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Post by shaxper on Dec 5, 2002 18:45:38 GMT -5
Cool. Did the production you saw include Christopher Sly? If so, how did they do it? was he there throughout, at the begining and end, or just the begining? I've always wanted to see a version where the begining takes place at the back of the theatre and they ultimately take Christopher Sly to the front and seat him in the front row. It requires changing a few lines, but it would work!
By the way, what did you say in your essay about the final speach?
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Post by inhiding on Dec 5, 2002 18:51:01 GMT -5
Actually, it saddened me that he was not even in the play. I didn't like it very much because it was concept-type, I mean they had clothing from so many different 1900's time periods, I personally like the performances to be in Elizibethian clothing etc. It would be awesome if they put Sly in the front row then he had a few parts throughout the performance while set changes etc. were going on. From what our teacher told us, the reason that there is no Sly part at the end of the performance is that Shakespeare may not have had a chance to finish it. Anyone else think that as well? (I assume it must be widely accepted).
As for my essay, it was basically stating that I did not belive that her monolauge at the end of the play was sincere, using textual support to point out that Katherine very well may have been simply shutting up Petrucio. I can post it if you would like, but I do not think it is very good.
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Post by shaxper on Dec 6, 2002 7:23:51 GMT -5
Sounds like a cool essay. Post it if you like, but you don't have to if you'd rather not.
There are a lot of thoughts on Christopher Sly. In fact, a lot of people seem to think whether or not he'spart of the play affects whether or not the ending is sincere. If the bulk of TOTS is a play within a play, then maybe we aren't supposed to take its message to heart, especially when it's being performed for a guy who's clearly stepping out of his societal element and in for a rude awakening (quite a parallel with Kate). There are versions of TOTS where Christopher Sly doesn't appear at all, and (It's been a while, but I believe I'm right in saying this) it's caused some people to wonder if the Christopher Sly bit wasn't added by a later editor or a different playwright revising the play for an encore performance. It may also have come from an earlier, unfinished draft of the play before Shakespeare chose to remove Sly.
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Post by inhiding on Dec 6, 2002 14:18:15 GMT -5
Ahh, i see. Yes, the framed performance (I forget the proper name but that sounds similar) is a great idea in my mind, but it didn't provide any closure.
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Post by shaxper on Dec 7, 2002 10:56:39 GMT -5
Yup. TOTS strikes me as a highly unfinished play (as you said earlier), with or without the framing plot. That's why it really depends upon good directors to do something with it. If you're going to include Christopher Sly, make it WORK. If you're not, you have to find a way to add a level of meaning that either supports or undermines the ending intelligently. I can't stand these uncreative feminist-minded productions where the play is performed without any real interpretation and then, in the ending monologue, Kate is sarcastic. Not to say all femnist-minded productions are like this. I've just seen and read about too many that are.
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