2001

Re: Doubling in Macbeth

The Shakespeare Conference: SHK 12.2456  Friday, 26 October 2001

[1]     From:   Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 25 Oct 2001 13:47:09 -0400
        Subj:   Re: SHK 12.2446 Re: Doubling in Macbeth

[2]     From:   Michael Edgar <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 26 Oct 2001 10:43:43 +1000
        Subj:   Doubling in Macbeth

[3]     From:   Hugh Davis <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 25 Oct 2001 22:25:41 -0400
        Subj:   Re: SHK 12.2446 Re: Doubling in Macbeth


[1]-----------------------------------------------------------------
From:           Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 13:47:09 -0400
Subject: 12.2446 Re: Doubling in Macbeth
Comment:        Re: SHK 12.2446 Re: Doubling in Macbeth

> As to doubling Cordelia and the Fool, Tygres Heart here in Portland OR
> did just that in their splendid production last spring.

It also provides a delicious ambiguity to "and my poor fool is hanged."

[2]-------------------------------------------------------------
From:           Michael Edgar <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 10:43:43 +1000
Subject:        Doubling in Macbeth

Around about 1990 I directed a student production of 'Macbeth' to tour
schools in Tasmania. We had a cast of eight, including myself, doubling
Duncan and Macduff. No prompt book or video record remains and I can't
remember the exact casting but the witches did cover a lot of the parts
e.g Murderers, Porter, Seyton and a composite 'nobleman of Scotland'
figure.  This resulted in a rather skewed version in which the powers of
darkness had a little too much influence on events and Macbeth's
free-will was rather undervalued but it was fun to do. We also converted
some of the more expositionary sections of the play e.g 2.4 'Ross and
Old man' and 5.2 'The English power is near' into full-cast choruses.

The discussion on this topic has made me think that there are at least
three possible (and probably overlapping) categories of doubling;

1) Discreet or Functional. Much used I seem to remember in the fifties.
One actor plays for instance, Barnardo and Osric, and costume, make-up
and acting are employed to make the two characters as different as
possible.  Ideally the audience is not even supposed to notice the
device but, in fact, the smugger observers have consulted their programs
and are evaluating the effectiveness of the actor's doubling
performance.

2) Significant. You cast one actor to play, say, Fortinbras, Laertes and
Horatio to make some point about each of them being a foil to Hamlet. I
have done that, with the aid of video elements. I think it ended up
looking a bit silly. There are more successful examples. Jonathan Pryce,
as Hamlet, ventriloquising the ghost must have been a particularly
striking instance.  30 Sportive. Doubling that draws attention to itself
and to the theatrical fun of using the actor as a transformable sign.

I've always assumed, unthinkingly, that doubling in renaissance theatre
would have been of the first type. Is there any evidence to the
contrary?

Michael Edgar
President,
Australian and New Zealand Shakespeare Association

A PS blurb. Doubling in some recent productions will be considered in a
number of papers at the forthcoming ANZSA conference.
http://www.cdesign.com.au/anzsa2002/

[3]-------------------------------------------------------------
From:           Hugh Davis <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 22:25:41 -0400
Subject: 12.2446 Re: Doubling in Macbeth
Comment:        Re: SHK 12.2446 Re: Doubling in Macbeth

>Paul E. Doniger wrote: Hugh Davis mentions that
>
> > Orson Welles film version had Seyton as 3rd Murderer.
> >
> > Polanski's film version had Ross as 3rd Murderer.
> >
> > A Stratford Ontario production about 15 years ago had 3rd Witch as 3rd
> > Murderer. She pulled Fleance out of the way of the attack, wrapped her
> > cloak around him and they disappeared, thanks to the stage lighting.
>
>I have seen and participated in a number of similar doublings, but
>there's an issue not being addressed here. When we talk about doubling,
>do we mean one actor playing two parts or one character being
>incorporated into another? In other words, IS the 3rd Murderer actually
>Seyton (or Ross), or is one actor playing both roles as different
>characters?

I did not actually mention this; instead, I wrote an earlier post asking
if members could recall doubling of the witches and the murderers.
Obviously, this would mean actors doubling, but I think the director in
me would like to see the characters themselves double (the witches are
the murderers in that sense).

Hugh Davis

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Re: Branagh Query

The Shakespeare Conference: SHK 12.2455  Friday, 26 October 2001

From:           Nora Kreimer <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 14:44:19 -0300
Subject: 12.2451 Branagh Query
Comment:        Re: SHK 12.2451 Branagh Query

The Company is called Renaissance; try a search like that!

