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?

Character Exercise with Annie

We'll be in the Black Box today (Mar 17). There to meet with. . . No, not Macbeth. Annie will be back with us today, all day. She'll take us through an exercise in character. For it, you'll need to choose a character you'd like to "be" from either of the first two plays we've read. We can have duplicates, no worries. If you see this before class, be thinking. If you don't, I'll tell you this there.

Clarification: Which Blog Posting/When?

Sorry for creating confusion. Here's the deal. Your homework for Tuesday, March 15 is to read through Act 3 Scene 1, and blog about anything you find interesting therein. Please use the blog post that several have used already which is titled "Ideas and Questions. . . Act I". Since it's already used, let's keep using it. The homework (on the new syllabus) for THURSDAY, March 17 is to read through Act 3 Scene 3 and comment on Bassanio. Some of you have already done that, so you're ahead. I hope that helps.

Is Bassanio True?

Not only the film adaptation but the play as well suggest the possibility of a love relationship between Bassanio and Antonio. He could be using Portia therefore as a means of obtaining 1) financial independence, and 2) acceptance by the heterosexual community while wishing to continue his relationship with Antonio. What, based on the casket scene, do you think Bassanio's motive and feelings truly are?

Ideas and Questions for Merchant, Act I

In addition to your comments on self-selected text (see below), please feel welcome to comment on any of these questions publicly. You may simply use them as food for thought as well.

1. During Portia's first scene, the content is clear. But since this is a class for actors as well as readers, give some thought to what Portia could be doing physically in this scene. She can't just be standing there. What activity, or series of actions would be a good accompaniment to her thought process and her speech?

2. Does Shylock's language show what it's like to be an outsider? How so?

Merchant Text Comments

I had assigned you all the task of commenting (as you did in Macbeth) on a few lines of Act I of Merchant that caught your attention for whatever reason. I did not however give you a place to do so. Sorry. Here you are. Please consider this an assigned prompt rather than simply an invitation. Maybe by the end of the weekend is fair, since we have projects today.

GaleGroup #2

The username was not as I suggested in class today. It is san92165. It shouldn't be necessary after you've logged in once, as your cookies will be there. But if you need it, there it is. Password I gave you was correct.

Accessing Galegroup Links/Class on 2/17

I experienced the same problem Andrew did with trying to access the links I posted for you from galegroup. The password is "wildcats" as many of you probably know. But they prompt the username as well, which I don't know off hand. I've emailed Derek and Trevor so I should be able to tell you more by class time today.
Speaking of class, we'll be in the Black Box today with David Sinaiko for approximately half the class. Then I'll give you time to work on your projects, which for those of you who are working in teams, I understand is necessary.
Please comment on the BBC article on the blog, which you should be able to access.
See you at 11:05.

Comments on Merchant Links

When you have read the BBC article from the online resources, and if you read either of the other two which are linked to the blog, feel free to comment here. I'm curious to know what you already knew, number one, and what you think about the history here, whether or not it is new to you.

Culminating Experiences: Macbeth

As we bring down the curtain on this, the first of our three plays, we turn to experiences which can deepen our understanding and enrich the play for us. In class today, and in the Essential Documents list, you will hear about/see two ways in which we'll do that. First, we'll do an in-class essay on Monday, Feb 7, where you have a chance to trot out your analytical skills. Then, as we go toward mini-course, the second phase will be a choice of projects employing various other intelligences: your choice. Timetable for the projects will be forthcoming.

Final Scenes of Macbeth

At last, the play is done, and there's nothing left to know. Please select a passage from these last pages that you think somehow capsulizes the impact of the play's concluding moments. Where does the tragedy, the irony, the justice, whatever, strike you as being the strongest? What ambiguities remain? What ultimately does the play say about human nature and human will?

Rolling into Act 5 of Macbeth

To finish the week, your charge is to choose: either comment here about anything at all in tonight's reading that catches your fancy, or memorize five lines. My suggestions include your reaction to the odd scene with Malcolm and Macduff, and what you make of the shift there, or some aspect of Act 5, 1. If you would, tie you comment to specific lines, which you site at the beginning of your comment.

Notes and Ideas for Macbeth 3, 5 &6 and 4, 1 &2

The call is memorization this time, so these are once again more study guides and discussion starters. I do welcome any comments you choose to post, however.

1. Act 3 scene 5 is one that linguists and scholars claim was not written by Shakespeare. Looking at the content (both in itself and in relationship to the preceding scenes) and the language (that's harder, I know), what justification can you make for that opinion?

2. 3,6 is a barometer scene, much like some toward the end of Act 1, and Banquo's soliloquy to begin Act 3. How would we know that Lennox is speaking opinions that are more generalized in Scotland? What do you anticipate may happen as a result of these feelings?

3. Act 4, 1 is a especially memorable one which brings the witches and Macbeth back together, and foregrounds the supernatural more than anywhere else except perhaps the banquet scene. Enjoy imagining how you would direct it, and observe the outcome for the way Macbeth is affected by the events that have just transpired and how he proposes to act differently and independently of the prophecies the apparitions offer him.

