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Twelfth Night > AO5 > Flashcards

AO5 Flashcards

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1
Q

12th night is a

A

“12th Night is a play full of fools”

(Norton)

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2
Q

Marxist Reading: Elliot Krieger

A

1970- political
“A ruling class ideology operates within the play”- indulge and supplement excessive emotions

“Only a privileged social class has access to the morality of indulgence”

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3
Q

Act 1 Scene 1 RSC 2017

A

-Romantic color palette- homoerotic tones with gossip, naked curio, renaissance style

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4
Q

“Duke Orsino is a narcissistic fool.”

A

Baker, 20th century

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5
Q

on verse

A

Minton “Verse can be a vehicle for self-indulgence”

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6
Q

NT 2017 characterization of Orsino

A

roostering playboy who adheres to the courtly lover conventions of the 21st century: flowers, chocolates, a teddy bear

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7
Q

Act 1 Scene 2 Johnson

A

“A cunning schemer, never at a loss.”

18th century

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8
Q

Viola as the

A

catalyst of the play
Wanamaker

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9
Q

Tennenhouse (feminist criticism)

“the transfer

A

of patriarchal power to a woman.”

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10
Q

Political criticism in conflict Act 1 Scene 2 Trevor Nunn

A

1996
Illyria is a feudal male dominated society- highlights trade wars and Orsino’s role as a military leader- Viola’s home country is at war with

Menacing squad of black uniformed horsemen gallop along the beach

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11
Q

Hazlitt
- follies
- charm

Late 18th century placed a focus on character and individual responsibility

A

1817
“makes us laugh at the follies of mankind not despise them”

“the great and secret charm of 12th night is Viola”

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12
Q

argues Orsino is “capable of powerful

A

feeling […] and development under Viola’s influence”

Warren

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13
Q

Act 1 Scene 5 narcissus

A

RSC Gill 1974

Used the set to embody the idea of self-love by having the stage dominated by a huge mural of the classical Narcissus

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14
Q

Psychoanalytical criticism (Holland) self-love

A

Malvolio seems a narcissist but indeed he is someone who lacks self-love

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15
Q

Magoulias: Narcissus

A

Dominated by the image of Narcissus, a “continuous reminder to the audience of the themes of ambiguous sexuality and erotic self-deception.”

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16
Q

Seduction is…

A

predominantly aural
Massal

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17
Q

Olivia is not quite

A

comfortable in the conventional role of hunted deer made available by the petrarchan tradition
Massal

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18
Q

Olivia is “in thrall

A

to her melancholy” Schalkwyk

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19
Q

Act 1 Scene 5 GT 2012

A

All male production- affects erotic interplay between actors- the performance of gender

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20
Q

On the bed

A

2001 Posner: wake up across an unmade bed (A+S)

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21
Q

Salinger on Antonio

A

“the one single-minded representative of romantic devotion”

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22
Q

RSC 2017 Antonio and Sebastian

A
  • “A deeply gay play” (Luscombe)
  • Green orchid- Wilde-homo
  • danger is more metaphorical than the NT 2017 production with ragged clothes
  • As they grow closer and are interrupted, they jump back
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23
Q

Viola is trapped

A

by her disguise (Bickley)

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24
Q

C.L Barber on decorum

A

20th century
Viola achieves her disguise through ‘perfect courtesy’ whereas Malvolio threatens to violate it.

