The Greatest Dramatic Blocking Idea in the History of the Theater
Shakespeare vs. Rudy Giulani
The New York Times podcast The Daily recently aired an episode about Rudy Giulani's involvement with the Trump administration.
At the start of the episode, there was a clip from a speech Giulani made just after 9/11:
RUDY GIULIANI (R), THEN-MAYOR OF NEW YORK CITY: We do not want these cowardly terrorists to have us in any way alter our American way of life. This may go on for some time. We have to end terrorism. I believe the United States government is committed to that. And it's going to require us here in America to go about our way of life and not have them imperil it.
Giulani calls the terrorists "cowardly." He's not the only person to do so. I don't think this is an apt description of a group of of people that hijacked four commercial jet airliners with utility knives and then steered the planes-- kamikaze style-- toward symbolic American targets. While I understand the need to denigrate and insult the terrorists, the last thing they were was "cowardly." It shows a lack of understanding of the enemy.
These people were sanguinary and vengeful and zealous and fanatical and lacking perspective and empathy for other cultures. But mainly, they were true believers, blinded by a certain political position. They were haters, haters of American policy, American military deployment in their Holy Land, haters of American capitalist morality, and American unilateral success on the world stage.
But to call them cowards is to sell them short. It doesn't reflect just how fervently they believed in what they believed. They believed enough to kill and die. In doesn't reflect how dangerous it is to believe in something so strongly that you can't look at other points of view.
Whether it's Islamic terrorists, or our own homegrown right-wing variety of fanatic, you need to accurately assess the motivations of these people. And these people aren't cowards. They are willing to commit violent acts, and often willing to die for their beliefs.
Shakespeare understood this, and Giulani would be well served by re-reading the Bard's most famous soliloquy, the one in Hamlet that begins "to be or not to be."
The context of the speech is that Hamlet is royally fucked up, and he's been royally screwed over. He's been through enough betrayal and heartache that he contemplates suicide. He acknowledges-- correctly-- that his life is a shitshow and that he should probably "take arms against a sea of troubles" and end it. It's "a consummation devoutly to be wish'd."
He doesn't kill himself. In fact, the play goes on another two hours. Hamlet might be a coward-- that's another post-- but more significantly, he recognizes why most people don't commit suicide-- and why he's not going to commit suicide. People don't behave that rashly because of "the dread of something after death."
The unknown.
He doesn't want to rush headlong into the undiscovered country" that "puzzles the will." He's not sure what will happen in the afterlife, "what dreams may come" once his life is over. And he's not going to risk it.
Obviously, he has not heard about the 72 virgins.
Hamlet is religious, but still rationally skeptical. The 9/11 terrorists-- and guys like Patrick Crusius-- do not have this fear. It's scary, how strongly they believe in their convictions. There's no shadow of a doubt in their minds.
Most normal folks-- and even folks like Hamlet, folks that are struggling but still rational-- let their "conscience" turn them cowardly. We lack fervor and unshaking faith, and so our "resolution is sicklied o'er with the pale cast of thought." This cowardice is a blessing in disguise because "enterprises of great pitch and moment . . . lose the name of action."
A lot of these enterprises are downright crazy, and could use reflection and reconsideration. Hamlet takes this to the extreme, and we love him for it.
There are plenty of applicable insults to aim at terrorists. They are rabid and crazed and virulent. But they certainly stand by the courage of their convictions, and that is the problem. They are the anti-Hamlet. They actually complete these suicidal actions, and this -- according to Shakespeare-- is the reverse of cowardly. All us cowards go on living our day to day lives, suffering "slings and arrows," not sure what is to come. That's civilized behavior
Though being devoted is often considered a positive trait, I believe we all need to be a little less loyal, a little less faithful, and a little less principled. It leads down a dangerous road. Instead, let's try to be a little more capricious, a little more detached. Let's be skeptical and occasionally disinterested. Maybe even a little more cowardly. If the terrorists adopted a few of these negative characteristics, the world would be a better place.
