As I mentioned last week, the script is the foundation of our work at the American Shakespeare Repertory. In preparing our scripts, we try to find the right balance between preserving the clues of performance and meaning preserved in the original texts, while still benefiting from the insights gleaned from 400 years of scholastic study. We’re also looking to create a document which is easy to use in both rehearsal and performance.

The script of our first production, Macbeth, is fairly representative of the process.

THE BASE TEXT

I start by pulling a base text, which is usually taken from the Moby Shakespeare public domain ASCII text versions hosted by James Matthew Farrow. My primary reason for using a base text is to avoid needing to re-type the entire script (which I know, from previous experience, would greatly increase the likelihood of error). I treat the base text as if it were a faulty document in need of proof-reading, and the master copy I’m comparing it to is the original versions of the play published during Shakespeare’s lifetime or in the First Folio of 1623.

In the case of Macbeth, that means the version of the play printed in the First Folio. (If the First Folio had never been published, Macbeth, like hundreds of other Elizabethan and Jacobean plays, would have likely been lost to the world.) In order to access that text, I refer to both the printed facsimile edition that I own, or to one of several photo facsimiles available online. (Like the one hosted as part of the Furness Collection by the Schoenberg Center for Electronic Text & Image, which you can view here.)

PRINCIPLE OF MINIMAL EMENDATION

My goal, however, is not to produce an exact duplicate of the First Folio in modern text. (If I needed that, I could simply buy the The Applause First Folio of Shakespeare in Modern Type.) While I find it fascinating to study the original documents on which our knowledge of Shakespeare is based, that study also makes me aware of how imperfect those documents are. They are documents in need of repair, and for 400 years brilliant, talented, and insightful people have been working to make them better.

In order to tap into that accumulation of knowledge, I reference a lot of different sources: The Variorum editions of many plays (including the Variorum edition of Macbeth, which can be viewed online) provide an invaluable insight into early scholastic traditions, while a collection of more modern editions (such as the Arden, Folger, and Oxford editions) with a variety of supplementary reading provide the rest.

But while I want to take advantage of this accumulation of knowledge, I’ve also found that most modern texts can suffer from that accumulation of knowledge: In some cases, editorial errors have become scholastic traditions. And many of the things done to make the texts “accessible” actually obscure Shakespeare’s original intentions.

So in working from my base text for Macbeth, I am “reverting” it to the original text of First Folio while applying what I refer to as the Principle of Minimal Emendation: I will only alter the text when the text doesn’t make sense as it stands.

Perhaps the most significant aspect of this principle applies to punctuation: While many editors are careful to wield nothing more than a scalpel when considering which words to change in the text, virtually all modern editions have punctuation which bears only the slightest resemblance to those found in the original texts. And while we certainly have plenty of evidence that the type-setters responsible for creating those texts may have also played fast-and-loose with Shakespeare’s punctuation (at best), it’s also true that a shift in punctuation can also create large shifts in meaning.

CONFLATION

Once I’ve fully prepared a complete version of the script, I still need to prepare a conflated version of the script for our production.

Shakespeare’s plays include dozens of characters. (Macbeth, for example, includes thirty-nine different characters.) While it’s certainly possible to cast a different actor for every role, this is rarely done. It wasn’t even typical in Shakespeare’s own theater. (Our own reading of Macbeth featured only 16 actors.)

Instead, modern productions will reduce the number of actors required through three techniques:

Doubling, in which a single actor portrays multiple roles throughout the play.

Conflation, in which the lines for one character are given to a different character (in order to eliminate a role from the play).

Cutting, in which entire roles are simply removed from the play.

Our conflated scripts feature a combination of all three techniques, although we rarely resort to outright cutting (since our desire is to fully explore the texts).

THE TEXT

We’ll be providing digital copies of all our scripts, starting with Macbeth, in both conflated and unconflated forms:

MACBETH – FULL SCRIPT

MACBETH – CONFLATED SCRIPT

It’s certainly easy enough to find Shakespeare plays online, but while these editions aren’t proper scholastic editions (they’re quick, dirty and effective instead of being fully reviewed), we believe that our scripts are particularly valuable for those looking to stage the plays. (Our script for Romeo & Juliet, for example, has already served as the basis for four full-scale local productions.) In particular, we find these scripts valuable because they indicate how they’ve been altered from the original texts.

In the case of Macbeth, please note that:

1. All emendations have been indicated to with [square brackets].

2. Speech headings have been silently regularlized.

3. Names which appear in ALL CAPITALS in stage directions have also been regularized.

4. Spelling has been modernized.

5. Punctuation has been silently emended. (Although only in a minimalist fashion, as described above.)

(Intriguingly, even these minimal procedures can still have a significant impact on meaning. For example, the character that we casually think of as “Lady Macbeth” virtually never appears as such in the text itself. She is almost always referred to as “Lady” or “Wife”. The subjection of personal identity into societal role can have a profound impact on how we interpret her actions and her motivations.)

Originally posted September 9th, 2010.

Probably the most interesting thing about #gamergate and #notyourshield is how clearly they demonstrate the ease with which movements without centralized organization can be trivially stigmatized by selectively focusing on extremists within the movement.

You saw the same thing with Occupy a couple years ago and you’re going to see a lot more of it: The rise of mass social media platforms allow large, populist, grassroots movements to spontaneously organize… but they also mean that literally any crackpot within that movement has access to the loudspeakers.

You can argue that this is a “no true Scotsman” fallacy, but it’s more of an open question: There are going to be crazy Scotsmen. You’re going to have to decide whether you’re going to write off every single Scotsman because of the crazies or whether you’re going to consciously develop a better and more nuanced filter.

