Category Archives: Verbal texture

Insightful Rhyming Couplets

Hamlet, Rhyme and pattern, Verbal texture, ,

There are beautiful and captivating soliloquies within Hamlet that provide thought provoking imagery. Hamlet’s speeches alone stand out among the rest for obvious protagonist reasoning, but the most iconic part of them are the rhyming couplets he always ends with. Once you weed out the lunatic jargon, and assess the point of his rantings, he always brings it home with two rhyming lines that beautifully summarize his sentiments, as when he says, “I’ll have grounds/  More relative than this. The play’s the thing, / Wherein I’ll catch the conscience of the King” (2.2.615-17). With the same number of syllables in both lines and fitting the rhyming scheme of a couplet, these two lines provide a clarity to his mad rants.

A couplet is usually inserted by an author to provide entertaining and make the content of the speech more interesting. I believe it is inserted by Shakespeare to provide clarity to the audience as well as a brief relief from some of the difficult terminology and symbolism Hamlet uses. It provides relief for the audience as well as the main character himself. His inner turmoil,  which spills out into soliloquies that aren’t exactly lucid at times, always come to fruition with the insertion of a couplet.

Hamlet’s battle with his love for his mother and the betrayal he feels his father did not deserve with her new marriage is a tough one for him. At times, the audience does not know if he means to spare her as he sheds light on his thoughts with the couplet, “How in my words somever she be shent, / To give them seals never, my soul, consent!”(3.2.406-407). This indicates that Hamlet’s defeat of the King will absolve his mother of any sin he feels she has committed, but he still very much loves her and does not wish her harm, only absolution.

We see these lucid couplets again and again, bringing Hamlet’s rampant thoughts full circle and alleviating the reader of difficult and at times confusing verse style. One of the last times Hamlets speaks in couplet is “To hide the slain? O, from this time forth, My thoughts be bloody, or be nothing worth!”(4.4.65-66), as he decides to take action against the wrongdoings towards his late father. Inspired by the blind but brute force of soldiers with no personal vendetta, simply carrying out someone else’s orders, Hamlet gathers up the courage to go through with his plan. The couplets dissolve from here and the audience does not need a few lines to inspire excitement because the play’s ending is already full of action. In fact Hamlet’s last lines in the play before his eminent death are quite simple and emphasize the importance of telling someone’s story. He ends his life and rants with “- the rest is silence” in act 5, scene 2, indicating that he is all out of words and it is someone else’s turn to relay his message.

The Winter Angel

Character types, Imagery, The role of the imagination, The Winter's Tale

A Shakespearean story in which jealously and insecurity combines to create a unfortunate tragedy, there is no doubt that there is a light that shines within this piece that can go unnoticed if one does not pay close attention to detail. After King Leontes punishes his wife Hermione, eventually leading to her death, and sends his new-born infant out into the woods, one can only imagine the dread he must have felt after coming to his senses years later. The  2nd part of the play, which takes place nearly 16 years after Act 1, showcases a mischievous character named Autolycus who is viewed as a pickpocket con-man attempting to manipulate the characters within the play for his own benefit. Though unknown to himself he helps lead Perdita back to her biological father Leontes, which unravels numerous amount of heartfelt events towards the end of the play. The average audience member would view Autolycus as a comic relief based character that Shakespeare would utilize in order to lighten the mood of the story. Personally I see the character as a metaphoric angel type of being who slowly bring the conflict and tragedy of the story to a more dramatic, yet joyful conclusion. Shakespeare has a knack for puttting mischievous characters within his plays that eventually help in leading to a revelation or explaining the outcomes that are to follow (i.e. Puck in A Midsummer Night’s Dream). Though with Autolycus I sense an angelic presence in him as he leads to the revelation of Hermione (whether it be real or not) descending from her statue like state towards her husband and daughter. During this time of the holidays I would like to think of Autolycus as a fallen angel who has earned his way back into the heavenly gates, but my opinion is a little far fetched and is only going to be seen as a simple Winter’s Tale.

