tag:blogger.com,1999:blog-18963984808007076692024-03-13T14:01:04.522-04:00I am cut to the brainsKing Lear Act IV Scene 5Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.comBlogger251125tag:blogger.com,1999:blog-1896398480800707669.post-24350836114326706932024-03-05T15:13:00.003-05:002024-03-05T15:20:18.155-05:00Cold Storage: A Play<p style="text-align: left;"><span color="initial">I was
honored to <a href="https://www.alexanderbarnett.com/cold_storage.html" target="_blank">tour</a> Europe in a production of <a href="https://ronaldribman.com/">Ronald Ribman’s</a> wonderful play, <i><a href="https://ronaldribman.com/cold-storage/" target="_blank">Cold Storage</a></i>.</span><span color="initial"> </span></p><p style="text-align: left;"><span color="initial"></span><span color="initial">Parmigian is one of my
all-time favorite characters.</span><span color="initial"> </span><span color="initial">I loved
spending time with him and hope to do so again shortly.</span><span color="initial"> I was thrilled by the <a href="https://www.blogger.com/blog/post/edit/1896398480800707669/2435083611432670693#" target="_blank">reception</a> to the production. </span></p><p style="text-align: left;"><span color="initial">Some thoughts I had when preparing the
role:</span><span color="initial"> </span></p><p style="text-align: left;"><span color="initial">- </span><span color="initial">To live in the past is to
lose.</span><span color="initial"> </span><span color="initial">No battle can be won in the part
that is already lost.</span><span color="initial"> </span><span color="initial">No prior decision
can be reversed.</span><span color="initial"> </span><span color="initial">A negative, horrible
past cannot be made positive but it can be made useful.</span><span color="initial"> </span><span color="initial">It can fortify us and help us win in the
present and the future.</span></p><p style="text-align: left;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf0h6VtoFoGvzNKDhFUutxMnyl73STj0r68UnziOSeyhO2r0H03nrOal2-NeSXTYfG-V-RnNKj-50oRqhW2WxXURci1Ap_X3bZs3hqmc3Jx2Se4KG4ApWD831giZ0pcsFMBR9iFwveDZ71y7nSF1gIim7ZIlHRd7-T0LJIAksGy8DGr1LquzHyy8O3Nagb/s2167/ColdStoragePoster.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2167" data-original-width="1717" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf0h6VtoFoGvzNKDhFUutxMnyl73STj0r68UnziOSeyhO2r0H03nrOal2-NeSXTYfG-V-RnNKj-50oRqhW2WxXURci1Ap_X3bZs3hqmc3Jx2Se4KG4ApWD831giZ0pcsFMBR9iFwveDZ71y7nSF1gIim7ZIlHRd7-T0LJIAksGy8DGr1LquzHyy8O3Nagb/w141-h177/ColdStoragePoster.jpeg" width="141" /></a></div><p></p>
<p class="MsoNormal" style="text-align: left;"><span style="line-height: 107%;"><span></span></span></p><a name='more'></a>- As long as
he can find, discover and reveal new truths he can feed, sustain and fortify
himself, carry on with his work and hold this horrible disease at bay.<span style="mso-spacerun: yes;"> </span>He has learned not to expect a return on
anything except what he put into himself.<span style="mso-spacerun: yes;">
</span>Life can only be as rich, fruitful and enlightening as the extent to
which you have educated and enriched your mind and your heart.<span style="mso-spacerun: yes;"> </span><p></p><p class="MsoNormal" style="text-align: left;"><span style="line-height: 107%;"><span style="mso-spacerun: yes;"></span>- Permanency is the sum of what has gone before
and brought forward to the present to be used constructively.<span style="mso-spacerun: yes;"> </span>Permanency is thought, feeling and experience
converted to action.<span style="mso-spacerun: yes;"> </span>By allowing ourselves
to be victimized we become the perpetrators of our own misery and
destruction.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="text-align: left;"><span style="line-height: 107%;"><span style="mso-spacerun: yes;">- There is no going back. You must live for purpose and conviction. To live is to believe To disbelieve is regret, frustration, doubt, insecurity and death. To be above the battle is to be cowardly, purposeless, or pedestrian.</span></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="line-height: 107%;">- Most
important, he must rail, rail against the impending darkness; rail against the spectre of death; rail against every attempt to take away his dignity
and self-esteem. <o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: left;"><span style="line-height: 107%;">Ronald
Ribman is an American author, poet and playwright. Ribman’s plays have been
called remarkable, wildly unique and written with a maniacal ferocity, defiant
of category, striking in their eclecticism and many-sided portrayal of the
human comedy. In recognition of his “sustained contribution to American
Theater” he has been honored by The Rockefeller Foundation, The Guggenheim
Foundation, the National Endowment for the Arts, and the John F. Kennedy Center
for the Performing Arts. His numerous awards include an Obie Award for
Best Play: <em><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"><a href="https://ronaldribman.com/the-journey-of-the-fifth-horse/">The Journey of
the Fifth Horse</a></span></em>; an Emmy Nomination for Outstanding Writing
Achievement in Drama: <em><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">The Final War of Olly Winter</span></em>;
the Playwrights USA Award for <em><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"><a href="https://ronaldribman.com/buck/">Buck</a></span></em>; the Dramatist’s
Guild’s Hull- Warriner Award and a Pulitzer Prize nomination for <em><span face=""Calibri",sans-serif" style="mso-ascii-theme-font: minor-latin; mso-bidi-font-family: "Times New Roman"; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"><a href="https://ronaldribman.com/cold-storage/">Cold
Storage</a></span></em>.<o:p></o:p></span></p>
<p class="MsoNormal" style="text-align: left;"><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-34401055318377240982023-11-28T15:41:00.010-05:002023-11-28T15:42:22.745-05:00KING LEAR Film - Act 3, Scenes 3,4<p><a href="https://bit.ly/KingLearAmazonPrime" target="_blank">Stream on Amazon Prime - Episode 8</a></p><p><b style="text-align: center;"><span style="font-size: 14pt;"><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span><span> </span>3.3</span></b></p>
<p class="MsoNormal">Gloucester
is naïve and trusting with Edmund. He treats him as his closest ally, as a
father would indeed trust a beloved and respected son. He plays right into
Edmund’s scheme, blind to his son’s true nature, and hands Edmund the
opportunity to malign Gloucester’s credibility, while proving himself invaluable
and indisputably loyal to Cornwall. Yet in choosing to help Lear, Gloucester
also demonstrates an insight into the disorder that results from Lear’s total
removal from power. Gloucester proves his bravery, loyalty, and nobility in
choosing to support the master he has served for years, knowing that it is a
dangerous and potentially fatal endeavor. In doing so, Gloucester aligns
himself with the old guard, the aged power base that is well beyond its peak
that the younger generations are eager to unseat. In departing to support Lear,
he makes literal the figurative lines of division that have already been
established. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9DKx3zk6edDpV1dDPd3NQ2mS4GABAXZbwFMPCq_FDCnwXKypShgqTxJ54Z8DLp7NXGJE7rGZzK0pgbtiSNyMFUOrMI-C3UsNjJA_0d2aIzdEdhMTWT1Yx7JSF2osebGeif3g5sKwNt3v-XK2W0VzJl4aHX_2UcpMadVOPC4amTdDpmTUc3IgZE4pBccm/s1918/hcvj_1.123.13.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1076" data-original-width="1918" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9DKx3zk6edDpV1dDPd3NQ2mS4GABAXZbwFMPCq_FDCnwXKypShgqTxJ54Z8DLp7NXGJE7rGZzK0pgbtiSNyMFUOrMI-C3UsNjJA_0d2aIzdEdhMTWT1Yx7JSF2osebGeif3g5sKwNt3v-XK2W0VzJl4aHX_2UcpMadVOPC4amTdDpmTUc3IgZE4pBccm/s320/hcvj_1.123.13.jpg" width="320" /></a></div><br /><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 12.0pt;">3.4</span></b></p><p class="MsoNormal">In the second part of the storm, Lear continues to
deteriorate physically and mentally yet remains absorbed in self-reflection,
confronting the turmoil within and blocking out the squall that surrounds him. Still, the interior and exterior upheaval compound one another and increase
exponentially.</p><span><a name='more'></a></span><p></p><p class="MsoNormal"><span style="text-indent: 0.5in;">As he prays outside of the hovel, Lear reflects not just on
his daughters’ betrayal but on who he has become. Having realized his
devastating neglect of the Fool, Lear is forced to confront the fact that he
has done nothing of good with his power in years. </span><span style="text-indent: 0.5in;">Lear feels empathy for the lowly parts of
humanity that he has done nothing to help, becoming fixated on Poor Tom as a
symbol of that corrosive inattention. Yet even Lear’s sudden compassion for
lowlier beings is colored by the selfishness that has led him to this place, as
he is utterly embroiled in self-reflection. The more he discovers about
himself, the more he deteriorates; the more mental clarity he achieves, the
more infirm his mind actually becomes.</span></p><p class="MsoNormal"><o:p></o:p></p><p class="MsoNormal">The hovel is very close to Gloucester’s castle, meaning
Edgar must have stayed close by when he fled. He is risking his life in staying
so close to those who seek his demise. Although he has lost everything and
transformed his identity, he cannot bring himself to venture far from the only
world he knows. Edgar finds himself in a peculiar position in this scene. Everyone
present knows each other well from the time prior to the start of the film, yet
they are each in disguise or so affected by their current situation that they
are strangers to themselves. From within his disguise, Edgar is the only one
who recognizes the identity of everyone in the room at that moment. Just as
Lear’s madness is both the source and result of his insight, Edgar finds the
position of madman to be surprisingly illuminating. </p><p class="MsoNormal" style="text-align: center;">
</p><p class="MsoNormal">Gloucester’s arrival is an emotional jolt and a challenge
