NANCY MECKLER:I thought it might just be interesting to talk about these two characters, because there are only really small hints in the text to go on, aren't there? Yeah.
NANCY MECKLER:So what does the
NANCY MECKLER:text tell us about Helena's background or who she is?
LUCY BRIGGS-OWEN:She always-- Not always. She's very often referencing her appearance. Yeah, her looks, just, the way her body is. It certainly gave me a sense of her perhaps not feeling as comfortable in her body as she once did, which I think is quite a teenage thing, you know? Coming to terms with this changing body.
NANCY MECKLER:OK And what about Demetrius? So often people say, "Oh, there's no difference between Lysander and Demetrius," which I think is strange–
ALEX HASSELL:Yeah, I think there's a huge difference.
NANCY MECKLER:Lysander is so poetic.
ALEX HASSELL:Lysander will use images,
ALEX HASSELL:whereas Demetrius is quite straightforward in his language, and I think in terms of his actions and the way he treats people, Lysander seems more compassionate in the way that he talks to both Hermia and Helena.
NANCY MECKLER:And Demetrius seems much more–
ALEX HASSELL:Is more blunt, I think, and uses more underhand-- He kind of uses… I think, possibly, crueller tactics to get what he wants.
NANCY MECKLER:I thought it might just be interesting to try to think, "Why did they first get together?"
LUCY BRIGGS-OWEN:There's something quite ambitious about Demetrius. That's quite attractive, especially for a girl who doesn't have a particularly loud voice and isn't entirely sure of herself.
ALEX HASSELL:I always assumed she fancied me because I was a bit… of rough. Like I was, you know, a bit… A bit edgy and a bit, sort of, aloof and a bit nasty, and that somehow there's part of you that wants someone who's like that. At school everyone fancied the guy who was a bit horrible and a bit cold.
ALEX HASSELL:I, sort of, think-- I remember no-one ever fancied the nice guy who was a bit sensitive and-- You know?
NANCY MECKLER:OK, so could we just do a small improvisation? Let's say that you've noticed that whenever you go to weddings - because I'm sure there's lots of weddings and parties and things in this world - you've noticed that she's always looking at you.
NANCY MECKLER:So, if you decide to go and chat her up, just to see whether or not it is something you would want to take a bit further.
ALEX HASSELL:You keep looking at me.
LUCY BRIGGS-OWEN:No, I…
DEMETRIUS LAUGHS
LUCY BRIGGS-OWEN:No, I don't…
DEMETRIUS LAUGHS
LUCY BRIGGS-OWEN:I just–
ALEX HASSELL:Caught out. Caught out! Hello, I'm Demetrius.
LUCY BRIGGS-OWEN:Hello, I'm Helena.
ALEX HASSELL:Nice to meet you. How you doing? Soft, nice. Slightly sweaty, though.
THEY LAUGH
LUCY BRIGGS-OWEN:Am I? Sorry.
ALEX HASSELL:Are you having a nice time?
LUCY BRIGGS-OWEN:Yeah, it's just a bit hot.
THEY LAUGH
ALEX HASSELL:So, why are you looking at me?
LUCY BRIGGS-OWEN:I wasn't looking at you?
ALEX HASSELL:You were! You were.
LUCY BRIGGS-OWEN:Well, if–
ALEX HASSELL:It's all right. Go on.
LUCY BRIGGS-OWEN:If you saw me, it means you were looking at me.
ALEX HASSELL:Yeah, but I just looked at you because you kept looking at me, then we did that thing where I look at you, and you think I'm looking at you, because I'm looking at you, but I'm not, I'm looking at you because you were looking at me, and I was just seeing if you were looking at me, and you were.
LUCY BRIGGS-OWEN:I was, but I was just-- Yeah. Anyway. Sorry.
ALEX HASSELL:No, it's all right.
LUCY BRIGGS-OWEN:Um…
NANCY MECKLER:You could easily imagine that growing into this feeling that they're crazy about each other, couldn't you?
ALEX HASSELL:Yeah, yeah.
NANCY MECKLER:I mean, especially if you think they never actually-- Their chances for real intimacy and spending real time together would be very small. They don't know each other, really, that well. It's just an idea, and a passion.
ALEX HASSELL:In terms of whether Demetrius originally loved Helena or not, I think it says that they're betrothed. She says that he showered her with oaths and, um, that he made verbal love to her, that he was wooing her, and so I think, yeah, I think he probably was.
ALEX HASSELL:And then, as young men can do at times, and young women, switched very quickly to someone else.
NANCY MECKLER:The fact that he then gets completely obsessed with this idea of marrying Hermia. Did you have it in your mind what that was all about?
ALEX HASSELL:Well, it could be that the more he gets to know Helena that there's a sort of tipping point, that she's really interesting, then after a while she's just a bit nuts. Like, that she's a bit too into him, a bit too worried.
LUCY BRIGGS-OWEN:And dependent
ALEX HASSELL:Yeah, and dependent. Whereas Hermia seems really feisty and really strong-willed, and really confident. Maybe that that's a challenge or that's attractive or–
LUCY BRIGGS-OWEN:Which is a terrible cycle as well, because the more you feel that way towards Hermia and the less interested you are with me, the more needy I become.
ALEX HASSELL:Exactly, yeah.
The director, Nancy Meckler, invites the actors to explore their characters through improvisation.
How might Helena and Demetrius have met and how might their relationship have developed?
This short film is from the BBC series, Shakespeare Unlocked.
Teacher Notes
This short film demonstrates how character interpretation through improvisation can build a back story around Helena and Demetrius.
This workshop contains two improvisations which explore possibilities for how Helena and Demetrius' relationship might have developed before they ended up in the wood.
Ask half your class to work in small groups to discuss the first improvisation: What insights into Helena, Demetrius and their relationship did this improvisation provide? Could they imagine other possibilities for how Helena and Demetrius might have met?
Ask the other half of the class to work in small groups to discuss what insights the second improvisation gave into the possibilities for interpreting the characters and how their relationship has developed.
Ask the groups to share their insights.
The production is set in the 1960s.
Ask students in what ways the relationship between Demetrius and Helena might be portrayed differently if the production was set in the present day.
How does the context subtly shift the characterisation in this scene?
This short film is suitable for teaching GCSE English literature and drama in England, Wales and Northern Ireland and National 4/ 5 in Scotland.
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