1. How do the two Dromios compare with one another? Talk specifically about their language and then their actions.
2. How would you stage scene 1? Know that we'll be working on this scene in class as it's physically quite entertaining. So, be creative!
I've been thinking about Amalia's question about Adriana's purpose. While I do still believe it's about the ridiculousness of the play as a whole, I also think her whining and drama queen-like speech is to show us that Antipholus is nothing like that. Her ridiculousness illuminates is awesomeness. It's proving his worth through negation. If he were that bad, we should hate him. But he's not, she was wrong, and so we should love him even more.
Anyway, just another thought. I could be wrong -- it's happened once before. =-) And for the record, we're NEVER having class outside again. That's right. I'm going against James Bond's advice. Never.
11 comments:
1) I feel like, while it is very difficult to differentiate much between the two, the Dromio of Ephesus is the classier witty one while Dromio of Syracuse, while somewhat less classy, still has a bit of wit in him. Dromio of Ephesus, especially in Scene 1, speaks in long, rhyming lines that accentuate both his way with words and his wit. "If the skin were parchment and the blows you gave/ were ink/Your own handwriting would tell you what I think." (iii.i.13-15, he says, rather than simply saying, "You beat me, look, I can prove it. Dromio of Syracuse, on the other hand, spends a good number of pages trying to describe the width of a given woman through a series of unfortunate metaphors and geographical references. Perhaps witty, but certainly not the classy, proper wit of Dromio of Ephesus.
2) Despite the fact that the script notes that Dromio of Syracuse is off stage, I think it would be useful for the audience to be able to see him. I see the scene being played with either the door somewhere in the middle of the stage, with both sides visible, or perhaps the door is leading off-stage, but Dromio of Syracuse is still clearly visible. Dromio of Syracuse could be casually leaning against the door, delivering his lines very nonchalantly while the crew of angry people locked outside could be fuming and milling about, taking turns standing closest to the door and speaking.
1. I agree with Ross about the Dromios. They seemed pretty comparable to me, but Ephesus' long rhymes and clever comebacks suggest more wit than Dromio of Syracuse, who humors his master with metaphors but does not really impress him. Syracuse's wit is less intelligent than Ephesus' language.
2. I was so confused reading this scene... So confused. It took me a while to realize what was going on, but if I'm imagining it right, I would set it with a door/ wall diagonally across the stage. They would be distinguished because inside would be furnished and the outside would clearly be stones vs. wall paper. The Dromios would both be leaning against the door, Antipholus of Ephesus too on the outside. It would be like they were talking to each other but there's a divide in between, although since we are seeing it from the side, we clearly see the misunderstanding.
1) I think that both Dromios are very similar, but Dromio of Ephesus is more high class than the Dromio of Syracuse. This may be because the society of Ephesus emphasizes that servants are to be educated and to speak in a proper manner, while in Syracuse it may be more formal between the master and servant. Lines 42-45 in Act 3 Scene 1, there is a clear difference in class between the Dromios, "Maud, Bridget, Marian, Ciceley, Gillian, Ginn! Mome, malt-hourse, capon, coxcomb, idiot, patch!" It seems that Dromio of Ephesus uses lower class street "slang" or vocabulary, while Dromio of Syracuse uses names that may be characters in "high class" writings. Even if this is not true, the Dromios are still similar, but Dromio of Ephesus has a slight edge in the class factor.
2) I would set this scene in a bar having both Dromio's sipping on some beers while having a nice argument. Like Ross, it is important for the audience to be able to see Dromio of Syracuse on stage at all times. Dromio of Syracuse could be playing pool in front of the main entrance of the bar laughing and listening to the angry characters screaming at him.
1) While I agree that Dromio of Ephesus is wittier than Dromio of Syracuse, I also believe that D.O.E appears to be much more of a friend to the Antipholi, rather than a servant. In almost every line, D.O.S uses phrases such as "sir" and "master" to assert the Antipholi's dominance. In contrast, D.O.E. rarely addresses his master like this and on occasion, calls him out: "Say what you will, sir, but I know what I know:/ That you beat me at the mart I have your hand to show" (iii.i.69). D.O.E threatens Antipholus of Ephesus by telling him to "beware of an ass," referring to Antipholus calling him an ass for supposedly making up the beating story. Although the two Dromio's do seem to posses wit, D.O.S. takes on a subservient role while D.O.E takes on a more confrontational role.