for Edgar. With Lear mad, the Fool dying, and Kent the distracted guardian,
Edgar is able to sell the Poor Tom disguise effectively. He may be of noble
birth, but his privileged life was taken away from him in a flurry of sudden
and demoralizing confusion. He is genuinely alone, hopeless, destitute, and
freezing; his present condition is so much like that of the beggars that Poor
Tom has become less a character for Edgar and more his current state of being. Maintaining the disguise in front of his father, however, requires him access
an as-yet untested place of strength and resilience. Rather than attempting to
hide, he sinks further into the role of madman and approaches Gloucester
directly. He flaunts madness in his scorned father’s face to stun him and
present himself as something so far removed from the Edgar Gloucester knows,
that in doing so he effectively renders that simulated state a reality. <o:p></o:p></p><p align="center" class="MsoNormal" style="text-align: center;"><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-28127575909073522702023-10-27T17:23:00.001-04:002023-10-27T17:23:36.073-04:00OTHELLO Master Class 6<p>Audio Podcast Series of Master Classes for Professional Actors
exploring Othello with Alexander Barnett - This class is a continuing
in-depth discussion of the courtship of Othello and Desdemona and the
undercurrents at play prior to Cyprus.</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="160" src="https://www.youtube.com/embed/WlqGUs3Ev3s?si=P_94H6fMawgrkW5B" title="YouTube video player" width="280"></iframe></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-26318309561851243372023-07-26T14:33:00.000-04:002023-07-26T14:33:11.002-04:00KING LEAR Film - Act 3 Scenes 1,2<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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</p><div style="text-align: left;"><a href="https://bit.ly/KingLearAmazonPrime" target="_blank"> Stream on Amazon Prime - Episode 7</a><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"><br /></span></b></div><div style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">3.1</span></b></div>
<p class="MsoNormal">The instability Kent feared when
Lear banished Cordelia has set in upon the kingdom. As ever, Kent’s primary
objective is to protect Lear’s physical and mental well-being. He must get him
out of the storm, which is quickly speeding up Lear’s decline. The storm is getting
worse. They are only twenty minutes from the courtyard and have already become
separated. While Lear is trapped in reflection on the past, Kent must be
looking ahead to the future and turns back in search of the first Knight. Now
that both daughters have abandoned him, he turns to Cordelia, as she may be the
last source of refuge for Lear. Kent is relying on his knowledge of their
relationship and trusting that despite everything that has happened, she still
cares deeply for Lear and will want to do whatever she can to help him. Kent’s
loyalty and devotion shine in this scene and throughout the storm. His
shrewdness is also apparent, as even in the face of the dire present, he is
still thinking ahead and planning for what is to come. The first knight is
somewhat perplexed by Caius hints as to his identity and the instruction to
contact Cordelia, but he, like Kent, is devoted to serving Lear, and will
gladly travel to Dover in the elements to uphold his duty. <b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"> </span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"></b></p><div class="separator" style="clear: both; text-align: center;"><b style="mso-bidi-font-weight: normal;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJvjeoXWXH0xIpZx0cPuxHr1Tt0i0GrmuOMHXSRalWsn8qvJOYl-raRK3dVTFi2FzInSq3XN93E1q6Qjv-Pl4N09CPPIZNx_lbR_ElYnJQZsU4lM4v3QLR5y1Ced9hbBOm441-GfloQq2AQlF-zgHeqHxgx2oDcbDBVZx7bLCg_xICxn1wRS5octezMRm/s1916/LearStorm6%20-%20Copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1070" data-original-width="1916" height="179" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCJvjeoXWXH0xIpZx0cPuxHr1Tt0i0GrmuOMHXSRalWsn8qvJOYl-raRK3dVTFi2FzInSq3XN93E1q6Qjv-Pl4N09CPPIZNx_lbR_ElYnJQZsU4lM4v3QLR5y1Ced9hbBOm441-GfloQq2AQlF-zgHeqHxgx2oDcbDBVZx7bLCg_xICxn1wRS5octezMRm/s320/LearStorm6%20-%20Copy.jpg" width="320" /></a></b></div><b style="mso-bidi-font-weight: normal;"><br /><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;"></span></b><p></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 12.0pt;">3.2</span></b></p>
<p class="MsoNormal">The intense cold, the jarring wind,
and the plaguing thunder take their toll on Lear, Kent, and the Fool. <span></span></p><a name='more'></a>Their
lives are at stake, yet the scene is more about the struggle between Lear and
his own madness than it is a struggle against the natural elements.<span style="mso-spacerun: yes;"> </span>Lear is reacting to what has just happened
minutes ago. He is not just angry with Regan and Goneril for the way they have
treated him, but also heartbroken to learn they feel so little genuine
affection for him. He is forced to confront the fear he has expressed
repeatedly; he is losing his mind. His obsession with avoiding madness turns
him inward and only perpetuates his deterioration. He does not feel self-pity,
but contempt for his condition. Yet as his mind turns to his daughters, he
realizes the storm only makes him more vulnerable to the madness he fears.<p></p><p class="MsoNormal">Lear rages against himself, defiant
in the face of his deterioration. He turns desperately to the storm for
salvation, clinging to the physical struggle to escape the mental one. He
revels in declaring his sanity, his fixture to the moment, defiant even as he
feels his senses slipping away. The closer he comes to madness, the more he is
aware of his condition. There is an ironic lucidity in these moments as Lear
descends into madness, as if sanity can only truly be measured or understood
through the counterpoint of its loss.</p><p class="MsoNormal">Kent remains steadfast in his
concern for Lear. He observes Lear’s decline into an increasingly vulnerable
physical and mental state and is distressed by the sight, having known him at
the height of his vitality. Yet we see the true measure of Kent’s loyalty and
devotion as he pursues Lear with renewed vigor and unflagging protective
urgency. He seeks not to comfort his old friend, but to save his master and
continues to risk his life in doing so.</p><p class="MsoNormal">Lear’s age and mental decline make
him vulnerable to the storm, but the Fool’s youth provides him no further
remedy. He is a creature of the courts and cannot last long in this weather. The Fool repeatedly pleads with Lear to return to his daughters and ask for
refuge to no avail. Though his statements mirror his more performative moments,
the Fool is no longer performing; he is not consciously trying to distract
Lear, rather he speaks spontaneously as is his true nature. He is compelled
from within and speaks viscerally as he tries to reason with Lear. Yet his
battle is hopeless; he is contending with both the fretful elements and Lear’s
deepening madness, as the two are one in the same.</p><p class="MsoNormal">Despite his deep affection for the
Fool, Lear is so absorbed in his own internal conflict that he does not hear
the Fool’s appeals or notice his condition.<span style="mso-spacerun: yes;">
</span>When Lear finally does become cognizant of the Fool’s suffering, it is
the first time in years that the well-being of another person becomes his
primary concern. The guilt Lear feels over endangering his beloved companion
shifts his focus from his daughters’ betrayal and fosters a feeling of remorse
that builds to Lear’s later revelations.<br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-27309471064575033682023-06-21T14:27:00.016-04:002023-06-21T15:42:35.440-04:00OTHELLO Master Class 5<p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p></p><p>This class is an in-depth discussion of the courtship of Othello and Desdemona and the undercurrents at play prior to Cyprus.
<a href="https://www.alexanderbarnett.com/oth.html">https://www.alexanderbarnett.com/oth.html</a>
<a href="http://bit.ly/KingLearAmazonPrime">http://bit.ly/KingLearAmazonPrime</a></p><p style="text-align: center;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="155" src="https://www.youtube.com/embed/tttFKSFTZxw" title="YouTube video player" width="280"></iframe></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-64104525793229065762023-06-06T13:57:00.000-04:002023-06-06T13:57:07.711-04:00Burnistoun - Voice Recognition Lift<p>I could not resist revisiting this. Enjoy.</p><p><iframe frameborder="0" height="270" src="https://youtube.com/embed/TqAu-DDlINs" width="480"></iframe> </p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-76612092297959794862023-05-02T14:52:00.001-04:002023-05-02T14:52:21.564-04:00KING LEAR Film - Act 2, Scene 4<p><a href="https://bit.ly/KingLearAmazonPrime" target="_blank"> Stream on Amazon Prime - Episode 6</a></p><p><!--[if gte mso 9]><xml>
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</xml><![endif]-->When Lear arrives at Gloucester’s,
the political tensions that have been building towards upheaval breach the
surface, while the impending storm looms inevitably closer. This scene is
structured around a slow build towards a breaking point, yet at its heart is
only deterioration. The stability of the kingdom, alliances, familial bonds,
and Lear’s health and sanity all begin to fall apart.</p><p>The Fool, ever shrewd to the point
of seeming prescience, warns Kent of what is about to happen. <span style="mso-spacerun: yes;"> </span>He is alarmed by the changes he sees in Lear
and, knowing Goneril and Regan’s true nature anticipates that he is about to be
pushed into further devolution. He urgently cautions Kent that Lear’s decline
will be swift and brutal, that it has already begun, and that it will not end
well for those who follow. This moment is particularly poignant, as the Fool
speaks to Kent not as Caius, but as himself. In that sense, it echoes the
moment of recognition during 1.4, but goes beyond that brief silent exchange.
