Twelfth Night
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Twelfth Night Act II.Iii MARIA Sweet Sir Toby, Be Patient for Tonight: Since
Twelfth Night Act II.iii MARIA Sweet Sir Toby, be patient for tonight: since the youth of the count's was today with thy lady, she is much out of quiet. For Monsieur Malvolio, let me alone with him: if I do not gull him into a nayword, and make him a common recreation, do not think I have wit enough to lie straight in my bed: I know I can do it. SIR TOBY BELCH Possess us, possess us; tell us something of him. MARIA Marry, sir, sometimes he is a kind of puritan. SIR ANDREW O, if I thought that I'ld beat him like a dog! SIR TOBY BELCH What, for being a puritan? thy exquisite reason, dear knight? SIR ANDREW I have no exquisite reason for't, but I have reason good enough. MARIA The devil a puritan that he is, or any thing constantly, but a time-pleaser; an affectioned ass, that cons state without book and utters it by great swarths: the best persuaded of himself, so crammed, as he thinks, with excellencies, that it is his grounds of faith that all that look on him love him; and on that vice in him will my revenge find notable cause to work. SIR TOBY BELCH What wilt thou do? MARIA I will drop in his way some obscure epistles of love; wherein, by the colour of his beard, the shape of his leg, the manner of his gait, the expressure of his eye, forehead, and complexion, he shall find himself most feelingly personated. I can write very like my lady your niece: on a forgotten matter we can hardly make distinction of our hands. -
Teacher Resource Pack I, Malvolio
TEACHER RESOURCE PACK I, MALVOLIO WRITTEN & PERFORMED BY TIM CROUCH RESOURCES WRITTEN BY TIM CROUCH unicorntheatre.com timcrouchtheatre.co.uk I, MALVOLIO TEACHER RESOURCES INTRODUCTION Introduction by Tim Crouch I played the part of Malvolio in a production of Twelfth Night many years ago. Even though the audience laughed, for me, it didn’t feel like a comedy. He is a desperately unhappy man – a fortune spent on therapy would only scratch the surface of his troubles. He can’t smile, he can’t express his feelings; he is angry and repressed and deluded and intolerant, driven by hate and a warped sense of self-importance. His psychiatric problems seem curiously modern. Freud would have had a field day with him. So this troubled man is placed in a comedy of love and mistaken identity. Of course, his role in Twelfth Night would have meant something very different to an Elizabethan audience, but this is now – and his meaning has become complicated by our modern understanding of mental illness and madness. On stage in Twelfth Night, I found the audience’s laughter difficult to take. Malvolio suffers the thing we most dread – to be ridiculed when he is at his most vulnerable. He has no resolution, no happy ending, no sense of justice. His last words are about revenge and then he is gone. This, then, felt like the perfect place to start with his story. My play begins where Shakespeare’s play ends. We see Malvolio how he is at the end of Twelfth Night and, in the course of I, Malvolio, he repairs himself to the state we might have seen him in at the beginning. -
Twelfth Night
SAMPLE – INCOMPLETE SCRIPT a Community Shakespeare Company edition of Twelfth Night original verse adaptation by Richard Carter 1731 Center Road Lopez Island, WA 98261 360.468.3516 [email protected] Enriching young lives, cultivating community” NOTES ABOUT PRODUCTION The author asks that anyone planning to stage one of his adaptations please contact him for permission, via the CSC website: www.communityshakespeare.org . There are no performance royalties due. He asks that scripts be purchased for every member of a cast. Frequently asked questions include, “What if my group is mostly girls?” Cross-casting (females playing male roles) is almost inevitable; once it is explained that males played all the female roles in Shakespeare’s time, this obstacle is easily overcome. Moreover, girls see that many of the “big” parts are male, so those wanting more stage time gravitate toward male roles. The author also encourages groups to take certain liberties, such as changing the sex of some roles. With little alteration of the text, a duke may become a duchess, an uncle may become an aunt. In answer to the question, “What if I have too many (or too few) students?” some parts may be divided amongst several actors (a messenger becomes two messengers), or actors may take on more than one role. In short, do what is necessary to make the play fun and accessible for young people; the author did! Synopsis of the play Orsino, Duke of Illyria, is in love with Olivia, a proud and beautiful countess. She spurns his suit, being in mourning for her late father and brother. -
Timon of Athens: the Iconography of False Friendship
