Performance analysis
There are many different ways to interpret and perform Shakespeare’s plays. Watch the videos and decide how you would perform the three scenes from Twelfth Night.
Scenes to explore
As one of Shakespeare’s most popular comedies, there have been plenty of performances of Twelfth Night over the years. In Shakespeare’s day, the stage would have been bare, the props few, and the lighting would depend upon the weather. Theatres were open air and the plays were held in daylight.
Nowadays, Shakespeare’s plays are interpreted in many different ways on stage and screen. Directors and their production teams make choices on how they want to stage the play and how the characters will deliver their lines. The decisions they make can often change how the audience think and feel about the play and the characters in it.
Let’s look at three scenes and explore the possibilities for an exciting and unforgettable performance of Twelfth Night.
- Act 1 Scene 5 – Rehearsing Cesario’s (Viola) visit to Olivia
- Act 3 Scene 5 – Staging the ‘box-tree’ scene
- Act 4 Scene 1 – Rehearsing the duel
Act 1 Scene 5 – Rehearsing Cesario’s (Viola's) visit to Olivia
In Act 1 Scene 5, Olivia allows Cesario (Viola) to come into her room and speak with her. Olivia falls for Viola’s disguise and believes she is a boy. In Shakespeare’s day women weren’t allowed on stage so the part of Viola would have been played by a boy. This means he would have been a boy playing a girl playing a boy.
'Twelfth Night' - How would you rehearse Cesario’s (Viola) visit to Olivia?
TITLE:
THE BIG SCENE
PRESENTER
Hello and welcome to The Big Scene. We’re at rehearsals for [CAPTION- TWELFTH NIGHT]
Twelfth Night and it’s the scene where Olivia falls for Cesario.
Simple right? Far from it.
You see Cesario [CAPTION-CESARIO] is actually a girl [CAPTION-VIOLA IN DISGUISE] called Viola in disguise.
Why I hear you ask? Well partly because in Shakespeare’s day she would have been
played by a fellow and Shakespeare loved messing around with gender roles
and partly because cross dressing meant that Viola could get a
job which is funnily enough how I ended up here-get that down!
TITLE:
THE BIG SCENE
PRESENTER
But the real challenge is can an actress
convincingly play a woman and a man in the same play? Luckily
it’s not my problem. It’s this guy’s. Good luck mate. You’re
going to need it.
TITLE:
THE BIG SCENE
OLIVIA
Are you a comedian?
VIOLA
No, my profound heart. And yet by the very fangs of malice I
swear I am not that I play.
PRESENTER (OFF SCREEN)
We hear that sweetheart. She came in way too high with that
voice and the director is surely saying to her you’ve got to go
deep if you want to find your man.
VIOLA
What I am and what would, are as secret as maidenhead.
PRESENTER
Much better. She came in low and hard with that voice and really
nailed it but in front of a big crowd, on a big stage she’s going to
need more to her game than that.
DIRECTOR
Great. The voice is really there but physicality not so much … think of Mike.
PRESENTER (OFF SCREEN)
That’s right. Watch and learn. This actor eats, drinks and sleeps
being a man. Largely because he is a man but still, what a pro.
MIKE
What?
TITLE:
THE BIG SCENE
PRESENTER
If you want a woman to play a girl playing a boy, then this lady’s
your man.
PRESENTER (OFF SCREEN)
Woah hello. Looks like the director wants to try something
different here. And it’s controversial. Sure, it’s how Shakespeare
would have done it back in the day. but girls weren’t allowed to
be actors then so you had to pick a chap to play a girl. This
is a whole different ball game.
MIKE (AS CESARIO/VIOLA)
‘Tis beauty truly blent. That sort of thing yeah?
PRESENTER
Is there any place for it in the modern game? I’m not so sure.
It’s effective at this point when Viola’s dressed as a fellow but
what about when Viola’s meant to be a woman? It’s a big
gamble.
TITLE:
THE BIG SCENE
MIKE (AS VIOLA)
Ready when you are.
