Since being cast as Viola I have been researching her and looking into her objectives and roles in the play and have developed my own personal interpretation of her as a character and as a person.
I feel Viola is a very strong woman and has a lot of guts, she creates a role for herself "Cezario" and plays along with it and fools everyone, this is very brave of her and she knows what to do to get what she wants. She is in a way two different people, as she is playing herself and Cezario, so for me I am going to have to understand how to play two different roles in the play as in one of my scenes she is acting as Cezario, and in my other scene she begins as Cezario, but is unravelled as Viola as she comes face to face with her twin brother Sebastian.
I feel Viola is quite ruthless, in the sense that she is does not care that she is tricking everyone into believing she is a young man, and she is very good at it. And when she is unmasked, Viola does not react in a very defensive way, she never really explains herself to anyone, and I like that about her. She is a strong character and is very cheeky and humorous. She brings humour into the play, along with Sir Toby and Andrew Agucheek.
Viola is very humorous, particularly with Olivia. The two females have a rapport together, they seem to click from the word go, but this bond is tainted as Olivia believes Viola to be her male alter ego, Cezario. In my scene with Sav, between Olivia and Viola, I have learned a lot about Viola and her objectives.
Viola is very cheeky and flirtatious in her first scene with Olivia, when watching the film Twelfth Night, I do begin to wonder at points if Viola is meaning to flirt with Olivia, but I do not think she is intentionally, as she is doing it for Orsino, her master. HOWEVER, it does become apparent that Viola is in LOVE with Orsino, so I possibly feel there is an agenda in this scene, as Viola does not want Olivia to be interested in Orsino,as she is. But it is clear in my scene that Olivia is not interested in Orsino at all. Watching the scene a few times has helped me with my character interpretation and development as Viola is so playful and coy in this scene, and it is going to be really exciting for me to play such a different character compared to other characters I have played in college shows and things I have done outside of college. As I have always be cast as strong, serious and grounded(or nasty) WOMEN! So being cast as Viola is definitely a healthy challenge for me, and she is so different to what you would expect. Since rehearsing my scenes as Viola I have noticed a change in my acting,I feel much more comfortable with comical acting and I feel a lot more in tune with my body. Learning TENSION exercises from Stanislavski has helped me develop my role as Viola as I feel so much more in tune with my body and I have let go of my mind, which was always a struggle for me. I really like Viola and I feel she has strong objectives,and does things for the right reasons, probably not the right things but she has a good heart and she is a feisty woman who knows what she wants.
Friday, 26 December 2014
Casting for Twelfth Night
Today we were given our parts for our production of Twelfth Night in February. I have been casted as VIOLA.
I am happy with this casting, I was more interested in playing Olivia but I am really happy with playing Viola as she is sort of the main female character, although she is pretending to be a man throughout the play, this will be a challenge for me but I am ready for the challenge and feel I will do my best with this character and develop an advanced knowledge of Viola, through research, reading the play and watching the films of Twelfth Night.The scenes I am in as Viola are;
Act 1 Scene 5
Act 5 Scene 1
This is the first scene I am in as Viola, it is set at Olivia's house and Viola is in disguise as Cezario and is trying to "woo" Olivia for Duke Orsino;
Enter VIOLA, and Attendants
VIOLA
The honourable lady of the house, which is she?
OLIVIA
Speak to me; I shall answer for her.
Your will?
VIOLA
Most radiant, exquisite and unmatchable beauty,--I
pray you, tell me if this be the lady of the house,
for I never saw her: I would be loath to cast away
my speech, for besides that it is excellently well
penned, I have taken great pains to con it. Good
beauties, let me sustain no scorn; I am very
comptible, even to the least sinister usage.
OLIVIA
Whence came you, sir?
VIOLA
I can say little more than I have studied, and that
question's out of my part. Good gentle one, give me
modest assurance if you be the lady of the house,
that I may proceed in my speech.
OLIVIA
Are you a comedian?
VIOLA
No, my profound heart: and yet, by the very fangs
of malice I swear, I am not that I play. Are you
the lady of the house?
OLIVIA
If I do not usurp myself, I am.
VIOLA
Most certain, if you are she, you do usurp
yourself; for what is yours to bestow is not yours
to reserve. But this is from my commission: I will
on with my speech in your praise, and then show you
the heart of my message.
OLIVIA
Come to what is important in't: I forgive you the praise.
