Yes, thanks, Stan, absolutely!
From: Stan Kern <stan(a)texashealingarts.com
Reply-To:
<weeklong-l(a)lists.wikimedia.org
Date: Sun, 23 May
2010 17:40:38 -0500
To: <weeklong-l(a)lists.wikimedia.org
Subject: Re: [Weeklong-l] Complete (I hope) scene list
Al,
That is beautiful.
I just want to make sure that folks know that they
can give a shout out for a scene that may have been
dropped, as it were,
because we "have not heard the argument" for it as one fit for "mystery
and
magic, reunion and reconciliation."
stan
Kirsten Kern,PhD, LMTI
Texas
Healing Arts Institute
School of Massage, Day
Spa and Clinic
7001 Burnet
Road
Austin, TX 78757
stan(a)texashealingarts.com
512 323 6042
-----Original
Message-----
From:
weeklong-l-bounces(a)lists.wikimedia.org
[mailto:weeklong-l-bounces@lists.wikimedia.org] On
Behalf Of Alice
Gordon
Sent: Sunday, May 23, 2010 4:12 PM
To:
weeklong-l(a)lists.wikimedia.org
Subject:
[Weeklong-l] Complete (I hope) scene
list
It's neater, more legible, and easier to flip through in the attachment.
But
in case you can't open the attachment,
see below:
HAIL FELLOWS,
A few
things:
Here is the scroll of
every scene¹s number [many
with
descriptions and notes you sent with them],
which is thought fit,
through
all Winedale, to play in our interlude
in the barn on Reunion Day at
2:00.
But not quite: Please
note that some of the scenes
are
merely described, not numbered, and you¹ll
have to find them
yourselves.
Also, some of the scenes that were
suggested before we requested
that you
think about mystery and magic, reunion
and reconciliation, may no
longer be
apt.
Take a look, and take this
last chance to send to the list
any scenes you¹d
like to have under
consideration, by midnight tonight. (On
my watch
at least you can cheat into
the wee hours, as I will be asleep.)
And if
anything already sent has been
left out, please let me know, and I¹ll
add it.
Be vigitant,
adieu, cheers,
Alice
P.S. Also find here in one place, fyi, the concepts
and arguments sent by
fellow classmates. for how
to approach various scenes as
a program.
ANTONY AND CLEOPATRA
News that Antony has married Octavia
Raucous
drinking scene
2.7 song-and-dance
AS YOU LIKE IT
2.5 Ducdame
3.2 Corin and
Touchstone‹talking-clown magic
4.1
5.2. 5.4 ("howling of Irish wolves"
followed by Hymen's mirth in heaven.)
COMEDY OF ERRORS
Knocking at the gate,
Dr. Pinch
CYMBELINE
2.2 Iachimo in the trunk
4.2 funeral song
5.5. Imogen
(Fidele) ³awakening²
HAMLET
3.2. (³ŒTis now the very witching time of night²
through ³To give them
seals never my soul
consent²)
Advice to the
players
Grave diggers
1 HENRY IV, 2 HENRY IV, MERRY WIVES (done in 2000)
Falstaff scenes, "Chimes
at Midnight"
1 HENRY IV
3.2 Justice Shallow and
Justice Silence reminiscing about their youths and
absent friends. It is so,
so right for us. It's the scene I'd most like
to
see on the menu.
2HENRY
1V
5.4
HENRY V
1.1 (O for a muse of fire)
5.2. )(³Fair Katherine, and most
fair/ Will you vouchsafe to teach a soldier
terms² through ³There¹s
witchcraft in your lips)
3 HENRY VI
1.4 Duke of York: "o tiger's heartŠ.
HENRY VIII
Wolsey and Catherine.
Epilogue.
KING LEAR
2.4. Regan and
Goneril dismantle Lear, culminating in Lear¹s ³O
reason not
the need² speech,
right before he heads out into the storm. This scene
resonates with the aging
me, a hyperbolized (but in its essence often
accurate) rendering of the
dynamic when aging parents abdicate
decision-making powers to their
children.
4.7 Lear-Cordelia reconciliation (Lear
awakes to Cordelia) (CONTRAST
WITH A
CRUEL SCENE?)
NOTE: Gail once saw a group of RSC actors do the Pyramus
and Thisbe scene
from MND and segue from that
straight into 'Howl, howl,
howl', transforming
P and T into L and C.
