1. Abhor v. to hate very much; to detest utterly. Capacious adj
Abhor v. to hate very much; to detest utterly Capacious adj. roomy; able to hold much

2. SHAKESPEARE IN PARTS: CUE SCRIPT ACTING IN THE MERCHANT OF VENICE

3. PHILIP HENSLOWE

4. THE ACTORS AND THE PLAYTEXT
26 performances
16 different plays
in 30 days
THE PLAY
Paper expensive
Paying a scribe also expensive
Only 1 copy of the play
So, an actor received his character’s part:
a long strip of paper wound in a roll on a baton
that consisted only of his character’s lines plus
a one- to three-word cue before each speech.

5. EXAMPLE CUE SCRIPT: FROM ROBERT GREEN’S EARLY 1590S PLAY ORLANDO FURIOSO
Original
Translation

6. IF SHAKESPEARE’S ACTORS DIDN’T HAVE TIME
IF SHAKESPEARE’S ACTORS DIDN’T HAVE TIME TO REHEARSE AND WERE ONLY GIVEN THEIR CHARACTER’S LINES PLUS A SMALL CUE, HOW DID THE ACTORS KNOW WHAT TO DO ON STAGE?

7. SYNOPSIS
The Merchant of Venice synopsis (up to Act 3, scene 3) Antonio is the 'Merchant'. He is depressed and has no idea why. His ships are out at sea and coming back with various treasures. His great friend Bassanio visits him and asks to borrow a large sum of money—3000 ducats—in order to assist him in his wooing of Portia, a wealthy and beautiful woman who lives at Belmont, an estate some distance from Venice. Bassanio has borrowed from Antonio before and lost it all. But this time he needs it in his attempt to win and marry Portia.
However, Antonio's own money is tied up in business ventures that depend on the safe return of his ships from sea, so he suggests that his credit might be good for a loan in town. Bassanio tries Shylock who is a Jewish moneylender. Shylock has suffered insults from Antonio in the past so when he joins them, Shylock counters their request with this reminder to Antonio: 'Fair sir, you spit on me on Wednesday last, / You spurned me such a day, another time You call'd me dog; and for these courtesies / I'll lend you thus much moneys?'
Shylock does agree though to a loan of three thousand ducats with one shocking condition. If his money is not returned within three months, then Shylock will reclaim his bond in the form of a pound of Antonio's flesh. He will be entitled to cut into whichever part of Antonio's body that he wishes to. Bassanio is chilled by this violent request, but Antonio assures him that the money will be safely returned to Shylock as his ships are all soon coming in, so there is no danger. The bond is agreed upon.

8. SYNOPSIS CONTINUED
Portia's father has decreed that she will marry whichever suitor makes the correct choice when presented with three caskets, made of gold, silver and lead. Where wealthy suitors from Morocco and Aragon fail, Bassanio succeeds by choosing the lead casket and in doing so, he marries Portia.
But now there is terrible news from Venice. Antonio's certain his ships have in fact floundered at sea. His whole fortune has gone under. He will be arrested on account of his debt to Shylock. Portia tells Bassanio to go back to Venice and tell Shylock she will pay back six thousand ducats to him.
However, before Bassanio can get back to Venice, Act 3 scene 3 opens with Shylock watching Antonio be carried off to jail for failing to cover the loan. As the Gaoler escorts Antonio off to jail while his friend Solanio witnesses, Antonio attempts to plea with Shylock, yet Shylock has made up his mind and cannot be convinced otherwise.

9. ANTONIO’S CUE SCRIPT 
look to him.   Hear me yet good Shylock.   at his request.   I pray thee hear me speak.  

10. ACTIVITY: CUE SCRIPTS IN CHARACTER GROUPS
Ask for a volunteer in the group to read through the lines twice.
Discuss the following:
What is the character saying?
To whom is the character addressing these lines on stage?
Which character do I think will provide the cue?
Why is the character saying these words?
How should the character speak them?
What gestures and body movements will the character need to incorporate into the scene to convey these lines?
Once a consensus is made, individually go back to the script and underline all of the implied stage directions—or actions that are implied by the text of the play—they can find.
Then, reconvene and discuss what implied stage directions they found and what their character should do with these directions (ie—what actions accompany the lines, what words should be emphasized, etc.)
After the group has come to a consensus, select one actor from the group to play the character, allowing some time to reread the lines with the group.

11. Act 3 SCENE III. Venice. A street.
Enter SHYLOCK, SOLANIO, ANTONIO, and Gaoler
SHYLOCK Gaoler, look to him: tell not me of mercy; This is the fool that lent out money gratis: Gaoler, look to him.
ANTONIO Hear me yet, good Shylock.
SHYLOCK I'll have my bond; speak not against my bond: I have sworn an oath that I will have my bond. Thou call'dst me dog before thou hadst a cause; But, since I am a dog, beware my fangs: The duke shall grant me justice. I do wonder, Thou naughty gaoler, that thou art so fond To come abroad with him at his request.
ANTONIO I pray thee, hear me speak.
SHYLOCK I'll have my bond; I will not hear thee speak: I'll have my bond; and therefore speak no more. I'll not be made a soft and dull-eyed fool, To shake the head, relent, and sigh, and yield To Christian intercessors. Follow not; I'll have no speaking: I will have my bond.
SOLANIO It is the most impenetrable cur That ever kept with men

12. CLOSING: QUICKWRITE
1. Write about your experience either as an actor or viewer working with cue scripts. What did you particularly enjoy or find frustrating about this performance approach?
2.What did your engagement with the cue scripts show you about the characters in this scene? Think about the connection between the repeated cues and the characters.