http://en.wikipedia.org/wiki/Infinite_monkey_theorem
I figure that if I just keep typing, something profound will eventually come out of all this - http://en.wikipedia.org/wiki/infinite_monkey_theorem
Monday, September 26, 2011
Friday, September 23, 2011
Exit Bear Stage Right
In an attempt to prepare for the big stage this Saturday, I figured I would pull up all the stage directions in a Winter’s Tale and list them out (Thanks to www.opensourceshakespeare.org). I’m going to print these out and take them with me on Saturday and use it as a means to analyze the play. Since the directions leave room for interpretation, I’m curious how the director will portray these directions. So I’ll record the actors come out (i.e. do the characters storm on stage? Is Hermione’s pregnancy played up?) and try to figure out what the director was trying to imply, how he framed the play. Hopefully, I’ll pick up something.
Act I Scene 1
Location: Palace of Leontes
Characters: Camillo and Archidamus
Directions: Enter Cam and Arch, Exeunt
Act I Scene 2
Location: Palace of Leontes
Characters: Leontes, Polixenes, Herminoe, Mamillius, Camillo, and Attendants
Directions: Enter; Hermione giving her hand to Polixenes; Exeunt Polixenes, Hermione, Attendants; Exit Leontes; Enter Polixenes; Exeunt
Act II Scene 1
Location: Palace of Leontes
Characters: Herminoe, Mamillius, and Ladies
Directions: Enter; Enter Leontes, Antigonus, Lords, and Others; Exeunt Hermione, guards, and ladies; Exuent
Act I Scene 1
Location: Palace of Leontes
Characters: Camillo and Archidamus
Directions: Enter Cam and Arch, Exeunt
[Enter LEONTES, with ANTIGONUS, Lords and others]
Act II, Scene 2 A prison. | ||
Act II, Scene 3A room in LEONTES’ palace. | ||
Act III, Scene 1 A sea-port in Sicilia. | ||
Act III, Scene 2 A court of Justice. | ||
[Enter HERMIONE guarded; PAULINA and Ladies attending] [Re-enter PAULINA] | ||
Act III, Scene 3 Bohemia. A desert country near the sea. | ||
Act IV, Scene 1Chorus as Time speaks. | ||
Act IV, Scene 2 Bohemia. The palace of POLIXENES. | ||
Act IV, Scene 3 A road near the Shepherd’s cottage. | ||
[Exit Clown] | ||
Act IV, Scene 4 The Shepherd’s cottage. | ||
[Enter Shepherd, Clown, MOPSA, DORCAS, and others, with POLIXENES and CAMILLO disguised] [Music. Here a dance of Shepherds and Shepherdesses] [FLORIZEL and AUTOLYCUS exchange garments] | ||
Act V, Scene 1A room in LEONTES’ palace. | ||
Act V, Scene 2 Before LEONTES’ palace. | ||
[Enter another Gentleman] | ||
Act V, Scene 3 A chapel in PAULINA’S house. | ||
[HERMIONE comes down] 3415 |
Friday, September 16, 2011
Casting Call: Winter's Tale Meets Harry Potter
So, in my defense, I had been considering doing a casting call (choosing out actors to play certain characters in the plays we read) before Professor Burton recommended it. The reason is because frequently my wife and I will read a story and then look online for casting calls to see if other peoples imaginations match up with ours. (Favorite so far is a Wheel of Time casting call - http://atreacherousmemory.wordpress.com/wheel-of-time-casting-call/)
So who would I cast for Winters Tale? Daniel Radcliff for Polixenes, Rupert Grint for Leontes, and Emma Watson for Hermione...I was thinking of the Evil Romanticized Ideal and where we see it in pop-culture and our lives, and suddenly I remembered Harry Potter Part 1. Ron freaks out at Hermione and Harry because he thinks that Hermione would rather be with Harry.
Please view exhibit A
A similar scene could easily be portrayed in Winter's Tale. Polixenes is the golden boy who everyone loves. He rules over Bohemia which is tens times more fun than Sicilia. Hermione could easily be forgiven for choosing him over Leontes, who is not nearly as amazing as Polixenes, but is a redhead to boot. Throw a an evil, soul-stealing horcrux into the mix and who wouldn't suspect your friends of betraying you.
