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Particularly Rapid Unintelligible Patter

@shimyereh / shimyereh.tumblr.com

Mostly Gilbert & Sullivan, Shakespeare, 19th-century Russian literature. Other things that sometimes show up here: language/linguistics stuff, translations from various languages, metered verse, music discussion, photos of my knitting.
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From Canto III of Byron’s Don Juan:

LXXXVII. Thus sung, or would, or could, or should have sung,      The modern Greek, in tolerable verse; If not like Orpheus quite, when Greece was young,      Yet in these times he might have done much worse: His strain displayed some feeling — right or wrong;      And feeling, in a poet, is the source Of others’ feeling; but they are such liars, And take all colours — like the hands of dyers.

LXXXVIII. But words are things, and a small drop of ink,      Falling like dew, upon a thought, produces That which makes thousands, perhaps millions, think;      ‘Tis strange, the shortest letter which man uses Instead of speech, may form a lasting link      Of ages; to what straits old Time reduces Frail man, when paper — even a rag like this, Survives himself, his tomb, and all that’s his!

LXXXIX. And when his bones are dust, his grave a blank,      His station, generation, even his nation, Become a thing, or nothing, save to rank      In chronological commemoration, Some dull MS. Oblivion long has sank,      Or graven stone found in a barrack’s station In digging the foundation of a closet, May turn his name up, as a rare deposit.

XC. And Glory long has made the sages smile;      ‘Tis something, nothing, words, illusion, wind — Depending more upon the historian’s style      Than on the name a person leaves behind: Troy owes to Homer what whist owes to Hoyle:      The present century was growing blind To the great Marlborough’s skill in giving knocks, Until his late Life by Archdeacon Coxe.

XCI. Milton’s the Prince of poets — so we say;      A little heavy, but no less divine: An independent being in his day —      Learned, pious, temperate in love and wine; But, his life falling into Johnson’s way,      We’re told this great High Priest of all the Nine Was whipped at college — a harsh sire — odd spouse, For the first Mrs. Milton left his house.

XCII. All these are, certes, entertaining facts,      Like Shakespeare’s stealing deer, Lord Bacon’s bribes; Like Titus’ youth, and Cæsar’s earliest acts;      Like Burns (whom Doctor Currie well describes); Like Cromwell’s pranks; — but although Truth exacts      These amiable descriptions from the scribes, As most essential to their Hero’s story, They do not much contribute to his glory.

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Here’s a monologue (well, sort of) for Monologue Day of Shakespeare Appreciation Week!

This is an excerpt from III.i of 1 Henry IV, where Hotspur and Glendower get into an argument over whether or not Glendower has magical powers, feat. me as both of them.

“I can call spirits from the vasty deep!”
“Why, so can I, or so can any man, But will they come when you do call for them?”
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Jack Point for the headcanon meme, if you'd like? :) (I just remembered that you played him hahaha)

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[@leporell-o asked this, too!Thanks, both of you! :) Headcanon meme here, for reference.]

HeadcanonA: realisticI have a strong preference for seeing Jack played young.Yes, I know there’s nothing definitively establishing his age in the text, andI’ve seen him interpreted as a range of ages, but… Elsie is young. The “Strange adventure” quartet in Act II speculateher age as 16-17 (“pretty maid of seventeen”, “though but sixteen year shecarry”). It makes for a more equal dynamic between him and Elsie. She’s notjust a pretty face to get people’s attention, they should be equal partners inthe act, dammit! And he’s so rash andimpulsive, and I don’t think he’s ever properly been in love before. He’sclever, but he’s reckless, and a little too quick to put his schemes intoaction. How do you not play him as aball of nervous energy? I think these are all things that read better when he’splayed young.

When I played him, our director declared him to be 19, justa little older than Elsie. I really liked that. (And I like to think I wasreasonably convincing: I was mid-20s at the time and still regularly getmistaken for younger than I am. Fairfax and Wilfred were also much taller than me.)

I also feel very strongly that Jack should start the showreasonably happy and mischievous. It’s easier to cry for him at the end if he’smade me laugh first. I remember reading an analysis somewhere that compared Yeomen against commedia dell’artetropes, which proposed the idea of Jack as an Arlecchino who becomes a Pierrot— basically, a trickster who finds himself unexpectedly recast as a sad clown.Given how Yeomen defies so manyestablished G&S tropes and really is a comic opera that goes off the rails,I think this idea fits nicely. In a more typical G&S work, Jack would bethe comic lead. So why not start off embracing that framework? Then thesubversion can be more emotionally powerful.

