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Seth Duerr - Staging Shakespeares Violence: My Cue to Fight: Domestic Fury

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Seth Duerr Staging Shakespeares Violence: My Cue to Fight: Domestic Fury
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Staging Shakespeares Violence: My Cue to Fight: Domestic Fury: summary, description and annotation

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My Cue to Fight is the first book of its kind to provide an in-depth examination of how the greatest playwright in the English language employed not only psychological brutality, but also physical violence throughout his works. Written ideally for theatrical stage directors, fight directors, intimacy consultants, and actors as a technical scene-by-scene breakdown in staging combat during production of these plays, this publication is also for Shakespeare enthusiasts who want to learn more about the blood, sweat, and viscera hidden just underneath the poetry.
A writer utilises violence, like song or dance, in moments where the story requires more than just words. But addressing how the violence will be staged tends either to be neglected or utterly gratuitous, both of which serve to separate the audience from the story and kill the whole venture. The answer rests in approaching violence the same way we do scene work. These plays are not flowery poems meant to be mumbled in a classroom, or histrionically declaimed in frilly costumes. There is nothing light and fluffy about rape and murders rages, or carving someone as a dish fit for the gods, or fighting till from ones bones ones flesh be hacked. Making matters more complicated is the ambiguity and sometimes even complete lack of stage directions. Modern texts typically possess clear directions whenever violence is to occur in the action, but playscripts were quite different four centuries ago. Such denotations were both rare and inconsistent in Elizabethan and Jacobean printings. The potential violence we will examine is not appropriate for all productions or scene partners. Were here to question and inspire rather than provide catch-all solutions. Actors, directors, fight directors, and intimacy consultants must work together to find the most effective way for their production to communicate the playwrights story to an audience.
Volume One: Domestic Fury tracks the works set in the United Kingdom, mostly of civil unrest and warfare amongst the Plantagenets and Tudors, as well as the nearby kingdoms of France, Denmark, and Austria.

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Staging Shakespeares Violence - photo 1

