Category Archives: Volpone

Entering the Scene in Volpone

The flow of the staging of the various scenes for Volpone seems both more fluid and more punctuated at times than in the usual English Renaissance play.  In many of the acts, the scenes continue from without actual break or stoppage, only marked by the entrance of a new character, as can be seen in transition between Scene 1 and 2 of Act 2, as the scene continues when Mosca and Nano join Sir Pol and Peregrine.  Yet, this seemingly fluid momentum of the play is also paralleled against the decisively jarring entrances that many of the characters make.  Sir Pol and Peregrine’s initial foray into the play gives them no introduction or previous announcement.  Their plot line, for the moment, seems completely irrelevant to the previous scenes concerning Volpone.  This occasional inharmonious transition between scenes breaks the stagnation of the fluidity that is established by Jonson’s other means of continuing scenes.

The most explicit example of these polarized transitions is seen in Corvino’s reaction to the attempted wooing of his wife, Celia.  He enters Act 2 at the beginning of Scene 3, interrupting Volpone’s solicitation of Celia which ends the previous scene.  His entrance marks an important change in the tone of the section, and an important movement towards catalyzing the plot between the fox and his prey.  The prose-filled, beautiful entreaty of Volpone is thus paralleled against the caustic and violent rantings of Corvino.  “Spite o’the devil, and my shame!” (2.3.251).  Corvino’s sudden appearance does not punctuate the necessity for a break in scene though, as that would provide too stagnant a pace for Corvino’s reaction.  The interesting pacing of both of these kinds of breaks between scenes becomes necessary in Jonson’s style in order to properly allow the characters to interact and to act.

The sudden appearances of characters, who often jump into the scene without truly understanding the situation, provides the perfect amount of disaster to counteract the seemingly perfect ploys of Volpone and Mosca.  Bonario’s early entrance into the scene between Volpone and Celia exemplifies this, allowing the heroic character to fend of Volpone’s web if only for awhile.  The continuous scenes that each act contains, which seem to flow into one another allows the grande stratagem that Volpone and Mosca have created to exemplify the fluidity of the nature of actions.  Thus does Jonson’s structure of the play serve as another example of the morals of the play.  The structure of the play, which allows characters to weave and tangle themselves within this masterful tapestry, becomes a foundational aspect for the meaning of the play.  The success of greed and the success of these theatrical cons is based upon these brief moments of spontaneity where the characters must act upon their baser instincts, revealing some small portion of their true nature in these actions.  Corvino’s impulsive and destructive nature becomes apparent in Scene 3, just as Bonario’s sense of honor and justice are apparent in his actions when he stops Volpone from grabbing Celia.

Posted in Stylistic qualities, Volpone | 1 Comment

Volpone Scene Study

Volpone Scene Study

Our interpretation of the text focuses on four variations of honor, represented by specific colours which appear on the background as they do in the text. They run together essentially to form Venice, or a very abstract Venice at least, to emphasize the allure of the location, which drives much of the spirit of the play. It was filmed in this staggered way to make an uncomfortably noticeable irony between the motion of the text, and the incredibly interwoven plots that layer upon one another. It also allowed us to play with the timeline and perspective by forcing the viewer into a forced dialogue with each character simply by isolating them. The players are separated so as to better see the visual representation of their effect on their surroundings and company. Only when rapidfire conversation or necessary contact must be made are they staged together.

Posted in Stylistic qualities, Uncategorized, Volpone | 1 Comment

Trust

All the characters of this play are way too trusting. I mean honestly if I were in the shoes of these “heirs” I would’ve been questioning everything that Mosca told me. I wouldn’t be giving plates of gold or giving away my wife just because some servant told me that his master wanted me to be his heir. I mean just think about that for a second. Some servant comes out of no where and tells you, “Hey you’re the heir! Good job buddy! But you know there are other guys and honestly your odds of remaining heir aren’t too great. Why not give [insert item or service or person here] so your chances are even greater? [insert smiley face]” What is this? Are we playing a lottery or something? I mean I hope that anyone else would’ve paused at that moment and really questioned what was just said. [insert quizzical face here]But no, instead they fall over each other to be the “better heir.” They act as predators squabbling over a meal. You must hand it to Mosca, he certainly knows how to play with people.

Which leads to my questioning of Volpone’s intelligence. Why does he trust Mosca so? I mean if anything I would trust a man of his caliber the least. His name means fly for heaven’s sake! He’s a parasite and we all know what parasites do don’t we? Or at least everyone knows but Volpone. He just trusts the man! Mosca is in a position of great power over Volpone. I mean it’s HUGE. He essentially is the real mastermind behind the whole charade when it really comes down to it. Volpone just doesn’t see it and unfortunately wouldn’t see it until it was too late. Trust…you definitely need to be careful of who exactly you trust. For the person you least expect could be the one that sticks that dagger into your unsuspecting back.

Posted in Power struggles, Psychological detail, Uncategorized, Volpone | 2 Comments