Original Practice Macbeth blog post: part the third.
We left off by looking at the cue script for Banquo’s first entrance in Act 1 Scene 3.
And yet that cue script is printed and type-faced. An original cue-script would have been handwritten like this one for Edward Alleyne, a leading man of the Elizabethan stage.
Elizabethan actors had different parameters within which they worked.And there is no way we can go back and reproduce it. There was no Stanlavski, Strasberg, Adler, or Meisner type schools of thought attached to their acting. They had senses, memory, and imagination.
An actor given a cue script has no context, only text. The world of the character in the play represents a vacuum fed by cues. Using this definition of a vacuum then: an enclosed space (i.e. the world of the play) from which matter (relationship and context to others in the scene) has been partially removed (still have cues) so that the matter or gas remaining in the space exerts less pressure than the atmosphere.
The curious difference is re-learning how to learn your part. Normally we would read the whole play and then zoom in on our character’s needs and wants in relation to the other characters we interact with scene by scene. Analysing my character’s through line using all available information from the whole script and beyond.
Here with cue scripts, our own language or what we say becomes the focal point and how others think about us is left to onstage interaction. We can guess from the way we say things or how we construct what we are saying. However there is no framework of the entire scene. How much time happens in between our cues and response also is impossible to gauge. Or who exactly spoke the cue. Or how long they have been speaking and conversely we listening.
The focus, our focus, my focus is on my lines. And to speak them i need my cue. Other actors feed me those cues as I feed them theirs. To be an Elizabethan or Jacobean actor commences as a solitary act of preparation. The first step is exactly memorising those lines along with their cues.
Right now in my own process of learning Banquo I am terribly aware of his pronoun usage. When does he use ‘you’ as opposed to ‘thou’. Unsurprisingly in his interaction with Macbeth he switches from ‘you’ to ‘thou’ in act 3 in his opening soliloquy.
[III-1] Actus Tertius. Scena Prima.
Thou hast it now, King, Cawdor, Glamis, all,
As the weyard Women promis’d, and I feare
Thou playd’st most fowly for’t: yet it was saide
It should not stand in thy Posterity,
But that my selfe should be the Roote, and Father
Of many Kings. If there come truth from them,
As upon thee Macbeth, their Speeches shine,
Why by the verities on thee made good,
May they not be my Oracles as well,
And set me up in hope. But hush, no more.
His suspicions of his noble partner’s misdeeds are increasing, yet it’s only now that his own ambition is awakened. The more I read Banquo’s lines, the more conscious I am they would have been spoken in front of King James, who knew he was a descendant of Banquo.
Now compare those thou’s, thy’s, and thee’s, to his use of ‘your’, prior to the murder of the King in act 2 scene 1:
____________________________________ A Friend.
What Sir, not yet at rest? the King’s a bed.
He hath beene in unusuall Pleasure,
And sent forth great Largesse to your Offices.
This Diamond he greetes your Wife withall,
By the name of most kind Hostesse,
And shut up in measurelesse content.
And Yes, that’s Macbeth the ‘friend’, though we’d never know from the cue script until he spoke and Banquo recognised him. Or would we? The cue script I’m using tells me
Enter Macbeth, and a Servant with a Torch.
And normally i would have highlighted the dramatic irony of this friend who simultaneously is planning his friend’s murder. Because I have the whole script and can read Macbeth’s thoughts as closely as i do Banquo’s!
The amount of original professional early modern cue scripts we have to study are pretty much confined to one, Edward Alleyne’s. And he was a lead player. We have no smaller parts to study. And the truth of this statement needs to be tested. Nothing, remember, is certain when dealing with Early Modern Theatrical practice either.
We defer to the two of the leading experts of the 21stC moment Simon Palfrey and Tiffany Stern, Shakespeare in Parts chapter 1.
Go on, have a read of it.
Our next blog post will start to cover how many others are thinking about original practice.
And an online discussion can be followed on the Oxfraud fb page under Kim H Carrell’s Map and flashlight post. Kim has worked a number of Original Practice productions as an actor and fight director in the USA. His experiences will help us as we further explore this topic.
Tomorrow and tomorrow and tomorrow creeps Willy into English air space
to meet and workshop with some teachers from east sussex…
Nothing is fixed and certain when dealing with Shakespeare. Nothing. Keep that in mind as you read. Discovery is the key and although you would think all has been discovered, you might want to think again. Passion in Practice is re-thinking. Ben Crystal runs the Passion in Practice group and he will be bringing OP to the Globe this summer on 3 occasions in July 2014. Race to chase down a ticket the events are selling out.
The OP read not dead Macbeth is the last of the events, although this is not the first OP Macbeth since the 17thC. Bernard Miles did an OP production of Macbeth on 19th September, 1952. It wasn’t a critical success. Interesting but not enough, the review concluded. Obviously paid too much attention to the leading couple and not the play’s true protagonist, Banquo.
Like the anecdote about the actor from Streetcar named Desire who played the tiny doctor role, when asked what the play was about replied, a doctor called out to an emergency. Well Macbeth is about a man who should have been King but was murdered by his noble partner and supposed best friend. Or simply put: AMBITION. Or rather ambition thwarted. We know it is a tragedy and that means the title character will inevitably die.
In fact depending on how you date the plays, Makkers is the next to last tragedy Shakespeare wrote. Coriolanus is next up and he dies for lack of ambition and an Oedipal conflict if anything. Anthony and Cleo are also dated around the time and their deaths are very grown-up, middle-aged, star-crossed lovers.
Macbeth is also the shortest of the tragedies. It is said too that Middleton helped out with the Hecate scene. And so much said amounts to nothing when you find yourself having to learn a role. If you don’t know the story of Macbeth the following video will give you a good insight: here is Mitch Benn, who does a rap Macbeth in the style of Eminem. All the links open in new windows so you won’t lose your place here while you watch.
