Sunday, June 28, 2009
Friday's Acting Class
What can I say? That was fun. It worked out so perfectly that Allen and I were the female character, Hermia and Helena and that Amy and Katelyn were Demetrius and Lysander. I thought it was especially funny that Allen is so much taller than me yet we had to play up the idea that he was a dwarf and I long legged. The scene overall came out as being very funny. I think Amy and Katelyn did a great job of bring some comedy to the scene, especially with the breaking off of the beard. Bravo, bravo.
Othello, Act V & VI
Looking at Act V of Othello, the thing that intrigues me most is Othello’s concern for Desdemona’s soul, even though he is about to murder her:
OTHELLO: Have you prayed tonight, Desdemona?
DESDEMONA: Ay, my lord.
OTHELLO:
If you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.
DESDEMONA:
Alack, my lord, what may you mean by that?
OTHELLO:
Well, do it, and be brief. I will walk by.
I would not kill thy unprepared spirit.
No, heaven forfend! I would not kill thy soul. (V.ii.26-34)
Why is Othello so concerned with her soul? I don’t think you can answer in any way other than that he is concern because he truly loves Desdemona. Though it’s so messed up, Othello has been forced to believe that he is imparting justice, the will of God on Desdemona. In some ways, he might think that he is actually saving her. As if she is damned to die, not because he wants to himself, but because he is a tool of justice—a soldier easily commanded like earlier with the Turks—and he is saving her soul since her flesh is lost to her sin.
I’d also like to explore the idea that Cassio’s name—Michael Cassio—was picked intentionally to bring up the image of Saint Michael, who was the saint to pray to on your death bed. When you died, he weighed your good sins versus your bad to see if you’d be allowed into heave. Traditionally, he was depicted with a set of scales and a sword, again invoking that image of justice that Othello thought he was carrying out. Certainly, Cassio is the character by which all the others are measured, and all the others do die. Only he and Lodovico are let on stage at the plays close.
As for Act VI, I really liked Robert's idea of having students construct an extra act as a means of punishing the bad guy because we don't know that Iago is dead. He's been injured, but he's certainly not dead. So, how would we punish him? Would the punishment fit the crime, and even, what are his crimes? I thought Robert's exercise would have been very engaging for a younger, perhaps high school class. It was a very interesting idea, and I especially like his Iago.
OTHELLO: Have you prayed tonight, Desdemona?
DESDEMONA: Ay, my lord.
OTHELLO:
If you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.
DESDEMONA:
Alack, my lord, what may you mean by that?
OTHELLO:
Well, do it, and be brief. I will walk by.
I would not kill thy unprepared spirit.
No, heaven forfend! I would not kill thy soul. (V.ii.26-34)
Why is Othello so concerned with her soul? I don’t think you can answer in any way other than that he is concern because he truly loves Desdemona. Though it’s so messed up, Othello has been forced to believe that he is imparting justice, the will of God on Desdemona. In some ways, he might think that he is actually saving her. As if she is damned to die, not because he wants to himself, but because he is a tool of justice—a soldier easily commanded like earlier with the Turks—and he is saving her soul since her flesh is lost to her sin.
I’d also like to explore the idea that Cassio’s name—Michael Cassio—was picked intentionally to bring up the image of Saint Michael, who was the saint to pray to on your death bed. When you died, he weighed your good sins versus your bad to see if you’d be allowed into heave. Traditionally, he was depicted with a set of scales and a sword, again invoking that image of justice that Othello thought he was carrying out. Certainly, Cassio is the character by which all the others are measured, and all the others do die. Only he and Lodovico are let on stage at the plays close.
As for Act VI, I really liked Robert's idea of having students construct an extra act as a means of punishing the bad guy because we don't know that Iago is dead. He's been injured, but he's certainly not dead. So, how would we punish him? Would the punishment fit the crime, and even, what are his crimes? I thought Robert's exercise would have been very engaging for a younger, perhaps high school class. It was a very interesting idea, and I especially like his Iago.
Othello, Act III
Alright, Act III of Othello! In this act I think you get a lot of Othello kind of descent into the stereotypes of being a Moor. He compares himself to a beast when he says, “Exchange me for a goat,” and the word nature it used repetitively. Othello says, “And yet, how nature erring from itself,” to which Iago says,
Ay, there’s the point! As—to be bold with you—
Not affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends—
Foh! One may smell in such will most rank
Foul disproportion, thoughts unnatural.