LOVE¹S LABORS LOST
5.2 The Pageant
of the Nine Worthies
MACBETH
Porter's scene
Weird sisters:1.1, 1.3., 4.1
3.2 - 4. Banquo¹s murder, his ghost at the
banquet
MEASURE FOR MEASURE
1.1
the duke sets up Angelo
Angelo-Isabella scene
exchange in the prison between
Isabella and Claudio ("of those that lawless
and uncertain thought / imagine
howling....")"
MIDSUMMER
3.1. Bottom transformed and taken by Titania
3.2
Magicked lovers, lost and found in the forest
Bottom's Dream and report to the
Rude Mechanicals
Act V (done in 2005)
MUCH ADO
Dogberry and the great
chase
5.1 Beatrice and Benedick after the
nonwedding (done in 2005)
OTHELLO
1.2
How to win Desdemona
PERICLES
(Has a great party scene; and a
shipwreck, when Marina is born and her
mother
Thaisa dies and has to go
overboard.)
2.2, 2.3. Pentapolis, ³triumph²
(jousting event) and banquet
3.2
Thaisa revived by Cerimon (NOW YOU¹RE TALKIN¹ MAGIC)
5.1, 2, 3 Marina
revives Pericles; they are united with Thaisa.
ROMEO AND JULIET
1.3 Great
R&J nurse scene: The nurse holds forth,
introducing us to her
nursing methods
and her long-deceased husband, while Juliet laughs,
and Mrs.
Capulet waits
patiently for her to shut up so she can tell Juliet
that she's
gonna marry
Paris.
1.4 Queen Mab (done in 2005)
2.4 Another great nurse scene:. Mercutio,
Romeo, et. al. The nurse comes
with her
"servant" Peter to give Romeo a
message from Juliet. Her entrance
is later, but
the entire scene is
wonderful.
TAMING
Wooing scene (done in 2005)
servants at Petruchio's
return
TEMPEST
Drunks (2.3) (done in 2005).
5.1, 1-56)(³Ye elves of hills,
brooks, standing lakes and groves² through
³I¹ll
drown my book²)
Epilogue.
Song: Full Fathom Five
TWO GENTLEMEN
Pirates (4.1?)
TWELFTH
NIGHT
Drunks, 1.5. (done in 2005)
WINTER¹S TALE
Paulina shows Leontes his
infant child
(3.2 ) (This scene, which
incorporates the trial of Hermione,
fills the
emotional reservoir eventually tapped
by the statue scene in Act
5)
3.3 Antigonus¹ dream
4.4 Dance of the 12 satyrs
5.3, final scene
Hermione¹s awakening.
OTHER WORK
Sonnet 30 (remembrance of things
past)
Sonnets 40, 116, 130, 138, 142 or others
BY OTHER
AUTHORS
-Importance of Being Earnest: handbag
reconciliation scene (PLEASE
RE-READ
- SO FUNNY)
-"Brats of Clarence" by Paul Menzer
-"Everything and
Nothing" Jorge Luis Borges (Mike says Irby
translation is
better than
Kerrigan!)
-"Little Gidding" -- Eliot
-³Brush Up Your Shakespeare" from Kiss
Me Kate
by Cole Porter. (We'd have to change
some lyrics, prob'ly.):
The
girls today in society go for classical poetry
So to win their hearts one must
quote with ease
Aeschylus and Euripides
One must know Homer, and believe me,
Beau
Sophocles, also Sappho-ho
Unless you know Shelley and Keats and
Pope
Dainty Debbies will call you a dope
But the poet of them all
Who will
start 'em simply ravin'
Is the poet
people call
The Bard of Stratford on Avon
{Refrain}
Brush up your Shakespeare
Start quoting him now
Brush up your
Shakespeare
And the women you will wow
Just declaim a few lines from
Othella
And they'll think you're a hell
of a fella
If your blonde won't
respond when you flatter 'er
Tell her what
Tony told Cleopatterer
If she
fights when her clothes you are mussing
What are
clothes? Much ado about
nussing
Brush up your Shakespeare
And they'll all kow-tow
{Refrain}
With
the wife of the British ambessida
Try a crack
out of Troilus and Cressida
If
she says she won't buy it or tike it
Make
her tike it, what's more As You Like
It
If she says your behavior is heinous
Kick her right in the
Coriolanus
Brush up your Shakespeare
And they'll all kow-tow
{Refrain}
If
you can't be a ham and do Hamlet
They will
not give a damn or a damlet
Just
recite an occasional sonnet
And your lap'll
have honey upon it
When your
baby is pleading for pleasure
Let her sample
your Measure for Measure
Brush up
your Shakespeare
And they'll all kow-tow -
Forsooth
And they'll all kow-tow -
I' faith
And they'll all kow-tow ...