This is not a moment of commiseration; rather the Fool is compelled by his very
nature to warn Kent of the danger of following a doomed man. Yet he also knows
that neither Kent nor himself will head that warning. They are both steadfast
in their devotion to Lear and, however foolishly, will remain at his side in
spite of what is to come, and indeed because of it. </p><p></p><div class="separator" style="clear: both; text-align: center;"><img border="0" data-original-height="957" data-original-width="1735" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ9n0BOT88_5efIXYmuug0nco6q6CQwC1YqE2FX_v_yDWbVOAIhzWq2TbbA4Jt6RIko0vUPD7zIG4wtpfn65Y5kmnRVH5HiGKusnRBRnO63InVPaO-UYzljHApELOWrkV1jnYOWNXNqLjE16VN3-Fo_3i0CJnOBtPzg4ZX_MKsOUBNYqw15x9mmLbDcg/s320/LearGoneril%20(2).jpg" width="320" /></div><br /><span><a name='more'></a></span><p></p><p class="MsoNormal">The formerly close relationships
that defined the now defunct hierarchy inform its downfall. Lear has a bad
heart and Goneril is willing to exploit that fact. He is an obstacle, and she
will stop at nothing to get what she wants. Goneril demonstrates strength of
will and independence that is ironically reminiscent of Cordelia, but her goals
are very different. Although Goneril knows that Regan will eventually stand in
her way, her primary objective is to render Lear powerless, and she needs
Regan’s cooperation to achieve that. Goneril knows that she and Regan are
similar in their determination to be free of their father’s prideful delusion
in what power he actually retains. Their understanding of and respect for one
other is evident, as like herself, Regan is motivated to eliminate Lear by her
own ambition and not spite or hatred.<span style="mso-spacerun: yes;"> </span>Ironically,
Goneril uses her familial ties as an advantage towards their eventual
dissolution, forming one bond to break another.</p><p class="MsoNormal">Despite
having given away his title and lands, and experiencing Goneril’s
insubordination, Lear does not expect a shift in the social hierarchy when he
arrives at Regan’s. He is shocked to be met with one offense after another.
Having divided the kingdom, any power Lear truly retains is that imbued in him
by the respect and deference of the nobles. That largely symbolic power is
steadily chipped away, as Cornwall disrespects Lear’s servant and speaks to him
as he has never done before. His own daughters reject him repeatedly, and with
every successive humiliation Lear’s power, both real and symbolic, diminishes.
As the scene builds until Lear is effectively deposed, the last remaining
traces of the country’s stability are likewise toppled. Goneril and Edmund have
both already begun to maneuver for power. The wheels are set in motion for
further betrayal and the rapid dissolution of former alliances. The already
weakened foundation of power in Britain utterly disintegrates in these moments.</p><p class="MsoNormal">The
build-up to this moment is laden with the echoes of the same pattern of rise
and fall. As Lear is bounced back and forth between Regan and Goneril, seeking
refuge with whichever daughter will allow him the most followers, he is offered
less and less each time. Lear’s retinue begins at one hundred men, is cut down
to fifty, then twenty-five, ten, five until he is left with nothing. With each
decreasing offer he becomes less and less powerful, not so much because he will
have fewer knights to command, but because his daughters dare challenge and
diminish him in this manner. He is humiliated to be so treated, especially in a
public setting, just as he is heartbroken and stunned to find that his
daughters think so little of him. He degrades himself by kneeling, however
manipulatively, and we see just how far he has descended since the opening scene.</p><p class="MsoNormal">As Lear’s
daughters and Cornwall steadily whittle away at his authority, his respect, and
his dignity, Lear’s anger builds and his defective heart begins to rise against
him. He is consumed both mentally and physically with the pain that drives him
ever towards the madness he fears above all else. In contrast to all that has
been destroyed, the storm outside begins to build as if in connection with the
storm within. There is perpetual rise and fall within this scene: a crescendo
of deterioration, a conflagration of decay.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"> </p>
<p></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-40764486976846758012023-03-27T12:45:00.000-04:002023-03-27T12:45:00.103-04:00OTHELLO: Master Class 4<p>Reaching the end of my European tour of Othello I found I was not ready
to let go of the play. So when I returned to New York, I created a
series of master classes for professional actors. These are the audio
versions.</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="150" src="https://www.youtube.com/embed/Oh_jD5oUFKo" title="YouTube video player" width="250"></iframe></p><p style="text-align: center;">
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="150" src="https://www.youtube.com/embed/5bPEjZwp1bM" title="YouTube video player" width="250"></iframe></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-67811592028918657972023-01-04T13:54:00.044-05:002023-05-02T14:30:17.339-04:00KING LEAR Film - Act 2 Scene 2, Scene 3<div>KING LEAR Film - Act 2 Scene 2 Scene 3<br /></div><a href="http://bit.ly/KingLearEpisodes" target="_blank">Stream on Amazon Prime - Episode 5</a><div><br /></div><div>There is tension and anticipation throughout the country as
the makings of civil war continue to fester underneath the surface of civility.
In this scene, there is much fighting, physically and verbally, as the younger
generation postures for control of the kingdom. The boundaries of the social
structure are tested in anticipation of their outright deterioration following Lear’s
arrival.<div><div style="text-align: left;"><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Cornwall’s callous treatment of Kent is his first act of
defiance against Lear, and the old order. Cornwall finds pleasure in being
aggressive, commanding, and cruel to the King’s servant. He acts not out of
mere distaste for Kent’s behavior as Caius, but because he finds pleasure in
disregarding the social hierarchy and claiming a more powerful role for
himself. As always Regan continues to try to trump Cornwall in severity,
demanding further cruelty when Cornwall orders Kent put in the stocks. The
competitiveness within their marriage exacerbates the underlying tension in the
constant struggle for control that pervades this scene.<span></span></p><a name='more'></a><p></p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p>Ironically, Kent’s defiance mirrors Cornwall’s own rejection
of authority, yet it lands him in the stocks. Oswald genuinely does not
recognize Kent—their brief though eventful meeting was largely in the dark—and
is bewildered and appalled at the way he is treated. Kent, however, remembers
Oswald all too well and wants nothing more than to tear Oswald apart for the
way he treated Lear. Kent is enraged by the disrespect Oswald showed Lear
previously, but is now driven to further aggression due to the trouble he knows
is to come from the letter from Goneril that Oswald has delivered.</p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">Kent struggles to restrain himself with both Oswald and
Cornwall. He knows no good will come of his aggression, but he cannot entirely
contain himself. The more he holds back, the more his anger is felt in the
friction of self-restraint. Kent is intimidating not so much because of what
does, but what it is clear he wants to do, what is barely contained beneath the
surface. He flagrantly disregards Cornwall’s authority and provides no
justification for his actions, as he knows this party is no longer abides by
the king. He finds satisfaction in being defiant in his master’s name. As in
the opening scene, Kent’s primary objective is to protect Lear’s interests, but
once he allows his anger to surface, his better judgment becomes subject to his
emotions and he cannot stop. He behaved similarly as Kent, and now as the
fearless, brusque, and more uninhibited Caius, the trait is amplified. </p><p class="MsoNormal"><o:p></o:p></p></div><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemKWByvVvd4ys8oa5uZk09c1-gvrQn9sJquhIqpwaq9yF6RDYsCtnvbFpt2aUBe5VDo1PPXSBNCOvDQqukJOZHC4x1CjX6kebG_y-0msaBh1k8ZAoYtea0cchEoyYtnhRsE1BQgumupF9MEG8di302-FCb1k5M2wuC6fNiaOZhMIFmr8yoydEeXpyww/s1693/kl8.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="941" data-original-width="1693" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjemKWByvVvd4ys8oa5uZk09c1-gvrQn9sJquhIqpwaq9yF6RDYsCtnvbFpt2aUBe5VDo1PPXSBNCOvDQqukJOZHC4x1CjX6kebG_y-0msaBh1k8ZAoYtea0cchEoyYtnhRsE1BQgumupF9MEG8di302-FCb1k5M2wuC6fNiaOZhMIFmr8yoydEeXpyww/w386-h215/kl8.jpg" width="386" /></a></div></div><div></div><div></div><div></div><div></div><div></div><div></div><div><!--[if gte mso 9]><xml>
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</xml><![endif]-->Edgar’s world has turned upside
down. Having fled Gloucester’s castle, he is left with nothing after only ever
having known a life of advantage in the courts. He is terrified, exhausted, and
utterly lost, both mentally and emotionally. His flight into exile was so
consumed with confusion and fear, that he has not yet had a chance to truly
process the aimless desperation of his current state.</div><div> </div><div>Edgar finds himself among the
beggars who are likewise lost and desperate. They are hungry, but not just for
food; they are plagued by a deep, aching need for some tangible seed of hope.
