Make a Donation

Consider making a donation to support SHAKSPER.

Subscribe to Our Feeds

Current Postings RSS

Announcements RSS

Home :: Archive :: 1995 :: August ::
Re: *WT* and *Oth.* Productions
Shakespeare Electronic Conference, Vol. 6, No. 0648.  Saturday, 26 August 1995.
 
(1)     From:   Thomas Ellis <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
        Date:   Friday, 25 Aug 1995 19:20:45 -0400 (EDT)
        Subj:   Re: SHK 6.0642  Re: *WT* Production
 
(2)     From:   Chris Stroffolino <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
        Date:   Friday, 25 Aug 1995 23:41:14 -0400 (EDT)
        Subj:   Re: SHK 6.0643  Re: *Othello*
 
 
(1)----------------------------------------------------------------------------
From:           Thomas Ellis <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
Date:           Friday, 25 Aug 1995 19:20:45 -0400 (EDT)
Subject: 6.0642  Re: *WT* Production
Comment:        Re: SHK 6.0642  Re: *WT* Production
 
First, I wish to thank Dale Lyles for launching this delightful thread on
staging options for *WT*. I've thoroughly enjoyed the discussion.
 
I agree, however, that the TIME prologue should not be cut in order to
regularize the play, for Shakespeare, in this play, revels in the improbable,
the preposterous, and--particularly at this mid-point-- the generic outrage (by
neoclassic standards) of what he is doing.
 
The TIME prologue (or "interlude?") is, among other things, a send-up of the
neoclassic canons of taste that just then (1611) were coming into vogue--he is,
in effect, thumbing his nose at Ben Jonson (e.g. "Impute it not a crime...since
it is within my power to plant and o'erwhelm custom/...and make stale/The
glistering of this present As my tale/Now seems to it." (Quoted from
memory--sorry for minor inaccuracies). This is not only Father Time speaking
but Shakespeare the artist, shamelessly flouting convention and rubbing his
audience's nose in it.
 
Also, I wouldn't worry about making Leontes unforgiveably recreant. The ending
is a miracle in more ways than one, and any theologian will tell you that
forgiveness has no limits.
 
Cheers, and enjoy mounting this delightful play!
 
--Tom Ellis
 
(2)----------------------------------------------------------------------------
From:           Chris Stroffolino <
 This e-mail address is being protected from spambots. You need JavaScript enabled to view it
 >
Date:           Friday, 25 Aug 1995 23:41:14 -0400 (EDT)
Subject: 6.0643  Re: *Othello*
Comment:        Re: SHK 6.0643  Re: *Othello*
 
Dear Amy Hughes---i guess I question when you say the audience's view of the
action is inevitably taken from IAGO---sure, IAGO is the closest character to
AN AUTHOR in this play, and (like RICHARD 3) because he exposes the shallowness
of the ambition of other characters (Rod. most notably), the audience's view of
the play is mediated by him, but because the audience knows he's LYING, doesn't
that therefore implicitly criticize his actions (if not, entirely, his world
view?), and there I mean though the absurdity of the SCAPEGOATING of IAGO at
the end of the play should be played as ringing hollow (because he simply works
on something latent in othello--the military view of love you pointed out,
etc.), it seems there are many cues in the play that allow you to show how Iago
is a character, not a spokesman for the play.... and I do think the
psychomachia Othello is torn into between Iago and Desdemona can be played in a
way to show it---For instance, that     moment when he tells Desdemona "leave
me but awhile to myself" AND THEN IAGO IMMEDIATELY ENTERS!--I think that scene
should be played in such a blatant way to call attention to the fact that the
deck is so stacked against desdemona in parts because OTHELLO doesn't even see
IAGO as an OTHER (though at other times he certainly does---but why not
emphasize this?). Chris Stroffolino
 

Other Messages In This Thread

©2011 Hardy Cook. All rights reserved.