Tuesday, August 6, 2013
Wednesday, February 20, 2013
Departing Words...
Act 1 scene iii shows us again Cleopatra playing on the emotion of Antony. As Rome is under a civil war, Antony has intentions to go back. As well as with the death of Fulvia, he has matters of the state to attend to. The Queen goads at him with questions of sacred vials, and asks if his professions of love to her were the same he spoke to his wife. Even feigning fainting, she strikes at his soul. It brings the question to mind of how does Antony receive her words? Is he so in love with her that he accepts the harsh criticisms of his actions? Or does he believe that they are playful? Or perhaps even believes her to be sincerely hurt? Probably not the last, as anger does arise in him and he expresses it by telling her "You'll heat my blood. No more."
How often do we in our own lives accept things we want them to be, instead of what they are? Anger stems from us seeing the potential in a situation or a person, and it/they not living up to it. We are emotional creatures, and often times react on those emotions. Sometimes for the better, sometimes for not. As we continue to explore Antony, we see he reacts out of emotion more and more. I have to be careful not to admire the passion in him, as it reflects my own life. My own awareness of that however, has lead me to be overly analytical and sometimes too calculated. Earlier in my youth, I had done many things out of "the moment" and what I felt at that time. Regardless of the outcome, never a healthy lifestyle. Now, having experienced extreme lows as consequences for my youthly choices, I find myself at the extreme. Weighing the options of cream in my coffee or no cream ad nauseum, I sometimes find my coffee cold when I decide...Antony, however, a soldier, has been trained not to spend time weighing out options to react. For if too much time is spent, lives could be lost. His own, even. I need to learn the balance of the two. My constant joke is I'm a Gemini, so polar opposites I must be and have no choice in the matter. Either I add cream instantly, or I let my coffee grow cold with indecisiveness.
Shakespeare yet again provides me with a window to my past, and a door to my future.
How often do we in our own lives accept things we want them to be, instead of what they are? Anger stems from us seeing the potential in a situation or a person, and it/they not living up to it. We are emotional creatures, and often times react on those emotions. Sometimes for the better, sometimes for not. As we continue to explore Antony, we see he reacts out of emotion more and more. I have to be careful not to admire the passion in him, as it reflects my own life. My own awareness of that however, has lead me to be overly analytical and sometimes too calculated. Earlier in my youth, I had done many things out of "the moment" and what I felt at that time. Regardless of the outcome, never a healthy lifestyle. Now, having experienced extreme lows as consequences for my youthly choices, I find myself at the extreme. Weighing the options of cream in my coffee or no cream ad nauseum, I sometimes find my coffee cold when I decide...Antony, however, a soldier, has been trained not to spend time weighing out options to react. For if too much time is spent, lives could be lost. His own, even. I need to learn the balance of the two. My constant joke is I'm a Gemini, so polar opposites I must be and have no choice in the matter. Either I add cream instantly, or I let my coffee grow cold with indecisiveness.
Shakespeare yet again provides me with a window to my past, and a door to my future.
Sunday, February 10, 2013
Personal Goals For This Play
As I embark on the next leg of my journey, I think about what I want to achieve. While I am always open to letting the road lead me to where it takes, I still keep some general goals on the horizon. I am always in a constant search of a deeper understanding of who I am and what makes me "tic". However, after coming off my scene performances of Henry IV, and The Tempest, in Beyond The Bars, I want to progress further. A new play brings new depths. New characters. New explorations. A reconnected actor in Megale brings a new element as well.
Truly though, my goals are selfish. I look to get a richer understanding of the text of Shakespeare. Progress my skills as an actor. Continue my avenue as an outlet of expression. Acting to me, Shakespeare, specifically, gives me an opportunity to express all the deep emotions that make up who I am. Having worked on only two projects, this being my third, I look forward to recreating the experience I had prior: taking the characters, and relating their experiences to my own. When I look into why Cleopatra does this, or Antony that, or Caesar this, I can break down what I believe the reason is for them doing it. Whether it is insecurity, scorn, or submissiveness, finding ways to relate to that emotion from my past gives me an opportunity to understand myself better, and in turn grow as an individual.