{Refrain}
Better mention "The
Merchant Of Venice"
When her sweet pound
o' flesh you would menace
If her
virtue, at first, she defends---well
Just remind
her that "All's Well That
Ends Well"
And if still she won't give
you a bonus
You know what Venus got
from Adonis
Brush up your Shakespeare
And they'll all kow-tow - Thinkst
thou?
And they'll all kow-tow - Odds
bodkins
And they'll all kow-tow
{Refrain}
If your goil is a Washington Heights dream
Treat the kid to "A
Midsummer Night's Dream"
If she then
wants an all-by-herself night
Let her
rest ev'ry 'leventh or "Twelfth
Night"
If because of your heat she gets
huffy
Simply play on and "Lay on,
Macduffy!"
Brush up your Shakespeare
And
they'll all kow-tow - Forsooth
And
they'll all kow-tow - Thinkst thou?
And
they'll all kow-tow - We trou'
And
they'll all kow-tow
-Something from Lynn
Redgrave¹s Shakespeare for my Father
-"Slings and Arrows" The Canadian TV show
can very easily be
found on
youtube.com,
the link to episode 1 of
Season 1, or first part anyway...they annoyingly
divide the episodes into 7.5
min segments, but, we must endure) Anyhow,
youtube seems to include all of
Season 1-3. This is the first episode
withthe
cheeky Hamlet song shortly
after the introductory bits and credits.
³Three
Minute Hamlet²
There was a
king nodding in his garden all alone,
When his
brother in his ear poured a
little bit of henbane,
Stole his brother's
crown and his money and his
widow,
But the dead king walked and got his son
and said, "Now, listen,
Kiddo.
I've been killed and it's your
duty to take revenge on Claudius;
Kill
him quick and clean; and tell the nation what a fraud
he is."
The kid said,
"Right, I'll do it, but I'll have to play
it crafty,
So no one will suspect me
I'll let on that I'm a dafty."
So for all except Horatio, and he counts him
as a friend,
Hamlet, that's the kid, lets on
he's round the bend;
And because
he's not yet willing for obligatory killing,
He tries to make his uncle think
he's tuppence off the shilling;
Takes a rise
out of Polonius; treats poor
Ophelia vile;
Tells Rosencrantz and Gildenstern
that Denmark's "Bloody
vile";
Then a troop of traveling actors,
like Seven-Eighty-four,
Arrived to do
a special one, that gig at Elsinore.
Hamlet, Hamlet, acting balmy.
Hamlet,
Hamlet, loves his mommy.
Hamlet, Hamlet,
hesitating,
He wonders if the ghost's
a fake, and that is why he's waiting.
So Hamlet writes a scene for the
players to enact,
So Horatio and he could watch
and see if Claudius
cracked.
The play was called "The
Mousetrap," not the one that running
now,
And sure enough, the King walked out before
the scene was through.
Now,
Hamlet's got to prove his uncle gave his dad the
dose.
The only trouble being
now that Claudius knows he knows.
So while
Hamlet tells his mommy her new
husband's not a fit man,
Uncle Claud takes
out a contract with the English
King as hit-man.
Hamlet, Hamlet killed Polonius and hid corpus
delicti.
'Twas the King's excuse to send
him for an English hempen
necktie
With Rosencrantz and Gildenstern to make
quite sure he got there,
But
Hamlet jumped the boat and put the finger straight on
that pair.
When Laertes
heard his dad's killed in the bedroom by the
arras,
He comes running back to
Elsinore tout de suite hot-foot from Paris.
And
Ophelia with her dad killed by
the man she was to marry,
After saying it with
flowers, she committed
hari-kari.
Hamlet, Hamlet, ain't no messin'.
Hamlet, Hamlet, learned his
lesson.
Hamlet, Hamlet, Yorrick's trust.
Convinced them all men good or bad at
last must come to dust.
Then Laertes lost his cool and was demanding
retribution.
The King said, "Keep your
head, and I'll supply you with
solutions."