The plays also follow a structure and that is good to know something about if you are learning a character. Where and how do you fit into the narrative? Our friend Banquo who we will delve deeper into later is, as we saw from the first post, involved in Acts 1-4.
5 act structure:
Act I: Exposition or Introduction
Act II: Rising Action
Act III: Climax
Act IV: Falling Action
Act V: Dénoument or Resolution
The number of acts is fixed at five but the number of scenes in each act varies from play to play. And from quarto to Folio to subsequent editors. But we’re going meta, when we should be focusing inwards on the words. The actual words that Shakespeare wrote, or at least were published as Macbeth under that name, despite any potential collaborative bits.
Macbeth appeared in print in the First Folio 1623, almost 20 years after it was written, usually dated 1606. Written one supposes, due to the subject matter, for the coronation of King James 1st of England and 6th of Scotland. The parallels between James lineage as a member of the Stuart dynasty and his interests as a King are scattered throughout the play. And although Macbeth is a historical figure the play is a fiction. Nonetheless:
James was supposedly a descendant of Banquo the 8th in the STUART line.
James loved hunting.
James wrote a book about Witchcraft.
James believed in the Divine Right of Kings.
James survived many attempts on his life,
such as the Gunpowder Plot with Guy Fawkes.
First official record: by Simon Forman, who records seeing the play in April 1611.
First published: First Folio (1623) as The Tragedie of Macbeth
First recorded performance: possibly in April 1611, recorded by Simon Forman
Evidence: A reference to ‘dire combustion’ seems to allude to the Gunpowder Plot of 1606.
A palpable hit in Will’s Time! Or was it?
James was crowned in 1604. By 1606 his brother in law Christian, King of Denmark
visited his sister and her husband the new King of England.
They drink, they party, they see plays. Was this one of them?
Which is all very interesting but still not dealing with the words. A Jacobean actor (an actor in the time of James) would have gotten a roll of paper (his role), which contained all his cues and his speeches as well as his exits and entrances. It would have looked something like this, except it would have been handwritten in an italic or secretary hand.
Study this and the next post will pick up where we now leave off.
BANQUO’s cue script for Act 1, scene 3:
____________________________________ the Charme’s wound up.
Enter Macbeth and Banquo.
____________________________________ I have not seene.
How farre is’t call’d to Soris? What are these,
So wither’d, and so wilde in their attyre,
That looke not like th’Inhabitants o’th’Earth,
And yet are on’t? Live you, or are you aught
That man may question? you seeme to understand me,
By each at once her choppie finger laying
Upon her skinnie Lips: you should be Women,
And yet your Beards forbid me to interprete
That you are so.
____________________________________ be King hereafter.
Good Sir, why doe you start, and seeme to feare
Things that doe sound so faire? i’th’name of truth
Are ye fantasticall, or that indeed
Which outwardly ye shew? My Noble Partner
You greet with present Grace, and great prediction
Of Noble having, and of Royall hope,
That he seemes wrapt withall: to me you speake not.
If you can looke into the Seedes of Time,
And say, which Graine will grow, and which will not,
Speake then to me, who neyther begge, nor feare
Your favors, nor your hate.
____________________________________ Speake, I charge you.
The Earth hath bubbles, as the Water ha’s,
And these are of them: whither are they vanish’d?
____________________________________ Would they had stay’d.
Were such things here, as we doe speake about?
Or have we eaten on the insane Root,
That takes the Reason Prisoner?
____________________________________ Children shall be Kings.
You shall be King.
____________________________________ went it not so?
To th’selfe-same tune, and words: who’s here?
Enter Rosse and Angus.
____________________________________ For it is thine.
What, can the Devill speake true?
____________________________________ no lesse to them.
That trusted home,
Might yet enkindle you unto the Crowne,
Besides the Thane of Cawdor. But ’tis strange:
And oftentimes, to winne us to our harme,
The Instruments of Darknesse tell us Truths,
Winne us with honest Trifles, to betray’s
In deepest consequence.
Cousins, a word, I pray you.
____________________________________ but what is not.
Looke how our Partner’s rapt.
____________________________________ Without my stirre.
New Honors come upon him
Like our strange Garments, cleave not to their mould,
But with the aid of use.
____________________________________ the roughest Day.
Worthy Macbeth, wee stay upon your leysure.
____________________________________ each to other.
Next post will take us into the world of Jacobethan acting and the memorisation and rehearsal narratives we are fed.
ORIGINAL PRACTICE-THE SCOTTISH
i.e. The words first. Shakespeare second.
Or, Character as defined by the words.
MACBETH Male 715 lines
LADY Female 259 lines
MALCOLM Male 211 lines
MACDUFF Male 180 lines
ROSS Male 135 lines
BANQUO Male 113 lines
Banquo the warrior and king-maker, with his 6th largest speaking role, our focus
and his 113 spoken lines constituting the battlefield.
Original Practice means working with cue scripts and original pronunciation.
The cue scripts derive from the Friendly Folio series by Patrick Tucker and Christine Ozanne.
The original pronunciation derives from the world’s leading expert on OP, David Crystal.
So analysing my cue script I find:
12 four word cues lead into Banquo speaking in act 1 scene 3,
Then 1 cue in Act 1-scene 4,
And 1 cue in Act 1-scene 6.
Banquo speaks the first words followed by 7 short cues in Act 2 scene 1,
Then 3 cues in Act 2-scene 3.
Banquo speaks the first words comprising an actual soliloquy
followed by a further 5 cues to speak in Act 3 scene 1.
3 cues to speech and his untimely death in Act 3 scene 3.
Further 2 short spoken cues herald entrances of his speechless, gory-locked ghost in Act 3-scene 4.