VIOLA
Alas, I took great pains to study it, and 'tis poetical.
OLIVIA
It is the more like to be feigned: I pray you,
keep it in. I heard you were saucy at my gates,
and allowed your approach rather to wonder at you
than to hear you. If you be not mad, be gone; if
you have reason, be brief: 'tis not that time of
moon with me to make one in so skipping a dialogue.
MARIA
Will you hoist sail, sir? here lies your way.
VIOLA
No, good swabber; I am to hull here a little
longer. Some mollification for your giant, sweet
lady. Tell me your mind: I am a messenger.
OLIVIA
Sure, you have some hideous matter to deliver, when
the courtesy of it is so fearful. Speak your office.
VIOLA
It alone concerns your ear. I bring no overture of
war, no taxation of homage: I hold the olive in my
hand; my words are as fun of peace as matter.
OLIVIA
Yet you began rudely. What are you? what would you?
VIOLA
The rudeness that hath appeared in me have I
learned from my entertainment. What I am, and what I
would, are as secret as maidenhead; to your ears,
divinity, to any other's, profanation.
OLIVIA
Give us the place alone: we will hear this divinity.
Exeunt MARIA and AttendantsNow, sir, what is your text?
VIOLA
Most sweet lady,--
OLIVIA
A comfortable doctrine, and much may be said of it.
Where lies your text?
VIOLA
In Orsino's bosom.
OLIVIA
In his bosom! In what chapter of his bosom?
VIOLA
To answer by the method, in the first of his heart.
OLIVIA
O, I have read it: it is heresy. Have you no more to say?
VIOLA
Good madam, let me see your face.
OLIVIA
Have you any commission from your lord to negotiate
with my face? You are now out of your text: but
we will draw the curtain and show you the picture.
Look you, sir, such a one I was this present: is't
not well done?
Unveiling
VIOLA
Excellently done, if God did all.
OLIVIA
'Tis in grain, sir; 'twill endure wind and weather.
VIOLA
'Tis beauty truly blent, whose red and white
Nature's own sweet and cunning hand laid on:
Lady, you are the cruell'st she alive,
If you will lead these graces to the grave
And leave the world no copy.
OLIVIA
O, sir, I will not be so hard-hearted; I will give
out divers schedules of my beauty: it shall be
inventoried, and every particle and utensil
labelled to my will: as, item, two lips,
indifferent red; item, two grey eyes, with lids to
them; item, one neck, one chin, and so forth. Were
you sent hither to praise me?
VIOLA
I see you what you are, you are too proud;
But, if you were the devil, you are fair.
My lord and master loves you: O, such love
Could be but recompensed, though you were crown'd
The nonpareil of beauty!
OLIVIA
How does he love me?
VIOLA
With adorations, fertile tears,
With groans that thunder love, with sighs of fire.
OLIVIA
Your lord does know my mind; I cannot love him:
Yet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth;
In voices well divulged, free, learn'd and valiant;
And in dimension and the shape of nature
A gracious person: but yet I cannot love him;
He might have took his answer long ago.
VIOLA
If I did love you in my master's flame,
With such a suffering, such a deadly life,
In your denial I would find no sense;
I would not understand it.
OLIVIA
Why, what would you?
VIOLA
Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love
And sing them loud even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out 'Olivia!' O, You should not rest
Between the elements of air and earth,
But you should pity me!
OLIVIA
You might do much.
What is your parentage?
VIOLA
Above my fortunes, yet my state is well:
I am a gentleman.
OLIVIA
Get you to your lord;
I cannot love him: let him send no more;
Unless, perchance, you come to me again,
To tell me how he takes it. Fare you well:
I thank you for your pains: spend this for me.
VIOLA
I am no fee'd post, lady; keep your purse:
My master, not myself, lacks recompense.
Love make his heart of flint that you shall love;
And let your fervor, like my master's, be
Placed in contempt! Farewell, fair cruelty.
Exit
I am happy with this casting, I was more interested in playing Olivia but I am really happy with playing Viola as she is sort of the main female character, although she is pretending to be a man throughout the play, this will be a challenge for me but I am ready for the challenge and feel I will do my best with this character and develop an advanced knowledge of Viola, through research, reading the play and watching the films of Twelfth Night.The scenes I am in as Viola are;
Act 1 Scene 5
Act 5 Scene 1
This is the first scene I am in as Viola, it is set at Olivia's house and Viola is in disguise as Cezario and is trying to "woo" Olivia for Duke Orsino;
Enter VIOLA, and Attendants
VIOLA
The honourable lady of the house, which is she?
