Rules for Action StatementsRules for Action Statements

Only one character can perform the key action of Only one character can perform the key action of the scene.the scene.

Decisions do not count.Decisions do not count. Anything planned before the scene starts does Anything planned before the scene starts does

not count.not count. The action is something the character The action is something the character doesdoes in in

thoughtful response to some cause or causes. thoughtful response to some cause or causes. Talking to the audience can be an action.Talking to the audience can be an action. When writing a full statement, put the main When writing a full statement, put the main

action in the main clause of the sentence.action in the main clause of the sentence.

Induction, scene oneInduction, scene one

ActionAction: Having arranged to deceive Sly : Having arranged to deceive Sly by dressing him like a lord and his page by dressing him like a lord and his page like a woman and then warning the players like a woman and then warning the players who arrive not to offend Sly, who arrive not to offend Sly, the Lord the Lord convinces himselfconvinces himself that he can instruct his that he can instruct his followers how to stifle their laughter, which followers how to stifle their laughter, which would spoil his illusion, or failing that, that would spoil his illusion, or failing that, that how his presence alone will keep his farce how his presence alone will keep his farce from degenerating into a riot. from degenerating into a riot. Will Sly ever know how he Will Sly ever know how he has been plotted against? Will Katharina? Does a dog or a hawk?has been plotted against? Will Katharina? Does a dog or a hawk?

Induction, scene 2:Induction, scene 2:

Sly transforms into a proper lord to watch play. Or Sly accepts his given role as a lord to watch the play. Or The lord restrains frivolity of his players (form of actor's

self-censureship). Or Sly accepts the doctor's orders that he watch a play

instead of demanding sex from his wife, as that will keep him from reverting to his former lowly status.

Act one, scene oneAct one, scene one

Lucentio devises means to woo Bianca. or, Lucentio allows Tranio to disguise himself as

Lucentio for "good and weighty" reasons (to negotiate a dowry with Baptista, but we don’t know this or know that he knows it yet) while he disguises himself as a schoolmaster to woo Bianca, the only means Baptista allows one to have access to her.

.

Act one, scene oneAct one, scene one

Lucentio hides his plan to elope from Tranio and the audience.

This also fits a nice pattern in the play, since Bianca is a woman who hides her own true thoughts as well. Then again, Petrucchio hides his method from Katharina, though not from the audience.

or, Duped into letting Tranio take on his own identity,

Lucentio comes up with his own bad idea, to elope with Bianco, thus avoiding what Hortensio called the "bar in law"that forbids Bianca to marry till Katharina does. The problem is that a decision is not an action.

Act one, scene oneAct one, scene one

Tranio suckers Lucentio into becoming a schoolmaster so that Tranio can take his place as Lucentio. (after all, Tranio could have been the schoolmaster, acting as a go-between, as Cambio does for Gremio).

or, Having helped Lucentio devise his plan to be a

schoolmaster, Tranio convinces him that Tranio should take on the role of Lucentio, wear his clothes, spend his money.

Act one, scene twoAct one, scene two

Petruchio will help his friends and himself as he goes after Katharina. No, because P was already determined to do this before the scene started.

or, Tranio (disguised as Lucentio) profligately extends his

promise to pay a portion to support he wooding of Petrucchio by inviting the other wooers to the alehouse to drink all afternoon, comparing their combination of fellowship and adversary behavior to that of lawyers (as Hortensio and Gremio already did when they determined to be friends till the "bar at law" was lifted, 136): "Strive mightily, but eat and drink as friends."

Act two, scene oneAct two, scene one

Petruchio frees Bianca for marriage. This is more of a description of the clever way Shakespeare makes the plots overlap.

or, Tranio lies to win the bidding contest for Bianca, but

needs to find someone to pretend to be Vincentio, since Baptiasta wants "assurance" from his father, in case the father outlives Lucentio Problem that this is two actions.

or,

Act two, scene oneAct two, scene one

Baptista, all too ready to accept Petruchio’s lies that he and Katharina have fallen in love because he looks only for “quiet”(328), takes care to ensure that Tranio is not lying by requiring his father to affirm the winning bid for Bianca.

or,

Act two, scene oneAct two, scene one

Tranio curses Baptista for putting him to the trouble of finding a “supposed” Vincentio.

Act three, scene oneAct three, scene one

Lucentio makes headway with Bianca or, Bianca gives Lucentio some hope, or, Hortensio denounces Bianca because she looks

lovingly on the pedascule.

Act three, scene twoAct three, scene two

Katherine resists Petruchio's attempts to take her away,

or,Petruchio makes everyone obey Katharina's

call to dinner. This action is an image of their marriage and why it will work: the

husband gets obedience in exchange for empowering the woman. Although legally, no one can stop her, as he points out (234: something Lucentio hopes to gain by his elopement), it is his ability to defend her against the world, farcically acted out when he has Grumio draw his weapon, that may suggest he deserves her respect.