I guess what I'm getting at is that these story lines and elements that Shakespeare used 400 years ago are still cropping up today. The reason is he's understanding of the human psyche. He knows how people act, think, and feel. (He frequently condemns people for refusing the acknowledge their flaws and weaknesses. He doesn't condemn their weakness, just how they act and their refusal to admit that they're weak, but I don't want to steal Kara's future thunder/epiphany, so I'll stop there)
I guess what I'm saying is that Shakespeare is still around because he got it right. In fact, he got it right over and over again, which is why we still study him even after 400 years. I wonder if we'll still study him during the millennium...
So who would I cast for Winters Tale? Daniel Radcliff for Polixenes, Rupert Grint for Leontes, and Emma Watson for Hermione...I was thinking of the Evil Romanticized Ideal and where we see it in pop-culture and our lives, and suddenly I remembered Harry Potter Part 1. Ron freaks out at Hermione and Harry because he thinks that Hermione would rather be with Harry.
Please view exhibit A
A similar scene could easily be portrayed in Winter's Tale. Polixenes is the golden boy who everyone loves. He rules over Bohemia which is tens times more fun than Sicilia. Hermione could easily be forgiven for choosing him over Leontes, who is not nearly as amazing as Polixenes, but is a redhead to boot. Throw a an evil, soul-stealing horcrux into the mix and who wouldn't suspect your friends of betraying you.
I guess what I'm getting at is that these story lines and elements that Shakespeare used 400 years ago are still cropping up today. The reason is he's understanding of the human psyche. He knows how people act, think, and feel. (He frequently condemns people for refusing the acknowledge their flaws and weaknesses. He doesn't condemn their weakness, just how they act and their refusal to admit that they're weak, but I don't want to steal Kara's future thunder/epiphany, so I'll stop there)
I guess what I'm saying is that Shakespeare is still around because he got it right. In fact, he got it right over and over again, which is why we still study him even after 400 years. I wonder if we'll still study him during the millennium...
Thursday, September 15, 2011
Change in Design
Changed the design to see if those of you who were having trouble posting can now post...Give it a try and see if it works now
Monday, September 12, 2011
Acting Out: Will the real Hamlet please stand up
One important theme in Hamlet is acting. Who is acting, who isn't, and what characters are presenting a fake face or are being real with those around them. Hamlet, is especially difficult to read because at times it doesn't even seem as though he knows whether he's acting or not. However, we are given an effective means of deriving when Hamlet is or isn't acting.
While instructing the actors on how to do their job, Hamlet states:
"Be not too tame neither; but let your own discretion be your
tutor. Suit the action to the word, the word to the action; with
this special observance, that you o'erstep not the modesty of
nature: for anything so overdone is from the purpose of playing..."
By telling the actors to be neither tame, nor to overact, Hamlet creates a means for us to tell when he is acting and when he isn't. In moments of intense emotion, whether it be anger or depression, Hamlet drops his facade. During his first soliloquy, we get a feeling of intense depression, a sign that he's not acting, because he seems to be rather 'too tame.' Likewise, when he's confronting his mother, intense emotion destroys the careful caricature that he's been creating. We hear his earnest pleas and see him for who he really is. Again, we know he's not acting because he becomes so intense that he drops discretion.
So, I'd argue that by using Hamlet's own description of acting, we can get an accurate view of when he is and isn't acting throughout the play, which could then be used to analyze his more 'insane' moments to determine if he really is crazy or just acting.
While instructing the actors on how to do their job, Hamlet states:
"Be not too tame neither; but let your own discretion be your
tutor. Suit the action to the word, the word to the action; with
this special observance, that you o'erstep not the modesty of
nature: for anything so overdone is from the purpose of playing..."
By telling the actors to be neither tame, nor to overact, Hamlet creates a means for us to tell when he is acting and when he isn't. In moments of intense emotion, whether it be anger or depression, Hamlet drops his facade. During his first soliloquy, we get a feeling of intense depression, a sign that he's not acting, because he seems to be rather 'too tame.' Likewise, when he's confronting his mother, intense emotion destroys the careful caricature that he's been creating. We hear his earnest pleas and see him for who he really is. Again, we know he's not acting because he becomes so intense that he drops discretion.
