"Cimbelino en Patagonia": Rehearsal notes, part 3
Today's post continues our glimpse at playwright, director, and actor Mónica Maffía's rehearsal notes for Cimbelino en Patagonia. This installment hints at some of Mónica's focus in adapting the tumult, beheadings, and funerals of Act 2. Read Mónica’s original Spanish text below, or scroll further down for our English translation.
Original Notes by Mónica Maffía
Resumen 8° ensayo
Acto 2, escena 2 desde el regreso de Belario y Arvirago
Entrada de Guiderio con la cabeza de Cloten rindiendo cuenta de sus actos perfectamente consciente de lo que hizo.
• En oposición a la voz de ángel de Imogena, Belario reconoce la voz de Cloten y su forma de hablar a las sacudidas, lo cual podría significar un trastorno del habla como la tartamudez.
• Envidia de Arvirago, miedo de Belario a represalias de la corte.
• Temas legales, estar fuera o dentro de la ley. Fugitivos + justicia por mano propia y en legítima defensa
• Improvisación sobre esta escena con el grupo dividido entre los que celebraban la ejecución y los que condenaban la misma.
• Discusión sobre qué honores se le rinden o se le niegan a los muertos. Elaboración de epitafios. Qué tratamiento se le da al enemigo vivo o muerto.
• Discusión sobre la cólera de Cimbelino heredada por los hijos que Belario lee como naturaleza principesca.
• Reglas de caballería vigentes para ofrecer honores al jefe enemigo conquistado o muerto en batalla.
• Creamos la escena del ritual funerario para Imogena y Cloten con una coreografía circular y entonando una vidala.
• Jugamos con posible listado de epitafios edulcorados sobre pájaros y flores.
• Trabajamos la escena del despertar de Imogena con el cadáver de Cloten enfatizando la comicidad y luego desde un enfoque dramático explorando la posibilidad de que Imogena todavía bajo los efectos de la droga no logre comprender inmediatamente la situación. Exploramos la posibilidad de un Cloten de gran belleza física cuyos pues y piernas merezcan la comparación con los dioses o por el contrario, que aún caracterizada pueda ver bello lo feo al mejor estilo de las brujas de Macbeth
Translation by Rebecca Salazar
Summary of 8th rehearsal
Act 2, scene 2 from Belarius and Arviragus’ return
Entrance of Guiderius with Cloten’s head, telling of his actions and fully conscious of what he has done.
• As opposed to Imogen’s angelic voice, Belarius recognizes Cloten’s voice and jerking manner of speech, which could indicate a speech disorder such as stuttering
• Arviragus’ longing for the court, and Belarius’ fear of reprisal from the court.
• Legal themes, being outside or within the law. Fugitives + justice by one’s own hand and legitimate self-defense
• Improvisation on this scene with the group divided between those who celebrate the execution [of Cloten] and those who condemn it
• Discussion on which honours are given or withheld from the dead. Elaboration of epitaphs. What treatment is given to an enemy, alive or dead.
• Discussion on Cymbeline’s rage as inherited by his sons, which Belarius reads as princely nature.
• Rules of knighthood that insist on performing honours to an enemy leader when conquered or killed in battle.
• We recreated the scene of the funeral rites for Imogen and Cloten with a circular choreography and singing a vidala [a form of serenade].
• We played with a possible list of florid epitaphs featuring birds and flowers.
• We worked on the scene from Imogen’s waking with Cloten’s cadaver, emphasizing the comedy, and then with a dramatic focus exploring the possibility that Imogen is still under the effect of the drug and unable to immediately understand the situation. Explored the possibility of a physically attractive Cloten whose feet and legs merit the comparison with those of gods, or on the contrary, that characterizing him as such can make even the ugly seem beautiful, in the style of the witches in Macbeth
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