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Finding the Motivation Behind Oliver's Tragic Actions in As You Like It University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2008 Primogeniture Made Me Do It: Finding The Motivation Behind Oliver's Tragic Actions In As You Like It Joseph Kemper University of Central Florida Part of the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Kemper, Joseph, "Primogeniture Made Me Do It: Finding The Motivation Behind Oliver's Tragic Actions In As You Like It" (2008). Electronic Theses and Dissertations, 2004-2019. 3813. https://stars.library.ucf.edu/etd/3813 PRIMOGENITURE MADE ME DO IT: FINDING THE MOTIVATION BEHIND OLIVER’S TRAGIC ACTIONS IN AS YOU LIKE IT by JOSEPH R. KEMPER B.A. Flagler College, 2004 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in the Department of Theater in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall 2008 ABSTRACT As an actor, it is absolutely imperative to resist the urge to pass judgment on the characters we portray. True, that as people, we sometimes judge ourselves, and deem our conduct as right or wrong, but usually after finding the justification in the action first. We understand why we do the things we do. Therefore, it is as important to find our character’s point-of-view as well. When I was cast as Oliver de Boys in the Orlando Shakespeare Theater’s mainstage production of William Shakespeare’s As You Like It, I knew the biggest challenge before me was to avoid playing him as “the villain.” I had to discover the reasoning and the humanity behind his heinous actions. Most importantly, I had to try to understand why he would attempt to murder his brother Orlando. Growing up with three sisters whom I considered my best friends, I had no personal frame of reference for this extreme action. This thesis will examine the research and creation of Oliver de Boys. A thorough historical analysis will present the life of William Shakespeare, with specific focus on the relationship with his own siblings. Also included will be the production history of the As You Like It and the times in which it was written. Particular emphasis will be placed on the Elizabethan’s preoccupation with primogeniture, the system of inheritance or succession by the firstborn, traditionally the eldest son (“Primogeniture” 1). Finally, this section will contain a look at two literary figures that greatly influenced the evolution of Oliver: Saladyne, the eldest brother in Sir Thomas Lodge’s Rosalynde, of which As You Like It is largely based on and Cain, the archetype of fratricide. ii The next chapter will explore Oliver’s journey in As You Like It, from villain to lover to brother; ultimately, his “conversion” from evil to good. It will also document the director’s concept for the production and his vision for the portrayal of Oliver. A comprehensive character analysis or character autobiography will examine the psychological motivations behind Oliver’s actions, such as sibling rivalry, jealousy, resentment and greed. This thesis will culminate in a comprehensive rehearsal journal, which will document and address challenges, discoveries, failures and victories during the production process. iii TABLE OF CONTENTS CHAPTER ONE: INTRODUCTION................................................................................. 1 CHAPTER TWO: A HISTORICAL ANALYSIS.............................................................. 4 Biography of William Shakespeare ................................................................................ 4 Evolution of As You Like It and Notable Productions .................................................. 13 Synopsis of As You Like It ............................................................................................ 18 Elizabethans and the Custom of Primogeniture............................................................ 28 Literary Influences for the Character of Oliver de Boys .............................................. 35 Oliver and Cain ......................................................................................................... 35 Oliver and Saladyne.................................................................................................. 40 CHAPTER THREE: A STRUCTURAL ANALYSIS ..................................................... 44 Director’s Concept........................................................................................................ 44 Evolution of Oliver in As You Like It ........................................................................... 45 Oliver the Villain ...................................................................................................... 46 Oliver the Brother ..................................................................................................... 56 Oliver the Lover........................................................................................................ 58 CHAPTER FOUR: A CHARACTER ANALYSIS.......................................................... 61 CHAPTER FIVE: REHEARSAL JOURNAL.................................................................. 87 CHAPTER SIX: CONCLUSION................................................................................... 112 LIST OF REFERENCES................................................................................................ 114 iv CHAPTER ONE: INTRODUCTION “Yonder comes my master, your brother…” Act I Sc. I After Laurence Olivier opened as the lead in Shaw’s Arms and the Man, he felt he had failed. He expressed his concerns to Tony Guthrie, who told him, “It’s because you don’t like (the character). Go home and learn to like him” (Playbill 8). As actors, we may not always agree with our character’s actions, but the inclination to pass judgment on them is detrimental to the process of developing a character, and, ultimately, the performance. Unless you are playing Mother Courage or Wang the Water Seller, a Brechtian approach of commenting on the choices our character makes or moral attitude he retains will make the effect wholly unsuccessful. In short, as Laurence Olivier discovered, you will fail. This desire to understand and justify who your character is and what he does can often be a difficult task. This is particularly challenging if the character you are confronted with commits a deed as heinous as calculated murder. Playing the role of Oliver de Boys in the Orlando Shakespeare Theater’s production of As You Like It forced me to answer the question: “How do you learn to like the bad guy?” I knew that in order to create a successful depiction of Oliver I had to understand why he was attracted to such evil. Although Oliver does not hold ranks with the classic Shakespearean villains of all time- Richard III, Iago and Measure for Measure’s Angelo come to mind, his choices and intentions do call into question his moral philosophy. And though Oliver is unsuccessful 1 in his attempt to undo Orlando, and does not commit the sickening acts of Shakespeare’s major villains, he still intends to do real harm to Orlando, and that cannot be ignored. Stanislavski introduced the magic “if” to a generation of naturalistic actors. In their textbook Acting is Believing, Larry D. Clark, Charles McGaw, and Kenneth L. Stilson define the magic “if” as such: (The) key to unlocking the imagination, (the magic “if”) describes the process by which actors place themselves in the given circumstances of the scene. The actor asks, “What would I do if I were this character in this circumstance? (16). What if? Perhaps inspiration for this method came from As You Like It itself, with Touchstone’s Act V devotion to “if:” …and you may avoid that too, with an If. I knew when seven justices could not take up a quarrel, but when the parties were met themselves, one of them thought but of an If, as, 'If you said so, then I said so;' and they shook hands and swore brothers. Your If is the only peacemaker; much virtue in If. (Act V Sc. IV) Whatever the origin, it is a basic concept, and yet a valuable one. Besides the initial asking of the question during the primary stage of developing Oliver’s character, I decided to extend the “what if” beyond the parameters of the script. What if Oliver had succeeded in having Orlando killed? Where would that have put him? Would he have stopped at Orlando, or would the newly-educated, and therefore potentially dangerous, middle brother Jaques be next? Though Oliver is ultimately redeemed through love and awakened through forgiveness, I cannot take for granted what this man is capable of at the beginning of the play, and therefore must find what could drive an assumingly mentally-balanced individual to such violence and treachery. 2 This thesis will document that process, and may serve as a guide for any actor faced with the challenge of portraying a character they do not understand, do not agree with, or do not like. 3 CHAPTER TWO: A HISTORICAL ANALYSIS “God ye, good evenin’, William…” Act V. Sc. I Biography of William Shakespeare For the purposes of my research, the focus of this biography was primarily Shakespeare’s early life, particularly his relationship with his three brothers and his relationship
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