They are always reaching for something they know they will never grasp. Still,
they are not totally insane. Far worse, they have partially lost their minds,
yet retain enough awareness to comprehend their pathetic state. There is peace
in total insanity that these men are denied. Edgar is inspired by their
desolation. Their tragic visages are so far removed from Edgar’s own that he
will be able to render himself unrecognizable, yet he also finds his newly
wretched state to be not unlike theirs. He is not so much taking on an unlikely
disguise, but giving in to his current situation, and in taking on the identity
of Poor Tom, he sublimates his own. </div><div> </div><div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrb-dw4xn65R1dNPlGlKRap51y4D7fIlb5pDs3VjURFvhm_KtwNf7sIkG0yuNKm5LTu_F_U7Qi5PrrYifHNBcKDBVGfsQrruCOslnx_AFAUg14ltNW9zOj2mucd1CJBOChRHFsWBiyZbB0Fe977wWFg89tE06UELOam1Lifg851TxlUpPjZhf1eddxzg/s1144/FletcherBarnettLear.tiff" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="776" data-original-width="1144" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrb-dw4xn65R1dNPlGlKRap51y4D7fIlb5pDs3VjURFvhm_KtwNf7sIkG0yuNKm5LTu_F_U7Qi5PrrYifHNBcKDBVGfsQrruCOslnx_AFAUg14ltNW9zOj2mucd1CJBOChRHFsWBiyZbB0Fe977wWFg89tE06UELOam1Lifg851TxlUpPjZhf1eddxzg/w285-h193/FletcherBarnettLear.tiff" width="285" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Philip Fletcher as a Beggar<br /></td></tr></tbody></table><br /> </div><div><span style="font-family: Cambria, "serif"; font-size: 12pt; text-align: center;"><a href="http://www.kinglearfilm.org">www.kinglearfilm.org</a></span><p></p></div></div>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-17687400215152451912022-12-08T15:11:00.005-05:002023-03-27T12:30:00.583-04:00OTHELLO: Master Class # 3<p>Reaching the end of my European tour of Othello I found I was not ready
to let go of the play. So when I returned to New York, I created a
series of master classes for professional actors. These are the audio
versions.</p><p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="160" src="https://www.youtube.com/embed/rueq2g7LFfk" title="OTHELLO Master Class 3 Part 1" width="359"></iframe> </p><div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="160" src="https://www.youtube.com/embed/JAzHYcL4fiA" title="OTHELLO Master Class 3 Part 2" width="326"></iframe></div>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-13296328755841610152022-11-02T14:27:00.014-04:002022-12-15T14:09:40.802-05:00Dover King Lear Act 4 Scene 6<p style="text-align: center;"> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="250" src="https://www.youtube.com/embed/cncRnCic55s" title="Thoughts on Playing Dover - King Lear Audio" width="350"></iframe></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-61289718321497067082022-10-19T13:35:00.007-04:002023-01-04T13:38:05.007-05:00Othello: Master Class 2Reaching the end of my European tour of Othello I found I was not ready to let go of the play. So when I returned to New York, I created a series of master classes for professional actors. These are the audio versions.<br /><br />Audio Podcast Series - The 2nd class continues the in-depth discussion of the opening scenes. https://www.alexanderbarnett.com/notesoth.html<div><br /></div><div><br /></div>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="157" src="https://www.youtube.com/embed/3Z8BgWmfRk0" title="YouTube video player" width="280"></iframe></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVEfLbq-3w6Afoh-m8h4fP_C9W6D9xODq5UkuUY0722NPL5zbk_PJ-l5je-KuRwyytX9D8A8G1X4O-UYu3XYwZBG3f8H5ofGZFBJL2_RBsHVL4_XyvSg9Kj3mV0jic044hasv6v7ckED4OFaO_AgqNQSZbejWLqOatGGGTM88yVOwgri3c5la8663wng/s2069/2grp.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1460" data-original-width="2069" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVEfLbq-3w6Afoh-m8h4fP_C9W6D9xODq5UkuUY0722NPL5zbk_PJ-l5je-KuRwyytX9D8A8G1X4O-UYu3XYwZBG3f8H5ofGZFBJL2_RBsHVL4_XyvSg9Kj3mV0jic044hasv6v7ckED4OFaO_AgqNQSZbejWLqOatGGGTM88yVOwgri3c5la8663wng/w274-h194/2grp.jpeg" width="274" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rodrigo, Othello, Desdemona, Brabantio</td></tr></tbody></table><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-58536029712820847492022-10-01T15:38:00.019-04:002023-01-04T13:39:35.343-05:00Othello: Master Class1<p>Reaching the end of my European tour of Othello I found I was not ready to let go of the play. So when I returned to New York, I created a series of master classes. These are the audio versions.</p><p>Audio Podcast Series - The 1st class is an in-depth
discussion of the given circumstances of the opening scene and the
characters of Iago, Rodrigo and Desdemona.</p>
<div style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="157" src="https://www.youtube.com/embed/m4JxPB04Nog" title="YouTube video player" width="280"></iframe></div><div style="text-align: center;"><br /></div><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcBA9o8BrK22ChZOStgAR1YWLnTNqIGcC40B1Ldf55bRQFRZLh8oWS-wrXSTntvxt0-0yv8vsAaEFq4dPSv1HPTa2JyLjEgF2rrt84zQLbrYvEyDZ0yN0h0dNhhCMHVXIRxwIG2c0GdjoNGaPP4WXxw33SSg-N9-VMRLRibwP0286C2F9OP-hzbXV0Yw/s2772/p4h.jpeg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2071" data-original-width="2772" height="163" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcBA9o8BrK22ChZOStgAR1YWLnTNqIGcC40B1Ldf55bRQFRZLh8oWS-wrXSTntvxt0-0yv8vsAaEFq4dPSv1HPTa2JyLjEgF2rrt84zQLbrYvEyDZ0yN0h0dNhhCMHVXIRxwIG2c0GdjoNGaPP4WXxw33SSg-N9-VMRLRibwP0286C2F9OP-hzbXV0Yw/w218-h163/p4h.jpeg" width="218" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Rodrigo and Iago</td></tr></tbody></table><br />Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-31295028680310368882022-08-31T18:28:00.004-04:002022-08-31T18:29:40.626-04:00A Review by Richard Masloski<p>I am so deeply
honored by this review of my film <i><a href="https:\\www.theeyesofvangogh.com" target="_blank">The Eyes of Van Gogh</a></i> from the late sculptor and composer <b>Richard Masloski</b>. <a href="https://www.masloski.com/">https://www.masloski.com/</a></p>
<p class="MsoNormal"><span style="mso-bidi-font-weight: bold;">In so many ways I find
it to be extraordinary.<span style="mso-spacerun: yes;"> </span>An artist can
usually only dream in vain of a critic who writes so well; is so thoughtful and
insightful; so impassioned in his understanding and evaluation.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-weight: bold;">In sharing his
review with you I believe I am also sharing his magnificent spirit.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><span style="mso-bidi-font-weight: bold; text-transform: uppercase;"><span style="font-family: georgia;"><b>Who is Alexander Barnett?</b><o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-family: georgia;"><span style="mso-bidi-font-weight: bold;">He is the man who
wrote, directed and stars in what is arguably the most poignant and profound
portrayal of Vincent van Gogh ever put on film. There have been many movie Van
Goghs: Kirk Douglas' rendition in LUST FOR LIFE is magisterial. But despite the
intense veracity of Vincente Minnelli's 1956 film, there were warts beneath the
warts in the actual history that just didn't make it to the screen in that
lavish and rich outing. Robert Altman offered a grimmer and grimier version of
things in VINCENT AND THEO and Tim Roth gave us a more insular artist - whereby
from all historic accounts the destined Dutchman was extremely demonstrative
and vocal and all over the place. Jacques Dutronc's turn with the paint brush
in VAN GOGH was likewise introspect in a biopic that flung facts around as
wildly as Van Gogh flung paint anywhere and everywhere in his frenzied attack
of the nihilistic blankness of the ever-goading canvas.<span></span></span></span></p><a name='more'></a><span style="font-family: georgia;">In Alexander Barnett - through his raw, ragged and really realistic THE EYES OF
VAN GOGH - we have an actor who seems to be channeling the actual spirit of the
artist. For starters, he looks probably the closest to what Van Gogh probably
looked like - given that there are no photographs of him as an adult and all we
have to go by are his many variegated self-portraits. There are many sequences
in this film wherein I felt I was actually looking at the real man, as if
caught on some time machine of a film camera. But beyond the outward, it is in
the probing of the inward that Mr. Barnett excels. From start to finish, he
never loses Van Gogh in himself. There is not a false note in the performance.
His acting is a veritable acting class in and of itself. If he and this film
had ever been eligible, his is a performance supremely worthy of an Oscar.<br />
<br />
The script is sublime. In it, Mr. Barnett dares to bravely show us the darkest
sides of Van Gogh. These scenes are painful to watch, if one is totally sold on
the Van Gogh-as-Saint interpretation of history. Yet balanced with that
blackness, shown are all of the reasons why - as Don McClean sings in STARRY
NIGHT - "this world was never meant for one as beautiful" as Vincent.
If Mr. Barnett's script were only available in printed form, it would still be
(in addition to being historically accurate and revealing) intense and exciting
to read but - in the finished film - these scenes are enacted with such passion
and pathos that they seem less acted than lived. As directed by Mr. Barnett,
there is a John Cassavettes-like sense of improvisation and therefore total
reality that packs one tremendous emotional wallop after another. And like
Cassavettes and even Welles in certain instances, Mr. Barnett holds many scenes
for incredible amounts of time that lesser directors would be too timid to even
attempt. These long, unedited sequences carefully build the utter sense of
reality that Mr. Barnett was evidently after and has so eminently achieved. We,
as viewers, become part of what we are watching - in ways that are quite rare
to most movies.<br />
<br />
Also in this immense film there are many set-pieces and images that will stay
with one for a long, long time. Haunting sequences and riveting images that are
imaginatively conceived and expertly, flawlessly delivered. One example is when
Vincent imagines/dreams/fantasizes/hallucinates the death of his beloved
brother. After the "imaginary" sequence there is a sharp cut to
Vincent sitting up in his asylum bed in the middle of the night, crying and
cradling what is apparent emptiness - but is, instead, the impossible thought
of a lost Theo. Brilliantly, in this one sequence alone, this one image of
Vincent cradling "emptiness", volumes are spoken - for in the event
of losing Theo, Vincent would indeed be cradling emptiness. But in the larger
context, this one image of Vincent cradling "emptiness" in the
middle-of-the-night speaks largely and painfully for most of the whole of his
life. It is in such brilliant, often wordless scenes and sequences that Mr.
