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TWELFTH NIGHT
Teachersâ Notes
This âTwelfth Nightâ study guide is aimed at students of GCSE Media Studies and English and Aâ Level English. The series aims to provide teachers with a resource which will be invaluable to the teaching of Shakespeare throughout the English curriculum. Areas covered in âTwelfth Nightâ include: the setting of the film; the language of the text; filming comedy; filming images; themes and images of the language and the plot of the play; the opening and the end of the film. There will be an accompanyi ng wall chart which uses stills from the film to help explain the complicated series of changing relationships within the text of âTwelfth Nightâ.
Synopsis
âTwelfth Nightâ was written about 1600. A ship carrying identical twins, Viola and Sebastian, is shipwrecked off the coast of Illyria (nominally a country on the Dalmatian coast, but really a place born of Shakespeareâs imagination). Washed ashore, Viola supposes that her twin is dead. She hears that she is not far from the house of Olivia, a noblewoman who has lately lost both her father and her brother. Olivia now lives with her maid Maria and her uncle Sir Toby Belch. Olivia has resolved tomourn for seven years, and is rejecting the advances of Orsino, Duke of Illyria. Viola disguises herself as a boy and enters the service of Orsino, becoming the go-between in his wooing of Olivia. Both lord and lady develop jealous passions for Cesario, as Viola styles herself. Sir Toby Belch en courages his friend Sir Andrew Aguecheek to woo Olivia while plotting, Malvolioâs humiliation. Matters are further complicated when Sebastian emerges from the sea and is saved by Antonio. Sebastian is mistaken for Viola and finds himself borne off to marriage with Olivia. After a great deal of harrowing misunderstanding, matters are duly resolved, and everyone marries someone of the opposite sex.
TWELFTH NIGHT
Twelfth Night
Dir: Trevor Nunn Certificate: U Running Time: 135mins The film of âTwelfth Nightâ has been directed by Trevor Nunn. For eighteen years he was head of the Royal Shakespeare Company and is world renowned for his stage productions. Surprisingly, he has never directed âTwelfth Nightâ for the stage although he has always wanted to do so. What were his intentions in setting out to make the film? ââTwelfth Nightâ is a strange mixture of poignant romance, broad comedy and subtle melancholy. Iâve set out four or even five times to do it, and thought about it a great deal. Each time I had the urge to make the content of the play more real, less stylised, so that the extremes are seen in a real social context. So it is saying we really do behave this way; the play is true, and we canât get off the hook by dismissing it as an improbable comedy. Its an examination of gender as an essential ingredient of a love story. Shakespeare seems to be playing with the attraction of woman in man and man in woman.â
The Setting of the Film
In filming a Shakespearean text a decision has to be made as to what period in history you are going to set the film. One possibility is to set it in Shakespeareâs day, another would be to set it in the present day. Shakespeare himself does not set the film in England but in the mythical country of Illyria. The filmmakers have set their version of âTwelfth Nightâ in the 1890âs in a middle european country which is at war.
TASK
Look at this list of elements of the play.
What problems would there be in putting the film in a modern setting? Viola has to disguise herself as a boy in such a way that: None of the characters suspect she is a boy. She can be mistaken for her twin brother. She can pass for a boy in a male dominated society. Malvolio has to be in charge of Oliviaâs house hold. He has to appear cross-gartered in yellow stockings. He has to be put a way and treated as a mad man. Olivia has a fool, Feste, who has been absent. He is able to go where he wants including visiting the Dukeâs house. Once you have completed the task how have the filmmakers solved these problems by setting the play when and where they have?
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Filming Comedy
Verbal humour is most appropriate to the audience for which it is written. Filmmakers cannot expect a modern audience to understand Elizabethan jokes.
TASK
In what ways can the humour of the original play be transferred to the screen? Can you create a visual humour which is obvious to a modern audience but in keeping with the original text. For example, what happens to Sir Andrew Aguecheek when he and Sir Toby are rolling around with laughter on the croquet lawn after the tricking of Malvolio, and why is Sir Andrew wearing a yellow waistcoat?
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Filming Images
Shakespeare was writing plays to be performed in natural light on a very bare stage with a company of actors some of whom had to play more than one part. Because of these factors he has to write into the play more basic information than a filmscript and if there is a lapse of time inbetween scenes he has to remind us what is happening, e.g. Sir Toby has to tell us that he is going to have Malvolio put into a dark room. When Feste goes to visit him Later, Malvolio tells us he is in a dark room. In this way we have to think of the text in the same way as a radio play. When transferring images to the screen these words, telling us of various events, can be shown as images. Just as in the same way as the images in the text can link so the way that you film a scene, or a combination of scenes, can have a reson ance that adds to the filmâs atmosphere and style, e.g. in the theme of death it is obvious that characters can be dressed in mourning but when Viola and her friends are first escaping from the soldiers they hide in a graveyard and observe Olivia from there going into a chapel.