Furthermost 1 final cue announces the entrance of his ghost, who punctuates the 8 generations of Kings he spawned.
That’s 34 speech cues in all.
This series of blog posts will be about working within this realm of Original Practices.
The outcome will be a one day (sold out) performance at the indoor Sam Wanamaker playhouse in Southwark’s outdoor Globe Theatre, on 20th July, 2014.
Excitement hardly contains what we feel about this project.
That’s Rita educated. Thanks Karen. Thanks Willy Russell. Thanks Self.
So what does it take to put on a staged reading of a theatre classic?
Two nights in the Theater Studio in Amsterdam. 14th and 15th may 2014. Audience of about 20 each night in a black box that holds 75-100 maxed out.
Produced by the titular Rita resulting in a profit margin of some 45 euros in the plus.
Theatre- paid for,
technician for the lights- paid for,
rights for the play- paid for (the biggest slurp of potential profit at 100 euros a night),
the actors- unpaid.
That’s for 4 rehearsals, the time analysing and marking up the script, the time spent gathering costumes, the bringing to and fro of the set and costumes to the theatre, and the hours spent on publicity and marketing.
Promo Video made from the Theater Studio performances
The seemingly futile trying to garner an audience, which experience shows will turn up on the basis of 1 out of every 100 solicited. The same old friends and acquaintances cajoled once more into supporting your passion. The promises of attendance and the excuses after they don’t show up.
Now all this written down seems so simple and so uncomplicated. The bare threads common to every production put on anywhere in any town. And believe me this isn’t a complaint. This is unfortunately the state of affairs I knew I was getting into when I answered the ad:
‘Wanted: actor 40-50 years for leading role in a play’
on the filmcastings.nl website.
The old joke typifies my acting career: ‘I didn’t get into acting for fame and fortune. And so far it’s working.’
Like Rita I made a choice. And like her, it was the only choice i could make. Without this, mere oblivion.
I didn’t choose acting, it chose me. My life was one big drama and a downwardly mobile spiral. My friends in the Rietveld Academy studied to be artists. I hung around the British Council library on the Keizersgracht watching free BBC Shakespeare films with pink eyes.
‘All the world’s a stage and all the men and women merely players.’
Oh how age shows that to be truer than truth will ever define it.
As Frank Bryant, the professor who educates Rita, says,
‘The only thing that I know, is that I know nothing.’
Frank Reading Yeats.
W.B. not the wine shop.
The motto i follow for acting is ABW: Always Be Working. This thing we actors follow, the theatre, whether black box or Broadway, is bankrupt. The names will get paid, the supernumaries won’t. The rest of us do what we need to do.
We worship the written word for the insights it lends. Those few authors tried and tested in the theatre played again and again.
We, the actors approach them to test and hone and display our skills. Fully cognizant of lines such as ‘I detest the theatre’ when Rita cajoles Frank into going to see theatre for her first time. The process will continue though predictable.
New Ritas will stand up and claim their right to choose.
Rita stands up for her rights.
More Franks will drown their pain on the knowledge that there is very little to be gained from that choice.
Frank drinks a draught
Rita offering great writer Rita Mae Brown
Photos by Maarten Toner can be viewed in better quality here.
BTW we revived it at the end of July in the Badhuistheater Amsterdam. The houses were much better because word had got around.
See more bums on seats!
and so into twenty fourteen. Our ears cannot be closed, whilst we live, speak, and breathe. Just back from experimenting with the passion in practice crew at the Jerwood Space in Bankside, Southwark.
Original practice workshop. Cue script of Pericles from the third folio and reassembled by Patrick Tucker, the original modern to dabble in Original Practice Performances at the Globe.
All 12 actors had been assigned roles with lots of doubling and tripling the lesser characters. I was given the 3 kings:
Antiochus the incestuous, no wife, one daughter;
Cleon the cuckold, one wife, one daughter;
Simonides (sigh mon i des) the honourable, no wife, one daughter.
The brief was that we would read for anomalies in verse meter etc and stamp in our cue lines and read when our cue lines were spoken by whomever they were spoken. We could not interact with other characters we knew to be in our scene, but save the full exposition for a sunday afternoon run through with a light, but judicious audience.
Passion in practice is a varying ensemble but with core members whose interest is exploring delivering shakespeare with a full understanding of what the verse is doing and a swift delivery playing the words. No long pauses and breathes in between meaningful moments, rather speaking the moment and see what emotions it will bring. The honesty towards yourself without being wanky about it, and above all honesty to the verse. The meaning actually takes care of itself, especially when given its context.
Physical work as an ensemble used sticks. We found out how two or three or four actors could explore the dynamics of a scene, while connected at the fingertips by sticks. Taking your stick for a walk works wonders, pairs or threesomes at one time.
The practice of cue script work using scenes from Makkers occasioned the inevitable whose line is it anyway; the re-reading of cue lines to check everybody heard; the muttered curses and doublings who ended up cueing themselves; the immediacy of staging on the fly; the expected accident of kneeling when you shouldn’t; and the happy accidents when the pronunciation of Simonides by the three fishermen gets turned into a running gag throughout the Simonides’ scenes.
We had an older Gower in Original Pronunciation and a young Pericles, who switched to young Gower in OP, and older Pericles in a breathtakingly focused scene of Pericles and Marina’s reunion. ‘A pats the stage and gestures her to him, the verse came to life as audience and cast enrapt in the original tale we all pieced together. Theatre magic.
Minimal music, minimal props, minimal decor, hanging cloths from lighting beams, audience Globe-like on three sides. Mistakes are inevitable. But oh, the successes.
An eclectic bunch of actors, Hilton the most experienced and the least ensemble, until the inevitable pull of the gravitas of the situation and the possibility to create wonder and lumps in several throats. Chicken skin, the Dutch say. Goosebumps, we.