So, I'd argue that by using Hamlet's own description of acting, we can get an accurate view of when he is and isn't acting throughout the play, which could then be used to analyze his more 'insane' moments to determine if he really is crazy or just acting.
Friday, September 9, 2011
Hamlet Group Discussion #1
Christ posted a question on my blog earlier, so I figured I'd respond to it in this post.
Do you think Hamlet is any better than Claudius given Hamlet's murder of Polonius and Claudius's murder of the king? Are their stories of ambition and passionate retribution different?
Do you think Hamlet is any better than Claudius given Hamlet's murder of Polonius and Claudius's murder of the king? Are their stories of ambition and passionate retribution different?
Hamlet might have racked up a greater body count than Claudius but Claudius definitely performed the greater crime. Claudius actions were pre-meditated murder, followed by adultery whereas Hamlet always acted in the moment, driven by his passions which were ignited by Claudius. In a sense Claudius is partially responsible for Hamlet murdering Polonius. He killed his father. He married his mother. He turned his best friends into spies and conspired with Polonius to have Ophelia turn against Hamlet. After all this, he has the audacity to act as surrogate father towards Hamlet. Had none of these events occurred, Hamlet would never have been driven to the lengths he went.
Also, I’d argue that Claudius was driven more by ambition than passion. Otherwise, his passion would have overturned his desire to be king when racked by guilt. Had he really been sincere about his guilt over killing his brother, he would have divorced his Gertrude, given up the kingdom, and submitted himself to justice. Throughout the play, Claudius is driven by his ambition, whereas Hamlet gives up so much to avenge his father. He sets aside his ambition to follow his passions.
So I’d say their motivations are significantly different, especially since Hamlet kills both Laertes and Claudius in self-defense. Yes, killing Polonius was grievous, but not pre-meditated, as opposed to Claudius murdering Hamlet Sr. Hamlet is driven by passion. Claudius is drive by ambition
Wednesday, September 7, 2011
Shakespeare: Man, Woman, or Anonymous?
Despite all my experiences with Shakespeare in high school, few memories stand out strongly. I can’t remember any of the characters from the Tempest, I can only recall “Et tu Brute” from Julius Caesar, and I still get slight hung up on the age difference between Romeo and Juliet (which is never really addressed in any film adaptations I’ve seen).
So, it’s because I have so few memories of Shakespeare’s works, that I find it slightly humorous that I can still remember with great clarity a conversation with Elena. Elena and I had been friends since second grade and at that time, she was the director of a One Act that I was playing in, meaning we had plenty of time to talk. One such conversation led to the topic of Shakespeare in which I made some reference to “His works” to which she promptly responded, “You mean, her works.”
Now unless I’m mistaken, Shakespeare was a man, I mean, we have paintings of the guy and he has facial hair. Now I do understand that some woman have facial hair, but a full goatee? With this fool proof argument in hand, I told Elena that he was definitely a man.
“Well, yes, Shakespeare was a man,” Elena explained in tones suitable for addressing a third-grader. “But the actual author of all of ‘Shakespeare’s works’ [complete with air quotes on her part] was a woman.”
I then learned that Shakespeare corresponded with some Duchess who was more educated and capable of him, but that she needed to have him produce the works to get real credibility. Hence, some of the sonnets were written to men, Shakespeare’s lack of education, and her general incredulity that a man could produce something as timeless as what Shakespeare did (She did have a tendency to lean feminist).
Now, this is by no means my earliest memory of Shakespeare, but it is one that has been on my mind since seeing the trailer for the new movie Anonymous. From what I can see, this film takes a similar stance by saying Shakespeare did not write his most famous works either, although in this instance it was a man who did write it. Seeing this and thinking back to my conversation with Elena has prompted me to wonder, “Does it matter who wrote all these works.”
No, not really
Whether a man or a woman held the pen doesn’t matter, what does matter are the words. Yes, we can derive context and meaning by understanding the author, but ultimately, the works speak for themselves. We don’t need to know exactly who Shakespeare was to appreciate the depth of her characters and the flow of his prose. Yes, I am going to go see Anonymous, and I’m sure it will be tense and action packed, but will it change my perspective on Hamlet – maybe, but that’s a conversation for another time. In the end, the words are the same regardless of who penned them. We can still have a great time reading them.
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