To all, my apologies for not getting the complete list to you tonight. Blue
Mountain Center duties interfered. But tomorrow you'll have it in the
afternoon to refer to in case you have last-minute wishes.
> From: James Ayres <jayres@cvctx.com>
> Reply-To: <weeklong-l@lists.wikimedia.org>
> Date: Sun, 16 May 2010 16:54:12 -0700
>> Prologue: ŒTis now the very witching time of night,Š(Hamlet 3.2)> Bob:
>
> This is wonderful ! Thanks very much.
>
> Doc
> On May 15, 2010, at 11:46 PM, Pees, Robert wrote:
>
>> I also really like Gail¹s idea of starting with children of storms
>> and moving on to the softening of hearts. One of the reasons that
>> the reconciliation scenes are so powerful is that they were preceded
>> by jolting dislocations‹monumental storms, whether meteorological or
>> personal. When Cordelia says that she has ³no cause, no cause,²
>> we recall that she indeed has cause to resent her thundering
>> father. When Hermione emerges warm and alive from her statue-like
>> posture, we recall her previously standing stony-still in a trial-
>> like setting while Leontes charged her with infidelity and treason.
>> So, if feasible within our format, we might want to include earlier
>> scenes from the same plays that fuel the emotions that we feel when
>> we see and hear these reconciliation scenes. And as Jeff observes,
>> scenes from different plays can also reverberate and infuse and
>> reinforce themes. The possibilities are truly infinite. Below are
>> a bunch of ideas, some of which incorporate scene suggestions
>> already made, some of which are new (for example, the silly songs
>> from the TV series ³Slings and Arrow), and some of which are
>> designed just to continue the conversation about how to mix and
>> match all of the ideas that are coming in. The list below divides
>> the themes of Mystery/Magic/Reunion/Reconciliation into two broad
>> categories (mystery/magic on the one hand, and reunion/
>> reconciliation on the other) separated by an intermission, but
>> that¹s just arbitrary on my part. If I had to pick only a few
>> personal favorites from the list below, I would go with the statue
>> scene in The Winter¹s Tale, Lear¹s awakening before Cordelia, and
>> the Falstaff scenes.
>> Part 1: Magic and Mystery
>> A bell rings twelve times.
>> (³ŒTis now the very witching time of night² through ³To give them
>> May walk againŠ² through ³Exit, pursued by a bear²)>> seals never my soul consent²)
>> Scene 1: The Weird Sisters, the Three Apparitions and the Show of
>> Eight Kings and Banquo (Macbeth 4.1)(³Thrice the brinded cat hath
>> mewed² through end)
>> Alternative Scene 1: The Weird Sisters (Macbeth 1.3)(³Where has
>> thou been sister?² through ³Till then enough‹Come friends.²)
>> Transition 1: The Mackers Song (from the Canadian television series
>> Slings and Arrows):
>> Call me superstitious or cowardly or weak
>> But I¹ll never play a character
>> Whose name one dare not speak
>> I¹ll play Hamlet
>> In doublet and hose
>> Or either of the Dromios
>> But sorry, I won¹t play Mackers
>> I¹ll play Richard the Third
>> With a hump and wig
>> Or Henry the Eighth
>> That selfish pig
>> But sorry, I don¹t do Mackers
>> Every soul that plays this role
>> Risks injury or death
>> I¹d rather sweep the bloody stage
>> Than ever do
>> Mac-you-know-who
>> So gimme King Lear
>> Cleopatra
>> Romeo, Juliet
>> Doesn¹t matter
>> I¹ll play them all for free
>> But I¹d be crackers
>> To take on Mackers
>> You see, I¹m skittish about the Scottish tragedy
>> Scene 2: Bottom¹s Transformation and a Spell-bound Titania (A
>> Midsummer Night¹s Dream 3.1)(³I see their knavery. This is to make
>> an ass of me² through ³Tie up my love¹s tongue; bring him silently.)
>> Transition 2: Mercutio¹s Queen Mab Speech (Romeo and Juliet, 1.4)
>> (³O, then I see Queen Mab hath been with you² through ³Turning his
>> face to the dew-dropping south.²)
>> Scene 3: Othello¹s Denial of Sorcery (Othello, 1.2) (³O thou foul
>> thief, where has thou stored my daughter?/Damned as thou art, thou
>> has enchanted her,/For I¹ll refer me to all things of sense/If she
>> in chains of magic were not bound² through ³She lov¹d me for the
>> dangers I had pass¹d,/And I lov¹d her that she did pity them./This
>> only is the witchcraft I have us¹d¹)
>> Alternative Scene 3: ³There¹s witchcraft in your lips²--Henry¹s
>> wooing of Katherine² (Henry V, 5.2)(³Fair Katherine, and most fair/
>> Will you vouchsafe to teach a soldier terms² through ³There¹s
>> witchcraft in your lips)
>> Transition 3: What potions have I drunk (Sonnet 119):
>>
>> What potions have I drunk of Siren tears,
>> Distill'd from limbecks foul as hell within,
>> Applying fears to hopes and hopes to fears,
>> Still losing when I saw myself to win!
>> What wretched errors hath my heart committed,
>> Whilst it hath thought itself so blessed never!
>> How have mine eyes out of their spheres been fitted
>> In the distraction of this madding fever!
>> O benefit of ill! now I find true
>> That better is by evil still made better;
>> And ruin'd love, when it is built anew,
>> Grows fairer than at first, more strong, far greater.
