Twelfth Night; or, What You Will
Hello and welcome to your first writing/blogging assignment for our Shakespeare Page & Stage course. Our first assignment includes peripheral material -- a viewing of Julie Taymor's concept and execution of Shakespeare's The Tempest. After viewing the short documentary (about 28 minutes, link below), you should write a 1 - 2 paragraph essay that responds to ONE of the following questions:
Option 1: How might a staging of Twelfth Night's portray the shipwreck in Act 1 and how would it differ from the shipwreck in The Tempest? What decisions might a director like Taymor make?
Option 2: Might any characters in Twelfth Night be portrayed using or wearing masks, as Taymor does with Ariel, Caliban, Stephano and Trinculo? Who would these be, what kinds of masks might be used and what would the masks represent? Are there characters whom you would not want to see masked, and why?
Option 3: Taymor uses sand to represent the island in The Tempest. In directing a production of Twelfth Night, what might you use on stage to represent an important location in the play, such as Orsino's house, or Olivia's house?
- PLEASE indicate WHICH question you will respond to.
- The assignment is due March 23rd by 4:00pm.
- WRITE your response in the box below "Post a Comment" on this page
Julie Taymor: Behind the Scenes of The Tempest
Option 1-
ReplyDeleteThe staging of the shipwreck of Twelfth Night would be different from the staging of the shipwreck in the Tempest by director Julie Taymor. In the Tempest, the ship appears to be far away in the sea. The ship appears to be rocking back and forth violently in the sea. The ship explodes and burns with flames. The shipwreck in Twelfth Night would be portrayed differently from the shipwreck of the Tempest because the ship has already been wrecked when the captain and Viola enter on stage in Act 1 scene 2. Due to the violent storm in the land of Illyria, the captain told Viola that her brother Sebastian was hanging onto the mast of the ship that was floating in the sea. I think Taymor would show the audience the shipwreck with a big storm and the ship splitting into pieces and the crew screaming. Taymor would show Sebastian holding on the mast and screaming for help. If Taymor directed a production of Twelfth Night, she would make decisions of how to interpret the scenery and the characters. In the Tempest, the sand was so important because it represents the island. In the Twelfth Night, the houses of Orsino and Oliva would be important to show that they are wealthy. Most of the characters in the play the Tempest wear masks to hide their faces until they are free. In the play the Twelfth Night, I think that Taymor would portray Viola with a disguise of a masculine man named Cesario and then would show her identity as a beautiful female when she reveals herself to Orsino who she loves.
This is Michael Sena's post.
DeleteYes! I love this concept! -Samantha
DeleteThis might work for film; very difficult for stage.
DeleteWould you want to show the shipwreck on stage with special effects as Taymor does, or are you thinking of it as a film?
DeleteAlso it looks like you're trying to reply to all 3 writing prompts; 1 is enough
I would want to show the shipwreck on Stage with special effects like thunder, lighting, waves crashing, etc...- Michael Sena
DeleteThis comment has been removed by the author.
ReplyDeleteJohn Richard Mateyko- Option 3:
ReplyDeleteIf I were to direct a production of Twelfth Night, there would be a number of (justifiable) ways to dress the stage. Since Illyria didn’t exist at the time when Twelfth Night was written, having the play take place in an unknown location sparks the audience’s curiosity- and more importantly, for the purposes of this assignment, allows the director to have a pretty wide spectrum of staging and designs to experiment with.Personally, I’m a huge fan of modern scenic design and the use of minimalism, especially in Shakespeare productions. When I think of a mysterious place where people can disguise themselves as the opposite gender, accidentally court a countess, and just overall do whatever they want.. I think of a fast-moving urban environment like Manhattan or Los Angeles. Putting together my ideal type of scenic design and taking inspiration from the context of the play, I’d design a large, layered structure (black/dark grey/light grey monochromatic) that rests on top of the stage floor, that could serve as multiple important locations, such as Orsino’s & Olivia’s houses. The stage would be flooded with 1 in - 1 ¼ in of water representing “the coast”. This staging would preferably take place in- a theatre in the round, like Circle In The Square, or the Old Globe in San Diego.
I think that your idea of using Manhattan or Los Angeles as the current day setting is cool. I will buy a ticket to see your production!
