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With, Hey, Ho, the Wind and the Rain

A Story of a Fool

Emily Watkins

on 28 April 2010

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Transcript of With, Hey, Ho, the Wind and the Rain

With Hey, Ho, the Wind and the Rain Concept A Story of a Fool I have chosen to take a closer look at the
characters of the Fool in "King Lear" and Feste
in "Twelfth Night."
My Theory is that these two are made from
the same stuff if they aren't even the same
person I my idea is present what would happen if these two
creatures, who I interpret as some kind of immortal/ supernatural beings, met for the first time, never having known the other existed.
These two are not the same person. They are
flip-sides of the same matter, same state of being Themes/Concepts Explored Neutral Masks In the Masks: the Fool In the Masks: Feste In the Masks: Meeting Face to Face: the Fool Face to Face: Feste Face to Face: Meeting Gender Both "Twelfth Night" and King Lear have
extreme gender ambiguity/switching. I want
to explore this further. Neither Feste nor the
Fool are openly gendered. Therefore both
will be represented as fairly abiguous. One
will be slightly more male and the other slightly
more female. Polarity Feste and the Fool both bounce back between
speaking of death and merriment. I want to
demonstrate the extremeness of both characters Time Feste and the Fool both have a strange sense
of time. Both seem to be much older than they
appear and have prophet-like tendencies. Music Truth "The Neutral Mask doesn’t have any dramatic expression, and allows
the actor to explore a state of pure presence, in the here and now of space. With this mask the actor explores the state of neutrality that exists before the action. The Neutral Mask has no memory and no projects, it lives in the present, and allows the actor to explore the most efficient movement state: the economy of movement.
Once the actor has discovered this space, s/he becomes like 'a white
page, ready to be written on in the future dramas-' Jacques Lecoq." Giovanni Fusetti Neutral Masks are used to train the actor to work before emotion and before speaking. They are often used in the first year of movement training, during which the students are completely silent. Silence Licensed fools were basically allowed to say
whatever they wanted and do as they pleased.
This privilege gave them freedom to tell the
truth to whoever they pleased. The Fool and
Feste are interesting in this sense because of,
again, their prophet-like nature. Neither of these characters have much
reason to hold their tongue. I'd like to
experiment what a situation in which
neither has anything to say would be like. I know I want to include music in this piece,
but I have yet to do enough research to
pinpoint my argument
Full transcript