The hopes that I have from anyone who I work with, are to help push me into digging deeper. Help me find a rawer nerve, and explore it. I try to do the same with them. I hope to move forward with who I am as a man, a father, a friend, a son, a brother.
Truly though, my goals are selfish. I look to get a richer understanding of the text of Shakespeare. Progress my skills as an actor. Continue my avenue as an outlet of expression. Acting to me, Shakespeare, specifically, gives me an opportunity to express all the deep emotions that make up who I am. Having worked on only two projects, this being my third, I look forward to recreating the experience I had prior: taking the characters, and relating their experiences to my own. When I look into why Cleopatra does this, or Antony that, or Caesar this, I can break down what I believe the reason is for them doing it. Whether it is insecurity, scorn, or submissiveness, finding ways to relate to that emotion from my past gives me an opportunity to understand myself better, and in turn grow as an individual.
The hopes that I have from anyone who I work with, are to help push me into digging deeper. Help me find a rawer nerve, and explore it. I try to do the same with them. I hope to move forward with who I am as a man, a father, a friend, a son, a brother.
Antony's Dilemma
In the conversation between Enorbabus and Antony (Act I, Scene i), the laughter and joking banter between the two suddenly turns serious.
Antony has realized that Pompey has become a real threat, and has come to the conclusion that Rome is in a grave sense of danger. Antony has also come to a realization that Cleopatra has distracted him from the seriousness of the trouble caused by his wife Fulvia, among other things.
This exchange between Enorbabus and Antony has sparked in Antony an inner reflection on his own morality in this matter. Antony is torn between Cleopatra and his responsibilities in Rome.
Monday, February 4, 2013
What is Shakespeare's message about messengers?
In Act I, Scene ii of Antony and Cleopatra, Cleopatra's attendants Charmian and Iras ask a soothsayer to tell them their fortunes, and Anthony learns from his messengers that his wife Fulvia is dead.
What might Shakespeare be implying, or inviting us to think about, by giving such prominent roles to the soothsayer and the messengers in this scene, and in the play more generally?
Sunday, January 27, 2013
Tony and Cleo
I've been thinking about new ways to engage Shakespeare's texts, and thanks to a friend, the marvelous work of hip hop artists the Q Brothers came back to my mind today.
Here's my first experiment in translating Shakespeare into the hip hop idiom, starting with the opening of Act I, Scene i of Antony and Cleopatra. Let me know what you think! Suggestions appreciated.
Here's my first experiment in translating Shakespeare into the hip hop idiom, starting with the opening of Act I, Scene i of Antony and Cleopatra. Let me know what you think! Suggestions appreciated.
PHILO
Yo brotha Deme, the Generals' whacked
He's out of control, and that's a fact
The Roman soldier boys used to be his stars
And his eyes were a-glowin like the great god Mars
When he took them to battle and got into fights
But now Antony is spending all his nights
In bed with Cleopatra where he always wants more
He's giving all his mojo to that gypsy whore
Oh man, here they come, you'll see exactly what I mean
Just watch this fool now when he makes the scene
CLEOPATRA
If you really love me, baby, now tell me how much
ANTONY
It's really too big, my girl, for you to judge
CLEOPATRA
I'll be the judge of that - now let me measure your heart!
ANTONY
It's bigger than the universe, how's that for a start?
MESSENGER
I have some news from Rome my lord - now please don't scoff
ANTONY
Just spit it out my man before you piss me off
CLEOPATRA
Fulvia your wife might have a bone to chew-
And baby Caesar have a little work for you-
To subjugate some lands and liberate a few
You better do it now, and better do it well
If you don't follow orders, you'll be damned to hell!
ANTONY
Say what?
CLEOPATRA
Say this, my man - you gotta go!
Your orders come from Caesar, and he's running the show
Where's Fulvia's summons? Oops - I meant to say Caesar's!
