Shared Flashcard Set


THTR 125 Final
Angus Quotes
Film, Theatre & Television
Undergraduate 1

Additional Film, Theatre & Television Flashcards




"Now is the winter of our discontent
Made glorious summer by this son of York;
And all the clouds that lowered upon our house
In the deep bosom of the ocean buried..."
Richard III; opening monologue, the war has ended and Richard's brother is King, he feels deformed and determined to make everyone around him suffer, characterized by relentless meter, juxtaposition, and control of language.
"To take is not to give."
Lady Anne; RICHARD III; Anne is completely disoriented and she is questing her sense of right and wrong
She accepts his ring
Richard says to her, my actions are based upon you and it is up to us to decide our fates
"But say, my lord, it were not registered,
Methinks the truth should live from age to age,
As ’twere retailed to all posterity,
Even to the general all-ending day."
Prince; RICHARD III; Random tangent about Ceasar building the Tower, oral history or written down? Wouldn’t the fact live on? Prince reveals he knows Richard’s plans
"If? Thou protector of this damnèd strumpet,
Talk’st thou to me of “ifs”? Thou art a traitor—
Off with his head. Now by Saint Paul I swear
I will not dine until I see the same.—"
Richard III; Hastings crime is the use of the word “if” inflames Richard because everyone except him must speak in terms of “black and white”
Image- Richard eating strawberries waiting for Hasting’s head
"What, think you we are Turks or infidels?
Or that we would, against the form of law,
Proceed thus rashly in the villain’s death,
But that the extreme peril of the case,
The peace of England and our persons' safety
Enforced us to this execution?"
Richard III; Hasting’s head is brought in which commences Richard to weep for having to execute his friend for “treason”; the Mayor asks if this is true
Richard pleads that Christian people were in danger so it was just to ignore proper law. Build lie upon lie
"Ah, Buckingham, now do I play the touch,
To try if thou be current gold indeed.
Young Edward lives; think now what I would speak. / Why so you are, my thrice-renownèd lord."
Buckingham and Richard; RICHARD III; Buckingham and Richard break apart
Buckingham unsure of Richard’s language and why he wishes the prince’s dead after he has the crown
Buckingham unsure of what Richard now plans to do as King. Richard turns in on his society (as a tyrant)
Buckingham realizes that Richard will stop at nothing even after he has gotten his goal, and must flee for his life
"Give me another horse! Bind up my wounds!
Have mercy, Jesu!—Soft, I did but dream.
O coward conscience, how dost thou afflict me!
The lights burn blue. It is now dead midnight.
Cold fearful drops stand on my trembling flesh.
What do I fear? Myself? There’s none else by."
Richard III; Richard’s wakes from the dream with the spirits
he argues with himself; exploring this new feeling of self-hatred a fragmented self. he collapses into self-pity and incrimination
"By God’s fair ordinance conjoin together,
And let their heirs, God, if thy will be so.
Enrich the time to come with smooth-faced peace,
With smiling plenty and fair prosperous days!
Abate the edge of traitors, gracious Lord,
That would reduce these bloody days again,
And make poor England weep in streams of blood!
Let them not live to taste this land’s increase,
That would with treason wound this fair land’s peace."
Richmond; RICHARD III; When we think that Richmond has won and that everything is “right”; he explains that his first action will be to stake out the traitors and kill them in order to make England safe
There is not that much difference in the end between Richmond and Richard, and good and evil, as Richard has been pleading the entire time
"What should I do with him? Dress him in my apparel and
make him my waiting gentlewoman? He that hath a beard
is more than a youth, and he that hath no beard is less than a man; and he that is more than a youth is not for me, and he that is less than a man, I am not for him. Therefore I will even take sixpence in earnest of the bearherd, and lead his apes into hell."
Beatrice; MUCH ADO ABOUT NOTHING; Speaking to Leonato about finding herself a husband. a joke somebody could find as funny but it has no meaning.
"You have it full, Benedick. We may guess by this what you
are, being a man. Truly, the lady fathers herself.—Be
happy, lady, for you are like an honorable father."
Don Pedro; MUCH ADO ABOUT NOTHING; Don Pedro comments on his using money to welcome everyone (being an idiot wasting money) which traps Leonato
Leonato’s use of heightened speech and rhetorical flourishes which show his prestige and power
Leonato shows his vulnerability when he reveals his fear about his daughter in a comical way
"A dear happiness to women. They would else have been
troubled with a pernicious suitor. I thank God and my cold
blood I am of your humor for that. I had rather hear my dog bark at a crow than a man swear he loves me."
Beatrice; MUCH ADO ABOUT NOTHING; mimics Leonato’s lofty control of words. ultimately the only thing she can do is break the language game because men have the power; which is why Benedict leaves
"Ha! “Against my will I am sent to bid you come in to
dinner. There’s a double meaning in that. “I took no more
pains for those thanks than you took pains to thank me.”
That’s as much as to say, “Any pains that I take for you is as easy as thanks.” If I do not take pity of her, I am a villain. If I do not love her, I am a Jew. I will go get her picture."