DeleteMichael Sena
Thank you so much Michael! :)
Delete-John
John, I like your approach. Your creativity and vision bears a strong resemblance to that of Julie Taymor's. We are in agreement that minimalism is preferred when it comes to scenic designs of Shakespeare productions. More importantly, I really enjoy your idea of the action taking place in a fast-moving, urban environment. I chose Option 3 as well, and mentioned my concept of Olivia's house. What I like about your concept is that you can explore city neighborhoods to place the houses in. I feel like Olivia might have a luxurious apartment on the Upper East Side! Circle in the Square would be a terrific venue for the production.
DeleteHey John,
DeleteWhat really caught my attention of your idea of choosing locations is your choice of LA or NYC. To be be quite frank, if you didn’t mention it I’d be stuck on what I personally would chose as a location. The reason I think your choices are well studied is because of the environments you describe in which the societies within these cities all blend together and are in many ways true and fluid to having a “grey” area in relativity to gender and sexuality. In the locations you chose such circumstances and ideas are much more forward thinking than other places and can resemble the progressiveness of this particular Shakespeare play. In terms of colors, grey and neutrals would be perfect as once again these choices follow the fluidity in which you are, metaphorically speaking, painting the concept of your set, In other words, brilliant choices.
-Adriana Franco
John, You should look at designs by Adolphe Appia and Edward Gordon Craig.
DeleteOne Shakespeare production that uses a fast-paced city setting is the 2000 Hamlet with Ethan Hawke, though the atmosphere is more corporate rather than mysterious. The water flooding of "the coast" sounds interesting but might be difficult logistically.
DeleteChristine Bailey
ReplyDeleteOption 1: How might a staging of Twelfth Night's portray the shipwreck in Act 1 and how would it differ from the shipwreck in The Tempest? What decisions might a director like Taymor make?
If you read the script of Shakespeare’s comedy Twelfth Night, in Act 1, Scene 2 Shakespeare does not actually give any specific stage directions about how he would like the shipwreck to occur. In fact, the shipwreck does not even happen onstage, but rather is just discussed by the characters Viola, the Captain, and the sailors as they enter. These characters are walking onto the stage (the shore) after the shipwreck has already occurred. When Viola walks on, the Caption and sailors have already saved her and they are all already on land, not out of sea. This differs from the very beginning scene of Shakespeare’s tragedy The Tempest, where in Act 1, Scene 1, the characters are supposed to be on the boat, out at sea, while the storm is occuring. The shipwreck is not just being talked about after the fact, but is occurring live on stage. That is why director, Julie Taymor, made it especially important to clearly portray the ship on the water; to portray the storm, the thunder, the lighting, the rough seas; and to have the ship burning. This event takes place within the script, and therefore needs to be clearly shown onstage right before the audience's very eyes.
In Twelfth Night, however, the ship wreck occurs offstage, theoretically before the production even starts, and, again, it is only very briefly described by the characters. So, how might a director like Taymor conceptualize this very important event if it doesn’t actually occur on stage during the production? After all, the event is the beginning trigger which sets the rest of the events of the play into motion. Well, like every decision in a production of theater, one must be able to justify their choices. What better way to do that than to look at the very script. In the dialogue, the Captain explains how Viola clung to his ship’s lifeboat during the storm and was consequently saved; so, it would make sense to have Viola make her first entrance pulling the small lifeboat onstage with her. It would look like they had all just reached shore. This is the directors use of props in their production. The director can also portray a message using costumes. To further make it believable that they had just come out of the sea, all the characters' costumes could be somewhat wet: wet hair, wet clothes, etc. And as they walk on, they could be ringing their hair out, patting their clothes, trying to dry off. Theater is about making the story accessible to the audience, whether that be through props and costumes or another way. Another way the audience can really understand a message is by seeing meaningful, precise movement. So, the director would have to give the actors specific movements. If I were Taymor, I would have everyone in this scene enter from stage right. Then, I believe it would make sense for the characters to be moving across the stage throughout the entire scene, towards stage left. As they are talking about Illyria, the Caption, Viola, and the sailors would be moving across the stage, examining the area, going deeper into the town until they eventually exit stage left. This movement across the stage, from one side to the other, helps the audience really see what is happening in the scene: the characters are moving away from the sea, the shore, the lifeboat, the shipwreck event, deeper into the next events of the play. This movement helps cement the fact that they are going into Illyria, the action is starting. And here in this coastal town they will find the house’s of Orsino and Olivia and the shenanigan characteristics of this Shakespearean comedy may begin.
