2000

Re: 3rd Murderer in Macbeth

The Shakespeare Conference: SHK 11.0062  Wednesday, 12 January 2000.

[1]     From:   Mike Jensen <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 11 Jan 2000 09:24:25 -0800
        Subj:   SHK 11.0056 Re: 3rd Murderer in Macbeth

[2]     From:   Se


Re: Tygres Heart Shakespeare Company

The Shakespeare Conference: SHK 11.0061  Wednesday, 12 January 2000.

From:           Nancy Charlton <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 11:57:01 -0500
Subject: 11.0058 Tygres Heart Shakespeare Company
Comment:        Re: SHK 11.0058 Tygres Heart Shakespeare Company

Congratulations, Tygres Heart, on your new artistic director, on what
sounds like a smashing season, and on surviving!

During the years I lived in Portland I saw several Tygres Heart
productions:  a colorful Henry IV Part I, the next year a Part II that
was my first serious brush with that play.  Their Richard III was in
production about the time "Looking for Richard" came out.  That was
about the time, as I recall, that TH's continued existence was in
jeopardy, and their Richard was done on a shoestring budget.  They did
wonders by using symbolic colors of hats and other articles of clothing
to identify the various factions as the same actors came and went.

I'm also glad to hear that the Winningstad is still your venue.  The
Portland Center itself was in jeopardy a year or two ago, with some
feeling in the public of 'who needs it?'  The part where TH plays is a
natural Shakespearean space, capable of proscenium staging or
in-the-round.  The space is tall and skinny, but even from the top
balcony the hearing and seeing is excellent.

Local reviewers were usually pretty caustic about TH, Willamette Week in
particular.  They wrote once that TH needed to decide whether it was a
superannuated school production troupe or real professional theatre.  I
never met anyone in all those years who had actually seen the plays
there who had anything negative to say.  It was well received always by
the public.

I may try to arrange a trip to Portland at the time "Mystery of the
Sonnets" is playing.  Keith Scales is extraordinary: I enjoyed his work
with the AHEPA on their yearly productions of the Sophocles plays and
various lectures he does from time to time.  I'd like to see your King
Lear, too.  Portland State U. did an extraordinary KL about 9 years ago,
the best student production I've ever seen.  They borrowed Wayne Banker
from I think it was Ashland to be a Lear with sufficient gravitas.

Good show, Tygres Heart!

Nancy Charlton

Re: Shakepix

The Shakespeare Conference: SHK 11.0059  Tuesday, 11 January 2000.

From:           William Kemp <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 09:27:40 +0000
Subject:        Re: Shakepix

The new permanent url for my small assortment of pictures related to
Shakespeare is

http://www1.mwc.edu/~wkemp/gallery/shakespeare_images/shakimages1.htm

Bill Kemp
Mary Washington College

Re: Rat Plots

The Shakespeare Conference: SHK 11.0060  Wednesday, 12 January 2000.

[1]     From:   Peter Holland <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 11 Jan 2000 15:35:19 -0000
        Subj:   Re: SHK 11.0055 Rat Plots

[2]     From:   Richard Nathan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 11 Jan 2000 16:37:09 +0000
        Subj:   Re: SHK 11.0055 Rat Plots

[3]     From:   Norman J. Myers <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 11 Jan 2000 13:45:51 -0500
        Subj:   Re: SHK 11.0055 Rat Plots

[4]     From:   Tom Reedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Tuesday, 11 Jan 2000 15:16:54 -0600
        Subj:   Re: SHK 11.0055 Rat Plots


[1]-----------------------------------------------------------------
From:           Peter Holland <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 15:35:19 -0000
Subject: 11.0055 Rat Plots
Comment:        Re: SHK 11.0055 Rat Plots

I'm sure others will answer some of these queries but on the subject of
Troilus, people seem not to notice that Antenor has already been
returned to Troy before Troilus hears of the exchange.  He is in the
entry in Troy at the start of 4.1 and Paris refers to him as 'the
enfreed Antenor' (4.1.39). Now try imagining Troilus proposing that
Antenor be returned to the Greeks so that he can keep Cressida,
especially given the emphasis on Antenor as 'such a wrest in their
affairs / That their negotiations all must slack,  / Wanting his manage'
(as Calchas puts it, 3.3.23-5). The general good versus the individual's
is a bad enough imbalance for Troilus to argue against but arguing for
the re-imprisoning of Antenor is surely a ridiculous idea. Shakespeare's
careful placing of this entry for the silent Antenor back home in Troy
in 4.1 is a brilliant touch.

[2]-------------------------------------------------------------
From:           Richard Nathan <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 16:37:09 +0000
Subject: 11.0055 Rat Plots
Comment:        Re: SHK 11.0055 Rat Plots

I know that "COMEDY OF ERRORS" is by no means a serious play - but it
always bothers me that Antipholus of Syracuse and Dromio of Syracuse
have gone after their identical twins with identical names - that's the
whole purpose of their journey - and yet when they get to a town where
strangers see to recognize them, it never once occurs to them that they
might have finally found the twins they've been searching for.

[3]-------------------------------------------------------------
From:           Norman J. Myers <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 13:45:51 -0500
Subject: 11.0055 Rat Plots
Comment:        Re: SHK 11.0055 Rat Plots

For that matter, when would Cassio and Desdemona have had time to
consummate their supposed affair (though in the Fishborne/Branaugh film
"Othello" there's no doubt that Othello and Desdemona found time to
consummate theirs!)?

