Measure for Measure productions Flashcards
Vienna
1:1 - RSC 2019, Duke isolated and other characters on stage performing a Waltz, formal
1:1 - Globe 2015, focus on the brothels before the start, interact with audience, MO in a wheelbarrow, sleazy
4:3 - RSC 2019, prison is practically run by the prisoners, relocation of the brothels not a destruction
Angelo (Acts 1 and 2 )
1:1 - Declan Donnellan 2015, Angelo entering the scene scares the Duke, sinister
2:2 - RSC 2019, pauses after saying ‘dispose of her’, suggesting something sinister
2:2 - Declan Donnellan 2015, focused on his work, not listening to Isabella; Isabella kisses his hand when he says to come again tomorrow, part of why he falls for her
2:4 - RSC 2019, Angelo has a clice in the form of a spiked chain around his thigh
2:4 - Globe 2015, much more gentle during his soliloquy than in other adaptations, but is short-tempered and snaps at Isabella when she first arrives; walks behind Isabella and seems to smell her (subtly expresses his desire)
2:4 - Globe 2004, fondles Isabella, not opposed to abusing his power, questions his morality
2:4 - Declan Donnellan 2015, wears glasses, except for when he takes advantage of Isabella (appearance vs reality)
Comedy
1:2 - RSC 2019 & Globe 2004, Male actor plays Mistress Overdone
1:2 - Globe 2004, Lucio grabs the first gentlemen’s privates when he says “painful”
1:3 - RCS 2019, Lucio illustrates Claudio and Juliet’s sex with a matchbox
1:3 - Globe 2004, Duke wheeled into scene in a washing basket, pantomime-esque
4:3 - Globe 2004, Bernadine carries what is presumably a large flask of alcohol, appears sleepy and uninvolved, interrupts the ‘Friar’, displaying his lack of cooperation and care
Lucio
1:4 - Globe 2015, Lucio palms Isabella’s face as he leaves, comedic but also emphasises his character as peculiar rather than sleazy
3:2 - RSC 2019, seems interrogative and sarcastic (‘pray for me’) towards the ‘Friar’; chased away by a woman with a crying baby (Kate Keep-down)
5:1 - RSC 2019, Lucio lays a handkerchief on the floor before kneeling to ask for the Duke’s pardon (comedic), Kate Keepdown brought on whilst Lucio receives his punishment
Juliet
2:3 - RSC 2019, heavily pregnant, in a wheelchair and seemingly having contractions; seems particularly cruel and heartless for Angelo to use Claudio as an example given the circumstances; not the time for an interrogation from a Friar
2:3 - Globe 2004, Juliet is proud and happy in her manner of speaking to the Duke, rather than sorrowful and repenting: confidence contrasts the Duke’s faltering manner - ineffectual, inconsequential and weak
Duke as the Friar
2:3 - RSC 2019, pauses after saying ‘Benedicte!’, his valediction is an afterthought
3:1 - Globe 2004, particularly rapid in his conversation with Claudio, presenting him inconsequential and rambling; stops Claudio from pleading with Isabella by bashing his head with a book (comedic)
3:1 - RSC 2019, mimics measuring with his hands when presenting his plan to Isabella
4:3 - Globe 2015, the Provost hands the Duke the severed head and he inspects it without grimacing; when Isabella approaches they toss the head between each other like hot potato, comic due to their frantic behaviour
4:3 - Globe 2004, the Provost drops the head in front of the Duke and the Duke reels back so that he cannot see the head; the Provost assures the Duke that he will carry it himself (pauses in the line ‘Here is the head …. I’ll carry it myself’, undermining the Duke’s power)
4:5 - RSC 2019, the Duke removes his disguise in this scene
Isabella
3:1 - RSC 2019, particularly angry at Claudio, isn’t necessarily a perfect, pious, submissive woman, but active and strong minded; attempts to hand Claudio her rosary beads when she tells him to prepare for his death, but he doesn’t take them
4:3 - RSC 2019, takes off her habit, symbolising her giving up
5:1 - RSC 2019, doesn’t take the Duke’s hand after his second marriage proposal, last moment is her twisting her head in misery, obviously unhappy (because she knows she will have to say yes?)
Angelo (Acts 3)
3:2 - Globe 2004, Escalus’ line changes from ‘He is indeed Justice’ to ‘he is indeed just ice’ (rather than being pompous and arrogant, Angelo lacks compassion and warmth)
Mariana
4:1 - RSC 2019, musical techniques of the time to covey the melancholy feeling; Mariana remains sat throughout the song, exemplifying her sadness and inertia; Duke’s speech whilst Mariana and Isabella talk is replaced by an instrumental song, which refocuses the scene onto Mariana rather than the Duke and his ego
4:1 - Globe 2015, Mariana’s sadness seems superficial and indulgent, she listens carefully to the song and beckons for them to play it again, yet she seems joyful when she speaks with the duke, manner is much happier; juliet sings the song, replacing the Dukes speech, refocuses the story onto hers and mariana’s sadness rather than the Dukes ego, reminds the audience of Juliet’s stake in their plot
4:1 - Globe 2004, Mariana is crying and then sings the song herself, runs across the stage in hysterics
Abhorson
4:2 - RSC 2019, particularly deranged and creepy; Pompey breaks the fourth wall with the audience to show that he perceives Abhorson as creepy (comedic)
4:2 - Globe 2004, lifts Pompey up, determined to exhibit his dominance and prove that he is more valuable than Pompey, rather than alike (comedic
4:3 - RSC 2019, Bernadine mimics Abhorson and his axe, suggesting that people do not fear him, despite his role as a hangman
Duke
5:1 - Globe 2004, holds up Angelo’s hands triumphantly whilst Isabella is pleading on her knees for justice; shakes hands with an audience member rather than paying attention to Isabella; doesn’t look in Isabella’s direction and is sheepish and disregarding of her; staged public unity with Angelo
