tag:blogger.com,1999:blog-33550397846840385102024-03-12T23:37:51.542-04:00The Unrehearsed Shakespeare ProjectUSP is produced by The New Renaissance Theatre Company and is dedicated to exploring the works of William Shakespeare using the Unrehearsed Cue Script Technique in productions, classes, coaching and workshops. Here are some thoughts about what we do, why we do it, and on the world of Shakespeare past, present and future. Comments are welcomed and encouraged, but please keep them civilized.Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-3355039784684038510.post-20843734747633982882019-01-16T20:05:00.002-05:002019-01-16T20:05:31.778-05:00New Red: New Year, New Look<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
Happy 2019 to all of our friends, fans and followers! And welcome to our new website!<o:p></o:p></div>
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As you can see, we’ve tightened the website up a bit. Everything is under the banner of The New Renaissance Theatre Company, which means you’ll come to <span class="MsoHyperlink" style="color: #0563c1; text-decoration: underline;"><a href="http://www.newrentheatre.com/" style="color: #954f72;">www.newrentheatre.com</a> </span>for all things NRTC and our Unrehearsed Shakespeare Project. You’ll see us more active on social media. We are looking to put ourselves out there in a big way, and your support will be a big part of that. So please be sure to share, like, follow etc. NRTC on Facebook, Twitter and Instagram.<o:p></o:p></div>
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Speaking of putting ourselves out there, we are planning the dates and locations for our 6<sup>th</sup>annual Unrehearsed Shakespeare Project summer tour: <i>The Two Gentlemen of Verona</i>and <i>The Tragedie of Othello, The Moore of Venice</i>. Auditions will be happening soon – so all of you actors keep an eye out for those. We will also be looking for volunteers to help out, so if you feel the pull to participate, let us know. We will let you know about developments as they arise <o:p></o:p></div>
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For the first time, USP will be heading out to Greensburg! This is our first foray into Westmoreland County, so tell your friends and let’s make that a great debut performance. Also, we’ve shown North Park a lot of love the last five years, we thought we’d spread some in South Park as well. That gives people south of downtown 3 opportunities to see USP without having to cross a bridge or drive through a tunnel! We expect to see you all out for those performances.<o:p></o:p></div>
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There’s a bit of an Italian flavor to our 6<sup>th</sup>Annual Unrehearsed Shakespeare Project Tour: <i>The Two Gentlemen of Verona</i>and <i>The Tragedie of Othello, the Moore of Venice</i>. We’ll be offering hot blood and hot love every weekend in July – and we hope the weather won’t be quite as hot as it was last summer. But that’s the joy of a summer tour: bring a blanket, a picnic and let us entertain you!<o:p></o:p></div>
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Personally, I’m looking forward to the fun and the challenges of this upcoming season. I get the chance to work with some great people and partner with wonderful organizations and I have the privilege of sharing it with a wonderful audience. So don’t miss out. Follow us online and in real life. We look forward to seeing you at the show!<o:p></o:p></div>
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Keep an eye out for new things from New Ren in 2019! I’ll be keeping my eye out for you!<o:p></o:p></div>
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-Andy Kirtland, Artistic Director</div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-72544397934499989392018-10-08T12:46:00.000-04:002018-10-08T12:46:27.632-04:002 Sides of the Same Coin<div align="center" class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt; text-align: center;">
“…Vedanta sets up no wall between religion and science. No Indian Galileo was forced to recant his heresies. Truth is truth. You can find it in the outside world, where we in the West have located what we like to call science, and you can find it in the world within, where – if we still believe in such a world – we confine religion. But they are different ways of looking at reality, not different realities.”<o:p></o:p></div>
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– Michael N. Nagler, <i>Gandhi’s Way to God</i><o:p></o:p></div>
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Based on the Vedas, ancient scriptural writings that have influenced Hindu societies and religions for thousands of years, Vedanta (or Vedic philosophy) offers an alternative view of the relationship between religion / faith and philosophy / reason explored by David Davalos in <i>Wittenberg.</i>The characters of Luther and Faust embody the struggle that occurs when these two points of view refuse to acknowledge that they are looking at the same thing. <o:p></o:p></div>
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‘Luther: It contradicts the word of God.<o:p></o:p></div>
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Faust: It also happens to be true.<o:p></o:p></div>
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Luther: Apostacy! That way lies the road to hell!’<o:p></o:p></div>
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The consequences of this division play out in subtler, but no less important ways in this script. The conflict is not only between religion / faith and philosophy / reason as embodied by Martin Luther and John Faust. Conflicts emerge between the reason <i>in</i>religion and the faith <i>in</i>philosophy. Luther truly grapples with the devil once he understands that his own reason, which is leading him to a Truth, contradicts his faith. Faust suffers no less when the results of his reason lead to outcomes different from those he <i>knew</i>would come to pass.<o:p></o:p></div>
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Hamlet personifies the schizophrenic mind which is forced to reconcile this conundrum. It is impossible for the young prince to escape the friction of these two forces because he encounters them while in the confines of University, which should be the safest place for these debates to happen. When Hamlet makes a decision based on one world view or the other he is given pause by the same voice that prods Luther: ‘what if it isn’t true?’ The question arises: is <i>what</i>Hamlet decides more important than the fact <i>that</i>he decides?<o:p></o:p></div>
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The set for this production reflects the Vedic sentiment that there is ‘no wall between religion and science.’ One side of the set represents Luther’s office and classroom, the other, Faust’s. Both are visible for the entire play, always present in the mind of the characters and the view of the audience. Action happening in one location can bleed into the other, while the setting of the scene will be defined by projections. The audience has a visual juxtaposition of the internal influences working on the characters which are inescapable in the bubble that is a college campus.<o:p></o:p></div>
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Apparently, Fausts’ travels have not taken him pass the Middle East, for if they had, the Vedas would definitely be on his shelf. Perhaps then he would be able to see Reason in God and God in Reason more easily. However, that would not leave us with much of a play.<o:p></o:p></div>
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<i>Wittenberg </i>is a comedy, after all (tragical-comical-historical, if we are to put a fine point on it). It is a funny play, a humorous play, a witty play, a smart play – and yet the comedy comes from a place of tragedy. There is great comedy to come from watching people stumble around in the dark. Nagle describes the tragedy above: that we do not recognize that philosophy and religion are describing the same reality; that each are telling us something different, together giving us a more complete picture of the whole. There is great comedy to come from watching people stumble around in the dark.<o:p></o:p></div>
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Does <i>Wittenberg </i>settle this argument of which point of view best describes this reality? No. It is a good play in that it offers questions, opinions, follies and passions, but no answers. If Davalos gave us only one way to look at the world, only one point of view, that would mean this world and the play would be pretty flat.<o:p></o:p></div>
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- Andy Kirtland, Artistic Director</div>
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The New Renaissance Theatre Company</div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-49129978269506903722018-09-24T22:55:00.000-04:002018-10-03T18:17:54.494-04:00Wittenberg: A Bromance?<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
While working on the scenes between Faust (Kevin Moore) and Luther (Adam Rutledge), an image struck me: <i>Grumpy Old Men</i>. Remember that movie from the 90’s? Walter Mathau and Jack Lemon played neighbors in a small town in Minnesota who have known each other for their entire lives, and who communicate by yelling insults at each other. Despite their children’s marriage to each other, they play pranks on one another and generally work hard to make the other’s life a living hell. If that were the extent of their relationship, the comedy would only be old men behaving like jerks, and while that could be entertaining for a little while, there would be nothing to redeem the characters. Perhaps all characters need not be redeemed, but in the world of romantic-comedies redemption is the order of the day. In <i>Wittenberg</i>the question of redemption hangs over both Luther and Faust.<o:p></o:p></div>
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If only the animosity between these characters exists, the play can become flat and static their arguments solidify into Religion v. Philosophy and Luther v. Faust with one winning at the expense of the other. However, what is interesting and emphasized in our work is not the points on which Luther and Religion diverge from Faust and Philosophy, but the points on which they agree. The compelling attribute of the relationship is the genuine love and concern these two frenemies have for each other.<o:p></o:p></div>
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Martin Luther is genuinely concerned about the state of Faust’s soul. It is his life’s calling to protect and shepherd those he truly believes to be in danger. When Faust needles Luther on points of religion, it is because he truly believes that Martin’s misplaced faith in institutionalized religion keeps him from realizing his true potential. These colleagues do not hate each other. Their debates are not about defeating or destroying the other. Their debates, discussions and disagreements are about saving a friend.<o:p></o:p></div>
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These frenemies seek each other out and push one another to live up to their perceived potentials. Luther comes to watch Faust perform at The Bunghole. Faust urges Luther to step up and accept responsibility for his beliefs. The priest administers help to the soul and the doctor does the same for the body. They do not hide from the other they are both made better by their relationship.<o:p></o:p></div>
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It is interesting to see them agree without realizing it, or perhaps they just don’t acknowledge it themselves. They understand that on some level they mirror each other. Despite the constant collegial animosity, or perhaps because of it, Luther and Faust are drawn to each other. The two enjoy the intellectual rigor of a good, clean debate. A tough debate, but one that does not get personal. They do not just ignore the other side of the argument but confront it in a manner that leaves room to bring their opponent over to their side.<o:p></o:p></div>
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This could just be wishful thinking on my part, but it is comforting to think that this kind of conversation could still be had in the public sphere. People with diametrically opposed opinions discussing their points of view, can passionately state their positions over a beer without sliding into personal insults. It’s hard enough to do this when discussing sports, let alone someone’s personal beliefs or their calling.<o:p></o:p></div>
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I hope this will be a take away for our audience. It is definitely a layer that we are folding into the play. It is enjoyable to watch these characters, and the actors portraying them, to squabble and bark their claims to the Truth. There is great humor jibes and jabs at one another that only friends can get away with. But it much more powerful to recognize the love that exists between them. <o:p></o:p></div>
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-Andy Kirtland, Artistic Director</div>
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The New Renaissance Theatre Company</div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com1tag:blogger.com,1999:blog-3355039784684038510.post-68971702935976432032018-08-25T12:10:00.000-04:002018-08-25T12:10:31.416-04:00Why Wittenberg?<div class="separator" style="clear: both; text-align: center;">
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<span style="font-family: "Times New Roman", serif;">The New Renaissance Theatre Company is known for our Unrehearsed Shakespeare Project productions that have toured the Pittsburgh area since 2014. This fall we are taking the next step in our journey by producing the Pittsburgh premier of <i>Wittenberg</i>by David Davalos. The choice was made by Elizabeth Ruelas, our first Artistic Director because it ticks a lot of the boxes in our mission:<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">There are classical and historical characters. There is a modern imagining of what an university would be like. The script offers opportunities for our company members to collaborate in different ways. It is also a fun play!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">Hamlet returns to Wittenberg University after studying abroad in Poland over the summer where he encounters the new theories of Nicholas Copernick. His world is sent spinning, literally. He seeks advise and solace from his professors Dr. John Faustus and Rev. Dr. Martin Luther, whose own lives are shaken up. Faustus is in love, and Luther is struggling with the church. These three giants of renaissance England culture come together before they grow into the influential characters that we know them to be. Davalos’ witty campus comedy offers something for everyone, the fans of <i>Hamlet</i>and <i>Faust</i>and for those who may not be familiar with their stories. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">It also presents an interesting situation, in which an enormous shift in consciousness and awareness of the world around the characters changes the laws and meanings of their very existence. Looking around us today, with the acceleration of technology and new advances in scientific and philosophic theories, it’s possible to believe that we are on the verge of such another discovery. What would happen to us today if all of a sudden, through the use of virtual reality, we discover some truth about existence of which we currently have no concept. How do you go back to work when you realize that what you’ve dedicated your life to no longer resembles the place where you have placed so much faith for so long? Unfortunately, very often, the one thing we want is the one thing we cannot have.</span></div>
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<span style="font-family: "Times New Roman", serif;">Already this project is presenting new exciting issues. First of all, we are selling tickets! We’ve started up with TicketLeap, so keep your eye out, and be sure to get your tickets early. We have also started a relationship with the Carpatho-Rusyn Cultural Center in Munhall, where we will perform <i>Wittenberg</i>. It’s an exciting time for us to forge new friendships and partners in the communities we serve. And for our friends, fans and followers it is an opportunity to support us in new endeavor as we continue to grow NRTC. <o:p></o:p></span></div>
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<i><span style="font-family: "Times New Roman", serif;">Wittenberg </span></i><span style="font-family: "Times New Roman", serif;">goes up 19 – 28 October at the Carpatho-Rusyn Cultural Center, 915 Dickson Street in Munhall. Tickets will be on sale shortly. For more information, visit our website www.newrentheatre.com.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif;">- Andy Kirtland, Artistic Director</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-91175779832714404702018-05-06T17:09:00.001-04:002018-05-06T17:09:39.941-04:00Looking Back at 'As you Like it'<div class="MsoNormal" style="font-family: Calibri, sans-serif; margin: 0in 0in 0.0001pt;">
<span style="font-family: "times new roman" , serif;">Working on<i>As you Like it</i>is a nostalgic experience for me. In the summer of 2002, this play was my introduction to Demitra Papadinis, The New England Shakespeare Festival and the unrehearsed technique. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">That spring, I auditioned for the first time at the New England Theatre Conference in Natick, MA. Standing outside the closed hotel room, waiting for my turn to walk in and do I know not what for a complete stranger, I found myself with a gentleman in glasses with dark beard and moustache. When the door opened, he entered and I could hear a friendly conversation. I felt even more out of place as I was clearly an outsider. I don’t remember much of what followed. The light in the room was dimmer than it should have been. I read a monologue from <i>As you Like it</i>. It was Slyvius. There must have been a conversation about what I was auditioning for (I had never heard of NESF or what was called the unrehearsed first folio cue script technique), but I don’t recall what was said. A couple of weeks later Demi offered me a position as an intern which included the role of Sylvius. I was not to read or see the play, and there was a mandatory 2-day workshop in Loudon, NH. Loudon was an eight hour drive from Carlisle, PA where I was a junior in college at the time. The workshop weekend also started finals week. After a slight hesitation (this was, after all the first professional job I was offered) I accepted.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">On my long drive that Friday evening from Carlisle to Loudon, I picked up a fellow cast member at a train station in Connecticut, just across the New York border. John was waiting for me sitting on the sidewalk outside. We arrived at Demi’s farmhouse at around 1:30 in the morning, in plenty of time for the workshop that was to take place the next morning. The bearded man with glasses was at the workshop, too. He clearly had done this before. Kim, as I later learned his name to be, was a regular. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">That July was a full four weeks for us four interns: Iris, Mike Y, another Mike Y, and me. Our quarters were above the studio added on to the farmhouse: young artists, flopping in the garret. For the first week we got everything ready: helped with costumes, drove all over New England putting up posters, mowing the lawn. Once the rest of the cast arrived, we had a solid 3 weeks of performing 6 days a week at different small towns from Connecticut to Maine. We interns split our time between performing and being the front of house, which gave us a unique perspective on this weird unrehearsed thing we had gotten ourselves into. The interns drove the vans, and were in charge of packing and unpacking them. We did the laundry. But every night after the shows, some of the cast would gather in a screen room away from the house to play cards, or board games and share whisky into the night – which was a feat considering many nights, we did not return to the farm house until midnight, and whichever intern was on laundry duty had to start about 6am.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">There were beautiful drives to Killington and Manchester, Vermont. After a performance in York, Maine one of the cast members, the owner of the York Inn, invited us to a party at the hotel. At that performance, a random passerby guessed correctly (and quite unexpectedly) that we were performing the play in the unrehearsed fashion. It so happened he played the role of the 2<sup>nd</sup>Brother in <i>As you Like it</i>in the unrehearsed manner for Patrick Tucker in London. He still did not know what the play was about. A van broke down after a blistering hot show in Kennebunkport, ME, and David and I stayed with the van till it was fixed, and drove it back, late at night blasting James Brown on back roads through dark forests. Jarol performed the role of Audrey à la Milton Burle. Polly and I cooked a proper English breakfast one day, baked beans and all. There was the bathroom lined with impossible numbers of rubber ducks. The cast passed the hat when I got a speeding ticket trying to get us to a show on time. I learned that if you have to wear tights for an outdoor performance in the summer, thigh-highs are the best option. After everyone had left, the interns still had a couple of days to help clean up the show, and Demi took us all out to dinner. It was one of the first times I had sushi.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">It was an exhilarating and exhausting experience that has informed everything since. It was a great place to be, especially as someone who has taken to the unrehearsed technique. At the time, NESF was the only place working in this manner on any scale, and 2002, I believe, was its 7<sup>th</sup>season. It was a great group of people, many of whom returned several times to perform with Demi. Kim Carroll, the bearded man with glasses, has since continued his performing, directing and fight direction / choreography career, and has started teaching at institutions such as Harvard. John Kissingford, my travel companion, and his wife, Kate, returned for another tour with NESF and started No Holds Bard, performing unrehearsed in Denver. Mike Yahn, the first Mike Y I interned with, returned several times as did I. Maybe my glasses are rose-tinted, but that makes no difference to me, nor does it diminish the impact that first unrehearsed job has had on my journey so far.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">One of the actresses who played Celia generously bought each intern a gift: a square shot glass engraved with AYLI. It is still one of my favorite glasses to sip a good whisky out of. I plan on doing that quite a bit as I now take on <i>As you Like it</i>, unrehearsed, from the other end – as I like it, and I like it very much. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">-Andy Kirtland, </span><span style="font-family: "times new roman", serif;">Artistic Director</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-42903330139044141152018-01-07T14:24:00.000-05:002018-01-07T14:24:02.952-05:00Happy New Year 2018: All the world’s a stage2018 marks the fifth year of The Unrehearsed Shakespeare
Project, produced by NRTC since 2016. While everything in a young theatre’s
life is a milestone, five years is a pretty big marker, and we are excited and
grateful to be here.
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For our fifth tour, we will demonstrate how, as Shakespeare
once said, ‘all the world’s a stage.’ <i>As you Like it</i><span style="font-style: normal;"> and </span><i>The Life of Henry the Fift</i><span style="font-style: normal;"> display fantastic examples of role-playing in
different facets of our lives. They display how we play different characters
for one another, and the personas we create for ourselves. When, why and for
whom do we put on these characters?</span></div>
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In <i>As you Like it</i><span style="font-style: normal;">
Shakespeare gives us one of his most beloved heroines: Rosalind.
Initially dressing as a man for safety in exile, Rosalind’s persona, Ganimed,
ends up instructing Orlando, the man whom she loves (and who loves her in
return – yet is incapable of seeing through her disguise), how to woo the woman
for whom he pines (herself). A woman playing a man, pretending to be a woman -
a part that was originally played by a boy - presented on the stage speaks to
the play-acting facet of our lives in a very fun way. This is also the text
that gives us the famous speech by Jaques, the forest-wandering cynic and
philosopher, for which this season is named and which is so well-remembered by many
from high school English class. By far </span><i>As you Like it</i><span style="font-style: normal;"> has the most music of any play NRTC has produced to
date, ensuring that this play will entertain.</span></div>
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<i>The Life of Henry the Fift</i><span style="font-style: normal;"> speaks to role-playing of a different nature. Young Henry’s reign and
reputation are tested against the raucous image he projected as a youth. He
must present himself as the King his people need him to be. Two of the
best-known speeches of this play, indeed of Shakespeare’s canon, are
exhilarating examples of political theatre: ‘Once more unto the Breach, / Dear
friends…’ and the St. Crispan’s Day speech. Are they propaganda to inspire the
troops, or strong words to convince himself? Removed from the common people he associated
with before ascending to the throne, Henry disguises himself as a rank-and-file
soldier on the eve of battle to discover what his people really think of him.
