Othello: Master Class 2

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.

Audio Podcast Series - The 2nd class continues the in-depth discussion of the opening scenes. https://www.alexanderbarnett.com/notesoth.html

Rodrigo, Othello, Desdemona, Brabantio

Othello: Master Class1

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.

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.

Rodrigo and Iago

A Review by Richard Masloski

I am so deeply honored by this review of my film The Eyes of Van Gogh from the late sculptor and composer Richard Masloski. https://www.masloski.com/

In so many ways I find it to be extraordinary.  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.

In sharing his review with you I believe I am also sharing his magnificent spirit. 

Who is Alexander Barnett?

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.

King Lear Film - Act 2 Scene 1

King Lear Film - Act 2 Scene 1

Stream on Amazon Prime - Episode 4 

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.  

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.

Rosencrantz and Guildenstern

I have directed several productions of Hamlet.  Here are some miscellaneous musings about the characters Rosencrantz and Guildenstern.  

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. 

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. 

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.  

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.

https://www.alexanderbarnett.com

The Closet Scene: Gertrude and Hamlet (Alexander Barnett)

Macbeth Revisited (A Rebuttal)

I caught an interesting and depressing Charlie Rose interview with Liev Schreiber discussing Macbeth.  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.

Wrong!

King Lear Film - Act 1 Scenes 3-5

 Stream on Amazon Prime - Episode 3

Alexander Barnett as Lear; Aaron Strand as Fool; Peter Holdway as Kent

1.3

         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.