I can't help but wonder, though, since when was Shakespeare ever
primarily about plot?  Most of his plots - and we could find idiocies
abounding in many more than those mentioned above - are mere excuses on
which to hang what seems to him to have been much more important: human
encounters right now in the moment. It was Will Durant, talking about
Schiller's "The Robbers," who noted that all plots are ridiculous.  For
me, the excitement of Shakespeare's plays (and most of the other
Elizabethan/Jacobeans for that matter) arises precisely because the
characters don't behave logically any more than people do in "real
life."  The Elizabethan/Jacobeans were, in many ways, more perceptive
than we are.  They knew that there are causes without effects and, even
more so, effects without apparent causes; they knew that it was entirely
possible for a guy to walk into McDonalds, shoot the place up killing
total strangers and then kill himself for no reason that anyone could
ever hope to discover.

Norman J. Myers, Professor Emeritus
Theatre Department
Bowling Green State University

[4]-------------------------------------------------------------
From:           Tom Reedy <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Tuesday, 11 Jan 2000 15:16:54 -0600
Subject: 11.0055 Rat Plots
Comment:        Re: SHK 11.0055 Rat Plots

Dana Shilling writes:

> I think Roger Ebert coined the useful phrase "idiot plot" for a movie
> that can exist (or be longer than five minutes) only because all or most
> of the characters act like idiots. Many Shakespearean plays rely on a
> corresponding absence of ordinary decent behavior among non-villainous
> characters-not just the play Northrop Frye called "No Gentlemen in
> Verona."
>
> 1. Why didn't Troilus put his foot down and say that Cressida, as his
> fiancee or at least his acknowledged mistress, was not a suitable
> subject for a prisoner exchange?
>
> 2. The whole point of Timon of Athens is that no one in a corrupt Athens
> who took Timon's generosity would help him out-but why wouldn't the
> presumably grateful Christians of Venice, including the "many" whom
> Antonio saved from Shylock, pass the hat before the bond came due?
>
> 3. As Isabella sensibly pointed out, why didn't Claudio just marry
> Julietta when her pregnancy became evident? Where I come from (Brooklyn,
> in the late 1950s), lots of guys got their nice Catholic girlfriends
> pregnant. A week after the rabbit died, they were either newlyweds or
> Merchant Marines.
>
> 4. Which brings up the question of Kate Keepdown. If Lucio is sure that
> he is the one who got her pregnant, then either he is so convinced of
> his virility that he thinks none of her other customers could be
> responsible, or she became a prostitute precisely because she was his
> discarded mistress and unable to support herself and baby otherwise. So
> she is an image of Julietta's case, just as Laertes is of Hamlet's.
>
> Dana (Shilling)

The short answer to all these is that all of the plays are fictional
entertainment, not reality.  Who would go see a Shakespeare play in
which every character acted sensibly?  What would be the point?

You might well ask the same question of almost every movie, television
show, or novel.  There's a reason we call it "suspension of disbelief,"
but sometimes the work demands too much of it.  The worst offender I've
seen in awhile is the movie, A Simple Plan.  The characters so violated
the laws of common sense I walked out.

But entertainment is not common sense.  Real life is tedious, often
boring, and everything takes too long.  Entertainment is quick,
interesting, and fast.  Or at least it should be.

Tygres Heart Shakespeare Company

The Shakespeare Conference: SHK 11.0058  Tuesday, 11 January 2000.

From:           Laura Graser <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Monday, 10 Jan 2000 21:46:24 -0800
Subject:        Tygres Heart Shakespeare Company

Tygres Heart Shakespeare Company, in Portland, Oregon, hired Nancy
Doherty as its new Artistic Director.  She was the Producing Artistic
Director of "Shakespeare in Delaware Park" in Buffalo, N.Y., and had
been with that company for 19 years.

Tygres Heart did a national search for an artistic director, which
included a posting on this list.  That was the announcement she saw.
Thank you, Hardy!  Many members of this list applied, and we hope we had
a chance to respond to each personally.

Tygres Heart Shakespeare Company, founded ten years ago by Jan Powell,
is the Pacific Northwest's only full-time theater dedicated exclusively
to producing the works of William Shakespeare.  Our mission is to
produce ferociously good Shakespeare in an intimate setting; we are
resident in Portland's Winningstad Theater in the Portland Center for
the Performing Arts.

Our production of Romeo and Juliet (directed by Jon Kretzu) opens
January 13 and runs to February 20.  On February 14 and 15 we will
present "The Mystery of the Sonnets," devised and performed by Keith
Scales.  Nancy Doherty will be directing Macbeth starting April 13 and
running to May 21.  Be consoled, Buffalo: a generous donor will buy a
ticket for any member of "Shakespeare in Delaware Park" who shows up in
Portland to see the show!

Next season will open in the fall of 2000 with Measure for Measure,
directed by Charles Marowitz.  Mr. Marowitz is currently the Artistic
Director of the Malibu Stage.  His career has spanned two continents.
He was a major collaborator with Peter Brook at the Royal Shakespeare
Company and ran the acclaimed The Open Space in London.  He was also a
founding member of the LA Theater Center, and has written numerous books
and articles.

The 2000-01 season continues with a production of Twelth Night, directed
by Jim Cox, and then Nancy Doherty will direct King Lear.

Please join us.

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