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Home :: Archive :: 2005 :: June ::
Productions of Pericles
The Shakespeare Conference: SHK 16.1100  Thursday, 16 June 2005

[1]     From:   Dale Lyles <
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        Date:   Wednesday, 15 Jun 2005 09:20:35 -0400
        Subj:   Re: SHK 16.1093 Productions of Pericles

[2]     From:   Christine Mack Gordon <
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        Date:   Wednesday, 15 Jun 2005 08:42:19 CDT
        Subj:   A good Pericles (two, in this case)

[3]     From:   Bruce Brandt <
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        Date:   Wednesday, 15 Jun 2005 09:35:18 -0500
        Subj:   RE: SHK 16.1093 Productions of Pericles

[4]     From:   Steve Urkowitz <
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        Date:   Wednesday, 15 Jun 2005 17:16:20 EDT
        Subj:   Re: SHAKSPER Digest - 13 Jun 2005 to 14 Jun 2005 (#2005-99)

[5]     From:   John W. Kennedy <
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        Date:   Wednesday, 15 Jun 2005 20:49:18 -0400
        Subj:   Re: SHK 16.1090 A Knock on Rylance and the Globe

[6]     From:   John Reed <
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        Date:   Thursday, 16 Jun 2005 05:36:33 +0000
        Subj:   Re: Productions of Pericles


[1]-----------------------------------------------------------------
From:           Dale Lyles <
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Date:           Wednesday, 15 Jun 2005 09:20:35 -0400
Subject: 16.1093 Productions of Pericles
Comment:        Re: SHK 16.1093 Productions of Pericles

I'd like to think that our production at the Newnan Community Theatre
Company in 1987 was successful.  It started behind a large gold picture
frame, like any good fairy tale, but immediately spilled out onto the
thrust stage.  Every locale had its own "look and feel," appropriating
costume cues from various periods.  Props from every scene were just
abandoned on the stage floor until Gower's final speech before the
temple scene, at which time characters from the whole show silently came
out and cleaned it all up, leaving everything swept clean for the final
reconciliation.  I remember I amended the Lysimachus/Marina scene with
lines from the Wilkins novelization, just to smooth out the young
governor's conversion.  I also remember that at the time there didn't
seem to be a large number of productions from which I could steal good
ideas.  Had to do it myself, dammit.

We had a good time working on it, and it was a hit with the audiences.

Dale Lyles

[2]-------------------------------------------------------------
From:           Christine Mack Gordon <
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Date:           Wednesday, 15 Jun 2005 08:42:19 CDT
Subject:        A good Pericles (two, in this case)

The Guthrie Lab in Minneapolis mounted a wonderful, magical production
of Pericles this year, directed by Joel Sass. A number of years ago (10?
15?), the Guthrie did a production, also in the lab space, which was
directed by Bart Sher, I believe. Also a wonderful production. While it
does take some careful attention and an imaginative director and cast,
the play is very stage-worthy.

Chris Gordon

[3]-------------------------------------------------------------
From:           Bruce Brandt <
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Date:           Wednesday, 15 Jun 2005 09:35:18 -0500
Subject: 16.1093 Productions of Pericles
Comment:        RE: SHK 16.1093 Productions of Pericles

This last season the Guthrie Theater in Minneapolis presented a very
enjoyable production of Pericles.

[4]-------------------------------------------------------------
From:           Steve Urkowitz <
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Date:           Wednesday, 15 Jun 2005 17:16:20 EDT
Subject:        Re: SHAKSPER Digest - 13 Jun 2005 to 14 Jun 2005 (#2005-99)

Pericles . . . ain't so bad as all that.

It is strange.  But it works out as a tale of sexual trauma -- with
Pericles trying to become a whole person but assaulted by raging fathers
and fates -- and a slow, painful, decades-long recovery.

I saw a fine production in London in the '80s, another fer more visually
and emotionally thrilling and chilling at the graduate theatre program
at NYU in the '90s, and I directed a pretty good university production
last fall.  Audiences love the play when it is done "full-bore," with
dangerous fathers, Penzance-style pirates, imaginative storms and
battles, and high camp brothels.  And the final scenes are as good as
anything Shakespeare ever wrote.

But we have to learn how to see and to perform those odd
jazz-disjunctive emotional harmonics and syncopations.

Steve Bad-Quartowits

[5]-------------------------------------------------------------
From:           John W. Kennedy <
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Date:           Wednesday, 15 Jun 2005 20:49:18 -0400
Subject: 16.1090 A Knock on Rylance and the Globe
Comment:        Re: SHK 16.1090 A Knock on Rylance and the Globe

Sandra Sparks <
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 >

 >As for Pericles - has anyone actually EVER seen a good production of it?
 > I've love to hear about it. We've had two gos at it here - damned
 >difficult. No wonder they left it out of the first folio.

I don't suppose a /great/ production is really possible, but a /good/
production? I think there was one -- in the 80's, as I recall it -- at
the New Jersey Shakespeare Festival (1963-1990, R.I.P.).

[6]-------------------------------------------------------------
From:           John Reed <
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Date:           Thursday, 16 Jun 2005 05:36:33 +0000
Subject:        Re: Productions of Pericles

Pericles: this is one of my favorite plays, even though I've only read
it once, and for an odd reason.  Ordinarily when a production is mounted
nowadays (of anything) it is done under the auspices of the drama
department, and they don't pay any attention to what the old
fuddy-duddies in the English department have so laboriously contrived
for their benefit and gone on to publish for the added benefit of
readers, namely the identification of lines spoken aside.   You never
see anything spoken aside now (except for a few enlightened productions
here and there, such as the Shenandoah Shakespeare Express (as I have
been reminded by a certain friend)), especially if it's a movie.

Well, Pericles, known only from Q, has a certain peculiarity: it has
lines identified as ones that should be spoken aside.  For instance,
looking at the Arden edition, at 2.5.72 there is:

Sim. Yea mistress, are you so peremptory?
Aside.  I am glad on't with all my heart.--

That notation for the line directionality was not put there by some
know-nothing later editor and commentator, like Rowe, or Johnson, or
Theobald -- who can safely be ignored -- it is in Q.

So when this play gets performed now, do the lines in Q noted as aside
get delivered aside?  This I doubt.  The drama department isn't going to
let an inconvenient little notation from Q interfere with what they
think constitutes proper dramatic technique, especially if it's a movie.

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