Directing 12th Night

(As you've probably figured out by now) I'm directing "Twelfth Night" this year as a student-run production. I've acted in several plays (Including Shakespeare's "Taming of the Shrew" 2 years ago) But I've never tried to direct before--And I've picked quite the play! But anyway--I'm really not sure how to go about this. I have my vision for the play, but I'd like to get a little more in-depth into the characters so I have a better idea of what to ask for from my actors. Not to mention, if there's anybody out there with some good directing tips, I'd love to hear them... mostly though, I'm just interested in the different character developments in the play, how to approach the characters, and simply how to look at the play from a director's point of view instead of an actor's.

Thanks
Lune

Hello, lune-fee, welcome to the forum. :)
How ironic! I actually helped direct Twelfth Night once upon a time, too! Simultaneously, I primarily worked with Macbeth and A Midsummer Night's Dream, but had some help in Twelfth Night. For the most part, I tried approaching each character individually, and really attempting to delve into his/her psychology; though easier said than done, and rather stated with a cliché, one can only recommend 'being' the character to understand.
I attempted approaching Viola as a very amiable, charismatic, and admired character, mostly for her unpredictable and odd uniquity as a person, even though she struggles greatly with a bit of an identity-crisis. From the beginning of the play, she already seems quite . . . original, but her unpredictable and unique nature mixed with a subsequent stressful event sends her strongly into a question of herself - herself as a person, a lover, her future, the validity of her past, etc. Throughout the play, however, she remains an interesting individual worth enjoying, and who has no fear of expressing herself.
Malvolio, though seeming a bit of a background character in the beginning, starts out with a bit of a sadistic nature; as odd as it sounds, he seems to enjoy disappointing others, ruining any enjoyment, and humiliating others. Much like Viola, however, he also suffers from a bit of an identity-crisis triggered by a change involving love when he receives the false letter from Olivia. Because of this subjecting himself to false ideals, it seems easy to eventually pity Malvolio, appearing like someone who does not 'know thyself,' so to speak, and ends up as a victim to the eventual cruelty of Toby and Maria.
Orsino always reminded me much of Romeo - immature, fickle, swift to falling in love, passionate, warm, yet following his heart much more than his head. Despite his wit, and apparently strong knowledge of his own desires, he appears swayed by others easily, and a vulnerable target to pain from others, but his simple nature allows him to avoid the lovesickness, anger, and sadness from others.
Olivia, I think, has many attributes similar to Orsinio - also very passionate, dwells on feelings, always sounds rather melodramatic (there always seems a tragedy in her life of some sort!), and also guided vastly more by her heart than her head. Her whimsical nature tends to confuse me by playing the victim for so long (more like choosing her role as a victim), and subsequently seeming rather co-dependent on a problem's continuing in her presence and co-dependence on whomever she happens to love at the time (which changes rather swiftly).
To me, those seem the most major characters of the play, and would love to help more, if you desired. Until then, I wish you luck! ;)

Thanks Mono---I pretty much agree with your discriptions of the characters, although I'd have to say that she's not that much like Orsino--more that she's chosen to be delusional, and imagine the world as something different then what it is. Orsino sees the world more as his plaything--Olivia sees it as something out to get her.

As I said, thanks so much for the advice! I'd love to continue discussing this with you!

(how on earth did you manage to do three shakespeare plays at once?!)

-lune

I am currently directing Twelfth Night for Shakespeare in the Park - Miami.

I approach characters by using clues in the text to justify behavior.
I see Viola as an aristocratic young woman raised with a fine education that grew up very close to her brother. He confided in her in all things and she spent her life divided between training to take her place in society and romping through the countryside with her brother. This is reflected in the confidence with which she transforms into the male version of herself (her brother) and the confidence with which she carries herself in the court of both Orsino and Olivia. She knows her way around a sword and the vagaries of court behavior. (the "Willow Cabin" speech is an example of courtly behavior)

I refuse to portray Olivia as someone drooping and moping her way through life after her brother's death. I see her as sad and devastated, but perhaps there is something deeper behind her seclusion... I see her as someone who previously lived a lively and very full life at court. perhaps the earlier death of or the rejection by a lover, had scarred her. Perhaps her broken heart made her seek the seclusion of her country estate. Add this to the sudden death of a loved one and you have added depth and complexity to the character. It also lends credence to the idea that she was ready to face the world again, (not for the first time.) with a love affair with Cesario, and her quick marriage, finally, to Sebastian.