Benedict; MUCH ADO ABOUT NOTHING; Benedict has just been told Beatrice loves him and he searches for a double meeting where it does not exist which feeds his joy/hope
mob psychology surrounding the “Jew” line; comedy is only really comical when it has the power to break us apart
" Come, you shake the head at so long a breathing, but I warrant thee, Claudio, the time shall not go dully by us. I will in the interim undertake one of Hercules' labors, which is to bring Signor Benedick and the Lady Beatrice into a mountain of affection, th' one with th' other. I would fain have it a match, and I doubt not but to fashion it, if you three will but minister such assistance as I shall give you direction."
Don Pedro; MUCH ADO ABOUT NOTHING; Don John compels Barachio to plot against Hero. Barachio uses his lover Margaret who complies although it is humiliating. the Shakespearean idea that men can speak women can not (Hero/Margaret)
"You have stayed me in a happy hour. I was about to protest
I loved you"
Beatrice; MUCH ADO ABOUT NOTHING; scene often taken as overly sentimental because Beatrice (a woman) is in control but there is much hidden intelligence. you caught me before I was going to say I love you
protest- to complain. Benedict passes Beatrice’s test because he does not get the double meaning in her words, which proves his real love- which enables Beatrice to profess her love
"Princes and counties! Surely, a princely testimony, a goodly count, Count Comfect, a sweet gallant, surely! Oh, that I were a man for his sake! Or that I had any friend would be a man for my sake! But manhood is melted into curtsies, valor into compliment, and men are only turned into tongue, and trim ones too. He is now as valiant as Hercules that only tells a lie and swears it. I cannot be a man with wishing, therefore I will die a woman with grieving."
Beatrice; MUCH ADO ABOUT NOTHING; Men are all about words, since words have no longer meaning, she wants to escape from words Prose begins to leave as verse returns- the funny turns dark.
"One word, sir. Our watch, sir, have indeed comprehended
two aspicious persons, and we would have them this
morning examined before your worship."
Dogberry; MUCH ADO ABOUT NOTHING; Dogberry’s unrequited love of words. policemen were the dregs of the society, earning money through bounties. Dogberry is the opposite of Beatrice and does not have control over words. Even though his language is wrong, it is right without him knowing. “auspicious” works against him, he does not mean it that way, but the prisoners really are auspicious
"The god of love,
 That sits above,
 And knows me, and knows me,
 How pitiful I deserve—
I mean in singing. But in loving, Leander the good swimmer, Troilus the first employer of panders, and a whole bookful of these quondam carpetmongers, whose names yet run smoothly in the even road of a blank verse, why, they were never so truly turned over and over as my poor self in love. Marry, I cannot show it in rhyme. I have tried. I can find out no rhyme to “lady” but “baby”—an innocent rhyme; for “scorn,” “horn”—a hard rhyme; for, “school,” “fool”—a babbling rhyme; very ominous endings. No, I was not born under a rhyming planet, nor I cannot woo in festival terms."
Benefick; MUCH ADO ABOUT NOTHING; Benedict writes a poem. He has no control over his language so he is a loser winner- it proves to the audience he really is in love with Beatrice because the words to express it will not come to him. Because you don’t control your words, good things will happen the opposite of Richard III
"His breeding, sir, hath been at my charge. I have so often blushed to acknowledge him that now I am brazed to it....Sir, this young fellow’s mother could, whereupon she grew round-wombed, and had indeed, sir, a son for her cradle ere she had a husband for her bed. Do you smell a fault?"
Gloucester; KING LEAR; Straightforward simple question which Gloucester replies by basically saying, not really, sort of, a lot of people have said so, it’s not my fault
intense moment Gloucester not acknowledging his own son, “whoreson”. he evades responsibility for his own choices and acts. A play where characters struggle to acknowledge their truth and artists struggle to own their creative acts (base staging on this fact)
"Give me the map there.—Know that we have divided
In three our kingdom, and ’tis our fast intent
To shake all cares and business from our age,
Conferring them on younger strengths while we
Unburdened crawl toward death.—Our son of Cornwall,
And you, our no less loving son of Albany,
We have this hour a constant will to publish Our daughters' several dowers, that future strife
May be prevented now.
The two great princes, France and Burgundy,
Great rivals in our youngest daughter’s love,
Long in our court have made their amorous sojourn,"
Lear; KING LEAR; Lear does not want to be king, with sinister purpose (actual plan to divide kingdom up between daughters and their husbands so he will still own the title without any work, he devises a game to see how much his daughters love him to determine how much land they get)
Cordelia’s response as “Nothing” because it is all ceremony and the land will go to her anyways, “Nothing” referring to her sister’s falsehood as they are married, tears aside Lear’s dream world- she cannot love him more than the man she is to marry that very day, it would be weird
"Good my lord, You have begot me, bred me, loved me. I
Return those duties back as are right fit—Obey you, love you, and most honor you.
Why have my sisters husbands if they say
They love you all? Haply when I shall wed
That lord whose hand must take my plight shall carry
Half my love with him, half my care and duty.
Sure, I shall never marry like my sisters,
To love my father all."
Cordelia; KING LEAR; he disowns Cordelia (reflects opening scene of play with Gloucester) because she refused to play her part
Lear blames her for his own mind’s dream
Kent challenges Lear, who banishes him as well
How to stage this? Lear stages his own reality.
