One of the things I don't like about online classes is how little you get to know about your fellow classmates. For instance did you know that I was the youngest person ever to climb Mt. Rushmore? Also I hate how easy it is to lie to everyone.
I'm a huge video game/comic book nerd, and that something that pretty much everyone (teachers included) knows in my other classes. So i thought I'd take an opportunity to bring in some of my hobbies with this post about a different type of adaptation.
Tuesday, May 10, 2011
Rumination-Reaction to Shakespeare Behind Bars
*I was going to do this one on another adaptation, but I decided to save that for my creative engagement. So if you like comics, keep an eye out for that later this week.*
Okay I’ll admit it; I went into Shakespeare Behind Bars expecting some sort of a feel good documentary about the power of the arts (you know what I mean the kind that seem to do nothing but take away the power of the arts by preaching about it). So I queued it up on Amazon and started watching. I was absolutely floored.
Everything was just so dramatic. I almost felt like I was watching a dramatic film and not a documentary. The emotions behind each of the actors, these fallen and in some cases disgusting human beings, who somehow you grow to root for. My first big shock came when Sammie told us what he was locked up for. The whole time I was expecting a bunch of white-collar crimes, maybe some breaking and entering at most. Instead we get a tear filled account of a man who felt trapped by the people in his life and who lashed, destroying someone he cared about (no matter how unhealthy the relationship he did care about her).
Then everything else follows. Child molesting. Double Homicide. Cop Killers. Drug Dealers. Rapists. This men have not done wrong, they have done evil. There is something corrupted, broken inside of them, and they are dying to try and fix it.
And that’s what Shakespeare Behind Bars was all about for me. It was using the classic plays as a channel through which these men could achieve a deeper understanding of themselves. Each role went to someone who could relate to the motivations of the character and through attempting to live with the character they begin to learn to live with themselves.
I’ve always been fascinated by villains. They are almost always the more interesting characters in movies, TV, literature, videogames (see: Iago, The Joker, GlaDos, etc.). Yet we never root for the villains, not completely. Yeah we don’t want the Joker to die, because he is the most interesting character in the movie, but we also don’t want him to beat Batman.
In Shakespeare Behind Bars, we are presented with a cast of caged villains. On the surface, we shouldn’t give a damn about whether they enjoy performing Shakespeare. They broke the law, they committed heinous acts of violence, they have killed and maimed people. Yet I still wanted them to win out. I wanted to see the play go off without a hitch. I wanted Sammie to be let out. I wanted Rickie to stay out of trouble and be given the chance to do Shakespeare again.
Shakespeare Behind Bars, both as a program and a documentary, do the Bard proud. They show the humanity within people, they show us that men can sometimes be more than the sum of their actions. Most of all Shakespeare and the documentary remind us that these are still men. Human beings. Ones who have made horrible mistakes, but they are still human beings. This touch of the human is something I have always admired in the antagonists of Shakespeare’s plays, and I enjoy them all the more in this documentary.
Tuesday, May 3, 2011
Creative Engagement- Casting Volpone The Movie
This one is easy because its something I do on my own on a regular basis. Eventually when I am reading a book or play, I start to think about who has the acting chops to play the parts. So with out further ado, I give you my selections for the main roles in Volpone.
Volpone-Alan Cummings
This was probably the hardest one of all. Johnny Depp is too dark, Hugh Jackman is too likeable, George Clooney is too relaxed. In the end I choose Alan Cummings because he has the look and the guy can act (when he isn’t being a royal pain about how much he’s getting paid and all that.)
Mosce- Andy Serkis
Although I considered more than one Lord of the Rings Alumni, it had to go to the creepy man behind Gollum. Just look at those eyes, a fly if I ever saw one
Nano- Peter Dinkling
No I didn’t pick him because he’s the only actor that I know who could physically fit the role (there are plenty) but because he is the best one out there. Go watch “Game of Thrones” you’ll see why.
Voltore- Ben Kingsly
He might be a little old for the part (depending on the rest of the casting) but Sir Ben Kingsly is one of the best actors out there (both stage and screen) and the man looks like a vulture with out any make up what so ever. Can you say “win-win”?
Castrone- Dwayne Johnson
Because The Rock is great in everything, even if he is a eunuch in this one.
Corbaccio- Joaquin Phoenix
He might have more than one screw loose upstairs, but Joaquin a sight to behold when he’s on form.
Bonario- Sam Worthington
His name means ‘good’, meaning we need someone with looks, muscle, and heart. To me Sam Worthington (who has proved himself to be more than just a pretty face and an action star) is perfect for this role. Also acceptable would be The Rock
Corvino- Brandon Lee
Because this is all fantasy anyway, I’m going to drag someone back from beyond the grave to play this part. Brandon Lee died while filming a movie called “The Crow.” I think the rest is pretty self-explanatory.
Celia- Rachel McAdams
Celia is described as being extremely beautiful so as far as I am concerned the only choice would be Rachel McAdams. I don’t know if she has the acting chops necessarily, but my God is she beautiful.
I hope this was as entertaining to read as it was to write. Any suggestions or ideas, let me know in comments.
Staging Volpone
While
reading Ben Jonson’s Voplone, I made
a conscious effort to try and imagine a stage setting for the play. The setting of any modern play is
always a challenge due to time and space constraints and often time you have to
rely more on imagination than anything else. I would have two general set lay-outs, one for the houses,
and one for the out side areas.
This will allow for easier changes between scenes. For the houses, Volpone’s house would
be the base. I would have it
decked out in extravagant, over the top decoration. Gold, jewels, fine art, and beautiful furniture would cover
the stage. The second house,
Corvino’s, would still be nice, yet it would lack the gaudy nature of
Volpone’s. Achieving this would
simply be a matter of removing some of the decorations from Volpone’s house and
rearranging the furniture.
One of the biggest challenges for
modern theater is with the number of actors they can hire. As it becomes harder and harder to make
a profit on a dramatic play, the number of actors producers are willing to hire
dwindles (for this reason that fact that “O, Beautiful” which is currently
showing at UD is a pretty big deal as it has a cast of almost 20 people). In order to deal with this real world
concern I would have the same actor play Voltore, Corvino, and Corbaccio.
As far as costume design goes I
would have each persons wardrobe represent something about the character. Volpone, which means fox, should have
furs on, along with his gaudy jewelry, some of which should be vulpine in
shape. Mosca, which means fly,
should be played by a small, flitting actor with a high voice. I would put large spectacles on him to
magnify his eyes, giving him the impression of being his namesake. Voltore,
Corvino, and Corbaccio are all carrion birds (vulture, crow, and raven
respectively) and their dress should represent this. Black garb, decorated with feathers and dark jewelry.
The actors I would cast would have
to have physical characteristics like to the animals they are meant to represent. Volpone should be physically fit and
with vulpine features as well as facial hair that would convey a wily
nature. Mosca, as I indicated
above, should be small with a high-pitched voice who moves rapidly from place
to place on the stage. Volture
should be tall and thin, with a darkly haughty air about him, Corvino should be
small and shrill, Corbaccio should be squat and nervous (all of which convey
the nature of their namesakes).
I’m having a hard time imagining
Peregrine (probably because I keep seeing a Hobbit in my head), but his name
meaning traveler would indicate to me that he should have some sort of walking
stick with him as a prop at all times.
However, I’m going to leave him and the Would-Be’s to you guys as sort
of challenge. Who would you have
play them (description or the name of a real world actor is acceptable) and how
would you dress them?
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