But pardon me. I do not position
Distinctly speak of her, though I may fear
Her will, recoiling to her better judgment,
May fall to match you with her country forms
And happily repent. (III.iii. 244-254)
Here, Iago really pulls Othello back into his existence as an outsider, one forever strange to English society, the blackamoor. And Othello gives in, saying,
Haply, for I am black
And have not those soft parts of conversation
That chambers have, or for I am declined
Into the vale of years. (III.iii.280-3)
Looking at this act, you also have to deal with the idea of seeing is believing: “Give me the ocular proof”; “Make me to see’t” ; and “Now do I see ‘tis true” (III.iii.376,381&460). We talked about in class how ironic it is that Othello should be so quick to judge by sight, as he is made an outsider because of sight, because he is seen as black in a white-souled society.
With this act, you also have to deal with the handkerchief. Like we talked about in class, there are two stories associate with Othello’s obtaining the handkerchief. So, we have to decide which we believe. Personally, I think the story of the Egyptian giver is supposed to again represent Othello’s slipping into the role of blackamoor. Even if this fantastic story is real, the Othello from the beginning of the play would never have told it. He would have hidden this exotic story as a means of blending, yet here, be tells it outright and makes himself outsider to Desdemona and his society. There’s also something really disturbing about the idea that the handkerchief was dyed in the mummy of “maidens’ hearts” (III.iv.70). Even in death, they couldn’t escape patriarchy.
Ay, there’s the point! As—to be bold with you—
Not affect many proposed matches
Of her own clime, complexion, and degree,
Whereto we see in all things nature tends—
Foh! One may smell in such will most rank
Foul disproportion, thoughts unnatural.
But pardon me. I do not position
Distinctly speak of her, though I may fear
Her will, recoiling to her better judgment,
May fall to match you with her country forms
And happily repent. (III.iii. 244-254)
Here, Iago really pulls Othello back into his existence as an outsider, one forever strange to English society, the blackamoor. And Othello gives in, saying,
Haply, for I am black
And have not those soft parts of conversation
That chambers have, or for I am declined
Into the vale of years. (III.iii.280-3)
Looking at this act, you also have to deal with the idea of seeing is believing: “Give me the ocular proof”; “Make me to see’t” ; and “Now do I see ‘tis true” (III.iii.376,381&460). We talked about in class how ironic it is that Othello should be so quick to judge by sight, as he is made an outsider because of sight, because he is seen as black in a white-souled society.
With this act, you also have to deal with the handkerchief. Like we talked about in class, there are two stories associate with Othello’s obtaining the handkerchief. So, we have to decide which we believe. Personally, I think the story of the Egyptian giver is supposed to again represent Othello’s slipping into the role of blackamoor. Even if this fantastic story is real, the Othello from the beginning of the play would never have told it. He would have hidden this exotic story as a means of blending, yet here, be tells it outright and makes himself outsider to Desdemona and his society. There’s also something really disturbing about the idea that the handkerchief was dyed in the mummy of “maidens’ hearts” (III.iv.70). Even in death, they couldn’t escape patriarchy.
Thursday, June 25, 2009
Thinking about Wednesday's acting
Wednesday was SO much better than Tuesday. I was so happy to get my Sly lines done. I chugged some Mountain Dew, as to provide Sly with his energy. But we also did that really fun exercise of walking around the room and being made to stop and speak our one line. I thought that was great! What really struck me was how willing we all were to do it, because less than ten days ago, when we first starting the acting class, I don’t think we’d have been able to do that. For me, I know I was so much in my shell the first two or three days that I couldn’t have done all that walking and yelling and whispering, acting like a flighty teenage girl while saying, “All life is silliness, when to live is a torment.” I can definitely see using that in a class, but only in a class that I’m already familiar with, a class that knows me as a teacher and knows it’s OK to be silly and get into it.
I was intrigued, too, to hear the excitement of the actors when Othello came up. What’s up actors, why so much love for Othello?
I was intrigued, too, to hear the excitement of the actors when Othello came up. What’s up actors, why so much love for Othello?
Wednesday’s Acting & Othello, Acts 1-2
Wednesday’s acting class didn’t go so well. It should have been my last day with my lines, but I just couldn’t do it. I don’t know—I just didn’t feel funny, or even extraverted enough to try to be funny. And I guess that’s a terrible excuse, but it’s true. The energy levels were down, and Sly just wasn’t as funny. It give me even more of an appreciation for what it is that the acting pros do, because they can’t think of it that way. The character’s not you. Even when your energy is down, your character’s energy is still your characters—if that makes any sense. Anyways, there’s tomorrow.
