'The Man of Mode' - Post 05

Classical Theatre Performance Assignment –

‘The Man of Mode’ or, ‘Sir Fopling Flutter’

Tuesday 26^th – Thursday 28^st January 2016

Act Three Run Through

     In contrast to Act Two, Act Three has a more pivotal role for ‘Young Bellair’.  In Act Three, Scene One we a see a more playful side to the character; as he meets his marriage partner, ‘Mrs. Harriet’ (a marriage arranged for them by their parents) and instantly they agree they do not want to marry each other:

“Harriet:        With all my heart; I never thought I should have given you mine so

willingly.  Here I Harriet-

Bellair:           And I, Harry-

Harriet:          Do solemnly protest-

Bellair:           And vow-

Harriet:          That I with you-

Bellair:           And I with you-

Both:               Will never marry.” – Act 3, Scene 1, Page 22

     I instantly became very fond of this scene.  Not only are we introduced to ‘Mrs. Harriet’, but we’re also shown an extent to ‘Young Bellair’s’ playful personality, and physically this scene is very humorous.  After the characters introductions, they together plot to tease their parents into thinking they do love each other (when we, the audience, know they disagree with their arranged marriage).

“Bellair:         what think you of playing it on booty?

Harriet:          What do you mean?

Bellair:           Pretend to be in love with one another; ‘twill make some dilatory excuses we may feign pass the better.”

     What follows is a scenario where both ‘Old Bellair’ and ‘Lady Woodvil’ enter and witness their children fake acts of flirting.  Physically this scene tested our understanding of how to move using ‘the Language of the Fan’.  As many of the scripted lines depict that both ‘Harriet’ and ‘Young Bellair’ use physical gests to confuse and tease their parents:

·         “At one motion play your fan, roll your eyes, and then settle a kind look upon me.” – To give the impression to their parents that ‘Harriet’ finds ‘Bellair’ attractive.

·         “Now spread your fan, look down upon it, and tell the sticks with a finger.” – To give the impression that she wants to meet him at a certain hour.

·         “Clap your hand up to your bosom, hold down your gown; shrug a little, draw up your breasts, and let ‘em fall again gently, with a sigh or two, etc.” – All gests giving the impression that ‘Harriet’ finds ‘Bellair’ both attractive and romantic.

     All acted to tease the parents bringing more comedy to the audience’s perspective of the play.

Response to the Language

     Having run and analyzed the first three acts of ‘The Man of Mode’ I have become rather fond of the written language.  While in our first read through I struggled to understand both the plot and character’s dialogue, but I am becoming more familiar with it and I feel I will improve my understanding as the production process continues.

     I find the 17^th Century Old English has a select few similarities to Shakespearean text.  Excluding words such as: ‘tis, thus, prithee, and abide; I find that (especially for the purpose of learning lines) Shakespearean vocal techniques can also support my delivery of this particular Old English language.  These vocal techniques include:

·         Iambic Pentameter Pacing – this vocal technique can also be referred to as “Beats Per Minute” as its method is to assist the performer with their pacing and delivery structure of the lines.  Almost as if there is a rhythm within the written text and the performer’s job is to bring that rhythm to life through their performance.  This technique is primarily used in Shakespeare’s work, but I find that it can also support Old English writing structures.

·         and Old English Diction – it is always crucial that the performer knows what they are saying on stage, otherwise how can the audience understand/enjoy the performance when the performer doesn’t even understand the piece.  Therefore I have made it my main job role to analyze all of my lines to ensure that I not only give clear pronunciation but clear understanding of what I am saying as well.  There are a select few sources of inspiration/support towards achieving this (for example ‘No Fear Shakespeare’), not only that but through research towards modern character types, similar to our characters in the play can support understanding and progression throughout the performance.

Iambic Pentameter at work - https://www.youtube.com/watch?v=0Qv-sjQHgZ8