Twelfth Night Critics + Productions

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1
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Stephen Beresford 2004 Albery production
modern day India to include their caste system, as well as tense relationships between masters and servants
2
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Judi Dench in 1969 was “attractively ambiguous”
Keir Elam
3
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“the only constant feature of love is its instability”
L.G.. Salingar
4
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“men love women precisely as representations”
Greenblatt
5
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Malvolio is “in the prison of his own ego”
A.S. Leggatt
6
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Malvolio’s “fatal narcissism”
Keir Elam
7
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Antony Sher in 1987 RSC prod became genuinely mad when playing Malvolio, such as at the end when he was “still essaying cross gartered high kicks as if his wits have finally turned”
Michael Billington
8
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“the joke has been taken too far and we know it”
Ralph Berry
9
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Orsino is a “narcissistic fool”
Herschel Baker
10
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Orsino is “a lonely dreamer with an idealistic cast of mind”
Schalkwyk
11
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In Peter Gill’s 1974 RSC prod Orsino was “hugging Cesario to his breast with **rapturous abandon**”
Michael Billington
12
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Adrian Noble’s 1997 RSC prod
Orsino surrounded by his servants in crushed velvet suits → effeminate
13
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Orsino is a Petrarchan lover
Mark Strong in 2002
14
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Antonio and Sebastian share a romantic relationship
Emma Smith
15
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Antonio and Sebastian get up out of an unmade bed together in II.i
Lindsay Posner 2001 RSC
16
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“both women end up as subject to male dominance in the hierarchy of marriage”
Jean Howard
17
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“for women in this play are notably at the mercy of men’s designs”
Kate Flint
18
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“delicious comedy”
Caroline Spurgeon
19
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“silvery undertones of sadness”
John Middleton Murray
20
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“gender bending is the name of the game”
Lisa Jardine
21
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“Sebastian takes a passive, classically feminine role”
Logan
22
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“fools are the only ones who speak frankly and tell the truth”
Erasmus
23
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“the predominant figure of comedy is the fool”
Andrew Scott
24
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“a tired clown who sports masks because it is the only sanctioned outlet for his insights”
Grief
25
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“he knows the world too well”
Lloyd
26
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"aching sadness at the very heart of his character”
Makenzi Crouch
27
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*A blank my lord* – perfectly sums up what Viola will be for the rest of the play, “erased, empty, veiled from sight”
Palfrey
28
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Her cross dressing does not act as a form of liberation
Anne Barton
29
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Shakespeare “undermines the nature of true friendship in Twelfth Night”
Raea DiMassino
30
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Sir Andrew is a “likeable lunatic” with a “moonstruck pathos”
W.R. Darlington
31
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James Dodd as Sir A in 1771 Drury Lane prod
slow witted; decked out in the colour that Olivia detests, cowardly yellow
32
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threw up over Olivia in I.v
Barry Stanton in 2001
33
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“every character has their masks”
Joseph Summers
34
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“the play calls into question the key idea of a true identity”
Catherine Belsey
35
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“there is no feast without cruelty”
Nietzsche
36
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“the festive desire to hold back the passing of time … to escape from one’s awareness of time passing”
Kate Flint
37
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Peter Gill’s 1974 RSC
Giant portrait of Narcissus that dominates the set
38
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“TN presents perhaps the most radical vision of the centrality of clothes to the fashioning of a person”
Jones and Stallybrass
39
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Donald Sinden as Malvolio
wears his chain of office over his night shirt
40
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it’s a very self-conscious play - meta theatre
Keir Elam
41
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Neha Dubey as Olivia in a 2004 prod
first appears in solemn black sari, but slowly switches to vibrant saris to display her transformation
42
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modern audiences have more sympathy for Malvolio than Shakespeare intended
Mark Van Doren
43
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His madness is “his illusion of maintaining control over circumstances when in fact he has lost control”
Wilbern
44
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Malvolio is trapped in a dog’s house and Feste feeds him dog food while wearing an eccentric wizard’s beard
Adrian Noble’s 1997 RSC prod
45
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“Orsino is in love with love”
G.G Gervinus
46
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His “first speech has all the languid self indulgence of a man \[who lives\] in an illusion of love”
Gareth Lloyd Evans
47
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critics try to outdo one another in scorning Orsino
Stephen Booth
48
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“for both Orsino and Olivia self-deception serves as an avoidance of the real world and of real emotions”
David Lewis
49
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the end of the play returns “the unruly women to their rightful places in a patriarchal society”
Alice Aspinall
50
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“the genius of Twelfth Night is Feste”
Bloom
51
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“the cruelest of Shakespeare’s jesters”
White
52
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Feste exists outside of the time boundaries of Illyria
Makenzi Crouch
53
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Feste often switches between accents - which is his real voice?
Mark Hadfield in 2001 RSC prod

James Lailey in BBC Radio 3 prod
54
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cross dressing spins the play into a “crisis of category”
Majorie Garber
55
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the scenes between Viola and Olivia are “among the most intense scenes of Twelfth Night”
Michael Dobson
56
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where could Illyria be?
Albania or Turkey
57
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“the oppositions between outside and inside is significant in Olivia’s exercise of power and desire”
Keir Elam
58
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links to Turkey allude to more relaxed sexual practices of the east in contrast to more English values
Relihan
59
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*if this were played upon a stage now, I could condemn it as improbable fiction…* this is an “authenticating device”
Burns