Spoilers, Ancient and Modern
1) both contain themes of suicide, Hamlet contemplates suicide but chickens out-- though he can barely stand the "slings and arrows" life has sent his direction-- and John B. actually makes good on his promise to remove himself from the picture because he's just so "tired" of dealing with all the shit;
2) bother John B. and Hamlet see themselves in an "unweeded garden" of corruption and betrayal;
3) Brian Reed, the narrator and reporter in S- Town,plays the same role as Horatio-- he goes on a trip to investigate a death and ends up as an involved bystander in a world that is both intellectual and depraved;
4) Hamlet and John B. both believe that "frailty thy name is woman";
5) in both works, there is family intrigue and alliances, oblivious to the machinations of the outside world, and in the end, Fortinbras and the Burt family operate in the same manner, swooping in to take over the land;
6) there is the distinct possibility that both protagonists are insane, and rereading or relistening makes this more and more apparent;
7) there are plays within plays in both works-- the back room in the tattoo shop, the needle play, the dramas within dramas of John B.'s relationships;
8) there is the theme of time and time dilation . . . no one can figure out how time passes in Hamlet, the span may be much longer than we think, and the same with S- Town-- John is involved with his horological studies, but it's impossible to trace when his mercury induced insanity began, when he went from trying to improve the town with his friend the clerk to feeling betrayed by everything, and if Brian Green ever knew him in a time of sanity;
9) both pieces contain plenty of dark humor amidst the tragedy;
10) both protagonists are most certainly geniuses;
11) both John B. and Hamlet have weird relationships with their respective mothers, and odd stances towards sex;
12) I really like the podcast and the play.
Playception!
Miracles Happen to Me . . . Frequently
Lately, Dave has been blessed, as he has borne witness to myriad miracles, behold: I was teaching the start of Act IV of Hamlet, the section when Hamlet instructs the visiting players on how to act out the play he has written simulating the murder of his father . . . Hamlet tells the clowns not to "speak more than is set down for them," and he mentions some "villainous" players "that will themselves laugh," in order to get the audience to laugh along with them, but that in the meantime, necessary portions of the play are obscured and the actors do a poor job of imitating humanity . . . so before I read this section to my students, I do a bit of acting . . . first I complain of a sore throat-- sometimes I bum a throat lozenge from a student-- and then while I'm reading, I cough, clear my throat, and take a healthy swig from my water bottle and spill water all over my shirt, but I take Hamlet's advice and I don't acknowledge the mishap, I continue reading and-- though the students always laugh, I don't laugh with them-- instead I put the water bottle on my stool and continue the section and while I am questioning them about the meaning of Hamlet's advice, I stride past the stool and "accidentally" knock the water bottle off the stool, spilling water all over the carpet, and I after I pick up the bottle and place it on the stool a final time, then I trip and actually kick the stool over, water bottle and all-- and usually by this time some clever student figures out that I am illustrating the text . . . and to prove this, I show them that I have brought a spare shirt, so that I can do my performance in multiple classes (otherwise they would figure that I was just spastic, which is often true) and so this year, during second period, when I knocked the water bottle off the stool it landed upright . . . not a drop of water spilled, and since I was still in character, I simply picked it up, as if this miracle was an everyday occurrence, and put the bottle back on the stool, but then when I kicked the stool at the conclusion of my act, it slid out from beneath the water bottle, and once again, the water bottle dropped to the floor and landed perfectly upright, and by this time the class could have cared less about the textual demonstration and instead wanted to see more miracles, but I could not reproduce this feat for the rest of the day, which just goes to show that it was an occurrence of divine providence.
Hamlet is Perfect for Seniors in June
It must be getting near the end of the year, as we finished Act IV of Hamlet today; Ophelia finally met her tragic, but beautiful, flower-strewn, mermaid-like demise . . . and after three hours of planning, procrastinating, and pontificating, you'd think that the play would be near the end-- but Shakespeare really lost his mind with this one: he figured out how to get Hamlet back to Denmark-- oddly friendly pirates!-- but he isn't quite ready to resolve things, Laertes still needs to do the whole jumping in the grave thing, Hamlet needs to do "alas poor Yorick" and "the readiness is all" and we also need the weird interlude with Osric (played by Robin Williams in the Branagh version) before we get the final violence and the endless last words . . . it's a perfect play to do at the end of the year because it seems as if it will never end and the seniors keep asking what we will do in class after Hamlet and the answer is "the rest is silence."