So he arranged a sword fight
for the interested parties
With a
blunted sword for Hamlet and a sharp one for Laertes.
And to make double sure
that the old-belt-and-brace was limed,
He
arranged a poison sword tip and a
poisoned cup of wine.
The poison sword got
Hamlet but Laertes went and fluffed
it
'Cause he got stabbed himself and he
confessed before he snuffed it.
Now,
Hamlet's mommy drank the wine, and as her face
turned blue,
Hamlet said, "I
think this King's a baddy through and
through."
Well, "Incestuous, murd'rous,
damned Dane," he said to be precise
And
made up for hesitating once by killing
Claudius twice,
'Cause he stabbed him with
his knife and forced the wine
between his lips,
And he said, "The rest is
silence," and he cashed in all his
chips;
And they fired a volley over him that
shook the top-most rafter;
And
Fortinbras, knee-deep in Danes, lived happy ever
after.
Hamlet, Hamlet, end
of story.
Hamlet, Hamlet, very gory.
Hamlet, Hamlet, I'm on my way.
And if you
think that was confusing, you should read the bloody
play.
-The Bald Soprano?
(one white eye, one red eye)
CLASSMATE CONCEPTS
From Matt:
I've been away
from email (and will be for another two days) but
wanted to
drop a quick
suggestion for scenes. We use the old Northrop Frye
"Argument
of Comedy"
model (something Doc made everyone read, I think) to
stitch
together a
Shakespeare "comedy" by choosing and
arranging scenes from
comedy, tragedy,
and romance that reproduce the narrative arc that
structures all the comedies
(and romances, and failed comedies Lear, R&J,
Othello, Coriolanus, and
selected histories etc.) Scenes, in other words,
that fit in big categories,
from PROBLEMS to GREEN WORLDS to RESOLUTIONS.
So we'd start
with 4 or 5 (or x) "problem" scenes, in
which grumpy old men insist on grumpy
old privilege and derail their
children's
fun (Egeus, Lear, Oliver) or other
"problem" characters do their
thing
(RIII, Leontes). Then we stage
disguises, departures, fake deaths:
characters
leaving for alternative spaces
where grumpy old men can't get
their way.
Followed by all the wonderful
party scenes: sheep shearing,
Malvolio-tricking, prison shenanigans from
Measure, 3.1 from Comedy of
Errors, foresters in
As You Like It, Outlaws from
2 Gents, tavern scenes
from Henriad, but also
the act 3 Heath scene(s)
from
Lear, maybe the cashiering of Cassio,
Richard III's preacher-and-
prayer
ruse, etc. Then we do marriages and
reunions and mystical
redemptions
across the canon. I think we could
even do bits of
tragedy there
in the end, and really, the idea is sort of more an
obvious
approach to
stringing together scenes than it is anything else,
but it
should, in any
case, help us get at narrative arcs while
not
confining us to a single play.
>From Jayne and Kathy:
Kathy and I are sitting in my backyard drinking wine.
Sound good? It is. We
are talking about what we
remember most from Winedale:
laughter, wonderment,
discovery. Here are some
of our thoughts, halfway
through our first bottle.
Picture if you will: A series of
scenes from different
plays,
flowing/melding/morphing directly from one to the
next, without
break. The people already on stage
become part of the next scene
and so on.
Accessories and props can help in the
transformation. (The rubber
chicken,
as always, will be in Kathy's
pants.)
Imagine, if
you will, Lear and Falstaff on stage together,
if only for a moment.
Wonderment.
In some ways -
follow us here - this allows us
to consider
scenes in a different way. It raises
new possibilities, new
revelations. As
Lear and his Fool finish, a man
from the back table rises and
sees a dagger.
He becomes Macbeth. Or maybe a
woman on a bench rises and goes
into "What a
rogue and peasant slave am
I..." She is Hamlet.
Someone yells out from the side aisle, and Petruchio
enters and all left on
stage become servants, including Hamlet. Laughter.
This
would take some serious thinking to put together
scenes that could reasonably
follow one another. But we think it's possible.
We wanted to throw our idea
out here in the spirit of brainstorming and
exploration. Discovery.
Minimal, simple costumes. Black pants/skirts, white
shirts? This would allow
everyone to turn around and become someone else
immediately, on stage, before
the audience. Sometimes people would leave and
come back, maybe the stage
would be empty for a moment, or one person might
be left standing to perform a
sonnet or a song. He is joined by Kate and it
is
Petruchio and Kate, and they
are joined by the weird sisters around their
cauldron, and that becomes
Bohemia, which turns into fairies and so on until
finally, at the end,
Prospero is left standing. "Our revels now have
ended.