PRESENTER (OFF SCREEN)
Oh that is a total disaster. He’s not convincing anyone
with play-acting like that.
MIKE (AS VIOLA)
What?
PRESENTER (OFF SCREEN)
Oh deary me. The crowd do not want to see that.
PRESENTER
If that’s not a sending-off offence, I don’t know what is.
Unbelievable!
TITLE:
THE BIG SCENE
This video shows a group of actors rehearsing the scene and the director is trying out different ways to perform it. As you watch, consider the following:
- how in a modern day interpretation an actress could convincingly play a woman and a man in the same play
- how the audience react to these different interpretations of Cesario (Viola)
- how you’d ensure a theatre audience would understand what was going on
Act 2 Scene 5 – Staging the 'box-tree' scene
In Act 2 Scene 5, Maria drops a forged letter for Malvolio to find. Sir Toby, Sir Andrew, Fabian and Maria all hide in the bushes and watch his reaction. Does this scene need lots of props or is it up to the audience to use their imagination? There are many possibilities for a director to consider.
'Twelfth Night' - How would you stage the 'box-tree' scene?
PRESENTER
Here are the directors. 12 divorces, nine lawsuits and three stints in rehab between them; these guys know what they want and they normally get it.Today they’re each looking for an innovative staging solution for the Box Tree Scene from Twelfth Night.Three actors hiding in a tree from another actor on stage? Easier said than done.
TITLE:
DIRECTORS’ DEN
PRESENTER
(OFF SCREEN)First designer is Holly.
PRESENTER
She believes her Christmas tree idea is a comedy gift for anyactor and she wastes no time in showing the Directors why.
SIR ANDREW
Slight, I could so beat the rogue!
SIR TOBY BELCH
Peace I say.
DIRECTOR WEARING BLACK SUIT
Hi Holly. I like you. I like your idea. I like the physical humourand I think the audience will too.
HOLLY
Thank you. The play is traditionally set at Christmas so I believethat also works in our favour.
DIRECTOR WEARING BLACK SUIT
See there’s my problem. I hate Christmas. I’m essentially aMiserable, lonely person and I make children cry and for thatReason, I’m out.
PRESENTER
Designer Jemima hopes her pile of boxes idea will give the scene a modern twist while stillproviding some comedic hiding places for the actors; which will keep the audienceguessing.
SIR TOBY BELCH
I could marry the wench for this device.
SIR ANDREW
So could I too.
DIRECTOR IN RED TIE
Jemima, I like it. Can I just ask, what’s the third box for?
JEMIMA
Yeah that’s Dave’s box. He’s playing Fabian.
JEMIMA
Oh my god! Dave! Dave! There aren’t any air holes. Why aren’tthere any air holes? Dave! Dave! Dave!
FEMALE DIRECTOR
He’s dead? I’m out.
PRESENTER
Next into the Director’s Den is a young designer called Walter.The Directors seem a little unsure whether he has an excitingidea of simply no idea at all.
DIRECTOR IN RED TIE
So Walter, let me just get this straight. The actors won’t actuallybe hiding behind anything at all? You want the audience to usetheir imagination?
WALTER
That’s correct. They will be lit from above by a spotlight and theywill be stood in the spotlight and they could fall out and in of thespotlight for comedic effect. And then you could move thespotlight like a follow spotlight like if you want it to be silly.
FEMALE DIRECTOR
Well I think it’s great this imagination business. Get to see a lotmore of our actors and save a fortune on props. In fact that’s apoint. How much does this cost?
WALTER
Five million pound.DIRECTOR IN BLACK SUITHow on earth did you come up with that figure?
WALTER
Just used my imagination.
FEMALE DIRECTOR
Okay Walter. Imagine this, I’m out.
WALTER
Okay. Worth a try.
This video shows a group of stage designers pitching ideas on how to stage the ‘box-tree’ hiding place. As you watch, consider the following:
- how much the prop ideas would cost
- how long it would take to set up during a live production
- how the audience would react
Act 4 Scene 1 – Rehearsing the duel
When Sir Andrew meets Sebastian, in Act 4 Scene 1, he thinks he is Cesario and hits him. Sebastian reacts and they begin to duel. It’s a clear case of mistaken identity.
