methods that mainta _n th F ara rrfectay., Appended materials _ncl&.? TTes c: co: sheets communic... more methods that mainta _n th F ara rrfectay., Appended materials _ncl&.? TTes c: co: sheets communication skills object: ccatea-L area coLa Central College that inter :re lent c: stills with the sublect mat-; a= d ',:rateriE which C7 area teachers judge 7tu1e-' ' an ading (71.) Reproductions supplied by-E.)RS best that can be made from the crigir..a.:.
N Bartlett’s production emphasised not only the comic moments of Shakespeare’s gloomy comedy, enh... more N Bartlett’s production emphasised not only the comic moments of Shakespeare’s gloomy comedy, enhancing them by cross-dressing and a text-book Puritan Malvolio, but also the bleak moments of unrequited love and disappointments. Kandis Cook’s stage design was simple but effective: an unadorned thrust stage was dominated for a majority of the time by three standing mirrors, which often formed a triangle and were used by characters either to indulge their vanity or to conceal themselves. A grand piano, Feste’s domain, remained on stage throughout the play. Sometimes a few chairs, a bench or a clothes-rack was added. This simple set did not intend to simulate reality for the audience, and a spotlight, placed conspicuously onstage, clearly visible to the audience, supported this break with reality. Two lighting effects were used to draw attention to what happened on stage: the spotlight, which focused on a character, often when they gave a soliloquy or stepped out of their role to deliver an aside, as done by Cesario/Viola, Sebastian and Olivia. Another lighting effect was created by a chain of fairy lights, placed around the stage as if it were to frame it and what happened in a momentary freeze. This lighting effect was used during the wooing scene between Olivia and Cesario and during the intimate scene between Orsino and Cesario, adding a romantic touch to the action. The production’s smooth scene changes were quick and had characters from the previous scene leave the stage, while characters from the next scene were already entering. Yet even these smooth moments were not completely free from disturbances, such as Viola’s shipwreck. The setting of the first scene was torn down, the clothes-rack was crashed, mirrors were hectically moved over the stage, while Feste performed loud disharmonies at the piano. Together with the music, the chaos on stage artistically composed Viola’s shipwreck. Feste’s cheeky demand to Orsino to get paid not once but thrice, “primo, secundo, tertio” (V.1.36), seemed to be the motto of the production: the number three was literally mirrored in the setting of the three PLAY ReVIeWS
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