These our actors, as I
foretold you, are all spirits and have melted into
air. Into thin air..."
Obviously, it doesn't have to be ANY of these
scenes we've
mentioned. It can
be all of those wonderful scenes everyone else has
thrown
out for
consideration. We can have partial scenes,
soliloquies, songs. And a
little
bear baiting and a back trick or two.
Again, we're just
writing out loud, submitting our
thoughts into
the conversation. Maybe it
sounds like we're talking more
process than
substance, but we're not. We
really believe that we can find
connections and
discover themes that we never
knew before. Unless that's the
wine talking.
Let us know.
From Maggie:
This
is fun! and such a change from the usual contents of
my in box on an
average
morning. Given, say, two weeks I¹d love to do two
plays, but I
think we will
mix it up more and have more opportunity to play if we
go with
a variety of
scenes. So here¹s my vote for suites of scenes from a
(small)
handful of
plays. The problem I kept butting up against in
trying to find
one scene each
from a number of different plays organized around‹for
instance‹the theme of
reunion/ reconciliation is that it seemed heavy on the
dessert table, leaving
the savory dishes aside. Both for the players and for
the audience, that
seemed a less satisfying prospect than this does.
Lots
of endings with no
beginnings. Mary and Gail seemed to be heading in
this
direction a few days
ago, and now Bruce and Matt and Jackson have made the
point that taking
several scenes from 3-4-5 plays would allow for a
range of
scenes that would
make better sense together, add up to more to sink our
teeth into, more fun,
more texture, more meaning. That and the fact that
this structure would allow
us to take off from very different starting
points‹AYL v. Lear v. Comedy v.
Winter¹s Tale v. iHIV (Gail¹s failed reunion
idea, which I love) v. Taming v.
MSN, for instance‹to arrive at their final
but
very different expressions of
reconciliation (and in some cases magic).
I
think once we have the plays, the
choice of scenes will almost take care
of
itselfŠ
From Jackson:
I was
looking forward to working on scenes from a number of
plays, even it
meant two
scenes each from, say, ten plays (however, the time
works out),
i.e. Gail's
idea of the storm and the reconciliation, and I, and I
thought
others, going
back to the beginning of the discussion, were hoping
to study
a wide range of
plays, juxtaposing Shakespeare's different
pproaches to two
or three themes.
And making each scene as rich as possible; the iceberg
where 7/8's of the mass
is below. That's a lot of work!! But it's a
lot of
putting word to the
action, action to the word, and much good thinking
about
both.
On the other hand, doing two full plays in a week will
mean we spend all our
time running lines! Is this Winedale? Or an anxiety
dream of regional
theater? Perhaps I'm too blunt, and possibly need
to take
a nap. I'm terrible
at this email conference. And keep swearing to keep
my
mouth shut. I'll say
no more. And be a hermit. Mum.
From Bob Pees:
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.
Prologue: ŒTis now the very witching time
of night,Š(Hamlet 3.2)
(³ŒTis now the very
witching time of night² through ³To
give them 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/ May
walk
againŠ² through ³Exit, pursued by a bear²)
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 (Twelfth
Night 1.5)(³Nay, either tell
me where thou has beenŠ² through ³the fool
should look to the madman²)[to
echo the prior 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,
iv)(³Master, there is three carters,
three shepherds, Š² through
³Here a
dance of twelve Satyrs
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 good
times (2 Henry IV
3.2)(³Come, I will go drink with
you,Š² 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
‹Robert Pees
From
Gail:
Dear Robert and everybody,
An incredibly thoughtful
and detailed missive. If we
were to do earlier
scenes to prepare the ground
for the big reconciliations,
then we might,
might want to jettison the magical
mystery material to clear
some time for building
up. I had even imagined
showing the lost children
all in a row at the
start: Viola arrives in
Illyria; we see Leontes banish
Perdita; we see
Lear banish Cordelia; we see
Miranda trying to understand
the shipwreck
and/or Ferdinand's first scene; we
see Marina/Thaisa, and so
forth. I also love
the banishment of Falstaff as a
ruined reunion, and to
prepare for that there
could be the scene 1HenryIV in
which Falstaff plays
the King, which would bring
a needed comedy to what might
otherwise get a
bit sad and repetitious. I like
the idea also of
highlighting
Father/Daughter, Father/Son or
family breakups generally, even
when it is a
'made' family like Hal and
his chums. We at Winedale are, have
been, will
be a 'made family', too.
