¶ Staging a performance of William Shakespeare’s “The Taming of the Shrew” means managing ethics of conscription and of resistance. The role of Kate is appealing to many because she offers a full-throated and resistant character that third-wave Feminisms connect to, can conscript and inhabit. That is, until the last act and the infamous speech where she encourages the other brides, like herself, to put their hand under their husbands’ feet. How can a production recover Kate from being flattened by what we would now label as Stockholm Syndrome? Need we?
¶ When I talk to friends and colleagues about original practice (O.P.) performances, their first response is usually a skeptical one. Part of that resistance stems from an assumption that anything trying to return to an early moment or wellspring is a museum artifact: stagnant, static, lacking flexibility and topicality. If you’ve been to an OPS Fest performance, however, you will note that there are no hose, doublets, of ruffs, nor is original pronunciation or any kind of accent used. (I should say accents are used, but typically to draw attention to comic or class distinctions.) So what is “original” about these performances? It’s in the practice.
¶ As any musician will tell you, one practices alone and one rehearses with a group. As is mentioned in the pre-show talk every night, the many-month-ed rehearsal of contemporary theatre was not a feature of the Renaissance. One memorized in private, and then came to do the show. To use another musical simile, OPS Fest capitalizes on the performance technique of a prima vista or “sight-reading”: to perform a piece of art upon first sight. Part of being in a professional orchestra or jazz combo relies on the fact that you have played so much music that your brain can more quickly pick up the patterns and anticipate the shape of a melodic line accurately at relatively first sight. It is a matter of a great deal of practice and exposure to a lot of material quickly. In an O.P. performance, you are seeing actors capitalize on having seen chiasmus, litotes, and other rhetorical figures so many times before that they understand how to deliver them, despite not having seen this particular case in front of them before.
¶ In other words, O.P. is about experimenting with how sixteenth and seventeenth century players made theatre, not what. It is about the conservation and rehabilitation of a set of tactics and strategies, rather than the preservation (and possible mummification) of the content of a specific play. Take, for example, the A-frame sidewalk signs you’ll see guiding you to the performance space (pictured above). They use the same graphic art taped to the sign that you will see on posters throughout the neighborhood in the weeks before the show, as well as on the cover of your program. While there were no sidewalks or such signs in the period, there was this exact kind of printing redundancy for advertising. When printers were requested to make a run of copies of a play to sell, they printed a number of extras of the title-pages. These “playbills” were posted around London advertising the playbooks, who lately performed the play, and where you could buy copies. So while the specific design, paper stock, and ink aren’t the same today, the practice of it most certainly is. So how did the WIL Fest staging of its second tragedy, “Macbeth,” fair under these conditions?
Continue reading “WIL Festival 4.1: “Macbeth””