Barnett's vision explodes from the film frame as passionately and as profoundly
as Vincent van Gogh's vision exploded from his canvas frames and bathed the
world in color and gave us a new way of seeing. As Van Gogh's work transcended
the bounds of its frames, so also does Mr. Barnett's film transcend the
boundaries of the movie or television screen. In both instances, with both
artists, Art does what it so rarely does. Art... becomes Life.</span><div><span style="font-family: georgia;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc-_0PEoTJUf_cvQncYbrHDtUApJ8gz-UDTudQG_R-JL2q3nOeLBtVRigyIDhW40hZDRZ_2zOLZj2GfbWKbYfwt2YeNi6cRrzbSPAmd5aNnqwn7JlG2GEnr58zL1i5jHYLq63Orh0pzhVTZuhyM_K4WCWj7SFvBRd2HXwyU-81nnVQD8dh2P33MXcs3A/s1600/van_gogh_Poster4web2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1035" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc-_0PEoTJUf_cvQncYbrHDtUApJ8gz-UDTudQG_R-JL2q3nOeLBtVRigyIDhW40hZDRZ_2zOLZj2GfbWKbYfwt2YeNi6cRrzbSPAmd5aNnqwn7JlG2GEnr58zL1i5jHYLq63Orh0pzhVTZuhyM_K4WCWj7SFvBRd2HXwyU-81nnVQD8dh2P33MXcs3A/s320/van_gogh_Poster4web2011.jpg" width="207" /></a></div><br /><span style="font-family: georgia;"><br /></span><span style="font-family: georgia;"><span><!--more--></span><span><!--more--></span><o:p></o:p></span><p></p>
<p class="MsoNormal"><o:p><span style="font-family: georgia;"> </span></o:p></p></div>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-5928016749989472012022-08-24T13:49:00.031-04:002022-09-02T15:01:55.252-04:00King Lear Film - Act 2 Scene 1<p>King Lear Film - Act 2 Scene 1</p><span class="gvxzyvdx aeinzg81 t7p7dqev gh25dzvf exr7barw b6ax4al1 gem102v4 ncib64c9 mrvwc6qr sx8pxkcf f597kf1v cpcgwwas m2nijcs8 hxfwr5lz k1z55t6l oog5qr5w tes86rjd pbevjfx6 ztn2w49o" dir="auto"><div class="m8h3af8h l7ghb35v kjdc1dyq kmwttqpk gh25dzvf n3t5jt4f"><div dir="auto"><a href="http://bit.ly/KingLearEpisodes" target="_blank">Stream on Amazon Prime - Episode 4 </a></div><div dir="auto"><span style="text-indent: 0.5in;"><br /></span></div><div dir="auto"><span style="text-indent: 0.5in;">Edgar and Edmund are both fighting
for their lives. Edmund may be the orchestrator of these fraught circumstances,
but he is risking his life in doing so. Even as his plan unfolds accordingly he
does not take for granted that it could easily collapse at any moment, causing
him to lose everything. </span></div><div dir="auto"><span style="text-indent: 0.5in;"><br /></span></div><div dir="auto"><span style="text-indent: 0.5in;">Edmund is excited to be actively pursuing his desires,
rather than just scheming in anticipation. He does not let the pleasure of
deceit overwhelm and undermine him, instead funneling that energy into his
performance: there is always a kind of truth in his deceptions. He uses his
frenetic urgency to disorient and engross Edgar, convincing his brother he has
no choice but to run, before he even has the chance to process what is
happening to him, thus confirming all suspicions of guilt. Even after Edgar has
fled, the stakes are no less dire for Edmund; if Edgar is found alive it will
become one brother’s word against the other. Each success does not bring relief
for Edmund, but further fuels his drive and focus.</span></div><div dir="auto"><div style="text-indent: 48px;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxTeLiToDcO39jkBY1m7Rh2Dv0sVcnpQx4e2lEVsiNU9XxlgsRCkH4YwTqvCXOH7wdn88Rxlxy13qw-1LD23PIvQeRn0sl6a4Hb-TMLb_LGDxWpKKbCgvl-rFkdR2_EgDl7H4oiRhYRywKCGxMqjj0wnFfi1LLl8cmLbBPYwrCqip809h50LCt9GcPQ/s1661/fyuyu_1.10.1.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1031" data-original-width="1661" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkxTeLiToDcO39jkBY1m7Rh2Dv0sVcnpQx4e2lEVsiNU9XxlgsRCkH4YwTqvCXOH7wdn88Rxlxy13qw-1LD23PIvQeRn0sl6a4Hb-TMLb_LGDxWpKKbCgvl-rFkdR2_EgDl7H4oiRhYRywKCGxMqjj0wnFfi1LLl8cmLbBPYwrCqip809h50LCt9GcPQ/s320/fyuyu_1.10.1.tif" width="320" /></a></div><div style="text-indent: 48px;"><br /></div><span style="text-indent: 0.5in;"><span><a name='more'></a></span></span></div><div dir="auto"><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal"><span style="text-indent: 0.5in;">Edgar, like his father, is naïve in
his credulity and trust in Edmund. Edgar struggles against leaving out of fear
and uncertainty, but is ultimately taken in by Edmund’s brotherly concern. Despite his seeming guilelessness, there are traces of Edgar’s strength and
cunning in these early scenes. His sword fight with Edmund, however counterfeit,
demonstrates his natural talent for fighting. He does not enjoy fighting, the
way Edmund does, but he has similar talent that has yet to be honed or tested.</span> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2DkCmagZS4zhBs24TLU-7ucYXAlXOMYuhsd1e8QXc9NtUEwcEYraDAttiObDbseP81f784Fc8e6OeQObeP8RSa9ZlzNlLd0fppMQQweKRjLJxx4p4or_Kr0dm4RutLFzXjDKknKSEVyfYSanPr4Veu_DseXjh5dd_QNgPB9SKv0EuwLswzFOkeZyQA/s1914/kl4.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="766" data-original-width="1914" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgH2DkCmagZS4zhBs24TLU-7ucYXAlXOMYuhsd1e8QXc9NtUEwcEYraDAttiObDbseP81f784Fc8e6OeQObeP8RSa9ZlzNlLd0fppMQQweKRjLJxx4p4or_Kr0dm4RutLFzXjDKknKSEVyfYSanPr4Veu_DseXjh5dd_QNgPB9SKv0EuwLswzFOkeZyQA/s320/kl4.jpg" width="320" /></a></div><br /><p class="MsoNormal">The arrival
of Regan and Cornwall helps to sway Gloucester and totally convince him of
Edgar’s guilt. Word of Edgar’s supposed treachery has spread, creating false
confirmation through common acceptance of Edmund’s lies as fact. </p><p class="MsoNormal">Cornwall
and Regan’s certainty of Edgar’s wickedness makes accepting the idea inevitable
to the credulous Gloucester. He is furious and humiliated, but does not take
pleasure in calling for his son’s capture and execution. His anger is driven by
the deep hurt inflicted by his beloved son’s betrayal.<o:p></o:p></p>
<p class="MsoNormal"><span style="text-indent: 0.5in;">A power vacuum has been created,
and in this scene pervaded by deceit and betrayal, there is an ironic
concentration on the need to form alliances. In face of the unstable political situation,
Cornwall is eager to recruit Edmund, having heard of his loyalty, bravery, and
combat skill. In the same vein, Regan and Cornwall arrive as a united front,
paradoxically joined by the tension in their relationship. They vie for
authority and dominance, yet in doing so; they also show their mutual respect
and their similarity in their yet untested viciousness.</span><o:p> </o:p><span style="font-family: Cambria, "serif"; font-size: 12pt;"> </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5R_382LN-erCyFVPjethBjdURXrxSTasqEt7oUzCRHdLKxJ8GkMRxwmwCv4ehngMbLOef8D0GJJ7-cVMgt0sAmbb31Q3M8JutBUMokrGtWgLY7dpsVvhK37Ze8TvaFOs-z7h-bx7gIRxm1T-yhHi2JrYuB81R6lVpbqOV8paekkMs_FdndSS_f7CRg/s1856/CwRgnGlou.tif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="585" data-original-width="1856" height="101" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj5R_382LN-erCyFVPjethBjdURXrxSTasqEt7oUzCRHdLKxJ8GkMRxwmwCv4ehngMbLOef8D0GJJ7-cVMgt0sAmbb31Q3M8JutBUMokrGtWgLY7dpsVvhK37Ze8TvaFOs-z7h-bx7gIRxm1T-yhHi2JrYuB81R6lVpbqOV8paekkMs_FdndSS_f7CRg/s320/CwRgnGlou.tif" width="320" /></a></div><p></p><p class="MsoNormal"><span style="font-family: Cambria, "serif"; font-size: 12pt;">Regan
has fled her home for Gloucester’s, heeding Goneril’s advice to avoid Lear
until her arrival. Regan has yet to fully experience the wrath of Lear’s
softening mind and increasingly erratic behavior, but she trusts Goneril’s
word. The two are like-minded in their eagerness to join forces against their
father. Regan may not be as proactive or independent as her sister, as she does
not act prior to Goneril’s urging, but the two share a compulsion that
temporarily aligns them. They use each other to guarantee that they will be
free of their father’s rule for good and so they may have the autonomy to
pursue their own ambitions. </span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbJIGQuj-i4PCA5MOa1Ik0PcJBkG0tJ9e8PsVKnXwZQGp29SP9UIUr8CrdeS49UsQps3nB4OfYj6Rzti63rtxqcJsED6tcYL8EzVI9IEVeBaOHKrm2mkygL-FRn64OjDzkM3Galrv6zVd4HDFF9v6iEZcdyHwcJLJ-WEdueuc9O8oWFMtowfLOUKFLKQ/s1439/ReganGoneril.tiff" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="754" data-original-width="1439" height="168" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbJIGQuj-i4PCA5MOa1Ik0PcJBkG0tJ9e8PsVKnXwZQGp29SP9UIUr8CrdeS49UsQps3nB4OfYj6Rzti63rtxqcJsED6tcYL8EzVI9IEVeBaOHKrm2mkygL-FRn64OjDzkM3Galrv6zVd4HDFF9v6iEZcdyHwcJLJ-WEdueuc9O8oWFMtowfLOUKFLKQ/s320/ReganGoneril.tiff" width="320" /></a></div><div dir="auto"><br /></div><div dir="auto">Available from libraries across the US and Canada <a href="http://bit.ly/HooplaKingLear">http://bit.ly/HooplaKingLear</a></div><div dir="auto"><br /></div><a href="https://www.kinglearfilm.org">https://www.kinglearfilm.org</a></div><div dir="auto"><br /></div><div dir="auto"><a href="https://www.alexanderbarnett.com">https://www.alexanderbarnett.com</a></div><div dir="auto"><br /></div><div dir="auto"><br /><span style="font-family: Cambria, "serif"; font-size: 12pt;"><br /></span><p></p></div></div></span>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-26680131873757127452022-08-17T15:08:00.001-04:002022-08-17T15:08:41.857-04:00Rosencrantz and Guildenstern<p>I have directed several productions of <a href="https://www.alexanderbarnett.com/ham.html">Hamlet</a>. Here are some miscellaneous musings about the characters Rosencrantz and Guildenstern. </p><p>Guildenstern seems more intelligent and (not warm) but
warmer and more patient than Rosencrantz.