He even reverts back to playing pranks as he was wont to do with his pals in
Eastcheap. But which is the real Henry: the prankster, or the prince? What does
he gain by the parts he plays?</span></div>
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Continuing with our theme that ‘all the world’s a stage,’
and starting our season off in February, NRTC will extend our geographical
reach to New York City. We are co-producing a staged reading of <i>Twelfth
Night, or What You Will</i><span style="font-style: normal;"> with Holla Holla
Productions, directed by NRTC Co-Founder Elizabeth Ruelas. Company Member Nick
Benninger will be traveling to the Big Apple to take part in the reading. In
this story of love, loss and reunion, Viola pretends to be a man and the
servant Malvolio becomes someone he thinks someone else wants him to be. Along
with taking USP to Artscape in Baltimore for the last three years, this is
the next step in realizing our goal of offering our company members
opportunities to perform in diverse markets outside of Pittsburgh. If you will
be in New York on February 24 & 25, be sure to check out the show.</span></div>
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Think about what roles you play in your day-to-day dealings
with other people. Who do you play them for? Why? When are you a mother? When
are you a wife? When are you a friend? What is the difference? But please don’t
think about it too hard at the show. We invite you to come and have a good
time. The only role you need to play with us is as an audience member – and
we’ll be sure to remind you of that.</div>
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-Andy Kirtland, Artistic Director </div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-58807896808877681512017-11-19T15:27:00.000-05:002017-11-19T15:31:13.233-05:00A Thanksgiving Letter from Artistic Director Andy KirtlandHello Friends, Fans and Followers,
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Thank you for an amazing 2017! This past season was another
experience of growth and change for NRTC. We received our first grants as a
501(c)(3) organization. We became one of the inaugural members of Britsburgh’s
Performing Arts Society. The Unrehearsed Shakespeare Project added performances
and venues to its tour, playing in Beaver County for the first
time, and returning to Artscape for a third year in a row. We had our largest
cast to date and reached more audience members in a bigger geographical area
than it has in the past. We had a change in leadership as I took over the
position of Artistic Director from Elizabeth Ruelas, my fellow co-founder.
Those of you who follow us on social media may have noticed a change. That is
due to our company member Nick Benninger, our new Media
Manager. Nick will entertain and engage you in the digital world when
we are not performing in the real world, and keep you informed when we are.</div>
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This is the time in the season when most of the action is
happening back stage. The company is working hard setting up our 2018 season,
which will include USP’s 5<sup>th</sup> Annual Summer Tour! And to that end, we
are excited to announce that we will bring <i>As you like It</i><span style="font-style: normal;"> and </span><i>The Life of Henry the Fift</i><span style="font-style: normal;"> to parks in and around Pittsburgh and beyond in
July! We are still hammering out schedules and locations, so stay tuned.</span></div>
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We strive to create and offer opportunities for our company
members outside of the Pittsburgh area. Some theatres here bring
actors in from outside. We want this to work the other way. For example, for
the last 3 years, we have taken performances to Artscape in Baltimore, MD. 2018
will see our first project in this direction outside of USP’s tour. We will
partner with our friends in New York, Holla Holla Productions, on a staged
reading of <i>Twelfth Night</i><span style="font-style: normal;">, directed by
Elizabeth Ruelas. Details will follow.</span></div>
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Another aspect of the company that we will be emphasizing is
our education program. NRTC offers workshops in the Unrehearsed Cue Script
Technique for schools, universities, students, professionals and people of all
ages. We will conduct a series of Pay-What-You-Will Workshops in neighborhoods
and communities in the areas we bring USP. These will be announced as they
arise, so keep your ears to the ground. If you’ve seen one of our unrehearsed
productions and wonder how we do it, if you’re curious about the technique or
the company, if you haven’t made it out to a show because you don’t know what
to expect or you’re just a fan of Shakespeare and want to see a different way
of interpreting his texts these workshops are for you. We would love to see you
there.</div>
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At this time of year, I am thankful for the cast, crew and
company for a great season; the company and board members for all of their hard
work getting us to where we are today and pushing forward to where we will
be in the future; all of the people and organizations that have partnered with
NRTC; and to our fans, friends and followers who give us a reason and the
support to do what we love to do. The New Renaissance Theatre Company could not
have come this far, The Unrehearsed Shakespeare Project’s fifth anniversary (!)
without all of you. For your past, current and future support, you have my
sincerest gratitude. Thank you.</div>
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Warmest Regards, </div>
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Andy Kirtland<br />
Artistic Director<br />
The New Renaissance Theatre Company Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-56136458135362808372017-08-24T18:51:00.000-04:002017-08-24T18:51:16.023-04:00The Two Gentlemen of VeronaThese blogs were originally posted on my personal blog in 2012 when USP directed <i>The Two Gentlemen of Verona</i> and <i>A Midsommer Nights Dreame</i> for UnSeam'd Shakespeare Company. I think they represent my feelings and thoughts about the play.<br />
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As I set out to direct <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">,
one characteristic of the play becomes undeniable: this is not one of
Shakespeare’s better plays. However, it is better than usually given
credit for.</span></div>
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The play is obscured by attempts to improve
upon it or by digging for deeper meanings than the play contains. The
characters themselves are treated either much more loftily than written,
or not given the respect they deserve. Violence and homosexual
overtones are added making the plot and action more implausible than it
already is to modern sensibilities. These improvements still often
leave the audience unsatisfied. </div>
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The play was not meant to disappoint, but
to entertain. Shakespeare wrote the play by the dramatic rules
governing comedy. When he wrote this play he had not yet the tools to
break the rules as he would later. Modern critics believe that
Shakespeare hatched fully developed in his powers and it is the
playwright of <i>Hamlet</i><span style="font-style: normal;">, </span><i>Macbeth</i><span style="font-style: normal;"> and </span><i>Othello</i><span style="font-style: normal;"> that they credit, or fault, with </span><i>The Two Gentlemen of Verona</i><span style="font-style: normal;">. We cannot blame William Shakespeare of the late 1580’s for not being the playwright he would later become.</span></div>
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Any writing on <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">
must begin with its conclusion, probably the most criticized and
problematic element of the play. When taken as the only acceptable
outcome given the style and rules Shakespeare followed in its
construction, the ending is logical and believable. The conclusion is
awkward enough to our modern sensibilities and expectations, but it is
truthful to the world of the play and in no way violates the rules.</span></div>
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The end of the play begins with the attempted rape of Silvia by Proteus. </div>
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Proteus Nay, if gentle spirit of moving words</div>
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Can no way change you to a milder forme;</div>
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Ile woo you like a Souldier, at armes end,</div>
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And love you ‘gainst the nature of Love: force ye.</div>
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Silvia Oh heaven.</div>
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Proteus Ile force thee yeeld to my desire.</div>
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This is all that is given us textually,
because Valentine, who was listening nearby immediately jumps into the
scene. But what is he breaking up? </div>
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The line, ‘Ile woo you like a Souldier, at
armes end,’ can be taken a couple of ways. Either Proteus could mean:
‘I will love you at the end of a weapon,’ or ‘I will lay my hands upon
you.’ Given the imagery of ‘Souldier’ and the different meanings of the
word ‘armes,’ either could be acceptable and a valid point for the use
of violence in this scene. However, Silvia’s response is: ‘Oh <u>heaven.</u>’
(emphasis mine). There is no exclamation. Given everything that has
happened in the play up to this point: Proteus’ use of guile instead of
force in his dealings, Silvia’s ability to handle men with her charms,
the fact that they are not alone – Julia (dressed as Sebastian) is
present; all of these factors, when reinforced by strong
characterizations by the actors, go to alleviate any possible danger in
the exchange. If anything Proteus is biting off more than he can chew,
and it is quite plausible that the ‘armes end’ that Proteus’ speaks of
are Silvia’s and she may actually be holding him at bay.</div>
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Also within the rules of the comedy, there
must be reconciliation. Valentine must discover Proteus’ betrayal and
he must forgive him. For that reason, Proteus must make a big show,
believable or not, for Valentine to witness. Modern interpretations
make more out of this attempted rape in an attempt to make the play more
exciting than it is, but by doing so what comes after is hindered and
made awkward.</div>
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Only 15 lines later comes this exchange:</div>
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Proteus My shame and guilt confounds me:</div>
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Forgive me Valentine: if hearty sorrow</div>
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Be a sufficient Ransome for offence,</div>
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I tender’t heere: I doe as truly suffer,</div>
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As ere I did commit.</div>
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Valentine Then I am paid:</div>
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And once again, I doe receive thee honest;</div>
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Who by Repentance is not satisfied,</div>
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Is nor of heaven, nor earth; for these are pleas’d:</div>
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By Penitence th’Eternalls wrath’s appeas’d:</div>
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And that my love may appeare plaine and free,</div>
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All that was mine, in Silvia, I give thee.</div>
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In making the rape dangerous, this forgiveness becomes impossible to accept. Nothing in <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">
is dangerous. From the outset of this comedy we know that the friends
will end friends, that the lovers will be together, and protagonists’
reputations will be intact. The introduction of a real danger shatters
this, and should be avoided for the unity of the piece.</span></div>
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On the heels of Valentine’s forgiveness
comes the most troubling line in the play: ‘All that was mine, in
Silvia, I give thee.’ Much of what people feel about <i>The Two Gentlemen of Verona</i><span style="font-style: normal;"> hinge on the interpretation of this line. What are we supposed to think?</span></div>
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Many believe that the line is a show of
absolute sacrifice on behalf of Valentine to prove that his friendship
with Proteus has been thoroughly healed. Here male friendship is
paramount in the range of human emotion and the throwing aside of one’s
hard-earned beloved is seen as a fitting demonstration of this ideal.
Is this what happens?</div>
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It is widely commented on that after
Silvia’s utterance of ‘Oh heaven,’ during the attempted rape, she is
silent for the rest of the play. Why? If she is given to Proteus as a
token of supreme friendship, it is supposed that she is passively
accepting of her fate, or that she is angered into silence. The
audience is not given an insight into what she is thinking because as
soon as Valentine says this line, Julia (still disguised as Sebastian)
faints, and the next 36 lines are devoted to the discovery of her true
identity and the happy reunion and reconciliation of her and Proteus.
Silvia does not break this moment with any sign of protestation, nor
does she say anything when Valentine declares his love for her, openly
defying her father the Duke and Thurio, nor anything when her father
consents. Already in the play she has demonstrated that she is willing
to defy her father, spurn the advances of unwanted suitors and run away
risking her life to be with Valentine. Silvia is no wilting flower,
bowing to the whims of men. But in this interpretation of the line, the
entirety of her character’s actions have been forgotten, and she is
made a complacent mute.</div>
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It has been suggested that ‘All that was
mine, in Silvia, I give thee,’ is meant to say that ‘all the love that
was for Silvia, I give to thee as well.’ This interpretation still begs
the question: why is Silvia silent? At this point, she has been
reunited with Valentine, in the next she is witnessing Julia and Proteus
together (as she has been advocating for), she sees Valentine stand up
to Thurio and the Duke and ultimately gets what she wants: to marry
Valentine. What words can express such happiness?</div>
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Any anger, spite or vengefulness at her
situation at the conclusion of the play violates the laws of the
comedy. It puts a strain on the plausibility of the action, and
Shakespeare strains his audience enough with the devices he uses to
reach the pre-destined happy ending. Modern directors and critics
should not add more.</div>
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Homosexual overtones are often added to <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">
to absolutely no purpose whatsoever. Harold Bloom says of Valentine
that he ‘becomes worth consideration only when we take his perverseness
seriously, since it appears to go considerably beyond a mere repressed
bisexuality.’ It would be a feat for Mr. Bloom to show any example of
bisexuality in Valentine, or indeed any character in the play, or to
demonstrate anything even approaching perversity in the text. Yes,
Valentine and Proteus have a strong filial affection for each other, but
there is no hint of attraction. Their conversations revolve around
their travels and being in love with women.</span></div>
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Could all this talk of travel and women
cover deeply repressed homosexuality? Yes, if the play were written by
Tenneessee Williams, but it is not. It is written by an Elizabethan
playwright who did not write psychology, but only action for the stage. </div>
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The only chance here for any homoerotic themes or action is when Julia arrives disguised as Sebastian. Unlike Viola in <i>Twelfth Night</i><span style="font-style: normal;">,
she does not make half-veiled advances towards her lover. She only
comments on her situation when she is with strangers or alone on stage
with a sympathetic audience. Unlike Olivia in </span><i>Twelfth Night</i><span style="font-style: normal;">, Silvia does not fall in love with the woman dressed in drag. Unlike Rosalind in </span><i>As You Like It</i><span style="font-style: normal;">, Julia does not try to trick Proteus into seeing the girl beneath the boy. This type of play is out of bounds in </span><i>The Two Gentlemen of Verona</i><span style="font-style: normal;">. </span></div>
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By making Valentine and Proteus secret
wishful lovers, Mr. Bloom and others add a level of complexity to the
characters and meaning to the play that does not exist. Giving sexual
tension to Proteus and ‘Sebastian’ would do the same. It would be just
as easy for an American to understand Cricket by applying the rules of
Baseball.</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
As with the homosexuality and violence,
some try to find a deep meaning in this admittedly shallow play. Andrew
Dickson thinks ‘<i>The Two Gentlemen</i><span style="font-style: normal;">
seems to ask, at the very least, whether ideals purchased at this kind
of price are worth their cost. Is Valentine’s ideal of friendship worth
abandoning the woman he is engaged to marry? Can Proteus’s [sic] ever
be trusted again?’</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
<i>The Two Gentlemen of Verona</i><span style="font-style: normal;">
asks no such questions. The play asks nothing of its audience. This
perhaps is the hardest thing to grasp. We think that this play must be
something other than it is because Shakespeare wrote it, but it is not
very good. We must be missing something. </span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
What is missing is its simplicity.
Valentine is named so because he proves to be a true lover. Proteus is
named so because he is as changeable as his namesake. The play is a
comedy, therefore the friends must remain friends and lovers must be
together in the end. There is a bit with a dog and witty servants.
There is a woman dressing as a boy, outlaws and music. What else should
be expected of a comedy?</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
The play shows how love changes us.
Proteus changes from a lover to a kind of tyrant. Valentine, from an
adventurer to a lover. Julia, from a woman to man. Silvia, from a
clever woman to a mute. The Duke, in his story of love, from an old
father to a young man. The only person who is not changed is Launce,
who loves his dog. Of course, everyone else is turned into a clown by
love, and that is Launce’s natural position. Perhaps it renders him
immune.</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
<i>The Two Gentlemen of Verona</i><span style="font-style: normal;">,
as a play, is what it is. It is not up to us to make the characters
more interesting than they are. It is not up to us to make the story
funnier or more exciting. It is our job to bring the story that is
there to life, not to fight it, but to work with it. So what is there
in the play?</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
Mark Van Doren points out that ‘Friendship
is one of the gods here.’ The other god must be Love. This is a play
about two young friends on the cusp of growing up and dealing with these
two deities. Making it about anything else does a disservice to the
play. It may be a harbinger of things to come when compared to the rest
of Shakespeare’s cannon, but on the stage <i>The Two Gentlemen of Verona</i><span style="font-style: normal;"> must be allowed to stand on its own. It may not be one of Shakespeare’s better plays, but it can do that just fine.</span><br />
<span style="font-style: normal;"></span> </div>
<div class="MsoNormal">
Bloom, Harold. <u>Shakespeare: The Invention of the Human</u>. © 1998 Harold Bloom</div>
<div class="MsoNormal">
Dickson, Andrew. <u>The Rough Guide to Shakespeare</u>. © 2005 Andrew Dickson</div>
<div class="MsoNormal">
Van Doren, Mark. <u>Shakespeare</u>. © 1939 Mark Van Doren<br />
__________________________________________________________________________________<br />
<br />
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
Much is made of Launce in <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">.
Some critics believe that he was added later to spice up the unpopular
play. But why go back to add this one character rather then rewrite
them all? More likely Launce was Shakespeare’s most inspired invention
in this apprentice play, and it may just be due to the originality of
Launce that Shakespeare’s career went further.</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
The longing for Launce to be a time-traveler is a symptom of a larger sickness often mis-diagnosed in<i>The Two Gentlemen of Verona</i><span style="font-style: normal;">,
and that is that while there is humor in the play, it is not very
funny. This criticism is wrong-headed and stems from a belief that the
lovers are much loftier than they are; that they are older than they
are; that because they are capable of such reasoned arguments that they
are much more mature than they are. It is this view, and this
characterization on the part of the actors, that the back-and-forths in
the text somehow become parlor room tennis matches of wit written by
Oscar Wilde. They are not. Shakespeare’s verse and rhetorical devices
are the vehicles that he uses for expression in all his plays. Any
character at any time is capable of speaking in verse, that does not
mean that character is elevated, educated or elite. At their very
cores, Silvia and Julia are maids and Valentine and Proteus are at the
age when young men </span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal" style="text-indent: .5in;">
‘seeke preferment out.</div>
<div class="MsoNormal" style="text-indent: .5in;">
Some to the warres, to try their fortune there;</div>
<div class="MsoNormal" style="text-indent: .5in;">
Some, to discover Islands farre away,</div>
<div class="MsoNormal" style="text-indent: .5in;">
Some, to the studious Universities.’</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
The characters are young and playful. They
are not standing on opposite sides of the stage, kegs turned out, three
quarters to the audience declaring verbal backhands. There is
horseplay, intimacy, alternating shyness and bravado. They are vibrant
and over-the-top in their emotions. But that is only part of their
humor.</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
The other part is in their behavior. Yes,
Proteus does terrible things to his friends, but always remember that
this is comedy, this is farce, and there is never any danger of things
ending badly for these characters. Does that diffuse the drama and
remove the tension of the play? The short answer is: Yes. But the play
is not meant to be dramatic or filled with tension. Any tension in the
play has been imposed upon it and violates the world of the play. The
results are usually unsatisfying productions of <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">.</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
Think of ‘a very special episode of [insert
prime-time sitcom here].’ Everything starts out as expected: stock
characters going through the motions, audience laughter punctuating
expected jokes, the same conventions being exploited that you saw last
week. Then there is an accident, someone gets hurt in a drunk-driving
accident, or a friend has overdosed on cocaine. They die, and there is
an attempt at gravitas at the close, which is without the theme music
and laughter that always ends the show. Then, the cast appears
backstage, sitting in folding director chairs to give you a heartfelt
message expressing the very real-life dangers that have entered the
make-believe world of their characters. It is all so unbelievable,
because it violates your expectations, your assumptions, and the world
of the comedy. The ending is disappointing and unfulfilling. The next
week, the show continues as if nothing happened, because to dwell on the
event would be to change the show completely. This is what happens
when tension and danger is added to <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">, and when the characters are treated as something other than they are.</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
This may be a simplistic view, but this is a
simplistic play. To treat it as anything else hurts the play and bores
the audience. <i>The Two Gentlemen of Verona</i><span style="font-style: normal;"> should not be taken seriously.</span></div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
As far as Launce is concerned, he is a
wonderful creation. He is often the second favorite in the play, behind
his dog Crab. We will leave Crab alone because we cannot conjecture on
what was meant to happen with the unwritten role of the dog. If it
obeys, it is funny. If it does not listen to its master, it is funny.
Had Launce been an interlopation, and on top of that the crowd favorite
that he has become, most likely Shakespeare would have found a better
exit for him from the play rather than have him disappear to find
Proteus’ dog only never to return. One expects that had he been added
later, or improved upon, he would appear once the lovers had been united
to tell us about his adventure with Crab. Instead he fades away. The
actor who originally played Launce probably also played another
important character in the last scene, but even so his absence is not
commented on, letting us believe that he should not be missed in the
first place.</div>
<div class="MsoNormal">
<br />
</div>
<div class="MsoNormal">
While entertaining, the servants’ stories are not important to the plot of <i>The Two Gentlemen of Verona</i><span style="font-style: normal;">.