Western Michigan University ScholarWorks at WMU English Faculty Publications English Summer 1980 Timon of Athens: The Iconography of False Friendship Clifford Davidson Western Michigan University, [email protected] Follow this and additional works at: https://scholarworks.wmich.edu/english_pubs Part of the English Language and Literature Commons WMU ScholarWorks Citation Davidson, Clifford, "Timon of Athens: The Iconography of False Friendship" (1980). English Faculty Publications. 12. https://scholarworks.wmich.edu/english_pubs/12 This Article is brought to you for free and open access by the English at ScholarWorks at WMU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Timonof Athens. The Iconographyof False Friendship By CLIFFORD DAVIDSON THE REALIZATION THAT iconographic tableaux appear at central points in the drama of Shakespeare no longer seems to involve a radical critical perspective. Thus a recent study is able to show convincingly that the playwright presented audiences with a Hamlet who upon his first appear- ance on stage illustrated what the Renaissance would certainly have recognized as the melancholic contemplative personality.' As I have noted in a previous article, the hero of Macbeth when he sees the bloody dagger before him is in fact perceiving the image which most clearly denotes tragedy itself; in the emblem books, the dagger is indeed the symbol of tragedy,2 which will be Macbeth's fate if he pursues his bloody course of action. Such tableaux, it must be admitted, are often central to the meaning and the action of the plays. -
Spotlight on Learning a Pioneer Theatre Company Classroom Companion
Spotlight on Learning a Pioneer Theatre Company Classroom Companion Pioneer Theatre Company’s Student Matinee Program is made possible through the support of Salt Lake County’s Zoo, Arts and Parks Program, Salt Directed by Larry Carpenter Lake City Arts Council/ March 30 - April 14, 2018 Arts Learning Program, By William Shakespeare The Simmons Family Foundation, The Meldrum Foundation Director’s Notes Endowment Fund and By Larry Carpenter, director of Twelfth Night R. Harold Burton Foundation. Spotlight on Learning is provided to students through a grant provided by the George Q. Morris Foundation Twelfth Night is probably the best known of Shakespeare’s Approx. running time: comedies. It is a later play, written in 1599 and bracketed by Much 2 hours and thirty minutes, which in- Ado About Nothing, Henry V, Julius Caesar, As You Like It and cludes one fifteen-minute intermission. Hamlet. All of these plays were written and produced in less than a two-year period when the Bard of Avon was at the height of his Student Talk-Back: genius. There will be a Student Talk-Back directly after the performance. At the time, all of these plays were topical. The citizens of London were experiencing the end of the Elizabethan Age—James I would come to power in 1603. The themes of royal succession, parliamentary politics, religious fanaticism, gender identity, Continued on page 2 Director’s Notes, continued from page 1 The Bard of Avon burgeoning economic instability, class structure and the plague, to name a few, were intertwined into Excerpted from Biography. Shakespeare’s works. -
The Representation of Puritans in William Shakespeare's Twelfth Night
AWEJ for Translation & Literary Studies, Volume2, Number 1, February 2018 Pp. 97-105 DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 The Representation of Puritans in William Shakespeare’s Twelfth Night Rachid MEHDI Department of English, Faculty of Art Abderahmane-Mira University of Bejaia, Algeria Abstract This article is a study on the representation of Puritans in William Shakespeare’s Twelfth Night; or, What You Will, one of his most popular comic play in the modern theatre. In mocking Malvolio’s morality and ridiculous behaviour, Shakespeare wanted to denounce Puritans’ sober society in early modern England. Indeed, Puritans were depicted in the play as being selfish, idiot, hypocrite, and killjoy. In the same way, many other writers of different generations, obviously influenced by Shakespeare, have espoused his views and consequently contributed to promote this anti-Puritan literature, which is still felt today. This article discusses whether Shakespeare’s portrayal of Puritans was accurate or not. To do so, the writer first attempts to define the term “Puritan,” as the latter is quite equivocal, then take some Puritans’ characteristics, namely hypocrisy and killjoy, as provided in the play, and analyze them in the light of the studies of some historians and scholars, experts on the post Reformation Puritanism, to demonstrate that Shakespeare’s view on Puritanism is completely caricatural. Keywords: caricature, early modern theatre, Malvolio, Puritans, satire Cite as: MEHDI, R. (2018). The Representation of Puritans in William Shakespeare’s Twelfth Night. Arab World English Journal for Translation & Literary Studies, 2 (1). DOI: http://dx.doi.org/10.24093/awejtls/vol2no1.7 Arab World English Journal for Translation & Literary Studies 97 eISSN: 2550-1542 |www.awej-tls.org AWEJ for Translation & Literary Studies Volume, 2 Number 1, February 2018 The Representation of Puritans in William Shakespeare’s Twelfth Night MEHDI Introduction Puritans had been the target of many English writers during the sixteenth and seventeenth centuries. -
