one down, more to go
act one scene one.
dumain and longaville cross right sooner...after berowne says 'swear me to this and i'll ne'er say no." the blocking is jerky there and we sometimes lose the lines because of it. be at the bench already when you say your proceeding and weeding lines. the reason for this change, to show that you both see no reason in arguing about this...you are behind the king's edict 100%...you go to the bench to get out of the line of fire, essentially. and you feel comfortable enough with your decision to study with the king that making fun of berwone trying to weasel his way out with words comes naturally as he is the odd man out.
king and longaville laugh at "something then in rhyme" because you can see that berowne's wit is wearing thin here and he'll come around soon.
dumain pat longaville on the back after berowne says "a dangerous law against gentility"...you are just as proud of this oath and it's decrees as he is.
Ferdinand, when speaking of Armado...just the thought of him amuses you. Here you are making fun of his arrogant hypocrisy and his contradictory manner of speaking. show this by emphasizing the contradictions of terms in such lines as "one whom the music of his own vain tongue doth ravish like enchanting harmony"...emphasize "ravish" as you are basically saying that he rapes the english language with his vain verbosity.
Men laugh after this line.
dull, when you enter...go straight to the boys at the bench and ask them "which is the duke's own person?" when berowne answers, go directly to berowne...you still do not know which man is the king until berowne says "this is he." and then you will stand before the king to give him armado's letter.
costard, dull should have ahold of you but he becomes so confused trying to address the king that he leaves you by the bench as soon as you come out. start sneaking behind the bench as soon as dull goes to berowne, as if you might flee downstage right. dull will see you when he turns after he gives the king the letter. you might already be on the second step and ready to run. dull will run to you and push you back onstage and in front of the king as you say "sir, the contempts thereof are as touching me."
Ferdinand, pay no attention to this escape attempt...you are much more consumed with opening and reading armado's letter.
berowne, when you say "how low soever the matter..." emphasize the word "matter" as that is the word that costard hears and, lines later, addresses with "the matter is to me, sir..."
costard, after berowne says "how low soever the matter..." you already have your answer...and after each of berowne's and longaville's lines there, you are ready with open mouth and an upward pointed finger to explain yourself with jaquenetta...but they are so quick in their witty jests about armado's letter that you can't get a word in until berowne says "well sir, be it as the style shall give us cause to climb in the merriment" and berowne, longaville, and dumain will laugh loudly. when their laughter fades, you will say your "the matter is to me" line. pause before you say "i was taken with the manner" as if you are thinking of jaquenetta naked...then when you say the end of the line...gesture the hourglass figure with your hands.
after berowne asks "in what manner?" costard, your next line is that of a con man trying to weasel his way out of trouble. when you see that doesn't work, put your arm around berowne and bring him closer to your level as you say "now sir, for the manner..." emphasize the word "speak"...as you are trying to prove you are innocent of all but speaking to the girl. nudge him in the ribs with your elbow when you say "in some form" and wiggle your eyebrows because it is a slight, but dirty, joke.
berowne cross arms on "for the following sir?"
costard raise index finger when saying "...and god defend the right!"
costard sigh before you say "such is the simplicity of men..." as an aside to the audience...you may even put your right hand to your left cheek as if telling the audience a secret...but do not cover your mouth or face.
costard, say "not a word of costard yet" to longaville and dumain. "it may be so..." to the king. "be to me and every man..." out at audience with raised finger and hand on hip. "of other men's secrets" still hamming to audience until berowne advances...then back up a little and bow to the king to proceed when you say "...i beseech you."
ferdinand, pause for you and the men to laugh at "as i am a gentleman, betook myself to walk." and after "curious-knotted garden."
costard, you don't understand a word of armado's long-winded letter until you hear "low-spirited swain" as he may have called you that before. say "me?" with hand to chest as if hurt, but not actually hurt...you're still trying to look innocent. berowne nods to costard. turn to longaville and dumain for the second "me?" they will nod as well. turn back to the king, tug his sleve and say "still me?" when the king reads your name, say "o, me!" with a bit of embarrassment about the previous insults.
nudge elbow to king when you say "with a wench."
men laugh after king reads "or for thy more sweet understanding--a woman."
ferdinand, emphasize "swain" in "which i reprehended with the aforementioned swain..." so that costard may react accordingly to another insult.
costard, after the king asks "did you hear the proclamation?" open mouth, about to nod, as if to lie and say yes...but pause, think better of it...then tell the truth for once with "i do confess much of the hearing of it, but little of the marking of it."
costard emphasis on the following words in the following lines "i was taken with NONE sir, i was TAKEN with a MAID." and "THIS maid will serve MY turn sir."
berowne, say "i'll lay my head...idle scorn" to audience...then turn to costard for "sirrah, come on."
costard, stay in place for the whole line at the end of the scene until you say " and till then, sit thee down sorrow"...and the three of you walk off as you shout this line.