TASK
The film is shot in autumn. What sort of resonances does this time of the year have? Are some of them positive and some negative? How can these resonances be shown on film?
TWELFTH NIGHT
The Opening of the Film
The first part of the film, before the titles, is not in the play but is an enactment of what happens before and during the shipwreck with a voice-over from Feste. It is there to help make some of the more complicated elements of the plot clearer. It also establishes some of the visual themes of the film. The sequence opens on board a ship full of wealthy people enjoying themselves. A cabaret is being performed by the twins Sebastian and Viola. Viola is playing the piano. At first they appear to be dressed as harem girls and are indistinguishable. Antonio is seen laughing at them in the background. However, when they lift their veils they are both revealed to be wearing false beards and moustaches. The ship hits bad weather and goes out of control. The twins fall into the water and despite clutching each otherâs hands they are separated. Both appear to drown but Viola is washed up onto the beach and we see Antonio saving Sebastian. The voice-over tells us that Tllyria is at war with the twins own country of Messaline.
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The End of the Film
Is âTwelfth Nightâ a comedy? There are certainly elements of visual and verbal comedy in it but its themes include death and despair, ridicule and madness. It is very much aplay about the human condition and what we learn on our journey through life. The ending of the film is particularly well done because it really contrasts the jollity of the young lovers dancing at their betrothal with images of the other characters in the piece going off to face the world.
TASK
Consider what has happened to the following characters in the film and what our last images of them are? Does this last image of them foretell what may befall them next? Sir Toby Belch | Maria | Sir Andrew Aguecheek | Malvolio | Antonio | Feste
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Scene 3 We are introduced to Oliviaâs uncle, Sir Toby Belch, and her maid, Maria. Olivia and her maid both disapprove of Sir Tobyâs drunkedn ess and his friendship with Sir And rew Aguecheek who is a suitor for Oliviaâs hand. Sir Toby and Sir Andrew talk about the arts that a gentleman should have and their own love of eating and drinking. Sir And I delight in masques and revels sometimes altogether. Scene 4 It is three days later and already Viola, m the disguise of Cesario, is being entrusted by Orsino to take love messages to Olivia. The dramatic irony of the situation is that Viola is herself in love with Orsino and he in turn is subconsciously attracted to her. Duke of Viola ...I have unclaspâd To thee the book even of my secret soul. Scene 5 We find out that Feste, Oliviaâs fool, has been absent. He talks in truthful riddles about relationships. Feste riddles with Olivia about the foolishness of her situation. Malvolio is so full of his own importance that he cannot cope with the teasing and chiding of Feste. Sir Toby comes in drunk and announces Cesario to be at the gate. Malvolio tries to send him away but eventually he is allowed in to a veiled Olivia who allows him to tell her Orsinoâs message. In the process Olivia is entranced by Cesario. Feste I delight in masques and revels sometimes altogether. Feste The more fool, madonna, to mourn for your brotherâs soul, being in heaven.
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Scene 5 (contd) (^) Olivia but we will draw the curtain and show you the picture! Viola Lady, you are the crullâst alive If you will lead these graces to the grave And leave the world no copy. Viola Make me a willow cabin at your gate, And call upon my soul within the house:
Act 2
Scene 1 At last we discover that Violaâs twin, Sebastian, has also survived the shipwreck having been saved by Antonio. Sebastian in turn thinks that his sister is dead. Sebastian She is drowned already, sir, with salt water, though I seem to drown her remembrance again with more. Scene 2 Malvolio chases after Cesario to âreturn the ringâ, he thinks, whereas Olivia is really sending a ring to Cesario. Viola realises that disguising herself as the boy Cesario has caused yet a further complication for Olivia. Olivia not realising Cesario is a girl, has fallen in love with her. Viola ...As I am man, My state is desperate for my masterâs love: As I am woman (now alas the day!) What thriftless sighs shall poor Olivia breathe?
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Scene 5 The plot against Malvolio is started in earnest. Maria sets the trap in placing the letter on the croquet lawn and Sir Toby, Sir Andrew and Fabian watch him being taken in. Malvolio now believes that Olivia is in love with him and knows the course of action he has to take to please her in his manner and his dress. Malvolio (Reads) Jove knows I love; But who? Lips, do not move No man must know. âTwelfth Nightâ The Ard en edition of the works of William Shakespeare (edited by J.M. Lothian and T.W. Craik) published by Routledge (1994)