2) I would have Antipholus of Ephesus, D.O.E., Angelo, and Balthasar enter from stage left and cross over to stage right (where there is a door near the curtain. This would allow for the audience to see the reaction of the men outside of the house while still creating the illusion that none of them can see D.O.S. I also think that Antipholus and D.O.E should act upset and angry towards Luce and D.O.S. (or the door) while after every line gesturing toward Angelo and Balthasar that everything is alright.
1) I think that the Dromio of Ephesus is more rational than the Dromio of Syracuse. Both, when they speak, are witty, but Ephesus D tends to prattle on a little more than Syracuse D. Syracuse D on the other hand, is way crazier. Not in a wackadoodle way, but in a legitimate, insane, way. Ephesus D's wit manifests itself in classy rhymes and sensible metaphors. Syracuse D's wit is more "I'll beat you, go over to slut lane for a whorehouse if you want one so badly, get away, also metaphor!".
2) I agree with Ross and Grace that the scene should be set with both groups of people visible. The door/wall would be perpendicular to the edge of the stage, so that Syracuse D could show his frustration, which is funny.
1.) Since the Dromio's are supposedly completely identical, Shakespeare uses this similarity to make them appear completely similar in their actions and in their speech. I find however, that Dromio of Ephesus is in fact a bit more intelligent and educated than his brother. His speech in the play is constantly rhyming and adds a sense of class to him that his brother lacks. Furthermore, I feel that the relationship between Dromio of Ephesus and his master is much more personal allowing him to speak more freely than his brother who constantly addresses Antipholous as "sir" and "master."
2) I was thoroughly confused by the staging of this scene. The confusion between the sets of twins has added an element of humor to the play but has multiplied the complexity of the play beyond easy interpretation. Anyways, the first scene between Luciana and A. of Syracuse would be set in A. of Ephesus' house and more specifically in the dinning room were the two have just met. A. of Syracuses' declaration of his love for Luciana would have completely scared Luciana and thus she would flee from this man quickly. The rest of the scene is a blur to me and has confused me greatly.
1) As everybody else has said, I too think that the biggest difference between the two Dromios is Dromio E's extra hint of wit. In addition, it seems like the Dromios reflect their specific Antipholi. Antipholus E is a married man, and also in his home country, and therefore he's naturally more comfortable in the setting. Antipholus S is more passionate and vibrant, as is seen in III.ii with Luciana. Dromio E seems more comfortable in Ephesus as well, and is more outraged when certain events happen. Dromio S seems to be going with the flow a little bit more, and is less indignant about the strange day he is having.
2) This is a little out there but it'd be awesome if there was a rotating stage for this seen. I think that in the beginning, it is effective to have Dromio S and Luce offstage, allowing the audience to view the situation from Antipholus E's perspective. Later, the stage could revolve to reveal Dromio S as he attempts to guard the door. I think that showing only one side or both the whole time actually loses some of the comedy and the frustration that Antipholus E undoubtedly feels. Another setup would be to leave the door on a diagonal, and as the scene develops, have the characters inside the house be on the other side of the door. This sections off a part of the stage as exclusive rather than equalizing the space onstage between inside and outside.
I do agree that the two Dormio's are quite similar in character. Dromio of Ephesus is much more funnier in wit (As Ross stated) and Dromio of Syracuse is less wittier. Yet the thing that caught my eye that I didn't realize until Kyle pointed it out is the relationship between the two Dormio's in terms of how they are in front of their masters. I totally agree now that D.O.S. is much more subservient and actually servant like instead of D.O.E. is more like a Companion towards his master.
I like Eric's idea of having the scene at a bar. I would too have Antipholus of Epheus and his crew come in have an "interaction" Dromio of Syracus. I was also confused from this scene so i wouldnt know exactly where Adriana and Lucina fit into this.
1. So far with what everyone has said in finishing the act i still cannot find a lot of difference between the two Dromio's. They do though have a tendency to speak differently in their speeches. I believe that Dromio of Ephesus is more elegant and speaks in longer more poetic lines while Dromio of Syracuse may be more witty and to the point.
2. I think that since it is a comedy you should be able to see both things going on at the same time. I would have a mirror running perpendicular to the center of the stage so that they could see themselves, but no the other side. I feel as if this would add to the humor of the play, but also allow for the audience to get a sense of what is going on.
Like everyone else I didn't think there was really a big difference between the two Dromios. This adds a lot of confusion to this (already confusing) part of the play. The only difference that I could see was that Dromio of Ephesus was a little quicker and smarter.
Since this scene is really confusing, I think that it should be staged with both sets of people on stage at the same time, without a lot of props to make the focus be the characters. The lighting should change to focus on whoever is talking, like they did in equivocation.
overacheiver
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