I have to be honest: When I was in high school, Othello was by far my favorite tragedy, if not favorite play of all. Now, though, I’m just not that into it. Maybe it’s because I’ve read it so many times. Indeed, it’s a play that can be studied as early as middle school and continues to be studied into graduate school, which means I’ve read at least—I don’t even know—four or five times. For some reason, too, I seem to compare it in my head to Titus Andronicus and find it less interesting. I'd certainly rather work with the character or Aaron than Othello, but that's a pretty flawed arguement.
Reading about race and religion in Early Modern England, though, really provided an interesting avenue for me to explore. Namely, in regards to “race” in the period, I am taking with this idea: “Sexuality, as well as color, binds race-thinking and religious imagery in the play…. Christianity’s concerns with purity, sexual purity in particular, are most often located in the female; patriarchal order thus depends on surveillance and control of women” (175).
Certainly the most interesting aspect of Othello, for me, is the connection between English nationhood and virginity. England was so afraid of being dehomoginized, and they projected that fear on to the bodies of white women, even the body of queen--especially the body of the queen. As Elizabeth was impenetrable, England was.
Anyway, without that background knowledge, I find it difficult to get into Othello. Having it, though, I thinking looking at sexuality is so interesting. Othello is always made to be sexually violent: “Even now, now, very now, and old black ram / Is tupping your white ewe” (I.i.89-90). It’s almost to say, now, now, very now, your borders are being infiltrated and your homogeneous society is slip, slip, slipping away.
I have to be honest: When I was in high school, Othello was by far my favorite tragedy, if not favorite play of all. Now, though, I’m just not that into it. Maybe it’s because I’ve read it so many times. Indeed, it’s a play that can be studied as early as middle school and continues to be studied into graduate school, which means I’ve read at least—I don’t even know—four or five times. For some reason, too, I seem to compare it in my head to Titus Andronicus and find it less interesting. I'd certainly rather work with the character or Aaron than Othello, but that's a pretty flawed arguement.
Reading about race and religion in Early Modern England, though, really provided an interesting avenue for me to explore. Namely, in regards to “race” in the period, I am taking with this idea: “Sexuality, as well as color, binds race-thinking and religious imagery in the play…. Christianity’s concerns with purity, sexual purity in particular, are most often located in the female; patriarchal order thus depends on surveillance and control of women” (175).
Certainly the most interesting aspect of Othello, for me, is the connection between English nationhood and virginity. England was so afraid of being dehomoginized, and they projected that fear on to the bodies of white women, even the body of queen--especially the body of the queen. As Elizabeth was impenetrable, England was.
Anyway, without that background knowledge, I find it difficult to get into Othello. Having it, though, I thinking looking at sexuality is so interesting. Othello is always made to be sexually violent: “Even now, now, very now, and old black ram / Is tupping your white ewe” (I.i.89-90). It’s almost to say, now, now, very now, your borders are being infiltrated and your homogeneous society is slip, slip, slipping away.
When Shakespeare Students Do Sing: Willow, Willow
When teaching Act IV of Othello, there are many possible points of discussion. To give just a couple of examples, a teacher might choose to examine Desdemona’s request to have the sheets from her wedding night put back onto her bed: “Prithee, tonight / Lay on my bed my wedding sheets, remember; / And call thy husband hither” (IV.ii.108-10). And later, in scene three, Desdemona instructs Emilia, saying, “If I do die before thee, prithee, shroud me / In one of those same sheets” (IV.ii.23-4). Examining these two references to her wedding sheets facilitates a conversation on the unanswered question of Desdemona’s virginity, as well as her faithfulness to Othello.
A teacher could also choose to juxtapose Desdemona and Emilia by examining Emilia’s speech in scene three:
Let husbands know
Their wives have sense like them. They see, and smell,
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is. And doth affection breed it?
I think it doth. Is’t frailty that thus errs?
It is so, too. And have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well; else let them know,
The ills we do, their ill instruct us so. (IV.iii.92-102)
Looking at this speech, what can we understand about Emilia in her relationship to her husband, and her relationship to Desdemona? Do these two female characters represent opposite sides to the same coin? In what ways are they similar, and in what ways are they different?
Looking at and discussing these pieces is a sound approach to teaching this act; however, this approach is mere discussion in a play that begs “ocular proof,” that demands “make me to see’t” (III.iii.77 & 81). Therefore, I’d like to present an exercise that, through the use of a visual medium, literally looks at the play.
Initial Discussion: Can anyone think of a play (or movie) that they’ve seen that has a song performed in it—not necessarily a musical, just a play that has a sort of musical interlude? What was the effect of the song on the play? Did it add an air of seriousness, or did is provide comedic relief?
