Staging Analysis of Shrew 4.5. and 5.1: text, BBC and Zeffirelli

The place of 4.5 in the script

Turning point--one of several, last of Kate's acquiescence and perhpas her adoption of manipulative posture, and perhaps relenting of Petruchio

4.5 BBC

Dark; K. between two taller men who control her--the field is won. Static single shot from below.

Both she and P. are exasperated; he a domineering schoolmaster; serious business; she treating him like a child.

Petruchio coaches her in secret; she crosses; has a big permitted laugh.

When V. reveals himself, she is pushed out of the way. Petruchio gets animated--withholds any positive emotion from her.

4.5 Zeffirelli

No darkness; lyrical drinking of water; nature as healing and refreshing; romantic loving looks and subtext between them--her secret smile; no wrangling. Film focus on eyes. Many more cuts and angles; sense of energy and movement; beauty

As she concedes, she hands him cup from atop the horse. Hortensio's in the back. He takes her off horse. Vincentio interested in her

The place of 5.1 in the script

Moment of many supposes being revealed: comic reversals and recognitions--fathers and sons; servants and masters; women and men; youth and age

Denouement; the real Vincentio confronting and exposing the false one; reality supplanting appearance or disruption

Spatial return to the scene of plot complications with resolutions; many entrances and exits; V.i.--ensemble act--as in opera or dance, with many things and levels going at once; characters watching, performing and reacting to one another.

Text notes on blocking: arrangement of people on stage--buildups and takedowns; intense moments; structure of emotions

5.1 BBC

Bright lights; Gremio in front of frame as audience; contrapuntal movement of watchers and actors. Everybody in a good mood to begin with, leading to chaos and then resolution.

Petruchio is now straight man and watcher.

Cuts--to window; to rear of stage adding depth and therefore complexity of movement.

Towsnpeaople enter and make larger audience; Kate and Petr. stand aside.;

another entrance; Tranio from rear, leadingt to climactic line: while I stay home and play the husband my son and servant spend money at the university.

Crwoding of characters on screen; Gremio and Officer come in from front

Gremio and Baptista foregronded; camera moves; Vincentio exits; in come Lucentio and Bianca with an elegant camera pan

Ensemble: two fathers and two children--the revelation; "another big line: love wrought these miracles"

The whole framed by the Kiss of Petruchio and Kate.

Zeffirelli V.i

Large mise en scene; Cathedral and waving priest in background; Bianca and Lucentio kissing in foreground--nightime lighting.

Alternate up and down shots for the two Vincentios' confrontation--mirroring. Vincentio's authroity and anger; his use of the stick--punishing father, spare not the rod. Assembly of crowd from doorways.

Long shot of Biondello's entrance and city street. Quick cuts to suggest hectic pace. Biodnello foreground as Vincentio comes toward him threatening.

Farce chaos, Tranio's entrance, quick thereafter Baptista's entrance. Tranio tries to hide behind hat; hat becomes issue.

Differenct characters appeal to crowd as audience to make judgement; fighting; decision hanging in balance; suspense; suspension--Vincentio's recogniton line cut too heavily--I play the good husband at home and my son and servant spend all at the university. Back and forth, two Vincentios, Tranio vs. Vincentio; Gremio balancing; crowd involved to build up sense of chaos [as in Chaplin comedy].

Lucentio and Bianca enter--the lovers; emphasis on eye contact: the father relieved to see son--the moment of recognition; all dissolved in embrances--two children two fathers--scene does not close with the Kiss of Petruchio and Katharine.