UH 2010 INDIVIDUAL PROJECT

Rachel Sheidler

MY EXPERIENCE Shakespeare – After thoroughly studying and dissecting specific scenes from the three Shakespeare plays we studied and critically thinking about the themes and language Shakespeare uses in his works before acting them out, I realized that the privilege of bringing Shakespeare to life is placed upon the reader or actor. Getting a chance to view other scenes of Shakespeare from a critical point of view I was able to become more confident in my deliverance of the script and realize the important of volume, tone, gestures, and actions when performing. I definitely think my deliverance of Shakespearean works have improved over the course with each scene we portrayed. Studying Shakespeare in the class was easier for me than it ever was in high school because we had the opportunity to modernize the lines so we understood what we were saying before becoming the characters. In other words, in order to fully understand and work with Shakespeare to the best of your abilities, you must first work with, and sometimes modify the language.

Shepard – Working with the two Shepard plays at the end of the term helped me better develop my skills of noticing obscure symbolism in plays and the importance of the reader’s interpretation. Shepard leaves his plays open to the interpretation of the reader. Thus, the play has a different meaning for everyone based on their own past relationships and emotions. Working with Savage/Love allowed me to use my own imagination to portray the work, allowing me to be creative. It isn’t so much the story that matters, but what your readers and audience take away from it.

MACBETH ANNOTATIONSAct 1, Scene 5 http://www.youtube.com/watch?v=sDE4lsTInaU (0:22 – 3:44)

I thought the college student did a phenomenal job portraying Lady Macbeth in this scene. Not only did she display her emotions really well, but she constantly changed the volume of her voice while reading the letter as well. Whether she was whispering or screaming or talking slowly or quickly gave the audience clues to the emotions the character was feeling at the time. I found the costume of Lady Macbeth intriguing as well. In all the other versions I saw she was shown as being lady-like, proper, and pristine. The other versions conveyed this by putting Lady Macbeth in makeup and dresses. However, in this version, her hair was untamed, she was dressed in rags, and had smudges and scratches on her arms. I like this costuming better in this scene because it hints to the audience that Lady Macbeth is really a deranged and demonic character.

Act 2 Scene 3 http://www.youtube.com/watch?v=pusU90ov8pQ

After watching several movie versions of Macbeth during my senior year English class, the one featuring Patrick Stewart as Macbeth was my favorite. I particularly like this scene because Stewart never breaks eye contact with the camera. It makes us feel, as viewers, connected to the character. The intense scene makes us feel that we are inside his mind, in his shoes, having the same thoughts and doubts he is having. He keeps his voice steady and low, as if he is really having a conversation with the viewers. His hand gestures also add to the scene, instead of clutching for the dagger one time, he tries multiple times to grasp it, making this version stand out from other ones.

Act 5 Scene 1 http://www.youtube.com/watch?v=U4KgIJD5n6c (0:33 – End)

For the sleepwalking scene I really enjoyed the eerie atmosphere the director created with the blue light on Lady Macbeth throughout the entire scene. I thought the actress portrayed the emotion of her character really well. She would change her tone and volume drastically throughout the scene, there are times she is overcome with emotion when suddenly she completely changes her manner by speaking without emotion, clueing the audience to believe that she is being “possessed” by her guilt or a spirit. Her gestures also add to the scene, by shaking, gasping, and constantly wringing her hands, she portrays that she really is possessed and not in the right state of mind.

Act 3 Scene 4 http://www.youtube.com/watch?v=Nre482NEosQ (0:50 - 1:46)

One aspect that I particularly liked in this interpretation when Macbeth sees the ghost of Banquo is that the director added flashes as Macbeth sees Banquo and changed the color of the scene to assure the audience that only Macbeth can see Banquo sitting in his chair. It make is clearer and less confusing for the audience. Not to mention Macbeth’s strange behavior throughout the rest of the scene, as he is staring at the chair in shock, unable to speak.

