Face-to-Face in Shakespearean Drama 66053_Smith053_Smith & LLupton.inddupton.indd i 110/05/190/05/19 12:5012:50 PMPM 66053_Smith053_Smith & LLupton.inddupton.indd iiii 110/05/190/05/19 12:5012:50 PMPM Face-to-Face in Shakespearean Drama Ethics, Performance, Philosophy Edited by Matthew James Smith and Julia Reinhard Lupton 66053_Smith053_Smith & LLupton.inddupton.indd iiiiii 110/05/190/05/19 12:5012:50 PMPM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organisation Matthew James Smith and Julia Reinhard Lupton, 2019 © the chapters their several authors, 2019 Edinburgh University Press Ltd The Tun – Holyrood Road 12(2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Adobe Sabon by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain. A CIP record for this book is available from the British Library ISBN 978 1 4744 3568 0 (hardback) ISBN 978 1 4744 3570 3 (webready PDF) ISBN 978 1 4744 3571 0 (epub) The right of the contributors to be identifi ed as the authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66053_Smith053_Smith & LLupton.inddupton.indd iviv 110/05/190/05/19 12:5012:50 PMPM Contents List of Illustrations vii Acknowledgements viii Introduction 1 Matthew James Smith and Julia Reinhard Lupton Part I: Foundational Face Work 1. Outface and Interface 27 Bruce R. Smith 2. ‘Everybody’s Somebody’s Fool’: Folie à Deux in Shakespeare’s Love Duets 52 Lawrence Manley 3. The Course of Recognition in Cymbeline 77 Matthew James Smith Part II: Composing Intimacy and Confl ict 4. Face to Face, Hand to Hand: Relations of Exchange in Hamlet 109 Emily Shortslef 5. Bed Tricks and Fantasies of Facelessness: All’s Well that Ends Well and Macbeth in the Dark 132 Devin Byker Part III: Facing Judgement 6. The Face of Judgement in Measure for Measure 163 Kevin Curran 7. Then Face to Face: Timing Trust in Macbeth 176 Jennifer Waldron 66053_Smith053_Smith & LLupton.inddupton.indd v 110/05/190/05/19 12:5012:50 PMPM vi Contents Part IV: Moving Pictures 8. The Man of Sorrows: Edgar’s Disguise and Dürer’s Self-portraits 193 Hanna Scolnicov 9. The Face as Rhetorical Self in Ben Jonson’s Literature 210 Akihiko Shimizu 10. Hamlet’s Face 232 W. B. Worthen Afterword: Theatre and Speculation 250 William N. West Notes on Contributors 262 Bibliography 264 Index 285 66053_Smith053_Smith & LLupton.inddupton.indd vivi 110/05/190/05/19 12:5012:50 PMPM List of Illustrations I.1 The Winter’s Tale, New Swan Shakespeare Festival 1 I.2 The Winter’s Tale, The Royal Ballet at the Royal Opera House, London 4 1.1 Hardwick Hall, Derbyshire, the Long Gallery 28 1.2 Portrait of Edward VI, attributed to John Scrots, 1546 30 1.3 Portrait of Richard II, unknown artist, 1597–1618 34 5.1 The Blue and Brown Books, Ludwig Wittgenstein 133 8.1 Dürer: Self-portrait as the Man of Sorrows (1522) 201 8.2 Dürer: Self-portrait as Christ (1521) 202 8.3 Dürer: Self-portrait in the nude (1509) 203 8.4 Dürer: Portrait of the Artist Holding a Thistle (1493) 204 8.5 Dürer: Self-portrait (1498) 205 10.1 Lars Eidinger in Hamlet, directed by Thomas Ostermeyer, Schaubühne, Berlin 233 10.2 The Roman Tragedies, Brooklyn Academy of Music 243 66053_Smith053_Smith & LLupton.inddupton.indd viivii 110/05/190/05/19 12:5012:50 PMPM Acknowledgements This collection began, as so many volumes in our fi eld do, as a Shakespeare Association of America seminar, held in New Orleans in 2016, organised by Matthew Smith. We would like to thank the original participants as well as the newcomers to the conversation. Special thanks to Bruce R. Smith, who has been a mentor and friend to both of us. We are delighted to feature his essay in this volume. A generous gift from Dr Marilyn Sutton to the UCI Shakespeare Center allowed us to hire Laura Hatch as a research assistant and to subsidise images for this volume. This volume is the fruit of a special friendship between the two editors, composed over several years out of face-to-face conversation, the liberal exchange of research and shared theatrical experiences. Stanley Cavell (1926–18) passed away while we were editing the completed manuscript. His infl uence is everywhere evident in these pages, and we would like to honour his memory in this volume. Matthew James Smith Julia Reinhard Lupton Azusa Pacifi c University University of California, Irvine 66053_Smith053_Smith & LLupton.inddupton.indd viiiviii 110/05/190/05/19 12:5012:50 PMPM Introduction Matthew James Smith and Julia Reinhard Lupton Figure I.1 Beth Lopes directs Jesse Sharp (Leontes) and Meg Evans (Camillo) in The Winter’s Tale in a ‘spacing rehearsal’ at New Swan Shakespeare Festival, University of California, Irvine, June 2018. Photo by Julia Lupton. Rehearsal notes: spacing/facing ‘Camillo, you are disturbed by the way Leontes says the word “business”. Leontes, you are ticked off by the word “satisfy”. Try opening up when you hear those words.’ Beth Lopes is directing Act One, Scene Two of The Winter’s Tale for a production at the University of California, Irvine.1 The actors are roughing out their lines in preparation for a performance in the round that will open in a few weeks. Here’s the passage: Leontes: Lower messes are to this business purblind? Say. Camillo: Business, my lord? I think most understand Bohemia stays here longer. Leontes: Ha? 66053_Smith053_Smith & LLupton.inddupton.indd 1 110/05/190/05/19 12:5012:50 PMPM 2 Matthew James Smith and Julia Reinhard Lupton Camillo: Stays here longer. Leontes: Ay, but why? Camillo: To satisfy your highness, and the entreaties Of our most gracious mistress. Leontes: Satisfy? Th’entreaties of your mistress? Satisfy? Let that suffi ce. (I, ii, 225–35; emphasis added) This exchange is part of an emotionally charged and morally vola- tile conversation between a king and his counsellor. In real life, the two speakers would likely face each other through most of the dis- cussion: Camillo might look away in distress, bow his head in his hand or even briefl y walk away to buy time to process his shock and decide on a strategy while Leontes might close his eyes in mortifi ed rage or begin to look beyond Camillo towards the imagined trans- gressors or the whispering court. By and large, however, the cogni- tive requirements and social conventions of conversation would limit lengthy deviations from face-to-face discussion. On stage, however, as Bernard Beckerman points out, actors must continually navigate between the ‘actor-to-actor exchange’ that constitutes the substance of so many scenes in classical Western theatre and the ‘frontal orien- tation’ that both proscenium and thrust stages require.2 Actors can only face each other in close proximity for brief moments or risk losing the attention of the audience. As a result, they must continu- ally fi nd ways to ‘open up’ their actions while remaining attuned to the demands of the conversation on stage. In the blocking of some hundred lines of text, the actors playing Leontes and Camillo had recourse to many different movements. Camillo stood still and Leontes moved in a half circle while point- ing at his steward and recriminating him for complicity in the adul- terous liaison (I, ii, 239–49). Camillo stood in place while Leontes spun out his rumination on the theme ‘Is whispering nothing?’ to an audience of possible whisperers who also serve as proxies for his own agonised consciousness before returning to face Camillo at the end of the conceit (I, ii, 284–96). The actors approached each other as the prospect of poisoning Polixenes crawled into direct speech out of the cup of innuendo (I, ii, 313–26). None of these manoeuvres felt forced or distracting, since the actors motivated their movements in response to cues in the text. Charged words like ‘business’ and ‘satisfy’ prompt the actors to initiate new spatial confi gurations while also knitting their exchange together through 66053_Smith053_Smith & LLupton.inddupton.indd 2 110/05/190/05/19 12:5012:50 PMPM Introduction 3 repetition. Phil Thompson, a speech coach for the Utah Shake- speare Festival, explained to us that such switch words are ‘action cues’: as soon as Camillo hears the word ‘business’, he should take a sharp breath and prepare to speak. Whereas an inexperienced actor might respectfully wait until his partner has fi nished his line, it’s closer to real conversation to begin responding as soon as the action cue has sounded. As Thompson put it, ‘Think about inhala- tion as the wind-up before we throw a ball. That action is as neces- sary and natural a part of the action as the throwing.’3 ‘Business’ and ‘satisfy’ are balls thrown by the actors to each other, and the dynamic distances that emerge between the speakers enhance the legibility and amplify the impact of the volley. Such mobile block- ings of face-to-face conversation provide opportunities for fron- tal orientation without breaking the fl ow and intimacy of speech, and they help ‘crystallize intentions and responses’ by articulating words and actions in patterns that diagram the shifting relation- ship of the speakers.4 These orchestrations of distances make sense of, and with, the text in a continuous mutual refocusing of mean- ings and motives.