OLIVIA
Speak to me; I shall answer for her.
Your will?
VIOLA
Most radiant, exquisite and unmatchable beauty,--I
pray you, tell me if this be the lady of the house,
for I never saw her: I would be loath to cast away
my speech, for besides that it is excellently well
penned, I have taken great pains to con it. Good
beauties, let me sustain no scorn; I am very
comptible, even to the least sinister usage.
OLIVIA
Whence came you, sir?
VIOLA
I can say little more than I have studied, and that
question's out of my part. Good gentle one, give me
modest assurance if you be the lady of the house,
that I may proceed in my speech.
OLIVIA
Are you a comedian?
VIOLA
No, my profound heart: and yet, by the very fangs
of malice I swear, I am not that I play. Are you
the lady of the house?
OLIVIA
If I do not usurp myself, I am.
VIOLA
Most certain, if you are she, you do usurp
yourself; for what is yours to bestow is not yours
to reserve. But this is from my commission: I will
on with my speech in your praise, and then show you
the heart of my message.
OLIVIA
Come to what is important in't: I forgive you the praise.
VIOLA
Alas, I took great pains to study it, and 'tis poetical.
OLIVIA
It is the more like to be feigned: I pray you,
keep it in. I heard you were saucy at my gates,
and allowed your approach rather to wonder at you
than to hear you. If you be not mad, be gone; if
you have reason, be brief: 'tis not that time of
moon with me to make one in so skipping a dialogue.
MARIA
Will you hoist sail, sir? here lies your way.
VIOLA
No, good swabber; I am to hull here a little
longer. Some mollification for your giant, sweet
lady. Tell me your mind: I am a messenger.
OLIVIA
Sure, you have some hideous matter to deliver, when
the courtesy of it is so fearful. Speak your office.
VIOLA
It alone concerns your ear. I bring no overture of
war, no taxation of homage: I hold the olive in my
hand; my words are as fun of peace as matter.
OLIVIA
Yet you began rudely. What are you? what would you?
VIOLA
The rudeness that hath appeared in me have I
learned from my entertainment. What I am, and what I
would, are as secret as maidenhead; to your ears,
divinity, to any other's, profanation.
OLIVIA
Give us the place alone: we will hear this divinity.
Exeunt MARIA and AttendantsNow, sir, what is your text?
VIOLA
Most sweet lady,--
OLIVIA
A comfortable doctrine, and much may be said of it.
Where lies your text?
VIOLA
In Orsino's bosom.
OLIVIA
In his bosom! In what chapter of his bosom?
VIOLA
To answer by the method, in the first of his heart.
OLIVIA
O, I have read it: it is heresy. Have you no more to say?
VIOLA
Good madam, let me see your face.
OLIVIA
Have you any commission from your lord to negotiate
with my face? You are now out of your text: but
we will draw the curtain and show you the picture.
Look you, sir, such a one I was this present: is't
not well done?
Unveiling
VIOLA
Excellently done, if God did all.
OLIVIA
'Tis in grain, sir; 'twill endure wind and weather.
VIOLA
'Tis beauty truly blent, whose red and white
Nature's own sweet and cunning hand laid on:
Lady, you are the cruell'st she alive,
If you will lead these graces to the grave
And leave the world no copy.
OLIVIA
O, sir, I will not be so hard-hearted; I will give
out divers schedules of my beauty: it shall be
inventoried, and every particle and utensil
labelled to my will: as, item, two lips,
indifferent red; item, two grey eyes, with lids to
them; item, one neck, one chin, and so forth. Were
you sent hither to praise me?
VIOLA
I see you what you are, you are too proud;
But, if you were the devil, you are fair.
My lord and master loves you: O, such love
Could be but recompensed, though you were crown'd
The nonpareil of beauty!
OLIVIA
How does he love me?
VIOLA
With adorations, fertile tears,
With groans that thunder love, with sighs of fire.
OLIVIA
Your lord does know my mind; I cannot love him:
Yet I suppose him virtuous, know him noble,
Of great estate, of fresh and stainless youth;
In voices well divulged, free, learn'd and valiant;
And in dimension and the shape of nature
A gracious person: but yet I cannot love him;
He might have took his answer long ago.