Then to the Lord Nelson across the road for celebratory drinks, big plates of chips and a 7pm closing time. Oh England! Another pub down the road resolved the disappointment and the lure of pints of London Ale. Then we separated back to our workaday actor lives, in our case refreshed.
The diversity and skills of the actors was admirable. All fluent in metrical tricks and prose characterisations, all able to think on their feet. The narrator static, the scenes unfolding actus by scenae. Cue words became the aural signal for an entrance, or chance to take your part in the ongoing action. Perform that action, keep out of the way, be aware of sight lines, and above all pick up on the pace. Frequent contact with your acting partner’s eyes, tell you he or she too is working on the fly to survive the chaos of this story unfolding itself.
Reading of a cue script, changes the dynamic of acting from the sight and mind, back to where it belongs in the ears and imagination. You remain alert waiting for words that could come out of anyone’s mouth. Though by time we hit the stage we all knew who played who, but not what they said, whether one line or twenty.
All 3 Kings had so much character in the way they were written. Their psychology is in the words. We find it is possible to merely make the sounds and let the audience deal with what they mean. The medium we actors be. The characters interact and the actors try to keep up with how fast things are moving.
The theme of Pericles is incest and his voyage to Antioch uncovers this sinne. He scapes back to Tyre before shipping off to relieve famine ravaged Tharsus with ships stuffed with grain not armes. He is made a demi-god by King Cleon, who promises he and his wife are endebted forever. Pericles sets sail, shipwrecks off Simonides coast and joins a chivalric courting of his daughter, Thaisa.
These two marry, Thaisa has a child at sea, dies during childbirth, is sealed in a coffin and thrown overboard to appease the gods of the storm. Pericles calls their daughter Marina and sails back to Tharsus to leave her in the care of Cleon and his wife, Dionyzia.
During her upbringing in the next 16 years or, so their own daughter Philoten pales in virtuous comparison to Marina, so Dionyzia plans to have her murdered. Leonine her servant takes her on a walk, where they are surprised by pirates, who take her and sell her to a brothel keeper.
But you may know the story. if not try George Wilkins version here. Plain prose from the man who collaborated with Shakespeare to make the stage-play. He was also a pimp before making a career out of miseries. Oh yes, and they lived together at the Montjoys, both depositioned in 1612 in the Bellott Montjoy suit. But that’s another post.
The most valuable take away point for our-self this weekend is that hearing a play, isn’t only the reserve of the audience. The actors themselves are engaged in listening and responding in a different way than if they know the whole script. It all occurs primarily on an aural level. (We are aware of the nonsense of this statement, but time gives it the proof).
Secondly, inherent staging happens as the scene increases in focus. How else does a man silent for 3 months, realizing the daughter he thought dead is trying to break his silence, react? Focus is the key.
Lastly, We want more. Passion in Practice has a few workshops coming up and these pay for us to do this. Next one is on 19th January. Details here. And its affordable too.
Then back home, a mate sent me this link on the acoustic world of Elizabethan England. Rather apt.
Sight is the primary sense of the 21stC. Our ambient surroundings are shipwrecked on the shores of technology and advancement. Here’s to the sound of pigs in our inner city soundscapes. Anyway go wrap it in your ears. It’s a bit of a sit at 55 minutes, but well worth stopping, and listening to a bygone world, go by.
What’s in a name?
Love this discussion about Petruchio.
In Q2 of Romeo and Juliet (1599), at what modern editors would number 3.1.90, occurs a line of type, centered and reading “Away Tybalt.” It looks like a stage direction, and is so taken by most editors. But in 1960, George Walton Williams wrote an article claiming that this is in fact a line of dialogue. The Q2 compositor doesn’t use “Away” to mean “Exit,” speech prefixes for minor characters are often omitted, and there is a neat parallel later in the scene with Benvolio’s “Away, Romeo.”
Williams has a plausible argument, and, in any case, he is by common consent irreproachable. (As with Sara Lee, nobody doesn’t love GWW.) But his claim has put a sting in Rene Weis, with which he might do mischief in his Arden3 edition of the play. Since Weis accepts “Away, Tybalt” as speech, he needs a speaker. And where a less adventurous editor might settle for “Another Capulet” or “Tybalt’s follower,” Weis decides that the line is spoken by “Petruchio.” [!!!]
Now there is a Petruchio in the play: he is one of the three young men, including Romeo, whom Juliet asks the Nurse to identify for her toward the end of the ball scene. “Young Petruchio” is therefore currently present in Verona, as well as sufficiently friendly to the Capulets to be invited to the ball, sufficiently young to go looking for trouble in the streets, and of sufficient social rank to address Tybalt as “Tybalt” rather than “sir.”
The other young man has of course the same credentials and might be thought to be marginally more likely for being more familiar: the Nurse identifies him immediately, but only thinks the other to be young Petruchio. Still, “The son and heir of Old Tiberio” would be an ungainly prefix for a two-word speech. Petruchio is the better choice.
Shakespeare may in fact have been having a little intertextual fun here, because we hear earlier in the scene that Old Capulet and his cousin last masked some thirty odd years ago at “the nuptial of Lucentio,” which sounds like the last scene of Shrew. Admitttedly, we don’t hear of any masking or dancing at Lucentio’s “banquet,” but maybe that happened after we left, and in any case, old men tend to remember with advantages.
If the Capulet cousins were in the audience for Kate’s submission speech, one expects they were deceived into taking it at face value. But more important, if his brother-in-law’s wedding was thirty years ago, the Tamer himself must now be (by Our Lady) inclining to threescore, and clearly not the Petruchio of the Capulet ball. This might be his son, with something of his old man’s truculence, or even—eheu fugaces—his grandson.
