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Home :: Archive :: 1999 :: March ::
Re: Antonio and Sebatian of TN
The Shakespeare Conference: SHK 10.0381  Friday, 5 March 1999.

[1]     From:   Christine Mack Gordon <
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        Date:   Thursday, 4 Mar 1999 12:32:59 CST6CDT
        Subj:   Re: Antonio and Sebatian of TN

[2]     From:   Marilyn A. Bonomi <
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        Date:   Thursday, 4 Mar 1999 11:21:44 -0800 (PST)
        Subj:   Re: SHK 10.0366 Re: TN


[1]-----------------------------------------------------------------
From:           Christine Mack Gordon <
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Date:           Thursday, 4 Mar 1999 12:32:59 CST6CDT
Subject:        Re: Antonio and Sebatian of MN

Laurie Osborne's book _The Trick of Singularity: Twelfth Night and the
Performance Editions_ (U of Iowa Press, 1996) has a full chapter on the
way in which the relationship between Antonio and Sebastian has been
handled over time. Michael Billington's conversations with RSC directors
Bill Alexander, John Barton, John Caird, and Terry Hands (in RSC
Directors' Shakespeare: Approaches to Twelfth Night, published in 1990)
also includes some discussion of this). In contemporary productions I've
seen, homoerotic elements have been ignored and incorporated; when
ignored, the text has usually been cut.

Chris Gordon

[2]-------------------------------------------------------------
From:           Marilyn A. Bonomi <
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Date:           Thursday, 4 Mar 1999 11:21:44 -0800 (PST)
Subject: 10.0366 Re: TN
Comment:        Re: SHK 10.0366 Re: TN

Mary Tyler Knowles asks, re Antonio: <<I wonder how he was played if
there was no passion on his part for Sebastian?>>

I saw a production where he was considerably OLDER than Antonio... the
love was played as clearly paternalistic... he loved BOTH twins as a
father would have.  Can't recall what lines if any were cut, however....

Regarding the # of plays Shakespeare claimed in the Cosby show-couldn't
it be simply that the writers hadn't a clue and thought that's what they
remembered from high school?  We DO try to read subtexts, don't we, even
when the likelihood of subtexts being present is extremely low/

Marilyn B.
 

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