VIOLA
If I did love you in my master's flame,
With such a suffering, such a deadly life,
In your denial I would find no sense;
I would not understand it.
OLIVIA
Why, what would you?
VIOLA
Make me a willow cabin at your gate,
And call upon my soul within the house;
Write loyal cantons of contemned love
And sing them loud even in the dead of night;
Halloo your name to the reverberate hills
And make the babbling gossip of the air
Cry out 'Olivia!' O, You should not rest
Between the elements of air and earth,
But you should pity me!
OLIVIA
You might do much.
What is your parentage?
VIOLA
Above my fortunes, yet my state is well:
I am a gentleman.
OLIVIA
Get you to your lord;
I cannot love him: let him send no more;
Unless, perchance, you come to me again,
To tell me how he takes it. Fare you well:
I thank you for your pains: spend this for me.
VIOLA
I am no fee'd post, lady; keep your purse:
My master, not myself, lacks recompense.
Love make his heart of flint that you shall love;
And let your fervor, like my master's, be
Placed in contempt! Farewell, fair cruelty.
Exit
This is the second scene I am in which is set before entering Olivias house, it is a bigger scene and involves much more characters than my first scene, and it is when Viola is unveiled as a woman and not as "Cezario"
DUKE ORSINO
Enter DUKE ORSINO, VIOLA, CURIO, and Lords
Belong you to the Lady Olivia, friends?Clown
Ay, sir; we are some of her trappings.DUKE ORSINO
I know thee well; how dost thou, my good fellow?Clown
Truly, sir, the better for my foes and the worseDUKE ORSINO
for my friends.
Just the contrary; the better for thy friends.Clown
No, sir, the worse.DUKE ORSINO
How can that be?Clown
Marry, sir, they praise me and make an ass of me;DUKE ORSINO
now my foes tell me plainly I am an ass: so that by
my foes, sir I profit in the knowledge of myself,
and by my friends, I am abused: so that,
conclusions to be as kisses, if your four negatives
make your two affirmatives why then, the worse for
my friends and the better for my foes.
Why, this is excellent.Clown
By my troth, sir, no; though it please you to beDUKE ORSINO
one of my friends.
Thou shalt not be the worse for me: there's gold.Clown
But that it would be double-dealing, sir, I wouldDUKE ORSINO
you could make it another.
O, you give me ill counsel.Clown
Put your grace in your pocket, sir, for this once,DUKE ORSINO
and let your flesh and blood obey it.
Well, I will be so much a sinner, to be aClown
double-dealer: there's another.
Primo, secundo, tertio, is a good play; and the oldDUKE ORSINO
saying is, the third pays for all: the triplex,
sir, is a good tripping measure; or the bells of
Saint Bennet, sir, may put you in mind; one, two, three.
You can fool no more money out of me at this throw:Clown
if you will let your lady know I am here to speak
with her, and bring her along with you, it may awake
my bounty further.
Marry, sir, lullaby to your bounty till I comeVIOLA
again. I go, sir; but I would not have you to think
that my desire of having is the sin of covetousness:
but, as you say, sir, let your bounty take a nap, I
will awake it anon.Exit
Here comes the man, sir, that did rescue me.Enter ANTONIO and OfficersDUKE ORSINO
That face of his I do remember well;First Officer
Yet, when I saw it last, it was besmear'd
As black as Vulcan in the smoke of war:
A bawbling vessel was he captain of,
For shallow draught and bulk unprizable;
With which such scathful grapple did he make
With the most noble bottom of our fleet,
That very envy and the tongue of loss
Cried fame and honour on him. What's the matter?
Orsino, this is that AntonioVIOLA
That took the Phoenix and her fraught from Candy;
And this is he that did the Tiger board,
When your young nephew Titus lost his leg:
Here in the streets, desperate of shame and state,
In private brabble did we apprehend him.
He did me kindness, sir, drew on my side;DUKE ORSINO
But in conclusion put strange speech upon me:
I know not what 'twas but distraction.
Notable pirate! thou salt-water thief!ANTONIO
What foolish boldness brought thee to their mercies,
Whom thou, in terms so bloody and so dear,
Hast made thine enemies?