I would LOVE to see
'Slings and Arrows' and hope someone
will bring it to Winedale. I cannot get
it here, for reasons unknown.
A random thought: there is a
very funny take on lost
children (one white eye
and one red eye, etc) in The
Bald Soprano.
From Doc:
The lost/found is everywhere in the
final plays,
Pericles/Thaisa/Marina (all
three lost),
Posthumus/Innogen/her bros,
Hermione/Perdita, and according to
Gonzalo,
everyone. And, of course, the
reconciliations are wonderful,
though I have a
bit of trouble with the Cym
ending. We did All's Well once
with a
really great ending, with bobo Bertie
finally coming around. And
indeed I still
remember the wonderful ending of
CE. RE: magic, what about
Roz at the end of
AYL, and Mistress Quickly and the
fairy gang in MWW? Some
brief transitions :
Antigonus "dream," Queen Mab.
Innogen(Fidele)
"awakening."
Hope I am not intruding. But thought of those.
>From Gail: I've just been teaching
Joyce's Ulysses. Here's
> something
pertinent that Stephen Dedalus says about why he prefers the
romances to the
tragedies of Shakespeare:
--If you want to know what are the
events which cast their shadow over the
hell of
time of King Lear, Othello,
Hamlet, Troilus and Cressida, look to
see when
and how the shadow lifts. What
softens the heart of a man,
shipwrecked in
storms dire. Tried, like another
Ulysses, Pericles, prince
of Tyre?
--Marina,. Stephen said,
a child of storm, Miranda, a
wonder, Perdita,
that which was lost. what was
lost is given back to
him....
One idea might be to start
with the children of
storms--and move on to
softening of hearts.
From
Clayton:
love that idea....
we could even have each player do a few chosen
lines from one of the
plays as they exit...
a "mash up" of selected lines from
Shakespeare's plays....
Bruce to >>Clay Stromberger
> <cstromberger(a)mail.utexas.edu5/5/2010 12:31 PM
>>
I was reading an
essay last
night on the phrase "Et in Arcadia ego" for
a paper I'm writing, and the
author, describing Poussin's "The Arcadian
Shepherds," described one of the
duties of art as "allowing
communication
about the unutterable." I thought of
Bottom's dream again
("no words of
me") and then had a vision of the
performance beginning
with everyone asleep on
the stage, everyone a Bottom,
waking up to
attempt to describe a most rare
vision, then rushing off to get
Peter
Quince and the gang to start rolling on
that play and that ballad
(or
ballet, as you like). Telling the story of
the dream through the play
and
playing.
From Susan:
On this note, I'd be interested
in discussions about
doing scenes that might
illuminate the
life-lessons and truths we all took
from Winedale. I, for
one, learned that "in
theater, anyone can be anything"
(Doc). While at
Winedale, I was a 39-year-old
wife and mother of three, but I
became a young
maid, a male octogenarian, a
gaoler, a bawd, a soldier, a boy,
and more. I
saw the reason why when someone like
Lynn Redgrave plays Prospero,
I learn
new things about Prospero. When Doc
shook up
traditional
gender/race/age/body type-casting,
amazing things happened. I now
know that
what he was doing was rare in
theater--and it still is. Most folks
in the
theater world don't seem to get it,
but it's what Shakespeare is
telling us,
satirically, when Quince and Company
discover they can represent a
lion and
a moon rather than producing the real
thing on stage. In everything I
do, I
keep touting the principle of "anyone
can be anything," and I learned it
at
Winedale.
--Susan
From Clayton:
Y'all --
I think the
tavern idea is an interesting one and it makes
me think both of the Boar¹s
Head scenes in 1 Henry IV but also the Dirty
Duck in Stratford.
I had a little
image last night that may have been influenced by the
Marx
Brothers (we just
watched ³Monkey Business² here at home), and perhaps
also
by the margarita at
Matt's El Rancho (not quite wine under the trees
with an
old friend, but not
bad) -- so I¹ll toss it out there for what it¹s worth.
It's sort of a fusion
of many of the great ideas and impulses that I've
been
reading....
