In honour and celebration of Shakespeare – short play Sweet Desdemona’s Revenge©

For Shakespeare Everyday

The formerly Sweet Desdemona plots her revenge against her unjust death while remonstrating with a sorry Othello.

ACT I

It is a deathly night but the aura of a woman’s glow lights the dark

Othello is deeply wrapped in thought while looking at an ethereal Desdemona.

OTHELLO

Even in death

Visions of sweet Desdemona

Horrors so deep

Torment me in sleep

Haunt me to weep

DESDEMONA

You exist still

I am no vision

You lie awake

I am not an illusion

OTHELLO

My sleep did make us part

How heavy the heart

Aches from sleep’s heavy act

Where you and I no longer live

DESDEMONA

It is not sleep that did the act

But the thoughts you did impart

And heavy act thy did execute

Smother breath in my heavy heart

OTHELLO

Live not this time before

But in this present law

Live in our heavenly glory

To see you here before me

Our love endures a story

Where death returns life

DESDEMONA

Alas it is not me you see

But that which only time

On earth can again alter

Do you forget your crime?

OTHELLO

My sweet Desdemona

DESDEMONA

Address me no more thus

OTHELLO

I do not forget my crime

I laid my trust in honesty

Too false even for betrayal

Alas

The calm that woke me from my tempest

Now feels less than tranquil

Leaves me less than content

I do not follow the path of repent

But forever flower faith in love

DESDEMONA

Mention not the word

That runs rivers into drought

Had I married Othello

But fate made me marry my father

Thy faith in me was of equal measure

And as fickle as intemperate weather

OTHELLO

Your death didst demand debt

And my own life’s end I did let

DESDEMONA

You died for office Othello

like my father Brabantio

You presided upon many words

of thy trusted dishonest Iago

OTHELLO

Mention this not for I feel

fear of losing virtuous Desdemona

was my achilles heel

Suspicions cast by my alien persona

Made me call upon proof

from a wretched handkerchief

DESDEMONA

This memory I do constantly loan

The napkin I used to wipe thy brow

Did fall upon the floor

And you made me let it alone

OTHELLO

If the matter could but alter

without a wise woman I did falter

DESDEMONA

Unspoken jealousy in high rations

Caused your murderous passions

Your kisses were rife

Before you took my life

Defend not thy deathly deed

Know thy has sown the seed

to make our virtues a vice

I, nor women will bear the name

of crimes against womanhood

Virtuous women will now aim

to alter designs of sisterhood

OTHELLO

Fall not into this obdurate way

Let tender words forgiveness pray

Let not manly ignorance fall

to serve revenge’s enthrall

DESDEMONA

I seek not the heat of revenge

But to be freed from a deed

made to make me meek and strange

Nothing else I shall ever concede

OTHELLO

Think our love did fight

against such striking odds

Now so blind in sight

I am left to call upon the gods

DESDEMONA

The gods did sit upon the side

while

Our love fought and lost against an age

Tossed aside to live as words on a page

Now it is left to wander till the day

when love can again make its way

OTHELLO

Until this day Desdemona

May I wanderlust

Seek fulfilment

And find none

Repent I must

My words do haunt me

That my disports corrupt and taint my business

Let housewives make a skillet of my helm

And all indign and base adversities

Make head against my estimations

DESDEMONA

Thy will no longer have the last word

I will only wait

for the true love of Othello

If love can fully grow

and not rest upon a tale

Let love be

Forever on the rise today

Tomorrow let love rise again

Soar above the love of yesterday

But love must accord thee balance

Melodies of discord invite silence

Otherwise let no woman fall

for any gentlemanly enthrall

All rights reserved©

 

