Word: andronicus
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STRATFORD, Conn.--Just about every one of us is vitally affected by politics and the powers attendant upon it. This was true in ancient times and has remained so ever since. To explore the matter for his Elizabethan audiences, Shakespeare drew on Roman history for his Titus Andronicus. Julius Caesar, Antony and Cleopatra, and Coriolanus...
...able to endure a prolonged look at the physical aftereffects of death. The central mystery of existence - the end that unites everyone even as it divides them - cannot be reduced to ghoulish titillation without the possibility of serious consequences. Even in Shakespeare's most grotesque play, Titus Andronicus ("Enter a messenger with two heads and a hand"), the gruesome details are always treated as if they were unquestionably monstrous. But in City of the Dead the world is regarded as an autopsy table. Humanity is meat, whether dead or alive. To feel queasy in the presence of this book...
...Israelis, give a detailed demonstration of military tactics, and dress down his Foreign Minister, -who, notes the commentator dryly, turned up dead in the Nile two weeks later. To those new to Big Daddy, French Director Barbet Schroeder's Autoportrait seemed to be an African rendering of Titus Andronicus. For three weeks last whiter, Schroeder and his crew tried to capture Big Daddy on film. Amin himself planned and supervised each day's shooting, improvising enthusiastically to illustrate his ideas. By turns charming and cruel, shrewd and funny, Amin credits his popularity to his sincerity. "I always speak...
...Fiedler, Aaron in Titus Andronicus and Othello represent "the paranoia about blacks which Shakespeare shared with the pit," that is, the commoners in the audience. Now Shakespeare and his audience could have spent a lifetime without seeing a black. Only in Hitch cock or Pinter can one develop paranoia over an unseen "stranger." In Othello, black and white are not racist, but imagistic counters. It is Othello who is white in his innocent gullibility and Iago who is black in his "motiveless malignity." Both men are complementary halves, like day and night...
...tones and rhythms, and soar and admonish and implore and pout and sing her way to complexity. The soldiers are unremittingly declamatory, laboring to render each line as massively as possible. They don't speak to each other, but keep trying to lurch into Shakespeare's execrable Titus Andronicus oratory. Too many speeches are self-contained. The wonderful music of speech, and the counterpoint of the scenes themselves, should be woven into breathing movements of lyrie felicity and heroic urgency. The company tends to interrupt speech with gesture, but this is a small problem indeed. I wished, above...