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Home :: Archive :: 2004 :: June ::
Correlating Scenes
The Shakespeare Conference: SHK 15.1235  Thursday, 10 June 2004

[1]     From:   D Bloom <
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        Date:   Wednesday, 9 Jun 2004 07:53:46 -0500
        Subj:   RE: SHK 15.1226 Correlating Scenes

[2]     From:   Lauryn Sasso <
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        Date:   Wednesday, 09 Jun 2004 09:35:00 -0400
        Subj:   Re: SHK 15.1226 Correlating Scenes

[3]     From:   David Lindley <
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        Date:   Wednesday, 9 Jun 2004 15:56:25 +0100
        Subj:   RE: SHK 15.1226 Correlating Scenes


[1]-----------------------------------------------------------------
From:           D Bloom <
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Date:           Wednesday, 9 Jun 2004 07:53:46 -0500
Subject: 15.1226 Correlating Scenes
Comment:        RE: SHK 15.1226 Correlating Scenes

Thomas Pendleton:

 >"Imogen (or Innogen) disguises herself as Fidele.  Cloten, one of the
 >villains, gets decapitated, which would have exceeded the very
 >considerable skills of a boy actress."

Or most others, I fancy.

Cheers
don

[2]-------------------------------------------------------------
From:           Lauryn Sasso <
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Date:           Wednesday, 09 Jun 2004 09:35:00 -0400
Subject: 15.1226 Correlating Scenes
Comment:        Re: SHK 15.1226 Correlating Scenes

Whoops!  I see that in my attempt to clarify things about Cymbeline vs.
Imogen, I have made a different error...of course it's Fidele and not
Cloten that she turns herself into.

I don't know where my head was.  Perhaps off with Cloten's missing one
somewhere...

Sorry for any further confusion!

-Lauryn Sasso

[3]-------------------------------------------------------------
From:           David Lindley <
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Date:           Wednesday, 9 Jun 2004 15:56:25 +0100
Subject: 15.1226 Correlating Scenes
Comment:        RE: SHK 15.1226 Correlating Scenes

There is an interesting dramaturgical parallel between the serenades
sung at the windows of Sylvia in Two Gents, and of Innogen in Cymbeline
- could raise interesting questions about the use of music, since both
songs are (presumably) well sung, to settings of some sophistication
(almost certainly the case for the latter for which a setting by Robert
Johnson survives) - and yet are sung by, or in the interests of
duplicitous, even evil men. There are assumptions about music and gender
which inform these performances, assumptions that the reaction of the
two women subvert.

David Lindley

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