Happy Halloween, Bardophiles!
So. Here we are. At the end of our time-share somewhere between Rome and Alexandria. At the end of three–count ‘em! Three!–months with that slap-and-tickle couple, Antony and Cleopatra.
And I’m happy to be hitting the road and heading to … well, more on that in a minute.
Continue reading Antony and Cleopatra: the wrap-up
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This week’s podcast concludes our three month-long discussion of Antony and Cleopatra with a production concept and cast, then a wrap-up of the play.
Continue reading Podcast 138: Antony and Cleopatra: Concept, cast, and conclusion
Antony and Cleopatra
So here’s the numerical breakdown…
Continue reading Antony and Cleopatra: By the numbers
With every play, I like to take a look at some of the verse variations within a play to see what we can find in terms of characterization or performance. There are two scenes of note in Antony and Cleopatra, that give us an opportunity to compare and contrast.
So let’s dive in…
Continue reading Antony and Cleopatra: Verse, scansion, and character
Using Professor Rodes’ midpoint theory, let’s take a look at Antony and Cleopatra.
There are 3039 lines in in the play, which means the midpoint is at line 1520, or at Act Three, Scene Six, line 37. According to Dr. Rodes’ theory, you could find at this midpoint–or within twenty lines either way–a speech that perfectly sums up a major theme of the play (the 20-line leeway was to help remove the differences in prose line lengths between individual editions).
Continue reading Midpoint–enter Octavia then pivot
With every play, I like to take a look at the stage direction that are hidden in the dialogue. Shakespeare’s (in)famous for a dearth of explicit stage directions, forcing the enterprising actor/director to plumb the dialogue lines in search of some helpful nuggets. And thus my occasional sojourns into script studies. Antony and Cleopatra is no different.
Only it is.
Continue reading Antony and Cleopatra: stage directions in dialogue
So. We’re in the home stretch for Antony and Cleopatra. And just what is this thing? It’s certainly not a history (there’s too much of a huge chunk of the actual chronology missing–despite what I said Saturday). And as we discussed before, the concept of the tragic hero/ine/s here is sketchy at best.
Continue reading Ain’t talkin’ ‘bout love
I’ve talked a little (well, maybe not a little) about the concept of performances and acting in Antony and Cleopatra. Our titular couple seems to act any role but that of themselves, so much so that I question who they really are.
There’s another angle to this performance relationship, however…
Continue reading Shakespearean Cosplay
OK, so some scattered thoughts for this Saturday morning, re: Antony and Cleopatra, history, theater, and–believe it or not–Alexander Hamilton…
Continue reading Antony and Cleopatra’s history, man (again)
Yesterday, I noted the many times in Antony and Cleopatra that we see a motif of performance and acting. There were quite a few.
Today, I’ve got no major revelations–just some questions…
Continue reading Who am I playing, again?
So yesterday, I discussed the dearth of lines shared alone on stage by our titular lovers in Antony and Cleopatra. And I talked a little about the fact that for all their other interactions, they have an audience. In some of these cases, Antony and/or Cleopatra seem to be performing.
But there are more performances in the play, if you care to look.
And I care.
Continue reading Performance anxiety
So, I’m looking at the appearances of Antony and Cleopatra in Antony and Cleopatra, and I note something of interest. The two of them are alone together on stage…
Continue reading together / alone
Reportage is important in Shakespeare. We’ve seen this before: the bloody soldier’s description of the battle near the beginning of Macbeth; Gertrude’s report of the death of Ophelia in Hamlet. But here in Antony and Cleopatra, it just feels like there’s so much more…
Continue reading Antony and Cleopatra: Reportage
Podcast: Play in new window | Download (Duration: 24:19 — 16.9MB)
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[WARNING: The the first portion of the following podcast contains adult language, sexual imagery, and stuff to make you say, “Man, that’s a dirty play.” You HAVE been warned. SKIP TO THE 15:30 MARK IF EASILY OFFENDED.]
This week’s podcast continues our three month-long discussion of Antony and Cleopatra with a quick look at bawdy in the play, then a look at Enobarbus’ “the barge” speech.
Continue reading Podcast 137: Antony and Cleopatra: Bawdy and the Barge [EXPLICIT]
So, I’ve been thinking (as is my wont as I near the end of the discussion of a play) about Antony and Cleopatra, and the pervading view of women (or woman) in the play.
This is by no means as misogynistic a play as Troilus and Cressida (as we’ve noted before and before and before and before yet again). But it’s not exactly one that reveres (or even respects) woman. And please, don’t give me the “but Cleopatra is one of the greatest female roles in Shakespeare blah blah blah” argument. I’ll grant you she has a huge role in the play. She’s part of our dual (and dueling) tragic heroes. But women as a whole?
Continue reading O, Pretty Woman…