SHEPARD ANNOTATIONS

Savage/Love Video Cliphttps://www.youtube.com/watch?v=wzPOb0BbQUM

(17:15- 17:52)

I particularly liked this interpretation of the Killing because rather than the actor speaking the lines to his lover, he speaks as though he is admitting “the killing” to himself. This is evident in his nervous and fast-paced tone of voice and heavy breathing, as if he doesn’t want to believe it to be true. The part where the music stops jolts the readers away from the rhythmic beat and helps them to focus on what the actor is saying, giving them a slight sensation of the inner turmoil the character must be feeling.

Buried Child Video Cliphttps://www.youtube.com/watch?v=E4s4qQ7MRSc

The reason I particularly enjoyed this scene of the play so much was because you could practically feel the tension and disgust Tilden, Dodge, and Halie had between each other in their tones of voice. By each of the character’s tones, expressions, and volume, their emotions are portrayed quite clearly. Tilden’s nervous tone, placid expression, quiet voice, and his fumbling with the corn tell the audience that he’s anxious, unsure, or even scared about the situation. Halie is clearly disgusted and angry with both Tilden and Dodge, with her shrill volume and wild gestures, while Dodge is clearly irritated at them both, evident in his gruff tone. However, when Dodge mentions that his “flesh and blood is out in the backyard” the mood suddenly changes to distant and somber, clueing the audience that their bickering might be fueled by the loss of their child. The music and lighting changes at the end of the scene certainly add to the mood and atmosphere.

Sam Shepard Interview http://www.theguardian.com/stage/2013/dec/01/sam-shepard-interview-oedipus-derry

During the interview I could definitely see some aspects of Shepard’s quotes present in both of his plays we have studied. For instance, Shepard says, “language is the source of the imagination. You can travel farther in language than you can in any film.” Readers definitely see that Shepard stays true to his word in his work Savage/Love. In the play Shepard uses nothing but simplistic language to express the ups and downs of any relationship. There are no characters, no stage directions, no acts, no scenes, no setting, but rather, just language. He leaves the interpretation up to the imagination of his readers.

Also, when Shepard is discussing the difference between writing essays and writing theatre, he mentions that with theatre writing “sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.” I can’t help but think that this was the approach he took when it came to writing Buried Child. Because the play is so sporadic and has so many themes and symbols to uncover, maybe Shepard started out writing the play as a dysfunctional family comedy before getting the idea to add in the part about the child the family lost so young along with the Greek mythology connection for additional symbolism.

Indy-Hwy 74 Response http://www.newyorker.com/fiction/features/2009/11/23/091123fi_fiction_shepard

I would say the major theme in this story is trusting in fate even when you have no control. It was fate that both Becky and Stuart happened to be at the same hotel at the same time and even though Stuart had no control over anything in the story (the weather, the TV channel, his feelings when seeing Becky) everything worked out the way it was suppose to. The hopeless scenarios brought up in the story (Becky’s predicament and Stuart’s need to escape the life he is living) remind and encourage the readers that in the face of turmoil, fate will bring the right people back into your life to help you get through it.

With this short story I can definitely see similarities when examining Savage/Love. The complexity of the characters’ relationship in Indianapolis Highway 74 mirror the complex feelings of longing and despair expressed in Savage/Love. However, this story seems distant from Buried Child because the theme in this story is more encouraging rather than the dark, morbid themes in Buried Child.

MY WORK

MIDSUMMER NIGHT’S DREAM

ORIGINAL LINESDEMETRIUS Relent, sweet Hermia—And, Lysander, yield Thy crazèd title to my certain right.

HELENA How happy some o'er other some can be! Through Athens I am thought as fair as she. But what of that? Demetrius thinks not so. He will not know what all but he do know. And as he errs, doting on Hermia’s eyes, So I, admiring of his qualities. Things base and vile, holding no quantity, Love can transpose to form and dignity. Love looks not with the eyes but with the mind. And therefore is winged Cupid painted blind. Nor hath Love’s mind of any judgment taste—Wings and no eyes figure unheedy haste. And therefore is Love said to be a child, Because in choice he is so oft beguiled. As waggish boys in game themselves forswear, So the boy Love is perjured everywhere. For ere Demetrius looked on Hermia’s eyne, He hailed down oaths that he was only mine.

