Posting Up: "O" as Interpretation of Othello

We’re more than halfway through, so you have a feeling for how well this story plays as contemporary realism, and to a lesser degree you have a sense of the text as interpretation of Othello. This is a required posting, wherein I’d like to have your thoughts about the film. You need choose only one of the bullet points below. You may do more if the spirit moves you. Remember to read other postings as well.
The Iago character “Hugo” is surprisingly placed as a pseudo narrator (as he gets the opening monologue about “flying”, “jealousy”, and “being a hawk”).
• Does his envy and his path to getting even ring true for you?
• Do the issues of jealousy and covert racism seem authentically portrayed?
• The film purports to convey the reality of your generation’s relationships, both romance and friendship. Do you recognize yourselves in the characters on screen? Where most and where least?

12th Night Discussion Questions (Required)

Please choose among the following questions and weigh in with your thoughts at least once.

What motifs do you see in Twelfth Night that echo those of other comedies we have read or that you have seen or read previously?

What elements here seem unique or different to you?

How does this play present gender roles? How much seems to you like a modern interpretation of the filmmaker, and what from Shakespeare’s time?

What ideas about love surface here? Whose love do you see as most real? Most realistic?

What do you see as the purpose of disguise in the play? Does Viola really need to be disguised at all? What does she gain from her identity as Cesario?

Comedy, Act 3: Two Questions

Nice work last class directing Adriana and Luciana (and nice job, Allie and Anna!). It was amazing how well that scene came to life as we imagined it together, trying on various ideas. Well done!

Here are a couple of thoughts to steer us into Act 3. Post if you choose—not required this time around. See you Monday!

1. How do the two Dromios compare with one another? Talk specifically about their language and then their actions.
2. How would you stage scene 1? Know that we'll be working on this scene in class as it's physically quite entertaining. So, be creative!

Guiding Questions and a Request: Act 2 of COE

Here are some questions to think about as you read and which we'll discuss in class. In addition, choose for yourself a single line or speech from this reading that catches you eye for whatever reason, and as you have previously, post a comment about it.

II.i
1. Act out lines 1-41: What stereotypes do Luciana and Adriana perpetuate? What effect does the rhyme have on this interaction? Compare lines 15-25 and 32-41. What are the two women saying and how are their views on marriage different?
2. Look at Adriana's final two speeches: 87-101 and 103-115. How does this speech contradict her previous one in lines 32-41. What is the tone of her delivery? What is Shakespeare saying about all women in this speech -- go crazy.

II.ii
1. The idea of madness is introduced in the previous scene, and here we have some seriously wacky things happening. But the scene begins with Dromio S's witty word play. What is the purpose of the back and forth in the first 106 lines? Remember, we've now seen Antipholus with both Dromios.
2. Act out lines 109-end. How do Antipholus and Dromio physically react to this situation? What are we to think of Adriana?

Friday's Work

in addition to reviewing Act I of Comedy of Errors, as I indicated in class, I'd like you and a partner (probably) to choose a one minute portion of the reading that you can perform together. It need not be memorized, but you should be familiar with your lines so you can read it glibly, without having to labor. Otherwise you'll be too distracted to be physical at all! Then, your focus should be on embodiment of the lines. This MAY mean comedy and even slapstick. If you think you can incorporate some of that into the second scene, for example, great. Imagining HOW that tone would be established early in the play is the key. Scene one, after all, is not funny. It's there that the possibility of death and the "time line" we discussed last week are established. Within that threat, however, we are to create humor. Let's see (and I do mean SEE) what you can do!

Socratic Fishbowl

Tomorrow is our special session with David Sinaiko and Alison Park. Thanks to the six of you who agreed to be part of the opening fishbowl. The question we'll begin with is, "Should we read The Merchant of Venice? Does it belong in school curriculum?" We will decide tomorrow whether students or guests open the fishbowl. Be thinking about your preference. After we have had sufficient time to air that issue, we'll open the question to those of us who have been witness to the fishbowl thus far. Then we'll segue into the other questions we listed, and proceed spontaneously. I'm looking forward to it!

Posting: The Whole of Merchant (Required)

This is the place to put your reflection about the whole play. We broke the seal on this subject last class when we began talking about where the comedic elements were placed in the play (Act 4). Yes, the play resolves in marriage as a comedy should, but as we also noted last class, both Shylock and Antonio are left out in the cold at the end. You have some perspective, but now that you've finished the play, what are you thoughts about the comedic aspects and the "loose ends"? Remember that "comedy" doesn't mean laughs, and that characters who don't "fit" in the end are found in other plays as well (12th Night, As You Like It among others). If comedy/tragedy doesn't float your boat, take your turn to weigh in on the issue of anti-Semitism in the play. Last class you heard the play called an "anti-racist response" to the hanging of Rodrigo Lopez, a man accused of sodomy and suspected of being a Jew as well, that took place a short time before the first production. Where do you land, finally, in the question of the portrayal of Shylock (and Antonio) in the play?