Advertisements

Turning with the earth

The earth turns in the air. It is an image so evocative that we sometimes forget that everything inside earth is turning in unison with the earth too. Every time, this happens we are in a different space to the one before, moving from there to here wherever that ‘here’ is. There is movement in the word turn. It involves some kind of change, movement, change cannot happen without action. I, turn briefly resting but never stagnating before turning again. It matters not the measurement of the time but the action of the turn itself. Turning provokes movement because like the earth, it can do little else. Idiomatic expressions show this movement, to turn a corner is to pass an important point, to change one’s life. Then expressions such as turn over a new leaf indicating becoming more of who we want to be rather than what we felt forced into being. As teenagers, we turn up the music so as to express the need for change outside inside. It is the softest way to express the violent need or want for the world to turn and be different, an end to warmongering, unfairness and injustice and the celebration of such things. It is maddening that adults sometimes perceive turning up music as bad behaviour. However, turning up music is much more preferable to malevolence or violence, an action that is genuinely designed to hurt or cause pain, to oursleves, to others, and most of all, to the adults worried about kids turning up the “loud music”. The earth knows it, the adults know it, once they were young and they played loud music because they dared to dream a different world. Everything had the possibility of turning, sometimes people return to the centre of where and who they once were, the same but oh so lightly different. Just teenagers tuning out, then in before turning up the volume. I will always be a teenager, turning with the earth, experimenting till it feels right not just outside but inside.

Theatre review: Speed-the-Plow with Lindsay Lohan is one for the women

Performance not personality should rule the roost for those who care what we feel and experience in the theatre. But director Lindsay Posner had to contend with a circus of media madness when he cast Hollywood actress Lindsay Lohan for the production of Speed-the-Plow by David Mamet. And cope he did.

Speed-the-Plow is a satire about Hollywood movies. A huge star agrees to appear in a sure-fire commercial hit movie for small-time producer Charlie Fox (Nigel Lindsay), who takes it to big shot producer Bobby Gould (Richard Schiff) to greenlight. But a seedy suggestion planted by Charlie results in the attractive new secretary Karen (Lindsay Lohan) persuading Gould to dump Charlie’s project in favour of her meaningful story resulting from an epiphany. Charlie resorts to any means necessary to get Gould back on track.

Previous reviews concentrated on the private life of a performer with little about the actual performance. Lindsay Lohan, there, yes she is a Hollywood actress, who does things in life as stars and ordinary people do. It was previously reported that Lindsay Lohan could not remember her lines but she seem to delivered them extremely well when I attended. Indeed, the world she created lingered like the finish of a fine claret long after I left the theatre. Lindsay Lohan’s London stage debut in David Mamet’s Speed-the-Plow delivered smouldering passion to refresh a character often treated as a sexual object with manipulative objectives. Hollywood producer Gould, played by Richard Schiff, is prone to flattery, favours and manipulation of any kind is suddenly challenged by his attractive new temporary assistant.  Schiff skims the surface of good and bad as he moves between seducing and admiring Karen for her beliefs instead of her body. Lindsay Lohan uses her vulnerable star quality to transform Gould.  Nigel Lindsay is less convincing if only he had spent time making his performance believable rather than his bad and highly unbelievable American accent.

Lindsay Posner, the director manages to shake David Mamet’s play out of the world of Adam and Eve as often seen in the likes of Oleanna and Speed-the-Plow. Posner reveals the usual maligning of manipulating women also has an opposite side, a world which exploits and manipulates naive women. Twist then turn again I say.

Speed the Plow played at the Playhouse Theatre in London.

This is a rather late review, there is a very good reason for my tardiness, alas I cannot recall what it is.