Probably neither, however, is Tybalt’s companion. The key to solving that problem is the fact that when Petruchio—the real Petruchio—first appears on stage, he calls himself “a gentleman of Verona.” This immediately recalls the two titular gentlemen, and –sure enough—we find one of them on Capulet’s guest list: “Signor Valentio and his cousin Tybalt.” Tybalt’s cousin!
Of course, “Valentio” isn’t exactly “Valentine,” but Shakespeare may have felt the need for a variant to distinguish him from Mercutio’s brother, Valentine. “Signor” might sound like someone too mature for gang-banging, but Valentine may have earned the honorific for his legendary captaincy of supremely high-minded outlaws, and, in any case, he is (like Fredinand) the son-in-law of the Duke of Milan. Since he has a record for armed robbery, he would appeal to Tybalt as a formidable back-up, yet Valentine has a sense of moderation as well—he forbade his footpads to do violence to silly women or poor passengers. This is just the man to say, “That’s enough, Tybalt. Let’s go.” (His outlaws’ enthusiasm for Valentine’s linguistic skills was a recognition that he could holler “Stand and deliver” in whatever language was appropriate to the victim.)
Weis’s “Petruchio” opens a fertile field of investigation if one may shop the canon to give names to the anonymous inhabiting the locale. I thought of Dromio for the illiterate servant with the guest-list, but since slavery is probably illegal in Verona, I settled for Launcelot Gobbo, who, after getting in trouble in Belmont over inseminating the Moor, might well have looked for a new job. The anonymous Nurse—(forget the Angelica business)—could well be Nell Quickly. The Capulets, like many Italian aristocrats, often employ English servants, and Mrs Q has already, flouting her employer’s wishes, helped Anne Page to run off and marry the man she loves. For the apothecary, who has seen better times, is very short of money and has learned that “the world’s law” is no friend of his, who else but Shylock?
Other and probably better discoveries will surely follow. Hopefully, they will observe the maxim that resonance trumps probability.
Or it might just be a stage direction.
There are several others in the play named and not necessarily seen.
Like Antony and Potpan and Nell and Susan Grindstone amongst the Capulet servants.
All of them knaves according to Capulet’s commands.
Also the son and heir of old Tiberio and the afore-mentioned young Petruchio.
The party guests named in the letter the servant can’t read. Illiteracy and literacy being sharply delineated by the Petrarchan love of Romeo and the grounded first true love of Juliet. Artifice vs Nature.
‘Signior Martino and his wife and daughters;
County Anselme and his beauteous sisters;
the lady widow of Vitravio;
Signior Placentio and his lovely nieces;
Mercutio and his brother Valentine;
mine uncle Capulet, his wife and daughters;
my fair niece Rosaline; Livia;
Signior Valentio and his cousin Tybalt,
Lucio and the lively Helena.’
A fair assembly indeed as in the ball took place and one assumes they are among the mingling guests,
Valentine the absent brother of Mercutio.
And just where the hell is Rosaline, except on about five or six key characters lips and on the invitation. A Capulet and Juliet’s cousin. Sister to Tybalt, no; Lord Capulet’s side of the family and fair?
Then those musicians first, second, and third: Simon Catling, Hugh Rebeck and James (Jack) Soundpost. Usually assigned character descriptions as 1st 2nd 3rd Musician when they are readily identifiable and have specific monikers. The music of love in the play being firmly grounded in words and not music, as in the callous musicians hanging out for a free meal while the supposedly dead Juliet lies upstairs. No music with her silver sound for heart’s ease unless you pay for it. The Friar had promised them a gig he knew would not be going through.
It’s funny that the servant names are very English and not very Italian.
The watchmen likewise first second third. No names but there are more than just two companions commanded by the first:
‘go some of you whoe’er you find attach’ suggests several to search the immediate vicinity and arrest suspects,
‘go tell the prince’ is to Paris’ page
‘the Capulets’ 2nd watchman
and ‘the Montagues’ 3rd watchman
and then some others search.
Who’s left? The ghosts of Mercutio and Tybalt?
So how many are there?
The citizens too who are sick of the feuding and interrupt the first street brawl.
All help to populate this civic fiction, this two hours traffic of our stage.
My favourite bit of aurally nominally truthful text is Juliet’s:
My ears have not yet drunk a hundred words
Of that tongue’s utterance, yet I know the sound:
and indeed their recently spoken and shared sonnet amounts to about 90 words for Romeo.
Art thou not Romeo and a Montague?
What’s in a name?
Sound and fury signifying nothing. Or everything. Or something.
1. POEMS ABOUT Shakespeare 6435 reads. Always been the leader of the pack this one.
2. POEMS ABOUT Language… 4045 reads. One of my favourite sections.
3. A PAPER – A Prosodic Odyssey: Sorting the sonnets from page to stage. 2351 reads. A paper on the quarto of sonnets and its contents.
4. GUEST Post: Translating Shakespeare to “Modern English”: A Defence 2198 reads. I ass u me it’s fourth deservedly so.
5. BLOG’s WEE MANIFESTO… 2093 reads. Written for the Scotsman when at the Fringe.
6. MERES- Palladis Tamia allusions 1598 1819 reads. My fifth but really sixth. Newly enlarged with links to a facsimile and that Latin translated.
We all know women, and particularly the roles Will wrote for women, were never acted by women on the Elizabethan stage. There is the exception of Moll Firth the cross dressing roaring girl who is supposed to have crashed her premiere and taken the stage. We know also of an Italian commedia del arte group that performed in England, whose main actress may have inspired Isabella in Sh’s Measure for Measure. But structurally men or boys rather took the women’s roles. (Cross-dressing seemingly being in the English genes from Panto to POW camps ever since). The French allowed women on their stages, the Spanish too. So why not the English?
So were women just tools to be manipulated by a misogynistic playwright?
Were the boy actors that good at impersonating large amounts of their audience?