Lear obsessed with blue, if i like things blue then things should be blue. when Lear is cursing using pagan gods, there are actual god figures in the room who come to light who all have Lear’s face
"Thou, nature, art my goddess. To thy law
My services are bound. Wherefore should I
Stand in the plague of custom and permit
The curiosity of nations to deprive me
For that I am some twelve or fourteen moonshines
Lag of a brother? Why “bastard”? Wherefore “base”?
When my dimensions are as well compact,
My mind as generous, and my shape as true
As honest madam’s issue? Why brand they us
With “base,” with “baseness,” “bastardy,” “base,” “base”—Who in the lusty stealth of nature take
More composition and fierce quality
Than doth within a dull, stale, tirèd bed
Go to th' creating a whole tribe of fops
Got ’tween a sleep and wake? Well then,
Legitimate Edgar, I must have your land.
Our father’s love is to the bastard Edmund
As to the legitimate.—Fine word, “legitimate”!—
Well, my legitimate, if this letter speed
And my invention thrive, Edmund the base
Shall top th' legitimate. I grow, I prosper.
Now, gods, stand up for bastards!"
Edmund; KING LEAR; Edmund asks is it my fault that I am a bastard? No. Then why do I have to pay for my father’s mistakes? Contrast- Cordelia accepted her decision of getting married and is punished for it Edmund tempts his father with an insane letter that Edgar (the legitimate son) is plotting to kill Gloucester evasive pun “fashion fits” -fit to fashion, outside appearance or -make fit, make strong and durable nature is stronger than art
"Blow, winds, and crack your cheeks! rage! blow!
You cataracts and hurricanoes, spout
Till you have drenched our steeples, drowned the cocks!
You sulphurous and thought-executing fires,
Vaunt-couriers to oak-cleaving thunderbolts,
Singe my white head! And thou, all-shaking thunder,
Strike flat the thick rotundity o' the world!
Crack nature's molds, all germens spill at once
That make ingrateful man!"
Lear; KING LEAR; conversation with a storm challenges the storm. normally staged as large and literal as possible could be staged to reflect its interpersonal aspects of Lear as crazed but rebellious, connect to audience, Lear (the audience) have not done anything to be rained on, but they have been rained on dark empty stage which puts more emphasis on choices of Lear (the audience)
"She will taste as like this as a crab does to a crab. Thou canst tell why one’s nose stands i' th' middle on ’s face? Why, to keep one’s eyes of either side ’s nose, that what a man cannot smell out, he may spy into. Why, to put ’s head in—not to give it away to his daughters and leave his horns without a case."
Fool; KING LEAR; the Fool (someone who Lear hires to follow him around and mock him), says that he doesn’t want to become too big for his own good
riddles that don’t make sense i’m not going to commit to my choices either
Problems with staging: the fool does not actually ever appear, usually played by an actor on stage (Cordelia), or he is wearing a mask, Lear lifts it to find it is Cordelia but he pretends like he doesn’t see her
"Why, thou wert better in thy grave than to answer
with thy uncovered body this extremity of the skies.
Is man no more than this? Consider him well. Thou
owest the worm no silk, the beast no hide, the sheep
no wool, the cat no perfume. Ha! here's three on
's are sophisticated! Thou art the thing itself:
unaccommodated man is no more but such a poor bare,
forked animal as thou art. Off, off, you lendings!
come unbutton here."
Lear; KING LEAR; Lear is going along as Gloucester chases him, where he sees the nakedness you weren’t born with wool on you, so you shouldn’t be wearing wool; man with no accommodations- he then gets naked. However, Edgar is pretending to be this guy and the whole thing is a performance
"Go in with me: my duty cannot suffer
To obey in all your daughters' hard commands:
Though their injunction be to bar my doors,
And let this tyrannous night take hold upon you,
Yet have I ventured to come seek you out,
And bring you where both fire and food is ready."
Gloucester; KING LEAR; edgar is naked, lear is becoming naked praising edgar, then Gloucester finally finds Lear to bring him home, Gloucester then talks to Edgar about the storm who he doesn't recognize as his own son because he is naked his inability to see his own creation as it is
staging: how to make Edgar unrecognizable? Cover in mud etc. In the most powerful productions, he really is stark naked
"Though well we may not pass upon his life
Without the form of justice, yet our power
Shall do a courtesy to our wrath, which men
May blame, but not control. Who's there? the traitor?" "Because I would not see thy cruel nails
Pluck out his poor old eyes, nor thy fierce sister
In his anointed flesh stick [rash] boarish fangs.
The sea, with such a storm as his bare [lowed] head
In hell-black night endured, would have buoyed up,
And quenched the stelled fires;
Yet, poor old heart, he holp the heavens to rain [rage].
If wolves had at thy gate howled [heard] that stern [dearne] time,
Thou shouldst have said "Good porter, turn the key,
All cruels else subscribe." But I shall see
The winged vengeance overtake such children."