Life is here©

Life is here

not there

folks joke

while birds croak

and cars beep

incremental creep

traffic hums

do the sums bums

winds shuffle

feathers ruffle

rubbing against trees

above greyness hovers

but never over lovers

birds fly

promises ride high

nothing is missed

all is blessed

everything with a place

leaves an invisible trace

Aristotle deconstructed Sophocles like Joseph Campbell explained Joyce

I had an epiphany about myths and story telling this week so naturally I want to share it with everyone.
I have not yet read Finnegan’s Wake but the term ‘monomyth’, as used by Joseph Campbell is taken from Joyce’s work. Joseph Campbell utilised ‘monomyth’ to identify a universal journey of heroism which is the basis of universal myths that work across countries and cultures. Joseph Campbell as you know worked with George Lucas on the original Star Wars. The universal myth structure he discovers is also the basis of rituals and rites of passages in indigenous cultures. Having started to read Joyce’s work, I now know it is personally necessary for me to read more Joyce because he speaks to me but also because Joyce will help internalise the way to write stories with true mythic value that resonates with others.
Campbell notes that Joyce’s writings had three stages that operate on the macro and micro level. The stages comprise of the following: Separation, Initiation and Return. Please see more details to elucidate the journey Campbell identifies. James Joyce’s character Stephen Dedalus (originally called Hero) in A Portrait of the Artist as a Young Man undergoes the cycles each time he has an epiphany. Stephen comes back changed unable to return to what he was or had before. Campbell identifies the story structure of Joyce in a similar way to how Aristotle analysed the plays of Sophocles in Poetics. A Portrait of the Young Artist follows this very specific personal trajectory which has the universal myth imprint. I have since discovered that the stages of the journey can also be found in reading the collective stories of Dubliners in the order presented. To elaborate, read Birth up to the story Araby, Initiation up to the story A Painful Case and return to the ordinary leads you to Death. For Campbell, universal myths are metaphors but myths should never be taken literally. Campbell believed people who can see myths in their own lifetime and sometimes even in their own life can see this heroic journey being played out. From examining Joyce’s work, Campbell was in search of such figures and clearly saw Joyce could see the myths being played out in his own life and lifetime. As a result, Campbell was able to identify a story structure through Joyce’s work. The study of Joyce informed Campbell who was later able to show universal myths across the world also follow the trajectory of Joyce’s work. This led Campbell to write Hero with a Thousand Faces. I have written up a simplified structure below but if you are a writer, please read Joseph Campbell’s original work or look up monomyth on Google and read Joyce’s work on someone who understood the myths of his time and his own lifetime and discover the myths of your time and possibly even your own life.
Joseph Campbell’s heroic journey stages
Birth into the ordinary world leads the character to Separation
1 Birth: The monomyth cycle begins and we see the character is different to others – an archetype showing patterns of human behavior found in dreams, movies and stories universally.
2 Call to Adventure: The character despite being at odds with others or the environment is reluctant to go towards the calling.
3 Helpers/Amulet: Something, a person or a calling show the character a different way.
Initiation takes the character into a special world
4 Crossing the Threshold: The character is forced or realises he/she must undergo an ordeal or face the unknown.
5 Tests: The character must undergo a series of tests on a journey toward the climax.
6 Helpers: The character may be helped by a a loyal companion or pursue a calling.
7 Climax/The Final Battle: A crisis or battle heads towards a particular resolution.
8 Flight: The character becomes a hero, fights opposing forces or is given the elixir freely.
Return of the character to the ordinary world changed
9 Return: The hero returns to the ordinary world awakened, reborn and resurrected.
10 Elixir: The object, knowledge, blessing or realisation can now be put to use in the everyday world and the hero can stay and share with others or leave as the truly enlightened.
The journey must involve a change, Joyce’s epiphany, the beat in a script, the response to a reversal in a Shakespeare play. Campbell wrote some notes on art and Joyce’s work. These were kindly provided to me by London’s Literary Salon director Ms Toby Brothers on this very point. Campbell lays out his thoughts on proper and improper art. Real art does not just represent, it offers or brings change and continues to evolve. True art never dies.
The hero’s journey structure follows the journey of various religious figures but this classical story structure identified by Joseph Campbell is also found in Hollywood classics. It adds to the form identified by Aristotle when he studied the reasons for the enduring popularity of Sophocles plays. Similar story structures can be found in the works of Shakespeare, Henrik Ibsen and Arthur Miller. You will also find these structures embedded in the poetry of William Blake, in songs by John Lennon, Joseph Haydn and the work of Kadinsky.
Lastly these heroic figures underwent their own mythic journeys. So I wish who ever read my blog and any others the best of luck with whatever your mythic journey is.