English women we know accompanied one another to the theatre. And there’s the titillating aspect to be dealt with too. We know of the gentle-lady who was groped in the upper boxes finding it exciting and pleasant but revealing to hubby at home that she had been thus robbed.
Our Will don’t forget, accepting the biog as writ, had a momma from a good station in life, related peripherally to his patron the Earl of Southampton, another young man highly influenced by his mother.
There is a certain amount of rape in Sh’s early plays: 2 Gentlemen of Verona, Titus Andronicus, Venus and Adonis (a reverse rape being goddess on mortal youth), the Rape of Lucrece were all popular.
Yet in Will’s later plays, namely
Innogen (Imogen) in Cymbeline,
Portia in Merchant of Venice,
Rosalind in As You Like It,
all have the most lines and therefore carry the play. Somebody played women well. Women are integral to the telling of the majority of his plays.
Viola and Olivia in Twelfth Night are at the heart of it,
Isabella in Measure for Measure yo-yo’d between the Duke and his brother,
Helena messed around on in All’s Well that Ends Well,
Joan of Arc in Henry the Sixth part one ignites the story to a more problematic level,
Queen Margaret’s rise and decline in Henry the Sixth parts two and three, and her madness and prophesying to
Queen Elizabeth in Richard the Third,
Constance suffers a mother’s ultimate loss in King John,
Hostess tag teams Falstaff in Henry the Fourth part two,
broken-spoken franglais English Catherine in King Henry the Fifth,
Queen Katherine in King Henry the Eighth,
Marina forced into prostitution in Pericles,
steadfast Paulina in Winter’s Tale,
Miranda the only woman in the Tempest,
Tamora Goth Queen in Titus Andronicus,,
no Romeo without Juliet in Romeo and Juliet,
suffering swallowing hot coals Portia in Julius Caesar,
suicidal Ophelia and poison drink imbibing Queen Gertrude in Hamlet,
self-will’d Katherina bowing to her man (or does she) in Taming of the Shrew,
not Cressida in Troilus and Cressida,
Desdemona and Emilia both fated to die in Othello,
the two evil and self-serving older daughters Regan and Goneril,
and the good honest youngest daughter Cordelia in King Lear,
the empress Cleopatra suicided out by an asp in Antony and Cleopatra,
Lady M sent into madness in Macbeth,
Volumnia reminding her boy of his civic duties in Coriolanus.
Now a whole bunch of other girls arise as support and to enliven the situation in subtle ways.
Anyways here’s the list of female roles with their line counts:
ROSALIND As You Like It Female 685. That’s twice as many lines as Orlando who’s 2nd in amount of lines. Let’s not forget she is dressed as the boy Ganymede for more than half the play.
CLEOPATRA Antony and Cleopatra Female 678. All woman this one. Anthony is first in line count with 839.
INNOGEN Cymbeline Female 594. Leads the line count above Postumus, Iachimo, Belarius with the title character in fifth place.
PORTIA The Merchant of Venice Female 574. Leads the line count above Shylock and Bassanio. Lest we forget she does dress as a man boy to defend the merchant in Court.
JULIET Romeo and Juliet Female 542. All girlie girlie and stays so, second in line count after Romeo.
HELENA All’s Well That Ends Well Female 478. The original orphan Annie helped by the Countess of Roussillon to gain her ingrate son. Leads the line count and perfects the bed-trick ie swopping the partner so someone is sleeping with someone they think is someone else.
ISABELLA Measure for Measure Female 424. Second in line count stuck between the Duke in 1st place and his brother Angelo in 3rd place. The poor virgin struggles to maintain her maidenhead between these two and is the play’s ultimate loser. Silenced or made tongue-tied by authority as sonnet 66 says.
DESDEMONA Othello Female 391
VIOLA Twelfth Night Female 335
PAULINA The Winter’s Tale Female 332
MISTRESS PAGE The Merry Wives of Windsor Female 328
JULIA The Two Gentlemen of Verona Female 322
QUEEN Henry VI Part 2 Female 316
OLIVIA Twelfth Night Female 314
VOLUMNIA Coriolanus Female 311
CRESSIDA Troilus and Cressida Female 301
COUNTESS All’s Well That Ends Well Female 291
PRINCESS Love’s Labour’s Lost Female 288
CELIA As You Like It Female 282
QUEEN Henry VI Part 3 Female 279
BEATRICE Much Ado About Nothing Female 279
NURSE Romeo and Juliet Female 277
QUEEN ELIZABETH Richard III Female 272
CONSTANCE King John Female 264
ADRIANA The Comedy of Errors Female 263
QUEEN KATHERINE Henry VIII Female 261
LADY Macbeth Female 259
TAMORA Titus Andronicus Female 257
PUCELLE Henry VI Part 1 Female 254
EMILIA Othello Female 243
MISTRESS QUICKLY The Merry Wives of Windsor Female 236
HELENA A Midsummer Night’s Dream Female 230
KATHERINA The Taming of the Shrew Female 221
QUEEN MARGARET Richard III Female 218
COUNTESS King Edward III Female 214
HERMIONE The Winter’s Tale Female 211
GONERILL King Lear Female 199
MISTRESS FORD The Merry Wives of Windsor Female 192
MARINA Pericles Female 190
REGAN King Lear Female 190
OPHELIA Hamlet Female 173
HOSTESS Henry IV Part 2 Female 171
QUEEN Cymbeline Female 168
ROSALINE Love’s Labour’s Lost Female 165
HERMIA A Midsummer Night’s Dream Female 164
SILVIA The Two Gentlemen of Verona Female 158
QUEEN Hamlet Female 157
ANNE Richard III Female 157
MIRANDA The Tempest Female 153
MARIA Twelfth Night Female 149
DUCHESS OF YORK Richard III Female 141
TITANIA A Midsummer Night’s Dream Female 141
DIANA All’s Well That Ends Well Female 138
HERO Much Ado About Nothing Female 132
PERDITA The Winter’s Tale Female 126
DUCHESS Henry VI Part 2 Female 119
CORDELIA King Lear Female 117
KATHERINE Henry VIII Female 115
QUEEN ISABEL Richard II Female 115
LADY CAPULET Romeo and Juliet Female 115
CHARMIAN Antony and Cleopatra Female 109
BAWD Pericles Female 104
And beyond this a further 100 odd female characters with under a hundred lines. So yes there are enough women in Will to study. We think Will knew his women would one day be played by women. That said. Tina Packer is coming to Europe soon. This would be scanned some more…
Bénigne de Bacilly’s treatise,
Remarques curieuses de l’art de bien chanter,
first published in 1668, is typical of mid-to-late 17thC French treatises on music
in its application of rhetorical principles to performance.