Vanity FairVanity Fair interview with interview with Roseanne, Roseanne,

““Why do you love him?” I ask. “Is it just Why do you love him?” I ask. “Is it just because he’s the big bad boyfriend who because he’s the big bad boyfriend who can beat up the world for you?”can beat up the world for you?”

““Oh, man, what other reason do you Oh, man, what other reason do you need?” Roseanne, signing, asks me right need?” Roseanne, signing, asks me right back. “That says it all. He’s funny. He’s back. “That says it all. He’s funny. He’s very, very intelligent. And he can go to the very, very intelligent. And he can go to the places I can go to.” places I can go to.” (February 1994, p. 114)(February 1994, p. 114)

Act three, scene twoAct three, scene two

.

Baptista assigns Tranio (disguised as Lucentio) to take Petruchio’s place at the wedding feast

What are some differences What are some differences between drama and film?between drama and film?

Plays stress dialogue; movies stress Plays stress dialogue; movies stress visuals.visuals.

Plays tend to stay in one physical location; Plays tend to stay in one physical location; films often move over vast distances.films often move over vast distances.

Plays are organized by scenes; films are Plays are organized by scenes; films are organized by camera shots.organized by camera shots.

How does Zeffirelli’s movie How does Zeffirelli’s movie differ from play?differ from play?

Probably the main difference between the Probably the main difference between the text and movie is that Zeffirelli gives text and movie is that Zeffirelli gives agency--makes her a thoughtful agency--makes her a thoughtful personality who performs significant personality who performs significant actions, to Kate but takes it away from actions, to Kate but takes it away from Tranio.Tranio.

How does Shakespeare How does Shakespeare soften the taming?soften the taming?

He includes line that “both will fast” He includes line that “both will fast” (4.1.173)(4.1.173)

He has Petruchio give his “falcon” taming He has Petruchio give his “falcon” taming speech to his men, whom he must impress speech to his men, whom he must impress (he may only speak this way publicly, but (he may only speak this way publicly, but not think so: cf. his comparison of his not think so: cf. his comparison of his falcon and his wife at 5.2.65)falcon and his wife at 5.2.65)

Clever construction of the play: 1) the Clever construction of the play: 1) the double plot; 2) the fourth actdouble plot; 2) the fourth act

How does Zeffirelli soften the How does Zeffirelli soften the taming?taming?

eliminating P’s hawk-taming metaphor, with its eliminating P’s hawk-taming metaphor, with its offensive imageryoffensive imagery

use slapstick humor, even in the “starving” scene use slapstick humor, even in the “starving” scene at tableat table

writing a new bedroom scene to show:writing a new bedroom scene to show: that Petruchio can restrain his sex needs, implying he is that Petruchio can restrain his sex needs, implying he is

no cruel husbandno cruel husband that both are attractive and sexually attracted to each that both are attractive and sexually attracted to each

otherother that Kate can give (bed-warming pan) as good as she that Kate can give (bed-warming pan) as good as she

getsgets (cont.)(cont.)

How does Zeffirelli soften the How does Zeffirelli soften the taming?taming?

Emphasizing song “Where is the life that once I led” implying Emphasizing song “Where is the life that once I led” implying that Kate is taming and transforming Petruchio as wellthat Kate is taming and transforming Petruchio as well

Using star quality of Taylor and Burton to make them Using star quality of Taylor and Burton to make them attractive (also suggesting that strong personalities must attractive (also suggesting that strong personalities must yield to marriage)yield to marriage)

Using mood music and Taylor’s ability to project longing to Using mood music and Taylor’s ability to project longing to suggest that deep down, Petruchio and Kate are really suggest that deep down, Petruchio and Kate are really attracted to each other, despite their public posture that he is attracted to each other, despite their public posture that he is a drunk and she a shrew.a drunk and she a shrew.

Adding stage bits to suggest P’s transformation rather than Adding stage bits to suggest P’s transformation rather than Kate’s: at first afraid of water at Hortensio’s house, he later Kate’s: at first afraid of water at Hortensio’s house, he later washes his hands before attempting to go to bed with her washes his hands before attempting to go to bed with her (some guys will do anything . . . )(some guys will do anything . . . )

How does the double plot How does the double plot work?work?

Sets up a comparison between the wily servant Sets up a comparison between the wily servant Tranio--clever but misguided--and Katharina--Tranio--clever but misguided--and Katharina--clever but misguided.clever but misguided.

To some extent, unseen elements of Kate’s To some extent, unseen elements of Kate’s transformation can be guessed by looking at transformation can be guessed by looking at Tranio: 1) the off-stage wedding as Tranio plans Tranio: 1) the off-stage wedding as Tranio plans for a “supposed” Vincentio and Lucentio thinks for a “supposed” Vincentio and Lucentio thinks of eloping (3.2.128); 2) the time between Kate’s of eloping (3.2.128); 2) the time between Kate’s not agreeing it’s 2 o’clock and agreeing the sun not agreeing it’s 2 o’clock and agreeing the sun is the moon, during which Tranio plans start to is the moon, during which Tranio plans start to fall apartfall apart

What pattern does the five-act What pattern does the five-act structure reveal?structure reveal?