The Common Cold

Imagery, Measure for Measure, Verbal texture, ,

Sin and vice are genuinely synonymous with disease in Measure for Measure. An infectious sickness that runs rampant in the Duke’s city specifically, for which there is no known cure. Angelo believes that the only vaccine for such a tempting disease is imprisonment and ultimately death.

However viral this sin is, it seems to have one definite attribute – it’s common. Whether it be a Duke, a Gentleman, or even a women contemplating her place in a convent, temptation runs amidst them all. The Duke echoes this notion when he says, “None, but that there is so great a fever on goodness, that the dissolution of it must cure it…”(3.2.225-226). Somehow goodness has now become a tangible organ or vital component in human beings that can be infected. Sin has taken the form of a virus, causing symptoms such as fever that subsequently force good-natured people to act ill-natured.

Despite the destructive qualities of vice, its wrath seems unavoidable. Infecting people from all types of life, this common cold it would seem, does not discriminate. This might be the reason for the civil absolving of all crimes and action the Duke imposes at the end of the play. The commonality of sin saves its victims from blame. This salvation comes in the form of wit when the Duke says, “Craft against vice I must apply” (3.2.280). Knowledge takes the form of anti-bodies and heals the sick.

The Scene in the Court – Measure for Measure Group 4 Reflections

Class and status, Generic characteristics, Measure for Measure, Prose passage, Stage techniques
Examination of Froth and Clown by Escalus and Justice | Photo Credits: BBC

Looking back to the day we had to act out the scene highlighting Pompey and Escalus (2.1.136-256), there is no denying that coordinating the rather tricky Shakespearean language entwined within the scene, the appropriate atmosphere of the characters and the setting and the limited resources (and not to mention ability) into a cohesive portrayal of this particular scene was initially challenging. However, being able to retrospect the challenges in recording the scene, and both understanding and analyzing the significance of the scene only gives an opportunity to once again appreciate the genius of Shakespeare in breathing life into what would be just merely physical movement, voices and props.

Before we had a chance to look at our dialogue we knew that we had to refrain from using the books on stage while filming. The productions we had seen of Shakespeare’s plays were powerful because the actor not only interpreted each line in his/her own way but also because they were able to look out into the audience and convey their emotions to the audience. So, the first thing that popped into my mind was a teleprompter. We’ve seen simple technology such as this being used on a daily basis in so many different TV shows and what we were taping was a video so in that aspect it worked out perfectly. When we finally read the scene we realized it was very apt to use the prompter because it was a court scene. Using the chair for Escalus to sit down and face his back towards the audience was a decision we took since he was the authority in that scene. Simple actions from Froth, Pompey and Elbow like stepping forward to present their case (i.e. read their parts) each time really immersed us into the roles as novice actors.

Unknowingly, a typical tribunal type of atmosphere arose from just our positioning, which eventually became necessary to get the feeling for the more serious questions regarding the actual law that was to be enforced and the type of crime that was committed. The second most important dramatic technique, attempted, was the idea of Pompey reciting the four lines alone as both Escalus and Elbow phase out of the line of sight of the camera to emphasize a sense of cynicism in the justice system presented by Shakespeare because it illustrates the persistence of certain deeds, and even the possibility of helplessness in erasing that same persistence. Just as Pompey critically derides Escalus’s duty to the law, “Does your worship mean to geld and splay all the youth of the city,” the selected scene that was required of us definitely gave the opportunity to not merely enact but to feel, at the very minimum, how the language woven within the directions of how the props and setting would be displayed creates the right atmosphere in thinking on terms like cynical justice or corruption. Hence going back to what was mentioned earlier, this is just a taste of the genius in Shakespeare breathing life, which can be appreciated only when one has attempted to enact that selected scene.

