« Mon seul Shakespeare »
I have been struck by the strange composition of Measure for Measure, and this is what prompted me to direct that particular play. The first three acts are run through by a tragic élan: the duke prefers to evade responsibilities which have for so long been beyond him and that have now become a burde...
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Centre de Recherche "Texte et Critique de Texte"
2013-01-01
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| Series: | Sillages Critiques |
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| Online Access: | https://journals.openedition.org/sillagescritiques/2756 |
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| author | Jacques Nichet |
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| description | I have been struck by the strange composition of Measure for Measure, and this is what prompted me to direct that particular play. The first three acts are run through by a tragic élan: the duke prefers to evade responsibilities which have for so long been beyond him and that have now become a burden for him. So, he decides to leave while provisionally transferring his power to an « untouchable » man, Angelo, who much better than him will be able to “put[s] transgression to it” (3.2.91-2)! He indeed immediately makes stern and strict decisions. Disguised as a ‘holy friar’, the Duke secretly observes the consequences of such an abrupt enforcement of moral order. He seems to approve of the first condemnations: his melancholy humour, his austere morality, allow him to find the words which are meant to prepare Claudio to his impending execution. All of a sudden, everything changes: the Duke can hear this same prisoner desperately ask his sister to save his life and to accept the new deputy’s blackmail. Vincentio, who has lived a retired life in his palace for so long, seems to realize how priceless human life is: he immediately decides to prevent Claudio’s execution which has been ordered by a most corrupt judge! He will now do everything in his power to divert this tragedy from its furious course. Vincentio suddenly makes improvised decisions, invents unexpected stratagems to counter the commands of the blackmailing deputy. So, some sort of counter-plan is progressively put in place which looks as if it chimed in with the tragic course of events only to better deceive the wild beast named Angelo! To each measure of tragedy a measure of comedy is being added! All the horrible requirements of the tyrant are accepted by the false friar. Bloody substitutes replace real blood! To the man who orders Claudio’s head to be brought to him, the Duke offers the severed pate of some « cadaver ex machina », namely that of the pirate Ragozine who has been good enough to die at the right moment! Tragedy and comedy, as they contaminate one another, produce some sort of black humour whose best example is found in Barnardine’s refusal to have his head chopped off at an impossible hour! Shakespeare’s final choice is one of mercy! Angelo’s tragedy has misfired: the merry violence of the last act manages to weave together the threads of horror and laughter, of cunning and inveterate lying, so as to come to some sort of harmonious ending! In this paper, I also provide some explanations for my choices as a director as to casting, costumes, scenography, and rhythm of delivery. I hope these few pages will reflect the real pleasure we all took in staging Shakespeare’s play whose text so generously rewards those who approach it with a form of innocence! |
| format | Article |
| id | doaj-art-bf71d187c29249a9b4ebff8c4b2c4065 |
| institution | Kabale University |
| issn | 1272-3819 1969-6302 |
| language | English |
| publishDate | 2013-01-01 |
| publisher | Centre de Recherche "Texte et Critique de Texte" |
| record_format | Article |
| series | Sillages Critiques |
| spelling | doaj-art-bf71d187c29249a9b4ebff8c4b2c40652025-01-30T13:46:43ZengCentre de Recherche "Texte et Critique de Texte"Sillages Critiques1272-38191969-63022013-01-011510.4000/sillagescritiques.2756« Mon seul Shakespeare »Jacques NichetI have been struck by the strange composition of Measure for Measure, and this is what prompted me to direct that particular play. The first three acts are run through by a tragic élan: the duke prefers to evade responsibilities which have for so long been beyond him and that have now become a burden for him. So, he decides to leave while provisionally transferring his power to an « untouchable » man, Angelo, who much better than him will be able to “put[s] transgression to it” (3.2.91-2)! He indeed immediately makes stern and strict decisions. Disguised as a ‘holy friar’, the Duke secretly observes the consequences of such an abrupt enforcement of moral order. He seems to approve of the first condemnations: his melancholy humour, his austere morality, allow him to find the words which are meant to prepare Claudio to his impending execution. All of a sudden, everything changes: the Duke can hear this same prisoner desperately ask his sister to save his life and to accept the new deputy’s blackmail. Vincentio, who has lived a retired life in his palace for so long, seems to realize how priceless human life is: he immediately decides to prevent Claudio’s execution which has been ordered by a most corrupt judge! He will now do everything in his power to divert this tragedy from its furious course. Vincentio suddenly makes improvised decisions, invents unexpected stratagems to counter the commands of the blackmailing deputy. So, some sort of counter-plan is progressively put in place which looks as if it chimed in with the tragic course of events only to better deceive the wild beast named Angelo! To each measure of tragedy a measure of comedy is being added! All the horrible requirements of the tyrant are accepted by the false friar. Bloody substitutes replace real blood! To the man who orders Claudio’s head to be brought to him, the Duke offers the severed pate of some « cadaver ex machina », namely that of the pirate Ragozine who has been good enough to die at the right moment! Tragedy and comedy, as they contaminate one another, produce some sort of black humour whose best example is found in Barnardine’s refusal to have his head chopped off at an impossible hour! Shakespeare’s final choice is one of mercy! Angelo’s tragedy has misfired: the merry violence of the last act manages to weave together the threads of horror and laughter, of cunning and inveterate lying, so as to come to some sort of harmonious ending! In this paper, I also provide some explanations for my choices as a director as to casting, costumes, scenography, and rhythm of delivery. I hope these few pages will reflect the real pleasure we all took in staging Shakespeare’s play whose text so generously rewards those who approach it with a form of innocence!https://journals.openedition.org/sillagescritiques/2756riddleunexpecteduntranslatablemelancholymaskuntouchable |
| spellingShingle | Jacques Nichet « Mon seul Shakespeare » Sillages Critiques riddle unexpected untranslatable melancholy mask untouchable |
| title | « Mon seul Shakespeare » |
| title_full | « Mon seul Shakespeare » |
| title_fullStr | « Mon seul Shakespeare » |
| title_full_unstemmed | « Mon seul Shakespeare » |
| title_short | « Mon seul Shakespeare » |
| title_sort | mon seul shakespeare |
| topic | riddle unexpected untranslatable melancholy mask untouchable |
| url | https://journals.openedition.org/sillagescritiques/2756 |
| work_keys_str_mv | AT jacquesnichet monseulshakespeare |