4. The final scene for next time is another bloody one. Ross's warning seems to come too late. But we'll see how Polanski changes Ross's role in the scene that makes the ethical standards of Scotland even more suspect.

Notes and Ideas Macbeth 3, 1-4

I'd rather hear your thoughts about the film and the specific ideas we've discussed in class than asking you to do a second or alternative comment on Act 3, 2-4. So please do respond to the previous posting. But here also are a few questions to guide your reading which can enrich our time together on Monday.

1. Several of you already commented in class about Banquo's short soliloquy to open Act 3, where he both expresses suspicions about Macbeth's situation and a "wait and see" attitude because, after all, his children are likewise fated to be kings. What now do you notice about Macbeth's questions in the brief encounter? What is the "verb" here?

2. Macbeth's "to be thus is nothing, but to be safely thus" signals the strategy he now choses to protect himself. In that speech, what is his chief beef with Banquo?

3. How do you picture the murderers? Think physically, as if you are directing, or at least casting the play. What posture, age, and other description do you think would befit these roles?

4. Consider the interaction between Macbeth and Lady Macbeth in 3,2. What state of mind is Macbeth in? Has his relationship with Lady Macbeth changed already? How so? What consequences do you imagine for any of these thoughts or behaviors?

5. We'll block Act 3,3 in class. But as you read, what problems do you imagine will arise as we try to make this scene come to life?

6. Act 3,4 is the famous Banquet Scene. What role does Lady Macbeth play here? Pick a moment when the "verb" of a particular beat is absolutely clear to you, and note that for class.

Reactions to Polanski?

We went quickly from watching the clip of Polanski's Macbeth to the Black Box, and I wished we'd had some time to react together to the way portions of Act 2 that we've read and discussed lately were dramatized. What stuck out for you? There was laughter at the dagger, so maybe that reaction (although non-verbal) is already registered. But maybe you have something to say? More complex may be your feelings about the murder(s) and Macbeth's verbal responses to it. What did you think?

An Assigned Posting: Macbeth's Explanation in 2:3

What do you make of Macbeth's explanation of his killing of the two chamberlains? Does it make sense? Do their supposed actions make sense? What in his language specifically do you think makes an impression on those present?

Notes and Ideas: Act 2, Scenes 3 and 4

You have an assigned posting to comment on, so these are just food for thought. Unless you want to post another comment, in which case, you're welcome to do so.

1. The opening of scene 3 is a change from the surrounding moments of drama. What purpose does it serve? Do you think the effect is as important for a modern audience as it would have been in Shakespeare's day?

2. One of the more difficult lines to act (I think) in scene 3 is Malcolm's reaction to the news that his father has been murdered:"Oh, by whom?" How do you understand that apparently muted response? How would you play it, if you were an actor?

3. In scene 4, Ross speaks first to an old man, then to Macduff. What significance do you find in the report of the former, and what do you read into Macduff's plan to return to Fife as the second act ends?

4. Act 3 opens with a short soliloquy from Banquo. What is his attitude about Macbeth's recent changes of status?

5. In this scene we also see Macbeth as king for the first time. What's the difference between the public and the private man? We can conjecture about the effects of this discrepancy. What are your first thoughts?

Is this a Posting I see before me?

In addition to your five-line memorization and the relatively short reading assignment, please post a comment on the following:

• The dagger speech is one of the most famous moments in this play. Both on stage and especially on screen, it can be a moment when special effects lead us toward one or another interpretation of Macbeth's character and state of mind. If you were directing the play, what would you do? Should the dagger be visible to the audience or not? What questions about the theme of the play would shape your decision?

Notes and Ideas: Macbeth 1:5-7

These again are suggestions, not required postings, and I intend for them to guide our discussion on Thursday. That said, I invite you to post responses to either to help us get the ball rolling in class.

a. Lady Macbeth is a fascinating character, and she represents one source of feminine power in a play about masculine warriors. What are your first impressions of Lady Macbeth? Could she be played as an extension of the weird sisters, or is she something other?

b. What is the nature of Lady Macbeth’s persuasion/manipulation of Macbeth? What do you sense is the source of her power over him? How could you play that on stage?

Notes and Ideas for Macbeth 1-4

These are not intended as required blog prompts, although they may overlap with things you choose to write about. We will talk about and play with them on Tuesday, however, so think about them beforehand.

1. How might a director present the Weird Sisters so as to make them more than Halloween/Disney stereotypes? What could actors do that would be less cartoonish?

2. How do you think Shakespeare's audience would have reacted to the Weird Sisters? (Think: historical context!)

3. Scene 2 is largely exposition: the who, what, when, where, how and why of the plot. What impression do we get of Macbeth in this scene? Where in particular?

4. How does the language and concept of "Fair is foul" magnify and deepen in the first act?

Macbeth: the Opening Scenes

Take a moment here to site a specific passage from the first four scenes that caught your attention, and say why you think that is so. You may include responses to other posts in your response, but stay focused.

Welcome!

Take a few moments to share with the rest of us what you consider the most important thing about this class, and the reason you took it.