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25
Manningham
1602 "A good practice in it"
26
Charles I
Wrote Malvolio against his 1632 copy
27
"Cold, austere,
repelling, but dignified" Lamb 1822
28
Henry Irving
1884 influenced by Lamb portrayal with innate dignity and pathos to his humiliation
29
"As a sycophant
a social climber, and an officious snob, [Malvolio] well deserves to be put back in his place" Levin
30
"The revenge taken on him
is so extreme because what he stands for is so massively dangerous." Pennington 1992
31
"Characters in love
are simultaneously at their most 'real' and 'unreal' most true and most feigning" Eagleton
32
Act 2 Scene 4 RSC
Embrace in a kiss as Cesario teases a revelation. As Orsino says 'Ay that's the theme,' there's a painful expression on his face as he knows he must carry on playing the role of pursuer in the theme of the play
33
"puritanical..
aversion" "one has a sense of there being inverted commas around the "fun"" Auden (20th c)
34
"Male Malvolio is
often read as power-hungry...Malvolia is a closeted homosexual whose secret (and unrequited) love for her mistress leaves her humiliated" Lynn
35
National Youth Theatre 2024
Electric moment on stage as Malvolio believes Olivia loves her, golden strings erupt into the air, a mocking play on "golden time convents", music explodes, together with Malvolio the audience shares the pure ecstasy of feeling loved which we share despite our awareness that it is false.
36
Act 2 Scene 5: RSC 2017 NT 2017
-Revelers hide behind statues in the open- comedic because visible and thus foolish as he cries - revelers hide behind bushes
37
"Instability
of language" Hartman (post-modern)
38
"It is as Viola
that she should be pitied, in love but unloved, it is as Cesario she is loved" Perno
39
Schalkwyk "Love seems
to be a form of madness"
40
"His role is to
expose all that is vulgar and falsely stereotyped in human relationships" (Bahktin) "This fellow is wise enough to play the fool"
41
Act 3 Scene 1 RSC 2017
rose in Olivia's vase- romantic emotions but reminds us that women are as flowers who fall that very hour - theme of time passing, urgency, youth growing - "The clock upbraids me with the waste of time"
42
"Twelfth night used to be
funny" Berry 1981
43
Go through suitcase and find a stuffed teddy bear
Gulling of Andrew Act 3 Scene 2 RSC 2017
44
Act 3 Scene 3 NT 2017
The elephant poster has LOVE written on it resonating more with the description of a sex hostel than a formal inn
45
Act 3 Scene 4 Malvolio's transformation:
RSC 2012 (Modern-dress): lack of subtlety, Malvolio's humiliation is taken to it's extreme, a grotesque transformation as Slinger wore women's underwear and a cod piece BBC 1980: little physical transf. McCowen's face in close-up~ psychological nuances of self-delusion
46
"The real theme of Illyria
erotic delirium or the metamorphoses of sex" Kott
47
"What she lacks
Sebastian has" 1959 CL Barber
48
Act 4 Scene 1 Globe Theatre 2002
Technical illusion through male caste- indistinguishable- confusion- diff. in behavior rather than physicality
49
Pequigney
"Sebastian could never have done what was necessary to win Olivia, and his only chance was for his sister to perform the masculine role for him"
50
RSC ----' Malvolio
tethered to a post like a bear- taking up the bear-baiting metaphors in 2.5 darkness was paradoxically figured by bright light 1987 sher
51
"Malvolia as a woman whose
sense of identity has been irrevocably shattered." Lynn
52
"The play disciplines
independent woman like Olivia and rewards the self-abnegation of Viola" Howard 1980s feminist criticism
53
Act 5 Scene 1 RSC
Sir T is dressed gallantly whilst Andrew is undone Older casting of Pochrane- vulnerable Orsino holds hands with Sebastian instead- wants male viola Sebastian runs towards Antonio Orsino's last lines are ushered by Olivia- he is muted and also punished in his inconstancy
54
"Instead of a resolution
we are left with a knotty confusion" Herald
55
"Emblematic silencing
of the feisty female character in marriage" Smith
56
Bate
"Viola is diminished when bereaved of her second self"
57
"Complicates 12th Night's movement
from queer to straight, from homoeroticism to heterosexuality. He is the desire that cannot be contained in the marital conclusions typical of a romantic comedy" Smith
58
The final marriages have "something
perfunctory about them as if the fantastic contortions of the plot had made the characters into puppets" Pennington
59
In Illyria, ambiguity is the
principle of love as well as comedy kott
60
the disclosure
of unbalanced sentiment charlton
61
rsc 1997 viola
schlesinger says viola has an 'elusive' quality, a 'very lonely part. there is a bit of her that is always hidden.'
62
trevor nunn 1996 feste
at the top of a clifftop watching viola come in, the only one who knows her disguise
63
trevor nunn 1996 orsino and cesario
act 2 scene 4 leaning close, orsino shocked at his attraction for a young man, revelation resolves this by proving his desires to be heterosexual
64
trevor nunn 1996 malvolio
reads a french magazine 'amour'
65
ludlow 2004-
bodagnov to extremes of upsetting comic balance by making malvolio exit in silence, and after the comic denoument, return with troops who tear down the festive decorations
66
pennington on the ludlow production
he goes, darkness closing like a tide behind him. i think there is a pause, nobody knows quite what to do
67
........... plays malvolio in rsc 19--
philip voss 1997 feel embarrassed they must laugh but then feel embarrassed
68
rsc 1979 feste
remains on stage cueing characters like a stage manager
69
2012 globe feste
premptorily dismissed, dyer is dragged off stage as olivia busies herself with paperwork, with his quick wit he captures her attention- vital energy and purpose to his jestinng
70
greenblatt
Self-fashioning = identity as performance + power + survival.

Twelfth Night (2 decks)

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