HeadcanonB: while it may not be realistic it is hilariousHe’s talented atcreatively insulting people, but he’s hilariously ineffective in a fight. There’sa reason Elsie gets to carry the dagger! I know the scene with the rowdytownsfolk usually ends with Elsie being almost overpowered right before theLieutenant enters, but I like to think it’s actually lucky for the townsfolk that he entered when he did.

Although… there was that memorable time Jack managed to takeout five(!) highwaymen with some help from good ol’ Hugh Ambrose. For once, Jack was grateful for the sheer volume andlongwindedness of Hugh Ambrose’s supposedly “Merrie Jestes”. This is why hestill carries that stupid book with him.

The unrealistic thing about this set of headcanons is thatit was actually just one highwayman.

HeadcanonC: heart-crushing and awful, but fun to inflict on friendsHe took poison before that final entrance. At least, thatwas my secret headcanon when I played him.* I find it odd if he just abruptly…drops dead at the end. I had to come up with some justification beyond“emotional turmoil + just pulled the most epic all-nighter in the history ofEVER”. Relatedly, there’s a special kind of shiver that runs down your spinewhen you’re standing in the wings listening to everybody else start the Act IIfinale, and you spot that little “x” toward the back of the stage and think: “Mycharacter is going to die there in ~10 minutes.”

*[I think I can postthat here now, since it’s been 3 years. The ending was staged to be ambiguousto the audience. I was told he dies, but the rest of the cast were encouragedto try to guess, and there was at least one audience member who came up to meafter a show to ask whether Jack was alive or dead at the end.]

HeadcanonD: unrealistic, but I will disregard canon about it because I reject canonreality and substitute my ownJack survives the ending, gets over his heartbreak, and goeson to have other adventures. I know there’s some in the fandom who would shiphim with Kate or Phoebe,** and I get where they’re coming from, but I don’ttend to be much of a shipper myself, in general. There’s plenty of pair-the-sparesin the rest of the G&S canon. I just want to see him get up to moreshenanigans with Wilfred. I suppose you could ship him with Wilfred, but to methey’re a BroTP.

**[Jack/Phoebe as amissed opportunity could beemotionally effective, depending on how it’s played. I remember someone heremade a compelling argument about a year ago? :)]

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You got to play Point? Amazing.  I’m going to a reading of Act II this evening (to play piano for a production I’m otherwise not involved in)    

Yes, I did! It was my first major role and a fantastic learning experience. It was also the last show I did with my old G&S society before I finished grad school and moved away, so I have some extra feels about it.

Break a leg (key?) at the reading!

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And one more, from a rehearsal.

“Ah! ‘tis but melancholy mumming when poor heart-broken, jilted Jack Point must needs turn to a cognitive linguistics textbook for original light humour!“

Throwback Thursday, to that time when I was living a double life as a 16th-century jester and a 21st-century linguistics grad student. My other social media has been reminding me about this a lot lately. Somehow, it was 3 years ago. (You can see a few actual production photos here.)

Bonus: “Cock ‘n’ Bull” brand ginger beer with Wilfred at a cast party.

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That feeling where you read a passage, and it just won’t leave you alone until you try to set it to music. I’m actually more interested in the part that comes right after this (comparing the invisible line between the armies to the boundary between life and death), but here’s a recording of the rough sketch I jotted down just now for the beginning of the passage.

W&P, Book 1, Part 2, Chapter 8:
Было тихо… Между эскадроном и неприятелями уже никого не было, кроме мелких разъездов. Пустое пространство, сажен в триста, отделяло их от него. Неприятель перестал стрелять, и тем яснее чувствовалась та строгая, грозная, неприступная и неуловимая черта, которая разделяет два неприятельские войска.
It was still… Now there was nothing between the squadron and the enemy except an inconsiderable number of cavalry patrols. A barren expanse of some seven hundred yards was all that separated them. The enemy had ceased firing, and that stark, formidable, unapproachable, intangible line that separates two hostile armies was all the more clearly felt. [tr. Dunnigan]
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This got itself stuck in my head, and I’ve been singing it off and on all evening. It’s from the movie “Hussar Ballad” (which I watched recently and enjoyed very, very much). Shura sings this lullaby to her doll, Svetlana, before running off to join the hussars in the war against Napoleon.

“Svetlana’s lullaby”, music by Khrennikov, words by Gladkov, my translation below the cut.

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Thank you for sharing bits of the process with us.  It sounds like it was a wonderful project both for you and your audiences.   

It was such a solid production. I learned so much from watching our director and my castmates, and also had a great time with the material. And we were lucky to have some pretty excellent audiences, too. :)

As someone fairly new to theatre, writing about it here helps me work through what I found effective and why. Also, I figure it’ll help future!self remember things in more detail. I’m glad there’s an audience for these ramblings. :) Some of the discussions I’ve gotten into here have led to more insights and inspirations.