Hey! :)
DeleteI totally agree with your methodology for directing/ staging the shipwreck. The answers are always in the text! I especially loved the image of Viola singlehandedly pulling the lifeboat with her onstage for her first entrance, symbolizes how alone she is after Sebastian’s “death”. I’d love to hear your thoughts on experimenting w/ the addition of the prologue or some imagery of the shipwreck that diverges from the play’s canon.
-John
I love the idea of looking to the script to get ideas, especially because Julie Taymor did a lot of that in The Tempest. I do not understand the purpose of Viola carrying the lifeboat with her though, I would like to see you describe that more.
DeleteI am not sure why it says unknown. This is Elizabeth
DeleteHey Christine,
DeleteFunny enough as I was reading your description of the cast shifting from one side of the stage to another I pictured it in my head and I immediately pictured it as you described stage right to stage left before finishing the sentence so I suppose that instinctively we are on the same page with stage direction for that scene. I really enjoyed how you described how Taymor would conceptualize the scene and add small elements of props to give the audience an idea of the events that have occurred offstage in order to follow the narrative. I think that simple elements such as the lifeboat give a clear idea to the audience that an accident occurred offstage and that there may be casualties. As an audience member I find it visually appealing when the integration of a prop can explain a question I might be harboring in my thoughts.
-Adriana Franco
In terms of the stage direction I think we both had very similar visualizations. It's cool to read your thought process for setting up the scene the way you did, Especially connecting it back to Julie Taymmor. I personally love costuming and would be interested in seeing how our visualizations of the costumes differ since out staging is similar.
Delete^ This was Gabby
DeleteThis is a very elaborate depiction of the storm; becomes a production unto itself.
DeleteRe. "the shenanigan characteristics of this Shakespearean comedy may begin", would you want the shipwreck scene to be presented at least partly comedically with the lifeboat business played for laughs? Or, as John says above, would the stress be on Viola's being alone after the "death" of Sebastian?
DeleteElizabeth Bailey--Option 2
ReplyDeleteArguably the most interesting, simple, and creative component of Julie Taymor’s production of The Tempest was her use of the masks. The masks were so memorable because they had a very magical and mystical quality to them. Ariel’s mask was the most interesting because even though the mask is obviously not human, there still was a very human quality to the character, because of the actresses' voice, but also because of the movement. The mask felt “alive” and very expressive even though the face of the mask never moved.
If I were directing Twelfth Night, there could be many justifications on why any and all of the characters could be wearing a mask; however, having every character wear a mask lessens the significance of the mask. So, the strongest justification would be to have only Viola and Sebastian wearing masks. For almost the entirety of the play their identities are questioned. Viola and Sebastien both are not sure if their sibling has survived and the rest of the characters do not know the other sibling exists till almost the end of the play. For most of the play, Viola is pretending to be a male servant to Orsino, whom she loves, so instead of only wearing men's clothes, she could wear a mask that looks exactly identical to Sebastian’s mask. That way, in the end when the characters are face to face, it can be very clear to the audience that they are twins. The mask could look somewhat androgynous, though more on the masculine side since Sebastian is a male and Viola is pretending to be a male. The eyes and the lips would be more feminine, especially since “Cesario’s” feminine lips are mentioned. At the end of the play when Viola and Sebastian meet the masks would be removed, helping the audience to see that these characters are in fact now two separate people.
Hey! :)
DeleteI LOVE this idea. You're not only 100% justified in this choice as a director (awesome examples from the text), but it would also be very engaging as an audience member to watch- much more original and thought out then the usual- "let's just get two actors of the same ethnicity and give them the same haircut".
Super cool!
-John
Thank you! :)
DeleteHi Elizabeth. I 100% agree with what you said about the Ariel mask having so much emotion, even though it never moved. As I was watching the video the mask felt so alive, just from the movement of her hand. And at some points I even got the chills so I'm happy we agree of how cool that was.