The examples that pop into my mind all use songs as a means of comedy, like Family Guy, Forgetting Sarah Marshall, and recently, Yes Man, starring Jim Carrey. All of these are comedies, though. Can anyone think of a movie that uses song in a more serious manner, perhaps to convey a darker mood?
With all that in mind, I’d like us to read a portion of Act IV aloud. I need three volunteers, one to read the lines of Othello, one the lines of Desdemona, and one Emilia’s. Read lines 7-58.
Having read that, let’s think about Desdemona’s song. There are only two places in this place where singing is utilized (this being the second), so why here? What is gained by having Desdemona sing this song?
Rather than thinking about the words of the song, though—as I know we are all so inclined to do—I want us to think about this visually. What effect, visually, does staging a song have on the audience? What’s different than if, say, Desdemona were to just say these lines?
Now, with all of this in mind, we’re going to create something ocular, something that we can see, rather than just read or hear. We’re going to make a music video!
Here’s how it’s going to work: As one group, you’ll be making one music video. Everyone is required to participate in the making of this video; however, there is no requirement as to how each of you participates. This is to say, you don’t have to sing if you’re uncomfortable with singing. Different aspects of a music video have to be met, though: 1) the words must be spoken or sung; 2) there must be some sort of physical movement, be it acting or dancing; and 3) there has to be some sort of music.
You have about fifteen minutes to discuss and decide how—if you were making a modern day music video—you would perform this song.
Things to think about: what tone or mood do you want your video to convey; are you performing the song in or out of the context of Othello; can you pick a single genre of music to perform this song within; do you want to just perform to song or could you incorporate other line from the play?
FEEL FREE to use anything in the room to assist you in the making of your video, especially the computer and the other technology in this particular classroom. And feel free to edit and amend the song as you see fit.
The poor soul sat sighing by a sycamore tree,
Sing all a green willow;
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow.
The fresh streams ran by her and murmured her moans;
Sing willow, willow, willow;
Her salt tears fell from her, and softened the stones—
Sing willow, willow, willow—
Sing all a green willow must be my garland.
Let nobody blame him, his scorn I approve—
I called my love false love; but what said he then?
Sing willow, willow, willow;
If I court more women, you’ll couch with more men.
At the end of the fifteen minutes, you will stage your video, which I’ll record. And hopefully, tomorrow we’ll be able to actually watch and discuss our music video. If we can’t, then we can’t; but in a normal class, this would be planned out so that students can watch the music videos.
A teacher could also choose to juxtapose Desdemona and Emilia by examining Emilia’s speech in scene three:
Let husbands know
Their wives have sense like them. They see, and smell,
And have their palates both for sweet and sour,
As husbands have. What is it that they do
When they change us for others? Is it sport?
I think it is. And doth affection breed it?
I think it doth. Is’t frailty that thus errs?
It is so, too. And have not we affections,
Desires for sport, and frailty, as men have?
Then let them use us well; else let them know,
The ills we do, their ill instruct us so. (IV.iii.92-102)
Looking at this speech, what can we understand about Emilia in her relationship to her husband, and her relationship to Desdemona? Do these two female characters represent opposite sides to the same coin? In what ways are they similar, and in what ways are they different?
Looking at and discussing these pieces is a sound approach to teaching this act; however, this approach is mere discussion in a play that begs “ocular proof,” that demands “make me to see’t” (III.iii.77 & 81). Therefore, I’d like to present an exercise that, through the use of a visual medium, literally looks at the play.
Initial Discussion: Can anyone think of a play (or movie) that they’ve seen that has a song performed in it—not necessarily a musical, just a play that has a sort of musical interlude? What was the effect of the song on the play? Did it add an air of seriousness, or did is provide comedic relief?
The examples that pop into my mind all use songs as a means of comedy, like Family Guy, Forgetting Sarah Marshall, and recently, Yes Man, starring Jim Carrey. All of these are comedies, though. Can anyone think of a movie that uses song in a more serious manner, perhaps to convey a darker mood?
With all that in mind, I’d like us to read a portion of Act IV aloud. I need three volunteers, one to read the lines of Othello, one the lines of Desdemona, and one Emilia’s. Read lines 7-58.
Having read that, let’s think about Desdemona’s song. There are only two places in this place where singing is utilized (this being the second), so why here? What is gained by having Desdemona sing this song?
Rather than thinking about the words of the song, though—as I know we are all so inclined to do—I want us to think about this visually. What effect, visually, does staging a song have on the audience? What’s different than if, say, Desdemona were to just say these lines?
