Shakespeare’s meaning 4

1. Plays within Plays Shakespeare’s meaning 4 Group 4 – 한혜민, 이진민, 김혜지, 육리리

2. Plays within Plays contents • - Prologue / example : Henry Ⅴ • Induction • - Example : The Taming of the Shrew • Example :A Midsummer Night’s Dream • Example : Hamlet • Conclusion

3. Plays within Plays What is Prologue? • Prologue • a speech of text that introduce a play • : outline the events / define the author’s aims and intentions/ apologize for the deficiencies of the coming performance

4. Plays within Plays Effect of Prologue • heighten the spectator’s awareness of the theatrical representation as artifice. • For short time, after seeing prologue, audience remains alive to the fact that the characters who succeed him on the stage are actors in a play. • And character who speaks the prologue is detached from the persons of the play proper and he does not belong to the same order of reality.

5. Plays within Plays Example – Henry Ⅴ • The play opens with a powerful introductory speech • It insists about stage, act, and scene and emphasis the limitation of the actors in relation to their subject, thus-firmly establishes what is to follow as a play – a mere shadow of ‘reality

6. Plays within Plays Henry Ⅴ - Prologue • O, for a Muse of fire, that would ascend • The brightest heaven of invention; • A kingdom for a stage, princes to act • And monarchs to behold the swelling scene! • Then should the warlike Harry, like himself, • Assume the port of Mars; and at his heels, • Leash’d in like hounds, should famine, sword, and fire

7. Plays within Plays Function of Prologue • invite toleration of the deficiencies of the actors • implies the magnitude of the play’s subject. • involves the spectator in the performance by stimulation his imagination

8. Plays within Plays • they are aware of themselves as spectators, gathered together in a particular location to watch a specific theatrical event

9. Plays within Plays • Induction (prefatory playlet) • : short play • Play-within-the play

10. Plays within Plays The Taming of the Shrew • -A frame plot : enfolds the principal plot (or plots) within itself. • -Heightens watchers/readers awareness of the theatricality of the inset action while diminishing involvement in a play.

11. Plays within Plays The Taming of the Shrew • -First Act: illustrates a self-conscious use of the box-within-a-box structure. • -Storyline for Act I • -An altercation between Sly the Tinker and a Hostess • -Sly falls asleep • -Lord finds Sly, dresses him in Lord’s clothes, treats him as a noblemen, and watches his reaction.

12. Plays within Plays The Taming of the Shrew • -Focus of attention • A character in Shakespeare’s play ->Lord’s ->central member of a new internal audience • -After the introduction of Lucentio • -Lucentio and his servant, Tranio, step aside and watch the ‘show’ • -The spectator watching a Lord -> watching a Tinker -> watching a play about a young man -> watching an old man with two daughters

13. Plays within Plays The Taming of the Shrew • -The adventures of Sly ->Sly only functions to usher the play onto the stage. • -Elaborate sequence of internal audiences detach the spectator from the action, making it ambiguous figure. • -Watching different characters separately allows the spectator not to recognize the play as a slice of ‘real’ life. • -As a result, distance from the central action, but draws attention to its theatricality.

14. Plays within Plays The Taming of the Shrew • Induction of the play : • -Change of appearing status, not having right sense of sexuality • -Disruption of the natural order, mocking characters either for failing to recognize or acting in conformity. • -However, the similarity between the situation and the characters suggests that the deficiencies are universal, not idiosyncratic.

15. Plays within Plays The Taming of the Shrew • The purpose of the frame plot • -Calls attention to the artifice of the principal action • -Introduces the themes of the comedy • -Derived through the actions, experiences, and from the relationships on different realities. • -Not always designed to emphasize the artificiality of the dramatic representation. • -The Taming of the Shrew : approximates to reality, enfolds actuality, and insets commenting playlet.

16. Plays within Plays The Play Within a Play for “ A idsummer Night’s Dream” M

17. Plays within Plays “A Midsummer Night’s Dream” • "A Midsummer Night's Dream" is one of Shakespeare's four major comedy • Shakespeare just through “the play within a play” to increase the effect of his comedy • Through “the play within a play, he just stand his view for us– Creation in more important than the Mimicry.