>> So I return rebuked to my content
>> And gain by ill thrice more than I have spent.
>>
>>
>> Scene 4: Apollo¹s oracle reveals the truth to an unbelieving
>> Leontes (The Winter¹s Tale 3.2)(This scene, which incorporates the
>> trial of Hermione, fills the emotional reservoir eventually tapped
>> by the statue scene in Act 5)
>> Transition 4: Antigonus¹s dream (The Winter¹s Tale 3.3)(Come,
>> poor babe:/I have heard but not believed,/The spirits o¹ the dead/
>> (Twelfth Night 1.5)(³Nay, either tell me where thou has beenŠ²>> Scene 5: The Resuscitation of Thaisa (Pericles 3.2)
>> Transition 5: Prospero¹s riff on Medea¹s Incantation a/k/a ³Ye
>> elves² speech (Tempest 5.1, 1-56)(³Ye elves of hills, brooks,
>> standing lakes and groves² through ³I¹ll drown my book²)
>>
>> {Intermission}
>>
>> Part 2: Reunion and Reconciliation
>> Prologue: A bitter reunion‹Hal banishes Falstaff (2 Henry IV 5.4)
>> (Trumpets sound. A royal procession swells the stage. ³God save
>> thy grace, King Hal, my royal Hal² through ³Take them away²)
>> Scene 1: The family reunion from hell‹Lear and his daughters (King
>> Lear 1.1)(Lear¹s scorching treatment of his youngest daughter would
>> be cause for resentment by most children‹which renders all the more
>> astonishing her words ³No cause, no cause² in Act 4, scene 7.)
>> Transition 1: A Walk in the Rain (song from Slings and Arrows):
>> When life takes its toll
>> When fate treats you bad
>> You used to be king
>> And now you¹ve been had
>> Alone with your fool
>> You think you¹ll go mad
>> It¹s nice to take a walk in the rain
>> A stomp through a storm
>> Is what I¹d advise
>> When people you trust
>> Tell nothing but lies
>> And kidnap your friend
>> And gouge out his eyes
>> It¹s nice to take a walk in the rain
>> You say your daughters
>> Are evil plotters
>> A pitter patter shower will keep you sane
>> When all has been said
>> And all have been slain
>> It¹s good to take a walk in the rain
>> For several hours
>> Helps to have a howl in the rain
>> Without your clothes on
>> Nice to take a walk in the rain.
>> Scene 2: Feste¹s reunion with Olivia‹the fool consoles the fool
>> through ³the fool should look to the madman²)[to echo the prior>> iv)(³Master, there is three carters, three shepherds, Š² through
>> comical song ³A Walk in the Rain² in transition 1, Feste could
>> perhaps enter singing a couple of stanzas of ³When that I was and a
>> tiny little boy/With hey, ho, the wind and the rain]
>> Transition 2: ³Remembrance of Things Past² (Sonnet 30):
>>
>> When to the sessions of sweet silent thought
>> I summon up remembrance of things past,
>> I sigh the lack of many a thing I sought,
>> And with old woes new wail my dear time's waste:
>> Then can I drown an eye, unused to flow,
>> For precious friends hid in death's dateless night,
>> And weep afresh love's long since cancell'd woe,
>> And moan the expense of many a vanish'd sight:
>> Then can I grieve at grievances foregone,
>> And heavily from woe to woe tell o'er
>> The sad account of fore-bemoaned moan,
>> Which I new pay as if not paid before.
>> But if the while I think on thee, dear friend,
>> All losses are restored and sorrows end.
>>
>>
>> Scene 3: Hermione Reunites with Perdita (The Winter¹s Tale 5.3)
>> Transition 3: The Dance of the Twelve Satyrs (The Winter¹s Tale, IV,
>> ³Here a dance of twelve Satyrs>> good times (2 Henry IV 3.2)(³Come, I will go drink with you,Š²
>> Scene 4: Thaisa Reunites with Pericles and Marina (Pericles 5.3)
>> Transition 4: ³Full Fathom Five² (song from The Tempest²)
>> Scene 5: A reunion on heaven¹s threshold‹Lear awakens to Cordelia
>> (King Lear 4.7)
>> Transition 5: The Chimes at Midnight‹Falstaff and Shallow remember
>> through ³Jesus, the days that we have seen. Come, come.²)(In stark
>> contrast to the ambitious Hal, Justice Shallow is the steadfast
>> friend to the fat knight.)
>> A bell rings twelve times.
>> And maybe a robust finale consisting of a song and/or dance, perhaps
>> Cole Porter¹s ³Brush Up Your Shakespeare² or the following song from
>> Season One of the television series ³Slings and Arrows²:
>> Cheer Up, Hamlet
>> Cheer up, Hamlet
>>
>> Chin up, Hamlet
>>
>> Buck up, you melancholy Dane
>>
>> So your uncle is a cad
>> Who murdered Dad and married Mum
>>
>> That¹s really no excuse to be as glum as you¹ve become
>>
>> So wise up, Hamlet
>>
>> Rise up, Hamlet
>>
>> Buck up and sing the new refrain
>>
>> Your incessant monologizing fills the castle with ennui
>>
>> Your antic disposition is embarrassing to see
>>
>> And by the way, you sulky brat, the answer is ³TO BE²!
>>
>> You¹re driving poor Ophelia insane
>>
>> So shut up, you rogue and peasant
>>
>> Grow up, it¹s most unpleasant
>>
>> Cheer up, you melancholy Dane
>>
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