air and she has a slight bit of water in her. I chose air because it is associated with the head and she is extremely smart, resourceful and light. She is extremely quick-witted and knows how to twist difficult situations with her words. In this vein, she is much like Feste.
Animal
-The animal I chose for Viola is an Arabian Horse. I chose this because Arabians are very spirited and playful, but can also be patient and noble. I also thought a horse works well with air being that they are light on their feet and known for their intelligence. They are good natured, sensitive, versatile, alert and willing to please.
Color
-I struggled with this a little bit, but I'm pretty sure she is green. She definitely has yellow in her with her sense of play and fun. She has more yellow in her than blue, but the blue is there for sure. She doesn't wallow nearly as much as the other characters in the show, but there are a couple times when she almost chooses to. In the beginning for example, before she goes to Orsino, she wants to work for Olivia because she identifies with her and her recent loss of her brother. She says that she would love to be in a place where she can mourn and be away from the world until she is ready. However, she doesn't end up doing this and instead of mourning for her brother, has hope that he might have survived.
Some of the key words that come to my mind when describing Viola would be:
plucky, generous, articulate, loyal resourceful, witty, trusting, passionate, active, energetic, confident, kind, smart, educated, self-aware, peaceful, hopeful, positive, noble.
Sunday, August 17, 2008
Kate Rusby
The music for our production (other than songs written for the show) is all about an amazing artist from the UK called Kate Rusby.
Check out the following songs:
The Maid of Llanwellyn
The Sleepless Sailor
Bring me a boat
Underneath the Stars
No Names
The Lark
You Tube her. Myspace her. iTunes her. You cannot get enough exposure to her unique sound.
Check out the following songs:
The Maid of Llanwellyn
The Sleepless Sailor
Bring me a boat
Underneath the Stars
No Names
The Lark
You Tube her. Myspace her. iTunes her. You cannot get enough exposure to her unique sound.
Saturday, August 16, 2008
From Sebastian....
Just a couple meager thoughts
Sebastian (deserving to be hailed or idolized): The name itself is based from Latin that means “from sebaste” In the long run it means “Venerable” which means deserving to be venerated. But mostly it just means worthy of praise. It was a translation from the Roman “Augustus” which was used by emperors of the time. So what I’m thinking is that Sebastian is incredibly regal and is a natural born leader. I told Matt earlier that i see sebastian as a Wesley sort of character from "the Princess Bride" and I'm planning on using him as an icon.
Saint Sebastian: Martyred himself which is interesting to me because In the first few scenes with Sebastian I get the sense that he would have gladly given his own life so that his sister could have lived.
Seb. If you will not undo what you have done, that is
kill him, whom you have recover’d, desire it not
Twelfth Night:
The last day of the Christmas season is January 6, the feast of the Epiphany, when Christ was revealed to the world in the personage of the Magi. The evening before is called Twelfth Night, the most "riotous" holiday of the year for Elizabethans (Singman 61). Supposedly, the classes changed places for the day. Servants lorded over their masters; higher order clergy served the lowly priests; children were free of rules
Sebastian (deserving to be hailed or idolized): The name itself is based from Latin that means “from sebaste” In the long run it means “Venerable” which means deserving to be venerated. But mostly it just means worthy of praise. It was a translation from the Roman “Augustus” which was used by emperors of the time. So what I’m thinking is that Sebastian is incredibly regal and is a natural born leader. I told Matt earlier that i see sebastian as a Wesley sort of character from "the Princess Bride" and I'm planning on using him as an icon.
Saint Sebastian: Martyred himself which is interesting to me because In the first few scenes with Sebastian I get the sense that he would have gladly given his own life so that his sister could have lived.
Seb. If you will not undo what you have done, that is
kill him, whom you have recover’d, desire it not
Twelfth Night:
The last day of the Christmas season is January 6, the feast of the Epiphany, when Christ was revealed to the world in the personage of the Magi. The evening before is called Twelfth Night, the most "riotous" holiday of the year for Elizabethans (Singman 61). Supposedly, the classes changed places for the day. Servants lorded over their masters; higher order clergy served the lowly priests; children were free of rules
Friday, August 15, 2008
Feste here
Below are some interesting things I've found over the past few weeks.. more to come soon. I look forward to working with all of you
“TWELFTH NIGHT is ‘the most beautiful man-made thing in the world.” – Stephen Booth in a 1985 meeting of the Shakespeare Association of America
From the 1700s to the early 1900s, Feste’s role in the play was significantly diminished (lines cut, played as an uncomplicated joker, etc.)…in 1912 Harley Granville-Barker became the first to stage Feste as more than a “blithe spirit, flitting gaily through Illyria.” Rather: ”Feste, I feel, is not a young man…There runs through all he says and does that vein of irony by which we may so often mark one of life’s self-acknowledged failures. We gather that in those days, for a man of parts without character and with more wit than sense, there was a kindly refuge from the world’s struggles as an allowed fool.”
