FULL[PLAY]Hecyra: The Mother-In-Law by Terence - thw

Plays and other dramatic works
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Kitty
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Post by Kitty » February 11th, 2019, 9:21 am

alanmapstone wrote:
February 11th, 2019, 9:18 am
I think plays like this were usually played straight through without any breaks. The division into acts was only a formality and did not involve scene changes or interruptions. So acts could be very short.
interesting, yes that makes sense. For a one-acter it is quite long on the other hand.

Not even a break to buy an ice-cream ? :shock: the poor audience.

Sonia

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Post by alanmapstone » February 11th, 2019, 9:23 am

Kitty wrote:
February 11th, 2019, 9:21 am
alanmapstone wrote:
February 11th, 2019, 9:18 am
I think plays like this were usually played straight through without any breaks. The division into acts was only a formality and did not involve scene changes or interruptions. So acts could be very short.
Not even a break to buy an ice-cream ? :shock: the poor audience.
Roman audiences were stoic!
alan
the sixth age shifts into the slippered pantaloon with spectacles on nose

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Post by ToddHW » February 11th, 2019, 10:17 am

If you had intermissions, people might vanish to go see the rope dancer or the gladiators!

Thanks, Todd

Kitty
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Post by Kitty » February 11th, 2019, 11:24 am

alanmapstone wrote:Roman audiences were stoic!
I thought that was the Greeks :wink:
ToddHW wrote:If you had intermissions, people might vanish to go see the rope dancer or the gladiators!
:lol: someone listened to the prologue at least. Yes you're probably right.

still....no ice-cream :?

Sonia

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Post by benderca » Yesterday, 12:24 pm

Oh my, how did this happen again? I blinked and you all conjured your parts into a play... :shock:

Lucky for me, Tomas was so kind as to read all my lines for me in Act 3 during his soliloquy.... :lol:

I wonder why that is... Did the Romans use men to play women and the actor couldn't change into his dress quickly enough to come onto the stage and say Myrrhina's lines himself?

If I were directing this play today, I would have Pamphilus downstage right start his soliloquy:

PAM. I can not discover any fitting commencement of my troubles, at which to begin to narrate the things that have so unexpectedly befallen me...

Then when it came to Myrrhina's lines, I would have a spotlight shine on her upstage left, talking to someone whose back we only see, but who has the same outfit and hair as Pamphilus, when she says:

"O my {dear} Pamphilus, you see the reason why she left
your house; for violence was offered to her when formerly a maid, by
some villain to us unknown. Now, she took refuge here then, that from
you and others she might conceal her labor."

THEN PAMPHILUS: "But when I call to mind her entreaties, I can not, wretched as I am, refrain from tears."

THEN MYRRHINA AGAIN:
"Whatever chance or fortune it is," said she, "which has brought you
here to-day, by it we do both conjure you, if with equity and justice
we may, that her misfortune may be concealed by you, and kept a secret
from all. If ever you were sensible, my {dear} Pamphilus, that she was
tenderly disposed toward you, she now asks you to grant her this favor
in return, without making any difficulty of it. But as to taking her
back, act quite according to your own convenience. You alone are aware
of her lying-in, and that the child is none of yours. For it is said
that it was two months after the marriage before she had commerce with
you. And then, this is but the seventh month since she came to
you.[41] That you are sensible of this, the circumstances themselves
prove. Now, if it is possible, Pamphilus, I especially wish, and will
use my endeavors, that her labor may remain unknown to her father, and
to all, in fact. But if that can not be managed, and they do find it
out, I will say that she miscarried; I am sure no one will suspect
otherwise than, what is so likely, the child was by you. It shall be
instantly exposed; in that case there is no inconvenience whatever to
yourself, and you will be concealing an outrage so undeservingly
committed upon her,[42] poor thing!"

This would be true to the text, but would give Myrrhina's character some more stage-time (not to mention depth -- no offense to the actor playing Pamphilus, but "showing" is always better than "telling").

But anyway, here is Myrrhina's one offstage line for Act 3 (and the voice credit):
https://librivox.org/uploads/toddhw/hecyra_myrrhina_3_128kb.mp3

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Post by Kitty » Yesterday, 12:31 pm

benderca wrote:
Yesterday, 12:24 pm
This would be true to the text, but would give Myrrhina's character some more stage-time (not to mention depth -- no offense to the actor playing Pamphilus, but "showing" is always better than "telling").

But anyway, here is Myrrhina's one offstage line for Act 3 (and the voice credit):
https://librivox.org/uploads/toddhw/hecyra_myrrhina_3_128kb.mp3
yes I totally understand what you mean TJ. But the "action-narrating" by other people is quite common, also in Shakespeare still. I guess the way you want to portray it, with the spot-light on the absent character only came up with the motion pictures and their new tricks of the trade. :hmm:

Anyway, Myrrhina's one-liner is perfectly played and I'm happy that she will have a few more lines to deliver in the next act.

PL ok and that means Act 3 is ready to be assembled :9:

thank you

Sonia

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Post by benderca » Yesterday, 12:56 pm

Kitty wrote:
Yesterday, 12:31 pm
Anyway, Myrrhina's one-liner is perfectly played and I'm happy that she will have a few more lines to deliver in the next act.
Thank you! Yes, indeed! She gets to be verbally abused by her husband and cry all over the place... :D

But I've got a serious problem. Since Tomas is such an extremely talented voice actor, I'm not sure that I can raise my Myrrhina to the match the quality of emotion and expression that Tomas has infused into her in his soliloquy. :help:

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Post by Kitty » Yesterday, 1:05 pm

benderca wrote:
Yesterday, 12:56 pm
But I've got a serious problem. Since Tomas is such an extremely talented voice actor, I'm not sure that I can raise my Myrrhina to the match the quality of emotion and expression that Tomas has infused into her in his soliloquy. :help:
ah yes, that is the downside of listening to other parts before recording yours ;) why do you think I try to get my own roles in so fast each time :lol: well as DPL I have to listen to them all and I try to avoid that before I do my parts.

Now take a deep breath and relax. I am fully confident that you can deliver an excellent mother-in-law performance. The way your son-in-law is portraying you may only be his biased view of her ;) and does not have to reflect the real woman 100%. Do your thing, I'm sure it'll be great.

(end of pep-talk)

Sonia

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Post by ToddHW » Yesterday, 2:48 pm

And with Act 3 Myrrhine cut in (sorry it was so short; your version did seem better!), I just have a little more to do to that act before it is ready.

But, the voice credit means that Act 1 is ready for final Spot PL.

Thanks, Todd

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Post by ToddHW » Yesterday, 5:36 pm

And Act 3 is now ready for final PL.

Thanks, Todd

Kitty
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Post by Kitty » Today, 7:28 am

ToddHW wrote:
Yesterday, 5:36 pm
And Act 3 is now ready for final PL.
thank you, Todd. Excellent editing and now that I hear the dialogues together I get more of the gist of the whole intrigue going on there. Everybody is playing to perfection :clap:

No need for any cuts, Act 3 is PL ok. So is Act 1, voice credit and one cut excellently corrected. :thumbs:

Sonia

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