'Twelfth Night' - How would you rehearse the duel between Sir Andrew and Sebastian?
TITLE
TWELFTH NIGHTTHE REHEARSALS
NARRATOR
Welcome to rehearsals for Twelfth Night. [CAPTION- ACT 4, SCENE 1] Act four, sceneone.[CAPTION- SIR TOBY] Viola’s enemies pick a fight [CAPTION-SEBASTIAN ] with her twin bro Sebastian thinking he’s Cesario [CAPTION-SIR ANDREW ] in a serious case of mistaken identity. But will this fight be lethal [CAPTION- CHLOE (EXTRA)] or laughable? Only the director [CAPTION- DIRECTOR ] can decide.
SIR ANDREW
Now sir, have I met you again? There’s for you.
SEBASTIAN
Why? There’s for thee. And there. And there!
CHLOE
Boys, pathetic. Sir Andrew obs thinks Sebastian is Cesarioand starts on him. I thought it was totes going to kick off. But itwas just a bit of handbags. Nobody wants any trouble. I do like afight though.
DIRECTOR
Guys I think that’s feeling pretty good. I think we should see if wecan make it a bit more aggressive, a bit more physical violence inthere but try and keep the comedy in there as well, yeah? Sojust a bit more.
CHLOE
Then some right weirdo guy comes over, Derek Tor I think hisname was, and anyway I thought he was going to break thingsup but he was proper stirring it. He seemed to think it was rightfunny. Anyway it all kicked off again.(ACTORS PORTRAYING SIR ANDREW AND SEBASTIAN MAKING SILLY NOISES WHILE PLAY-FIGHTING)
CHLOE
Roff ell (ROFL) I mean what are they like? It weren’t a proper fight but itwas proper lols. I nearly peed my pants. No really I did babes.
SEBASTIAN
Are all the people mad?
CHLOE
I think they are babes.
DIRECTOR
Who is that?
SEBASTIAN
No idea.
DIRECTOR
Okay, look, don’t worry about it. That felt good. I’d like to seehow it feels a bit more serious.
SEBASTIAN
Yeah.
CHLOE
Oh my gee. I don’t know what Derek Tor was playing at but hemade it twenty times worse. It was well out of order.
SIR TOBY BELCHPut up your iron. You look well fleshed. Come on.
CHLOE
Hit him back babes. Hit him. Hit him. Hit him now. Hit him. Hithim! What are you doing?
CHLOE
Disgusting behaviour. I didn’t think it could get any worse butthen well hmm, you wouldn’t believe it.
DIRECTOR
Okay shall we give it a go?
SEBASTIAN
Yeah.
DIRECTOR
Let’s see how we get on, yeah?
CHLOE
I mean I like a good punch up as much as the next girl, but thiswas bang out of order.
CHLOE
Alright, leave it. It ain’t worth it. It ain’t worth it.
DIRECTOR
Okay, look, you need to calm down. This is a play.
CHLOE
You might be playing Derek but he’ll have someone’s eye out ina minute.
SEBASTIAN
No this is the bit where they confuse Sebastian, that’s me, withCesario.
CHLOE
You do well look like him. Only you’re more manly babes.
SEBASTIAN
Well yeah because Cesario is actually Viola, my twin sister,dressed as a man.
CHLOE
Ha, ha. Good one. Nearly had me there. Viola disguised as aman. Think that’s really funny. I mean they don’t even look likeeach other because one’s a man and one isn’t. Oh my days!Wait until I tell Viola you think she’s Cesario! She’ll pee herpants. Ha, ha.
TITLE
THE END
This video shows a group of actors rehearsing the scene and the director is trying out different ways to perform it. As you watch, consider the following:
- whether the fight should be played out in a serious or playful way
- how the audience would react to these different interpretations
- how props and sound effects could enhance the fight scene
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