lareinenoire: (Elizabeth)
Well, as [livejournal.com profile] angevin2 reminded me, this is 30 Days of Shakespeare, not necessarily 30 Consecutive Days of Shakespeare. So, back to it.

It's really hard to define 'dialogue', as I discovered while trying to come up with answers for this day. Is it literally a piece of dialogue -- two lines, maybe three or four in total? Or can it encompass most of what we would think of as a scene even if it's not listed as such in the text?

Day #18: Your favourite dialogue - Much Ado About Nothing, Romeo and Juliet, and Hamlet

Much as I adore the stichomythic exchanges peppered throughout the First Tetralogy (including [livejournal.com profile] a_t_rain's answer, which is one of my absolute favourites), I expect everyone is thoroughly sick of hearing about those plays, so a bit of variety wouldn't go amiss. Three selections here, in no particular order.

Much Ado About Nothing, Act IV, Scene I, the final section.

[livejournal.com profile] a_t_rain has pinpointed everything I love about this scene, so I will just refer you all to her entry, which is wonderful and detailed and says everything I would have wanted to say only better :)

I love how many unexpected turns this particular dialogue takes -- Beatrice is grieving, she's furious, she's moved by Benedick's declaration but so very -- rightfully -- angry when he refuses to back it up with action. Much like Juliet, she has no interest in pretty words. The man she loves will rise to the occasion and defend a wronged woman even against his closest friends. But what makes me happiest is that Benedick does it.

Romeo and Juliet, Act II, Scene IV

This exchange between Mercutio and Romeo, when played properly, is hysterically funny because they are both such utter dorks who love puns and bad sex jokes. Also, unexpectedly poignant, I think, but that is because I, like any sensible person, believe Mercutio fancies Romeo, and that Romeo is either completely oblivious or aware of it but unsure of what to do, especially now that Juliet has entered the picture.

Also, it is far more fun when Mercutio actually tries to bite Romeo on 'I will bite thee by the ear for that jest', which he did in the production I directed.

Hamlet, Act II, Scene II

I love the exchange here between Hamlet and Polonius at least in part because of the RSC production that had me nearly falling out of my seat from laughter. It's also one of the few instances where I like the Q1 placement; having this exchange right after 'To be or not to be' and Hamlet's rejection of Ophelia (which Polonius has already seen) makes the entire thing both completely laughable and far, far creepier. Also, Hamlet is kind of a jerk, but we knew that already.

I can think of half a dozen other bits of dialogue that I love probably as much as these, but I will stop now. :)

Full List of Questions )
lareinenoire: (Crystal Ball)
First of all, apologies for the delay. First I was ill, and then I was travelling, and now I have time to transcribe my many, many notes.

To preface, I know a lot of people who saw this production and were disappointed, including several of my friends. I absolutely loved it -- but, this was my first experience seeing Hamlet performed live. I've seen three of the films (Olivier, Zeffirelli, and Branagh), and I've read it several times over (most recently with [livejournal.com profile] cesario's brilliant recaps), but seeing it performed was amazing, and I felt like I was rediscovering why I used to love this play so very, very much. I still do, but I think it's been spoiled by an excess of criticism, and watching it was astonishingly liberating.

Anyway. Here we go.

Here there be ramblings. Very long and probably full of unnecessary detail. )

I do feel bad posting this, knowing that anyone who sees this production between now and Christmas won't be seeing David Tennant, but I do want to say that Edward Bennett made a fantastic Laertes (he made me like Laertes, something I never would have predicted), so I can only assume he'll be a wonderful Hamlet as well.

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