Also he has more humor and is more of a leader. In the early scenes, he is definitely in
charge (though not in a pushy way).
Rosencrantz seems more physical and rougher…and potentially more cruel. </p><p class="MsoNormal"><o:p></o:p></p>
<p class="MsoNormal">As Hamlet makes his complete break with them at the end of
Act lll, Sc. 2 (the play scene) Rosencrantz starts to take over – Guildenstern’s
last time in charge is when he believes the message from Gertrude to Hamlet
that she wants to see him. As reason and
patience (Guildenstern) fail, force and brutality (Rosencrantz) take over. <o:p></o:p></p><p class="MsoNormal">In the following scenes Guildenstern is almost silent and
all we hear is the ominous tone and threats of Rosencrantz. Obviously, they have worked out strategy and concomitant
ramifications following each altercation with Hamlet and Guildenstern
ultimately prevails. </p><p class="MsoNormal">In the end, through their actions, we see them for what they really are: two educated thugs willing to carry out their lord’s orders even if it means murder. We should feel little sympathy for their impending deaths.</p><p class="MsoNormal"><a href="https://www.alexanderbarnett.com">https://www.alexanderbarnett.com</a></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4z-piYcwAyHjpMVyW4xfrS5KPKXJMujw-bOPEmHEMY7qDA8Cfb-FBMHUBP-xtVLC_PLK9AzOwp8IU_1wgUEgNf5IqwdLaq6S0risJhZ-gOGozi1DJXkDyM9f7KaCWJYLw8G2EFHw-_hS9Jmf3aXezNNHLHeIuizLyXqVhkdchjo2-zZxnXZ8BziVhlg/s713/GertrudeHamlet.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="559" data-original-width="713" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4z-piYcwAyHjpMVyW4xfrS5KPKXJMujw-bOPEmHEMY7qDA8Cfb-FBMHUBP-xtVLC_PLK9AzOwp8IU_1wgUEgNf5IqwdLaq6S0risJhZ-gOGozi1DJXkDyM9f7KaCWJYLw8G2EFHw-_hS9Jmf3aXezNNHLHeIuizLyXqVhkdchjo2-zZxnXZ8BziVhlg/w320-h251/GertrudeHamlet.JPG" title="Production Still: Hamlet" width="320" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">The Closet Scene: Gertrude and Hamlet (Alexander Barnett)</td></tr></tbody></table><br /><p class="MsoNormal"><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-17608014071441458142022-07-19T13:25:00.000-04:002022-07-19T13:25:13.425-04:00Macbeth Revisited (A Rebuttal)<p>I caught an interesting and depressing Charlie Rose interview with Liev Schreiber discussing <i>Macbeth</i>. Mr. Schreiber was taken aback by Rose's referring to Macbeth as evil. Schreiber them proceeded to explain the typical age-old argument of Macbeth as a good (And to many, a great) man gone wrong who kills Duncan to please his wife and who, ultimately, greatly regrets having done the deed because he is a man of deep conscience. This is after all a tragedy and therefor requires the fall of an individual of great stature and/or position.<span><br /></span></p><p>Wrong!<span></span></p><a name='more'></a><p></p><p>Let's set the record straight. First off, Macbeth is neither a tragedy of character (Aristotle's definition of tragedy is too limiting) nor a domestic tragedy. Rather, it is a tragedy of country. The tragedy is what happens to the Scottish people, not what happens to Macbeth and Lady Macbeth.</p><p>The people around Macbeth are most responsible for his achieving the throne. If Banquo, Ross, and the other thanes had taken the same position as Macduff and challenged Macbeth immediately, and if Malcolm and Donalbain has not fled the country Macbeth would not have become king.</p><p>Shakespeare is telling us something: tyranny must be thwarted in its infancy.</p><p>Macbeth is in no way a great man but rather an outstanding warrior and killing machine. His intellect is pedestrian at best. Humanity, empathy, compassion (qualities of a great man) are non-existent in him. </p><p>https://www.alexanderbarnett.com/mb.html</p><p>https://www.alexanderbarnett.com/macbethnotes.html</p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs0gfchAve9Dibr5OTxtz-qfo8k7yPGbAFCxJQCXdFXDVoAFCewRjqEm-hSCKebt_kJpxFmCCs4USuMWaUPKPzADTRoXa2-bmzKJWt2WPUXUoYreOXckBF-o3b-6nyeD43QHrgZevsbsIlODFC4yL3mxvU9vZo-zwxL9km1ggUnJobq0dPODwDUibMPg/s2270/1Macbeth%20Poster.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2270" data-original-width="1551" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs0gfchAve9Dibr5OTxtz-qfo8k7yPGbAFCxJQCXdFXDVoAFCewRjqEm-hSCKebt_kJpxFmCCs4USuMWaUPKPzADTRoXa2-bmzKJWt2WPUXUoYreOXckBF-o3b-6nyeD43QHrgZevsbsIlODFC4yL3mxvU9vZo-zwxL9km1ggUnJobq0dPODwDUibMPg/s320/1Macbeth%20Poster.jpg" width="219" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">From my European tour of Macbeth</td></tr></tbody></table><br /><p><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-55998875486573569892022-06-06T13:21:00.013-04:002022-09-02T14:52:12.614-04:00King Lear Film - Act 1 Scenes 3-5<p> <a href="https://www.amazon.com/gp/video/detail/amzn1.dv.gti.ceb600d9-9a43-1af7-6246-95820b795338?ref_=imdbref_tt_wbr_pvt_aiv&tag=imdbtag_tt_wbr_pvt_aiv-20" target="_blank">Stream on Amazon Prime - Episode 3</a></p><p></p><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"></b></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk9w3CY0OKx0hscTcRSjfP8PZja99fZE1JomCR0kiOcBFh2qq1ukRrlTZj_ILwU-SIuEguDcs8Y54hsqD5UMzNSg_Lr4_kJiUzKcKPmczaawsEWZLdmE42jMRogbNLqlLcOSbjf6ri-39qkMWEBpx8IMlmhbWc2xyAMWTTjA5WTGd5htbudGBGxd5nZg/s842/11043344_10204805422069314_7628062108701971969_o.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="715" data-original-width="842" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk9w3CY0OKx0hscTcRSjfP8PZja99fZE1JomCR0kiOcBFh2qq1ukRrlTZj_ILwU-SIuEguDcs8Y54hsqD5UMzNSg_Lr4_kJiUzKcKPmczaawsEWZLdmE42jMRogbNLqlLcOSbjf6ri-39qkMWEBpx8IMlmhbWc2xyAMWTTjA5WTGd5htbudGBGxd5nZg/w400-h340/11043344_10204805422069314_7628062108701971969_o.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Alexander Barnett as Lear; Aaron Strand as Fool; Peter Holdway as Kent</td></tr></tbody></table><p></p><p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 12.0pt;">1.3<o:p></o:p></span></b></p>
<p class="MsoNormal"><o:p> <span> <span> </span></span></o:p><span style="text-indent: 0.5in;">As Goneril informs Oswald of her
intentions to put an end to Lear’s careless and erratic behavior, we see the
true extent of her ambition. Goneril is indeed resentful of Lear for favoring
Cordelia and disgruntled having endured a lifetime of his rule, but that is not
why she acts. Nor does she wish to punish him for the rowdy behavior of his
knights as she claims to in the next scene; the reasons she states are excuses.
