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Home :: Archive :: 1995 :: August ::
Re: *WT* Production
Shakespeare Electronic Conference, Vol. 6, No. 0635.  Wednesday, 23 August 1995.
 
(1)     From:   Mary Jane Miller <
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        Date:   Tuesday, 22 Aug 1995 10:02:08 -0400
        Subj:   Re: SHK 6.0630  Q: *WT* Production
 
(2)     From:   Wes Folkerth <
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        Date:   Tuesday, 22 Aug 1995 10:52:54 -0500
        Subj:   Re: WT Production
 
(3)     From:   Dawn Massey <
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        Date:   Tuesday, 22 Aug 95 15:59:03 BST
        Subj:   Re: SHK 6.0630  Q: *WT* Production
 
(4)     From:   Richard J Kennedy <
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        Date:   Tuesday, 22 Aug 1995 20:42:33 -0700
        Subj:   Re: SHK 6.0631  Re: *WT* Production
 
 
(1)----------------------------------------------------------------------------
From:           Mary Jane Miller <
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Date:           Tuesday, 22 Aug 1995 10:02:08 -0400
Subject: 6.0630  Q: *WT* Production
Comment:        Re: SHK 6.0630  Q: *WT* Production
 
>So, what are your thoughts on WT?  What problems have you had in production,
>and how have you solved them?  What are the dangers in the text?
 
When I directed this with University students for faculty, undergrads and high
school students, the actor playing Leontes was 22 and who could credibly play
no older than 29-30. He therefore played all the energetic rage of a young
adult who had thought every aspect of his life was under his control.
 
Hermione, (same age) found an ageless wisdom for her trial 16 years later, she
will not return to life until a) her daughter reappeared and b.) an older
Leontes suspended his disbelief and his own will to "earn" unwittingly her
trust. Even then Paulina has to comand Hermione to awake, move, live, several
times before Hermione can find the courage to make that irrevocable move.
 
>     3)  Our audiences are small town and loyal.  They'll slog through almost
>Anything with us and like it; fortunately, we rarely have given them bad stuff.
>With WT, we are not synopsizing the end of the play in publicity, since none
>of our audience knows it.  The possibility exists that the statue scene may
>come as a genuine surprise.
 
What a wonderful chance to see how the play might have worked early on.
 
It's a wonderful play to work with.
 
Good Luck.
Mary Jane Miller
 
(2)----------------------------------------------------------------------------
From:           Wes Folkerth <
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Date:           Tuesday, 22 Aug 1995 10:52:54 -0500
Subject:        Re: WT Production
 
To Dale Lyles,
 
I too hope you don't cut Time's monologue from your performance.  Midway
through his speech he turns the hourglass that identifies him as Time to the
audience, a richly symbolic action that (to me) refers both to the changing
fortunes of the characters, and to a shift from the linear time of tragedy to
the cyclical time of comedy.  This scene is important, because it takes place
in almost the exact center of the play, if you count lines and not scenes (I
think the first scene of act four is one of the longest in Shakespeare).
 
Anyway, that's my two cents.  I expect you'll have a great time with WT,
especially Autolycus and the Clown.  Good luck!
 
Wes Folkerth
Montreal
 
(3)----------------------------------------------------------------------------
From:           Dawn Massey <
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Date:           Tuesday, 22 Aug 95 15:59:03 BST
Subject: 6.0630  Q: *WT* Production
Comment:        Re: SHK 6.0630  Q: *WT* Production
 
Re:  WT cuts
 
I also like your idea of the flashback but am equally concerned about your
proposed cuts.  Time figures importantly in an emblematic sequence of stage
images deriving from the emblematic motto Veritas Filia Temporis or Truth is
the Daughter of Time.  Truth, incarcerated in a cave, is rescued by Time from
the destructive forces of Envy, Slander, and Calumny.  The allegorical
analogues to characters in the play are pretty obvious, and much of the implied
staging seems designed to invoke this emblem, which enjoyed a special currency
at the time.  It is also, incidentally, inscribed on the title page of
Pandosto, one of the principal sources for WT.  I'm not a purist, but it seems
you may be ignoring an important sequence of images called for in the text
through such an omission.  In any event, it's something to consider.  Also, the
contrived appearance of Time fits in well with your cinematic Oz image as you
could present Time as a send-up of late-sixties early-seventies TV conventions
of the wavy screen to indicate time-lapse (a la Wayne's World).  Foreground the
creaky convention; don't efface it. I've been enjoying these performance
discussions, too.
 
(4)----------------------------------------------------------------------------
From:           Richard J Kennedy <
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Date:           Tuesday, 22 Aug 1995 20:42:33 -0700
Subject: 6.0631  Re: *WT* Production
Comment:        Re: SHK 6.0631  Re: *WT* Production
 
I played the bear, and chased Antigonas off the stage as he beat me with a
driftwood bat, and one night he broke my finger. ah, but was I good, did I roar
so that the king might say, "Let him roar again!"?
 

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