1999

Re: Five Tenets of Performance

The Shakespeare Conference: SHK 10.1043  Monday, 21 June 1999.

From:           C. David Frankel <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Sunday, 20 Jun 1999 21:03:11 -0400
Subject: 10.1029 Five Tenets of Performance
Comment:        RE: SHK 10.1029 Five Tenets of Performance

I've never heard of the five tenets of performance.  This list sounds,
however, as if it comes from one of the many acting texts that
exist-each often employing an idiosyncratic vocabulary in order to
differentiate it from the others.

cdf

C. David Frankel
Visiting Assistant Professor
  of Theatre/Academic Advisor
University of South Florida

Naming the King and Queen of Fairies

The Shakespeare Conference: SHK 10.1042  Monday, 21 June 1999.

From:           Roy Flannagan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Saturday, 19 Jun 1999 13:10:20 -0400
Subject:        Naming the King and Queen of Fairies

Having read only bits of Huon of Bordeaux, I was wondering why
Shakespeare used the name Oberon for the King of the Fairies (Jonson
apparently called him the Prince, and he appears in James the Fourth, by
Robert Greene, c. 1590) and why he matched Oberon with Titania, instead
of Mab (other than the obvious beauty of the name).  There seems to be
no Greek equivalent of Oberon, and most naming dictionaries I have
consulted (not many) do not bother with an etymology: does the name have
anything to do with the German 


Measure For Measure at the Ahmanson

The Shakespeare Conference: SHK 10.1040  Monday, 21 June 1999.

From:           Mark Perew <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 18 Jun 1999 18:00:31 -0700 (PDT)
Subject:        Measure For Measure at the Ahmanson

Last night I attended a preview performance of the Sir Peter Hall
production of Measure For Measure at the Ahmanson Theare in Los
Angeles.  I was distinctly disappointed.

The time frame for the play is unspecified, but based on the wardrobe
and set, it appears to be early 19th century.  It is not clear to me why
this time frame was selected.  Normally when a director changes the time
for the play there is some specific reason.  If there was such a reason,
it was never revealed.

The location is also unclear, but again based on set clues it appears to
be set in the US.  As with the time, there is no clear reason for that
choice.

The Duke (Brian Murray) opens the play with palpable lethargy.  If "Of
government the properties to unfold \ Would seem in me t'affect speech
and discourse" then the Duke must be bored beyond all description.  He
imparts such a pallor of dullness that the play never recovers.  This
Duke barks at one and all and has no sense of the too kind, too gentle,
too lenient sovereign which the text calls for.  I was particularly
offended (yes, offended) by the acting choices in the 3.1 scene between
the Duke and Claudio.  The barking seemed worst here.  There was no
sense of a cleric providing spiritual guidance to a doomed man.  I was
more reminded of a Christian Fundamentalist preacher delivering a "hell
fire and brimstone" sermon.  The overall effect of all this barking
creates a totally unlikable Duke.  Why Isabella should choose to marry
this Duke cannot be explained.

Angelo was played by Richard Thomas.  (Yes, "John-Boy" Walton.)  He was
easily the most enjoyable actor to watch.  He brought depth and humanity
to Angelo.  He is appropriately demur at first, but quickly dives into
his new office.  However, he lingers too long, in my opinion, in his
speech at the beginning of 2.4.   And in the final scene there is very
little remorse shown that would justify the Duke's pardon.

Claudio (Hamish Linklater) also makes strange acting choices.  In 3.1 he
goes from total apathy (as opposed to resignation) to desperation in a
heartbeat.  He never tries to entice his sister into accepting Angelo's
bargain, but verbally (and nearly physically) assaults her.

The lingering I mentioned permeates the play.  The entire production is
filled with dead space, slowly delivered lines and lack of energy.

I feel quite odd in panning a production by the founder of the Royal
Shakespeare Company.  I am merely a computer geek who dabbles at
literature studies and amateur acting.  However, I do know that I was
less than thrilled by this production.  I can also say that the balcony
section which was probably 80% full at the curtain was half empty after
the intermission.  I was clearly not the only audience member dismayed
by the production.

Re: Future of the Classics

The Shakespeare Conference: SHK 10.1041  Monday, 21 June 1999.

From:           Harry Hill <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 18 Jun 1999 12:20:40 -0400 (EDT)
Subject: 10.1031 Re: Future of the Classics
Comment:        Re: SHK 10.1031 Re: Future of the Classics

"Memorizing the Classics"

Hm. Innarestin'. It is of course one byproduct [dreadful word, isn't it?
From pigs' offal, I suppose...] of the Me society we are still
floundering in, bemused by our Lotos-Blossom daze, that our students are
so seldom encouraged to "learn by heart" much more than their telephone
numbers and the location of the slide-rules and calculators, as if
committing lines to memory would in some dire way interfere with their
creative potential by submitting themselves to the demon lovers of
authority.

Rather than provide anecdotal instances from my own childhood and thus
invite sneers, I shall just say that I have always found the ability to
quote accurately and well to be one of the distinguishing
characteristics of anyone, of any culture and background, who rightly
calls herself cultured. To have been thoroughly ravished in the biblical
sense of "known" by a work of heart is to have some of it in our
bloodstream. I really do think that too many of us who teach Shakespeare
have been, well....insufficiently buggered and biggered by the bard.

        Harry Hill

Alabama Shakespeare Festival

The Shakespeare Conference: SHK 10.1039  Monday, 21 June 1999.

From:           Jack Heller <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 18 Jun 1999 09:12:19 PDT
Subject:        Alabama Shakespeare Festival

Multiple Unstated Curses on my sorry luck! I had every hope of seeing
Troilus and Cressida next weekend, of June 25-27, at the Alabama
Shakespeare Festival in Montgomery, AL. Alas, the performances are all
already sold out.  Bleepers!

My hope was to see a play I've never had the opportunity to see
performed.  So if anyone on this list has seen the performance and would
like to give some sort of review, I'd appreciate it. Reviews of their
Richard III and As You Like It would also interest me.

Oh, and if someone with a ticket for T&C next weekend can't make it, I'd
be interested in buying the ticket.

Jack Heller
This email address is being protected from spambots. You need JavaScript enabled to view it.

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