Orsino, noble sir,VIOLA
Be pleased that I shake off these names you give me:
Antonio never yet was thief or pirate,
Though I confess, on base and ground enough,
Orsino's enemy. A witchcraft drew me hither:
That most ingrateful boy there by your side,
From the rude sea's enraged and foamy mouth
Did I redeem; a wreck past hope he was:
His life I gave him and did thereto add
My love, without retention or restraint,
All his in dedication; for his sake
Did I expose myself, pure for his love,
Into the danger of this adverse town;
Drew to defend him when he was beset:
Where being apprehended, his false cunning,
Not meaning to partake with me in danger,
Taught him to face me out of his acquaintance,
And grew a twenty years removed thing
While one would wink; denied me mine own purse,
Which I had recommended to his use
Not half an hour before.
How can this be?DUKE ORSINO
When came he to this town?ANTONIO
To-day, my lord; and for three months before,DUKE ORSINO
No interim, not a minute's vacancy,
Both day and night did we keep company.Enter OLIVIA and Attendants
Here comes the countess: now heaven walks on earth.OLIVIA
But for thee, fellow; fellow, thy words are madness:
Three months this youth hath tended upon me;
But more of that anon. Take him aside.
What would my lord, but that he may not have,VIOLA
Wherein Olivia may seem serviceable?
Cesario, you do not keep promise with me.
Madam!DUKE ORSINO
Gracious Olivia,--OLIVIA
What do you say, Cesario? Good my lord,--VIOLA
My lord would speak; my duty hushes me.OLIVIA
If it be aught to the old tune, my lord,DUKE ORSINO
It is as fat and fulsome to mine ear
As howling after music.
Still so cruel?OLIVIA
Still so constant, lord.DUKE ORSINO
What, to perverseness? you uncivil lady,OLIVIA
To whose ingrate and unauspicious altars
My soul the faithfull'st offerings hath breathed out
That e'er devotion tender'd! What shall I do?
Even what it please my lord, that shall become him.DUKE ORSINO
Why should I not, had I the heart to do it,VIOLA
Like to the Egyptian thief at point of death,
Kill what I love?--a savage jealousy
That sometimes savours nobly. But hear me this:
Since you to non-regardance cast my faith,
And that I partly know the instrument
That screws me from my true place in your favour,
Live you the marble-breasted tyrant still;
But this your minion, whom I know you love,
And whom, by heaven I swear, I tender dearly,
Him will I tear out of that cruel eye,
Where he sits crowned in his master's spite.
Come, boy, with me; my thoughts are ripe in mischief:
I'll sacrifice the lamb that I do love,
To spite a raven's heart within a dove.
And I, most jocund, apt and willingly,OLIVIA
To do you rest, a thousand deaths would die.
Where goes Cesario?VIOLA
After him I loveOLIVIA
More than I love these eyes, more than my life,
More, by all mores, than e'er I shall love wife.
If I do feign, you witnesses above
Punish my life for tainting of my love!
Ay me, detested! how am I beguiled!VIOLA
Who does beguile you? who does do you wrong?OLIVIA
Hast thou forgot thyself? is it so long?DUKE ORSINO
Call forth the holy father.
Come, away!OLIVIA
Whither, my lord? Cesario, husband, stay.DUKE ORSINO
Husband!OLIVIA
Ay, husband: can he that deny?DUKE ORSINO
Her husband, sirrah!VIOLA
No, my lord, not I.OLIVIA
Alas, it is the baseness of thy fearPriest
That makes thee strangle thy propriety:
Fear not, Cesario; take thy fortunes up;
Be that thou know'st thou art, and then thou art
As great as that thou fear'st.Enter Priest
O, welcome, father!
Father, I charge thee, by thy reverence,
Here to unfold, though lately we intended
To keep in darkness what occasion now
Reveals before 'tis ripe, what thou dost know
Hath newly pass'd between this youth and me.
A contract of eternal bond of love,DUKE ORSINO
Confirm'd by mutual joinder of your hands,
Attested by the holy close of lips,
Strengthen'd by interchangement of your rings;
And all the ceremony of this compact
Seal'd in my function, by my testimony:
Since when, my watch hath told me, toward my grave
I have travell'd but two hours.
O thou dissembling cub! what wilt thou beVIOLA
When time hath sow'd a grizzle on thy case?
Or will not else thy craft so quickly grow,
That thine own trip shall be thine overthrow?
Farewell, and take her; but direct thy feet
Where thou and I henceforth may never meet.
My lord, I do protest--OLIVIA
O, do not swear!SIR ANDREW
Hold little faith, though thou hast too much fear.Enter SIR ANDREW
For the love of God, a surgeon! Send one presentlyOLIVIA
to Sir Toby.