Their absence only becomes worth comment because they are treated more
honestly and truthfully than the lovers. The servants are allowed to be
human, physical and emotional, while the lovers are almost always
treated as ‘gentlemen and ladies.’ They are allowed to be witty but are
restricted from being as humorous as Shakespeare wrote them. Their
actions are treated with more seriousness and gravity than they deserve
or is called upon in the script. When they are given that liberty to be
played as written, much of the play falls into place in ways from which
it is usually restricted and the humor of the servants no longer
eclipses the play.</span></div>
</div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-10153333781024997482017-06-10T10:08:00.000-04:002017-06-10T10:08:03.965-04:00How do you Solve a Problem like a Bully, Shakespeare-Style?Whenever I
tell people that I am currently directing <i>The Taming of the Shrew</i><span style="font-style: normal;">, I inevitably get asked “What’s your vision?”<span style="mso-spacerun: yes;"> </span>Then I tell them that I’m using the
Unrehearsed Cue Script Technique and spend several minutes explaining what that
is.<span style="mso-spacerun: yes;"> </span>However, that’s not what a lot
of people want to know.<span style="mso-spacerun: yes;"> </span>With
today’s political climate, the various hate crimes, and stories of violence
that we are bombarded with every day, there is the concern that this play’s
title alone will cause an uproar.<span style="mso-spacerun: yes;">
</span>I blame that on previous productions where the ‘vision’ turns it into a
story about an abusive marriage or where the director puts their own spin on
the words that Shakespeare wrote and completely changes the meaning of the
text.<span style="mso-spacerun: yes;"> </span>But, honestly, if you look
at ALL of the text from beginning to end – it’s really a play about a bully who
uses her fists instead of her words and how the one man who’s not afraid to
stand up to her helps her to realize how to use her brilliant mind, and shows
her what it means to be a true partner in a romantic relationship.<span style="mso-spacerun: yes;"> </span>And it all starts with that often
deleted introduction scene involving Christopher Sly.</span>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Now, this
‘Induction’ scene often gets cut out completely from modern productions to save
time and because the characters in it aren’t really seen or heard from again,
except for a few lines thrown in after a couple of more scenes.<span style="mso-spacerun: yes;"> </span>However, I think this scene is vital to
the set-up of <i>Taming</i><span style="font-style: normal;">.<span style="mso-spacerun: yes;"> </span>In this scene, we learn that the entire
rest of this play is really a play-within-a-play just like in </span><i>Hamlet</i><span style="font-style: normal;"> or </span><i>A Midsummer Night’s Dream</i><span style="font-style: normal;">, which takes the edge off of it a bit.<span style="mso-spacerun: yes;"> </span>Also, the audience learns, along with
Mr. Sly, that this play is “a kind of history”, which it is in more ways than
one.<span style="mso-spacerun: yes;"> </span>Four hundred years ago, women
did not have equal rights and many were treated like property, so for
Shakespeare to write back then that this is a ‘history’ reminds us how it’s
even much more of a ‘history’ now.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Let’s cut in
to the meat of <i>Taming</i><span style="font-style: normal;"> and why I think
this is a play about dealing with a bully named Kate.<span style="mso-spacerun: yes;"> </span>Kate is extremely unhappy and instead of dealing with her
frustrations constructively, she lashes out with insults and hits.<span style="mso-spacerun: yes;"> </span>She can’t be reasoned with, and she’s
constantly finding fault or mocking others.<span style="mso-spacerun: yes;"> </span>She threatens people, ties up her sister, and destroys a
perfectly good lute over a guy’s head.<span style="mso-spacerun: yes;">
</span>Nobody can get her to listen or make her see how unreasonable she’s
being, which just makes everyone miserable.<span style="mso-spacerun: yes;"> </span>Enter Petruchio, who thinks that he can help.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
First,
Petruchio and Kate only have one scene where they are truly alone, and that is
the famous wooing scene in Act II Scene I.<span style="mso-spacerun: yes;"> </span>They bandy about with words, Petruchio flatters Kate over
and over again, and she insults him over again.<span style="mso-spacerun: yes;"> </span>Then she hits him.<span style="mso-spacerun: yes;">
</span>He does not hit her back.<span style="mso-spacerun: yes;">
</span>In fact, he never hits her throughout the play.<span style="mso-spacerun: yes;"> </span>But he abuses her in other ways,
right?<span style="mso-spacerun: yes;"> </span>Well, yes, but at his own
expense and health.<span style="mso-spacerun: yes;"> </span>Every time
food is brought to them in the homecoming scene, he sends it away.<span style="mso-spacerun: yes;"> </span>She doesn’t eat, and neither does
he.<span style="mso-spacerun: yes;"> </span>In Petruchio’s monologue from
Act IV Scene I, he talks about how every time she tries to sleep that he makes
a huge commotion so that she can’t:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Last
night she slept not, nor to night she shall not:</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>As with
the meate, some undeserved fault</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Ile finde
about the making of the bed,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>And here
Ile fling the pillow, there the boulster,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>This way
the Coverlet, another way the sheets:</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>I, and
amid this hurlie I intend,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>That all
is done in reverend care of her,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>And in conclusion,
she shal watch all night,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>And if
she chance to nod, I’ll raile and brawle,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>And with
the clamor keepe her stil awake:</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
So, she’s
not sleeping, but what’s more is that not only is Petruchio not sleeping – but
he is running around the room throwing things and making a huge noise, so he
must be utterly exhausted.<span style="mso-spacerun: yes;"> </span>Even
more exhausted than Kate.<span style="mso-spacerun: yes;"> </span>Some
actors play this monologue as if it’s a big brag, but where is that in the
text?<span style="mso-spacerun: yes;"> </span>At the beginning of the
monologue he says:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>And ‘tis
my hope to end successefully:</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
He hope[s]
that he is successful with all of this.<span style="mso-spacerun: yes;">
</span>Not that he WILL be or that he is SURE of it, but he HOPES.<span style="mso-spacerun: yes;"> </span>Then, at the end of this monologue he
says:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>He that
knowes better how to tame a shrew,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Now let
him speak, ‘tis charity to shew.</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
He is asking
for help!<span style="mso-spacerun: yes;"> </span>If anyone in the
audience has any better ideas, then please share them for charity’s sake.<span style="mso-spacerun: yes;"> </span>Again, not the words of someone
bragging about their technique.<span style="mso-spacerun: yes;">
</span>This is an honest account of a tired, hungry man who is doing his best
with what he’s got.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Next, I want
to mention the Sun/Moon scene in Act IV Scene V.<span style="mso-spacerun: yes;"> </span>I was brought up in the South where we were taught to never
fight with your spouse in public.<span style="mso-spacerun: yes;">
</span>In a marriage, you two are one person, and you should always be on their
side in front of other people.<span style="mso-spacerun: yes;">
</span>However, when you get home and are in private – that’s another
story!<span style="mso-spacerun: yes;"> </span>Basically, that is kind-of
what is going on with his scene.<span style="mso-spacerun: yes;">
</span>Being in a relationship sometimes means compromise.<span style="mso-spacerun: yes;"> </span>It’s not healthy to constantly
contradict your partner in public per Petruchio’s line:</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Evermore
crost and crost, nothing but crost.</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Petruchio is
using an extreme way of demonstrating this to Kate with this Sun vs. Moon
bit.<span style="mso-spacerun: yes;"> </span>Kate has stopped using her
fists finally (like she did in several of her previous scenes on everyone from
Hortensio to Grumio) and is trying to make an argument on how he is wrong.<span style="mso-spacerun: yes;"> </span>Even though we all know she is right in
this scene, sometimes a spouse has to be the bigger person and let the other
have their way.<span style="mso-spacerun: yes;"> </span>It’s just not worth
the argument in this case.<span style="mso-spacerun: yes;">
</span>She eventually figures out the best way to deal with him verbally, and
they are on their way.<span style="mso-spacerun: yes;"> </span>No insults,
no hits…just letting the other person have their way and showing them that you
are on their side.<span style="mso-spacerun: yes;"> </span>Even if it’s ridiculous.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Finally, we
come to Act V Scene II with that endless monologue of Kate’s about how women
should respect their husbands.<span style="mso-spacerun: yes;"> </span>I
believe that both spouses should respect each other, and this monologue should
be taken from both sides.<span style="mso-spacerun: yes;"> </span>Yes, it
just says how wives should be more loving and obedient (16<sup>th</sup>
Century, people!), but I am having the wonderful actresses who are taking turns
playing Kate deliver this monologue honestly to everyone.<span style="mso-spacerun: yes;"> </span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>Come,
come, you forward and unable wormes,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>My minde
hath bin as bigge as one of yours,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>My heart
as great, my reason haplie more,</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<i>To bandie
word for word, and frowne for frowne;</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Both sides
in a relationship should be more loving and kind.<span style="mso-spacerun: yes;"> </span>If one half of you has had a hard day, then the other should
not come at them with complaint upon complaint as soon as they walk through the
door.<span style="mso-spacerun: yes;"> </span>Love each other.<span style="mso-spacerun: yes;"> </span>Respect each other.<span style="mso-spacerun: yes;"> </span>Listen to each other.<span style="mso-spacerun: yes;"> </span>Be on each other’s side.<span style="mso-spacerun: yes;"> </span><a href="https://www.blogger.com/null" name="_GoBack"></a>Without these
basic concepts in a relationship, you will be stuck with a shrew. An unhappy
shrew. <span style="mso-spacerun: yes;"> </span>And nobody wants that.</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
-Elizabeth
Ruelas, Artistic Director, <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-35902170787693642072017-03-05T13:02:00.000-05:002017-06-10T10:08:22.532-04:00Would Another Name Smell as Sweet?‘Good name in Man, & woman (deere my Lord)
<br />
<div class="MsoNormal">
Is the immediate Jewell of their Soules;’</div>
<div class="MsoNormal">
- <i>The Tragedie of Othello, the Moore of Venice</i><span style="font-style: normal;">, III.iii</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Naming something gives us power, a sense of ownership and <span style="mso-spacerun: yes;"></span><a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=3355039784684038510#_msocom_1" id="_anchor_1" name="_msoanchor_1"></a><span class="MsoCommentReference"><span style="mso-special-character: comment;"></span></span>relationship. A name
is a definition and identity. That definition and relationship differs with
everyone, but without a name there is no starting point. As an experiment, try
to think of something for which there is no word, no name in your language. It
is impossible. If a name does not exist, we invent one. Even if the name is a title<a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=3355039784684038510#_msocom_2" id="_anchor_2" name="_msoanchor_2"></a><span class="MsoCommentReference"><span style="mso-special-character: comment;"></span></span>. If someone is only
a title, Prime Minister, then she is defined by her position and we have
certain expectations. Lisa, however, is someone else completely different.
Given our previous relationship with Lisa, we treat and define Lisa differently
from Prime Minister Lisa, and even more so than the Prime Minister.</div>
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The power of names is important in theatre, often symbolic,
and Shakespeare, whether or not he fully consciously understood their power
(there is evidence enough to suggest he did) uses names to control, or at least
influence, how his audience relates to his characters. We are going to look at
four naming conventions Shakespeare used in his plays: full names, last names
and titles, and first names. In a later blog, we will examine how this affects
the feelings and definitions engendered in <i>The Tragedie of Macbeth</i><span style="font-style: normal;">.</span></div>
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First off, let’s examine full names. Shakespeare’s audience
would have been fully aware of the historical figures and their full names in
his history plays. For this reason, here we will pass over the History Plays to
examine his intentional use of full names. This is not to say that a
character’s full name is always (if ever) used, but in some way or another, the
audience is aware of the character’s full name. For example, in <i>As You Like
It</i><span style="font-style: normal;">, Orlando is the son of Roland du Boys.
Ergo, his full name is Orlando du Boys. (This also means that we know his
brothers’ full names as well). Nobody ever calls him Orlando du Boys. While
there are interesting characters in the play, we follow the story of Orlando
and Rosalind.</span></div>
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There are only a few examples that are given outright, or at
least emphasized in the plays: Romeo Montague, Juliet Capulet, Titus
Andronicus. Knowing a character’s full name gives the audience a more complete
picture of the character. We know Romeo to be a Montague, and we hear a lot
about ‘the Montagues’ throughout the play, leaving everyone with expectations.
Then we meet Romeo, and while he is under the umbrella of ‘Montague’ we come to
associate unique characteristics with him and he becomes a more rounded person.
His friends Benvolio and Mercutio have no last names (although we know Mercutio
to be related to the Capulets). Romeo’s father and mother are only Lord and
Lady Montague. Who in this family do we care about? The same question can be
asked of Juliet Capulet. Among those we see her with, with whom do we identify?
Perhaps this is one reason this story has resounded so much, because we feel
there is a possibility to know these characters better than most. Of all of
Shakespeare’s characters, fans could say to be more emotional about these two
characters than any others. Tourism has grown in Verona thank to this couple
(and clever marketing) in a way that has not been inspired by any of
Shakespeare’s other creations.</div>
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‘Retaine that deare perfection
which he owes,</div>
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Without that title Romeo, doffe thy
name…’</div>
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- <i>The Tragedie
of Romeo and Juliet</i><span style="font-style: normal;">, II.ii</span></div>
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Although he does not have the following that the young
lovers do, Titus Andronicus elicits a maximum of empathy from the audience for
the pain and travails he suffers. We follow his journey on a visceral level
that many modern sensibilities do not wish to recognize. The catharsis at the
end comes only with a strong identification with the protagonist. We know his
family are Andronici, and their suffering means more to us than other instances
of cruelty in the play. Hardly anyone weeps for Aaron, Tamora or her sons. This
cannot be explained away simply because they are the ‘baddies’ in this play.
Richard III and the Macbeths do some awful things, but through their
relationship with the audience, theirs are the stories we follow and on some
level identify with. How they are named will influence the relationship we have
with them.</div>
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<span style="mso-tab-count: 1;"> </span></div>
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Other instances of knowing a character’s full name allow the
audience to draw a sketch or make assumptions of a character.<span style="mso-spacerun: yes;"> </span>There is a long tradition<a href="https://www.blogger.com/null" style="mso-comment-reference: ER_3;"> </a><a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=3355039784684038510#_msocom_3" id="_anchor_3" name="_msoanchor_3"></a><span class="MsoCommentReference"><span style="mso-special-character: comment;"></span></span>of naming characters
after their professions or other attributes, and Shakespeare was not immune to
it: Nick Bottome, Peter Quince, Mistress <a class="msocomanchor" href="https://www.blogger.com/blogger.g?blogID=3355039784684038510#_msocom_4" id="_anchor_4" name="_msoanchor_4"></a><span class="MsoCommentReference"><span style="mso-special-character: comment;"></span></span>Quickly, Mistress
Overdone, Flute the Bellows-mender, Snout the Tinker, Snug the Joiner,
Starveling the Tailor among others. These appellations tell us almost
everything we need to know about the characters, drawing conclusions and snap
judgments from clichés. This kind of name puts a distance between the audience
and the characters by not allowing the audience to think too much about them.
The exception in this group is Nick Bottome, the Weaver. We know his name and
his profession, and he is one of the most loved of Shakespeare’s creations.</div>
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Last names are used quite frequently. Sometimes place names
or titles are substituted for last names. Gloucester, Albany, Clarence – as
these usually come from titles the expectation is one of rank, or a ubiquitous
knowledge of historical figures who held those titles, or of the person
currently inhabiting that position. These titles engage groupthink, much like
the professions of lower characters. This person is like everyone else with
this name and we can reasonably project that others of his kind in the world
would behave as he does. </div>
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Whereas titles can sometimes function as last names, also
last names can also function as title. Fathers and heads of households often
carry the family name and they are meant to define that family. These
characters, however, never garner our affection. There is a distance. The
position is one to be respected and familiarity between the character and the
audience is held to a minimum. [This does not hold in the history plays
because, again, a known historical figure would already be familiar to the
audience and Shakespeare was canny enough to exploit those sentiments.]</div>
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First names are the most commonly used by Shakespeare. Many
of the famous characters are known only by them: Hamlet, Ophelia, Othello,
Iago, Rosalind, Prospero, Claudius, Gertrude, Benedick, Beatrice, Petruchio,
Kate, Mercutio, Malvolio, Olivia, Viola, Orsino, Feste, Cordelia, Regan,
Gonerill and on and on. First names offer the quickest familiarity, especially
in a place and time when only close friends referred to each other by their
given names. There is an immediate affinity between us and them because we feel
like we are allowed to know them in an intimate way. </div>
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There is a difference between knowing someone’s full name,
and using it. To know it is to have a fuller picture of that individual. To use
it constantly is to create a personal distance. When you can only refer to a
character by the first name, it gently forces a kind of intimacy. We feel a
friendship with these characters and seek to replace empathy with sympathy.
Even the antagonists become closer to the audience when we use their first
names. We can find some kind of connection rather then pushing them away
completely.</div>
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After reading his plays these conventions work on us in a
subconscious way. In a later blog post, we will take a look at how this affects
our relationships to the characters in <i>The Tragedie of Macbeth</i><span style="font-style: normal;">.</span></div>
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<span style="font-style: normal;">- Andy Kirtland, Managing Director, <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company </a></span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-69290369490807810082017-02-05T13:30:00.000-05:002017-02-05T13:30:57.281-05:00Secrets from an Unrehearsed Stage ManagerI have been a stage manager for several different things,
including shows, musicals, conferences, dance shows, ballets, and yet nothing
can compare to the excitement of working backstage of an unrehearsed show.<span style="mso-spacerun: yes;"> </span>Between being outdoors, no rehearsals
of lines,<span style="mso-spacerun: yes;"> </span>and so many elements
like dogs in the audience, an unrehearsed production is never boring and always
the best.
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This season I am beyond excited to work on <i>Taming of the
Shrew</i><span style="font-style: normal;"> and </span><i>MacB.</i><span style="font-style: normal;"><span style="mso-spacerun: yes;"> </span>Each
production we do provides its own set of complications. As a stage manager, I
love being able to solve problems and work out solutions!<span style="mso-spacerun: yes;"> </span>One of a Stage Manager’s largest fears
is having something happen that is beyond their control, I know because it is a
big fear of mine. During an unrehearsed production as soon as the whistle
blows, the game is on and anything can happen.<span style="mso-spacerun: yes;"> </span></span></div>
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Last summer during our final production of <i>Romeo and
Juliet</i><span style="font-style: normal;"> the weather decided to take part in
our show.<span style="mso-spacerun: yes;"> </span>Minutes before we were
ready to go, after fight call and dance call and our stage walk thru, the
heavens let loose.<span style="mso-spacerun: yes;"> </span>I am not
talking about a little bit of water, I am talking about a monsoon that came
upon us, I think the gods thought we were doing </span><i>The Tempest.</i><span style="font-style: normal;"><span style="mso-spacerun: yes;"> </span>So we
had to pick up our actors tent, our backstage tent, and all props and costumes
to move under the giant yellow tent provided by the park.<span style="mso-spacerun: yes;"> </span>When I say pick up the tent that is
exactly what we did. Our wonderful tent crew took a corner of the tents and
carried them under the large tent. While they were moving the tents the costume
crew was trying to safely and dryly move the costumes under cover and the props
crew was trying to safely move all props and armory under cover. While this was
going on, the audience was trying to stay dry under the same tent. Once we were
able to get everything moved under cover we had to begin sorting it all and resetting
everything for pre-show.<span style="mso-spacerun: yes;"> </span>Like we
say during our curtain speech, during Shakespeare’s time there was no such
thing as electricity or spot lights or house lighting, this is why we have our
shows in the middle of the afternoon or the early evenings during the summer.