And when this hail some heat from Hermia felt,

So he dissolved, and showers of oaths did melt.

I will go tell him of fair Hermia’s flight.

Then to the wood will he tomorrow night

Pursue her. And for this intelligence

If I have thanks, it is a dear expense.

But herein mean I to enrich my pain,

To have his sight thither and back again.

MY LINES Demetrius Stay calm, sweet Hermia. And, Lysander, give me that title. I deserve it more than you.

Helena How happy some are compared to others! Citizens of Athens view us as equally beautiful. But that doesn’t matter. The person that really matters, Demetrius, doesn’t think so. As he makes the mistake of loving Hermia, little does he know that I’m doing the same by loving him. Love looks not with the eyes but with the mind. Before he saw Hermia, he made promises to love me, but alas, now those promises of love are gone. I’ll tell Demetrius about Hermia. And for this intelligence, if he is thankful, it will be worth my pain of helping him pursue Hermia. It is worth the emotional pain to see him again.

TWELFTH NIGHT

ORIGINAL LINESClown Let her hang me: he that is well hanged in this world needs to fear no colours

Clown He shall see none to fear.

Clown Where, good Mistress Mary?

Clown Well, God give them wisdom that have it; and those

that are fools, let them use their talents.

Clown Many a good hanging prevents a bad marriage; and, for turning away, let summer bear it out.

Clown Not so, neither; but I am resolved on two points.

Clown Apt, in good faith; very apt. Well, go thy way; if Sir Toby would leave drinking, thou wert as witty a piece of Eve's flesh as any in Illyria.

Clown Wit, an't be thy will, put me into good fooling! Those wits, that think they have thee, do very oft prove fools; and I, that am sure I lack thee, may pass for a wise man: for what says Quinapalus? 'Better a witty fool, than a foolish wit.’ God bless thee, lady!

Clown Do you not hear, fellows? Take away the lady.

Clown Two faults, madonna, that drink and good counsel will amend: for give the dry fool drink, then is the fool not dry: bid the dishonest man mend himself; if he mend, he is no longer dishonest; if he cannot, let the botcher mend him. Any thing

that's mended is but patched: virtue that transgresses is but patched with sin; and sin that amends is but patched with virtue. If that this simple syllogism will serve, so; if it will not, what remedy? As there is no true cuckold but calamity, so beauty's a flower. The lady bade take

away the fool; therefore, I say again, take her away.

Clown Misprision in the highest degree! Lady, cucullus non facit monachum; that's as much to say as I wear not motley in my brain. Good madonna, give me leave to

prove you a fool.

Clown Dexterously, good madonna.

Clown I must catechise you for it, madonna: good my mouse

of virtue, answer me.

Clown Good madonna, why mournest thou?

Clown I think his soul is in hell, madonna.

Clown The more fool, madonna, to mourn for your brother's

soul being in heaven. Take away the fool, gentlemen.

Clown God send you, sir, a speedy infirmity, for the better increasing your folly! Sir Toby will be

sworn that I am no fox; but he will not pass his word for two pence that you are no fool.

Clown Now Mercury endue thee with leasing, for thou speakest well of fools!

Clown Thou hast spoke for us, madonna, as if thy eldest son should be a fool; whose skull Jove cram with brains! for,--here he comes,--one of thy kin has a most weak pia mater.

Clown Good Sir Toby!

Clown Like a drowned man, a fool and a mad man: one draught above heat makes him a fool; the second mads him; and a third drowns him.

Clown He is but mad yet, madonna; and the fool shall look

to the madman.