Some other quotes/insights:
“The laughter is not far from tears, behind the sunshine there is a hint of storm. The lyric poetry carries echoes and overtones of winter and death; we are never allowed to forget that soon, too soon, the garland is withered and the bugeoning tree will wave gaunt arms in the tempest engulfing King Lear.” –Tryone Guthrie in 1957
“There is indeed an aching sadness at the very heart of his character, something much more pathetically, vulnerably human than can be suggested by the conventional white face of a clown.” – Mary Clarke in 1958
“Bitter, insecure, singing the old half-forgotten songs to the Duke…his jokes now tarnished and not very successful. He is the creation of the professional entertainer, and we may perhaps relate him to John Osborne’s Archie Rice, or to that fearful misanthropy which overtakes most comics when they begin to despise their audiences.” –Peter Hall
*A choice for relationship between Olivia and Feste: Robert E. Eddison’s Feste at the Old Vic in 1978…”stricken by Olivia’s gentle reproach – ‘Now you see, sir, how your fooling grows old, and people dislike it?’—he buried his head sadly in her lap.”
*Interesting for Malvolio/Duccassi: in Peter Gill’s 1974 Twelfth Night…”The fool’s unconventional temperment also revealed an unexpected resemblance to another servant in the household: the steward Malvolio. In some ways, Feste was no less a ‘puritan’ than his antagonist. He viewed the daily Illyrian carnival with the same disdainful glance Malvolio gave the impromptu late-night party. He set a high value on his own opinions as the smug steward, even if they were formed by a keener intelligence. He was sensitive to class differences and monetary considerations. And he set himself apart from his fellows with equal insistence. Illyria is indeed a land where human beings are all mirrors to each other, casting back reflections, whether identical, reversed, or absurdly distorted, that most fail to recognize as images of themselves, so we should expect some correspondences between two fools.”
-Amanda J-C
“TWELFTH NIGHT is ‘the most beautiful man-made thing in the world.” – Stephen Booth in a 1985 meeting of the Shakespeare Association of America
From the 1700s to the early 1900s, Feste’s role in the play was significantly diminished (lines cut, played as an uncomplicated joker, etc.)…in 1912 Harley Granville-Barker became the first to stage Feste as more than a “blithe spirit, flitting gaily through Illyria.” Rather: ”Feste, I feel, is not a young man…There runs through all he says and does that vein of irony by which we may so often mark one of life’s self-acknowledged failures. We gather that in those days, for a man of parts without character and with more wit than sense, there was a kindly refuge from the world’s struggles as an allowed fool.”
Some other quotes/insights:
“The laughter is not far from tears, behind the sunshine there is a hint of storm. The lyric poetry carries echoes and overtones of winter and death; we are never allowed to forget that soon, too soon, the garland is withered and the bugeoning tree will wave gaunt arms in the tempest engulfing King Lear.” –Tryone Guthrie in 1957
“There is indeed an aching sadness at the very heart of his character, something much more pathetically, vulnerably human than can be suggested by the conventional white face of a clown.” – Mary Clarke in 1958
“Bitter, insecure, singing the old half-forgotten songs to the Duke…his jokes now tarnished and not very successful. He is the creation of the professional entertainer, and we may perhaps relate him to John Osborne’s Archie Rice, or to that fearful misanthropy which overtakes most comics when they begin to despise their audiences.” –Peter Hall
*A choice for relationship between Olivia and Feste: Robert E. Eddison’s Feste at the Old Vic in 1978…”stricken by Olivia’s gentle reproach – ‘Now you see, sir, how your fooling grows old, and people dislike it?’—he buried his head sadly in her lap.”
*Interesting for Malvolio/Duccassi: in Peter Gill’s 1974 Twelfth Night…”The fool’s unconventional temperment also revealed an unexpected resemblance to another servant in the household: the steward Malvolio. In some ways, Feste was no less a ‘puritan’ than his antagonist. He viewed the daily Illyrian carnival with the same disdainful glance Malvolio gave the impromptu late-night party. He set a high value on his own opinions as the smug steward, even if they were formed by a keener intelligence. He was sensitive to class differences and monetary considerations. And he set himself apart from his fellows with equal insistence. Illyria is indeed a land where human beings are all mirrors to each other, casting back reflections, whether identical, reversed, or absurdly distorted, that most fail to recognize as images of themselves, so we should expect some correspondences between two fools.”
The Dates
First Rehearsal : August 25th
First tech : September 17th
Second Tech : September 20th
Final Dress : September 23rd
Performance 1 : September 26th, 4pm
Performance 2 : September 27th, 7pm
Script
Your script comprises of Five Acts :
the new Acts 1 and 2 that I emailed you last week
and the EXISTING Acts 3, 4 and 5 of the original cut script I sent you a while ago.
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