Shakespeare and Contagion – Abstracts
SAA2015 – Seminar 37 – Shakespeare and Contagion – Abstracts Seminar Leaders: Mary Floyd-Wilson (University of North Carolina) and Darryl Chalk (University of Southern Queensland) Sabina Amanbayeva University of Delaware [email protected] “Falstaff’s Poisonous Affects: Politics and Physiology in 1 Henry IV” My paper is focused on the formation of intimacy through laughter in Shakespeare’s 1 Henry IV (1597). Using the framework of historical phenomenology and affect studies, I show how Falstaff’s jokes about his own body can actually be read as physiological manipulation and a political act. Early modern texts consistently associate the formation of illicit attachments with the work of poison and the subtle cunning of underworld figures. For instance, Thomas Dekker’s cony-catching pamphlets The Belman of London (1608) and Lanthorn and Candle-light (1608) take it as their guiding principle that cony-catchers commit their villanies through “breathes” and “vapours” that insidiously spread everywhere. A similar tactic, I argue, is at work in 1 Henry IV, where Falstaff’s jokes, called “vain comparatives” in the play, re-structure the relationship between the body and its environment by his successive spinning of new metaphors and thus new ways to imagine relations between self and other. The word-play between Hal and Falstaff becomes then a sort of titillation, playing with the body, as their mutual witticisms and jokes successively touch and re-touch each other’s contours. The essay contributes to the on-going conversation on affect and intimacy by bringing to the fore the physicality of early modern laughter and its ability to work like “poison” or contagious “vapour” in its creation of illicit intimacies. -
The Fools of Shakespeare's Romances
Sede Amministrativa: Università degli Studi di Padova Dipartimento di Studi Linguistici e Letterari (DISLL) SCUOLA DI DOTTORATO DI RICERCA IN: Scienze Linguistiche, Filologiche e Letterarie INDIRIZZO: Filologie e Letterature Classiche e Moderne CICLO XXVI “Armine... thou art a foole and knaue”: The Fools of Shakespeare’s Romances Direttore della Scuola : Ch.ma Prof.ssa Rosanna Benacchio Supervisore : Ch.ma Prof.ssa Alessandra Petrina Dottoranda : Alice Equestri Abstract La mia tesi propone un’analisi dettagliata dei personaggi comici nei romances Shakespeariani (Pericles, Cymbeline, The Winter’s Tale e The Tempest) in particolare quelli creati appositamente per Robert Armin, attore comico di punta dei King’s Men in quel periodo. Nel primo capitolo traccio la presenza di Armin nei quattro testi, individuando cioè gli indizi che rimandano alla sua figura e alla tipologia di comicità tipica dei suoi personaggi precedenti in Shakespeare e di quelli presenti nelle sue stesse opere. I quattro personaggi creati per lui da Shakespeare vengono analizzati in profondità nei seguenti capitoli, raggruppandoli a seconda dei loro ruoli sociali o professioni. Nel secondo capitolo mi occupo dei fools criminali, considerando Pericles e The Winter’s Tale, dove i personaggi di Boult e Autolycus sono rispettivamente un ruffiano di bordello e un delinquente di strada. Nel terzo capitolo mi concentro invece sui personaggi che esibiscono o vengono discriminati per una reale od imputata deficienza congenita (natural folly): il principe Cloten in Cymbeline e Caliban in The Tempest. Per ciascun caso discuto il rapporto del personaggio con le fonti shakespeariane ed eventualmente con la tradizione comica precedente o contemporanea a Shakespeare, il ruolo all’interno del testo, e il modo in cui il personaggio suscita l’effetto comico. -
Casting Announced for BBC One's the Pale Horse
Casting announced for BBC One’s The Pale Horse Date: 31.07.2019 Casting for the latest Agatha Christie drama, The Pale Horse has been announced by BBC One, Mammoth Screen and Agatha Christie Limited. Rufus Sewell (The Man In The High Castle, The Marvellous Mrs. Maisel, The Father), plays Mark Easterbrook and is joined by Kaya Scodelario (Crawl, Extremely Wicked and Shockingly Evil And Vile) playing Hermia, Bertie Carvel (Doctor Foster, Jonathan Strange & Mr Norrell) as Zachariah Osborne, Sean Pertwee (Gotham, Elementary) as Detective Inspector Lejeune, Henry Lloyd-Hughes (Killing Eve, Indian Summers) as David Ardingly, and Poppy Gilbert (Call The Midwife) as Thomasina Tuckerton, Madeleine Bowyer (Black Mirror, Britannia) as Jessie Davis and Ellen Robertson (Snowflake, Britney Soho) as Poppy. Sarah Woodward (Queens Of Mystery, Loving Miss Hatto), Georgina Campbell (His Dark Materials, Black Mirror) and Claire Skinner (Outnumbered, Vanity Fair) will also star. Completing the cast are Rita Tushingham (Vera, A Taste Of Honey) as Bella, Sheila Atim (Girl From The North Country, Bloodmoon) as Thryza Grey and Kathy Kiera Clarke (Derry Girls, Tartuffe) as Sybil Stamford who will play the trio of witches. The Pale Horse follows Mark Easterbrook as he tries to uncover the mystery of a list of names found in the shoe of a dead woman. His investigation leads him to the peculiar village of Much Deeping, and The Pale Horse, the home of a trio of rumoured witches. Word has it that the witches can do away with wealthy relatives by means of the dark arts, but as the bodies mount up, Mark is certain there has to be a rational explanation. -
