OTHELLO Master Class 7

 OTHELLO Master Class 7

Audio Podcast Series of Master Classes for Professional Actors exploring Othello with Alexander Barnett - This class is an continuing in-depth discussion of the character Desdemona.

The Eyes of Van Gogh in Spain

A cultural center in Spain has presented my film The Eyes of Van Gogh calling it "a cinematographic work that offers an intimate and profound vision of the life and challenges faced by the iconic painter." Greatly appreciated.  Presenter  The film is streaming on Amazon Prime.  

KING LEAR Film - Act 4, Scenes 1, 2

 Stream on Amazon Prime Episode 10      

ACT FOUR

 4.1

Gloucester has endured torture and disfigurement, yet like Lear, he achieves belated clarity through his suffering.  His mental anguish thus far eclipses the considerable physical pain he is in.  As Gloucester is cast into exile from his own home and left with no life, no future, no possibilities, his condition ironically mirrors Edgar’s own flight from Gloucester’s persecution.  Yet rather than desperately seeking survival, the only driving force that compels Gloucester onward is his crippling guilt.  His only wish is that he might have the chance to touch Edgar again and seek his forgiveness, yet he knows that to be hopeless.   He is overcome by the futility of his existence and is eager to end his own life and put an end to this total despair.

Gloucester realizes that he has wasted his life and his sudden insight has come too late.  Yet Gloucester also proved his loyalty and courage in aiding Lear despite the consequences he knew he might face; despite his abject state, we see that Gloucester has in fact changed. Previously, believing in Edgar’s betrayal despite little evidence, Gloucester turned quickly toward thoughts of revenge and became fixated on bringing his patricidal heir to justice.  Now, however, Gloucester expresses no desire to seek revenge on Edmund, even when the evidence against him is irrefutable. Instead, Gloucester thinks only of Edgar and how he has wronged him.  Any anger he feels is directed only towards himself for being so foolish.

Cry, the beloved country

"Well, when the president does it, that means that it is not illegal" - Richard Nixon.

This is on every single person who voted for Donald Trump - I'll be very generous and say especially on those who voted a second time.

You now have the government you deserve.

Your innocent children and grandchildren will pay for this.  For who knows how long.  If he is reelected then probably forever.

Unfortunately, so will the rest of us.

Director's Notes: Characters in MACBETH

MACBETH is a study in tyranny; its origin, its psychology, its legacy. There are no heroes in MACBETH.  It is not a tragedy of character but rather a tragedy of consequence.  The ultimate tragedy in MACBETH is not the horrors and sufferings that Macbeth endures but what happens to the innocent victims of tyranny.  The ultimate guilt in MACBETH belongs to the people who allow him to become king and to those who carry out his heinous deeds after he assumes power.  Stalin, Hitler, Pol Pot, ad infinitum ad nauseum.  Individually they are the epitome of mediocrity, degradation, ruthlessness and brutality.  Surround them however with cowards, perverts, and the herd mentality, and all hell will break loose.

How anyone could listen to what Macbeth says and witness the absolute horrors he perpetrates, and then conclude that innately he is a man of nobility and honor is beyond rational comprehension.  Or perhaps it is a horrible comment about the psyche of a sizable part of the human race.

Macbeth speaks some of the most beautiful poetry in all of Shakespeare and all too frequently the beauty of the poetry is mistaken for the beauty of the man.  The eloquent poetry is of the medium and not the character. To judge his poetic imagination by the quality of his speech is a mistake.  The poetry is Shakespeare's but the tendencies, desires and actions are Macbeth's.  He, like his wife, is self-corrupted.  

From the very beginning killing is what he does and murder is on his mind.  He is a free agent and a voluntary sinner.  The weird sisters speak not one word of murder or intrigue to him.  They make a prediction that he will be king but they never imply, nor even remotely insinuate, that he must kill to make it come true.  And yet the insinuation on his part is clearly there from the beginning.  In Macbeth's mind the acquisition of the crown is synonymous with murder. They are inextricably bound.  And this alone explains his response to the prophecy. And when he is announced as Thane of Cawdor the vision of murder is so clear and persistent that is overwhelms all other thoughts.  

KING LEAR Film - Act 3, Scenes 5, 6, 7

Stream on Amazon Prime - Episode 9

3.5

Cornwall is furious that Gloucester has betrayed his orders and undermined his authority in choosing to  help Lear.  Moreover, he is enraged that he has been betrayed and out smarted by someone he views as  inferior.  This is indeed a life or death situation for Cornwall, as the future of the country is at stake, yet  his personal humiliation supersedes Gloucester’s treachery.  The offense provokes Cornwall to go        beyond the defense of Britain and the necessary exercise of his authority, as he indulging his appetite for cruelty in the name of the public defense.

Edmund is on the verge of achieving his objectives, as in this scene he is named Earl of Gloucester. Still, he never allows himself to become overconfident.  He maintains his persistent awareness of what is to come and what is necessary to effectively manipulate Cornwall with his performance.   Openly betraying his father by turning the information over to Cornwall requires Edmund to portray a delicate balance of duteous candor and concerned hesitance.  Through his seeming reluctance, he draws Cornwall in, allowing the Duke to believe he is controlling the situation.  Edmund ironically gains Cornwall’s trust in him as “a dearer father,” by betraying his own father to prove his loyalty.

Cold Storage: A Play

I was honored to tour Europe in a production of Ronald Ribman’s wonderful play, Cold Storage.  

Parmigian is one of my all-time favorite characters.  I loved spending time with him and hope to do so again shortly.  I was thrilled by the reception to the production.  

Some thoughts I had when preparing the role:  

- To live in the past is to lose.  No battle can be won in the part that is already lost.  No prior decision can be reversed.  A negative, horrible past cannot be made positive but it can be made useful.  It can fortify us and help us win in the present and the future.