This day however, the monsoon brought with it dark ominous clouds that covered
the light.<span style="mso-spacerun: yes;"> </span></span></div>
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So lets recap – We had gallons of water coming from the sky,
winds whipping, thunder and lightening, props to be saved, costumes to be
saved, 2 tents to be moved, darkness taking over the sky, a full house, and the
show must go on.<span style="mso-spacerun: yes;"> </span>Our cast was made
up of incredibly hard workers who all joined to get everything reset and in its
correct place.<span style="mso-spacerun: yes;"> </span>So the cast began
to get redressed into their first costumes and recheck all their props, and one
of them comes up to me “My costume has a large tear on it, can you help?”<span style="mso-spacerun: yes;"> </span>Without skipping a beat I grab my
emergency sewing kit from my stage managers kit and began to sew the tear. This
is when I realized just how dark it had become, so I grabbed our emergency
lanterns and hung one up back stage and then had my cellphone light set up so
it was shining on my hands and the tear.<span style="mso-spacerun: yes;">
</span>While this is going on, the wind began to pick up again. I don’t know
how familiar those of you reading this might be with portable clothing racks
but they are far from sturdy especially when about 25 costumes are hung up and
it is windy.<span style="mso-spacerun: yes;"> </span>The racks began to
blow over, in the mud, with all our beautiful costumes hung up, and I had a
needle and thread in my hands.<span style="mso-spacerun: yes;"> </span>Our
costume crew did their best to catch the costumes (we only ended up with a few
casualties) our props crew was trying to catch our paper props from blowing all
around and our tent crew was trying to stake the tents into the ground. It was
mad chaos all around.<span style="mso-spacerun: yes;"> </span>Backstage
was like a beehive, everyone with a job, everyone rushing around, and everyone
helping out. </div>
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After everything was set and we were ready to go, we
realized that we needed to do another fight call in our new playing space,
after the move we were a lot closer to the audience then before. So the
audience was able to watch how smooth of a machine we really were.<span style="mso-spacerun: yes;"> </span>A few things posed a problem at this
point, one happened to be that the rain was so very loud that the actors had to
shout to be heard. Projecting became an art form. We tried to hold off as long
as we could in the hopes of being able to hear!<span style="mso-spacerun: yes;"> </span>After what seemed like 45 minutes or so we only ended up
starting the show 15 minutes late.<span style="mso-spacerun: yes;">
</span>Only 15 minutes late, with everything that happened. It was incredible
to see how wonderful our company worked to accomplish moving a mountain! </div>
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<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: EN-US;">Each season and each tour I have been beyond
blessed to work with amazing and talented people.<span style="mso-spacerun: yes;"> </span>Between our wonderful production staff and our beyond
talented actors, I have learned so much and I have been a part of incredible
performances.<span style="mso-spacerun: yes;"> </span>After working as a
stage manager on an unrehearsed production, every other show is a piece of
cake.<span style="mso-spacerun: yes;"> </span>Having rehearsals for the
entire show, tech rehearsals, inside facilities, technology, lack of bugs, a “normal”
production of any show is just not as exciting!<span style="mso-spacerun: yes;"> </span>I still love being a stage manager in every description of
the word, but after falling in love working with this unrehearsed technique I
will never love a stage show as much as I love working with the Unrehearsed
Shakespeare Project. </span><br />
<br />
<span style="font-family: Cambria; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-language: EN-US;">- Charlene Jacka, NRTC Company Stage Manager</span><br />
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-35388325371701773152017-01-16T09:16:00.000-05:002017-01-17T20:07:03.084-05:00Who is Lady Macbeth?Lady Macbeth is one of the most compelling and famous
characters created by William Shakespeare. She has become a byword for a strong
woman behind a man, pushing him towards nefarious ends. The Macbeths are often
seen as a sexy, powerful couple, bonded by their evil plotting. To summarize an
analysis given in an interview by Laurence Olivier, Lady Macbeth is on a
downward track from power ending in tragedy, while her husband is on the rise
and their journeys cross each other at Duncan’s murder. Something about these
interpretations rings false when compared against the characters’ cue scripts.
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Over a couple of blog posts, we will examine the cue scripts
of Macbeth and Lady Macbeth to dig into their relationship and their characters
to better understand why these characters hold such a sway over our
imagination. Today we begin with Lady Macbeth.</div>
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When we first meet Macbeth’s anonymous wife, her words are
not her own. She reads a letter recounting events that we, the audience,
already know. When we are introduced to a character, we see their true selves.
If they are not as they appear, Shakespeare has them tell us. Deceptions in his
plays occur between characters while the audience is always complicit in the
lie. However, Shakespeare does not give us a <i>true </i><span style="font-style: normal;">Lady Macbeth in her opening scene. Instead he gives a
regurgitation of what we have already witnessed on stage. Lady Macebth is a
parrot, exposition. Nothing about her is revealed.</span></div>
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Throughout Shakespeare’s work, language is character: how
one speaks and the way one’s text works is how we truly know his creations.
What do her first words, her first thoughts, tell us about Lady Macbeth? They
offer an excellent example of how language can be used to shape character.</div>
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<span style="font-size: 10.0pt;">‘Glamys
thou art, and Cawdor, and shalt be</span></div>
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<span style="font-size: 10.0pt;">What
thou are promis’d:’</span></div>
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Her first line is nine beats long (Glamys being pronounce
‘glamz’), and the thought runs into the next line of pentameter. What is
interesting here is that there is one word that would fill the first line, making
it a full 10-beat line, and completing the thought. Instead there is a one beat
pause. She could say: ‘Glamys thou art, and Cawdor, and shalt be <i>king.</i><span style="font-style: normal;">’</span></div>
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In this instance, we would see a woman in control saying
what she means, but we do not. Instead, there is the impression that she cannot
bring herself to say the word. There is a pause, trepidation. She continues to
question her husband’s ability to do what needs to be done to reach the goal of
which she herself cannot speak. There is never a consideration that he may be
able to earn the crown legitimately, but that Macbeth must ‘catch the neerest
way.’ </div>
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The first action she takes, is to ask for supernatural,
metaphysical help. At this point in the play, this choice does not indicate the
strong woman that she is popularly portrayed to be (we cannot say that this is
uncharacteristic of her, because we do not know that much about her):</div>
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<span style="font-size: 10.0pt;">‘…Come you Spirits, </span></div>
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<span style="font-size: 10.0pt;">That tend on mortall
thoughts, unsex me here, </span></div>
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<span style="font-size: 10.0pt;">And fill me from the
Crowne to the Toe, top-full </span></div>
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<span style="font-size: 10.0pt;">Of direst Crueltie:
make thick my blood, </span></div>
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<span style="font-size: 10.0pt;">Stop up th' accesse,
and passage to Remorse, </span></div>
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<span style="font-size: 10.0pt;">That no compunctious
visitings of Nature </span></div>
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<span style="font-size: 10.0pt;">Shake my fell purpose,
nor keepe peace betweene </span></div>
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<span style="font-size: 10.0pt;">Th' effect, and hit.
Come to my Womans Brests, </span></div>
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<span style="font-size: 10.0pt;">And take my Milke for
Gall, you murth'ring Ministers, </span></div>
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<span style="font-size: 10.0pt;">Where-ever, in your
sightlesse substances, </span></div>
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<span style="font-size: 10.0pt;">You wait on Natures
Mischiefe. Come thick Night, </span></div>
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<span style="font-size: 10.0pt;">And pall thee in the
dunnest smoake of Hell, </span></div>
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<span style="font-size: 10.0pt;">That my keene Knife
see not the Wound it makes, </span></div>
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<span style="font-size: 10.0pt;">Nor Heaven peepe
through the Blanket of the darke, </span></div>
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<span style="font-size: 10.0pt;">To
cry, hold, hold.’</span></div>
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The language of Lady Macbeth’s request to darker powers may
offer a glimpse of the person she was before taking this step because she asks
for attributes she does not possess and to become something she is not. She
would not ask to be unsexed unless she felt that her femininity was a
liability. She begs to be filled completely with ‘direst Crueltie,’ an
attribute she must not already have. ‘Stop up th’accesse, and passage to
Remorse’ tells that she believes her conscience to be an obstacle. She prays
that it becomes dark enough that she cannot witness her own actions and that
Heaven, her religion, does not stop her. If this is what she wants, we can
infer these are qualities she does not see in herself. She believes herself to
be a woman without cruelty, filled with mother’s milk and full of remorse who
is afraid to think that she is capable of the actions she considers.</div>
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Throughout her cue script, Lady Macbeth’s entrance cues give
us information that contradicts the image of the strong demanding woman. Her
first cue is ‘…a peerless Kinsman.’ She is not named here, and while the word
‘peerless’ does appear it describes a ‘Kinsman,’ not woman. This may be a
reason why even before she asks for a transformation, Lady Macbeth is portrayed
as sexless. If the emphasis is put on ‘peerless’ then she is the prime example
of a Thane’s wife. Other words in the character’s cues include ‘delicate’ and
‘t’other.’ She is never named in her entrance stage directions other than
‘Lady.’ (Unbeknownst to an actor using cue scripts, no character ever states
her name. Without a name there are psychological limits on how well the
audience will ever be able to know Lady Macbeth.)</div>
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Over the next several scenes after Macbeth’s return we watch
Lady Macbeth control, belittle, manipulate and berate her warrior husband:</div>
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<span style="font-size: 10.0pt;">‘…looke like th'
innocent flower, </span></div>
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<span style="font-size: 10.0pt;">But
be the Serpent under't.’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘Was the hope drunke, </span></div>
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<span style="font-size: 10.0pt;">Wherein you drest your
selfe? Hath it slept since? </span></div>
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<span style="font-size: 10.0pt;">And wakes it now to
looke so greene, and pale, </span></div>
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<span style="font-size: 10.0pt;">At what it did so
freely? From this time, </span></div>
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<span style="font-size: 10.0pt;">Such I account thy
love. Art thou affear'd </span></div>
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<span style="font-size: 10.0pt;">To be the same in
thine owne Act, and Valour, </span></div>
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<span style="font-size: 10.0pt;">As thou art in desire?
Would'st thou have that </span></div>
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<span style="font-size: 10.0pt;">Which thou esteem'st
the Ornament of Life, </span></div>
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<span style="font-size: 10.0pt;">And live a Coward in
thine owne Esteeme?’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘I have given Sucke,
and know </span></div>
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<span style="font-size: 10.0pt;">How tender 'tis to
love the Babe that milkes me, </span></div>
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<span style="font-size: 10.0pt;">I would, while it was
smyling in my Face, </span></div>
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<span style="font-size: 10.0pt;">Have pluckt my Nipple
from his Bonelesse Gummes, </span></div>
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<span style="font-size: 10.0pt;">And dasht the Braines
out, had I so sworne </span></div>
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<span style="font-size: 10.0pt;">As you have done to
this.’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘But screw your
courage to the sticking place, </span></div>
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<span style="font-size: 10.0pt;">And wee'le not fayle:’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘Infirme of purpose: </span></div>
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<span style="font-size: 10.0pt;">Give me the Daggers:
the sleeping, and the dead, </span></div>
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<span style="font-size: 10.0pt;">Are but as Pictures:
'tis the Eye of Childhood, </span></div>
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<span style="font-size: 10.0pt;">That feares a painted
Devill.’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘My Hands are of your
colour: but I shame </span></div>
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<span style="font-size: 10.0pt;">To weare a Heart so
white.’</span></div>
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<br /></div>
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All of this comes after Lady Macbeth seeks the aid of dark
forces. Much is made of the metaphysical in this play as it pertains to
Macbeth, but how does it affect his wife? At his point in the play Macbeth’s
dealing with the witches was unsolicited, they came to him, but Lady Macbeth
sought them out. Is her strength then a result of ‘Spirits / That tend on
mortal thoughts?’</div>
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<br /></div>
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Once the murder of Duncan is concluded, this bullying
aspect of Lady Macbeth dissolves, and where before she pushed Macbeth to bloody
thoughts she now tries to pull him away from them. Given that the first several
scenes of the play illustrate how bloody his acts are on the battlefield, this
seems to be a more likely role for Lady Macbeth to play in her home life – but
we never see them on a <i>normal</i><span style="font-style: normal;"> day. </span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘Gentle my Lord,
sleeke o're your rugged Lookes, </span></div>
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<span style="font-size: 10.0pt;">Be bright and Joviall
among your Guests to Night.’</span></div>
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<br /></div>
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Keep in mind as well, her request to the dark forces
concluded with the murder of Duncan. Once he is assassinated, the contract has
ended. She is troubled by the influence she held over her husband. In a rare
moment alone with her thoughts and the audience, Lady Macbeth slips into a
rhyme, the first and only that she has for herself and the audience as she
questions what she has done:</div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘Nought's had, all's
spent. </span></div>
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<span style="font-size: 10.0pt;">Where our desire is
got without content: </span></div>
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<span style="font-size: 10.0pt;">'Tis safer, to be that
which we destroy, </span></div>
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<span style="font-size: 10.0pt;">Then by destruction
dwell in doubtfull joy.’ </span></div>
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<br /></div>
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This is the only time she second-guesses what she and her
husband have done.</div>
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<br /></div>
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It is often posited that the Macbeths are one of the only
happily married couples in Shakespeare’s canon. But the language of her text
does not reflect this supposition. When speaking to Macbeth, his wife uses
‘thou’ or ‘thine’ (a display of physical closeness) only eight times, and never
after he goes off to kill Duncan. She says ‘we,’ ‘us’ or ‘our/s’ only five
times. At one point when discussing the murder, she asks, ‘What cannot <i>you
and I</i><span style="font-style: normal;"> performe upon / Th' unguarded
Duncan?’ (emphasis mine). Her language separates herself from her husband even
at the same time she is pushing him to commit a murder they planned together. </span></div>
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In none of her exchanges, most importantly those with her
husband, does Lady Macbeth finish another person’s rhyme, and she only has five
internal rhymes (two of which were touched upon above). Two of these are to her
husband, but have the appearance of the theatrical convention of buttoning or
highlighting an important thought:</div>
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<span style="font-size: 10.0pt;">‘Which shall to all
our Nights, and Dayes to come, </span></div>
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<span style="font-size: 10.0pt;">Give solely soveraigne
sway, and Masterdome.’</span></div>
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<br /></div>
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<span style="font-size: 10.0pt;">‘Onely looke up
cleare: </span></div>
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<span style="font-size: 10.0pt;">To alter fauor, ever
is to feare: </span></div>
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<span style="font-size: 10.0pt;">Leave
all the rest to me.’ </span></div>
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<br /></div>
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Both of these come at the time when she is convincing her
husband that they should kill the king.</div>
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Lady Macbeth does have a number of short lines, the
majority of which either begin or end her exchanges with other characters, or
are single lines. This either means that she has action or pauses at the
beginning of her lines, or she is completing someone else’s line, illustrating
a dependence on other characters – dependence because the lack of rhyming shows
no special affinity with those Lady Macbeth shares lines. One would expect more
intimacy in the language expressing a happy marriage. The evidence of contented
matrimony must reside in the interpretations of performers, because there is
little evidence of it in the text.</div>
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Everyone familiar with <i>The Tragedie of Macbeth</i><span style="font-style: normal;"> remembers Lady Macbeth’s iconic sleep walking scene.
The image of her in her nightgown with a candle, trying to rub bloodstains from
her hands is indelibly stamped on the mind. The way that the scene is written
makes it a theatrical coup (often in our unrehearsed cue script workshops The
New Renaissance Theatre Company uses it to illustrate how well the rules of the
technique work to block a scene in the moment and how a scene that many people
think they know can be drastically different and new).</span></div>
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Sometimes it is referred to as her mad scene, only the
word ‘mad’ is never used to describe her, although she does warn her husband ‘These
deeds must not be thought / After these wayes: so, it will make us mad.’ Neither the
Doctor nor the Gentle Woman who witness her sleep walking ever says that she is
mad. The Doctor comments that walking in her sleep is a ‘great perturbation in
Nature.’ Nobody else sleep walks in Shakespeare’s plays. Claudius and Gertrude,
as guilty as they are never walk in their sleep. Lear and Ophelia both go mad,
but never sleep walk. This particular characteristic seems to be reserved for
special circumstances (possibly those marked by the supernatural?).</div>
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It is perhaps these special circumstances that foster
interest in the character of Lady Macbeth. Many portrayals of her character
show the audience a strong and demanding woman, the power behind the throne,
the driving force or engine and something has always felt wrong about it. In
some places she does push him, but given the manner of her introduction, she
does not seem like the kind of character that would be so assertive towards a
husband who is known for his battlefield brutality. In <i>A Midsommer Nights
Dreame</i><span style="font-style: normal;">, Theseus introduces us to his
warrior wife, Hippolyta, with the phrase: ‘I won thy love doing thee injury.’
They met in conflict. There is no mention of such a relationship between the
Macbeths, which would be an important dynamic for the playwright to set for the
audience given the nature of the play. </span></div>
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Questions of supernatural influence on Macbeth must also
be asked of his wife. Remember, the first thing that she does is ask for
metaphysical help to aid her in making her husboand do what is necessary to
become King, even to do it herself. We are never told (explicitly) if she gets
that help. Perhaps she does, and that is why once murder is committed, we see a
shift in her character as she comes back to her more normal state of being. But
Shakespeare never lets us see what the Macbeths <i>were like</i><span style="font-style: normal;">. It is the equivalent of listening to one half of a
phone conversation. We have no definitive way to judge these characters, and
therein lies the attractiveness of this play. If the Macbeths were like</span><i>
this</i><span style="font-style: normal;">, then they were always capable of
their crimes. If the Macbeths were like </span><i>that</i><span style="font-style: normal;">, then the witches and darkness have power in the
play. Perhaps this couple was always on this track, </span><i>but we can never
know</i><span style="font-style: normal;">, and so these questions make this play
and these characters dynamic and compelling.</span></div>
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<br /></div>
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<span style="font-style: normal;">-Andy Kirtland, Managing Director, <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a></span></div>
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<span style="font-style: normal;">Lady Macbeth</span></div>
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<span style="font-style: normal;">Gabriel Cornelius von Max (1885)</span></div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-19644265115993692942016-12-31T10:44:00.000-05:002016-12-31T10:47:50.153-05:00Learning to Love BillWhen I was first exposed to Shakespeare, I was not a fan. To me
it felt too far beyond me to grasp or fully appreciate and I was instantly
bored. Perhaps I was young and dumb but something about reading through “Midsummer”
in high school left me confused and uninterested. As someone who had
aspirations to be an actor, this was unsettling. Weren't all decent actors
supposed to inherently understand and love the Bard?
<br />
<div class="normal">
<br /></div>
<div class="normal">
It wasn't until I had the chance to get up on my feet and
perform it out loud that I started to love it. Suddenly the whole thing began
to make sense to me and it was fun. Something about seeing real, live people
embodying these words and working through the story made something click.
Shakespeare became a vastly important tool for me to understand both the
mechanics of a play and also what my role as an actor was at any time on stage.
I started to see how the author had crafted this work to have clues for
performers within the text explaining how to play a character, how to be
positioned onstage, and even how to set a pace and mood. </div>
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<br /></div>
<div class="normal">
In college I had many opportunities to stretch my muscles and
explore my relationship with these works. One defining moment was participating
in a workshop held by the Unrehearsed Shakespeare Project on Cue Script Technique.
We learned about rules within the technique to establish character, motivation,
stage movement, among other things. This was a big eye opener to me as to what
was actually possible within the performance of Shakespearean texts. I feel
personally that artists can be most creative when they have a set of parameters
that they have to work within. It forces us to think outside the box and work
harder, which I feel always yields the best results.</div>
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<br /></div>
<div class="normal">
After school, I moved to Pittsburgh and began to dip my toes
into the theatre scene. Before long I was fortunate to be cast in a production
of <i>Much Ado About Nothing </i><span style="font-style: normal;">and the
following year in </span><i>A Midsummer Night's Dream </i><span style="font-style: normal;">and</span><i> Romeo and Juliet. </i><span style="font-style: normal;">These summer productions are very grueling and
difficult but always extremely rewarding both for us and our audiences. Working
with the Unrehearsed Cue Script Technique is very demanding, I like to think
about it as exercising for the acting muscle. It requires constant focus, quick
thinking and a ton of energy. They also give performers more freedom with the
loose style and ability to play different roles for each show. However the hard
work pays off time and time again when each audience receives an entirely
unique and direct experience allowing them to feel included. I feel the real
power behind this technique is that it shakes up people's expectations of
Shakespeare and allows them to hear these historical works with fresh ears. </span></div>
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<br /></div>
<div class="normal">
When the performers are so in the moment it allows the audience
to be more present and work with the actors to find the meaning of what is
going on. The audience becomes another character, participating and living the
story, and in doing so allows them to feel more connected, both to the story
and the entire production, which should be the goal regardless. Theatre is
about community and sometimes in our present culture, that idea can be lost
amongst the glitz and glamour.</div>
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<br /></div>
<div class="normal">
I am more than excited to be starting a new chapter with this
great company. While working with this company, I have learned so much and made
many good friends. I now want to use what I have learned to grow in my personal
discovery of what my role in this business is and also to see what I can do
going forward. I'm also very eager to inspire the love of Shakespeare and
theatre in others just as I was inspired.</div>
<div class="normal">
<br /></div>
<div class="normal">
-Nick Benninger, Resident Ensemble Member of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a></div>
<span style="color: black; font-family: "arial"; font-size: 11.0pt;"><br /></span>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-176981764343390622016-11-06T08:25:00.000-05:002016-11-06T08:26:41.856-05:00Mac and MeIn its 4<sup>th</sup> summer tour, The New Renaissance
Theatre Company’s Unrehearsed Shakespeare Project will offer me the opportunity
to direct my favorite play by William Shakespeare and one with which I have a
great affinity:<i> The Tragedie of Macbeth</i><span style="font-style: normal;">.</span>
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The first experience that I had with Shakespeare was in 5<sup>th</sup>
grade when my teacher introduced us to the witches’ scene: ‘Double, double,
toil and trouble.’ It was Halloween and my teacher thought is was appropriate.