We found it very enjoyable working on this project despite everyone’s initial hesitation towards group projects. Everyone in this group was extremely cooperative, which helped a lot considering we had to do a number of retakes (close to 20?). One scene that stood out for us was the one between Escalus and Pompey regarding Pompey’s nickname. We all laughed out loud during the “bum” comments because we didn’t realize how hilarious they were until we recited the play.

 The scene showed us  a very different dynamic to Shakespeare’s work in that it showed comedy, however, it also illustrated his ability to created striking conversation. The scene the group did was not an introduction to the types of subjects the play addresses, but also the kind of quick hitting, “right back at you” type of dialect. In addition, while it was able to delineate multiple dynamics, it showed a very interesting lens in that it portrayed class distinction by way of vocabulary which was a bit new to me when it came to Shakespeare. All in all, he believes that sometimes we lose sight of the meaning behind Shakespeare’s work because of the language, but if we take the time to find the power behind the dialogue, we can gain a better understanding of the play, the times, and Shakespeare himself.

 

 

Clowns, Skulls, and Melancholic Musings: Group 3 Critique

Class and status, Costumes and props, Death and dying, Hamlet, Prose passage, Rhyme and pattern, Stage techniques, Tragedy, Verbal texture

Savage Chickens- Hamlet

Satirical Summary of the gravedigger scene

The graveyard scene in Hamlet is one of the most iconic moments of the play often referenced out of context, and as a result many of its important details go missed.  As a group, our initial meeting focused on planning and logistics.  We wanted to do Shakespeare’s work as much justice as we possibly could in light of our modest situation, and what became readily apparent was that even if nothing else was available Yorick’s skull had to be used as a main prop. Something that we all felt as a profound truth in this experience is that Shakespeare’s plays were certainly meant to be seen, heard, and performed. There is undoubtedly so much more to be learned from playing one of his characters instead of simply reading the lines.  As fortune would have it we were able to use an area of the Baruch Performing Arts Center that allowed for ease of filming, the sound of our voices to carry well to our amateur filming apparatus, and also for our characters to be positioned in a way that we felt truly made the scene come to life.

Reid by far had the most challenging task in portraying Hamlet; a character whose tendency to branch into soliloquy made his portion of the scene the lengthiest and most long-winded.   His task in our practice readings, and finally in the ultimate performance was preventing the words from melding together and becoming a drone. His use of vocal inflections and varied expressions, a result if his familiarity with the piece, brought the character to life, making what could have been a boring recitation into a worthy theatrical effort.

For Nolan, embodying the character of Horatio really helped him to understand the importance and significance of this character. Horatio was the one person that Hamlet had full trust and confidence in. Where every other relationship he has falls into disarray, the one he has with Horatio stays constant and cordial. This certainly allows the reader to delve further into the mind of Hamlet, but for the actor playing Horatio this effect is even more profound. Horatio has very few lines in the gravedigger scene so he has plenty of time to observe and ponder Hamlet and his sudden return to Denmark. He’s the first individual to truly see the changes that Hamlet experiences, the first person to understand the implications of what actions are to come, and the last person alive to see how these necessary events unfold.

Karina was fascinated by the depth provided by a character that is so often glossed over.  She jumped at the chance to portray the comic relief, whose few lines and small role held so much life and character and spoke volumes of the tone and mood of the play itself.  It was a very different experience seeing a character portrayed, and being the character yourself. Speaking his jokes, singing his songs, ‘sitting in his grave’ added a layer to the play that reading lines in a book failed to provide.  The gravedigger provides exposition from an outsider’s point of view, he is a common man who faces death not with melancholy or petulance, but with rationality and realism.  As Hamlet stated “the hand of little employment hath the daintier sense” (5.1.70),and after digging an imaginary grave for seven minutes it is easy to see why humor and honesty would be necessary to make the most of the gravedigger’s vocation.

One thing for sure, it is very easy to see how easy it is for Shakespeare’s work to be represented differently in each production. Lines and scenes can be interpreted differently by different directors and actors causing these variations. We each had different ideas of what the scene would look like and it was especially fun having the opportunity to let the scene flow forth from each of our minds into physicality. We got to collaborate and create a shared organic vision for the scene, and share this interpretation with others.