18. Plays within Plays The most Lamentable Comedy and most Cruel Death of Pyramus and Thisby • The actor from the play just pay more attention on the literal meaning of the drama, they just ignored the real spirit of the drama • Shakespeare through them to prove his view—over mimicry in a drama just useless, even lead the drama to the ridiculous way.

19. Plays within Plays Example • BOTTOM:That will ask some tears in the true performing of it. If I do it, let the audience look to their eyes; I will move storms; I will condole in some measure. To the rest- yet my chief humour is for a tyrant. I could play Ercles rarely, or a part to tear a cat in, to make all split. (ACTⅠSCⅡP20) • COMPARE • BOTTOM. Let me play the lion too. I will roar that I will do any man's heart good to hear me; I will roar that I will make the Duke say 'Let him roar again, let him roar again.' • QUINCE. An you should do it too terribly, you would fright the Duchess and the ladies, that they would shriek; and that were enough to hang us all. • ALL. That would hang us, every mother's son. （ACTⅠ SCⅡ,P23）

20. Plays within Plays During the rehearsal • The problem become more and more badly • The players were restricted by the literal meaning deeply

21. Plays within Plays Example • SNOUT. Will not the ladies be afeard of the lion? • STARVELING. I fear it, I promise you. • BOTTOM. Masters, you ought to consider with yourself to bring in- God shield us!- a lion among ladies is a most dreadful thing; for there is not a more fearful wild-fowl than your lion living; and we ought to look to't. • SNOUT. Therefore another prologue must tell he is not a lion. (ACTⅢ SCⅠP53) • SNOUT. Doth the moon shine that night we play our play? • BOTTOM. A calendar, a calendar! Look in the almanack; find out moonshine, find out moonshine. • QUINCE. Yes, it doth shine that night. • BOTTOM. Why, then may you leave a casement of the great chamber window, where we play, open; and the moon may shine in at the casement. • (ACTⅢSCⅠP54)

22. Plays within Plays The end of the play • Example • HIPPOLYTA. It must be your imagination then, and not theirs. • THESEUS. If we imagine no worse of them than they of themselves, they may pass for excellent men. Here come two noble beasts in, a man and a lion.(ACTⅤ, SCⅠP116) • Shakespeare just through the conversation between Hippolyra and Theseus to show us the actor’s ability of creative is so important for a play and audience.

23. Plays within Plays Conclusion • Show us Shakespeare’s illusionist symbolism. • All the poor players just use the this kind of anti-illusion to add more comic effect on this drama. • Drama can not restricted by the mimicry • Drama need player’s creation and audience’s imagination

24. Plays within Plays The Tempest • Prospero was banished from his dukedom by his brother and became lord of an island, with his daughter and spiritual servants. And he has taken advantage of the providential proximity of his enemies to shipwreck his former foes on his own shores. • Prospero has the power to control others through magic. • He uses the art to control the characters action. • So, the events that take place on the island are the play-within-a-play

25. Plays within Plays A play-within-a-play within a play. • Ferdinand and Miranda forms another frame • which make it double frames of play-within-play. • And • Prospero use another vision by a masque to Ferdinand.

26. Plays within Plays • Prospero, who has functioned as an internal audience throughout, while being changed by the play he has witnessed, now as a audience he delivered epilogue. • Now my charms are all o’erthrown, • And what strength I have’s mine own, • Which is most faint: now, ‘tis true, • I must be here confin’d by you, • Or sent to Naples. Let me not, • Since I have my dukedom got, • And pardon’d the deceiver, dwell • In this bare island by your spell; • This is the speech a round of applause to conclude the performance, but it is also serves a much more important purpose. In the fist eight lines, Prospero places the members of the theatre audience in the same relation to himself as he stood in relation to the play of the courtiers.

27. Plays within Plays Presented with a multi-layered structure • A play-within-a-play may appear just for entertaining diversion for those inside and outside the play world, it brings the meaning of the drama as a whole.