Still working on my list, but I had the thought that Elizabeth I's Tilbury
speech could follow Hamlet's advice to the players -- as an example of how
to follow Hamlet's directions. ("Like this, see?"- Elizabeth's a ruler
facing a challenge -- Richard II then is a ruler facing a more personal
challenge, also with the player following Hamlet's directions.
--m
On Mon, May 31, 2010 at 11:17 AM, Matt Kozusko <kozusko(a)mac.com> wrote:
Dear All,
A serious thanks to the organizers for taking on the task of collating and
concatenating and compiling.
During my week away, I fleshed out some ideas for the Winedale 2010 reunion
"plot" plan. This follows the “argument of comedy” narrative arc idea, in
a 5-act sort of way. Some of the scenes aren’t on the *official list
(SORRY ALL!!!), so I underlined them* and totally understand if they’re
inadmissible at this point. *My own choices for 10 scenes are in bold. *So
this is both a vote for ten scenes and a more detailed version of the the
suggestion I sent in a couple weeks ago. It works well with most of the
other organizing ideas, particularly with Clayton's tavern setting idea and
with Kathy and Jayne's transitions mode idea. One advantage to the
comedy-arc plotting mechanism is that while the big pieces (beginning,
middle, end) are sort of fixed, the rest of it is quite flexible, even up to
the point at which we begin working on scenes, because you can stick most
scenes--even non-Shakespeare scenes--almost anywhere.
*
*
*
1. Three or four scenes to establish dramatic conflict. The easy /
obvious choices here are senex characters—Malvolio, Egeus, Leontes, Lear,
Shylock, Angelo, and maybe Richard 3 / Gloucester. From the official
list, I’d nominate AS YOU LIKE IT 1.2 (wrestling scene) or
*
COMEDY of ERRORS 3.1 (Ephesus locked out of house scene), though three
longer scenes not on the list would work probably better (they’re
increasingly disturbring):
*·LOVE’S LABOR’S LOST 1.1*
*·MIDSUMMER 1.1*
*·LEAR 1.1*
…followed by
·*MACBETH 3.2-3.4, Lady M “Is Banquo gone from court” through the murder
and the banquet scene (about 230 lines)*
2. Transition scenes, some of the drunk scenes, some of the “purpose of
playing” / meta-theater scenes, and some of the history material:
*·HAMLET 2.2 Entrance of players, First Player speech*
*·**TWELFTH NIGHT 2.3 “Approach, Sir Andrew” drunks scene interrupted by
Malvolio (170 lines, 5 people)*done in 2005, so, alternatively:***
*·TWELFTH NIGHT 3.4 sword-fighting scene, which opens with “mad” Malvolio,
cross-gartered, and goes all the way to Viola’s hopeful “Ne named by brother
Sebastian” moment.*
·HENRY V “O for a Muse of Fire”
*·HAMLET 3.2 Advice to the players (to line 40, “Go make you ready”)*
*·RICHARD II 4.1 Deposition (323 lines, 10 or 11 speaking parts)*
·ROMEO AND JULIET Queen Mab
3. The heart of Shakespeare across genres. A number of scenes might work
here, but I like best the idea of
·*KING LEAR 2.2 *(the original list has 2.4, from Bevington, but most
editions, including Norton and Arden 2 and 3, have 2.2), beginning with Kent
in the stocks and ending with Cornwall, “shut up your doors.” A *long*scene of 470+
lines, but one with lots of parts, and it’s the heart of the
play!
4. Green Worlds: fun, drunkenness, misrule, songs, and the promise of
redemption to come.
·AS YOU LIKE IT 2.5 Ducdame
·TWO GENTS 4.1 Outlaws / Pirates
·MACBETH Porter Scene (2.3, lines 1-45)
*·TWELFTH NIGHT 3.4 sword-fighting scene, which opens with “mad” Malvolio,
cross-gartered, and goes all the way to Viola’s hopeful “Ne named by brother
Sebastian” moment.*
*·MEASURE FOR MEASURE 3.1, “Be absolute for death” through the bed-trick
plan with the Duke/Friar (though we could stop about line 200 … no need for
the exposition that follows, really, and by line 200, we’ve established
Isabella’s redemptive potential)*
5. Redemptive endings. Happy bits from any of the plays, but I’d nominate
as the final moment the entire last section of
*·WINTER’S TALE 5.2-5.3*
…which covers ground similar to Pericles, Cymbeline, and The Tempest, but
which seems to refine or perfect similar gestures in those
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