Staging Shakespeares Violence Staging Sh - photo 2
Staging Shakespeares Violence Staging Shakespeares Violence My Cue to - photo 3
Staging Shakespeares
Violence
Staging Shakespeares Violence My Cue to Fight Domestic Fury Seth Duerr and - photo 4
Staging Shakespeares Violence My Cue to Fight Domestic Fury Seth Duerr and - photo 5
Staging Shakespeares
Violence
My Cue to Fight Domestic Fury
Seth Duerr and Jared Kirby
First published in Great Britain in 2021 by Pen Sword History An imprint of - photo 6
First published in Great Britain in 2021 by
Pen & Sword History
An imprint of
Pen & Sword Books Ltd
Yorkshire Philadelphia
Copyright Seth Duerr and Jared Kirby 2021
ISBN 978 1 52676 240 5
ePUB ISBN: 9 781 526 762 412
Mobi ISBN: 9 781 526 762 429
e right of Seth Duerr and Jared Kirby to be identied as Authors of this work has
been asserted by them in accordance with the Copyright, Designs and Patents Act 1988.
A CIP catalogue record for this book is
available from the British Library.
All rights reserved. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical including photocopying, recording or by any
information storage and retrieval system, without permission from the Publisher in
writing.
Pen & Sword Books Limited incorporates the imprints of Atlas, Archaeology, Aviation,
Discovery, Family History, Fiction, History, Maritime, Military, Military Classics,
Politics, Select, Transport, True Crime, Air World, Frontline Publishing, Leo Cooper,
Remember When, Seaforth Publishing, e Praetorian Press, Wharnclie
Local History, Wharnclie Transport, Wharnclie True Crime and White Owl.
For a complete list of Pen & Sword titles please contact
PEN & SWORD BOOKS LIMITED
47 Church Street, Barnsley, South Yorkshire, S70 2AS, England
E-mail:
Website: www.pen-and-sword.co.uk
Or
PEN AND SWORD BOOKS
1950 Lawrence Rd, Havertown, PA 19083, USA
E-mail:
Website: www.penandswordbooks.com
Special anks from Jared To Seth my partner in crime anks for hiring me almost - photo 7
Special anks
from Jared
To Seth, my partner in crime. anks for hiring me almost twenty years ago and starting
this friendship. We have had several incarnations of educating the world on violence in
Shakespeare, and I am happy to tackle this version with you.
To Nicholas Martin-Smith and Susane Lee, collaborating on so many of these works
with Hudson Warehouse has been a breath of fresh air every summer. ank you for
your trust and support.
To Paul Sugarman for running the Instant Shakespeare Company in NYC. I have
met several people I have collaborated with for over a decade because of ISC.
To many of the ght directors who have had an impact on my learning and growth
over the years.
ank you, John Lennox, Kyle Rowling, Brad Waller, David Pops Doersch, Ruth
Cooper Brown, Rachel Bown-Williams, Michael Anderson, Donald Preston, Luis
Rosa, Tim Ruzicki, Bryce Bermingham, J. David Brimmer, Ian Rose, Rick Skene,
Anthony DeLongis, Luke Lafontaine, Bob Chapin, Scott Witt, Daniel Ford Beavis,
Kev McCurdy, David Kessler, Daniel Levinson, Nigel Poulton, Dwight McLemore,
and Chazz Menendez.
To all those who have trained with New York Combat for Screen and Stage over the
last two decades, it has been a privilege to teach you and watch you grow in this art.
Particular thanks to Kaitlyn Farley (aka Pepper), Vincent Lane (aka Ram) and Tony
Mita (aka Chopper).
To my son, Evan, for putting up with all those times that Daddy was on the computer
working on this book. Your interest in screen/stage combat brings joy to my heart.
To my wife, Carol, for her love, patience, and support. I couldnt do this without you.
from Seth
I, too, would like to thank Jareds wife.
Were it my cue to ght I should have known it without a prompter Othello - photo 8
Were it my cue to ght
,
I should have known it without a prompter.
Othello
(1.2)
Just as real warriors perform an essential though anguishing service for society, actors
also serve as courageous soldiers of the psyche. When we dig deep into the dark underbelly
of the human ego and express our shadow selves truthfully in performance, we are
helping the audience process that side of their natures, too. Society needs its stories in
order to understand itself, and since drama is centered around conict, violence lies at the
heart of many great plays. Human beings kill. We make war. We rape, pillage, torture,
and terrify. We can be brutal and animalistic. We even have the capacity to take joy in
and revel in these horrors.
Rocco Dal Vera,
e Voice in Violence
, 2001
Violence by Play BOLD CAPS VIOLENCE WITH WEAPONRY Bold Violence without - photo 9
Violence by Play
BOLD CAPS = VIOLENCE WITH WEAPONRY
Bold = Violence without weaponry
Italics = Potential moment of violence
1.1
Lear manhandling of Kent or of Cordelia?
1.2
How does Gloucester get the letter from Edmund?
1.4
Lear strikes Oswald
1.4
Kent trips Oswald
1.4
Lear violence towards Goneril? Albany? Other servants? His fool?
2.1
EDMUNDS SELF-WOUND
2.2
More Kent and Oswald
2.2
Cornwall and Kent? Regan and Kent?
3.4
Grandpas Gone Wild
3.7
BLINDING OF GLOUCESTER
3.7
FATAL WOUNDS TO CORNWALL AND SERVANTS
4.2
Albany and Goneril?
4.5
Gentleman handling of Lear
4.5
OSWALD AND EDGAR FIGHT
5.3
EDMUND AND EDGAR FIGHT
1.2
Cymbeline manhandling of Posthumus or of Imogen or the queen?
1.7
Does Iachimo get handsy? Does Imogen engage in self-defence?
2.3
What happens after Cloten requests Imogens hand?
2.4
Posthumus threatening Iachimo?
3.4
IMOGEN AND PISANIO PLAY HOT POTATO WITH A
KNIFE
3.7
BELARIUS, GUIDERIUS, AND ARVIRAGUS DRAW ON
IMOGEN
4.1
CLOTEN DRAWS HIS SWORD
4.2
GUIDERIUS AND CLOTEN FIGHT
5.2
POSTHUMUS AND IACHIMO FIGHT
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