For some reason the very politically incorrect lines ‘nose of Turk and Tartar’s
lips’ always struck me. These are the first lines of Shakespeare that I ever
memorized.</div>
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<br /></div>
<div class="MsoNormal">
In high school, my first Shakespearean role of was Banquo.
We wore the girls’ field hockey uniforms in lieu of kilts. I’m pretty sure that
Macbeth and Macduff were cast because they had red hair. Should I never have a
career in the theatre, I know why.</div>
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<br /></div>
<div class="MsoNormal">
Professionally, I have performed in 2 productions of the
play. During the first one, we had consistent difficulties with the lighting
system and during one show it failed completely and we performed with the house
lights on (in my opinion, the best show of the run). It was during the second
production when I was first recognized in the subway in New York City. That’s
something one does not forget.</div>
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<br /></div>
<div class="MsoNormal">
Not only do I think this script offers some of the best
drama, language, imagery and moments in theatre, but I am excited at applying
the unrehearsed cue script technique to this play. Whenever we use scenes from <i>Macbeth</i><span style="font-style: normal;"> in workshops the results are examples of just how
well the technique works in creating stage pictures and characters. There are
some wonderful demonstrations which prove that just by following the rules of
the technique actors can deliver exciting and unique interpretations of well
known scenes that are familiar to spectators with even a passing knowledge of
the works of Shakespeare. I think our audience will receive some pleasant
surprises.</span></div>
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<br /></div>
<div class="MsoNormal">
Every time I read the script I am struck by something new: a
new image, a new thought about costumes, lighting or staging; a new take on a
moment or character. My ego tells me that sometime in the future I will have a
career defining production of this play. Peter Brook had his ‘Dream,’ I will
have my <i>Macbeth</i><span style="font-style: normal;">.</span></div>
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<br /></div>
<div class="MsoNormal">
This will also be the first play that USP will bring to the
stage that has major parts written by a writer other than Shakespeare. Large
swathes of the script are attributed to Thomas Middleton. Gary Taylor, the
distinguished scholar and professor at Florida State University has even included
<i>Macbeth</i><span style="font-style: normal;"> in his anthology, </span><i>Thomas
Middleton: The Collected Works. </i><span style="font-style: normal;">(The
impact, if any, that this may have on the effectiveness of the technique will
be discussed in another blog post.)</span></div>
<br />
<span style="font-family: "times new roman"; font-size: 12.0pt;">USP’s production will offer everyone
involved, myself included, an entertaining and fresh look at this play (I
obviously have some baggage connected to <i>Macbeth</i></span><span style="font-family: "times new roman"; font-size: 12.0pt;">). Letting go and letting the technique do the work
will be a refreshing way to experience a play with which I am very familiar.
Most of all, I am looking forward to strengthening my relationship with this
play I’ve known for almost 30 years.</span><br />
<br />
<span style="font-family: "times new roman"; font-size: 12.0pt;">- Andy Kirtland, Co-Founding Managing Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which also produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>) </span><br />
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-82198961339768572202016-09-21T07:58:00.002-04:002016-09-21T08:04:58.094-04:00Father Figures in Romeo and Juliet, Part 3: Frier (or Father?) LawrenceHere is the third installment of my look at fathers in <i style="mso-bidi-font-style: normal;">The Tragedie of Romeo and Juliet</i>, and
this time we will visit Frier [sic] Lawrence, the ghostly father. He is a
surrogate for the seldom-seen Lord Montague as well as the spiritual father of
both feuding families. In many ways, he has a greater effect upon the children
of the play more than the heads of the families. <o:p></o:p><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Upon his first entrance Frier Lawrence immediately holds
forth about the properties of herbs and teaching the audience from his vast
experience with nature. <o:p></o:p></div>
<br />
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<span style="color: #eeeeee; font-size: 10pt;">O
mickle is the powerfull grace that lies </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">In
Plants, Hearbs, stones, and their true qualities: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">For
nought so vile, that on earth doth live, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">But
to the earth some speciall good doth give. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Nor
ought so good, but strain'd from that faire use, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Revolts
from true birth, stumbling on abuse. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Vertue
it selfe turnes vice being misapplied, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
vice sometime by action dignified. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Within
the infant rind of this weake flower, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Poyson
hath residence, and medicine power: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">For
this being smelt, with that part cheares each part, </span></div>
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<span style="color: black; font-size: 10pt;"><span style="color: #eeeeee;">Being
tasted stayes all sences with the heart.</span> </span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p></o:p></span></div>
<br />
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This lesson about Mother Nature is a metaphor about Human
Nature and the responsibility of each person to use their virtues to enrich the
world, or else these virtues will turn to vice and destroy each one of us.
Montague, Capulet nor the Prince make such an attempt of fatherly caution on
their children, subjects or the audience. Capulet barks orders to his family
and the Prince makes demands. Frier Lawrence also seems to have offered Romeo
advice on women, and bemoans the fact that he was ignored. <o:p></o:p></div>
<br />
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<span style="color: #eeeeee; font-size: 10pt;">Holy
S. Francis, what a change is heere? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Is
Rosaline that thou didst Love so deare </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">So
soone forsaken? young mens Love then lies </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Not
truely in their hearts, but in their eyes. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Jesu
Maria, what a deale of brine </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Hath
washt thy sallow cheekes for Rosaline? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">How
much salt water throwne away in wast, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">To
season Love that of it doth not tast. </span></div>
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<span style="color: #eeeeee; font-size: 10pt;">The
Sun not yet thy sighes, from heaven cleares, </span></div>
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<span style="color: #eeeeee; font-size: 10pt;">Thy
old grones yet ringing in my auncient eares: </span></div>
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<span style="color: #eeeeee; font-size: 10pt;">Lo
here upon thy cheeke the staine doth sit, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Of an
old teare that is not washt off yet. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">If
ere thou wast thy selfe, and these woes thine, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thou
and these woes, were all for Rosaline.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
art thou chang'd? pronounce this sentence then, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Women
may fall, when there's no strength in men.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="font-size: 10pt;">for loving Rosaline.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-size: 10pt;"><span style="color: #eeeeee;">For
doting, not for loving pupill mine.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="font-size: 10pt;">me bury Love.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Not
in a grave, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-size: 10pt;"><span style="color: #eeeeee;">To
lay one in, another out to have.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="font-size: 10pt;">did not so.</span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">O she
knew well, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt;">Thy
Love did read by rote, that could not spell:</span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"> <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
He assumes the role of tutor to the young Montague, showing
him how to be a good man, a good lover. These are conversations that should
take place between father and son, but Montague, through his lack of attention
(created through a lack of stage time) never gets to have these moments of
instruction with Romeo. Perhaps this is an illustration of a situation in which
the son cannot talk to his father about these things, through embarrassment or
lack of communication, but this would just be conjecture.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Lawrence’s lessons seem to have worked because the next time
he returns to the stage, he is ready to marry Romeo and his new love. Again,
the first thing that he offers is a word of caution.<o:p></o:p></div>
<br />
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<span style="color: #eeeeee; font-size: 10pt;">These
violent delights have violent endes,</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
in their triumph: die like fire and powder; </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Which
as they kisse consume. The sweetest honey </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Is
loathsome in his owne deliciousnesse, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
in the taste confoundes the appetite. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Therefore
Love moderately, long Love doth so, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Too
swift arrives as tardie as too slow. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Here
comes the Lady. Oh so light a foot </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Will
nere weare out the everlasting flint, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">A
Lover may bestride the Gossamours, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">That
ydles in the wanton Summer ayre, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
yet not fall, so light is vanitie.</span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
At this moment, he becomes a father to both Romeo and Juliet
in a more concrete way. Through this marriage, he seeks to mend the feud
between the Capulets and Montagues, a feat the heads of those families have
been unwilling or unable to do. This is the most civic-minded action of the
play. The secret wedding, overseen by Lawrence, is the only attempt to quell
the strife that has been tearing Verona apart. Capulet says that he does not
believe it should not be a difficult task, but aside from stopping Tybalt
brawling with Romeo at the family festival, neither Capulet nor Montague do
anything concrete to achieve this objective. Capulet’s proposed marriage
between Juliet and Paris are more to secure his daughter’s position and that of
the family – but would it have benefited Verona? <o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
This man of the church could hope for no other gain than the
well being of the polis, the community that he served, his flock, his children.
This is the role of a Father, and a role that only he assays to fulfill.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
When Romeo is in trouble, he runs to Lawrence for
protection, not to his family. Here, Frier Lawrence has the chance to expresses
tough love in his efforts to reconcile his son’s secret marriage with his
public murder. <o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Art
thou a man? thy forme cries out thou art: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thy
teares are womanish, thy wild acts denote </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">The
unreasonable Furie of a beast. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Unseemely
woman, in a seeming man, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
ill beseeming beast in seeming both, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thou
hast amaz'd me. By my holy order, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">I
thought thy disposition better temper'd. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Hast
thou slaine Tybalt? wilt thou slay thy selfe? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
slay thy Lady, that in thy life lies, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">By
doing damned hate upon thy selfe? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Why
rayl'st thou on thy birth? the heaven and earth? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Since
birth, and heaven and earth, all three do meete </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">In
thee at once, which thou at once would'st loose. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Fie,
fie, thou sham'st thy shape, thy love, thy wit, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Which
like a Usurer abound'st in all: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
usest none in that true use indeed, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Which
should bedecke thy shape, thy love, thy wit: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thy
Noble shape, is but a forme of waxe, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Digressing
from the Valour of a man, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thy
deare Love sworne but hollow perjurie, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Killing
that Love which thou hast vow'd to cherish. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">(…)</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">What,
rowse thee man, thy Juliet is alive, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">For
whose deare sake thou wast but lately dead. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">There
art thou happy. Tybalt would kill thee, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">But
thou slew'st Tybalt, there art thou happie. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">The
law that threatned death became thy Friend. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
turn'd it to exile, there art thou happy. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">A packe
or blessing light upon thy backe, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Happinesse
Courts thee in her best array, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">But
like a mishaped and sullen wench, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Thou
puttest up thy Fortune and thy Love: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="font-size: 10pt;"><span style="color: #eeeeee;">Take
heed, take heed, for such die miserable. <o:p></o:p></span></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Again, it is Lawrence who thinks clear enough to come up
with a solution that, in his estimation, will keep Romeo safe, rejoin Romeo
with his wife and reconcile the feuding families. His plans are sweeping and
forward thinking, unlike those of Capulet.<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Still as these plans unravel, he plots for reconciliation.
Upon finding Romeo dead, his next idea is to keep Juliet safe but ushering her
into a convent. Capulet, on the contrary, threatens his daughter as opposed to
securing her. Once this course of action is thwarted by Juliet’s suicide, Frier
Lawrence, sacrifices himself and tells all:<o:p></o:p></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">I am
the greatest, able to doe least, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Yet
most suspected as the time and place </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">Doth
make against me of this direfull murther: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">And
heere I stand both to impeach and purge </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt;">My
selfe condemned, and my selfe excus'd.</span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
Of all the men in <i style="mso-bidi-font-style: normal;">The
Tragedie of Romeo and Juliet</i>, Frier Lawrence exhibits the most
characteristics of a parent, of a father figure. His concern is for those in
his care, not for himself, and he treats them as such. At no point does he look
exclusively for his own safety, but his attempts are to enrich others. He
teaches. He offers succor. Maybe Shakespeare is trying to make a comment that
the church is the real father of a community. In any event, the one character
in the play who has dedicated his life to not having his own children is the
only character in the play that makes a concerted effort to look out for them.</div>
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
</div>
<span style="mso-list: Ignore;">-<span style="font-size-adjust: none; font-stretch: normal; font: 7pt/normal "Times New Roman";">
</span></span><!--[endif]-->Andy Kirtland, Co-Founding Managing Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which also produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>)<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-OYkCXrjTc2s/VFFxy_3uXII/AAAAAAAAATk/BK1YbDG9Zjc8392usmMhOqsbqH0NG9GcQCPcB/s1600/Andy%2BKirtland%2BHeadshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-OYkCXrjTc2s/VFFxy_3uXII/AAAAAAAAATk/BK1YbDG9Zjc8392usmMhOqsbqH0NG9GcQCPcB/s320/Andy%2BKirtland%2BHeadshot.jpg" width="256" /></a></div>
<o:p></o:p><br />Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-64864094064272572442016-08-04T20:49:00.000-04:002016-08-04T20:49:41.345-04:007 Life Lessons I Learned from Unrehearsed Shakespeare - Guest Post by Katie Trupiano<span style="font-family: "arial" , "helvetica" , sans-serif;">One of our awesome actresses from our 2016 Tour wrote a wonderful blog post on her site (</span><span style="color: black;"><a href="http://www.katietrupiano.com/artventures"><span style="font-family: "arial" , "helvetica" , sans-serif;">www.katietrupiano.com/artventures</span></a></span><span style="font-family: "arial" , "helvetica" , sans-serif;">) and we loved it so much that we asked to share it on our Blog!</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Enjoy!</span><br />
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<span style="font-family: "helvetica";"><span style="font-size: 15pt;"><span style="color: #eeeeee;">I’ve</span><span style="color: #eeeeee;"> been trying
to work out exactly what I've been doing for the past three weeks as I've
worked on the <a href="http://www.unrehearsedshakespeareproject.com/">Unrehearsed Shakespeare Project</a></span></span><span style="color: #eeeeee;"><span style="font-size: 15pt;"> <span style="color: #eeeeee;">with
the </span><a href="http://www.newrentheatre.com/">New Renaissance Theatre Company</a><span style="color: #eeeeee;">. </span></span><span style="font-size: 15pt;"><span style="color: #eeeeee;">It's hard to put into words because quite
frankly, most of the performances are fuzzy messes in my brain. But I
knew I wanted to blog about my experience so this is the most coherent I can be
about it for now (a week after we've closed the show). </span> <span class="None"><o:p></o:p></span></span></span></span></div>
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<span style="color: black;"><a href="https://2.bp.blogspot.com/-M4LJepqoaOc/V6Pavxz5BmI/AAAAAAAAAhk/Os_XenCKWIU8ixEdIl7DMDsmk6KHGYQ3ACLcB/s1600/IMG_1802.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #eeeeee;"><img border="0" height="240" src="https://2.bp.blogspot.com/-M4LJepqoaOc/V6Pavxz5BmI/AAAAAAAAAhk/Os_XenCKWIU8ixEdIl7DMDsmk6KHGYQ3ACLcB/s320/IMG_1802.JPG" width="320" /></span></a></span></div>
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<span style="color: #eeeeee;"><b><span style="font-size: 15pt;"><o:p><span style="color: #eeeeee; font-family: "helvetica";"> </span></o:p></span></b><span style="font-family: "helvetica";"><b><span style="font-size: 15pt;"><span style="color: #eeeeee;">1. Sex jokes
are always funny.</span> </span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></span></div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-size: 15pt;"><span style="font-family: "helvetica";"><span style="color: #eeeeee;">And Shakespeare
is the king of sex jokes. <o:p></o:p></span></span></span></div>
<br />
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<span style="color: #eeeeee;"><span style="color: #eeeeee;"><b><span style="font-size: 15pt;"><o:p><span style="font-family: "helvetica";"> </span></o:p></span></b><span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">2. You will
mess up. Do so loudly and proudly.</span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></span></span></div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-size: 15pt;"><span style="font-family: "helvetica";"><span style="color: #eeeeee;">This was/is the
most difficult for this type-A actor to swallow. I like to be super
prepared when I walk onstage and I try to be the best scene partner I can be
for my colleagues. USP encourages you to be prepared and be a good scene
partner, but when your Shakespeare script is only seven pages long for a two
hour show, you're limited in what you actually have control over. And in
fact, messing up is part of the technique, because it happens all. the. time. And
the audience loves it! And as a teaching artist, I encourage my students
to fail on an almost daily basis. So this experience was a healthy dose
of my own medicine. And it was fun. In case you didn't know,
failure IRL is not always fun and you won't always be cheered when you cry out
for help, but exercising your failure muscles certainly do ease the sting. <o:p></o:p></span></span></span></div>
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<span class="None"><span style="font-size: 15pt;"><span style="font-family: "helvetica";"><a href="https://1.bp.blogspot.com/-Nf5ZzNzQfcQ/V6Pa_dwhsVI/AAAAAAAAAho/9BdyHG2O2pYHtqBLaKr_DLrREQEywaVxwCLcB/s1600/Quince.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #eeeeee;"><img border="0" height="180" src="https://1.bp.blogspot.com/-Nf5ZzNzQfcQ/V6Pa_dwhsVI/AAAAAAAAAho/9BdyHG2O2pYHtqBLaKr_DLrREQEywaVxwCLcB/s320/Quince.png" width="320" /></span></a></span></span></span></div>
<br /></div>
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</div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">3. Don't just
sit behind the scenes. Go out and see what's happening around you.</span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-family: "helvetica";"><span style="color: #eeeeee;"><span style="font-size: 15pt;">USP encourages
the actors to go out in the audience and watch the show when they have a
moment. Ten minutes between your scenes? Go watch the show for a
while! I think that the theater world can be intense because we all get
caught up in this idea that we have to be busy all the time establishing our
careers. "What are you working on now? What's next?" I
DON'T KNOW I JUST WANT TO STAY AT HOME WITH MY WINE BOTTLE AND HUSBAND OKAY? We
have to remember it's okay to step back and be a human and be in the actual
world instead of just the world of your play (which is glorious and wonderful,
but so is the actual world!). Go see your friend's play. Go see the
new art exhibit. </span><span lang="PT" style="font-size: 15pt;">Travel. </span><span style="font-size: 15pt;"> Meet
someone new. These experiences will only enhance your performance the
next time you make an entrance.</span></span></span></div>
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</div>
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<span style="color: #eeeeee;"><span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">4. Sometimes
you just need to have a dance break.</span></b></span><b><span style="font-size: 15pt;"><o:p><span style="font-family: "helvetica";"> </span></o:p></span></b></span><br />
<b><span style="font-family: "helvetica"; font-size: 15pt;"><o:p></o:p></span></b><br />
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<span style="color: black;"><a href="https://3.bp.blogspot.com/-DRVHXET70mc/V6Pcbo3vIGI/AAAAAAAAAh4/nvRq4WMpQDQ39C8KEuuO7Mwf1kuUl5xtQCLcB/s1600/IMG_1789.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="color: #eeeeee;"><img border="0" height="240" src="https://3.bp.blogspot.com/-DRVHXET70mc/V6Pcbo3vIGI/AAAAAAAAAh4/nvRq4WMpQDQ39C8KEuuO7Mwf1kuUl5xtQCLcB/s320/IMG_1789.JPG" width="320" /></span></a></span></div>
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<span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">5. If you want
someone to do something, say so.</span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-size: 15pt;"><span style="font-family: "helvetica";"><span style="color: #eeeeee;">If you know me
personally, you know I can be "bossy." If you don't know me
personally, I can be "bossy." Part of this stems from my
only-child-syndrome and the other part of this comes from my love of reading
feminist articles that tell me to speak up for myself. The awesome thing?
Shakespeare's characters are bossy, too, and they get it done. #work.
Oberon wants his changeling boy? Boom. Tells Puck what to do.