Cornwall then Gloucester; KING LEAR; Cornwall and Gonoril aim to torture Gloucester. “bind fast his corky arms” -adds to the humiliation of Gloucester (and the torturers), Gloucester isn't proud like Prometheus. they try to torture him by gouging his eye, servant from out of nowhere speaks, Regan / Cornwell fight the servants but no one seems to die, even when Regan goes around from behind, back to Gloucester who gets his other eye gauged
staging: these characters as Nazis, denying who they were, but its dangerous to let the idea of evil into the play because if there is evil in the play then there is some force driving us
this scene says these people are two incompetent to be evil, servants can even rise against them
"Come on, sir. Here’s the place. Stand still. How fearful
And dizzy ’tis to cast one’s eyes so low!
The crows and choughs that wing the midway air
Show scarce so gross as beetles. Halfway down
Hangs one that gathers samphire—dreadful trade!
Methinks he seems no bigger than his head.
The fishermen that walk upon the beach
Appear like mice. And yon tall anchoring bark, Diminished to her cock, her cock a buoy
Almost too small for sight. The murmuring surge
That on th' unnumbered idle pebbles chafes
Cannot be heard so high. I’ll look no more
Lest my brain turn and the deficient sight
Topple down headlong"
Edgar; KING LEAR; Edgar (Tom) meets with Gloucester but does not reveal his identity, Gloucester asks Edgar to take him to his point of suicide
walking up to the cliffs of dover with either character contradicting the other, which confuses the audience which has been trained to trust what they hear
staging: Gloucester sometimes led to the front of the stage which made the audience believe he really led him to the cliffs, other times Gloucester led to the center of the stage, most powerful way to stage is where the audience doesn't know- offstage, staircase up to the rafters or into shadows
this forces the audience to take responsibility for the scene
"Break, heart; I prithee, break!"
Lear; KING LEAR; this is the moment where he takes ownership for what he has done, he shows that we have one power in the life- the power of taking responsibility
the last line (Edgar / Albany) speaks in verse; his art / creative choices things that we can own
"O all you host of heaven! O earth! What else?
And shall I couple hell? Oh, fie! Hold, hold, my heart,
And you, my sinews, grow not instant old,
But bear me stiffly up. Remember thee!
Ay, thou poor ghost, whiles memory holds a seat
In this distracted globe. Remember thee!
Yea, from the table of my memory
I’ll wipe away all trivial fond records,
All saws of books, all forms, all pressures past
That youth and observation copied there,
And thy commandment all alone shall live
Within the book and volume of my brain,
Unmixed with baser matter. Yes, by heaven!
O most pernicious woman!"
Hamlet; HAMLET; Hamlet the only thing that I want to know is the vision of the ghost saying “remember me”
one thing in your brain that he can’t let go which contributes to his logic that everything is weird
"peak the speech, I pray you, as I pronounced it to you, trippingly on the tongue. But if you mouth it, as many of your players do, I had as lief the town crier spoke my lines. Nor do not saw the air too much with your hand thus, but use all gently, for in the very torrent, tempest, and (as I may say) whirlwind of passion, you must acquire and beget a temperance that may give it smoothness. Oh, it offends me to the soul to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings, who for the most part are capable of nothing but inexplicable dumb-shows and noise. I would have such a fellow whipped for o'erdoing Termagant. It out-Herods Herod. Pray you, avoid it."
Hamlet; HAMLET; Hamlet I’m not going to be a character in your play, you’re going to be characters in my play
an eye for an eye in a weird twisted way . Hamlet is staging this play exactly how it happened except that Claudius is the king and that Claudius is being forced to watch this and contemplating his vulnerability
"To be or not to be, whether tis nobler in the mind to suffer the slings and arrows of outrageous passion or by opposing end them..."
Hamlet; HAMLET; a ripoff from Cicero to be or not to be, don’t ask that question. taking a very well known thing and misreading it.ultimately the world that you’re a part of is bigger than you. When Hamlet kills Polonius after assaulting his mother. Hamlet’s struggle (even though he is caught by the plot) that the audience gets caught in life being crushed. turns back to a tragic sense
"I am satisfied in nature,
Whose motive in this case should stir me most
To my revenge. But in my terms of honor
I stand aloof, and will no reconcilement
Till by some elder masters, of known honor,
I have a voice and precedent of peace
To keep my name ungored. But till that time
I do receive your offered love like love
And will not wrong it."
Laertes; HAMLET; Laertes lamenting about his father, the exact opposite of the “To Be or Not to Be Speech”
"What is he whose grief
Bears such an emphasis, whose phrase of sorrow
Conjures the wandering stars, and makes them stand...Thou pray’st not well.
I prithee, take thy fingers from my throat,
For though I am not splenitive and rash,
Yet have I something in me dangerous,
Which let thy wisdom fear. Hold off thy hand."
Hamlet; HAMLET; Hamlet injects himself into this circumstance
“Swoons show me what thou do”
don’t steal my spotlight, don’t forget that this play is about me and that my father died
Hamlet fights to get his part back in the play by outacting the other characters
"Sir, in my heart there was a kind of fighting
That would not let me sleep. Methought I lay
Worse than the mutines in the bilboes. Rashly—
And praised be rashness for it: let us know
Our indiscretion sometimes serves us well
When our deep plots do pall, and that should teach us
There’s a divinity that shapes our ends,
Rough-hew them how we will—"
Hamlet; HAMLET; God’s role in Hamlet’s life, my acting randomly and unexpectedly he has changed his fate, stumbled upon a plot change
"  As thou'rt a man,
Give me the cup. Let go! By heaven, I’ll have ’t.