A Defense/An Indictment of Sir Toby Belch
A Defense/An Indictment of Sir Toby Belch “O cousin, cousin. How have you come so early by this lethargy?” “I hate a drunken rogue.” The deep dive of what you will was murky and troubling water. The silt sat in the corners of the eyes, blurring the vision and tasting of dirt as it ran into my mouth- carried there by the saline that had evacuated my head holes. I do not often seek to explain anything I do that can vaguely be lumped under the austerity of Art, nor do I hope to explain much here. I live in the hope that this will help others understand what I was attempting to create/explore/wrestle with. It is my sincerest desire that the experience of witnessing that attempt is interpreted however you like. If you are reading this, you are either in the Shakespeare Ensemble or the ensemble has decided it’s worthy of sharing with others. Twelfe Night, or What You Will falls into the “light-hearted-comedic-romp we all know and love” for many a bardophile, probably because producers and artistic directors recognize that it’s a money printing play and it fits into any season...often. What’s not to love? It has iconic speeches. It ends “happily”*. There is comedy. There is mirth. There is love. Aside from finding twins to take on two major roles, it’s a slam dunk to produce. That’s all well and good. And yet… To be clear, Twelfe Night or What You Will is my favorite play of all time. -
Gulling of Malvolio in Twelfth Night
Subject-English Hons. Core Course Semester II Paper -ENGH-H-CC-T-4 Teacher’s name-Nilanjana Chakraborty Gulling of Malvolio in Twelfth Night: Malvolio is the steward of Olivia’s household. He dislikes all manner of fun and festivity and for that reason he reproaches Sir Toby for making late night gathering. Maria calls him a kind of ‘Puritan’. His puritanism and aversion to fun misplace him in the jolly society of the Illyrians. He responds to revelry and humour of the household with indignation. His duty is to maintain order in the household. As Olivia is not really in mourning, she enjoys Feste’s disorderly playfulness. But Malvolio’s reaction to this disorder is ‘distempered’. He finds nothing but offence in Feste’s remarks. Malvolio is sick of self-love and Olivia says this right on his face, “O, you are sick of self-love, Malvolio, and taste with a distempered appetite.” Actually, he is suffering from the exaggerated sense of self-importance. He also lacks a sense of humour. Malvolio dislikes parties, drinking, merriment of all sorts, and so he is very critical about the conduct of Sir Toby and others who are always involved in frivolities. Sir Toby, Maria, Feste and Sir Andrew Aguecheek openly resent Malvolio and Maria calls him an “affectioned ass” who uses high-flown language without necessarily knowing its proper meaning. He is not resented only as a Puritan, but also for the fact that he aspires to marry Olivia. Before he sees the letter, he is indulging his ambitious and substantial day-dreams; they include not only marrying Olivia and thereby becoming Count Malvolio, but also, from that position reproving Sir Toby. -
Twelfth Night KEY CHARACTERS and SENSORY MOMENTS
Twelfth Night KEY CHARACTERS AND SENSORY MOMENTS Characters Viola Sebastian Olivia Malvolio Sir Andrew Sir Toby Feste Maria Orsino Antonio Sensory Moments Below is a chronological summary of the key sensory moments in each act and scene. Latex balloons are used onstage throughout the show. Visual, dialogue or sound cues indicating dramatic changes in light, noise or movement are in bold. PRESHOW • A preshow announcement plays over the loudspeaker and instruments tune onstage. ACT ONE SCENE ONE SENSORY MOMENTS • Feste begins to sing a song. When he puts DESCRIPTION a paper ship in the water, the storm begins. At Duke Orsino’s palace in Illyria, Cesario and There is frequent loud thunder, flickering others sing for Orsino. He’s in love with the lights and flashes of lightning via strobe countess Olivia, but it’s unrequited because she lights. Actors shout during the turmoil, is in mourning for her brother and won’t receive cymbals crash and drums rumble. his messengers. • The storm sequence lasts about 90 seconds. • After the storm, lights slowly illuminate SENSORY MOMENTS the stage. • Actors begin singing a song. Orsino enters the stage and picks up a balloon. When he walks to the center of the stage, the balloon SCENE TWO pops loudly. • When Orsino says, “Love-thoughts lie rich DESCRIPTION when canopied with bowers,” the actors Viola washes ashore in Illyria, saved by the leave the stage, suspenseful music plays and ship’s captain. She asks the captain to help her the lights go dark. disguise herself so she can get work in Orsino’s court.