Quince is directing a play? Boom. Tells the mechanicals where
and when to rehearse and how to do it. It's okay to speak up for yourself
and it's okay to ask someone to help you. We should, in fact, be doing
more of this.<o:p></o:p></span></span></span></div>
<br />
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<span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">6. And listen
when someone tells you to do something.</span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></div>
<br />
<div class="Default" style="margin: 0in 0in 0pt;">
<span style="font-size: 15pt;"><span style="color: #eeeeee; font-family: "helvetica";">When those
directions get thrown at you, you do it. You support your friends and
help them out, or else you make them look like a fool (which is, sometimes, a
choice). We all have those moments when we're not fully listening. I
probably say to someone once a week, "I heard you, but I wasn't listening
to you." (Hey, at least I'm honest!). During USP, I was the
best listener ever! I was waiting for those hints, waiting to be told how
to help my scene partner. Fun fact: People are dropping these hints all
the time about how we can help them and if we listen carefully enough, we can
support them.</span></span><br />
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<span style="font-family: "helvetica";"><b><span style="font-size: 15pt;">7. Suit the
action to the word. </span></b><span class="None"><span style="font-size: 15pt;"><o:p></o:p></span></span></span></div>
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<span style="font-size: 15pt;"><span style="font-family: "helvetica";"><span style="color: #eeeeee;">AKA: practice
what you post/preach, walk the talk, do as you say, etc, etc, etc. This
idea has never been more important to our current world, and resounds
loudly in my head allllll the time.<o:p></o:p></span></span></span></div>
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<span style="font-family: "helvetica";"><span style="color: #eeeeee;"><span style="color: #eeeeee;"><span style="font-size: 15pt;">Thank you so so
so so so much to everyone who came out to support this production. You
all are wonderful. If you missed it, there's going to be an abbreviated
performance at <a href="http://bacpgh.com/our-programs/events/britsburgh/" target="_blank">Britsburgh</a> </span><span style="font-size: 15pt;">on September 10. In the meantime, go see some <a href="http://www.post-gazette.com/ae/theater-dance/2016/07/21/10-theater-experiences-for-summer-in-Pittsburgh/stories/201607070005">awesome theater</a> that is happening in Pittsburgh this summer!!!</span></span><span style="font-size: 15pt;"> </span></span></span><br />
<br /></div>
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<span style="color: black;"></span></div>
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<span style="color: #eeeeee; font-family: "arial" , "helvetica" , sans-serif;">- Katie Trupiano</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-444058048178263512016-07-18T10:54:00.002-04:002016-07-18T10:54:51.101-04:00The Unrehearsed Shakespeare Project - Guest Post by Marceau Deschamps-Ségura<span lang="FR" style="font-family: "Calibri",sans-serif; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Here is Marceau
Deschamps-Ségura's follow up blog post to his earlier <a href="http://unrehearsedshakespeareproject.blogspot.com/2016/04/a-most-expected-journey-to-shakespeare.html" target="_blank">'A Most Expected Journey (to Shakespeare!)'</a> about his time visiting Pittsburgh (from Paris) and working with Elizabeth Ruelas & Andy Kirtland of The New Renaissance Theatre Company's Unrehearsed Shakespeare Project. Marceau took part in our Unrehearsed Cue Script Technique two-day workshop with the rest of our cast and had text sessions with each of the directors - all as part of his PhD Studies at Université de Poitiers. </span><br />
<span lang="FR" style="font-family: "Calibri",sans-serif; font-size: 11pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"></span><br />
<span lang="FR" style="font-family: "Calibri",sans-serif; font-size: 11pt; line-height: 115%; mso-ansi-language: FR; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><span style="font-family: Times New Roman; font-size: small;">
</span><br />
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<span style="font-family: Garamond; font-size: small;"><span lang="EN-GB" style="font-size: 12pt; mso-ansi-language: EN-GB;"> <span style="font-family: Georgia, "Times New Roman", serif;"> This time with
Elizabeth Ruelas and Andy Kirtland was a great pleasure, and I think I learned
a lot working with them. The first thing that struck me was the way they manage
to build a team within the very short time of the workshop (only two days!).
Almost all of us were meeting for the first time, and they now are going to
perform the two plays this month, with no more rehearsals together than fight
rehearsal. That capacity of team-building is very precious for that kind of
form which aims to go very deep very fast: deep into Shakespeare’s words, deep
into theatre, and deep into each of the actors. I am more used to long rehearsal
periods or of group work, and that kind of hurry was very refreshing and
life-affirming! Yes, we can do great things in just a short time! And
Shakespeare might be a great example to have in mind for that!<o:p></o:p></span></span></span></div>
<span style="font-family: Georgia, "Times New Roman", serif; font-size: small;">
</span><br />
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<span style="font-size: small;"><span lang="EN-GB" style="font-size: 12pt; mso-ansi-language: EN-GB;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="mso-tab-count: 1;"> </span>The way Elizabeth Ruelas and Andy
Kirtland directed us was very interesting for me, too. We had both a lot of
work and a lot of fun. They managed all the time to be friendly and firm. They
made it very precise what we were working on, and how much time we would have
for that, but they would smoothly change their plan if they saw that any of us
would need it, so I had the feeling we were taking our time despite the swiftness.
They were really driving us to the places they wanted to, but in the same time paid
a lot attention to each of us during the process. I hope I will take the
benefits of that experience, as a director.<o:p></o:p></span></span></span></div>
<span style="font-family: Georgia, "Times New Roman", serif; font-size: small;">
</span><br />
<div class="Mmoire" style="line-height: normal; margin: 0in 0in 0pt;">
<span style="font-size: small;"><span lang="EN-GB" style="font-size: 12pt; mso-ansi-language: EN-GB;"><span style="font-family: Georgia, "Times New Roman", serif;"><span style="mso-tab-count: 1;"> </span>Concerning the Cue Script Technique
itself, the experience overcame the theory of it. The feeling, as an actor, to
be on stage, looking for my cue, and paying attention in the same time to the
movements, the stage directions given by the text, is an essential part of
acting, for me. It increases the attention the actor pays to both the text –
its details, how it works, and how to make it obvious and thrilling for the
audience – and the stage, that is to say the space, one’s own place, and the
relationship to the other actors and the audience. Most of the qualities
necessary to improvise are there and make the play very vivid, build the
actors’ and the audience’s pleasure; those qualities meet the qualities of
text-theatre, with the secure presence of a great author’s words and story to
help them to elaborate a great moment. Indeed, the Cue Script Technique makes
it understandable how Shakespeare’s plays came to be so efficient, in spite of
their complexity, and with such a little time of common rehearsal – if any –
they had. It is now obvious for me that I couldn’t set, nor read, an
Elizabethan play without paying a great attention to those points we worked on:
each actor’s having only his own part; the cues, and the author would use false
or repeated cues to trick the actors, and make them feel as the characters do;
suiting the Action to the Word and the Word to the Action; the way the verse is
used to understand the emotional state of the character, thanks to
irregularities in the number of beats; how the actors crossing the stage and
addressing directly to the audience makes the action lively and clear; the
information the First Folios might give about the pronunciation and action.
During the text sessions, all of those points were made very clear, as well as
the plenty of puns and references Shakespeare would spread in his plays, and
that Elizabeth Ruelas and Andy Kirtland were qualified to explain. Moreover, these
two directors would give us the tools and methods to plainly understand our
roles, in order to perform it with pleasure and matter; each of them having his
and her own personal approach of Shakespeare through these common rules.
Eventually, the main thing I will retain from that experience, is that to
enable the audience to get the complexity of Shakespeare’s texts, their subtle
or trivial puns and simple or tangled story-lines, the first thing to do is to
make those plays as entertaining as they used to be. And that can be an
efficient way to do it thanks to all of those rules and codes that would be
used at the moment they were written, just as Elizabeth Ruelas and Andy
Kirtland do with the New Renaissance Theatre Company and the Unrehearsed
Shakespeare Project – bringing in their own point of view, humour and fantasy.<o:p></o:p></span></span></span></div>
<span style="font-family: Georgia, "Times New Roman", serif; font-size: small;">
</span><br />
<span style="font-family: Georgia, "Times New Roman", serif; font-size: small;"></span> </span><span style="font-family: Georgia, "Times New Roman", serif;">-
<span style="font-size: small;"><span lang="FR" style="font-size: 12pt; line-height: 150%;">Compte-rendu de Marceau Deschamps-Ségura<o:p></o:p></span></span></span><br />
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-41068110401930021652016-06-26T22:57:00.000-04:002016-06-26T23:08:13.455-04:00Part Two of The Teaching, the Directing, the Passion<span style="font-family: "calibri";">Here is the
continuation of my first blog post <a href="http://unrehearsedshakespeareproject.blogspot.com/2016/05/the-teaching-directing-passion.html" target="_blank">‘The Teaching, the Directing, the Passion'</a>
about my recent studies at Shakespeare’s Globe Directing Masterclasses.<span style="mso-spacerun: yes;"> </span>I took pages of notes, but wanted to distil
them all into a one paragraph summary for each of the two days of classes.<span style="mso-spacerun: yes;"> </span>Although this post is brief, I hope it will
inspire you to keep learning about whatever subject thrills you.<span style="mso-spacerun: yes;"> </span>As Albert Einstein said: ‘Once you stop
learning, you start dying.’</span><br />
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<o:p><span style="font-family: "calibri";"> </span></o:p></div>
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<span style="font-family: "calibri";">Day 2,
Sunday:</span></div>
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<span style="font-family: "calibri";">Today mostly
took place in Sackler Studios (as did some of Day 1) as well as in the Sam
Wanamaker Playhouse.<span style="mso-spacerun: yes;"> </span>Our first class of
the day was with Sarah Case for ‘Voice.’<span style="mso-spacerun: yes;">
</span>This lovely woman led us through some vocal exercises and helped to
integrate the importance of breath and voice.<span style="mso-spacerun: yes;">
</span>One of my favorite quotes from Ms. Case was ‘Breath is everything - it
drives the voice.<span style="mso-spacerun: yes;"> </span>Without breath you
have no voice.’<span style="mso-spacerun: yes;"> </span>This is so important in
Shakespeare.<span style="mso-spacerun: yes;"> </span>There are many long
thoughts and some difficult passages, so if your diaphragm isn’t properly
supported – you won’t be able to give them justice.<span style="mso-spacerun: yes;"> </span>We also got to ‘Breath the Space’ in the
playhouse, which was making sounds and saying lines from various places around
the space.<span style="mso-spacerun: yes;"> </span>This is a very good exercise
for getting actors to work together as a company, which is precisely what we
want to achieve with our ensemble at The New Renaissance Theatre Company.<span style="mso-spacerun: yes;"> </span>Too soon, it was time for lunch, and I wish
this session could have gone on for a bit longer, of course.<span style="mso-spacerun: yes;"> </span>After lunch, we met with Simone Coxall for ‘Movement
in Theatre’, which was amazing!<span style="mso-spacerun: yes;"> </span>For the
classes this weekend, we focused on <i style="mso-bidi-font-style: normal;">The
Tempest</i> Act 1 Scene II.<span style="mso-spacerun: yes;"> </span>Ms. Coxall
helped us to get grounded to the floor and used the brilliant analogy of
imagining ‘roots growing from our feet into the floor.’<span style="mso-spacerun: yes;"> </span>We did a lot of exercises to help us delve
into the three main characters of the scene: Prospero, Caliban and Ariel.<span style="mso-spacerun: yes;"> </span>Eventually, we used all of our work from the
beginning of the class to bring the text to life.<span style="mso-spacerun: yes;"> </span>I have such a problem getting out of my head,
but Ms. Coxall inspired me to have fun and to ‘not be afraid to fail.’<span style="mso-spacerun: yes;"> </span>This class split its time between the studios
and the playhouse like the Voice class, as well.<span style="mso-spacerun: yes;"> </span>In the playhouse, we really got to explore
movement as the three characters on the stage – using every bit.<span style="mso-spacerun: yes;"> </span>She also taught us to ‘not play the obstacle,
but do what you need to do to overcome it.’<span style="mso-spacerun: yes;">
</span>Towards the end of our session, I even got to portray Prospero in a bit
of movement work with a fellow classmate as Caliban.<span style="mso-spacerun: yes;"> </span>It was so much fun to play!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "calibri";">Finally,
class was over (sadly) and we all met with Rob Swain for ‘Plenary’ and to tell
him what a wonderful experience this was for us.<span style="mso-spacerun: yes;"> </span>I really hope I get the opportunity to work
with them all again.<span style="mso-spacerun: yes;"> </span>The Higher
Education Team were so kind and helpful.<span style="mso-spacerun: yes;">
</span>After some hugs and goodbyes, I zipped over to the line for Groundlings
with my ticket for <i style="mso-bidi-font-style: normal;">A Midsummer Night’s
Dream</i> in my hand.<span style="mso-spacerun: yes;"> </span>This was Emma
Rice’s first production as The Shakespeare’s Globe new Artistic Director.<span style="mso-spacerun: yes;"> </span>I wasn’t going to miss that!<o:p></o:p></span></div>
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<span style="font-family: "calibri";">-Elizabeth
Ruelas, Artistic Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>)</span></div>
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<span style="font-family: "calibri";">Pictured below: My traveling companion Balzac near the entrance to The Globe Theatre & Sackler Studios</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-35922107882776194852016-05-23T08:58:00.000-04:002016-05-23T09:15:26.040-04:00The Teaching, the Directing, the Passion<span style="font-family: "calibri";">I recently
had the extremely good fortune to be ‘hand-picked’ to take Directing
Masterclasses at Shakespeare’s Globe in London.<span style="mso-spacerun: yes;">
</span>I met such brilliant, warm, wonderful people in my instructors and my
fellow classmates.<span style="mso-spacerun: yes;"> </span>It’s reignited my
passion for directing and teaching so much that I want more!<span style="mso-spacerun: yes;"> </span>So, here is just a very tiny bit of how my
too brief weekend of Globe classes went:</span><br />
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<span style="font-family: "calibri";">Day 1,
Saturday:</span></div>
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<span style="font-family: "calibri";">Introductions
with Rob Swain brought us into the beautiful Sam Wanamaker Playhouse where I
pulled out my notebook to begin taking notes.<span style="mso-spacerun: yes;">
</span>The lovely actor Dickon Tyrrell was our instructor for ‘An Actor’s
Perspective’ where he told us what it was like playing in this beautiful space
as well as in the Globe theatre. <span style="mso-spacerun: yes;"> </span>He said
the mistake an actor could make in the indoor playhouse was ‘going too
intimate’ and that actors should ‘play it like you’re in the Globe’.<span style="mso-spacerun: yes;"> </span>Then we were given an extensive tour of the
playhouse from Hell to the Heavens!<span style="mso-spacerun: yes;"> </span>I
couldn’t agree more with Mr. Tyrrell’s advice about how ‘Shakespeare is the
director’ and that there is ‘no generalized emotion in Shakespeare’.<span style="mso-spacerun: yes;"> </span>As a Historically Informed Practice director
myself, these are the same things I tell my actors, as well as my students in
the workshops that I teach.<span style="mso-spacerun: yes;"> </span>Then we met
with director Jacqui Somerville for ‘A Director Prepares,’ who taught us about
how important a support system is.<span style="mso-spacerun: yes;"> </span>I
couldn’t agree more.<span style="mso-spacerun: yes;"> </span>We also learned Ms.
Somerville’s process for her preparation and research and how she works with
directors.<span style="mso-spacerun: yes;"> </span>One of my favorite things
that she said was: ‘Don’t spoon-feed actors. Empower them.’<span style="mso-spacerun: yes;"> </span>So inspirational!</span></div>
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<span style="font-family: "calibri";">After lunch,
we met with Simon Dormandy for our ‘Text and Language’ course.<span style="mso-spacerun: yes;"> </span>Such a fun discussion with my fellow
Shakespeareans!<span style="mso-spacerun: yes;"> </span>One of my favorite
quotes from Mr. Dormandy was ‘If it’s difficult to say, don’t make it
easy.’<span style="mso-spacerun: yes;"> </span>Going back to what Mr. Tyrrell
said earlier in the day about how ‘Shakespeare is the director’:<span style="mso-spacerun: yes;"> </span>Shakespeare puts the character in the
language.<span style="mso-spacerun: yes;"> </span>If your character is given a
difficult line to say – there’s a reason for it.<span style="mso-spacerun: yes;"> </span>Perhaps your character is confused,
conflicted or not sure about what he/she is saying.<span style="mso-spacerun: yes;"> </span>Don’t try to ‘fix’ the line.<span style="mso-spacerun: yes;"> </span>Just say it and see what happens.<span style="mso-spacerun: yes;"> </span>Then we got into text and pauses and got to
get on our feet to work on lines.<span style="mso-spacerun: yes;"> </span>I was
fortunate to read a bit of Olivia from <i style="mso-bidi-font-style: normal;">Twelfth
Night</i> aloud using what we had learned.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
<br />
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<span style="font-family: "calibri";">Before we
knew it, class was over.<span style="mso-spacerun: yes;"> </span>But all of us
directing students wanted more. Shakespeare and directing is our passion!<span style="mso-spacerun: yes;"> </span>Being able to learn from some of the best
practitioners around was such a blessing and I wish (as did we all) it could
have been longer.<span style="mso-spacerun: yes;"> </span>Luckily, there was one
more day of learning, which I’ll write about in my next blog post: ‘The
Teaching, the Directing, the Passion Part II.’</span></div>
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<span style="font-family: "calibri";">Stay tuned!<o:p></o:p></span></div>
<br />
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<span style="font-family: "calibri";">-Elizabeth
Ruelas, Artistic Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a></span></div>
<br />
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<span style="font-family: "calibri";">PS: Attached
are a couple of photos of my trip with my travelling companion Balzac (who you
may remember from Andy Kirtland’s blog post last year: <a href="http://unrehearsedshakespeareproject.blogspot.com/2015/02/a-labour-of-love-or-there-and-back-again.html" target="_blank">‘A Labour of Love, or There and Back Again’</a>) with more photos & my tweets during the weekend via <a href="https://twitter.com/search?f=tweets&vertical=default&q=%23EtoGlobe&src=typd" target="_blank">#EtoGlobe</a>.</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-14013994343748442982016-04-22T08:10:00.001-04:002016-05-07T19:19:03.470-04:00A most expected journey (to Shakespeare!) - Guest Post by Marceau Deschamps-SéguraThis month's post is by Marceau Deschamps-Ségura, who is visiting us from Paris, France to attend our upcoming Unrehearsed Cue Script Technique with our tour cast as part of his PhD studies at Université de Poitiers:<br />
<br />
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<span style="color: black; font-family: "calibri";"><span style="color: #f3f3f3; line-height: 107%;">I first met Andy Kirtland and his work with Elizabeth Ruelas on
Shakespeare during a lecture day about <i style="mso-bidi-font-style: normal;"><span style="font-style: italic; mso-bidi-font-style: normal;">Love's Labour's Lost</span></i>
at the École Normale Supérieure in Lyon. He presented the Unrehearsed Cue
Script technique, and what it revealed about the play.<br />
The interest of their work immediately struck me: using what we know about
Shakespeare and its original practices seem to me a great way to find out some
secrets of his texts, in order to make them efficient and powerful onstage.
Andy's exposé clearly showed how the actor was informed by the stage situation
and action, and how Shakespeare used the codes and practices of his own time to
increase his actors' presence.<br />
As an actor, I am very curious to experience that way to perform the text, to
play with it, and to find out the clues Shakespeare left in the actors' parts
to trick or help them. I am curious of the awareness, the calm and the truth it
seems to demand to the actors, and that I am trying to develop each day.<br />
As a young director, in our artistic and economical context, I really look
forward exploring a different way to think about the theatrical process.