(takes cup from HORATIO)
O God, Horatio, what a wounded name,
Things standing thus unknown, shall live behind me!
If thou didst ever hold me in thy heart
Absent thee from felicity a while,
And in this harsh world draw thy breath in pain
To tell my story."
Hamlet; HAMLET; Hamlet has become his father, his horror
"Not from his mouth,
Had it th' ability of life to thank you.
He never gave commandment for their death.
But since so jump upon this bloody question,
You from the Polack wars, and you from England,
Are here arrived, give order that these bodies
High on a stage be placèd to the view,
And let me speak to th' yet-unknowing world
How these things came about. So shall you hear
Of carnal, bloody, and unnatural acts,
Of accidental judgments, casual slaughters,
Of deaths put on by cunning and forced cause,
And, in this upshot, purposes mistook
Fall'n on th' inventors' heads. All this can I
Truly deliver."
Horatio; HAMLET; Horatio cannot tell Hamlet’s story because he is not Hamlet
by fighting Hamlet has made tragedy mean something, only you can tell your own story so don’t waste it
be like Hamlet, fight against the plot
"Oh, for a muse of fire that would ascend
The brightest heaven of invention!
A kingdom for a stage, princes to act,
And monarchs to behold the swelling scene!
Then should the warlike Harry, like himself,
Assume the port of Mars, and at his heels,
Leashed in like hounds, should famine, sword, and fire"
Chorus; HENRY V; Henry is the master actor who constantly reinvents himself to keep the audiences attention.
Double meaning: the problem isn’t with theatre itself, the problem is with this particular theatre, and that there are better actors- princes
"The strawberry grows underneath the nettle
And wholesome berries thrive and ripen best 100
Neighbour'd by fruit of baser quality:
And so the prince obscured his contemplation
Under the veil of wildness; which, no doubt,
Grew like the summer grass, fastest by night,
Unseen, yet crescive in his faculty."
Bishop of Ely; HENRY V; all the people Henry was with who lacked virtue made Henry look better which was purposeful. He put himself in a situation where he could flourish
"When we have match'd our rackets to these balls,
We will in France, by God's grace, play a set
Shall strike his father's crown into the hazard"
Henry; HENRY V; Henry’s first attempt to act like a king
He looses the conversation with France
"Why 'tis a gull, a fool, a rogue that now and 1515then goes to the wars to grace himself at his return into London under the form of a soldier. And such fellows are perfect in the great commanders' names, and they will learn you by rote where services were done: at such and such a sconce, at such a breach, at such a 1520convoy; who came off bravely, who was shot, who disgraced; what terms the enemy stood on. And this they con perfectly in the phrase of war, which they trick up with new-tuned oaths. And what a beard of the general's cut and a horrid suit of the camp will do 1525among foaming bottles and ale-washed wits is wonderful to be thought on. But you must learn to know such slanders of the age, or else you may be marvelously mistook."
Gower; HENRY V; not a real soldier
if you commit totally to the part then you become the part
"And Crispin Crispian shall ne'er go by from this day until the ending of the world but we in it shall be remembered. We few, we happy few, we band of brothers, For he today who sheds his blood with me shall be my brother, Be he ne'er so vile, this day shall gentle his condition, and gentlemen in England now abed shall think themselves acursed they were not here, and hold their manhoods cheap whilst any speaks, that fought with us upon St. Crispin's day!"
Henry; HENRY V; what would it be like looking back as a soldier; act like a soldier and act like you’ve won the battle
if you're clear about what you're trying to achieve, it will happen. if you doubt, everything will fall apart
"A good leg will fall; a straight back will stoop; a
black beard will turn white; a curled pate will grow
bald; a fair face will wither; a full eye will wax
hollow: but a good heart, Kate, is the sun and the
moon; or, rather, the sun, and not the moon; for it
shines bright and never changes, but keeps his
course truly. If thou would have such a one, take
me; and take me, take a soldier; take a soldier,
take a king. And what sayest thou then to my love?
speak, my fair, and fairly, I pray thee."
Henry; HENRY V; makes a fake mistake “the sun or the moon” to trick Cate that he is not good with words etc. But there is no way of really ever knowing
next page “most truly falsely” Theatre is a galactic lie
"When you stir the rice pudding, Septimus, the spoonful of jam spreads itself round making red trails like the picture of a meteor in my astronomical atlas. But if you stir backward, the jam will not come together again. Indeed, the pudding does not notice and continues to turn pink just as before. Do you think it's odd?"
Thomasina; ARCADIA BY TOM STOPPARD; Turning Point
paradox (the miraculous / wonder / confusion / alienation) : when trying to create disorder, you create order / trying to create order, you create disorder
"Not necessarily, my lady, but when carnal embrace is sinful it is a sin of the flesh...I am sorry that the seed fell on stony ground."
Septimus; ARCADIA BY TOM STOPPARD; Irony: attempt to play the part of the gods, empowering
Works with idea of paradox because he thought he was mastering the situation but his ironic logic turns against himself (he doesn’t realize the situation relates to himself).