DeleteI think what you said describes the significance of the masks perfectly---if everyone has them it loses their magic. So, I like that your approach would only have the twins wearing masks. It helps really highlight to the audience, these are twins and the fact that they look the same is a huge plot device in the play.
--Christine Bailey
But I think that the "allure" and the "desire" and the "eroticism" of the play is lessened if you use masks on Viola and Sebastian.
DeleteGood point on the expressiveness of Taymor's masks. If Viola and Sebastian were masked, which as DocO says may lessen the allure of the play, could there be ways to express desire and eroticism through their masks?
DeleteIf anyone sees this and is having trouble posting your paragraphs you need to use Google Chrome. I was using Safari yesterday afternoon and this morning and it wasn't working!
ReplyDelete
ReplyDeleteTheresa Bokor
12:07 PM (5 minutes ago)
to lbokor
Terry Bokor
Professor Dolores de Manuel, Ph.D.
English 252 Shakespeare
23 March 2020
Option 1
If I were staging Act 1, scene 2 of Twelfth Night, I would work with a minimal set for the beach. It would; however, be less minimal than Ms.Traynor's set for The Tempest.
I would have three craggy rocks on stage right three and four feet high in a zig zag formation slightly back from the apron with two large similar rocks at the edge of stage right. Scattered on stage would be a few pieces of brown wood and a small chest -- representing the ship and cargo that came ashore. Added to this would be a scrim all the way upstage with a rear projection of the town buildings and a large house for Count Orsino and further away Olivia's house.
The rocks are providing the audience with a cause of the shipwreck and a reason why the characters could not see more of the coastline to determine if there were other survivors.
The characters would enter stage left walking around the rocks and move toward center eventually exiting upstage toward the town. Their costumes and hair would be damp looking and would affect how they move.
Unlike The Tempest, the shipwreck does not happen in the scene so I believe Ms. Traynor would focus more on the actors' lines as this scene introduces the audience to several main characters and their backstories.
It might be difficult to make the rocks "portable" enough to get them offstage quickly.
DeleteRe. "their costumes and hair would be damp looking and would affect how they move": would they move slowly? shaking themselves off vigourously?
I had envisioned chicken wire covered in papier mache or muslin and painted in shade of copper and brown. Stagehands should be able to pick up two each.
DeleteI would have them move slowly and stop to squeeze their garments. Vigorous shaking would detract from the dialogue.
In directing a production of Twelfth Night, I would use a kingdom like structure house to represent Olivia's house because she is related to a noble and also is wealthy. For Orsino's house since it mostly takes place on an island, I would use a beach house type of structure, he is a powerful nobleman and "popular" so it would make sense he would live in a beach house.
ReplyDeleteNick Duque-- Option 3
DeleteInsufficient response. "Kingdom like structure"? In the back ground? You can only see a "castle" from afar; once you're inside, it looks much like the inside of any wealthy court.
DeleteYes, we need some more details on features of the houses that would show Olivia's wealth and Orsino's power. How do you imagine that his beach house would look?
DeleteGabriela Bargas
ReplyDeleteOption 1:
In Shakespeare's Twelfth Night the act of the shipwreck in the beginning of the play is only spoken about, not directly shown. The wreck itself, however, is what sets the events of the play in motion. Since the play is a comedy, as a directorial choice, I personally would exaggerate the nature of the shipwreck. With the set alone I could imagine remnants of the ship itself along a shore, or even items being carried by the characters in a slightly comedic way. In the documentary about Julie Taymor's interpretation of The Tempest by Shakespeare she talks about how important physicality and costuming is to creating a character and establishing the world. Going off of that I think the characters physical appearance will really show what just happened to them despite the audience not having witnessed it. The characters clothing could be slightly tattered and they themselves could be wet and disheveled. This shipwreck plays more to a comedic tone while the shipwreck in The Tempest has a more dramatic tone. The interpretation of these beginning scenes set up the themes for the plays.
I agree with this Gaby . Since it is a comedy , it be really fun and interesting to see exaggeration on the nature of the shipwreck , plus the characters picking up stuff in a comedy way is also great .