Indeed, putting the focus on the stage situations, the relationship between the
actors and with the audience, keeping very attentive to the here and now so as
to play with it, all of these things appear to me as main qualities for an
actor to have, which make the great quality of a play, and the pleasure of its
audience. Moreover, I like the efficiency it implies about theatrical process:
the actors are always playing, creating, exploring, from the first time they
meet until the end of the tour. It's not about preparing something to give to
the audience, but properly creating something singular and unique, directly
under their eyes and thanks to their reactions. The whole path of creation is
worth being shared, and it is interesting sharing it from its first days. I
love the dream-come-true aspect of directly performing a play, in a brand new
place, with brand new actors and brand new audience, without the usual inertia
we often think necessary.<br />
As a dramaturge and a PhD student, I am impatient to witness and experience on
my own a historically informed technique which, I don't doubt it, will help me
understand Shakespeare's plays patterns, mechanisms, atmosphere and spirit, and
to make it echo with my own research about its original practices and
contemporary adaptations. It is such a pleasure to me when the works of the
scholars escape from their books to rush on the stage, and when the experiments
of artists contribute to the reflection about what has been done and what can
be done!<br />
<br />
At last, I am really impatient to meet a couple of passionate, demanding and
popular artists and their team, trying to bring to everybody a "new"
way to hear those plays, as lively and frolic as they might have been, four
centuries ago.</span></span><br />
<span style="color: #f3f3f3; font-family: "calibri";"></span><br />
<span style="color: #f3f3f3; font-family: "calibri";">-Marceau Deschamps-Ségura</span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-23916784757653968172016-03-22T22:13:00.001-04:002016-03-25T09:37:22.085-04:00Father Figures in Romeo and Juliet - Lord Capulet<span style="color: #f3f3f3;">What follows is a second part of a larger piece that I am
working on regarding the roles of the parents in <i>The Tragedie of Romeo and
Juliet</i><span style="font-style: normal;">. <a href="http://www.unrehearsedshakespeareproject.blogspot.com/2016/01/the-princes-daddy-issues-in-tragedie-of.html" target="_blank">Earlier I looked at the role of Prince Eskales</a> as a possibly fatherless father figure. Here we will take a look
at the strongest of the patriarchs depicted in the play, and see how his role
effects the tragedy of the young star-crossed lovers.</span>
</span><br />
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</span><br />
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<span style="color: #f3f3f3;">--------</span></div>
<span style="color: #f3f3f3;">
</span><br />
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</span><br />
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<span style="color: #f3f3f3;">The Capulets are probably the best-illustrated family unit
in the entirety of Shakespeare’s theatrical canon. We have scenes between the
parents and child. We see intercessions by the household servants who are like
family. There is a variety to this family that makes them human, if not
entirely likable. How then does this environment contribute to the tragedy of
the play?</span></div>
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</span><br />
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<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;">Lord Capulet speaks the first line almost every time that he
enters the scene. He comes on speaking which puts the attention on him. When
the Prince speaks privately to the fathers after the opening brawl, he takes
Capulet away with him first. Paris, the Prince’s kinsman is wooing Capulet’s
daughter. Capulet holds a feast. Capulet’s family has a large crypt. In the
context of the play the Capulet family is given importance over the Montagues.
The first words in the play are given to the Capulets. Lord Capulet is the
strong, authoritative father figure in this tragedy.</span></div>
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<span style="color: #f3f3f3;">The character is not drawn as a bad father. He protects his
family. When the audience discovers that the Countie Paris wishes to marry
Juliet, we first see Lord Capulet putting him off, telling him to wait because
she is too young. At his great feast, he speaks well of the party-crashing
Romeo, the son of his great rival and is able to keep the peace when Tibalt
demands satisfaction for this insult. It is only when Tibalt is murdered that Capulet
begins to force the marriage on his only living child in order to ensure her
safety and the family’s prosperity, making him appear a monster in the eyes of
his daughter, and a villain in the hearts of the audience. </span></div>
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</span><br />
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</span><br />
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<span style="color: #f3f3f3;">‘Mountague is bound as well as I,
/ In penalty alike, and 'tis not hard I thinke, / For men so old as wee, to
keepe the peace,’ he states. There is an acknowledgment of his role as a
leader, due to his age and authority. However, he quickly tempers this
authority with a father’s care for his daughter: ‘But wooe her gentle Paris,
get her heart, / My will to her consent, is but a part, / And shee agree,
within her scope of choise, / Lyes my consent, and faire according voice.’ He
does not treat Juliet as chattel, and shows true care and tenderness in these
lines regarding the dispensation of his daughter.</span></div>
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<span style="color: #f3f3f3;">The first time we are given any
exchange between Lord and Lady Capulet is after Tibalt’s death when Lord
Capulet does an about-face and agrees to quickly marry Juliet off to Paris. He
sends his wife to their daughter to make the case. Herein we have a glimpse as
to why this concerned father is made out as the baddie in this youthful love
story. This is the first time we see Juliet and her father interacting, and he
cannot understand why his daughter is not agreeable to his plans. Of course,
she is unaware of how he has been protecting her up to this point.</span></div>
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">How, will
she none? doth she not give us thanks? </span></span></div>
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Is she not
proud? doth she not count her blest, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Unworthy
as she is, that we have wrought </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">So worthy
a Gentleman, to be her Bridegroome</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………is meant Love.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">How now? </span></span></div>
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">How now?
Chopt Logicke? what is this? </span></span></div>
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<br /></div>
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</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">[…]</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Gods
bread, it makes me mad: </span></span></div>
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</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Day,
night, houre, ride, time, worke, play, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Alone in
companie, still my care hath bin </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">To have
her matcht, and having now provided </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">A
Gentleman of Noble Parentage, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Of faire
Demeanes, Youthfull, and Nobly Allied, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Stuft as
they say with Honourable parts, </span></span></div>
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</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Proportion'd
as ones thought would wish a man, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">And then
to have a wretched puling foole, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">A whining
mammet, in her Fortunes tender, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">To answer,
Ile not wed, I cannot Love: </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">I am too
young, I pray you pardon me. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span></span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;">Here is much abuse thrown at
Juliet by her father. He calls her ‘green sickness,’ ‘carrion,’ ‘baggage,’
‘tallow face,’ ‘disobedient wretch,’ ‘wretched puling foole’ and ‘whining
mammet.’ He threatens her: ‘I will drag thee, on a Hurdle thither,’ ‘My fingers
itch,’ ‘you shall not house with me,’ ‘Ile nere acknowledge thee.’ His
authority is lost with these insults and threats, showing instead a father
whose work for his child is unappreciated. In his eyes, Juliet has no idea what
machinations he has been dealing with on her behalf. Perhaps it is the very
fact that he has been working without her knowledge that has put this rift
between them. In Capulet’s next scene, this rift seems to be closed.</span></div>
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<br /></div>
<span style="color: #f3f3f3;">
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">How now my
headstrong, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Where have
you bin gadding?</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………rul'd by you.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Send for
the Countie, goe tell him of this, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Ile have
this knot knit up to morrow morning.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………bounds of modestie.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Why I am
glad on't, this is well, stand up, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">This is
as't should be, let me see the County: </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">I marrie
go I say, and fetch him hither. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Now afore
God, this reveren'd holy Frier, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">All our
whole Cittie is much bound to him.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………there's time inough.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Go Nurse,
go with her, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Weele to
Church to morrow. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………now neere night.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Tush, I
will stirre about, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">And all
things shall be well, I warrant thee wife: </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Go thou to
Juliet, helpe to decke up her, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Ile not to
bed to night, let me alone: </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Ile play
the huswife for this once. What ho? </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">They are
all forth, well I will walke my selfe </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">To Countie
Paris, to prepare him up </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Against to
morrow, my heart is wondrous light, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Since this
same way-ward Gyrle is so reclaim'd. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<span style="color: #f3f3f3;">The cues here, ‘rul’d by you’ and ‘bounds of modestie,’
combined with Capulet’s responses show that Juliet has come to her senses and
that as far as he is concerned, ‘This is as't should
be.’ He is so happy that he offers to stay up worrying: ‘Ile not to bed to
night, let me alone: / Ile play the huswife for this once.’ Having completed
his duties has a father, he will now take on the role of the mother. </span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<span style="color: #f3f3f3;">However, this joy is short-lived. After a few small
exchanges, Capulet’s cue lines tell him all he needs to know:</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………helpe, call helpe. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………shee's dead.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">…………………………………………………………………O wofull time.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;">The death of his daughter throws
him into despair, and he grieves, for his child.</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Death that
hath tane her hence to make me waile, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Ties up my
tongue, and will not let me speake. </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">[…]</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">O Child, O
Child; my soule, and not my Child, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
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<span style="color: #f3f3f3;"><span style="font-size: 10pt;">Dead art
thou, alacke my Child is dead, </span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-size: 10pt;">And with
my Child, my joyes are buried.</span></span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="margin-left: .5in; mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<span style="color: #f3f3f3;">In his grief he does not look for solace with his wife. His
lines are given to unspecified persons, or directed to his thwarted son-in-law,
Paris. At this most painful time for him, the death of his daughter (of course,
we in the audience have satisfaction that Juliet is not dead, and at the same
time, the knowledge that she does not see this honest tenderness that her
father expresses for her: another instance of the tragedy of miscommunication
between father and daughter), he is alone in his suffering.</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;">In the play’s final scene, Capulet makes several
references to family. He refers to his own family by their relationship to
himself, again calling Lady Capulet ‘wife’ and referring to ‘our Daughter’ and
‘my Daughter[ ]’ rather than using their names. Then surprisingly he refers to
‘Brother Montague.’ Now, with the death of both of their children, they can be
brothers. They are of one generation and can understand each other.</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;">By eventually forcing the issue of Juliet’s marriage to
Paris, Lord Capulet pushes the tragedy along its path. Had he continued with
the compassionate care of his daughter, letting her choose whom she liked, he
still may not have allowed the marriage of Romeo and Juliet to continue, but we
can only speculate on alternate endings. What is clear through the text is that
there is very little meaningful communication between father and daughter in
the Capulet household, a strengthening of which may have avoided quite a bit of
bloodshed.</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;">-----</span></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<br /></div>
<span style="color: #f3f3f3;">
</span><br />
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;">As work continues on the prompt book and through text
sessions with the cast of <i>The Tragedie of Romeo and Juliet</i><span style="font-style: normal;"> for NRTC’s upcoming production as part of our
Unrehearsed Shakespeare Project’s 2016 tour, more will be <span style="background-color: white;"><span style="background-color: black;"><span style="background-color: #444444;"><span style="background-attachment: scroll; background-color: black; background-image: none; background-position: 0% 0%; background-repeat: repeat; background-size: auto auto;">unearthed regarding</span><span style="background-color: black;"> </span></span></span></span>the
parents and parental figures in the play and how the generation gap effects the
course of the play.</span></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-layout-grid-align: none; mso-pagination: none; text-autospace: none;">
<span style="color: #f3f3f3;"><span style="font-style: normal;">-Andy Kirtland, Managing Director of The New Renaissance Theatre Company (which produces The Unrehearsed Shakespeare Project)</span></span></div>
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<a href="https://4.bp.blogspot.com/-OYkCXrjTc2s/VFFxy_3uXII/AAAAAAAAATk/2AfEXC8g60EYE09UrkWneYi4XU-zLIaIg/s1600/Andy%2BKirtland%2BHeadshot.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-OYkCXrjTc2s/VFFxy_3uXII/AAAAAAAAATk/2AfEXC8g60EYE09UrkWneYi4XU-zLIaIg/s320/Andy%2BKirtland%2BHeadshot.jpg" width="256" /></a></div>
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<span style="color: #f3f3f3;"><span style="font-style: normal;"><br /></span></span></div>
<span style="color: #f3f3f3;">
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<span style="color: #f3f3f3;">
</span>Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-34845947800891274752016-02-15T11:29:00.000-05:002016-02-15T11:43:06.498-05:00Our Midsommer Nights with Romeo and Juliet<span style="font-family: "calibri";">Much like last year’s post <u><a href="http://www.unrehearsedshakespeareproject.blogspot.com/2015/01/much-adoe-and-me.html" target="_blank">Much adoe and Me</a></u>, this
post is about why <i style="mso-bidi-font-style: normal;">A Midsommer Nights
Dreame </i>and <i style="mso-bidi-font-style: normal;">The Tragedie of Romeo and
Juliet</i> (First Folio spellings) were chosen for our Unrehearsed Shakespeare
Project tour this year.<span style="mso-spacerun: yes;"> </span>To begin with,
both of these plays are perfect demonstrations of almost everything the Unrehearsed
Cue Script Technique offers from blocking directions to simultaneous dialogue
clues.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">MSND</i>, aside from being my favorite of Shakespeare’s comedies, has
countless examples of how this technique shows the audience what the characters
really think about each other even though they are saying the opposite.<span style="mso-spacerun: yes;"> </span>Using just the rules of Unrehearsed brings
the Demetrius & Helena ‘follow me no more’ scene to hilarious life when the
actors follow the technique’s rules of crossing.<span style="mso-spacerun: yes;"> </span>And the play within a play scene never fails
to entertain when the actors stay true to the text and do exactly as
Shakespeare has written!<span style="mso-spacerun: yes;"> </span>I don’t want to
give too much away, but I’ve seen so many productions of <i style="mso-bidi-font-style: normal;">MSND</i> where the director feels that he/she needs to ‘add’
superfluous actions and props to make this scene funny.<span style="mso-spacerun: yes;"> </span>It doesn’t need it.<span style="mso-spacerun: yes;"> </span>Just stay true the text and you’re golden!<span style="mso-spacerun: yes;"> </span>Finally, as the director of <i style="mso-bidi-font-style: normal;">MSND</i>, I got to do one of my favorite
doublings, which is to combine the lovers, mechanicals and fairies into just
four tracks.<span style="mso-spacerun: yes;"> </span>I put together this
doubling the last time I directed <i style="mso-bidi-font-style: normal;">MSND</i>,
which adds a bit more excitement and fun for our cast as well as the audience –
who get to see our versatile actors switch characters with the snap of a
finger.<span style="mso-spacerun: yes;"> </span>With the usual doubling of Puck
& Philostrate, Theseus & Oberon, Hippolyta & Titania, and Egeus
& Quince (Bottom has no doubling), this rounds out my cast to 9 actors
onstage and 1 prompting.<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "calibri";">As for <i style="mso-bidi-font-style: normal;">Romeo &
Juliet</i>, that was a bit of a happy accident.<span style="mso-spacerun: yes;">
</span>We wanted to do two plays this year and needed one that would be a
dramatic contrast to <i style="mso-bidi-font-style: normal;">MSND</i> – while
still sharing some of the same romantically tragic elements of how love (or the
lack of it) affects people.<span style="mso-spacerun: yes;"> </span>Plus, this
would be an opportunity for people to see a well-known story presented in a new
way, which will be illuminating in ways that more traditional productions,
movies or merely reading the script are not.<span style="mso-spacerun: yes;">
</span><i style="mso-bidi-font-style: normal;">Romeo & Juliet</i> was written
around the same time as <i style="mso-bidi-font-style: normal;">MSND</i>, and
Andy Kirtland (the director) initially thought it could be performed using just
10 actors, as well (9 performing and 1 prompting).<span style="mso-spacerun: yes;"> </span>However, after many nights of hair-pulling
research, he discovered that this play does indeed need 11 people.<span style="mso-spacerun: yes;"> </span>This is where our Apprentice idea came from,
and we are thrilled to be bringing in someone to take over a track of roles for
<i style="mso-bidi-font-style: normal;">R & J</i> as well as assist our
awesome stage manager in <i style="mso-bidi-font-style: normal;">MSND</i>.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">R &
J </i>also has that wonderful simultaneous dialogue in certain parts, if you
use the Unrehearsed Cue Script Technique.<span style="mso-spacerun: yes;">
</span>These dramatic moments of confusion and characters talking over each
other are thrilling and are rarely (if ever) seen in performances!<span style="mso-spacerun: yes;"> </span>On a personal note, <i style="mso-bidi-font-style: normal;">R & J </i>was the first Shakespeare play I ever read and acted
in.<span style="mso-spacerun: yes;"> </span>Even though I had a very small part
as a dancer in that university production, years later it would be one of my
first Unrehearsed Cue Script Technique shows with The New England Shakespeare
Festival – in which I played Mercutio.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "calibri";">As with all of our Unrehearsed Shakespeare Project shows,
each of our actors have taken on 2 or 3 tracks, which we switch around for each
performance.<span style="mso-spacerun: yes;"> </span>So, audience members who
attend on multiple days will never see the exact same show twice!<span style="mso-spacerun: yes;"> </span>Watching an Unrehearsed Cue Script Technique
production brings Shakespeare’s plays to life in ways that people don’t usually
get to see.<span style="mso-spacerun: yes;"> </span>Our theatre company cares
about the story and staying true to the text, which comes through in the high
quality performances and audience reaction.<span style="mso-spacerun: yes;">
</span>I am thrilled to be bringing our 3<sup><span style="font-size: x-small;">rd</span></sup> year’s tour to Allegheny
Parks again and look forward to bringing our fun and energetic shows there for
many years to come.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="margin: 0in 0in 8pt;">
<span style="font-family: "calibri";">-Elizabeth Ruelas, Artistic Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>)</span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-PILkiyw4Oeo/Ve2KnE0xHaI/AAAAAAAAAdw/lvi9H550_WM/s1600/Elizabeth%2BRuelas%2BHS.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-PILkiyw4Oeo/Ve2KnE0xHaI/AAAAAAAAAdw/lvi9H550_WM/s320/Elizabeth%2BRuelas%2BHS.jpg" width="212" /></a></div>
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<span style="font-family: "calibri";"><o:p></o:p></span> </div>
Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-36253708542698639612016-01-13T09:41:00.000-05:002016-01-13T13:02:09.606-05:00The Prince's Daddy Issues in The Tragedie of Romeo and Juliet<span style="color: #eeeeee;">At this time of year as we find ourselves preparing for our
upcoming Unrehearsed Shakespeare Project’s tour of <i style="mso-bidi-font-style: normal;">A Midsommer Night’s Dreame</i> and <i style="mso-bidi-font-style: normal;">The
Tragedie of Romeo and Juliet</i>, I find myself up to the elbows in cue scripts
as I prepare and format the texts. When working on the texts in parts this way,
themes and words make themselves known in different ways. This time, working on
<i style="mso-bidi-font-style: normal;">Romeo and Juliet</i>, I have been struck
by the roles of the parents. The following is part of a longer essay, still
being composed, that will explore the parental relationships in <i style="mso-bidi-font-style: normal;">The Tragedie of Romeo and Juliet</i> as seen
through the text of the First Folio and the cue scripts for the characters
involved. <o:p></o:p></span><br />
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: #eeeeee;">After pointing out some differences in the title pages of
the quartos preceding the publication of the First Folio, I point to one
specific variation. One of the Prince’s lines, commonly printed as ‘To know our
farther pleasure in this case,’ appears in the First Folio as ‘To know our <i style="mso-bidi-font-style: normal;">Fathers</i> pleasure in this case’ (emphasis
mine). The following are my musings on the implications of this word choice
when exploring the roles of parent’s in <i style="mso-bidi-font-style: normal;">The
Tragedie of Romeo and Juliet</i>.<o:p> </o:p></span></div>
<span style="color: #eeeeee;"></span><br />
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt; text-align: center;">
<span style="color: #eeeeee;"></span><br />
<span style="color: #eeeeee;"></span><br />
<span style="color: #eeeeee;"></span><br />
<hr align="center" size="2" width="100%" />
<span style="color: #eeeeee;">
</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: #eeeeee;">In his first appearance, The Prince has only one speech in
which he brings a brawl to an end:<o:p></o:p></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Rebellious
Subjects, Enemies to peace, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Prophaners
of this Neighbor-stained Steele, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Will
they not heare? What hoe, you Men, you Beasts, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">That
quench the fire of your pernitious Rage, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">With
purple Fountaines issuing from your Veines: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">On
paine of Torture, from those bloody hands </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Throw
your mistemper'd Weapons to the ground, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
heare the Sentence of your mooved Prince. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Three
civill Broyles, bred of an Ayery word, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">By
thee old Capulet and Mountague, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Have
thrice disturb'd the quiet of our streets, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
made Verona's ancient Citizens </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Cast
by their Grave beseeming Ornaments, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">To
wield old Partizans, in hands as old, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Cankred
with peace, to part your Cankred hate, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">If
ever you disturbe our streets againe, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Your
lives shall pay the forfeit of the peace. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">For
this time all the rest depart away: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">You
Capulet shall goe along with me, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
Mountague come you this afternoone, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">To
know our Fathers pleasure in this case: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none; text-indent: 0.5in;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">To
old Free-towne, our common judgement place: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt; text-indent: 0.5in;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Once more on paine of death, all men depart.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">It takes the Prince 8 lines of