"If you could stop every atom in its position and direction, and if your mind could comprehend all the actions thus suspended, then if you were really, really good at algebra you could write the formula for all the future; and although nobody can be so clever as to do it, the formula must exist just as if one could."
Thomasina; ARCADIA BY TOM STOPPARD; paradox: by turning everyone into machine, Thomasina has found her own individuality I am the first person who has thought this or in the moment of her individuality she has turned everyone into machines
Septimus says yes to preserve his sense of independence (logic of paradox presenting things that should not appear together)
the noise going on in the background
gardens looking geometrically perfect, nature turned into art in this era
paradox: nature turned into rigidity of form
the steam engine / engineer disheveling entire garden to make garden look natural
manicure scruffiness
subliminal paradox of separate stories happening concurrently the more the action in the present is exactly like the past as the characters in the present think that everything they are doing is completely different from the past. What does this have to do with the comedic logic of love?
love is a paradox don’t tell the person you love that you love them because you will overwhelm them, but do tell them so you can be happy. two people different from each other coming together
"Together again at last! We'll have to celebrate this but how? Get up till I embrace you."
Vladimir; WAITING FOR GODOT BY SAMUEL BECKETT; the audience remains “marooned” with nothing to follow
comic conflict where Estragon is referring to his boot which Vladimir interprets as a existential comment on life
this repeats with never any build or resolution abnormal comedic structure. the strangeness of the image of groups of people giving beatings to those in ditches dark comedy
there’s also something you think might be funny, but it never gets there
"Taking off my boot. Did that never happen to you?"
Estragon; WAITING FOR GODOT BY SAMUEL BECKETT; the boot issue turns ugly. audience’s idea that since I don’t understand, I must have a problem. the audience is self aware which is the opposite of what is wanted in a play (being connected); makes for an awkward atmosphere
"You recognize the place?" "I didn't say that" "Well?" "That makes no difference" "All the same...that tree...that bog"
Vladimir then Estragon; WAITING FOR GODOT BY SAMUEL BECKETT; the play/characters humiliate the audience
Something abnormally validating (freeing or liberating like the San Quentin prisoners) throughout Godot if you agree with the idea that life is meaningless. I am not alone in the world i.e. Vladimir and Estragon
"I do. But instead of driving him away as I might have done, I mean instead of simply kicking him out on his arse, in the goodness of my heart I am bringing him to the fair, where I hope to get a good price for him. The truth is you can't drive such creatures away. The best thing would be to kill them."
Pozzo; WAITING FOR GODOT BY SAMUEL BECKETT; Play within a play. pushed around on a chain - getting beat in a ditch. Vladimir and Estragon become the norm
Comic misunderstandings / sense of strange, ugliness / physical violence REPEATED (as in the beginning with Vladimir and Estragon
"It's a disgrace. But there you are. Let's say no more about it. Every time he drops he falls asleep. (Jerks the rope.) Up hog! (Noise of Lucky getting up and picking up his baggage. Pozzo jerks the rope.) Back! (Enter Lucky backwards.) Stop! (Lucky stops.) Turn! (Lucky turns. To Vladimir and Estragon, affably.) Gentlemen, I am happy to have met you. (Before their incredulous expression.) Yes yes, sincerely happy. (He jerks the rope.) Closer! (Lucky advances.) Stop! (Lucky stops.) Yes, the road seems long when one journeys all alone for . . . (he consults his watch) . . . yes . . . (he calculates) . . . yes, six hours, that's right, six hours on end, and never a soul in sight. (To Lucky.) Coat! (Lucky puts down the bag, advances, gives the coat, goes back to his place, takes up the bag.) Hold that!"
Pozzo; WAITING FOR GODOT BY SAMUEL BECKETT; meaning exactly the opposite when said in different context. how are poor people with such rich people - poor people allowed near rich people
"The tree look at the tree. Yes of course it was there (yesterday). Do you not remember? We nearly hanged ourselves from it. But you wouldn't. Do you not remember?"
Vladimir; WAITING FOR GODOT BY SAMUEL BECKETT; lack of context
context of memory which gives us (human beings / the reader) a sense of history
Vladimir always lives with a sort of a hazy memory, nightmarish experience where he thinks he should be understandings (which is what the reader is feeling)
surreal detachment; deja vu
"Leaves? It must be spring. I tell you we weren't here yesterday. Another of your nightmares... Yes, now I remember, yesterday evening we spent blathering about nothing in particular. That's been going on now for half a century."
Estragon; WAITING FOR GODOT BY SAMUEL BECKETT; Looking at the tree with sudden leaves; Vladimir is a amazed - Estragon is skeptical
sense of time and memory
symbol of the tree no real reason
Beckett’s view on actors
to focus on the words only
treasure pauses non text
Further thoughts on audience
breaking the audience for the need to have meaning
the fact that people can find meaning in anything proves that there is something wrong with people
"And so we've come to the end of the world. To Scythia: this howling waste no one passes through. Hephaistos, now it's up to you. What the Father wants done you've got to do. On these overhanging cliffs with your own shatter-proof irons you're commanded: Camp this troublemaking bastard to the rock."
