Twelfth Night Critics

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  • Created by: Kiera
  • Created on: 09-05-19 19:27
Michael Billington
Feste is 'treated as a choric outsider'
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J.H Summers
'Every character has his masks'
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F.E Dolan
'The play doesn't end in marriage...Rather a multiplication of couples'
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E. Montegut 1867
The only 'philosophy' extracted from the play was that 'we are all in varying degrees insane'
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J. Middleton Murray
'silvery undertone of sadness'
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Simon Godwin 2017
"Cast a drag queen Feste"
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Charles Lamb
"Malvolio is not essentially ridiculous... he becomes comic by accident"
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Brecht
Developed theory called the 'v-effekt' or 'alienation' where audience are reminded they are watching a performance. Viola's disguise in TN could be regarded as an distancing effect, where the audience are always reminded that she is playing a role.
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Helen Schlesinger - RSC 1997-8
Playing Viola, she found in her character an 'elusive' quality, describing it as a 'very lonely part. There's a bit of her that's always hidden.'
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Harold Bloom 1998
"Everyone except Feste, the reluctant jester, is essentially mad without knowing it"
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Modern Production: 2018 RSC Twelfth Night Antonio wears...
...a green cross guard similar to Noel Coward, a famous homosexual figure, who commonly wore this symbol. The fact that Antonio wears this emphasises his sexuality and his intentions with Sebastian.
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Trevor Nunn's 1996 Film has Feste played by...
...Ben Kingsley, watching from a cliff top as Viola made her way up the beach, showing that he alone see's through Cesario's disguise.
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RSC 1979 (Feste)
Feste remained on stage throughout the play, cueing characters' entrances like a kind of stage manager. Supports Feste's position as a comic observer
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Emma Smith
Feste's "role is to point out the truths other characters don't want to hear." The dual nature of the job means that he often pretends to be dense when, in fact, he is an expect and highly intelligent.
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Sexual Transgression
"The play is fascinated with sexual possibilities, and in that respect, it is strikingly modern"
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John Mullan
an all male cast "becomes a kind of artistic freedom, enabling characters to switch their sexual identity"
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The duality and double lives has its comic counterpart in...
...the masquerading of Jack & Algie in 'The Importance of Being Earnest'. It also reflects the situation of Wilde himself, who like most homosexual men of his time, had to maintain a respectable front, even in the relatively liberal world of theatre.
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Charles Lamb, values Malvolio, arguing that...
..."even in his abused state of chains and darkness, a sort of greatness seems never to desert him" and concluding that the "catastrophe of this character [has] a kind of tragic interest"
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C.L Barber argues that...
...the reversal of sexual roles in the play consolidates rather than threatens the status quo
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Hartman argues that...
...the play is so preoccupied by puns and witty rhetoric that it is language in its slipperiness and vitality that becomes its central theme.
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The play's homoerotic potential is discussed by Pequingey in 'The Merchant of Venice and Twelfth Night' who argues the two plays' Antonio's characters...
...both of whom are identified in passionate, self-sacrificial relation to other men and both of whom are left unmarried and unresolved at the end of their respective play.
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Stephen Greenblatt
"Feste in his song possesses a current of sadness"
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Cash
"We may feel genuine pity for Malvolio"
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Shlegel
"Shakespeare treats love more as an affair of the imagination than of the heart"
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Cash
"Viola is a passive figure, despite her masculine attire she is a paragon of feminine virtue"
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Lamb
"Malvolio has been much misunderstood"
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Tamsin Greig
Malvolia (2017) - gender fluid production, rebellion about gender.
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Elizabeth Yearling
"language communicates truth despite the plays deliberate deception"
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Smith
play is fascinated by sexual possibilities... and in that respect it is strikingly modern""
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Wardle
"there is a great deal of poison seeping into this play, all-out dark comedy"
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Hudson Shakespeare Company
"Orsino is a parody of the melancholy lover of the 16th-century and shows psychological disorder"
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Other cards in this set

Card 2

Front

'Every character has his masks'

Back

J.H Summers

Card 3

Front

'The play doesn't end in marriage...Rather a multiplication of couples'

Back

Preview of the back of card 3

Card 4

Front

The only 'philosophy' extracted from the play was that 'we are all in varying degrees insane'

Back

Preview of the back of card 4

Card 5

Front

'silvery undertone of sadness'

Back

Preview of the back of card 5
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