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The end comes fast. We’ve seen it all before, Of course, but this is different. End of run Means now it’s final. Previous shows were more A reset button than an ending. Done,

Finished, over. The dead are dead for good, The king’s ghost fades into the morning mist, The fairies disappear into the wood, There are no more enchantments to resist.

One set of characters wake from wacky dreams They’ll never have again. The other set Will sleep forever. All their fates, it seems, Will take me somewhat longer to forget.

Good night, sweet prince – I’ll sing you to your rest; Athenian lovers, awake refreshed and blessed.

I just want to add a few of my favorite things that happened during this production:

1. Favorite audience interaction moment I didn’t actually get to witness: Our Hamlet’s interpretation of “Here’s metal more attractive!” right before the play-within-the-play. Since our Ophelia was also our Gertrude, this meant Hamlet delivered the line to/about somebody/something in the audience. His shenanigans apparently included: flirting with audience members, petting somebody’s dog, and brazenly helping himself to somebody’s fruit salad. I never got to see any of this business, because I played the murderer in Gonzago and spent a lot of the scene in a long black cloak with the hood over my face.

2. Favorite audience interaction moment I did get to witness: Pyramus’s death scene. It was a little different every time, and it kept getting more and more EPIC. Second-to-last Midsummer of the run, he starts reaching towards someone in the front row, and I’m thinking: Oh, he’s going to die in an audience member’s arms again! But NO. At the last minute, he goes for their potato chips instead, and (very melodramatically) helps himself to a few before dying. I was SO GLAD it was in character for Puck to be laughing hysterically in that scene, because I absolutely LOST IT. Several times, the audience applauded so much after his death, that he got up and took a bow before going to back to being “dead”. He also often borrowed people’s water bottles to make his face look wet with tears, and he had great reactions anytime audience members laughed at him.

3. Pyramus and Thisbe “killed” themselves with a ridiculous prop knife that had a very reactive spring on the blade. After Thisbe stabbed herself, it would always go flying a couple feet and get a great laugh from the audience.

4. Polonius and Laertes were played by the same actor. While this meant the “to thine own self be true” speech had to be completely cut, it did make for a hilarious quick change. “I stay too long, my father comes!” *ducks behind set, re-emerges in robe and beard-hat* “What is’t, Ophelia, he hath said to you?”

5. On a serious note, Ophelia’s mad scene regularly moved me almost to tears (but I couldn’t cry because I was onstage accompanying her on low pennywhistle). I found the way she sang the songs very powerful. There was a minor plot point, inserted shortly before we opened, involving a little blue ribbon. Laertes tied it around Ophelia’s wrist before leaving for France, Gertrude gave it back to him after reporting Ophelia’s death, and he tied it to the handle of his sword in the final duel. One time, the ribbon got lost partway through a performance and we all panicked a bit backstage. Ophelia and Laertes discovered it on the grass during her mad scene, and there was a spontaneous and heartbreaking moment where he tried to help tie it back on her wrist while she pushed him away.

6. I spent a lot of my offstage time in Midsummer lurking around the edges of the audience in character as Puck. I loved it whenever little kids would notice me sneaking past and stare right at me (in spite of the more exciting things happening in front of the audience), and I would grin and sweep them a bow.

7. In a wonderful bit of throw-it-in, just a few days before we opened, our director decided to have me sing a couple verses of “The Mad, Merry Pranks of Robin Goodfellow” at my first entrance as Puck (to cover a castmate’s quick change). I had prepared the song as possible pre-show music. I wonder how often this song gets used onstage in Midsummer? I mean, it’s pretty similar to one of Puck’s longer monologues – which was cut in our production, so this ended up being my equivalent.

8. Three different strangers came and found me after shows to ask about my “statistical analyses of language patterns in Shakespeare”. Turns out some people actually do read the cast bios! Thank you, random audience members, for giving me an excuse to babble enthusiastically about computational linguistics and my Hamlet questions experiment.

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The end comes fast. We’ve seen it all before, Of course, but this is different. End of run Means now it’s final. Previous shows were more A reset button than an ending. Done,

Finished, over. The dead are dead for good, The king’s ghost fades into the morning mist, The fairies disappear into the wood, There are no more enchantments to resist.

One set of characters wake from wacky dreams They’ll never have again. The other set Will sleep forever. All their fates, it seems, Will take me somewhat longer to forget.

Good night, sweet prince – I’ll sing you to your rest; Athenian lovers, awake refreshed and blessed.

