KING LEAR Film - Act 2 Scene 2, Scene 3

KING LEAR Film - Act 2 Scene 2 Scene 3

Stream on Amazon Prime - Episode 5

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.

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.

OTHELLO: Master Class # 3

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.

 

Dover King Lear Act 4 Scene 6

 

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.