The Shakespeare Conference: SHK 22.0339 Sunday, 11 December 2011
[1] From: Pervez Rizvi <
Date: December 9, 2011 4:05:19 PM EST
Subject: Twelfth Night Scene Switching
[2] From: Herbert Weil <
Date: December 9, 2011 9:23:55 PM EST
Subject: Re: SHAKSPER: TN
[3] From: Sylvia Morris <
Date: December 10, 2011 4:11:13 AM EST
Subject: RE: SHAKSPER: TN
[4] From: Sylvia Morris <
Date: December 10, 2011 10:57:44 AM EST
Subject: TN
[5] From: William T. Liston <
Date: December 10, 2011 12:00:22 PM EST
Subject: Twelfth Night Query
[6] From: John Briggs <
Date: December 10, 2011 1:50:04 PM EST
Subject: Re: SHAKSPER: SHK 22.0334 TN Query
[1]-----------------------------------------------------------------
From: Pervez Rizvi <
Date: December 9, 2011 4:05:19 PM EST
Subject: Twelfth Night Scene Switching
Steve Sohmer asks:
>In their Arden 2 Twelfth Night, Lothian and Craik write about Kemble (1815) switching 1.1 and 1.2.
>
> Does anyone know more about this practice? Can anyone suggest other sources?
A British TV production shown on Channel 4 at Christmas 1988 (if memory serves) switched 1.1 and 1.2. More details about the production on IMDB: http://www.imdb.com/title/tt0324342/
The TV production was based on a stage version directed by Kenneth Branagh so I presume the scene switch was done on stage too.
[2]-------------------------------------------------------------
From: Herbert Weil <
Date: December 9, 2011 9:23:55 PM EST
Subject: Re: SHAKSPER: TN
This switch has been performed frequently. We saw it done this way at Stratford Ontario. It should be easy to find details in its site. Of course this tends to promote the part of Viola.
Cheers,
Herb
[3]-------------------------------------------------------------
From: Sylvia Morris <
Date: December 10, 2011 4:11:13 AM EST
Subject: RE: SHAKSPER: TN
In reply to Steve Sohmer:
Opening of Twelfth Night with 1.2.
This was quite a common theatrical practice, which I imagine arose because of nineteenth century highly decorated sets. The sea coast set is one that would be used only for that one scene, so it was easier to get it out of the way first. Then change to the Orsino set, which was to be used several times. Viola’s entrance is also more dramatic than the “real” beginning of the play.
Best wishes,
Sylvia Morris
[4]-------------------------------------------------------------
From: Sylvia Morris <
Date: December 10, 2011 10:57:44 AM EST
Subject: TN
Elizabeth Schafer, in her 2009 performance history of Twelfth Night for Cambridge University Press, comments that Kemble set the fashion for Act 1 Scene 2 to be performed before Act 1 Scene 1.
Sylvia Morris
[5]-------------------------------------------------------------
From: William T. Liston <
Date: December 10, 2011 12:00:22 PM EST
Subject: Twelfth Night Query
The 1997 film by Trevor Nunn opened during a shipboard party, with a voice-over narration and the twins Sebastian and Viola. Then the shipwreck. Then 1.2, followed by 1.1.
Des McAnuff, artistic director of the Stratford Festival in Ontario, directed Twelfth Night last summer as a Broadway musical with many electric guitars. He changed much of the play, and I think he also transposed 1.2 and 1.1.
Sincerely,
Bill Liston
[6]-------------------------------------------------------------
From: John Briggs <
Date: December 10, 2011 1:50:04 PM EST
Subject: Re: SHAKSPER: SHK 22.0334 TN Query
Steve Sohmer wrote:
>In their Arden 2 Twelfth Night, Lothian and Craik write about Kemble >(1815) switching 1.1 and 1.2. Does anyone know more about this >practice? Can anyone suggest other sources?
Trevor Nunn does exactly that in his 1996 film (adding his own "prologue".) Some directors think that it is more exciting to start with the shipwreck and that in any case the two scenes can run in either order.
I would argue that this is a mistake, and that it is just because the order is arbitrary (i.e. there was nothing forcing Shakespeare to use this particular order) that it represents a conscious authorial decision, which should be respected.
John Briggs