Lord3
Money Lender
'Tis a lucky day, boy, and we'll do good deeds on't
Posts: 40
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Post by Lord3 on Jun 5, 2003 21:02:49 GMT -5
O.k. Here's one. I have recently been cast as Caliban in The Tempest and, since I've wanted to play it since I was a lad, I'm thrilled. I almost always find a reason why I shouldn't be playing a part - chalk it up to the insecurity of an actor. I think I'm a little old. Any thoughts? I didn't say my age on purpose.
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Post by rabagas on Jun 5, 2003 22:02:02 GMT -5
Well, it's been a while since I read the play but I don't recall that Caliban's part was too demanding physically. He slithers and crouches around a bit, but doesn't have to execute any maneuvers that require the agility of youth, nor is he the romantic lead which also usually requires youth and good looks. And what age was the monster anyway ? Do monsters have to be young and agile. Not if you're playing a witch. So, I see no objection on the basis of age unless you are too old to get around the stage any more. (I hope you are not) Rabagas
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Lord3
Money Lender
'Tis a lucky day, boy, and we'll do good deeds on't
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Post by Lord3 on Jun 5, 2003 22:42:37 GMT -5
No, I'm not worried about the physical requirements. And I sure as hell don't have to worry about being beautiful as he has been played as anything from a dog eared ape guy to a fish-man. There are clues in the text. Miranda was 2(?) when she came on the island, the play starts when she is 14 = 12 years. And there is something (Obviously I will continue with my homework) about Ariel and 12 or14 yrs. which makes 24 or 26. But I'm a little older. I think thats ok though. It's not made a big deal of.
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The_Turtle
Denizen
Nay, faith, let not me play a woman; I have a beard coming
Posts: 52
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Post by The_Turtle on Jun 11, 2003 7:58:24 GMT -5
You can only hope they don't stick you in last year's rubber Godzilla-outfit. Or maybe that would be a good thing. Masks are always a terrific tool to overcome stage-fright.
What is it with Caliban anyway? Why has he been so prolific? There's a band, a font, a moon, a software company, an x-men for crying out loud! And the list goes on and on.
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Post by Bardolph on Jul 14, 2003 0:22:40 GMT -5
Lord3,
I'm certainly curious about your run as Caliban. What manner of beast was your interpretation? Did you make any departures from any of the orthodox renderings of the character? How did it go? Is there a website for the run?
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Lord3
Money Lender
'Tis a lucky day, boy, and we'll do good deeds on't
Posts: 40
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Post by Lord3 on Jul 14, 2003 11:43:19 GMT -5
We opened our show last week in a beautiful, intimate park setting. www.festivalofclassics.com/The reviews have come in but I can't be specific because I don't read them. Friends have let slip that they were all good! My take on the way Caliban looks has been a work in progress. The designer called me before rehearsals started to ask me what I thought of a body suit with scales on it which I nixed. I am quite sure that C. is not a fish, snake or anything reptilian or amphibious. People point to all the fish references but i believe they refer to his smell. Miranda has known 3 men in her life. Trinculo says "this is no fish but an islander..." That's what he is not. What he IS is another kettle of ... fish. That he is montrous in some way, I have no doubt. My Caliban has 3 3 inch nails on each hand, A deformed leg that makes him limp and list when he walks and body paint, or rather dirt over most of his body, red under the eyes and brown lips. I am fully dressed at the start of the show. My feeling is that Prospero would insist on full coverage after the attempted rape of Miranda. As he becomes freer he sheds his clothes - by the last scene he just has his homespun pants on. Caliban's speaks in verse. Many of them are solely monosyllabic or have just one 2 syllable word in the line. (Of course there are exceptions.) This allows the actor a bit of freedom in the speaking. The iambic rythm is still predominant, but one is able to be a little more deliberate in emphasising other words. All to say that I am able to spit the words out using all the consanants which has the overall effect, I think, of making the language sound foreign in the monsters mouth. Also a little on the brutal side. When Shakespeare wants us to hear his innocent side, he gives softer consanants and longer vowel sounds (see Be not afeard speech.) Just a few things to begin discussion. I'd love to hear your take.
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Post by Bardolph on Jul 14, 2003 14:13:55 GMT -5
That's fascinating. I agree that the fish reference refers to smell. England was awash in tails of fish creatures pouring in from where ever the fleet sailed. Still, there was plenty of commentary on savages of all sorts. I like very much your idea of the progressively unclad Caliban. He gives way to his island identity this way.
With the softer consonants and long vowel sounds, will you do much accentuating, or will you leave it to the text? And given all that, how will you express the seeking after grace that ends Caliban's lines? Will this come in the form of a final expression of the education received from both Prospero and the school of hard knocks?