The two of them have got your nuts inside some tweezers
Get the messengers now, and tell us what they said
Oh, Antony, I do believe your face is red!
That shows I hit it right - you're Caesar's dog, his slave!
And Fulvia, she whips your butt 'til you behave
Now Antony, it's plain to see, you're fully red!
Get the messengers - now!- and tell us what they said!
ANTONY
Let Rome in Tiber melt, and let the empire fall!
Kingdoms are clay, but we are standing tall!
My place is here, and let the news be global!
Antony and Cleopatra's love is noble!
Friday, January 25, 2013
Act I, Scene i: "Let Rome in Tiber melt..."
ANTONY
Let Rome in Tiber melt, and the wide arch
Of the ranged empire fall! Here is my space!
Kingdoms are clay! Our dungy earth alike
Feeds beast as man. The nobleness of life
Is to do thus, and when such a mutual pair
And such a twain can do't, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.
This is Antony's response to Cleopatra's teasing admonitions for Antony to call in his messengers, who she presumes will be delivering orders and reprimands from Caesar and Fulvia, his wife. Rather than face these realities, Antony wishes Rome and the empire into oblivion, and commits himself to "this space"--in Alexandria, with Cleopatra, where together, he declares, they have achieved the highest possible "nobleness of life."
Have Antony and Cleopatra created something "noble" together? Considering their passion, their playfulness, their extravagance, and their theatricality... I would say that they are excellent in their enjoyment of each other. They are fun to watch, and to be with, as Charmian's and Enobarbus' responses show us. This, too, is excellent.
I admire Antony and Cleopatra's success in creating a space like this--where beauty, wit, and pleasure can thrive. I'd much rather have them over for dinner than, say, Octavius Caesar and Lepidus! A short dinner--since my enjoyment of their gamesmanship would wear thin after a few rounds.
At the same time that I enjoy Antony and Cleopatra's passionate love-making, I can also see that their mutual admiration is solipsistic, addictive, and ultimately destructive.
This has me thinking of my own pursuit of "nobility" in certain areas of life. Passion, wholeheartedness, and a dedication to excellence can curdle when they become too narrow and possessive.
What are your initial responses to the play? What does the language suggest to you about the characters, their choices, and the relevance of all this to your own experience?
Post your comments here.
Let Rome in Tiber melt, and the wide arch
Of the ranged empire fall! Here is my space!
Kingdoms are clay! Our dungy earth alike
Feeds beast as man. The nobleness of life
Is to do thus, and when such a mutual pair
And such a twain can do't, in which I bind,
On pain of punishment, the world to weet
We stand up peerless.
This is Antony's response to Cleopatra's teasing admonitions for Antony to call in his messengers, who she presumes will be delivering orders and reprimands from Caesar and Fulvia, his wife. Rather than face these realities, Antony wishes Rome and the empire into oblivion, and commits himself to "this space"--in Alexandria, with Cleopatra, where together, he declares, they have achieved the highest possible "nobleness of life."
Have Antony and Cleopatra created something "noble" together? Considering their passion, their playfulness, their extravagance, and their theatricality... I would say that they are excellent in their enjoyment of each other. They are fun to watch, and to be with, as Charmian's and Enobarbus' responses show us. This, too, is excellent.
I admire Antony and Cleopatra's success in creating a space like this--where beauty, wit, and pleasure can thrive. I'd much rather have them over for dinner than, say, Octavius Caesar and Lepidus! A short dinner--since my enjoyment of their gamesmanship would wear thin after a few rounds.
At the same time that I enjoy Antony and Cleopatra's passionate love-making, I can also see that their mutual admiration is solipsistic, addictive, and ultimately destructive.
This has me thinking of my own pursuit of "nobility" in certain areas of life. Passion, wholeheartedness, and a dedication to excellence can curdle when they become too narrow and possessive.
What are your initial responses to the play? What does the language suggest to you about the characters, their choices, and the relevance of all this to your own experience?
Post your comments here.
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