1. Trevor Nunn’s Twelfth Night Instructor: Audrey Tinkham

2. Characterization Malvolio What kind of man is Malvolio? What kind of man is Malvolio? II.iii.113-15 II.iii.139-52 V.i.378 How does Nunn’s Malvolio compare to your Malvolio? How does Nunn’s Malvolio compare to your Malvolio?

3. Characterization Viola/Cesario How necessary is the “willing suspension of disbelief” for Stubbs’ gender bending to work? How necessary is the “willing suspension of disbelief” for Stubbs’ gender bending to work?

4. Characterization Viola/Cesario Sexual ambiguity Sexual ambiguity Gender as performance Gender as performance Female masculinity & male femininity Female masculinity & male femininity What does the play’s sub-title refer to? What does the play’s sub-title refer to?

5. Characterization Feste How does Ben Kingsley’s portrayal of Feste emphasize the “sage fool” theme? How does Ben Kingsley’s portrayal of Feste emphasize the “sage fool” theme? Is the relationship between Feste and Olivia different in Nunn’s film than in the text? Is the relationship between Feste and Olivia different in Nunn’s film than in the text? Kingsley’s Indian accent: are we supposed to be reminded of his Ghandi role? (a challenge to the colonial hegemony?) Kingsley’s Indian accent: are we supposed to be reminded of his Ghandi role? (a challenge to the colonial hegemony?)

6. Characterization Is Maria too serious?

7. Staging Viola + Orsino + Olivia Smoking cigars Smoking cigars Playing snooker Playing snooker Riding astride Riding astride What does Orsino learn from Viola/Cesario? What does Orsino learn from Viola/Cesario? What does Olivia learn from Viola/Cesario? What does Olivia learn from Viola/Cesario?

8. Props Moustaches Moustaches Toupes Toupes Clothing Clothing Disguises Disguises Malvolio’s reading material Malvolio’s reading material

9. Props Orsino’s sling Orsino’s sling Military uniforms Military uniforms

10. Props Olivia’s mourning Olivia’s mourning Olivia’s youth Olivia’s youth Olivia’s sexuality Olivia’s sexuality

11. Props In Nunn’s film, we literally get to see Viola in her “woman’s weeds.” Why don’t we get to “see” her in the text? V.i.273-7 In Nunn’s film, we literally get to see Viola in her “woman’s weeds.” Why don’t we get to “see” her in the text? V.i.273-7

12. Staging Ending Scenes How does Nunn’s ending compare to your ending? How does Nunn’s ending compare to your ending? Is the “twins” scene effective? Is the “twins” scene effective? Is the “discovery” scene effective? Is the “discovery” scene effective?

13. Staging Ending Scenes What about all the characters “leaving” the country house at the end? What about all the characters “leaving” the country house at the end? Feste Feste Malvolio Malvolio Sir Toby & Maria Sir Toby & Maria Sir Andrew Sir Andrew

14. Sources Coursen, H. R. “Disguise in Trevor Nunn’s Twelfth Night.” Shakespeare in Performance. Ed. Frank Occhiogrosso. Newark: U of Delaware P, 2003. Hale, David G. “The End of Twelfth Night: Two Recent Performances on Film.” Shakespeare Bulletin 20.2 (2002): 42-4. McGuinn, Rex A. “Shakespeare on Film: Ben Kingsley’s Feste.” Shakespeare Bulletin 20.4 (2002): 35-7.