MY LINESCLOWN Let her hang me: he that is well hanged in thisworld has nothing to fear.CLOWN He shall be dead, therefore, can’t see.CLOWN Where, good Mistress Mary?CLOWN Well, God gives the wise wisdom; and thosethat are fools, let them use their talents.CLOWN Many a good hanging prevents a bad marriage; and,for turning away, let summer bear it out.CLOWN No, but I am resolved on two points.CLOWN Clever, quite clever. Well, go thy way; ifSir Toby would leave drinking, you’d be as witty apiece of Eve's flesh as any in Illyria.

CLOWN Do you not hear, fellows? Take away the lady.

CLOWN Two faults, madonna, that drink and good counsel

will amend. The lady bade take away the fool; therefore, I say again, take her away.

CLOWN Misprision in the highest degree! Lady, don’t judge me. I may look like a fool but I don’t act like one. Good madonna, give me leave to prove you a fool.

CLOWN Easily, good madonna.

CLOWN I must question you, Madonna

CLOWN Good madonna, why mournest thou?

CLOWN I think his soul is in hell, madonna.

CLOWN The more of a fool you are, to mourn for your brother's

soul being in heaven. Take away the fool, gentlemen.

CLOWN God send you, sir, a speedy infirmity, for the

better increasing your folly! Sir Toby will be

sworn that I am no fox; but he will not pass his

word for two pence that you are no fool.

CLOWN Thou hast spoke for us, madonna, as if thy eldest

son should be a fool. Hopefully God blesses him with brains for,--here he comes,--your uncle has a most weak brain.

CLOWN Good Sir Toby!

CLOWN Like a drowned man, a fool and a mad man: one

Drink makes him a fool; the second mads

him; and a third drowns him.

CLOWN He is but mad yet, madonna; and the fool shall look

to the madman.

MACBETH

ORIGINAL LINESLADY MACBETH Yet here’s a spot.

LADY MACBETH Out, damned spot! Out, I say!—One, two. Why, then, ’tis time to do ’t. Hell is murky!—Fie, my lord, fie! A soldier, and afeard? What need we fear who knows it, when none can call our power to account?—Yet who would have thought the old man to have had so much blood in him.

LADY MACBETH The thane of Fife had a wife. Where is she now?—What, will these hands ne'er be clean?—No more o' that, my lord, no more o' that. You mar all with this starting.

LADY MACBETH Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, Oh, Oh!

LADY MACBETH Wash your hands. Put on your nightgown. Look not so pale.—I tell you yet again, Banquo’s buried; he cannot come out on ’s grave.

LADY MACBETH To bed, to bed. There’s knocking at the gate. Come, come, come, come. Give me your hand. What’s done cannot be undone.—To bed, to bed, to bed!

MY LINES LADY MACBETH Yet here's a spot.

LADY MACBETH Out, damned spot! Out, I say!—One, two. Why, then, it’s time to do it. Hell is murky!—Fie, my lord, fie! You call yourself a soldier, yet you are afraid? What do we have to fear when no one can prove what we have done?—Yet who would have thought the old man to have had so much blood in him.

LADY MACBETH The thane of Fife had a wife. Where is she now?—What, will these hands never be clean?—No more of that, my lord, no more of that. You’ll ruin everything by acting like this.

LADY MACBETH Here’s the smell of the blood still. All the perfumes of Arabia will not conceal the smell from my hand. Oh, Oh, Oh!

LADY MACBETH Wash your hands. Put on your nightgown. Look not so scared.—I tell you yet again, Banquo’s buried; he cannot come out his grave.

LADY MACBETH To bed, to bed. There’s knocking at the gate. Come, come, come, come. Give me your hand. What’s done cannot be undone.—To bed, to bed, to bed!

SAVAGE/LOVE

ORIGINAL LINES/MY LINES

I Some Won’t Uh

Uh Something tender Find It doesn’t fit

Wanna’ show That I wanna’ this time.

Um Comes from you Bring something out

Some thing Uh That

SSSomething I can’t Some

That uh My words But

THE END