Power; PROMETHEUS BOUND BY AESCHYLUS; the line and entire scene starts with “And”
fills reader with sense of huge and vast; starting in the middle of something
reflects what the play is fundamentally about (something huge and giant-Zeus)
already introduced to this “wedge” slicing through the opening of the story as it slices through Prometheus’s back
no one in the audience will likely get this thought simply from the word “and” so the staging must reflect this idea of vastness
set outdoors
emphasizes something human
set in a narrowing room like SGM106
sense of movement: from the “and” to the “end”
use outdoor space creatively by setting at sunset, as it starts to set the audiences sense of space at night becomes smaller
Prometheus becomes huge because the world has shrunk/changed around him- standing up to Zeus becoming a hero; giving light/fire to man
images of light/actual fire becomes a bigger deal
"New masters sail Olympus. Look now, how Zeus lords it! His rules are new, they're raw. He rules beyond the law. Giant Things that used to be He wipes out completely."
Chorus; PROMETHEUS BOUND BY AESCHYLUS; Chorus: sense of “this is what a normal person at this time would be going through”
Zeus has ruled beyond the law; king who has just gained power who has not yet imposed his authority
establishes feeling that there is this power brooding over us. alludes to Zeus getting rid of the Titans (giant things) but also existential things like truth or liberty
"It's easy enough for the bystander, who's not bogged down in sorrow, to advise and warn the one who suffers. Myself, I knew all this and knew it all along. Still, I meant to be wrong. I knew what I was doing. Helping humankind I helped myself to misery. And yet I never dreamed it would be like this, this wasting away against the air hung cliffs the desolate mountain top the loneliness So don't now, don't cry over this, the sorrow that is. But come down to earth. Here what's to come, hear the story to its end."
Prometheus; PROMETHEUS BOUND BY AESCHYLUS; he can supposedly see the future and is afraid of what turns out to be nothing
contributes the idea that this is a guy in over his head
what if Prometheus was staged as a sort of adolescent? Does not know or understand what they have gotten into? And, Power as an impatient parent?
when staged like this, contributes to the idea of Power and Zeus as a wise sympathetic figure to apply structure and makes the audience question Prometheus
"I do see, Prometheus. And what I wish to give you is the best advice as all; know thyself. Also, rehabilitate yourself. The Gods have a new Tyrant, follow the new line! If you throw such sharp words around why even Zeus, even though He's seated way up there, may hear! Then agonies that crowd you now will seem like child's play."
Ocean; PROMETHEUS BOUND BY AESCHYLUS; everything about this moment (his entrance) is non dramatic
“Know thyself” but “Rehabilitate thyself”
the most important thing is you or the Gods (theme of play Prometheus or Zeus). Ancient consciousness- the ocean is a dark cruel tempestuous volatile thing. Ocean warns that we like in a constantly changing cosmos. at any instance the laws of physics/ of nature, or Gods can change
"These are the words, these are the dreams of lunatics. What part of this peculiar prayer is not insane? You, girls, who cry over his pains, get out of here- before Zeus's lowing thunderclap stuns you senseless."
Hermes; PROMETHEUS BOUND BY AESCHYLUS; How to stage this: dancing and moving together; fluttering in the way of Io (as a victim of God)- more and more begin to stand still like Prometheus who is being defiant
One girl keeps fluttering until Hermes’ threat
to see these characters from the audiences standpoint transform themselves (from Io to Prometheus)
doing something interesting based on another specific interest from the play
"Hail the world's soul, and mine. More glad than is the teeming earth, to see the longed-for sun Peep through the horns of the celestial Ram, Am I, to view thy splendour, darkening his; That, lying here, amongst my other hoards, Snow'st like a flame by night; or like the day Struck out of chaos, when all darkness fled Unto the centre. O thou son of Sol, But brighter than thy father, let me kiss, With adoration"
Volpone; VOLPONE BY BEN JONSON; goes on and on for a long long time. Volpone is saying “money, money, money...”
classic improv thing
"At no hand, pardon me; You shall not do your self that wrong , sir. I will so advise you, you shall have it all..."And, on first advantage Of his gained sense, will I re-impotune him Unto the making of his testament; and show him this"
Mosca; VOLPONE BY BEN JONSON; servant offered cash what Volpone has wanted creates unnecessary problem
"I fear I shall begin to grow in love With my dear self, and my most pros'porous parts They do so spring and burgeon; I can feel A whimsy i' my blood. I know not how, Success hath made me wantan. I could skip out of my skin, now, like a subtle snake, I am so limber."
Mosca; VOLPONE BY BEN JONSON; moscow (minor character) gives soliloquy
soliloquy: monologic dialogue (conversation with self)
have a problem, at every opprotunity carry that problem with you and find opprotunities to get out of it (which is the problem with improve- always working together)
"Laius was killed By marauding strangers where three highways meet"
Jocasta; OEDIPUS REX BY SOPHOCLES; at a fork in the road, you can go an infinite amount of ways but we only ever think we can go two ways
irony: essentially our own free choices eliminate free choice. the thing that makes Oedipus king, that makes him so great, his confidence in soling
riddles, is what defeats him
"Haughtiness and the high hand of disdain
Tempt and outrage God’s holy law;
And any mortal who dares hold
No immortal Power in awe
Will be caught up in a net of pain:
The price for which his levity is sold.
