[Travis Bickle] …was on the right path in the Taxi Driver. You should have the outburst of violence, and you should direct it at yourself, but in a very specific way — at what in yourself chains you, ties you to the ruling ideology.
This week I am watching Verdi’s Falstaff, the Riccardo Muti production. The plot covers The Merry Wives of Windsor with some speeches from Henry IV.
Melancholia opens with the Tristan und Isolde prelude. The Tristan Chord sets up the tension that is not resolved until the end of the opera.
Today I saw the Globe production of Julius Caesar.
Mack the Knife (Die Moritat von Mackie Messer) is a song from The Threepenny Opera, by Bertold Brecht and composed by Kurt Weill.
Published in 1964, it is a song about the exploits of sailors on shore leave in Amsterdam.
Patrick Stewart and David Suchet demonstrate a line of blank verse that is split between two characters. It shows how stage directions can be implicit in the verse.
This week I am reading Shakespeare’s Twelfth Night. It’s one of the later comedies. The tone is very light and comfortable. There is very little danger. By the second act the audience knows how the plot will be resolved when Sebastian appears. There is a melancholy streak in the clown Feste and his songs. The aristocrat leads, Orsino and Olivia are …
Richard III – BBC – 1983 Richard III – Ian McKellen – 1995 Richard III – Laurence Olivier – 1955
This week I am reading The Lamentable Tragedy of Titus Andronicus by William Shakespeare. It’s not the most respected play but it has glimpses of ideas that really payoff in the future plays: revenge in Hamlet, the villain in Merchant of Venice, Richard III and Othello, the unreasonable old man in King Lear. The play itself is in the Elizabethan revenge …