Posts filed under 'Uncategorized'
Hi there,
Check out this great write up by Holly Van Houten on Comedy of Errors.
“The Comedy of Errors” is likely Shakespeare’s first comedy and at 1800 lines is definitely his shortest. While the errors and confusion of mistaken identity created by long lost twins create much of the comedy, the overarching theme of reunion brings everything right in the end. Although details about Shakespeare’s life are all too scarce, we do know that his own twins (Hamnet and Judith) were born in 1585 and that by 1589 he was separated from his wife for much of the time as he pursued his theatrical career in London. It is hardly surprising then that Shakespeare should explore these ideas in “The Comedy of Errors” which was written between 1589 and 1594. Shakespeare’s primary source for “Comedy of Errors” was Plautus “Manaechmi” which similarly has a set of twins, both with the same name. But Shakespeare makes fundamental changes that give his own version of this story greater depth and take it far beyond mere farce. First of all, Shakespeare multiplies both the confusion and the laughs by doubling the twins and adding a pair of sisters. In doing so, Shakespeare provides a wife for Antipholus of Ephesus, freeing him to explore ideas about marriage and fidelity. He also changes the setting of the play to Ephesus, adding to the marital emphasis by harkening back to St. Paul’s Letter to the Ephesians and the marital admonitions contained therein. Luciana’s prim advice to her sister echoes St. Paul’s words: “Wives, submit yourselves unto your husbands.” The “dark” side of Ephesus is also prominent in St. Paul’s experience of the town as documented in the Acts of the Apostles, where he encounters witchcraft, sorcery and evil spirits. It is this reputation that Antipholus of Syracuse references when he contemplates Ephesus and its “Dark-working sorcerers” and “Soul-killing” witches. This also adds a dimension to Antipholus of Syracuse that is nowhere to be found in Plautus’ earlier play. When Antipholus of Syracuse is mistaken for his brother, he assumes he is dreaming or bewitched and begins to questions his own identity and sanity. Antipholus of Ephesus on the other hand, rightly assumes others are making “errors” and are either crazy or lying, never questioning his own identity or the possibility of witchcraft. Hilariously, it’s Antipholus of Ephesus on whom Dr. Pinch attempts to perform the exorcism. Lastly, Shakespeare increases the tension by adding a dark frame to his comedy, opening and closing it with the impending death sentence of Egeon. As the day wears on, the characters remind us with their references to the passing time, 12:00, 2:00, 5:00, that Egeon’s day of reprieve is moving along quickly. Antipholus of Syracuse may believe he’s losing his mind, but the audience knows that if the growing disorder does not resolve itself quickly, his father Egeon will literally lose his head. At the end though, Shakespeare’s emphasis shifts to a theme of reunion as Egeon reunites with Emilia, both sets of twins meet, and each Antipholus finds his mate. So even in this first comedy, Shakespeare provides us with his characteristic fare: food for thought and a frolicking good time.
June 27th, 2008
It’s amazing that audiences seem to understand Shakespeare’s enigmatic dialog when the performers often don’t even know what they’re saying without consulting the drama turd.
(Affectionate nickname for Holly Van Houten, MSF’s resident dramaturge. She’s one of those people who spends a lifetime figuring out what nuggets of wisdom the Bard buried beneath the archaic language.)
Maybe, as director Peter Kjennas believes, people don’t need to fully understand the dialog to know what’s going on in a Shakespeare comedy. Maybe the action and general tone fully communicates its deeper meanings.
Another thing that bothers some folks about Shakespeare is the tendency for many actors to attempt to use British accents when performing his work that mostly come off sounding foppishly foolish.
It’s quite annoying to hear American actors using bad British accents while playing Italians who presumably should really have Italian accents.
Apparently, American actors fail to consider that the reason Shakespeare’s works have been played so much and so well with British accents is because they were mostly played by real British actors talking and reacting normally in their own voice who would not attempt to use a cheesy sounding foreign accent.
I believe Americans playing Italians or other foreigners in a British play ought not try to emulate Gielgud or Olivier and just talk as naturally and realistically as they can in their own voices - within the bounds of the imaginary circumstances, of course.
British actors playing Nazis, for example don’t try to use bad German accents either.
But American actors portraying Germans seem somehow compelled to affect some bad accent they heard in old WWll movies.
The problem - especially with Shakespeare - is that actors often spend so much time crafting what mostly end up being poor caricatures that they overlook the opportunity to find real reactive moments and lose the opportunity for meaningful communication with their fellow actors. And that, of course, generally results in pedestrian performances which would probably greatly disturb the Bard were he still around.
I hope that one day we can present an updated version of a Shakespeare work which will be understood by modern audiences and still knock the proverbial socks off even the purists.
June 22nd, 2008
Yes, Shannon, I too recall the first time I felt the power of the Michelle “spurn.” We were doing school tour for the Oregon Shakespeare Fest and she gave me “that look.” Ouch!
Glad that rehearsals are going well. And isn’t it fun being beaten for art?!
Peter
June 22nd, 2008
Welcome to our third season of summer theatre in our mountain community. The 2008 offering of the Mountain Shakespeare Festival ushers in three firsts for our growing company: It is our first season doing a non-Shakespearean play as we present the depression era comedy, “You Can’t Take It With You;” it is our first season in the Pine Mountain Club Gazebo adding lights and a full stage setting; and our first season of rotating repertory.
Rotating rep, as it is called, puts two full productions into alternating performances which makes it possible for an audience member to spend a relatively short time in town and see a lot of theatre. It also offers the rare delight for the audience to see actors portray widely different roles in the two plays. We have, for instance, an actress playing the quirky Mrs. Penny Sycamore - a happily married playwright/painter in “You Can’t Take it With You” - and Adriana - a very unhappily married aristocrat in Shakespeare’s “The Comedy of Errors.” Penny is in love and loves life. Adriana deals with a wayward husband, so she thinks, and jealousy on a grand scale.
These two plays, so different in so many ways, have a thread the links them. They are both about the uniting of very different worlds and the coming together of different walks of life. In “You Can’ Take It With You” it is the meeting of opposing views of what constitutes the “American Way,” and in “The Comedy of Errors” it is the reunion of long lost siblings who find, in each other’s worlds, a better understanding of self. Both of these classics are considered among the most highly successful comedies in our language and have enjoyed a rich and successful production history.
To say that producing these gems is a challenge for our young company would be an understatement. It is a challenge for the actors, the directors, crew, volunteers and our resources. But this is our mission: to provide a truly professional theatre experience that will entice both our local audience and regional neighbors to “Stay, and breathe awhile” and it can’t be done without some “perspiration,” as the character Kolenkov so aptly states in “You Can’t Take It With You.”
So, relax, breathe the clean air and enjoy these two comedy classics, we’ll take care of the perspiration.
Peter Kjenaas
Artistic Director
June 20th, 2008
Welcome! Blog away! Let’s keep it clean and focused on interesting stuff and the process of creating the Festival and expanding it. About Shakespeare, acting, directing, promotions, etc.
Don’t be critical of others.
PK
June 20th, 2008
Welcome to WordPress. This is your first post. Edit or delete it, then start blogging!
June 20th, 2008
Next Posts