Variations of the scene in film (Mel Gibson vs. Kenneth Branagh):
http://www.youtube.com/watch?v=UbxMhvcxJJc
http://www.youtube.com/watch?v=CXixlEy5Gfc

Exploration into the importance and properties of Yorick’s skull

Pianist’s dying wish: human skull used in performance


Group Five Reflection: Getting to know the Fool

Character types, King Lear, Rhyme and pattern, The Fool, Tragic hero, Verbal texture

We ended the day of taping with the yearning to have had actual costumes to perform instead of what a student usually undergoes when completing a project: relief. As a group, we had been hooked by the performance that had just occurred at the Baruch Honors lounge. The details became apparent of what it took to stage a scene: the positions of the characters, furniture and even lighting all became factors that resulted in a different performance every time.

Having the lines read out loud showed the possibilities for the portrayal of the Fool, Kent and King Lear. The stage directions that seem meager at first became eye opening. For example, with the beginning of the Fool’s dialogue on stage directed at Kent, the questions of how much does this figure of comedy and honesty know? Getting the physicals of the performance right became as significant as the dialogue.

In each of our respective roles, we as group members got to find a new sense of recognition. Dariya, as the Fool, got particularly hung on the word coxcomb, but also saw how the Fool could be played exceedingly crazy, passionate or simply jovial. Trying to perfect just one is impossible; a range of emotion is necessary. Christopher, the King of all Lears, showed great power and the dedication necessary to fill the shoes of Lear. Chiffon, as Kent, served as a bridge of finesse who physically and spiritually occupied the ground between the two.

Christopher provided the best run-down of all the factors and quirks that came together in the formulation of the group five project:

“As a critique, I believe that with more time and practice we could have increased our level of dialogue and remembering of our lines, which is without a doubt the most challenging task of acting in general. Overall the time spent with the group was a wonderful experience and it would be nice to do another filming project with them in the near future.”

Included below are links to some familiar faces taking on the roles of King Lear and the Fool.

The first has Sam Waterson take on the role of the maddening monarch.

The second video grants the Fool a monologue to the scene performed by this humble group. Joe Powers, alone with Shakespeare’s lines, was able to capture the mastery and emotive powers necessary to do the role justice.

KING LEAR PLAYBILL

THE FOOL MONOLOGE

The Efficacy of Law in Measure for Measure

Class and status, Imagery, Measure for Measure, Verbal texture

In Measure for Measure, authority figures often anthropomorphize the law of Vienna. For instance, during his conversation with the Friar, the Duke describes Vienna’s laws as “strict” and “biting” (1.3.19). Similarly, Angelo callously assures Isabel that “It is the law, not I, [who] condemns your brother (2.2.80). Through their syntax, Angelo and the Duke separate themselves from the law, which offers an interesting insight on the way the law is perceived in the play: it is an objective, stand alone entity.

But in light of the play’s final scene,where one “fornicator” is absolved of his “crime” and the other is “punished,” are Angelo and the Duke right to take this view of the law?

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Honor as Property in 1 Henry IV

1 Henry IV, Class and status, Imagery, Verbal texture

For most of Henry IV, Shakespeare handles honor in an indirect way. Although nearly every character stakes some claim to honor, the audience is left without a fundamental definition of it on which to  build an understanding and more importantly, against which the “honor” of a character may be measured. There is, however, a notable shift away from this pattern of the indirect treatment of honor in Act 3, Scene 2, when King Henry and Hal are reunited after the Prince’s self-imposed “exile” to discuss the “villainous news” (2.4.334) of the Percy rebellion. During his discussion with his father, Hal’s description of honor implies that he perceives it as form of property, i.e., a thing whose ownership of can be transplanted. This notion of honor as property not only deepens our understanding of the rivalry between Hotspur and Hal, but also helps us find a better bearing on the dynamics of honor in Henry IV.

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