What's the matter?SIR ANDREW
He has broke my head across and has given Sir TobyOLIVIA
a bloody coxcomb too: for the love of God, your
help! I had rather than forty pound I were at home.
Who has done this, Sir Andrew?SIR ANDREW
The count's gentleman, one Cesario: we took him forDUKE ORSINO
a coward, but he's the very devil incardinate.
My gentleman, Cesario?SIR ANDREW
'Od's lifelings, here he is! You broke my head forVIOLA
nothing; and that that I did, I was set on to do't
by Sir Toby.
Why do you speak to me? I never hurt you:SIR ANDREW
You drew your sword upon me without cause;
But I bespoke you fair, and hurt you not.
If a bloody coxcomb be a hurt, you have hurt me: IDUKE ORSINO
think you set nothing by a bloody coxcomb.Enter SIR TOBY BELCH and Clown
Here comes Sir Toby halting; you shall hear more:
but if he had not been in drink, he would have
tickled you othergates than he did.
How now, gentleman! how is't with you?SIR TOBY BELCH
That's all one: has hurt me, and there's the endClown
on't. Sot, didst see Dick surgeon, sot?
O, he's drunk, Sir Toby, an hour agone; his eyesSIR TOBY BELCH
were set at eight i' the morning.
Then he's a rogue, and a passy measures panyn: IOLIVIA
hate a drunken rogue.
Away with him! Who hath made this havoc with them?SIR ANDREW
I'll help you, Sir Toby, because well be dressed together.SIR TOBY BELCH
Will you help? an ass-head and a coxcomb and aOLIVIA
knave, a thin-faced knave, a gull!
Get him to bed, and let his hurt be look'd to.Exeunt Clown, FABIAN, SIR TOBY BELCH, and SIR ANDREWSEBASTIAN
Enter SEBASTIAN
I am sorry, madam, I have hurt your kinsman:DUKE ORSINO
But, had it been the brother of my blood,
I must have done no less with wit and safety.
You throw a strange regard upon me, and by that
I do perceive it hath offended you:
Pardon me, sweet one, even for the vows
We made each other but so late ago.
One face, one voice, one habit, and two persons,SEBASTIAN
A natural perspective, that is and is not!
Antonio, O my dear Antonio!ANTONIO
How have the hours rack'd and tortured me,
Since I have lost thee!
Sebastian are you?SEBASTIAN
Fear'st thou that, Antonio?ANTONIO
How have you made division of yourself?OLIVIA
An apple, cleft in two, is not more twin
Than these two creatures. Which is Sebastian?
Most wonderful!SEBASTIAN
Do I stand there? I never had a brother;VIOLA
Nor can there be that deity in my nature,
Of here and every where. I had a sister,
Whom the blind waves and surges have devour'd.
Of charity, what kin are you to me?
What countryman? what name? what parentage?
Of Messaline: Sebastian was my father;SEBASTIAN
Such a Sebastian was my brother too,
So went he suited to his watery tomb:
If spirits can assume both form and suit
You come to fright us.
A spirit I am indeed;VIOLA
But am in that dimension grossly clad
Which from the womb I did participate.
Were you a woman, as the rest goes even,
I should my tears let fall upon your cheek,
And say 'Thrice-welcome, drowned Viola!'
My father had a mole upon his brow.SEBASTIAN
And so had mine.VIOLA
And died that day when Viola from her birthSEBASTIAN
Had number'd thirteen years.
O, that record is lively in my soul!VIOLA
He finished indeed his mortal act
That day that made my sister thirteen years.
If nothing lets to make us happy bothSEBASTIAN
But this my masculine usurp'd attire,
Do not embrace me till each circumstance
Of place, time, fortune, do cohere and jump
That I am Viola: which to confirm,
I'll bring you to a captain in this town,
Where lie my maiden weeds; by whose gentle help
I was preserved to serve this noble count.
All the occurrence of my fortune since
Hath been between this lady and this lord.
[To OLIVIA] So comes it, lady, you have been mistook:DUKE ORSINO
But nature to her bias drew in that.
You would have been contracted to a maid;
Nor are you therein, by my life, deceived,
You are betroth'd both to a maid and man.
Be not amazed; right noble is his blood.VIOLA
If this be so, as yet the glass seems true,
I shall have share in this most happy wreck.To VIOLA
Boy, thou hast said to me a thousand times
Thou never shouldst love woman like to me.
