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Home :: Archive :: 1995 :: December ::
Q: Development of Individualism; "To be . . ."
Shakespeare Electronic Conference, Vol. 6, No. 0960.  Tuesday, 12 December 1995.
 
(1)     From:   Jesus Cora <
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        Date:   Monday, 11 Dec 1995 19:42:25 UTC+0200
        Subj:   Q: Development of individualism.
 
(2)     From:   Michael Friedman <
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        Date:   Monday, 11 Dec 1995 16:57:55 -0500 (EST)
        Subj:   Re: SHK 6.0952  Re: Silent Reading and Soliloquies
 
 
(1)----------------------------------------------------------------------------
From:           Jesus Cora <
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Date:           Monday, 11 Dec 1995 19:42:25 UTC+0200
Subject:        Q: Development of individualism.
 
Dear Shakespeareans,
 
I am very interested in the development of individualism and self-consciousness
during the first part of the 17th century and its influence on the drama of the
period. Could you kindly recommend bibliography on the subject? I am specially
interested on the parallel development of self-conciousness and self-reference
in drama (you know, metatheatre and metadrama). I wonder if there is any book
or article that establishes a relationship between personal self-consciousness
and dramatic self-consciousness.
 
Yours,
J. Cora
Universidad de Alcala de Henares.

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(2)----------------------------------------------------------------------------
From:           Michael Friedman <
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Date:           Monday, 11 Dec 1995 16:57:55 -0500 (EST)
Subject: 6.0952  Re: Silent Reading and Soliloquies
Comment:        Re: SHK 6.0952  Re: Silent Reading and Soliloquies
 
An idea just struck me, and I'll throw it out just to see what happens. Reading
the recent postings about soliloquies, particularly in *Hamlet*, and the extent
to which we can say that they represent interior thinking, I started to wonder
about *To be or not to be*.  If, as it has been asserted, most audiences know
it so well by now that they hardly pay attention to the words, does the actor
even need to speak the lines?  What would happen if he just thought them?  Not
with a voice-over, but silently, in his own head, accompanied by only those
gestures that a person, lost in agitated thought, might make.  Perhaps he could
throw in an "Ay! There's the rub!" out loud here and there, just to keep the
spectators with him along the way.  Has anyone ever seen this attempted on
stage?  Clearly, it would require a skilled actor, and it sounds more like a
rehearsal exercise, but given what *has* been tried in the past to deal with
this speech, it wouldn't surprise me.
 
                                                        Michael Friedman
                                                        University of Scranton
 

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