Mid-flow, everything screeches to a halt. Mid-pentameter “doth” and I am thinking, what the Hell am I doing? Sacrilege to mess with Shakespeare. Where do I get off?
How do I marry the archaic language to a heightened, but accessible language? And then there is the fact that my lines just beg to run into hexameters. Alexandrines. I have no idea why. But I am tired of fighting it.
So be it.
But then there is the question of whether I should toss out all of the names and give the characters new ones. I find myself giving Regan’s lines to Goneril to better build their spines and distinguish one from the other, as I see them in my story. I’m thinking someone in the audience is going to be scrolling through their memory at that point, instead of following the dialogue.
On the other hand, why not. Regan has digested Cornwall. Kent, the Fool. This is not an exercise in paraphrasing doctrine. More like sampling. And drawing from the well that is deeper than even Shakespeare.
Shakespeare’s passages as Easter eggs in something new. Nothing really new here in terms for “stealing”.
Weird that I trip up today with needing “permission” suddenly. This whole thing should be a fun romp. Not a comedy, but a romp, nonetheless.
No tragedy should take itself so seriously as to border on any kind of reverence. That’s unnatural.
And definitely makes for Deadly Theatre – eh, Brook?