I'm always very interested in the 'thousand twangling instruments' speech. Will you demonstrate that aided by such gentle noise, or will you try and project it through a silent, almost agonized seeking for that same sound?
What prompts you to suggest a Caliban with a limp, or any deformity beyond ignorance? And will you lunge at Miranda during your tirade to remind the audience of Caliban's nature? I really like that idea of clothing as a confining measure imposed by Prospero. How about some kind of added camouflage as Caliban approaches Prospero's cell to do him violence? I wonder how you show the trepidation as this approaches?
My only live viewing of a stage performance of The Tempest was at about the age eleven. I have seen films of staged versions since then, but only two. I would like to hear more about your approach.
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Lord3
Money Lender
'Tis a lucky day, boy, and we'll do good deeds on't
Posts: 40
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Post by Lord3 on Jul 16, 2003 10:48:34 GMT -5
You raise some very interesting and challenging questions. As far as the verse speaking goes it's very difficult to explain. Ideas about where to start, ie hard consonants, are just that - ideas. You play with them, chew them over and allow them to drop into the character. In the end everything is much more fluid than one might think. Also the text may take you places you might not expect, so you have to be open to that. Caliban's poetry cannot be ignored, it is a part of his soul. I think, as Prospero has Caliban and Ariel in his soul, so Caliban has the earthy qualities we all associate with him, and the desire- the soul reaching for the air, for freedom. "or with a log batter is skull, or paunch him with a stake or cut his wezand with thy knife " (g,b,tt,k,p,ch,st,k, k,z,d,f) These are violent plosives. "Sometimes a thousand twangling instruments will hum about mine ear and sometimes voices..." (s,m, th,tw,ng,s,ts,h,m,m,n,r,s,m...) These consonants suggest an entirely different emotion. You could hardly be plosive if you tried. The two sides of Caliban.
( I wish I could figure out that quote thing)
I think we cn agree that forgiveness is one of the main themes of the play. Caliban must seek for grace and Prospero must allow him to find it, Partly through forgiveness. In our production when Prospero says, "look to trim it handsomely," we have a connection and a quiet understanding passes between us before the action continues.
I found the limp because I felt that he is described as a monster so often that it seems to me there is a physical manifestation of the darkness in him. I'm curious about the phrase "any deformity other than ignorance." I've never been struck by his ignorance but maybe I'm missing something.
To touch on some other questions: I lunge at bothe Prospero and Miranda at different times. There is no other camoflage. I don't feel much trepidation at the approach of P.'s cell. Anxiety that we might get caught, they are awfully loud for would-be assassins, and urgency/excitement that the deed is almost done are predominant emotions. I also don't hold out too much hope for Stephano and Trinculo if the plan succeeds. The god sheen has tarnished.
We were almost rained out last night. We were lucky to get the whole show in. We have only30 or so kicks at the can including previews, so I get disappointed when I'm robbed of the chance of going through Caliban's journey. It is such a privelege say those words.
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Post by Bardolph on Jul 16, 2003 12:00:59 GMT -5
It's very interesting to view your process. Actors dive deeper into the characters than those of us who merely look at them from a literary standpoint. I like the idea that "look to trim it handsomely" comes more as a parental directive than as instructions to a servant. It preserves the transformed relationship between the two. I would very much like to see the way that you underline that with your expressions. To project the idea of a new understanding, one which is tacit, seems like a very high order of acting.
I mention the limp because it's so often used as a device to signify evil. It's true of the mummy in old horror movies. The same can be said for Richard III and for the dwarf on which Shiva stands in Hindu religious statues. There certainly is something about the shuffling gait that stays with us.
I don't think of Caliban as evil by nature, but evil by association and ignorance. Because of his unrestrained desires in youth he attacks Miranda. And because of that the nature of education that receives from Prospero is education biased toward discipline. What he tells us about his inability to name the Sun and the Moon is what I mention here. Part of his redemption, it seems, would be to be cured of that as well. At least that's part of the promise of the new relationship.
I like the lunge idea. I guess that I dismissed any lunges at Prospero because of his open expressions of fear at Prospero's power, and because he had to induce violence by another hand, so great was that fear.
So do you underline the anxiety as the plot comes to a head by running back and forth, or by anxiety manifested in speech, or both? I've always imagined that Caliban, during the approach of violence, wouldn't be able to stop looking over his shoulder, under props, around corners, etc, just because of the nature of the attacks from invisible tormenters that he has so long endured.
It sounds like we are all privileged to have you take Caliban's journey. I only wish that I lived near enough to drop in. It is too bad about the rain. Your director just needs to instruct the cloud to threaten only when Trinculo takes note of it in the play. Now that would be fascinating. Tell your director to pray more or to go out and borrow a cloak, staff and book.
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