DeleteBrandon Nieto
I love how you mention that the shipwrecks are both the catalysts for the action of the plays. I also love the image of some of the shipwreck being onstage. Because even though the ship wreck is not directly written out in the play that gives the audience a really beautiful visual of the shipwreck and how dangerous it was that Viola thinks her brother is dead.
DeleteThis is more in-line, I think, with the way the play was originally staged. Less of a "to do" with the actual shipwreck and more focus on the aftermath.
DeleteI can see how a "wet and disheveled" Viola might be played with a "comedic tone" while still combined with her grief for Sebastian. Good use of Taymor's comment on physicality!
DeleteOption 3
ReplyDeleteIf I were to direct a production of twelfth night , it would be somewhere that has hot temperature , such as Florida or maybe California , due to have the water view for the ships. I find it bad that there’s no specific location . I don’t like that mystery , I wanna imagine it in my head to see where Olivia or Orsino house would be . They definitely would have nice houses on the coast due to olvia being wealthy . Orsino could live by the coast as well but probably have an interesting fun house because he is the cool one that is likable . Orsino is actually my favorite character .
By - Brandon Nieto
Insufficient response.
DeleteYes,the water view and "nice houses" are a start, but look more closely to analyze issues of representation
DeleteGiovanni Gaskins
ReplyDeleteOption3
When directing the play Twelfth Night by William Shakespeare, the object that comes to mind when trying to think of an important location such as Orsino’s or Olivia’s house is a stone platform. The reason why I would use a stone platform to showcase the two character’s house is because in the play Orsino and Olivia are often closed in due to similar reasons. The stone platform is supposed to represent isolation by choice.
I agree that Orsino and Olivia are closed off and isolate themselves. Stone sounds like a good idea!
DeleteMichael Sena
Stone platform? But these are wealthy people; high status. Stone platform hardly suggests high status.
DeleteAre you imagining something like a big marble patio with stone walls to show the characters' isolation? That might be clearer way to describe it than "stone platform".
DeleteSamantha Brunie
ReplyDeleteOption 2
Throughout Taymor's rendition of the Tempest, she decided to use masks to help portray characters. She explains that the way characters are described, such as Ariel being described as a free spirit, it was more simple for me to visualize the characters and how they carry themselves.
If I were to stage Twelfth Night with masks, I think I would assign Viola, Sebastian and Malvolio only with masks. Malvolio should have pink cheeks with rouge, to help paint the picture of his self-love suffering. His chin should be free and behave like Stephano and Trinculo's in the Tempest video. He would gave bright pink lips to help paint the picture of vanity. Viola and Sebastian should have similar masks, to show their relation. They are twins after all. However, VIola would only wear the mask when she's behaving as Cesario. Her lips would still be painted their color s when the siblings stand next to each other you can tell the difference between them two. Viola's mask should be smaller to fit her face, and her chin should be free as well.
Good Idea.
DeleteHi Sam, I love the use of the chains with the masks. Throughout this comedy they Shakespeare does describe love and something that your afflicted with and something that plagues you--the chains with the masks would make that very clear to the audience.
DeleteI also really like the symbolism of the chains being freed once they fine love. Again, it's all about helping the audience see whats going on, because even if they don't understand all the words, they will get the general message and idea. You're mask ideas would make that happen.
---Christine Bailey
I think you lose the "allure" and "eroticism" when you put masks on Viola. Sebastian? He only appears at end. Malvolio? True, he is "encased" and "cut off" but I don't know that Malvolio in a mask will give you the representation you seek.
DeleteTaymor uses masks to emphasize the comedic aspect of Stephano and Trinculo; would you try to represent the comic elements of Malvolio's being "sick of self-love" with his mask?
DeleteRashid Tindal
ReplyDeleteBlogging Assignment #1
Julie Taymor uses the sand to create distance and isolation in the tempest which would help pick a particular area where Calaband will arrive from below. In correlation to the Twelfth Night as a director I would add a two seated couch in the middle of the stage to represent Olivia or Orsino house. This would be a spot they would sit during heavy romantic love scenes or even scenes that involves the two having a disagreement. The importance of this couch and it’s location is directly designed to show the main idea of romance, love, and desire which is an impactful part of the play that helps define the true meaning behind Twelfth Night. This particular couch shall be red with soft leather covering the entire couch so the actors can be seen sitting firmly with no distractions. Lastly there would be slight marks on the couch demonstrating acts of loneliness caused by pain and suffer but would soon be remodeled throughout the play to visualize a happy ending.
