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Your Unpublished Thesis, Submitted for a Degree at Williams College and Administered by the Williams College Libraries, Will Be Made Available for Research Use WILLIAMS COLLEGE LIBRARIES COPYRIGHT ASSIGNMENT AND INSTRUCTIONS FOR A STUDENT THESIS Your unpublished thesis, submitted for a degree at Williams College and administered by the Williams College Libraries, will be made available for research use. You may, through this form, provide instructions regarding copyright, access, dissemination and reproduction of your thesis. The College has the right in all cases to maintain and preserve theses both in hardcopy and electronic format, and to make such copies as the Libraries require for their research and archival functions. _The faculty advisor/s to the student writing the thesis claims joint authorship in this work. _ I/we have included in this thesis copyrighted material for which I/we have not received permission from the copyright holder/s. If you do not secure copyright permissions by the time your thesis is submitted, you will still be allowed to submit. However, if the necessary copyright permissions are not received, e-posting of your thesis may be affected. Copyrighted material may include images (tables, drawings, photographs, figures, maps, graphs, etc.), sound files, video material, data sets, and large portions of text. I. COPYRIGHT An author by law owns the copyright to his/her work, whether or not a copyright symbol and date are placed on the piece. Pl-ease choose one of the options below with respect to the copyright in your thesis. _ I/we choose not to retain the copyright to the thesis, and hereby assign the copyright to Williams College. Selecting this option will assign copyright to the College. If the aut])or/s wishes later to publish the work, he/she/they will need to obtain permission to do so from the Libraries, which will be granted except in unusual circumstances. 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In addition, I/we grant permission to Williams College to provide access to (and therefore copying of) the thesis in electronic format via the Internet or other means of electronic transmission after a period of ___ years. Selecting this option allows the Libraries to transmit the thesis in electronic format via the Internet after a period of years. Once the restriction period has ended, this option permits worldwide access to the thesis, and copying of the electronic and hardcopy versions .. __ I/we grant permission to Williams College to maintain, provide access to, and provide copies of the thesis in hardcopy format only, for as long as 1/we retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pertains to the entirety of your work, including any media that it incorporates. Selecting this option allows the Libraries to provide copies of the thesis to researchers in hardcopy form only, not in electronic format. _ I/we grant permission to Williams College to maintain and to provide access to the thesis in hardcopy format only, for as long as I/we retain copyright. Selecting this option allows access to your work only from the hardcopy you submit for as long as you retain copyright in the work. Such access pertains to the entirety of your work, including any media that it incorporates. This option does NOT permit the Libraries to provide copies of the thesis to researchers. I Signature Redacted Signed (student author Signature Redacted Signed (faculty advisor) --- Signed (2d advisor, if applicable)----------· Thesis title tv\MV\!SS 0\V\& \2Cl.fiiffi0\V1(,€: \2-:f.tJXl&e-Vl-\-\~'-..t.- [V\CA-j 1'1 Lb 12... M.Mn.t\S \Y\ ~ Date . 1 Library Use Signature Redacted Accepted By: Date: }}1Ct,u f 1 J 0 i J- 1 . (} rev: March 2010 Madness and Performance: Representing Female Madness in Theatre By Marguerite Love James L. Pethica, advisor A thesis submitted in partial fulfillment of the requirement for the Degree of Bachelor of Arts with Honors in English WILLIAMS COLLEGE Williamstown, MA April 16, 2012 Acknowledgements I would like to thank the following people for their extensive help in this process: Professor James Pethica, for his unwavering support, guidance, and tough love, and for always making me laugh My readers, Professor Ilona Bell and Professor Lynda Bundtzen The ladies in Wood, Bryant, Fitch, and the Accidentals for providing me with endless love, fun, and support Megan Behrend, for leading me by example, and knowing how to be both pragmatic and optimistic Noah Schechter, for his patience, support, and love Professor John Kleiner, Professor Robert Baker-White, Professor Amy Holzapfel, and Professor Robert Bell, who all spoke with me at various points in my process. Thad Persons, with whom I took junior year English, a class in which I wrote a paper on Ophelia’s freedom in madness Finally, my parents, my brothers, and my dog Ninja: for always being understanding – even when you didn’t understand what I was talking about Contents * * * Preface: Representing Madness i Chapter One: The Structure of Female Madness in Shakespeare 1 Chapter Two: Representing Madness in the 20th Century: 29 How Ibsen and Chekhov Adapt and Expand Shakespearian Representations of Mad Women Epilogue: The “Madness” of Representation 57 Preface Representing Madness * * * “Madness deals not so much with truth and the world as with man and whatever truth about himself he is able to perceive” - Michael Foucault, Madness & Civilization As Michael Foucault notes in Madness & Civilization, the possibility for one to lose rationality has been a source of both crisis and intrigue: “from the fifteenth century on, the face of madness has haunted the imagination of Western man” (15). Theatre has been a central site for exploring both the idea of and the actualities of madness – the stage lends itself to the task of realist representations while also foregrounding the challenges of performance and representation. These paradoxical dual roles of the Theatre were less problematic when the characters represented on the stages were Gods and super-humans of Greek and Roman plays, or when the characters represented “good” and “evil” in the Church’s morality plays. In the Elizabethan period, the theatres got smaller, and playwrights began to write more realistic works with ‘real’ people. Many of these dramas from the late 16th century onwards feature mad characters or figures of madness. The challenge – if not near impossibility – of trying to represent such a state surely attracted playwrights to writing mad figures in their works. From Shakespeare and Webster to Artaud, Ibsen, Chekhov, Strindberg, Beckett, and Williams, playwrights have used madness to test limitations of realist representation, often inviting the audience to notice the operating theatrical structures. In playing madness, the actor is required to use the body, voice, and mind to the maximum. Hence, actors, too, are invariably drawn to such challenging roles. Representing madness poses a unique problem for the actor, particularly the modern actor who values naturalistic, psychologically ‘real’ acting. Can a psychologically-real actor ‘act’ mad without being able to imaginatively occupy that mental state? Such a question might suggest why actors playing Hamlet today are more inclined to play him as definitively ‘performing’ madness the entire time – in spite of the fact that, as the next chapter will explore, the text frequently suggests that Hamlet is mad at times. The question of whether Hamlet is feigning madness or not pulls the audience in two different directions; in the context of the plot, the audience wants to decipher if he is feigning madness, but that very task calls attention to the operating theatrical structures of the play: The actor, in Hamlet’s role, is – out of necessity – always performing. The theatre inherently demands different forms of engagement from its audience than other art forms. With a novel, the reader chooses when to start and stop reading and draw on their own creativity to visualize the scene and the characters. In a film, the camera’s movement simulates shifting points of view, allowing for the viewer to take numerous, divergent perspectives during the course of film.
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