Monday, January 16, 2012

In Shakespeare in love, characters with real emotions use the imaginary world of theatre for their own purpose.

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The characters in Shakespeare in Love exploit the imaginary world of theatre to serve their own purposes of gaining independence, finding love, making money and escaping the confines of the real world, in a way which is still prevalent in even today’s entertainment industry.





Will Shakespeare is presented as an empty, shallow character whose talent as a writer, poet and playwright allows him to use the world of theatre, not only as a source of income, but also as a tool of sexual fulfilment. Initially this skill is made useful for luring several casual partners into his bed, including the promiscuous Rosaline. “Black Sue, Fat Phoebe, Rosaline, Burbage’s seamstress; Aprhodite, who does it behind the Dog and..” However, Will is hurt to find that Rosaline is expoiting those in the world of theatre, also servicing both Richard Burbage and Tilney for her own material needs and desires.


The turning point for Will is when he comes across his true love Viola.


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His ability to craft romantic sonnets and poems to seduce Viola, launches the film into a passionate musical crescendo, switching between the real world and the action on the stage in syncopation with the development of Will’s play Romeo and Juliet. The imaginary world that Will exploits at first to fulfil his sexual desires, becomes the key to awakening him to a deeper and more honest love in the real world. “My love as deep…the more I give to thee the more I have…”


Having fallen in love with Viola and then to sadly lose her to Wessex, Will, although upset only now understands that it was only “a stolen season”. The imaginary world of the theatre teaches Will that he no longer needs a muse as a source of inspiration but that his the ability to draw on ‘real world’ experiences can allow him to create an imaginary world of theatre. Will emerges from his experiences in the imaginary world of theatre, a more reflective and enriched individual.


Viola sees an opportunity in the imaginary world of theatre to escape the confines of her real world. Although fortunate enough to be born into an affluent family, Viola is still subject to the same Elizabethan constraints put on women of that era. Viola is therefore empowered with confidence when she successfully disguises herself as a man, enabling her dream of becoming a ‘player’, a reality. “ I would stay asleep my whole life if I could dream myself into a company of players.” It is this very disguise in the world of the theatre that gives Viola the freedom and confidence to break free from the constraints of her class and gender which imprisons her from living out her dream.


Through finding freedom in the imaginary world of theatre Viola is able to take a firm step into the future in the real world. Whilst Viola has a duty to marry a man she does not love, the epiphany she experiences as an actor in the imaginary world of theatre gives her the ability to see past the pain, perhaps due to her new found confidence and courage. “…whose soul is greater than the ocean…and her spirit stronger than the sea’s embrace…not for her a watery end, but a new life beginning on a stranger shore…” This allows her to hold her head up bravely and accept her destiny with Wessex as she ventures into a new ‘real world’


Fennyman, a socially inept gangster, uses the imaginary world of theatre to help him fulfil a hidden desire to be in the limelight. Appearing early in the film as a domineering and ruthless debt collector, Fennyman’s role in the play energises him, transforming him into a sensitive, over enthusiastic ‘player’ who develops a genuine appreciation for theatre. “Mr Fennyman, because you love the theatre you must have a part in my play.”


Not all characters, however, use the imaginary world of theatre as honestly as Will and Viola. Phillip Henslowe, owner of the Rose theatre, uses the world of theatre as a financial means to an end. He is constantly pestering Will to write a play that will serve the purposes of being profitable and ensure that he can pay his debts, even at the expense of good theatre. “…five hundred groundlings at tuppence each, in addition four hundred backsides at three pence- a penny extra for a cushion, call it two hundred cushions..” Ned Alleyn, the loud prima-donna, uses the world of theatre to serve the needs of his inflated ego. From the beginning, he believes that he will have the lead role and is jealous of Thomas Kent who receives more lines and more enthusiasm from Will. “Silence, you dog! I am Hieronimo! I am Tamburlaine! I am Faustus! I am Barrabas, the Jew of Malta- oh yes, Master Will, and I am Henry VI. What is the play, and what is my part?”





Shakespeare in Love comments on the various self-serving habits of the characters in the film. To a degree, the film attempts to paint a picture of an Elizabethan ‘Hollywood’ with references to greed and diva-like behaviour. However, the film does make the distinction that whilst some characters used the imaginary world of theatre for their own selfish desires, it did enable others to evolve and grow into deeper and more confident beings.





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