Lucentio serves a large role in Shakespeare's "The Taming of the Shrew". He is the secondary character to Bianca in the subplot of the story, making him probably the fourth most important character after Kate and Petruchio. Lucentio is a smart man who thinks he has fallen in love. However, even though it seems like Lucentio is a character of most noble intentions, unlike Petruchio who is pursuing Kate for fiscal reasons, he is ultimately chosen by Baptista over the other suitors simply because he is the wealthiest.
Lucentio serves a large part in the story, particularly in the beginning where Bianca's potential husbands have more focus than Kate's. Lucentio's disguise switch with Tranio represents a theme in this play, as it seems half the characters in the play are disguised at any given point. There is the induction disguise of Sly as a Lord, the disguise of Lucentio as Cambio, Tranio as Lucentio, Hortensio as Litio and the Merchant as Vincentio. The theme of disguise creates an interesting contrast, as three of the men trying to pursue Bianca are in disguise, and the only one trying to pursue Kate is not. This raises the question of how genuine the love is for Bianca, and questions the character of a man that must disguise himself to get Bianca. So it seems, despite Lucentio's nobler qualities, he still has to pretend to be someone else, and then is ultimately chosen solely for his wealth.
Lucentio as a whole serves to provide an idealized typical characterization of the charming suitor, or what seems to be a charming suitor before looking deeper. Ultimately, Lucentio's relationship with Bianca is turned on its head by the fact that Petruchio and Kate end up being the happier couple in the end. Lucentio serves as a sort of a foil, not by demonstrating negative qualities, but rather by setting up a idealized relationship with Bianca that can then be contrasted with Petruchio's relationship with Kate. Lucentio and Bianca represent the typical love story, which we, the audience, originally think we will witness. However, it turns out that the story of Petruchio and Kate is much more interesting, and that Lucentio’s idea of love is rather shallow.
Tuesday, December 2, 2008
Setting the Stage
Because Shakespeare had to work with a limited stage, and because of the ambiguity of his language there is often little stage direction to direct the actors as to how to interpret the script. However, he does give us a few clues. For example, in Act II, Scene 1, Gremio says, "Good morrow, neighbour Baptista.", which is Shakespearean for 'Good Morning' and indicates the time of the day. Also, at times we are given direct stage direction, such as in Act IV, Scene 4 after Kate says, "Go, get thee gone, thou false deluding slave " Shakespeare includes the direction "[Beats Him]." In some versions of the script similar direction is given for Kate and Petruchio when they kiss.
However, some subtler movements are left to more ambiguity, such as the intonation and delivery of lines. Many ambiguous lines come from conversations between Kate and Petruchio, as they are the most dynamic characters and are constantly undergoing a power struggle. Depending on how the lines are read by both Kate and Petruchio, there are varying levels of Kate's submissiveness, and thus varying levels of Petruchio’s dominance over her. One of the most infamous speeches of the play proves a good example of this. In Kate’s final speech of the play she says,
In other Shakespeare productions stage management factors such as dead bodies can come in play. Sometimes segues are written into the script to remove the bodies. However, because The Taming of the Shrew is a comedy, there are no bodies and this is not an issue. The Taming of a Shrew has relatively straightforward stage direction, with most movements just being directed by enter and exit cues. The expository of some factors are interesting, such as the offstage weddings. Because the weddings take place offstage the characters are left to discuss the events so that the audience knows what happened.
Shakespeare generally leaves stage directions to a minimum, which results in individual directors being able to interpret the play in a manner of their choosing, and thus creating a piece of artwork that is unique to their vision. This allows more variations and interpretations of the play, which ultimately makes the viewing experience for the audience richer.
However, some subtler movements are left to more ambiguity, such as the intonation and delivery of lines. Many ambiguous lines come from conversations between Kate and Petruchio, as they are the most dynamic characters and are constantly undergoing a power struggle. Depending on how the lines are read by both Kate and Petruchio, there are varying levels of Kate's submissiveness, and thus varying levels of Petruchio’s dominance over her. One of the most infamous speeches of the play proves a good example of this. In Kate’s final speech of the play she says,
"…And when she is froward, peevish, sullen, sour,Yet despite the fact that it would seem Kate has fallen into total obedience, it’s hard to believe such a headstrong character could so easily transform into a submissive house wife. Ultimately, Shakespeare gives us no indication of whether or not the lines should be read sarcastically, or as if Kate had fallen into total submissivity.
And not obedient to his honest will,
What is she but a foul contending rebel
And graceless traitor to her loving lord?
I am asham'd that women are so simple…”
In other Shakespeare productions stage management factors such as dead bodies can come in play. Sometimes segues are written into the script to remove the bodies. However, because The Taming of the Shrew is a comedy, there are no bodies and this is not an issue. The Taming of a Shrew has relatively straightforward stage direction, with most movements just being directed by enter and exit cues. The expository of some factors are interesting, such as the offstage weddings. Because the weddings take place offstage the characters are left to discuss the events so that the audience knows what happened.
Shakespeare generally leaves stage directions to a minimum, which results in individual directors being able to interpret the play in a manner of their choosing, and thus creating a piece of artwork that is unique to their vision. This allows more variations and interpretations of the play, which ultimately makes the viewing experience for the audience richer.
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