The knights are a nuisance, but she sees them merely as obstacles, not
adversaries. Goneril is fed up, but it is from having to hold herself back. Her
eagerness to render Lear impotent and cast him out of the kingdom comes first
and foremost from her inner drive and ardent desire for power and independence.<span></span></span></p><a name='more'></a><p></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">As Goneril’s most trusted servant,
Oswald is ambitious, ruthless, and exceedingly loyal. He understands Goneril
well and is as driven in pursuing her goals as she is; he is exactly the type
of person someone of Goneril’s intensity and severity would respect and trust. Goneril’s
excitement at the news her father has hit one of her gentleman far outweighs
her anger. She was always going to throw Lear out and now he has provided her a
convenient excuse. Like Edmund, her obsession does not obscure her judgment,
only strengthens it, as she takes nothing for granted and prepares for ever
possibility. Goneril finds restraint and patience stagnating. Now that the
perfect opportunity for action has arisen she is energized and restless with
anticipation. Since receiving rule of half the kingdom, she feels more at
liberty to be herself and execute her will and thus enlists Oswald’s help in
provoking Lear and setting her plan in motion.</span><span style="text-indent: 0.5in;"> </span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 12.0pt;">1.4</span></b><span style="text-align: left;"> </span></p>
<p class="MsoNormal" style="text-indent: 0.5in;">Having just banished his most
beloved daughter for speaking out against him, Lear ironically turns to the
Fool who challenges him more freely than anyone else. The Fool is no fool. He
is childlike, playful, and innocent, but uncannily intelligent. He is used to
being the most insightful person in the room, but does not perform for the
benefit of others. He is a creature of nature and is compelled to say whatever
comes in to his mind. He is genuinely affectionate with Lear, but does not stop
short of mocking him for his mistakes.<o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">The Fool has isolated himself since
Cordelia’s departure and his anxiety shapes his interaction with Lear. He is
hurt, confused, and concerned about the consequences for both Lear and the
kingdom now that he is at the mercy of the two daughters the Fool knows to be
ungrateful and unkind. The Fool mocks Lear’s choices and warns of what is to
come, speaking to Lear with a brutal honesty that no one else is permitted.
Despite the Fool’s frustration with Lear, there is still exuberance and
affection between the two. The Fool cannot help but seek Lear’s approval. Even
amidst the gravity of the Fool’s insinuations, the two egg each other on and
any threat of punishment from Lear is merely playful reminder of that bond.</span></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">Ever perceptive, the Fool
immediately recognizes Kent. The two have a silent exchange wherein the Fool
cautions Kent against the danger of his return and Kent requests that the Fool
allow his identity to remain a secret. Though the Fool is concerned for Kent’s
safety, he also perceives how determined Kent is and knows that he will stick
by Lear no matter how dangerous or disastrous the outcome may be. From this
point forward, the two are allies in their affection for and devotion to Lear.</span></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">Kent does not become spiteful after his
banishment, nor do Lear’s threats dissuade him from returning. Though it is
possible that Lear will have him killed on site, Kent endures in his loyalty,
respect, and love. Lear’s rejection of his two most beloved relations is only further
proof to Kent that Lear needs his guidance and support now more than ever. He
is risking his life in returning to serve Lear, yet his desire to protect his
master overcomes any need to protect himself.</span></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">Attempting to hide his identity
from his oldest friend seems foolhardy, but it is that same familiarity that
affords him the knowledge necessary to manipulate Lear.</span><span style="text-indent: 0.5in;"> </span><span style="text-indent: 0.5in;">Kent and Lear were brothers in arms, and Kent
is what Lear would want in an ally. He is brave, loyal, and outspoken as both
Kent and Caius. He is more brusque and uninhibited as Caius, presenting himself
as different enough so as not to arouse suspicion, still there are enough
elements of Kent present in Caius that make Lear quick to accept him. When Lear
extends his hand to Caius it is a test of both his strength and his political
savvy. One cannot shake hands with the King, and so the moment may confuse an
outsider. Kent, however, is able to recognize this test and proves his strength
but also refrains from beating the king, thus proving his nobility and loyalty
in the same moment. There is indeed a part of Lear that hopes Caius is Kent. He
does not truly recognize him, but he does recognize something in him that he
respects, that he likes, that he misses, that makes him trust Caius so quickly.
Despite banishment, deception, and deterioration the bond between the two is
ever-present.</span></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">The bond between Kent and Lear is
famous amongst the knights and essential to the legitimacy of Kent’s disguise.
Stories from the days of their youth have been repeated and embellished over
the years and the bond between the two of them is as well renowned as their
strength and nobility. Caius is an outsider and could easily arouse suspicion
due to his desire to gain access to the King, but the knights immediately
recognize Caius as a warrior worthy of Lear’s retinue. They do not recognize
Caius as Kent, but they perceive a strength and nobility in him that makes them
credulous. He is clearly a warrior and they quickly accept Lear’s inclusion of
him.</span></p><p class="MsoNormal" style="text-indent: 0.5in;"><o:p></o:p></p>
<p class="MsoNormal" style="text-indent: 0.5in;"><o:p> </o:p><span style="text-indent: 0.5in;">This scene is singular in that it
is the only point in the entire story that Lear is genuinely happy; however,
his enjoyment of the Fool, his knights, and his new follower is short lived.
Oswald’s offense is aggravating to Lear, but Goneril’s flagrant disrespect for
his authority is truly staggering. With Cordelia out of the way, Goneril
presses forward with enthusiasm and commands the room, intimidating Lear’s
knights and infuriating her father with her impudence. Kent remains quiet out
of vulnerability and even the Fool is shocked into silence. While Goneril has
been privy to Lear’s increasingly irrational behavior, she only does not know
just how far in decline he really is and only discovers his weakness as the
story unfolds. Yet everything that happens in this scene, Goneril has
anticipated; she has dismissed Lear’s knights prior to confronting him, she
expects Lear’s return upon discovering this fact, and she has had Oswald
prepare the letter to Regan in advance to secure her as an ally. Goneril’s cunning
and vigilance are so concentrated that she is prepared for even the most
extreme reaction, and remains steps ahead.</span></p>
<p align="center" class="MsoNormal" style="text-align: center;"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt; mso-bidi-font-size: 12.0pt;">1.5</span></b><b style="text-align: left;"><o:p> </o:p></b></p>
<p class="MsoNormal" style="text-indent: 0.5in;">Angered and humiliated by Goneril’s
actions, Lear’s thoughts turn swiftly to the last daughter that confronted him
so boldly. Yet in contrast to Goneril’s audacity and malice, he sees Cordelia’s
behavior in a new light and thinks of her only with regret. The Fool jests both
to placate Lear and to warn him further against the foolishness of his actions.
Lear, however, is too distracted to head those warnings fully. Lear’s emotional
distress and guilt sparks a physical reaction, as if in premonition of what is
to come, causing him to express his deep-seated fear of losing his mind for the
first of many times.<o:p></o:p></p>www.kinglearfilm.org<p></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-42533513518194625592022-04-21T13:33:00.009-04:002022-09-06T18:55:54.201-04:00New review for "The Eyes of Van Gogh"<p><span data-offset-key="4tmv8-0-0">The Eyes of Van Gogh - I appreciate the kudos for the film. </span><span class="py34i1dx">https://gravelmag.com/vincent-van-gogh-movies/</span></p><div data-block="true" data-editor="c2ui3" data-offset-key="62t8f-0-0"><div class="_1mf _1mj" data-offset-key="62t8f-0-0"><i>The 2005 drama tells the story of Van Gogh’s time in an asylum. If you have read his biography, you know he voluntarily entered himself into the Saint Remy asylum for 12 months. That was when his epilepsy started to interfere with his life. Director Alexander Barnett does a great job with this movie. It shows exactly how Van Gogh experienced the world during his time in Saint Remy. The movie is not just a biopic movie, but also tells the story of what it is like to enter a state of madness. </i> </div><div class="_1mf _1mj" data-offset-key="62t8f-0-0"><br /></div><div class="_1mf _1mj" data-offset-key="62t8f-0-0">www.theeyesofvangogh.com Streaming on Amazon Prime http://bit.ly/EyesofVanGogh </div><div class="_1mf _1mj" data-offset-key="62t8f-0-0"><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcGNgKnj9kPL-gGhmgqP-QqXahMWqplgObc5v3bnQMHJ20_hHhUkthLlaUSWsFVFABfTeFCanaP69grpxrmfjUOP3QcFrBEkupGo6_5cKAZU_Qiv0R0BxB8G5M2pt9fSf1Ijfv2oQ1hhWeI8UXnTjjwuX6lhddJHhj7_3bmwnrmiqdXv06wfokquW4A/s712/vlcsnap-2015-05-25-13h57m36s638.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="712" height="159" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJcGNgKnj9kPL-gGhmgqP-QqXahMWqplgObc5v3bnQMHJ20_hHhUkthLlaUSWsFVFABfTeFCanaP69grpxrmfjUOP3QcFrBEkupGo6_5cKAZU_Qiv0R0BxB8G5M2pt9fSf1Ijfv2oQ1hhWeI8UXnTjjwuX6lhddJHhj7_3bmwnrmiqdXv06wfokquW4A/s320/vlcsnap-2015-05-25-13h57m36s638.