Here, he states that singing airs is analogous to declaiming a discourse
– ‘one must know how to sing well and declaim well at the same time’ –
alluding only to the fifth part of rhetoric, actio.
The emphasis in Bacilly’s treatise upon pronunciation
underscores the dominance of performance over composition
in the seventeenth-century musical experience in France;
thus, as Bacilly insists, the rules that govern singing
French-language airs must also apply to their composition.
Strategies related to actio provided composers with a means
of fulfilling vocal music’s primary aesthetic function,
a function it shared with oration:
moving the passions associated with a text and its recitation.
Just how this was accomplished is articulated in treatises on rhetoric, not music.
Rhetoricians identify two ways in which passions are represented in recitation:
NOMBRE or the rates of speech
ACCENS or tones of voice.
Nombre is specifically addressed by Bernard Lamy who was concerned with
the physiological and psychological effects of various qualities of sound
in his De l’art de parler, first published in 1675.
Although Lamy considers only language in his treatise,
his advice was easily applicable to another sound source:
And indeed, in his
L’Art de la poësie françoise et latine avec une idée de la musique
from 1694, Pherotée de la Croix applied Lamy’s theories to musical sounds.
Those sections of La Croix’s treatise that concern music
were copied directly from Lamy’s treatise,
differing only by adding the word ‘music’ to Lamy’s statements.
Both Lamy and La Croix stress
the effects on the soul
of the numerical proportions of speech called nombre.
La Croix, copying directly from Lamy, writes:
‘one calls number, in the art of speaking and of singing,
what the ears perceive as proportionate in the recitation of a discourse,
either following the proportion of the measure of time,
or according to the just distribution of the intervals of breath.’
Both Lamy and La Croix assert that
‘proportion in the pronunciation
of discourse and music is linked to the passions’.
As La Croix points out:
‘It is a question of making the numbers conform to the things one expresses,
in order to excite with success the movements (passions) that one wants.’
Several rhetoricians also describe
the tones of voice, called
associated with passionate recitation,
defined by Marin Mersenne as
‘an inflection or modification of the voice or of the word
by which one expresses the passions
or affections naturally
or by artifice.’
Mersenne notes that
‘la musique accentuelle’
incorporates the accents
used for raising or lowering syllables
(l’aigu and le grave
or high and low accents)
and must be accompanied by a quickness
or slowness of movement (nombre).
Rhetoricians indicate, for example,
that boldness or courage is characterized by
a voice that is lofty, forceful, and full of energy,
while happiness is portrayed by
a voice that is easy, brisk, and flowing.
Both rates of speech and tones of voice combine to express passion,
and both could be easily imitated through a variety of musical devices:
rates of speech primarily through the interplay of rhythm and metre and
tones of voice through melody and harmony.
In setting a poem to music as a type of persuasive discourse,
composers had to take into account the text,
and, in the words of Lamy,
its accessory meaning
or passionate associations.
Poems used by mid-seventeenth-century composers
are rich in words
that invite affective representation,
the passions themselves being frequently indicated by name.
There is a consistent correlation throughout the repertory
between a passion named in a text and its musical setting.
if the passion is not named but implied in the meaning of a phrase,
similar expressions receive similar musical treatment.
In airs written during the 1650s and 1660s, particularly by composers
Michel Lambert, Bénigne de Bacilly, Sébastien Le Camus, and Joseph Chabanceau de la Barre,
seven passions dominate and are given special musical treatment.
The agitated passions,
so identified by seventeenth-century rhetoricians,
1. despair or hopelessness;
2. boldness, particularly in commands or emphatic statements;
3. and the burning fires of love.
The moderate passions
5. languor, and
6. tender love;
and the neutral passion,
When considering affective representation in music,
it is important to realize that seventeenth-century theorists,
among them René Descartes and Mersenne,
considered certain musical devices
to be strong
and others, weak.
Melodic and bass line ascents were considered strong,
while descents, weak;
a high tessitura, strong;
a low tessitura, weak;
large verbal units, strong,
and small verbal units, weak.
Chords in root position built on the first and fifth notes of the mode
were considered strong,
while first inversion chords, weak;
large and expanded intervals (fifths, fourths, and tritones)
were considered strong,
and narrow intervals, particularly minor seconds, weak.
Major thirds and sixths were considered strong,
though not as strong as fourths and fifths,
while minor thirds and sixths, weak.
And finally, most dissonances were considered strong.
Defined and examined in 17thC French treatises on rhetoric
by Abbé de Bretteville, René Bary, Jean-Léonor Le Gallois,
Sieur de Grimarest, and Michel Le Faucheur,
and by Descartes in his ‘treatise on the passions’
Brief descriptions of these passions are given below.
(No they’re not it’s the end of the post)
The descriptions are accompanied by a list of musical devices
generally used to represent each passion as well as
musical examples from airs by Lambert and Bacilly.