Option 3: Taymor uses sand to represent the island in The Tempest. In directing a production of Twelfth Night, what might you use on stage to represent an important location in the play, such as Orsino's house, or Olivia's house?
Your "couch" becomes a focal point; it also makes the play more "casual" and less "formal."
DeleteI like the red leather detail! Also characters might do more than just sit on the couch; as a director you could actually show Orsino making marks on the couch by punching or kicking it in frustration. Orsino could lean on it, jump over it, other actions to express his feelings.
DeleteStephen LeFayt option 3
ReplyDeleteIf I were directing the Twelfth Night, I'd definitely want some sort of contrast between the settings of different scenes. Id like a more modern interpretation, making it easier to visualize.For Olivia's house, I'd like to set a sort of neutral, yet royal type of set. Once she falls in love, I'd change the set by adding more brightness to it, giving a sort of sense of like a rebirth and happiness. As for a setting such as Orsino's house, I'd set it more of a "party" or "cool" atmosphere, maybe a lot of bright spots and set pieces that really stand out as unique and fun. I'd do this so right off the bat the audience can get a sort of expectation as to what type of character he is and what to expect.
That you are looking for opportunities to "brighten" the set/stage to suggest the change that happens with Olivia is a good start.
DeleteI agree with the need for contrast between Olivia and Orsino's houses. Regarding Orsino's house shown with a "party" or cool atmosphere, maybe a lot of bright spots and set pieces that really stand out as unique and fun", what are some details that you might use?
DeleteOption 3:
ReplyDeleteIn directing a production of Twelfth Night, I would utilize columns or pillars to represent the terrace of Olivia’s house. It is my belief that this structural element best exemplifies the character’s wealth and beauty. Perhaps Olivia’s terrace is constructed of marble, which never loses its value or beauty, and plants and flowers decorate the location. However, I would pay close attention to the variety of styles, colors and textures of the flower arrangements. For instance, I would choose to dress the scene with rose bushes as roses are most commonly associated with love and romance. Of course, it would be a nice touch if the rose bushes were wilting. Remember Olivia is in mourning for her brother, who has recently died, and seems to enjoy wallowing in her own misery. The roses might even bloom and become desirable once Cesario (Viola) arrives, which is when Olivia snaps out of her gloomy state of mind.
-Christopher Bilello
DeleteI love this! It reminds me of the way film and TV are designed. I always pay attention to color choices and things like that so I could totally see what you're going for and I love the rose blooming symbolism.
DeleteWhen you say "pillars" and "columns" it gives it an Italian (or Roman or Greek) flavor. Certainly has high status which is good/accurate.
DeleteRoses can have an erotic connotation so the blooming roses would fit with Olivia's interest in Cesario. For color choices, would you go with dark red which would seem more erotic? Or bright yellows or pinks which would emphasize new growth?
DeleteChris you really have some good ideas in terms of what the stage should look like. I agree with the fact you mentioned that Olivia's house should have columns or pillars it fits in her wealth and beauty. I like your idea of the resemblance of using roses for Cesario's entrance
ReplyDelete-Nick
Adriana Franco
ReplyDeleteOption 2:
In The Tempest Julie Taymor notes that typically there isn’t much description of all characters in most Shakespeare plays and it catches her attention that Shakespeare goes into detail of what Caliban would appear like. From what she interprets from this description is that Caliban is a type of savage, deformed monster. She takes a line from a quote in the play in which Caliban is expressing what Prospero has caused him to feel and be, he follows by saying “You have stymied me in this hard rock” to which Taymor interprets as being stuck and or imprisoned quite literally in a rock. Taymor keeping true to her style and both Shakespeare work is inspired off images she comes across of Mud Men of New Guinea. Once these images catch her admiration and attention she decides to go into the direction of the primitive and simple design these masks resemble for Caliban but in rock form to symbolize the rock of which his character feels trapped in.