This depth of character also adds to her openly sexual attraction to Cesario. The quip about "paying youth" is my clue for that thought. This is not the behavior of a virgin girl, but of a worldlier woman who takes control of every situation through the play.
I am playing this idea to the hilt for laughs in my production. We are setting Twelfth Night in the 1920's in Paris and are basing it around the Tango.

The attempted seduction scene between Olivia and Cesario has become a real Tango, only with the Woman leading. we are using real Argentine tango and have Tango Masters working with the entire cast to ensure authenticity.

As for Orsino: I am frustrated with so many productions showing Orsino in a funk, sighing and lounging around his castle with his cronies ministering to his depression. BORING!!

I am sure I will be knocked for this, but I set Orsino up in a Tango cafe instead of a castle. His depression stems not from his thwarted love for Olivia, but perhaps instead, because this is the first challenge he has lost. I am giving him a bit of a back story. (It won't appear in the play, but gives the actors motivation for their character)

I see Orsino as a golden boy, kind of like a Sir Lancelot from the Arthurian legend. he is a studly war hero, a lady killer and a success at everything he has touched. he is nicer and more likeable than Gaston in Disney’s Beauty and the Beast, but he has that arrogant self regard.

In our back story, Orsino has sent missives up the hill more than 15 times to Olivia's estate with practical reasons that they should join their fortunes. He writes that they were both attractive and he would give her many attractive children. With her money and land, they could create a dynasty to rule the area. He needs her money to buy more race horses, to get a better wardrobe, to buy a big house in the capital and etc.

It is obvious that none of this cold love-making could be vaguely appealing to any woman and it has now become the source of amusement to the worldly Olivia, who is used to being wooed by the sophisticated men at court. His wooing is clumsy and not in the least romantic, even Orsino thinks it is.

Olivia's amused refusals first enrage then depress Orsino, who spends more and more time drinking in his cafe with his friends. Out of boredom, Olivia toys with him just for her amusement.

We first see Orsino drunk, in his cafe, as professional tango dancers dance out his depression and frustration. He learns to face his disappointment and the rejection. By the end of the play he comes to the realization that love is more important than the "ideal" of love which also counts property and money in the equation.

Antonio was also a problem character for me. His obvious love for Sebastian and his puppy-like infatuation and subservience is a little creepy for most modern audiences. i see that it is needed to make the refusal of his purse by Cesario (supposedly Sebastian) all the more strong. I take the tack that Sebastian has been wounded. Antonio is like the Good Samaritan on the road. Selflessly giving of his skill (healing the wounded arm) his money and his life for another, out of pure love (the Greek kind of brotherly love... no, not that Greek kind!) for a human in need. By portraying Antonio in this light, one needs to take care not to subvert Shakespeare's words. There is still a strange attraction that most of us would question or call sexual. It may well be... however, I chose to add a little depth to this possibility and give it more than a sexual overtone through the device of the injured arm.

Malvolio is a fun character to mess with. in our back story, he is the fifth son of an impoverished lesser noble family. he is forced to 'go into service' he has had a decent upbringing and this accounts for his personal closeness to Olivia. He believes that he has more right to the life Sir Toby is living than Sir Toby. Sir Toby has everything that Malvolio desires in life and he doesn't even care about it. Toby drank away his fortune and now is forced to grub for money from idiots like Sir Andrew.

Malvolio is a study in contempt. he hides his contempt behind his butler's dignity. this is the only way he can show disgust for everyone he feels is not showing enough respect for order, decorum or proper etiquette. Malvolio uses his manners as his weapon and woe to him that makes a mis-step.

His fatal flaw is not a love for Olivia, but a lust for her power and position. He will never have what he longs for unless his father and all 4 of his brothers die OR he marries into it. there is only one path available to that spot and we gleefully watch Malvolio jump in with a frenzied passion when the door seems to be opened a crack for him.


Check out my website for my journal/journey and more ideas about this production.
www.shakespearemiami.com
Any replies or ideas are welcome.
We’re doing Much Ado About Nothing, next summer, so if you have ideas, send them my way!

Just played Feste in Twelfth Night, amazing role.

Um... best advice without getting to specific would be keep it fun but probe some of the dark stuff too, I think.
Also, work with the Malvolio-Feste relationship. It can be pretty complicated (just like all the others...) Get Viola and Sebastian a similar repeated action or something like that to connect them.