Act 1: the boys find girls of their dreamsAct 1: the boys find girls of their dreams Act 2: boys win girls: P by wit, Lucentio by Act 2: boys win girls: P by wit, Lucentio by

Tranio’s biddingTranio’s bidding Act 3: Plot tightens: P marries; Lucentio plans to Act 3: Plot tightens: P marries; Lucentio plans to

elope (unnecessarily, as the excuse that he has elope (unnecessarily, as the excuse that he has to elude Hortensio replaces the original problem, to elude Hortensio replaces the original problem, that Kate had to be married first)that Kate had to be married first)

Act 4: Counter stroke: Kate agrees with P; Act 4: Counter stroke: Kate agrees with P; Tranio enlists the pedant to play VincentioTranio enlists the pedant to play Vincentio

Act 5: Recognition and reversal: true Vincentio Act 5: Recognition and reversal: true Vincentio appears (also true Bianca and widow); Kate??appears (also true Bianca and widow); Kate??

What pattern do action What pattern do action statements show?statements show?

ind.1: Lord instructs page how to play a gentle ind.1: Lord instructs page how to play a gentle woman, by examplewoman, by example

ind. 2: Sly accepts doctor’s ordersind. 2: Sly accepts doctor’s orders

1.1: Tranio finds a way to move up in social class1.1: Tranio finds a way to move up in social class

1.2: Tranio invites other wooers to alehouse. 1.2: Tranio invites other wooers to alehouse. (recall Sly’s lower-class preference for ale; (recall Sly’s lower-class preference for ale; Vincentio, we will see, prefers to drink at home)Vincentio, we will see, prefers to drink at home)

What pattern do action What pattern do action statements show?statements show?

2.1: Tranio lies to win bidding contest2.1: Tranio lies to win bidding contest 3.1: Tranio accepts the assignment to 3.1: Tranio accepts the assignment to

“beguile” Gremio (now that it looks like “beguile” Gremio (now that it looks like Kate will marry, removing that obstacle)Kate will marry, removing that obstacle)

3.2: Tranio listens to Lucentio’s notion that 3.2: Tranio listens to Lucentio’s notion that he must elope to evade Hortensio (Litio).he must elope to evade Hortensio (Litio).

What pattern do action What pattern do action statements show?statements show?

4.1: Petruchio imitates Kate’s railing4.1: Petruchio imitates Kate’s railing 4.2: Tranio tricks pedant into accepting role of Vincentio4.2: Tranio tricks pedant into accepting role of Vincentio 4.3: Petruchio explains to Kate his taming process: just don’t 4.3: Petruchio explains to Kate his taming process: just don’t

cross him, and she can have anything (specifically, a trip home)cross him, and she can have anything (specifically, a trip home) 4.4: Tranio finds a way to get Bianca out of the house4.4: Tranio finds a way to get Bianca out of the house 4.5: Kate takes Hortensio’s advice (listens to the doctor)4.5: Kate takes Hortensio’s advice (listens to the doctor)

5.1: Tranio tries to have Vincentio arrested.5.1: Tranio tries to have Vincentio arrested. 5.2: Kate lectures the other women--if this is a genuine “action,” 5.2: Kate lectures the other women--if this is a genuine “action,”

then Kate has agency; if she is just an obedient wife who has then Kate has agency; if she is just an obedient wife who has no true moral choice, then the action is either that Baptista no true moral choice, then the action is either that Baptista awards 20,000 crowns or Petruchio invites Kate to bed, but awards 20,000 crowns or Petruchio invites Kate to bed, but who would play it this way?who would play it this way?

Other questionsOther questions

Why, exactly, Why, exactly, doesdoes Kate allow herself to Kate allow herself to be tamed . . . assuming she be tamed . . . assuming she doesdoes allow it. allow it.

Other questionsOther questions

Where do you think, if anywhere, Kate first feels Where do you think, if anywhere, Kate first feels attracted to Petruchio?attracted to Petruchio?

Is Petruchio ever cruel? How far can he go?Is Petruchio ever cruel? How far can he go? What motivates Tranio? Is he like Kate? She he accept What motivates Tranio? Is he like Kate? She he accept

his position as servant as she accepts wifehood?his position as servant as she accepts wifehood? Explain the thematic unity of assuming poses Explain the thematic unity of assuming poses

(“supposes,” from (“supposes,” from I Soppositi, I Soppositi, the Ariosto play that is the the Ariosto play that is the basis for the Lucentio plot): Who pretends to be what? basis for the Lucentio plot): Who pretends to be what? Does this theme of people adopting roles influence our Does this theme of people adopting roles influence our view of Katharina?view of Katharina?