Character in Plays
In acting regular plays you may find it necessary to follow either of the preceding methods of characterization. The conception of a character may have to be supplied almost entirely by some one outside the play.
Or the dramatist may be very careful to set down clearly and accurately the traits, disposition, actions of the people in his plays. In this second case the performer must try to carry out every direction, every hint of the dramatist. In the first case, he must search the lines of the play to glean every slightest suggestion which will help him to carry out the dramatist's intention. Famous actors of characters in Shakespeare's plays can give a reason for everything they show—at least, they should be able to do so—and this foundation should be a compilation of all the details supplied by the play itself, and stage tradition of its productions.
In early plays there are practically no descriptions of the characters. Questions about certain Shakespeare characters will never be solved to the satisfaction of all performers. For instance, how old is Hamlet in the tragedy? How close to madness did the dramatist expect actors to portray his actions? During Hamlet's fencing match with Laertes in the last scene the Queen says, "He's fat, and scant of breath." Was she describing his size, or meaning that he was out of fencing trim?
Shakespeare puts into the mouth of Julius Caesar a detailed description of the appearance and manner of acting of one of the chief characters of the tragedy.
Sleek-headed men and such as sleep o' nights:
Yond Cassius has a lean and hungry look;
He thinks too much: such men are dangerous.
Yet if my name were liable to fear,
I do not know the man I should avoid
So soon as that spare Cassius. He reads much;
He is a great observer, and he looks
Quite through the deeds of men; he loves no plays,
As thou dost, Antony; he hears no music;
Seldom he smiles, and smiles in such a sort
As if he mock'd himself and scorn'd his spirit
That could be mov'd to smile at any thing.
In As You Like It when the two girls are planning to flee to the forest of Arden, Rosalind tells how she will disguise herself and act as a man. This indicates to the actress both costume and behavior for the remainder of the comedy.
Because that I am more than common tall,
That I did suit me all points like a man?
A gallant curtle-axe upon my thigh,
A boar-spear in my hand; and—in my heart
Lie there what hidden woman's fear there will—
We'll have a swashing and a martial outside,
As many other mannish cowards have
That do outface it with their semblances.
In many cases Shakespeare clearly shows the performer exactly how to carry out his ideas of the nature of a man during part of the action. One of the plainest instances of this kind of instruction is in Macbeth. The ambitious thane's wife is urging him on to murder his king. Her advice gives the directions for the following scenes.
Shall sun that morrow see!
Your face, my thane, is as a book where men
May read strange matters. To beguile the time,
Look like the time; bear welcome in your eye,
Your hand, your tongue: look like the innocent flower,
But be the serpent under't. He that's coming
Must be provided for: and you shall put
This night's great business into my dispatch;
Which shall to all our nights and days to come
Give solely sovereign sway and masterdom.
Modern dramatists are likely to be much more careful in giving advice about characterization. They insert a large number of stage directions covering this matter. Speed of delivery, tone and inflection, as well as underlying feeling and emotion are minutely indicated.
DUCHESS OF BERWICK
Mr. Hopper, I am very angry with you. You have taken Agatha out on the terrace, and she is so delicate.
HOPPER
[At left of center] Awfully sorry, Duchess. We went out for a moment and then got chatting together.
DUCHESS
[At center] Ah, about dear Australia, I suppose?
HOPPER
Yes.
DUCHESS
Agatha, darling! [Beckons her over.]
AGATHA
Yes, mamma!
DUCHESS
[Aside] Did Mr. Hopper definitely—
AGATHA
Yes, mamma.
DUCHESS
And what answer did you give him, dear child?
AGATHA
Yes, mamma.
DUCHESS
[Affectionately] My dear one! You always say the right thing. Mr. Hopper! James! Agatha has told me everything. How cleverly you have both kept your secret.
HOPPER
You don't mind my taking Agatha off to Australia, then, Duchess?
DUCHESS
[Indignantly] To Australia? Oh, don't mention that dreadful vulgar place.
HOPPER
But she said she'd like to come with me.
DUCHESS
[Severely] Did you say that, Agatha?
AGATHA
Yes, mamma.
DUCHESS
Agatha, you say the most silly things possible.