Now, with all of this in mind, we’re going to create something ocular, something that we can see, rather than just read or hear. We’re going to make a music video!
Here’s how it’s going to work: As one group, you’ll be making one music video. Everyone is required to participate in the making of this video; however, there is no requirement as to how each of you participates. This is to say, you don’t have to sing if you’re uncomfortable with singing. Different aspects of a music video have to be met, though: 1) the words must be spoken or sung; 2) there must be some sort of physical movement, be it acting or dancing; and 3) there has to be some sort of music.
You have about fifteen minutes to discuss and decide how—if you were making a modern day music video—you would perform this song.
Things to think about: what tone or mood do you want your video to convey; are you performing the song in or out of the context of Othello; can you pick a single genre of music to perform this song within; do you want to just perform to song or could you incorporate other line from the play?
FEEL FREE to use anything in the room to assist you in the making of your video, especially the computer and the other technology in this particular classroom. And feel free to edit and amend the song as you see fit.
The poor soul sat sighing by a sycamore tree,
Sing all a green willow;
Her hand on her bosom, her head on her knee,
Sing willow, willow, willow.
The fresh streams ran by her and murmured her moans;
Sing willow, willow, willow;
Her salt tears fell from her, and softened the stones—
Sing willow, willow, willow—
Sing all a green willow must be my garland.
Let nobody blame him, his scorn I approve—
I called my love false love; but what said he then?
Sing willow, willow, willow;
If I court more women, you’ll couch with more men.
At the end of the fifteen minutes, you will stage your video, which I’ll record. And hopefully, tomorrow we’ll be able to actually watch and discuss our music video. If we can’t, then we can’t; but in a normal class, this would be planned out so that students can watch the music videos.
*Note: Since there are so few of us, we’ll just work as one group on one video. If it were a bigger class, there could be several groups making several music videos for this one song. And having different groups making different videos would facilitate a conversation on the different ways that Desdemona’s song can be interpreted.
Source: Susan M. Kochman. MTV Othello. Folger Shakespeare Library, 1998.
Wednesday, June 24, 2009
Interesting Primary Source
As I was researching for my lesson on Desdemona's song, I looked at some primary sources on music and singing. I found one—William Byrd’s Psalmes, sonets, & songs of sadnes and pietie (London, 1588)—that I thought was pretty interesting. It really has nothing to do with my exercise, but I thought I’d post it just in case anyone’s interested. 
* * *
At the very beginning of the book, Bryd has this page where he lists the "Reasons breifely set downe by th' author, to perswade every one to learne to sing." He lists,
First, it is a knowledge easily taught, and quickly learned, whether is a good Master, & an apt scholar.
2. The exercise of singing is delightful to Nature, and good to preserve the health of man.
3. It doth strengthen all parts of the breast, & doth open the pipes.
4. It is a singular good remedy for stutting & stammering in the speech.
5. It is the best means to procure perfect pronunciation, and to make a good Orator.
6. It is the only way to know where Nature hath bestowed the benefit of a good voice: which gift is so rare, as there is not one among a thousand that hath it: & in many that excellent gist is lost, because they want art to express Nature.
7. There is not any Music of Instruments whatsoever, comparable to that which is made of the voice of men, where the voices are good, & the same well sorted and ordered.
8. The better the voice it, the meeter it is to honor & serve God there-with: and the voice of man is chiefly to be employed to that end.
Omnis spiritus laudet Dominum [Let everything that hath breath praise the Lord]
Since singing is so good a thing,
I wish all men would learn to sing.
2. The exercise of singing is delightful to Nature, and good to preserve the health of man.
3. It doth strengthen all parts of the breast, & doth open the pipes.
4. It is a singular good remedy for stutting & stammering in the speech.
5. It is the best means to procure perfect pronunciation, and to make a good Orator.
6. It is the only way to know where Nature hath bestowed the benefit of a good voice: which gift is so rare, as there is not one among a thousand that hath it: & in many that excellent gist is lost, because they want art to express Nature.
7. There is not any Music of Instruments whatsoever, comparable to that which is made of the voice of men, where the voices are good, & the same well sorted and ordered.
8. The better the voice it, the meeter it is to honor & serve God there-with: and the voice of man is chiefly to be employed to that end.
Omnis spiritus laudet Dominum [Let everything that hath breath praise the Lord]
Since singing is so good a thing,
I wish all men would learn to sing.
* * *
So, that's Bryd's text. I also found this cool picture from John Dowland's The First Book of Songes or Ayers of fowre partes with Tableture for Lute (London, 1597).
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