And all those sayings will I overswear;DUKE ORSINO
And those swearings keep as true in soul
As doth that orbed continent the fire
That severs day from night.
Give me thy hand;VIOLA
And let me see thee in thy woman's weeds.
The captain that did bring me first on shoreOLIVIA
Hath my maid's garments: he upon some action
Is now in durance, at Malvolio's suit,
A gentleman, and follower of my lady's.
He shall enlarge him: fetch Malvolio hither:Clown
And yet, alas, now I remember me,
They say, poor gentleman, he's much distract.Re-enter Clown with a letter, and FABIAN
A most extracting frenzy of mine own
From my remembrance clearly banish'd his.
How does he, sirrah?
Truly, madam, he holds Belzebub at the staves's end asOLIVIA
well as a man in his case may do: has here writ a
letter to you; I should have given't you to-day
morning, but as a madman's epistles are no gospels,
so it skills not much when they are delivered.
Open't, and read it.Clown
Look then to be well edified when the fool deliversOLIVIA
the madman.Reads
'By the Lord, madam,'--
How now! art thou mad?Clown
No, madam, I do but read madness: an your ladyshipOLIVIA
will have it as it ought to be, you must allow Vox.
Prithee, read i' thy right wits.Clown
So I do, madonna; but to read his right wits is toOLIVIA
read thus: therefore perpend, my princess, and give ear.
Read it you, sirrah.To FABIANFABIAN
[Reads] 'By the Lord, madam, you wrong me, and theOLIVIA
world shall know it: though you have put me into
darkness and given your drunken cousin rule over
me, yet have I the benefit of my senses as well as
your ladyship. I have your own letter that induced
me to the semblance I put on; with the which I doubt
not but to do myself much right, or you much shame.
Think of me as you please. I leave my duty a little
unthought of and speak out of my injury.
THE MADLY-USED MALVOLIO.'
Did he write this?Clown
Ay, madam.DUKE ORSINO
This savours not much of distraction.OLIVIA
See him deliver'd, Fabian; bring him hither.Exit FABIANDUKE ORSINO
My lord so please you, these things further
thought on,
To think me as well a sister as a wife,
One day shall crown the alliance on't, so please you,
Here at my house and at my proper cost.
Madam, I am most apt to embrace your offer.To VIOLAOLIVIA
Your master quits you; and for your service done him,
So much against the mettle of your sex,
So far beneath your soft and tender breeding,
And since you call'd me master for so long,
Here is my hand: you shall from this time be
Your master's mistress.
A sister! you are she.Re-enter FABIAN, with MALVOLIODUKE ORSINO
Is this the madman?OLIVIA
Ay, my lord, this same.MALVOLIO
How now, Malvolio!
Madam, you have done me wrong,OLIVIA
Notorious wrong.
Have I, Malvolio? no.MALVOLIO
Lady, you have. Pray you, peruse that letter.OLIVIA
You must not now deny it is your hand:
Write from it, if you can, in hand or phrase;
Or say 'tis not your seal, nor your invention:
You can say none of this: well, grant it then
And tell me, in the modesty of honour,
Why you have given me such clear lights of favour,
Bade me come smiling and cross-garter'd to you,
To put on yellow stockings and to frown
Upon Sir Toby and the lighter people;
And, acting this in an obedient hope,
Why have you suffer'd me to be imprison'd,
Kept in a dark house, visited by the priest,
And made the most notorious geck and gull
That e'er invention play'd on? tell me why.
Alas, Malvolio, this is not my writing,FABIAN
Though, I confess, much like the character
But out of question 'tis Maria's hand.
And now I do bethink me, it was she
First told me thou wast mad; then camest in smiling,
And in such forms which here were presupposed
Upon thee in the letter. Prithee, be content:
This practise hath most shrewdly pass'd upon thee;
But when we know the grounds and authors of it,
Thou shalt be both the plaintiff and the judge
Of thine own cause.
Good madam, hear me speak,OLIVIA
And let no quarrel nor no brawl to come
Taint the condition of this present hour,
Which I have wonder'd at. In hope it shall not,
Most freely I confess, myself and Toby
Set this device against Malvolio here,
Upon some stubborn and uncourteous parts
We had conceived against him: Maria writ
The letter at Sir Toby's great importance;
In recompense whereof he hath married her.
How with a sportful malice it was follow'd,
May rather pluck on laughter than revenge;
If that the injuries be justly weigh'd
That have on both sides pass'd.