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Last night was a Hamlet performance, but before that, our warm-ups included a speed-through of Midsummer lines. Turns out Titania’s line:

Come, my lord, and in our flight Tell me how it came this night That I sleeping here was found With these mortals on the ground.
(Midsummer IV.i.103-106)

reads a bit differently when Titania is dressed as Laertes and Oberon is dressed as Hamlet. They were even holding the foils! (I think fight call was next.) It just gave me such a bizarre and unexpected mental image.

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shimyereh

Tonight’s dress rehearsal of Midsummer attracted a crowd of enthusiastic little kids. They were a great audience! Highlights included:

  • That one kid who asked me if I was a leprechaun.
  • I do a bit where I run through the audience asking if anyone’s seen a youth in Athenian garments. The kids were just full of helpful suggestions about where to look.
  • When Bottom woke up at the end and announced he was going to write a ballad about his dream, he asked the kids for ideas on what to call it. One of them very loudly suggested “Narwhal”.

UPDATE: Ever since that dress rehearsal, every time we get to that scene about Bottom’s dream at least one of us behind the set mouths the word “narwhal”.

Also, shout-out to the kid sitting near the front at one of our week #1 performances, who yelled “NO!!” when Pyramus went to stab himself. (Bottom/Pyramus: “YES!!!” *stabs himself extra-dramatically*)

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Tonight’s dress rehearsal of Midsummer attracted a crowd of enthusiastic little kids. They were a great audience! Highlights included:

  • That one kid who asked me if I was a leprechaun.
  • I do a bit where I run through the audience asking if anyone’s seen a youth in Athenian garments. The kids were just full of helpful suggestions about where to look.
  • When Bottom woke up at the end and announced he was going to write a ballad about his dream, he asked the kids for ideas on what to call it. One of them very loudly suggested “Narwhal”.
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reblogged
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shimyereh

So in our (abridged, 5-person) Hamlet, I’m playing a non-canonical storyteller/minstrel character. I introduce and end the story, play lots of incidental music, and periodically step into the action as minor characters.

Our director has me dressed as a jester to make it clear I’m not part of the same world as the other characters. The idea is that all the other characters are images I’ve conjured up, and I’m generally invisible to them. Or if they do see me, it’s just as whatever role I’ve temporarily stepped into: a guard on the battlements, one of the traveling players, the gravedigger’s assistant, various all-purpose servants. They don’t see what I really am. …Except for Ophelia. She looks right at me when I’m accompanying the songs in her mad scene. There’s also a lovely moment that emerged in last week’s rehearsals, where she notices me playing scene transition music shortly after her first entrance.

I’ve been thinking a lot about my Storyteller. How does he know this story, what’s his emotional investment in it, and why is he telling it? And then a few days ago I figured it all out.

The Storyteller is future!Horatio.

Think about it. In the full play, there’s a part in the final scene where Hamlet stops Horatio from drinking the last of the poison, and urges him to live on and keep telling this story. That part’s not in our production because our Horatio is busy being Laertes in the final scene. But story!Horatio’s absence also means my Storyteller ends up doing a number of things in the final scene that would be part of Horatio’s role in a more traditional production (most notably: closing Hamlet’s eyes and delivering the “good night, sweet prince” line). And finally, my lines that open and close the story are taken from some of Horatio’s final lines: “What is it ye would see? / If aught of woe or wonder, cease your search…”

The more I thought about it, the more it made too much sense. And now I have this mental image of Horatio wandering around in jester’s motley, telling and retelling this story, briefly bringing everybody back to life but unable to properly interact with them or change the ending as they all die around him AGAIN and AGAIN. I’m sure these headcanons won’t be obvious to the audience, but they’ll definitely inform how I play this character.

UPDATE: Almost made myself cry in tonight’s dress rehearsal. Performing in smallish outdoor spaces means there’s a bit of subtle in-character stuff that happens at the periphery while characters are waiting to enter the main action. Between Ophelia’s last exit and the start of the graveyard scene, I noticed Hamlet sitting on a bench at the edge of the field, facing away from the audience, lost in thought and/or grief.

I’m not technically onstage either at that point, and usually I’ve waited behind the set until it’s time for me to play the next music cue and become the gravedigger’s assistant. But tonight, I started to walk over to Hamlet instead. I kept thinking about how he’s briefly alive again within my story but he can’t see me and I can’t comfort him. I ended up standing a little distance away, half watching him, half glancing back to see Gertrude interrupt Laertes and Claudius with news of Ophelia’s death. And Hamlet, of course, never turned around or noticed me.

In related news, my Storyteller now also does a little double-take right after The Murder of Gonzago, when Hamlet says, “O good Horatio, I’ll take the ghost’s word for a thousand pound.” And then I realize he’s talking to story!Horatio, not me.

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