We need to source this pdf asap.
Shakespeare never mentions Tarot cards. And Lewis in King John has this to say about cards:
Have I not here the best cards for the game,
To win this easy match play’d for a crown?
And shall I now give o’er the yielded set?
No, no, on my soul, it never shall be said.
According to this website they have been around since the Renaissance and earlier.
Naturally the tarot forum has a discussion about this subject and are generally in agreement Shakespeare did make use of the emblem books of the time and perhaps saw a deck or two.
Although playing tarot never became popular in England, there is no reason why some people might not have known it. Particularly Francophiles.
The earliest reference to tarot in England is in 1592, in a French conversation book by “G. De La Mothe” (usually known as G. Delamothe) called “The French Alphabet”. It is a collection of phrases, and one phrase says:”A quel jeu voulez vous jouer? Voulez vous jouer aux Dames aux Des, aux Tarots, aux Eschets, etc.” The English translation he provides is: “What game will you play? Will you play at tables, at Dyce, at Tarots, at Chesses, etc.”
For a description of this book (but not the quote), see e.g. -
“It is by someone calling himself G.(Guilliaum?) De la Mothe (= de la Motte). Who better than an English word-smith, who had just spent up to three or four years in France, to write such a book?
The third part of The French Alphabet is a collection of over six hundred “sentences, similes, apothegmes and golden sayings of the most excellent French Authors, as well poets as orators”, all translated into English (translators, of course, usually work into their native language, rather than from it). This would be a priceless collection for any playwright, whether interested in French or not, and appears closely to resemble the Promus and similar items among the Le Doux papers.”
Shakespeare mentions cards and uses card metaphors many times. I’m with those who don’t see a direct allusion to tarot cards, but there is no historical reason he couldn’t have known about it.
Ross G Caldwell
BTW, the second mention of tarot cards in English that I know of is in an Italian-English dictionary written by John Florio, “A Worlde of Wordes”, first published in 1598 and in a second edition in 1611.
Under “Tarocchi” in the first edition, it reads: “A kinde of playing cardes used in Italy, called terrestriall triumphes”.
The second edition omits a reference to Italy and mentions the German-sounding name “tarocks” – “A kinde of playing cardes called Tarocks or Terrestriall triumphs”.
As a Shakespeare enthusiast people buy me anything related to the man. I own 3 decks of Tarot or Oracle cards, one Dutch one English and a third called the Renaissance Tarot. I rarely use them but have of late to pass away the time.
The following descriptions come from The Shakespeare Oracle:
The Major Arcana:
0 FOOL – Feste
1 MAGICIAN – Shakespeare
2 ABBESS – Aemilia (appears at the end of Comedy of Errors)
3 EMPRESS – Queen Elizabeth
4 EMPEROR – Henry VIII
5 HIEROPHANT – Humphrey, Duke of Gloucester (youngest son of Henry 4th and brother to Henry V)
6 LOVERS – Romeo and Juliet
7 CHARIOT – King Henry V
8 JUSTICE – Portia
9 HERMIT – Caliban
10 WHEEL OF FORTUNE – Fortune Theatre
11 STRENGTH/LUST – Katherine & Petruchio
12 HANGED MAN – Hamlet
13 DEATH – Lear
14 TEMPERANCE – Prospero
15 DEVIL – Puck
16 TOWER – Timon
17 STAR – Cleopatra
18 MOON – Three Witches
19 SUN – King of Navarre/ Princess of France (Ferdinand & unnamed Princess)
20 JUDGEMENT – Vincentio (Duke of Vienna in Measure for Measure)
21 WORLD – Globe Theatre
The Minor Arcana:
Lady of Chalices – Rosalind
Lord of Chalices – Valentine
Queen of Chalices – Hermione
King of Chalices – Antony
Suit cards 1-10
Chalices represent those qualities that are fluid, inward looking, and life sustaining. This is the suit of emotions, relationships, and reflection.
Lady of Coins – Mistress Page
Lord of Coins – Falstaff
Queen of Coins – Helena
King of Coins – Shylock
Suit cards 1-10
Coins represent the mind working at the real world, physical level. This is the suit of material concerns, security, worth, practicality, and prosperity.
Lady of Quills – Viola
Lord of Quills – Armado
Queen of Quills – Beatrice
King of Quills – RIchard 2nd & Henry Bolingbroke
Suit cards 1-10
Quills represent abstract, theoretical applications of the mind. This is the suit of intellect, reason, creativity, problem solving, communication, truth, and justice.
Lady of Sceptres – Volumnia
Lord of Sceptres – Richard Plantagenet
Queen of Sceptres – Katherine of Aragon
King of Sceptres – Philip the Bastard
Suit cards 1-10
Sceptres represent energy and action. This is the suit of physical force, play, travel, inspiration, impulse, ambition, and self-growth.
Each suit has cards numbered 1-10. These refer to experiences, ordinary aspects of day-to-day life, actions, objectives, decisions, situations, and your responses to them, motives, reasons, justifications, goals, hopes, fears, and how your actions affect others. They lend insight into the ‘why’ of your actions and suggest ways to adjust and rethink.
Each number regardless of its suit holds some general meanings:
1. the essence and all of the potential of the suit, beginnings, foundation
2. opposites, conflict, decisions, duality, partnership, relationship
3. growth, results, action, synthesis, collaboration, plans, enthusiasm
4. stability, solidity, organisation, logic, security, order, discipline
5. mutability, change, uncertainty, loss, regret, obstacles ahead
6. advancement, prospective, thurning point, balance, social concerns
7. tension between creativity and reality, valor, end of phase, progress, wisdom
8. balance of opposing forces, setting priorities, interference, transformation
9. inner strength, achievement, fulfillment, perfection, bringing to conclusion
10. responsibilities, completion, wisdom from experience, culmination