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Burt Interview on Radio 11/8

The Shakespeare Conference: SHK 12.2452  Thursday, 25 October 2001

From:           Richard Burt <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 10:14:53 -0400
Subject:        Burt Interview on Radio 11/8

I'll be doing a radio interview about Shakespeare and sex on a UK radio
station Thursday November 8, at 7:15 p.m. EST (U.S.). Go to
http://www.talksport.net

_______________________________________________________________
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Re: The Royal Shakespeare Theatre

The Shakespeare Conference: SHK 12.2453  Friday, 26 October 2001

[1]     From:   Alan Dessen <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 25 Oct 2001 13:25:28 -0400 (EDT)
        Subj:   Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

[2]     From:   Billy Houck <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Thursday, 25 Oct 2001 15:46:58 EDT
        Subj:   Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

[3]     From:   Robert Kendall <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 26 Oct 2001 01:12:14 -0400
        Subj:   Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

[4]     From:   Graham Hall <This email address is being protected from spambots. You need JavaScript enabled to view it.>
        Date:   Friday, 26 Oct 2001 09:42:14 +0000
        Subj:   Re: SHK 12.2439 Alien Language


[1]-----------------------------------------------------------------
From:           Alan Dessen <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 13:25:28 -0400 (EDT)
Subject: 12.2439 Re: The Royal Shakespeare Theatre
Comment:        Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

I have a mundane question.  Putting aside any plans for future building,
I'd like to know: if I turn up in Stratford in August 2002, how many
plays will I be able to see?  In August 2001 I saw six in six days (and
could have seen one or two more if I had been willing to squeeze in two
in one day), but my sense is that hereafter I will only be able to see
two in any given period (one in the RST, one in the Swan)--TOP will no
longer be functioning as a theatre.  Does anyone have information as to
what future seasons will look like?

Alan Dessen

[2]-------------------------------------------------------------
From:           Billy Houck <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 15:46:58 EDT
Subject: 12.2439 Re: The Royal Shakespeare Theatre
Comment:        Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

In a message dated 10/25/01 9:36:03 AM, Jim Slager writes:

<< I thought that RSC was a miserable place to see a play. In the front
rows you stare upward at actors knees. >>

In the summer if 1996, a gaggle of lady English teachers found out that
if you sat up front, you could see up Ulysses' skirt. They saw the show
several times.

Billy Houck

[3]-------------------------------------------------------------
From:           Robert Kendall <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 01:12:14 -0400
Subject: 12.2439 Re: The Royal Shakespeare Theatre
Comment:        Re: SHK 12.2439 Re: The Royal Shakespeare Theatre

I attended the Royal Academy of Dramatic Art this summer.  While there I
visited the Globe, and saw 8 different productions.  Lear was the best.
I left before Titus opened.  Did anyone see it?

Robert Kendall
This email address is being protected from spambots. You need JavaScript enabled to view it.
Old Dominion University

[4]-------------------------------------------------------------
From:           Graham Hall <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Friday, 26 Oct 2001 09:42:14 +0000
Subject: 12.2439 Alien Language
Comment:        Re: SHK 12.2439 Alien Language

M Yawney and Brian Willis have my sympathy in remarking upon Mr Noble's
flowery (there's a joke there) language. My liberal use of quotation
marks was to avoid having it thought of as mine! He did give some
indication of terminology in his letter  - to which I cannot refer
because I've lost it - but his article in the RSC Magazine is less
expansive.

Drop him an e-mail and ask him. Or perhaps another RSC member who has
retained the letter would be kind enough to quote from it.

Yours Aye,
Graham Hall

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Webpage <http://ws.bowiestate.edu>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

Branagh Query

The Shakespeare Conference: SHK 12.2451  Thursday, 25 October 2001

From:           Emma French <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date:           Thursday, 25 Oct 2001 08:46:22
Subject:        Branagh Query

Can anyone tell me the geographical whereabouts, or better yet, the
address, of Branagh's Shakespeare Film Company? Internet searching has
been fruitless so far. Reply offlist if you prefer.

Best regards,
Emma French
This email address is being protected from spambots. You need JavaScript enabled to view it.

_______________________________________________________________
S H A K S P E R: The Global Shakespeare Discussion List
Hardy M. Cook, This email address is being protected from spambots. You need JavaScript enabled to view it.
The S H A K S P E R Webpage <http://ws.bowiestate.edu>

DISCLAIMER: Although SHAKSPER is a moderated discussion list, the
opinions expressed on it are the sole property of the poster, and the
editor assumes no responsibility for them.

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