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Home :: Archive :: 1999 :: January ::
Re: Sh. in Love and The Rose
The Shakespeare Conference: SHK 10.0090  Monday, 18 January 1999.

[1]     From:   Larry Weiss <
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        Date:   Sunday, 17 Jan 1999 12:18:04 -0500
        Subj:   Re: SHK 10.0083 Re: Shakespeare in Love

[2]     From:   Sean Lawrence <
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        Date:   Sunday, 17 Jan 1999 15:42:09 -0800
        Subj:   Shakespeare in Love

[3]     From:   Jerry Bangham <
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        Date:   Monday, 18 Jan 1999 09:38:32 -0600
        Subj:   The Rose and Shakespeare in Love


[1]-----------------------------------------------------------------
From:           Larry Weiss <
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Date:           Sunday, 17 Jan 1999 12:18:04 -0500
Subject: 10.0083 Re: Shakespeare in Love
Comment:        Re: SHK 10.0083 Re: Shakespeare in Love

John Savage wrote:

>I think more interesting comparisons could be made between the
>President and some of Shakespeare's characters
>
> Well, he's not a Shakespeare character, but I'd compare Clinton more to
> Don Giovanni.
>
> "In Italia sei cento e quaranta; in Almagna due cento e trent'una, cento
> in Francia, in Turchia novant'una; ma, in Ispagna son gia mille e tre!"

This looks like far too much credit.  So far as we know, he was never in
Spain.

As for being a Shakespearean character, how about Richard III without
the self-awareness?

[2]-------------------------------------------------------------
From:           Sean Lawrence <
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Date:           Sunday, 17 Jan 1999 15:42:09 -0800
Subject:        Shakespeare in Love

I finally went to see Shakespeare in Love on Tuesday, and wondered
whether anyone else considered it a parody not only of Shakespeare, but
also of Shakespeare criticism.

Biographical readings are perhaps most obviously parodied, in ways that
I need not get into here.  But other critical approaches also were also
sent up by various jokes.  The Freudian association between writing and
phallicism is played hilariously in the meeting with the shrink.
Paltrow portrays a sort of Judith Shakespeare redux, in whom the usual
social oppression is parodied in that she's merely placed in an arranged
marriage, but frankly sold off to a vampirical ghoul.  Those who favour
political readings of the plays may have been delighted-or not-by its
final resolution through a heavy-handed intervention by the forces of
social order.  Even the 'new' new bibliography is parodied by
outrageously flexible acting texts, with references to A Gentleman of
Verona, and Romeo and Rosaline, the Pirate's Daughter morphing into
Romeo and Juliet.  We like to tell our students that "theatre was a
business", a proposition that meets nemesis in the form of loan sharks
equipped with heavies.

Perhaps Will's angst ridden confession in the church is also meant as
some sort of parody, and I just didn't notice it because it fits too
naturally with my own ideas to seem parodic.  But part of the function
of liberally sprinkles parodies like these is that they serve as a sort
of litmus test of one's own commitments.  I'm wondering if anyone else
noticed other parodies-or better yet, didn't notice them, thereby
confessing their own critical investments.

On a completely different note, I thought the movie very well done
overall.  The clips which we were shown from Romeo and Juliet left many
productions in the dust.  I thought the decision to cast Dame Judy Dench
as Elizabeth was inspired.  Every time I read "The Doubt of Future Foes"
I picture her with a high-ball in one hand, sitting in the back of a
limousine whisking through London, issuing curt ruthless orders to
secret agent double-0 seven.

Cheers,
Se

 

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