text before the fighting ceases, and he can get a word in edgeways. His cue to
enter is ‘seek a Foe.’ This gives the actor entering the idea that he is
already entering a situation looking for an adversary, not to take control. He
speaks of ‘Three civill Broyles, bred of an Ayery word.’ If his power is so
respected, such slights would not break out into violence, but rather the fear
of repercussions would keep the citizens in line. He must tell everyone to
leave twice: ‘For this time all the rest depart away:’ then again 5 lines
later, ‘Once more on paine of death, all men depart.’ This could be seen as 2
stage directions, the first to the citizens who have come to join the fight, and
the second to the remaining heads of the family. It is within these five lines
that the Prince speaks of his ‘Father’s pleasure.’ Possibly, he wanted the
common citizens to disperse, and not hear that he must take this case to a
higher authority, his Father. It is possible that everyone is aware of his
weakness as a ruler, and therefore, ignores the order. At the end of these
lines, still all men do not depart. Montague, Lady Montague and Benvolio remain
on stage. Yes, this device keeps the plot and action moving along (and rightly
so), but we could have another introducing Romeo after everyone had left the
stage. By keeping some players on stage, the weakness of the Prince’s position
is pushed farther.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Several references are made to
age in his first speech: ‘old Capulet and Montague,’ ‘auncient Citizens,’ the
double entendre of ‘Grave beseeming Ornaments’ and ‘hands as old.’ These men,
or this situation at least, seem to have some seniority to the Prince. The
reference to his Father also refers to an older authority. This opens up the
possibility that the Prince is young himself, and offers an explanation for his
weakness. The ending’s inevitability is presaged by the fact that a world in
which the generations do not listen to one another is overseen by a youthful
figure who does not command the authority necessary to keep order and peace.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">The next time we see the Prince,
we see the result of his weak leadership. He enters following the two fights
that end with the deaths of Mercutio and Tibalt. His cue script for this scene
is as follows:<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: #eeeeee; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;">dost thou stay?</span> </span></span></div>
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none; text-align: center;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">ENTER PRINCE, OLD MONTAGUE, CAPULET, THEIR
WIVES</span></div>
<div align="right" class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none; text-align: right;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">[51]</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Where
are the vile beginners of this Fray?<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">O Cozin, Cozin.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Benvolio,
who began this Fray?</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">must not live.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Romeo
slew him, he slew Mercutio, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Who
now the price of his deare blood doth owe.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">life of Tybalt.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
for that offence, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Immediately
we doe exile him hence: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">I
have an interest in your hearts proceeding: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">My
bloud for your rude brawles doth lie a bleeding. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">But
Ile Amerce you with so strong a fine, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">That
you shall all repent the losse of mine. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">It
will be deafe to pleading and excuses, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Nor
teares, nor prayers shall purchase our abuses. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Therefore
use none, let Romeo hence in hast, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Else
when he is found, that houre is his last. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Beare
hence his body, and attend our will: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Mercy
not Murders, pardoning those that kill. <o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none; text-align: center;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">EXEUNT</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: #eeeeee;">Upon his arrival, he has to repeat himself. This is never a
good beginning to a person supposedly in a position of power. The full text of
these first exchanges looks like this:<o:p> </o:p></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold; mso-bidi-language: EN-US;">Prince</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="mso-tab-count: 2;"> </span>Where are the
vile beginners of this Fray?<o:p></o:p></span></span></div>
<span style="color: #f3f3f3;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold; mso-bidi-language: EN-US;">Benvolio</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;"> <span style="mso-tab-count: 1;"> </span>O Noble Prince, I
can discover all</span> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">The
unluckie Mannage of this fatall brall: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">There
lies the man slaine by young Romeo, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">That
slew thy kinsman brave Mercutio.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold; mso-bidi-language: EN-US;">Capulet Wife</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;"> <span style="mso-tab-count: 1;"> </span>Tybalt, my Cozin? O my
Brothers Child,</span> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">O
Prince, O Cozin, Husband, O the blood is spild </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Of my
deare kinsman. Prince as thou art true, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">For
bloud of ours, shed bloud of Mountague. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 1.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">O
Cozin, Cozin.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-weight: bold; mso-bidi-language: EN-US;">Prince</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"> <span style="mso-tab-count: 2;"> </span>Benvolio, who
began this Fray?</span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt;">
<span style="color: #eeeeee;">There is evidence here that the lines spoken by Benvolio and
Lady Capulet are simultaneous and he is given a false cue to start speaking by
Lady Capulet. He is being shouted at and interrupted. From the audience’s point
of view, this makes thematic sense: Lady Capulet has just found her kinsman was
murdered, and Benvolio is trying to protect his best friend. From a character
point of view, this reinforces the Prince’s weakness.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;">When interceding in the large melee in the first scene, the
Prince threatens</span><span style="color: #f3f3f3;"> ‘<span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">If ever you disturbe our streets
againe, / Your lives shall pay the forfeit of the peace.’ Yet here, after the
feud results in the death of his own kinsman, his sentence is exile for Romeo,
and a stiff financial penalty for the Montagues and Capulets. He goes back on
his word, where a penalty of death is called for he again shows what he
believes to be mercy. This tactic does not work out well for him.</span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">The third and final time that we
see the Prince, he is summoned late at night to the Capulet family tomb.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;">the Frier too.</span> </span></span></div>
<div align="center" class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none; text-align: center;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">ENTER THE PRINCE</span></div>
<div align="right" class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none; text-align: right;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">[99]<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">What
misadventure is so earely up,</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">That
calls our person from our mornings rest? </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p> </o:p></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">toward our Monument.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">What
feare is this which startles in your eares?</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">and new kil'd.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Search,
</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Seeke,
and know how, this foule murder comes.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;">to a Sepulcher.</span> </span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Come
Mountague, for thou art early up </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">To
see thy Sonne and Heire, now early downe.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">against my age?</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Looke:
and thou shalt see.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">to a grave?</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Seale
up the mouth of outrage for a while, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Till
we can cleare these ambiguities, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
know their spring, their head, their true descent, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
then I will be generall of your woes, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
lead you even to death? meane time forbeare, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
let mischance be slave to patience, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Bring
forth the parties of suspition.</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">my selfe excus'd.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Then
say at once, what thou dost know in this?</span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">of severest Law.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">We
still have knowne thee for a Holy man. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Where's
Romeo's man? What can he say to this?</span><span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p> </o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">left him there.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Give
me the Letter, I will look on it.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Where
is the Counties Page that rais’d the Watch?<span style="mso-tab-count: 2;"> </span></span></span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">This
Letter doth make good the Friers words, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Their
course of Love, the tydings of her death: </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
heere he writes, that he did buy a poison </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Of a
poore Pothecarie, and therewithal </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Came
to this Vault to dye, and lye with Juliet. </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Where
be these Enemies? Capulet, Mountague, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">See
what a scourge is laide upon your hate, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">That
Heaven finds meanes to kill your joyes with Love; </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">And
I, for winking at your discords too, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: black; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">Have
lost a brace of Kinsmen: All are punish'd.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee;"><span style="font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-font-style: italic; mso-bidi-language: EN-US;">…………………………………………………………………</span></span><span style="color: #f3f3f3; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">of our enmity.</span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">A
glooming peace this morning with it brings, </span></div>
<div class="MsoNormal" style="margin: 0in 0in 0pt 0.5in; mso-layout-grid-align: none; mso-pagination: none;">
<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">The
Sunne for sorrow will not shew his head; </span></div>
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<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Go
hence, to have more talke of these sad things, </span></div>
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<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Some
shall be pardon'd, and some punished. </span></div>
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<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">For
never was a Storie of more Wo, </span></div>
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<span style="color: #eeeeee; font-size: 10pt; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">Then this
of Juliet, and her Romeo. </span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><o:p></o:p></span></div>
<span style="color: #eeeeee;"></span><br />
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<span style="color: #eeeeee;">He comes on the scene to find the bodies of Romeo (whom he
had exiled), Paris (another of his own kinsmen) and Juliet, freshly dead. There
is, however, an acknowledgment of the role his weakness has played in the
unfolding of the tragedy: <span style="color: #f3f3f3;">‘</span><span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #f3f3f3;">And I, for winking at your
discords too, / Have lost a brace of Kinsmen: All are punish'd.’ Any reason for
this weakness is only hinted at throughout the text.</span> <o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
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<span style="color: black; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;"><span style="color: #eeeeee;">However, once he discovers that
the grudge between these families has resulted in death, and in an affront to
his own family and authority, there is no more mention of age in the Prince’s
text, and no further intimation of an absent Father. It could be said that the
Prince does grow up.<o:p></o:p></span></span></div>
<span style="color: #eeeeee;"></span><br />
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<span style="color: #eeeeee; mso-bidi-font-family: GillSans; mso-bidi-font-size: 14.0pt; mso-bidi-language: EN-US;">The whereabouts and identity of
the Prince’s Father, if he ever existed in the confines of the story, is never
discussed. There is mention of the plague breaking out during the action of the
play, but it never directly touches Verona. Was he afflicted? We do not know,
and possibly should not even care. However, if this fleeting reference to an
absent father (ruler) is significant to the over-arching theme of parents and
their children, what does the Prince’s Father’s absence mean for, and say
about, <i style="mso-bidi-font-style: normal;">The Tragedie of Romeo and Juliet</i>?</span><o:p></o:p></div>
<span style="color: #eeeeee;"></span><br />
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<span style="color: #eeeeee;">The absence means, that for whatever reason, the son is left
in charge. The child is given authority. We are never told how old the Prince
is. We know that Mercutio and Paris are his kinsmen. We know that he has spoken
out harshly against the feud between the Montagues and Capulets. We know by his
actions that he is not a consistent ruler. By his own admission, his rule has
contributed to the tragedy of the play. This all possibly points to the fact
that the Prince is not ready to be in charge. He cannot govern Verona (his
symbolic children) because he is immature and not ready. Having an unprepared
Prince in charge mirrors the actions of the more popular characters in the
play, parents who cannot govern their children and the youths who are incapable
of governing themselves.<o:p></o:p></span></div>
<o:p><span style="color: #eeeeee;"> </span></o:p><br />
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<span style="color: #eeeeee;"></span><br />
<span style="color: #eeeeee;"></span><br />
<span style="color: #eeeeee;"></span><br />
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<span style="color: #eeeeee;">
</span></div>
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<span style="color: #eeeeee;">The essay will go on to compare and contrast the Lords and
Ladies Montague and Capulet, as well as exploring the surrogate parents, the
Nurse and Friar Lawrence. Some other themes that have caught my interest while
preparing this play have been communication, or lack thereof, and the
importance of names. I look forward to putting more of my thoughts down and
sharing them with all of you.<o:p></o:p></span></div>
<span style="color: #eeeeee;"></span><br />
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<span style="color: #eeeeee;">-Andy Kirtland, Managing Director of </span><a href="http://www.newrentheatre.com/" target="_blank"><span style="color: #eeeeee;">The New RenaissanceTheatre Company</span></a><span style="color: #eeeeee;"> (which produces </span><a href="http://www.unrehearsedshakespeareproject.com/" target="_blank"><span style="color: #eeeeee;">The Unrehearsed Shakespeare Project</span></a><span style="color: #eeeeee;">)<o:p></o:p></span></div>
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-41284930177067164122015-12-13T14:40:00.005-05:002015-12-13T14:40:50.275-05:00NRTC: Year 1...and Beyond!Just over a year ago, on 19 November 2014, The New Renaissance Theatre Company was officially incorporated as a non-profit corporation. In that year, we have accomplished quite a bit: <br />
<br />The Unrehearsed Shakespeare Project’s tour grew from two performances to six, and we performed in five new locations, including taking the show on the road to Baltimore, MD where we were seen at the Inner Harbor, and at Artscape. At home in Pittsburgh, we began a relationship with Allegheny Parks, allowing us to reach audiences all over Allegheny County. <br />
<br />Behind the scenes, we have come to realize how the (sometimes unforeseen) small, yet crucial day-to-day tasks of running a theatre company are adding up. Networking through social media and events, blogging, looking for and obtaining insurance and other legal necessities, finding venues and willing partners and donors, fundraising and creating programs to educate performers and students are all fortunately beginning to pay off. We are extremely lucky to have added three outstanding and committed board members, whose talents and enthusiasm are an amazing addition to the administration of the company. Because of their skills and initiatives, NRTC will be able to grow faster and in a sustainable way to ensure that we are around for years to come. <br />
<br />Of course, none of what we do would be possible without the growing support of our generous donors and the tireless efforts of our actors, who, with each performance, undoubtedly, embark on the most difficult task they will ever be asked to perform in front of an audience. <br />
<br />At this time, as we are striding the blast between this year and the next, we must also look to the future. In 2016, The Unrehearsed Shakespeare Project will continue to grow. Ambitiously, we are adding a second show to our summer tour, performing A Midsommer Night’s Dreame and The Tragedie of Romeo and Juliet in rep. We are expanding from six to 12 performances and planning on returning to Baltimore. There are the possibilities of other performances and workshops in and around Pittsburgh as well as out-of-state. We will launch an Indie-gogo campaign to raise money and awareness of NRTC and USP. Our budget is increasing for the third year in a row, and we will be in a great position to invest in the theatre’s future. <br />
<br />All of this is great for us and this may sound like so much horn-honking and back patting – but, yes it is. Go us! We are not ashamed to say that we are proud about what our hard work and passion has accomplished in this short period of time, or that we are excited about our future. But as always, our focus is on the audience and how you experience theatre and how it can be a meaningful part of your life. <br />
<br />So what do our accomplishments mean for you? <br />
<br />As the New Renaissance Theatre Company grows, we will be able to offer more opportunities for local artists and students. The Unrehearsed Shakespeare Project is unique not only in Pittsburgh or the USA, but also in the world. Very few theatre companies attempt the type of work we do, or approach the text with the research and attention to detail that our productions demand. Most importantly, in order to bring our historically informed practices to life, we depend on brave, talented actors whom we seek, and will continue to seek (and find), in Pittsburgh. NRTC celebrates local and locally grown talent, and actively seeks ways to keep them in Pittsburgh, which is a benefit to the theatre community at large. As our visibility grows at home and abroad, we will become a resource for the city and, indeed, the region. By increasing our physical footprint through more and farther-flung performances and workshops, and increasing our presence online, NRTC will have the ability to reach more people who may not normally have direct access to quality, professional theatre on a regular basis. We can act as a gateway to the incredible arts scene that thrives and grows in Pittsburgh. <br />
<br />In the next few weeks many people will begin to make New Year Resolutions. It could be said that NRTC’s is to move onwards and upwards, but we are striving to do that all the time. We promise to continue the hard work on our end in the coming year and making The New Renaissance Theatre Company a theatre that not only we are proud of, but one that you, our friends, fans and followers can be proud of, too. <br />
<br />Thank you, and Happy Holidays! <br />-Andy Kirtland, Managing Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>) <br />
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Unrehearsed Shakespeare Projecthttp://www.blogger.com/profile/15669281371615125878noreply@blogger.com0tag:blogger.com,1999:blog-3355039784684038510.post-82056184245255077632015-11-08T09:27:00.000-05:002015-11-08T09:27:18.416-05:00Letting Shakespeare Do the Work for You
<span style="font-family: Calibri;">One of my favorite things to say to actors new to the
Unrehearsed Cue Script Technique (Historically Informed Practice) is that
“Shakespeare does all the work for you.”<span style="mso-spacerun: yes;">
</span>Trust the text, the words and the punctuation.<span style="mso-spacerun: yes;"> </span>Don’t try to add subtext or backstory that’s
not there.<span style="mso-spacerun: yes;"> </span>It’s not necessary.<span style="mso-spacerun: yes;"> </span>Unfortunately, it takes a true leap of faith
for many actors to let go of their standard way of performing and trust the
technique.<span style="mso-spacerun: yes;"> </span>Shakespeare wrote during a
time where actors barely rehearsed the plays.<span style="mso-spacerun: yes;">
</span>They performed a different play every day - 6 days a week, added a new
play every two weeks and had over 80 plays a year in their repertoire.<span style="mso-spacerun: yes;"> </span>So, he and the other playwrights of the time
wrote important stage directions and character clues right into the text, which
actors of the day already knew how to use.<span style="mso-spacerun: yes;">
</span>400 years later, this technique is still working.<o:p></o:p></span><br />
<br />
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<span style="font-family: Calibri;">Our Managing Director Andy Kirtland shares this story of
when he played Antipholus of Ephesus in <i style="mso-bidi-font-style: normal;">The
Comedy of Errors</i> for The New England Shakespeare Festival (NESF) several
years ago: “<span lang="EN" style="mso-ansi-language: EN;">I made the choice to be
sad on the line 'I never saw my father in my life.' I thought it was good. But
the less than gentle note I received was that 1) that isn't anywhere in the
text, and 2) nobody cares. Even worse, I came to realize that it injects a note
that is distracting to the general tone of the scene. Everything worked much
better when I just said the line and the story continued on. It drove home that
these techniques are not about me, the actor. They are about the story and the
audience. Like so much in life it is not about you, and when the focus is on
others, everything is so much better.”</span></span></div>
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<span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: Calibri;">It is difficult
to believe that a group of actors who barely know each other will learn their
parts on their own, will only receive their lines and the last few words of
their cues, will not receive any blocking notes from the director, will not
know who will be saying their cue lines or when, and the first time the entire
show will be performed will be in front of the audience.<span style="mso-spacerun: yes;"> </span>Then, magically, that first show happens and
everything falls into place!<span style="mso-spacerun: yes;"> </span>I confess
that I was incredibly scared before my very first Unrehearsed show.<span style="mso-spacerun: yes;"> </span>I was Bianca in <i style="mso-bidi-font-style: normal;">Taming of the Shrew </i>for NESF years ago, and during that very first
scene that I watched from the wings – I saw it happen: a group of incredibly
talented actors who received the best technique training from NESF’s founder
& producing artistic director Demitra Papadinis brought this comedy to life
without any rehearsal…and it worked beautifully!<span style="mso-spacerun: yes;"> </span>It just took trusting the technique and our
fellow actors.</span></span></div>
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<span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: Calibri;">Sometimes during
text sessions, certain actors will ask me questions about subtext or the magic
‘if’ or how their character feels about so-and-so. <span style="mso-spacerun: yes;"> </span>These are modern technique questions that have
nothing to do with Shakespeare.<span style="mso-spacerun: yes;"> </span>In fact,
they were invented centuries after Shakespeare wrote his plays.<span style="mso-spacerun: yes;"> </span>And don’t even get me started on Freud and
the Bard.<span style="mso-spacerun: yes;"> </span>I try to bring the actors back
to what their character actually says and use the word choices that the
playwright gives them to their advantage.<span style="mso-spacerun: yes;">
</span>Don’t worry about what your character had for breakfast or if they were
bottle-fed.<span style="mso-spacerun: yes;"> </span>Concentrate on what’s
happening now in the play and don’t anticipate what’s going to happen in a few
scenes, which are basic acting notes that we all still get today.<span style="mso-spacerun: yes;"> </span>Learn the technique, trust it, use it to the
best of your ability and don’t over think it.<span style="mso-spacerun: yes;">
</span>After all, Shakespeare has already done all the work for you.</span></span></div>
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<span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: Calibri;"></span></span> </div>
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<span lang="EN" style="mso-ansi-language: EN;"><span style="font-family: Calibri;">-Elizabeth
Ruelas, Artistic Director of <a href="http://www.newrentheatre.com/" target="_blank">The New Renaissance Theatre Company</a> (which
produces <a href="http://www.unrehearsedshakespeareproject.com/" target="_blank">The Unrehearsed Shakespeare Project</a>)</span></span></div>
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