Serial Season 2: You Should Listen to It (and write an essay about it)
Shakespeare Motivates Shakespeare?
This year, I'm really getting to the bottom of Hamlet, the most bottomless piece of literature in existence, but this means we might never finish-- which is perfectly appropriate . . . I probably need a ghost (played by myself) to visit and "whet my almost blunted purpose" so that I actually finish the thing before the last day of school (that's essentially what happens in Act III scene iv . . . Hamlet's dad returns in the form of a specter that only Hamlet can see and tells him to stop calling him mom a slut and get on with his revenge on King Claudius, the same way Mufasa tells Simba to quit it with Timon, Pumba, and Hakuna Matata and live up to fate and responsibility and go kill Scar . . . but of course, Shakespeare wrote Hamlet's lines-- so when the ghost (probably played by Shakespeare, tells Hamlet to get on with it-- because we're nearly three hours into the play and the plot hasn't really gotten going yet) this is very strange-- it's the director telling the writer (who are both the same person) to stop going so deep with his character because people have to eat dinner.
It's Not Poop Week, It's Hippo Week!
O Woe is Me . . . But You've Got to Be Cruel to Be Kind
Even Hamlet Can't Compete With a Giant Wasp
Did Jesus Tell Off-Color Jokes With His Bros? Probably Not . . .
One of the primary and profound questions that the play Hamlet explores is the opening line: "Who's there?" and so in class today we were examining how Shakespeare illustrates Hamlet's behavior in Act I Scene ii in quick succession with his family, alone, and with his friends-- and in each situation, Hamlet exhibits different personality traits-- with his family, he is sarcastic, passive-aggressive, and resentful; alone he is depressed, world-weary, and disgusted by the corruption in the world and particularly in his mother; and when he sees his buddy Horatio he is cordial and warm and even makes a couple of jokes . . . so my students were describing their different personalities in different situations-- at work, as captain of the baseball team, in Calculus, etcetera-- and we agreed that it is often the situation that determines our behavior, not our personality-- we don't seize the moment, the moment seizes us . . . but I did acknowledge that there are a very select group of folks that behave the same in every situation-- but the only examples I could think of were Jesus, Buddha, and Godzilla.
3/12/10
I am beginning to think that Hamlet is a little like Neo, from the film The Matrix; Hamlet is somehow subconsciously aware that he is in a play called Hamlet, he realizes that there is a larger reality than the word he inhabits, and this makes him so much larger than any other character int he play--and so he tries to direct the play's action, tone, and content, and eventually he realizes that forces beyond him (Shakespeare? God? Morpheus?) control his fate-- that he is embedded in some kind of five act program.
No Time Like the Present
O Woe is Me . . . But You've Got to Be Cruel to Be Kind
We were in Act IV of Hamlet today, right after Hamlet blindly slaughters Polonius, chops up his body, and scatters the pieces in the castle-- Hamlet is then confronted about this grisly situation, and he glibly explains to King Claudius that "Your worm is your only emperor for diet: we fat all creatures else to fat us, and we fat ourselves for maggots," and so I played the bit of The Lion King when Mufasa explains to Simba about the whole "Circle of Life" and asked what Mufasa skips-- it's all the decay and decomposition-- and we got to talking about maggots for a moment and I told them a college tale about when my buddy Rob put a half-eaten roast beef sandwich on a filthy table, threw a newspaper over it, and there it remained . . . and two weeks later, when I picked up the newspaper-- looking for the crossword puzzle-- instead of a roll full of roast beef, there was now a roll full of writhing maggots; one of the students said, "They grew there because of the meat, right?" and a few other students seemed to agree with this hypothesis, so I had to stop the presses, press pause on the teaching of literature, and start teaching science-- luckily, another student had paid attention in Bio class and explained to the class that the Theory of Spontaneous Generation had been refuted in the 19th century and that we now know that mice don't magically spring from bales of hay and maggots are the larval form of flies.