In a case such as Twelfth Night where a constant theme that is observed through out the play is love being a associated with suffering Julie Taymor might take the approach of possibly having characters wear a mask as they seem to become instantly in love with a particular character. In Twelfth Night the falling in love is almost instant like love at first sight and how Taymor would most likely go about the concept is possibly making a mask with a heart on it or shaped as it so the moment that the falling in love occurs the audience would observe a mask appear as an indication of the quick reaction. Attached to the mask would be heavy chains weighing the character down because this would attribute to the suffering and burden love causes. Only characters whom have been “plagued” with love and it’s troubles would wear a mask. Towards the end of the play Malvolio and Antonio would be left with the mask and chains to represent an unrequited love and that love without reciprocation is simply a joy-less burden. And Viola, Olivia and Orsino’s masks would break along with the chains as they have all found a mutual love affair that free’s them of there pain and suffering.
She goes on to explain a great point when learning, reading or watching a Shakespeare play by stating “It’s much harder to read Shakespeare than to see Shakespeare. You don’t have to understand every word to understand what a person is taking about.” With mentioning this you can observe this as it resonates through out her work as a director to take it upon herself to quite literally demonstrate to the audience what might be occurring while also keeping things as simple as they are meant in the writing and translating what as a director she believes is the essence of said character or narrative.
This is actually a creative way of thinking, I like the use of the mask and the chains
Delete-Giovanni Gaskins
Not sure I follow; the characters gain a mask when they fall in love? Or they lose their mask when they fall in love? And you're also saying that love is associated with suffering, right? That's interesting; but don't they STOP suffering once love is returned?
DeleteI love leaving Antonio and Malvolio in the masks and chains. It is a very sensitive touch.
DeleteTerry
Good insight on unrequited; I agree that it could be portrayed with chains
ReplyDeleteGood insight on unrequited _love_; I agree that it could be portrayed with chains. However,is Malvolio really in love with Olivia herself? It seems to me that he's more in love with her wealth and status.
DeleteOption 2.
ReplyDeleteKevin Lopez
In Twelfth Night there seems to be two different casts that only seem to interact very briefly, bridged together by their involvement with Lady Olivia. It kind of reminds me of a sitcom that has an A plot and a B plot. The cast would where masks, where one side would wear masks that exaggerate their emotions, such as Orinso having worry lines on his forehead and Viola having large expressive eyes. Olivia and Sebastian would be exempt from wearing masks for causing all the confusion.
On the cast of the B plot I believe that Sir Toby should bear big red rosy cheeks, Sir Andrew would have big shoulder pads in an effort to look more intimidating. Maria Would probably just wear too much lipstick to make her mouth look way too big and as for Feste, possibly have him wear the biggest grin possible with big red lips. Malvolio would have a large scowl with a shrew-like pointed nose.
This is where its gets interesting as all these features would be erased as the truth about the 2 twins comes out. Everyone’s expression suddenly becomes normal, allowing them to express other emotions rather than the ones they were limited to before, leaving Malvolio to look as the only fool left.
I agree with the idea that this play could be a sitcom, it does seem that way
Delete-Giovanni Gaskins
Isn't Viola more of the "go-between" for the two worlds you describe?
ReplyDelete- Jzonae Deans
ReplyDeleteAfter reading the Twelfth Night Act 1 Scene 2 decided to do my research and look on YouTube “Twelfth Night Act 1 Scene 2- what country , friend is this “ to see one of the directors would set up the stage. During the reading Shakespeare didn’t really mention as much of the shipwreck nor was in present during the scene that I just watch.The plot was mostly occurred when they were off sea after the ship was damaged where they ended up on land. And on the clip that I seen Viola and the captain enter on stage by crawling to the scene and the background is pitch black with stormy clouds. In Shakespeare “The Tempest” directed by Julie Taymor in her scene of shipwreck was way different from twelfth night because it was more involved in the play and the way she directed it was big white sheet with the ship behind it which appeared a shadow for the audience to see. And they also used fire for the ship to be burning down and split in half which it looks more realistic towards the audience. And the sound of thunder and lightning was more dramatic when the sheet came down. One thing I really enjoy watching from behind the scenes with taymor was the costumes what I realized throughout all played they remained one costume and within that one costume explains a lot of what character is how they dress the costume says everything about the character’s personality. Which what I observed on trinculo outfit where he really looks like he been strike by lightning.