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div></div>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-47216423946290898442022-03-30T14:12:00.004-04:002022-09-06T18:56:40.387-04:00New ReviewFrom https://culturacolectiva.com/cine/ --- " <i>In ' The Eyes of Van Gogh ', Alexander Barnett acted, wrote and directed the story of Van Gogh, which focuses on the painter's mental health problems between hallucinations and recurring panic attacks. This film is one of the darkest on the list because, far from being a romanticization of the artist's depressive crises, it shows them in all his terror</i>." <div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9daZeTkeadkut7SHTkuo9ZtA-flntbNSz3Z96vwTiRXEV8iCUm9J8_ghfhxnoz1T6L-Y8T8bh3r-hNZl_jifPVLRM_z73cK5AXgRRQ6FVZlYc2sCzXdxrBS5dYHUcS5swzrIuYEmBlCPoVmFcu44oFSxdDwZuXnyCLrDkeF1jGoITx-7Y3tx0d4lurg/s314/EOVGposter.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="314" data-original-width="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9daZeTkeadkut7SHTkuo9ZtA-flntbNSz3Z96vwTiRXEV8iCUm9J8_ghfhxnoz1T6L-Y8T8bh3r-hNZl_jifPVLRM_z73cK5AXgRRQ6FVZlYc2sCzXdxrBS5dYHUcS5swzrIuYEmBlCPoVmFcu44oFSxdDwZuXnyCLrDkeF1jGoITx-7Y3tx0d4lurg/s320/EOVGposter.jpg"/></a></div>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-3725969928423699112022-02-10T13:24:00.002-05:002022-02-14T14:40:22.824-05:00Another Lie from Amsterdog Rescue - Please Share<p>Amsterdog is listing Frost as having been "adopted." She was not adopted. She had to be euthanized while with me on a trial basis since she was so dangerous. </p><p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEh5AucoSwg-70s3HtVtnM3N7xFr79GvUDPjiW8aXQRzgbjDB7uH3fFz8H_3wZLvBlxoIa4YZPw8WuhD1UujCV83H4ST5HITxcqpbrmoQ7tZAVxyEgNfcel5a2t4qKJNkO8GsfpgmnSZ3lh4Ad1x9q9FTd6XQDRPQBpqVZkX0fjrwOZVPKo4jTvypJG0Bw=s1356" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="700" data-original-width="1356" height="206" src="https://blogger.googleusercontent.com/img/a/AVvXsEh5AucoSwg-70s3HtVtnM3N7xFr79GvUDPjiW8aXQRzgbjDB7uH3fFz8H_3wZLvBlxoIa4YZPw8WuhD1UujCV83H4ST5HITxcqpbrmoQ7tZAVxyEgNfcel5a2t4qKJNkO8GsfpgmnSZ3lh4Ad1x9q9FTd6XQDRPQBpqVZkX0fjrwOZVPKo4jTvypJG0Bw=w400-h206" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Do not use this shelter</td></tr></tbody></table><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-59149717057151249802022-02-08T12:19:00.004-05:002022-02-14T14:41:02.080-05:00Amsterdog.org - Please Share<p><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;">Do
not use Amsterdog. </span><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;">Deborah</span><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;">
Dilorio, the owner, did not give me the complete history on the dog I had on a trial basis - in particular she did not tell me the dog had a bite history.</span></p><p><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;">The person who was fostering the dog at the time also did not tell me, and lied outright
saying the dog never started an attack, but would only defend herself. Utterly false.</span><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;"> </span><span style="font-family: Calibri, "sans-serif"; font-size: 11pt;">I
got a very dangerous dog that caused huge amounts of pain and suffering and many thousands of dollars in medical bills. Because they did not tell the
truth.</span></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-63648566180860563192021-12-09T14:25:00.002-05:002021-12-09T14:25:24.993-05:00Oscars 2022 - It's Official<p> Very pleased to note that a recent film I did, <i>TIKKUN OLAM,</i> is an official entry for the 2022 Oscars.</p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiVwZatL7Mpn2uKrdY7iWNG5R1z2b3QiSMO3h7M3ZZoN3-pShAhs9Tt-lfcPv0D9S-zaJJuSYMnheLhD_vwZbochrlXPquJ3kYqGRU8wrBGqCzsStdH1VxAM-njNYh1mAGIp_HDpTHVGUD/s2048/TOposter.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1152" data-original-width="2048" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiVwZatL7Mpn2uKrdY7iWNG5R1z2b3QiSMO3h7M3ZZoN3-pShAhs9Tt-lfcPv0D9S-zaJJuSYMnheLhD_vwZbochrlXPquJ3kYqGRU8wrBGqCzsStdH1VxAM-njNYh1mAGIp_HDpTHVGUD/w353-h199/TOposter.jpeg" width="353" /></a></div><br /><p></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-37763036070562027152021-12-03T13:14:00.003-05:002021-12-03T13:14:40.368-05:00Oscar Buzz<p>I am pleased to report that a recent film I did, <i>Tikkun Olam</i>, has been accepted by the Academy of Motion Picture Arts and Sciences for Oscar consideration and is streaming now for nominators.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_wCmwIkhisFpegKYcfdYJgAa5ruoP5ndZOgKxdQ-j8ynzTwtnYO750Dz_bze2aMsmWUMi4ZaB-S8mqVjg8DqOcer3w1SgBhqNWOM_Fh3_zl4OgmLPHSbqpuMxihK1yq7GxC8gDma-UtNS/s275/to3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="183" data-original-width="275" height="183" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_wCmwIkhisFpegKYcfdYJgAa5ruoP5ndZOgKxdQ-j8ynzTwtnYO750Dz_bze2aMsmWUMi4ZaB-S8mqVjg8DqOcer3w1SgBhqNWOM_Fh3_zl4OgmLPHSbqpuMxihK1yq7GxC8gDma-UtNS/s0/to3.jpg" width="275" /></a></div><br /><p>You may be interested as well watching Ziauddin Yousafzai, Malala Yousafzai’s father, react to “Tikkun Olam” after screening at the 2021 Birmingham Film Festival. “A remarkable film of love and
compassion for our coming generations". </p><div dir="ltr"><div dir="ltr" id="m_-3558975079439316172AppleMailSignature"><a data-saferedirecturl="https://www.google.com/url?q=https://youtu.be/kMg8se8qd50&source=gmail&ust=1638641178639000&usg=AOvVaw3cz7bTTICfxK0Bq2s-kY-0" href="https://youtu.be/kMg8se8qd50" target="_blank">https://youtu.be/kMg8se8qd50</a></div><div dir="ltr" id="m_-3558975079439316172AppleMailSignature"><br /></div><div dir="ltr" id="m_-3558975079439316172AppleMailSignature"><b>Trailer</b>: <a href="https://vimeo.com/544468379">https://vimeo.com/544468379</a></div><div dir="ltr" id="m_-3558975079439316172AppleMailSignature"><br /></div></div><p><br /></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0tag:blogger.com,1999:blog-1896398480800707669.post-32683510976586277842021-11-02T12:49:00.001-04:002021-11-02T12:49:44.386-04:00 Playlist Alexander Barnett<p style="text-align: center;"> <b><span style="font-family: "Times New Roman", "serif";"><span style="font-size: large;"><a href="https://www.youtube.com/playlist?list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE" target="_blank">Film Clips</a></span></span></b></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 0.0001pt; text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman";">Clips from films directed by and/or
starring and/or written by Alexander Barnett. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=tWF8neMFQfw&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=1&t=15s" target="_blank" title="A scene from the film: THE EYES OF VAN GOGH with Roy Thinnes and Alexander Barnett"><span style="color: blue;">A scene from the film: THE EYES OF VAN GOGH with Roy Thinnes
and Alexander Barnett </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=6h4DhSg7ccs&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=2&t=419s" title="KING LEAR Film Episode 13 Act 4, Scene 7"><span style="color: blue;">KING
LEAR Film Episode 13 Act 4, Scene 7 </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=GGe9CZ-Snlo&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=3" title="Playing Cordelia - KING LEAR"><span style="color: blue;">Playing Cordelia
- KING LEAR </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=QrhppdW2Gd4&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=4" title="WINDS WAY - Film Clip"><span style="color: blue;">WINDS WAY - Film Clip </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=FlKFeUWWFGs&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=5" title="COLOR OF LOVE: Film Clip"><span style="color: blue;">COLOR OF LOVE: Film
Clip </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=w1USZU5yKj8&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=6&t=1s" title="NO DEPOSIT NO RETURN Clip 1"><span style="color: blue;">NO DEPOSIT NO
RETURN Clip 1 </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=kzkPxKDMh60&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=8" title="NO DEPOSIT NO RETURN Clip 2"><span style="color: blue;">NO DEPOSIT NO
RETURN Clip 2 </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=4nH-1kxe270&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=10" title="NO DEPOSIT NO RETURN Clip 3"><span style="color: blue;">NO DEPOSIT NO
RETURN Clip 3 </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=syOjNiXryu4&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=9" title="NO DEPOSIT NO RETURN Clip 4"><span style="color: blue;">NO DEPOSIT NO
RETURN Clip 4 </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=W7wXTWgdMEA&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=13&t=396s" title="THE FINAL RESOLUTION: Film Clip"><span style="color: blue;">THE FINAL
RESOLUTION: Film Clip </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=BHjEQndo5f4&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=14&t=21s" title="THE ACTOR AND THE AGENT"><span style="color: blue;">THE ACTOR AND THE
AGENT </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=Fe1wTst1_RM&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=12" title="MR. VINCENT Film Clip"><span style="color: blue;">MR. VINCENT Film Clip </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=BePKxobI3Rw&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=7" title="SQUID INK"><span style="color: blue;">SQUID INK </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><a href="https://www.youtube.com/watch?v=e-4Jw7cJdY4&list=PLXQRdllqdQPcikvP5kJU-9o1iXboXuqLE&index=11" title="A CAREER OFFENSE"><span style="color: blue;">A CAREER OFFENSE </span></a><o:p></o:p></span></b></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 3;"><b><span style="font-family: "Times New Roman","serif"; font-size: 13.5pt; mso-fareast-font-family: "Times New Roman";"><o:p> </o:p></span></b></p>Alexander Barnetthttp://www.blogger.com/profile/16589419982218487289noreply@blogger.com0