dumain and longaville cross right sooner...after berowne says 'swear me to this and i'll ne'er say no." the blocking is jerky there and we sometimes lose the lines because of it. be at the bench already when you say your proceeding and weeding lines. the reason for this change, to show that you both see no reason in arguing about this...you are behind the king's edict 100%...you go to the bench to get out of the line of fire, essentially. and you feel comfortable enough with your decision to study with the king that making fun of berwone trying to weasel his way out with words comes naturally as he is the odd man out.
king and longaville laugh at "something then in rhyme" because you can see that berowne's wit is wearing thin here and he'll come around soon.
dumain pat longaville on the back after berowne says "a dangerous law against gentility"...you are just as proud of this oath and it's decrees as he is.
Ferdinand, when speaking of Armado...just the thought of him amuses you. Here you are making fun of his arrogant hypocrisy and his contradictory manner of speaking. show this by emphasizing the contradictions of terms in such lines as "one whom the music of his own vain tongue doth ravish like enchanting harmony"...emphasize "ravish" as you are basically saying that he rapes the english language with his vain verbosity.
Men laugh after this line.
dull, when you enter...go straight to the boys at the bench and ask them "which is the duke's own person?" when berowne answers, go directly to berowne...you still do not know which man is the king until berowne says "this is he." and then you will stand before the king to give him armado's letter.
costard, dull should have ahold of you but he becomes so confused trying to address the king that he leaves you by the bench as soon as you come out. start sneaking behind the bench as soon as dull goes to berowne, as if you might flee downstage right. dull will see you when he turns after he gives the king the letter. you might already be on the second step and ready to run. dull will run to you and push you back onstage and in front of the king as you say "sir, the contempts thereof are as touching me."
Ferdinand, pay no attention to this escape attempt...you are much more consumed with opening and reading armado's letter.
berowne, when you say "how low soever the matter..." emphasize the word "matter" as that is the word that costard hears and, lines later, addresses with "the matter is to me, sir..."
costard, after berowne says "how low soever the matter..." you already have your answer...and after each of berowne's and longaville's lines there, you are ready with open mouth and an upward pointed finger to explain yourself with jaquenetta...but they are so quick in their witty jests about armado's letter that you can't get a word in until berowne says "well sir, be it as the style shall give us cause to climb in the merriment" and berowne, longaville, and dumain will laugh loudly. when their laughter fades, you will say your "the matter is to me" line. pause before you say "i was taken with the manner" as if you are thinking of jaquenetta naked...then when you say the end of the line...gesture the hourglass figure with your hands.
after berowne asks "in what manner?" costard, your next line is that of a con man trying to weasel his way out of trouble. when you see that doesn't work, put your arm around berowne and bring him closer to your level as you say "now sir, for the manner..." emphasize the word "speak"...as you are trying to prove you are innocent of all but speaking to the girl. nudge him in the ribs with your elbow when you say "in some form" and wiggle your eyebrows because it is a slight, but dirty, joke.
berowne cross arms on "for the following sir?"
costard raise index finger when saying "...and god defend the right!"
costard sigh before you say "such is the simplicity of men..." as an aside to the audience...you may even put your right hand to your left cheek as if telling the audience a secret...but do not cover your mouth or face.
costard, say "not a word of costard yet" to longaville and dumain. "it may be so..." to the king. "be to me and every man..." out at audience with raised finger and hand on hip. "of other men's secrets" still hamming to audience until berowne advances...then back up a little and bow to the king to proceed when you say "...i beseech you."
ferdinand, pause for you and the men to laugh at "as i am a gentleman, betook myself to walk." and after "curious-knotted garden."
costard, you don't understand a word of armado's long-winded letter until you hear "low-spirited swain" as he may have called you that before. say "me?" with hand to chest as if hurt, but not actually hurt...you're still trying to look innocent. berowne nods to costard. turn to longaville and dumain for the second "me?" they will nod as well. turn back to the king, tug his sleve and say "still me?" when the king reads your name, say "o, me!" with a bit of embarrassment about the previous insults.
nudge elbow to king when you say "with a wench."
men laugh after king reads "or for thy more sweet understanding--a woman."
ferdinand, emphasize "swain" in "which i reprehended with the aforementioned swain..." so that costard may react accordingly to another insult.
costard, after the king asks "did you hear the proclamation?" open mouth, about to nod, as if to lie and say yes...but pause, think better of it...then tell the truth for once with "i do confess much of the hearing of it, but little of the marking of it."
costard emphasis on the following words in the following lines "i was taken with NONE sir, i was TAKEN with a MAID." and "THIS maid will serve MY turn sir."
berowne, say "i'll lay my head...idle scorn" to audience...then turn to costard for "sirrah, come on."
costard, stay in place for the whole line at the end of the scene until you say " and till then, sit thee down sorrow"...and the three of you walk off as you shout this line.