Let each man take due earnings, then,
And keep his hands from holy things,
And from blasphemy stand apart—
Else the crackling blast of heaven
Blows on his head, and on his desperate heart;
Though fools will honor impious men,
In their cities no tragic poet sings."
Chorus; OEDIPUS BY SOPHOCLES; when we see Oedipus suffering, we want to see that he deserved it (which is
why academics make up, and the chorus reiterates, it is because of hubris)
His crime was that he wasn't respectful enough of the gods and mocked
-plays upon emotions, tricks you, you think those emotions are good but like Oedipus
you are becoming caught in your own perspective
Audience agrees with the shepherd keeping the baby, the greeks are savages for
ordering killing babies. the dark ending
"Exactly how she died I do not know: For Oedipus burst in moaning and would not let us Keep vigil to the end: it was by him As he stormed the room that our eyes were caught. From one to another of us he went, begging a sword, Cursing the wife who was not his wife, the mother Whose womb had carried his own children and himself."
Messenger; OEDIPUS BY SOPHOCLES; when we see Oedipus suffering, we want to see that he deserved it (which is
why academics make up, and the chorus reiterates, it is because of hubris)
His crime was that he wasn't respectful enough of the gods and mocked
2. plays upon emotions, tricks you, you think those emotions are good but like Oedipus
you are becoming caught in your own perspective
a) audience agrees with the shepherd keeping the baby, the greeks are savages for
ordering killing babies
3. the dark ending
"I asked you to come here because I wanted to tell you something" "The one time he kissed me- I can't forget it! He was only joking- but I felt- and he saw and just laughed!" "because that's the uncertain part. My end of it is a sure thing, and has been for a log time and I guess everybody in town knows it-so it's a cinch you must know- how I feel about you"" He can paint beautifully and write poetry and he plays and sings and dances so marvelously. But he's sad and shy too. just like a baby sometimes." "Can't you love me?" "Like a brother! You can kiss me if you like. A big-brother kiss"
Billy then Margaret: GREAT GOD BROWN BY EUGENE O'NEILL; profoundly awkward and weird, Margaret wore a mask, took it off and is now saying how she feels
"Why must I be so ashamed of my strength, so proud of my weakness? Why must I live in a cage like a criminal, defying and hating, I who love peace and friendship? Why was I born without a skin, O God, that I must wear armor in order to touch and be touched?"
Dion; GREAT GOD BROWN BY EUGENE O'NEILL; losing mask is loss of ironist “I who love love”
-depressing and pathetic, something beyond a diary entry
(with mask) "Who are you? Why are you calling me? I don't know yo!" "I love you!" "Is this a joke- or are you drunk?" "How? it's the moon- the crazy moon- playing jokes on us! You love me! You know you do! Say it! Tell me! I want to hear! I want to feel! I want to know! I want to want! To want you as you want me!" "Oh Dion I do I do love you!"
Margaret then Dion; GREAT GOD BROWN BY EUGENE O'NEILL; losing mask is loss of ironist “I who love love”
B. depressing and pathetic, something beyond a diary entry
"Always spring comes again bearing life! Always again! Always, always forever again! Spring again! Life again! Summer and fall and death and peace again! (sorrow) but always always love and conception and birth and pain again- spring bearing the intolerable chalice of life again! bearing the glorious blazing crown of life again!"
Cybil; GREAT GOD BROWN BY EUGENE O'NEILL; life is a tragedy but its also beautiful, it was happen over and over again
there is a reason that spring can happen, because death happened
same sense of conflict that this is a joyous thing but a thing of terror
"But a spring is fleeting, a blooming brief, Not long lived her vernal prime; In three transitions it came to grief, - A third at each single time. One left with the first of winter's cold, Sent early, but long-careered..."
Mother Courage; MOTHER COURAGE BY BERTOLT BRECHT; the exact same lines that begin the play
B. moment of alienation (same thing happening again and again)
C. staging: exactly the same as the first scene where these lines appeared, we’re beginning
the play again (and then the play repeats forcing the audience to get up and leave)
"I warned you. One Eye was going to drop it then and there. There's no point, he said. He said the drums would roll any second now and that's the sign a verdict has been reached. I offered a hundred and fifty, he didnt even shrug...I haggled too long."
Mother Courage; MOTHER COURAGE BY BERTOLT BRECHT; t Brecht alienates us from mother courage and sense of emotions and sentimentality
staging: Swiss Cheese lounging under sun, the sun sets during Mother Courage haggling with cyclops, the shadows make everything look weird (top lit to side lit); remind the audience that they are watching a play by creating broken parts and holes within the stage or clothes (as lights turn up, the audience sees through everything and they become more critical
"I need a minute to think it over, it's all so sudden. What can I do? I can't pay 200. You should have haggled with them....I can't pay it! I've been working thirty years. She's 25 and still no husband. I have her to think of. So leave me alone...I know what I'm doing."
Mother Courage: MOTHER COURAGE BY BERTOLT BRECHT; same instance as the belt buckle (she loses one of her kids because she is concerned with
money to help her kids)
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