Alas, poor fool, how have they baffled thee!Clown
Why, 'some are born great, some achieve greatness,MALVOLIO
and some have greatness thrown upon them.' I was
one, sir, in this interlude; one Sir Topas, sir; but
that's all one. 'By the Lord, fool, I am not mad.'
But do you remember? 'Madam, why laugh you at such
a barren rascal? an you smile not, he's gagged:'
and thus the whirligig of time brings in his revenges.
I'll be revenged on the whole pack of you.ExitOLIVIA
He hath been most notoriously abused.DUKE ORSINO
Pursue him and entreat him to a peace:Clown
He hath not told us of the captain yet:
When that is known and golden time convents,
A solemn combination shall be made
Of our dear souls. Meantime, sweet sister,
We will not part from hence. Cesario, come;
For so you shall be, while you are a man;
But when in other habits you are seen,
Orsino's mistress and his fancy's queen.Exeunt all, except Clown
[Sings]
When that I was and a little tiny boy,
With hey, ho, the wind and the rain,
A foolish thing was but a toy,
For the rain it raineth every day.
But when I came to man's estate,
With hey, ho, & c.
'Gainst knaves and thieves men shut their gate,
For the rain, & c.
But when I came, alas! to wive,
With hey, ho, & c.
By swaggering could I never thrive,
For the rain, & c.
But when I came unto my beds,
With hey, ho, & c.
With toss-pots still had drunken heads,
For the rain, & c.
A great while ago the world begun,
With hey, ho, & c.
But that's all one, our play is done,
And we'll strive to please you every day.Exit
Tuesday, 9 December 2014
Assessment Week Research
Assessment Week Work
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UAL Level 3 Performing & Production Arts
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Shakespeare
Research – Twelfth Night
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The
hyperlinks will give you a first source for the answers to the questions.
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When was Twelfth Night written?
What else was happening around this time? Who was in power in England? What
do you know about this ruler?
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Twelfth Night was written in 1601. In 1601 the "old poor law" was inforced and the "Act for the relief of the poor" was on going, The Poor Relief Act 1601 or more popularly known as "The Elizabethan Poor Law" was an act of Parliament in England.
It was passed in 1601 and created a national poor law system in the UK. The Law originates back to the 15th century with the decline of the monasteries and the breakdown of the medieval social structure
The main point of this law was to protect those who were unemployed and to help them into work. For example, poor people were to be looked after in the farm houses and offered relief to those who could not work, for example, blind people, elderly people, people with illnesses or just for those who were not fit to work. This law also protected "Pauper" children and they were looked after and usually would become an apprentice to someone with a higher status.
Elizabeth the 1st was in power in England from 1533 until 1603. |
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What is
the alternative title of the play? Why does it have two titles?
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The alternative title to the play is "What you will"
The play has two titles as it was named Twelfth Night due to Shakespeare being commissioned for the play on the 6th of January, which is the 12th night of Christmas, although the play has next to nothing to do with Christmas. Twelfth night in Elizabeathan times was when people would drink, party and eat to excess as it marked the end of a celebratory period, and this can be seen by Andew Agucheek and Toby Belch, who drink, eat and party to excess, so this has a small relevance to the name of the play. And the title "What you will" has never been explained by anyone, lots of people believe it was called What you will as the play is full of strange behaviour, drunken people, people falling in love, deception and questioning sexuality, it is simply what you make of it yourself, there is no definition of the play and what the title should be, so "what you will" fits it quite well actually as it is literally what you will make of it, it does not need a name as it is full of madness and insanity. People also believe that Shakespeare simply did not know what to call it, he named it Tweflth Night as he was commissioned on the 12th night of Christmas, but he could of just made up " what you will" as an extra name as he did not know what to call it himself! Shakespeare leaves the name for the audience to decide, it is what the audience "will" make of it, he has no definition of the play, which is very dismissive of him, but it is interesting too, as the play is seen as a mystery. |
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What
are the main themes of the play?
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What are the
main differences & similarities between Shakespeare’s Tragedies and Comedies?
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The main similarities between comedies and tragedies I feel are:
The main differences I found out are:
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Name one of
the characters in the play and write short character profile.
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Malvolio is described as
a “Puritan”
by Sir Toby Belch– who and what is a puritan?
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Shakespeare
introduced more than 1700 common words to the English Language. Name 5 of them.
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