The Barn stage is empty, quiet. (This is the tavern,
but
the audience
doesn¹t know that yet.... perhaps there are a few
clues here
and there, a
tavern sign?) Someone enters up above, pensive, heavy
in
thought. This
person makes his or her way down the stairs, looking
out over
the audience.
She or he stands center stage. Looks around. A sigh.
³Now.... I am alone.²
He or she takes a big breath to break into a
soliloquy, when... KA-BOOM, the
Players (as in Hamlet?) come bursting and
streaming in from all directions at
once, all talking loudly (a mixture of
lines
from all the plays they¹ve just
performed), an explosion of sound and
life and
energy, taking off various
parts of costumes, laughing
uproariously, some
of them singing, sharing a
bottle of something, and they,
cartoon-like
(think Bugs Bunny or again Marx
Brothers) stream past the
stunned ³Hamlet² and
even perhaps sweep him along
(lifting him straight up
from his elbows six
inches or so) and deposit him on
a bench a pop a mug of
something in his hand
and slap him or her on the back.
³What, shall we be
merry? Shall we have a play
extempore!?² someone yells
(the Player
Falstaff?), and someone across the
room yells back, ³Content, and
the
argument shall be...² and everyone joins
in, ³thy running away!² The
Player
of Falstaff groans back, ³Ah, no more of
that... an thou lovest me!²
It is
a ritual of sorts. Everyone begins to
settle into various parts of the
tavern (benches and perhaps a small table
appear, Francis in his apron, the
Hostess...). They all have their favorite
spots, their post-performance
duties, their own ways of unwinding after a
full day of playing. A few are
taking off makeup, perhaps prying off fake
beards, as the roar settles into
a murmur and bustle. Perhaps a few look over
the texts for the next day¹s
play, new lines. (They are Players, but not
"professional actors" -- I know
that is a contradiction perhaps.... )
As everyone finds
their seat or corner the center of the
stage is
open for a moment. It¹s a
kind of empty space that beckons.
Invites.
Some of the characters begin to
look up from their drinks or
animated
conversations and notice. Someone has
a little vision, a starting
impulse for some
kind of beginning, and stands
slowly and then moves into
that space; the
others notice, sensing that
something is going on. Perhaps a
second player
puts down her drink and grabs
something from the straw trunk
of props (carted
in for sorting during the
evening¹s drinking). The first
player says a
word it changes everything
and a scene begins. These
players have
performed so many of Will¹s plays,
they know so many of them by
heart, even the
roles they never played. So
they have a go at something.
(I don¹t have a
vision yet of the first scene
here but will think on
it....) And others
join in. And at some point,
that first lively scene has
reached its natural
peak no one intends to do
an entire play, but they
also are open to any
possibility play is in the
air, and no one is sure
what¹ll be tossed into
the ring next. So suddenly a
second scene begins up
in the balcony not to
rudely interrupt the first
scene, but perhaps to
comment on it, or take
what it has begun and comment on
it in an unusual
way... and slowly the players
begin looking around for
things they can grab
and turn into props, and
they begin grabbing the tavern
crew and pushing
them into the scenes, and they
too know the lines, they¹ve
seen the plays,
heard the players practice
lines during the day there on
lunch break... and
as many of you have
described very evocatively, scenes ebb
and flow, some
perhaps even alternate
upstairs/downstairs; and one man and
woman in this
time plays many parts.
That¹s as far as I¹ve
gotten. At some point, everyone
senses it¹s
time to say goodnight. Someone
begins a song perhaps the end
of LLL.
Everyone joins in. It¹s a bit
melancholy, so someone hollers out a
line of
something more rowdy, a last
flickering of the flame, and they jump
into
that. It¹s late. They begin to
play one- or two-line moments of scenes
that
have to do with parting saying
goodbye and step off into the night,
singly
or in pairs, each going home.
The last person there is Francis, in
his apron,
closing up. He looks around,
broom in hand (I know, dangerously
close to
Carol Burnett territory here!
but you can also think of old Firs
left behind
in ³Cherry Orchard²), and says
³Now... I am alone...² and
goes off
grabbing the last few mugs and
dishrags.
Perhaps it's a
playing out of the reunion
experience in a
compressed form -- preparation,
excited and eager arrival,
play everywhere,
and then a somewhat
heartbroken goodbye, but sustained by
the hope for the
next gathering.
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