And before you make that decision you should take a moment to reflect on this: All of those ideologies and movements you self-identify with? They’re full of crazy people, too.

THE PRIMITIVE TRIBALISM

Your immediate response to that may be, “There are no crazy people in my ideology!” And, frankly, that’s part of the problem here

Human nature gravitates towards fierce tribalism: We filter out or subconsciously minimize the bad behavior of people in our own groups, but we instinctively cherry-pick the bad behavior of groups we don’t identify with and quickly assume they’re representative of the entire group.

For example, you may be among the people who consider #gamergate to be nothing but a bunch of misogynists throwing around death threats. More power to you. But let’s apply the same standards to a few other groups:

Michael Bay receives a lot of death threats for making shitty movies. (Particularly shitty Transformer movies.) Does this mean that everyone who dislikes a Michael Bay movie is a terrorist?

During the George W. Bush administration there were a lot of Democrats who sent him death threats. Does this mean every single Democrat is a scumbag? Do the death threats received by Obama make every single Republican a psycho?

Christian Ponder and his wife were digitally stalked and repeatedly threatened with death because Christian Ponder isn’t a great NFL quarterback. Does this mean that all football fans are assholes?

RPGPundit is an asshole… does this mean that D&D 5E is terrible? Does it mean that people who play RPGs in general are assholes?

When you dip your brush in tar you can choose to paint carefully with it or just spray it around the room without care. The first question you have to ask yourself is whether or not that’s fair to the people you’re tarring. The second question you have to ask yourself is whether or not you, personally, are being best served by surrendering to these tribalistic instincts: Is your life richer or better because you’re vilifying entire ideologies for the actions of some of the people who profess belief in them? Or are you robbing yourself of a deeper and richer understanding of the world around you?

 THE ESCALATION OF TRIBALISM

The other thing to consider is the degree to which the tar-spraying is directly contributing to the problem. And #gamergate actually provides a great example of how this tribalism senselessly escalates.

There are a lot of narratives that can be constructed around the origins of the #gamergate movement, but for our purposes I’m going to start by looking at one of the earliest controversies involving Zoe Quinn: Her accusation that the Wizardchan board harassed her.

Zoe’s version of this event is relatively simple: Two anonymous users on a site with several thousand registered users posted messages which were hostile towards her and misogynist in general. She then received phone calls which she assumed came from the Wizardchan users. Her conclusion was that the entire Wizardchan board was targeting her for harassment.

Some people have questioned Zoe’s truthfulness. Some people have claimed that she deliberately manufactured the “crisis” in order to generate free publicity for her game. But the only thing required for this situation to exist is simple tribalism: Zoe (and her supporters) identified the Wizardchan board as being the “other”, saw the bad behavior of a few, and decided that it must be representative of the entire board.

Of course, it doesn’t end there.

People from Wizardchan put together a series of compilation rebuttal images attempting to demonstrate that the bad behavior was not representative of the board in general. These images then attempted to “turn the table” on Quinn by accusing her of all sorts of bad behavior and then culminated in this:

So, when she saw the posts, she saw the perfect opportunity to get what she wanted: like many before she used those to make up a situation where she was the victim of harassment, hoping to get pity and, by proxy, fame and recognition.

And then goes onto a list a number of other women who have reported abuse in order to cast doubt on all their claims.

As we previously assumed that everything Zoe Quinn said was true, let’s now assume that everything the Wizardchan defenders claim was true: Why should that suddenly villainize the entire class of “women who claimed game-related abuse”?

Well, for the exact same reason that Quinn attacked Wizardchan in the first place. Only the polarity has been reversed.

In this, we can see how this tribalism needlessly escalates antagonism: Zoe attacks a community because of the actions of a few members of that community. The members of that community, being attacked, react by attacking the entire group which Zoe is only one small part of.

Fast forward several months later and we can see the exact same dynamic of Mutually Assured Tribalism continuing: The anti-GGers claim that the death threats coming from other anti-GGers must be “false flag” efforts because they would never do such a thing; the GGers claim that the anti-GGers who are being doxxed must be faking it because no true GGer would ever do such a thing.

Deny the bad behavior of your own tribe. Seek out the bad behavior of other tribes. It’s a vicious and painful circle unless you can muster the willpower to rise above it.

THE USELESS EXPECTATION OF GODLIKE POWERS

This, however, leads to another excellent example of tribalism at work: The loud and self-righteous claims that, “If Group X wasn’t really for killing kittens then the members of Group X would stop other member of Group X from talking about kitten killing!”

There are two major problems with this. First, it’s built upon the false expectation that the members of Group X possess some sort of godlike power to control the voice of everyone else in Group X. (In the era of mass social media there’s simply no reason to expect that to be true.)

Second, in practice it’s generally just a slightly more sophisticated manifestation of tribalism: You are ignoring the people in Group X who are disavowing the bad behavior of their “comrades” because you’re subconsciously cherry-picking the bad behavior. (This often takes the form of rationalizing away the disavowals using some variation of “they’re just pretending; after all, we know they’re all bad guys, right?”.)

The fun part is that this really ramps up the tribalism: Since you’re open to the good stuff people on your “side” are doing, you acknowledge all the people on your side disavowing the bad behavior. Then you see people on the “other side” claiming that nobody on your side is disavowing the behavior. Clearly those people are lying… and since you stigmatize the entire group based on the behavior of the few, they must all be liars. So you call them liars and… oh, hey. Now you’re one of the guys engaging in bad behavior. (Which, of course, means that everyone on your side engages in bad behavior, which results in the other side… Rinse. Wash. Repeat.)

THE MORAL OF THE STORY

Shitty people are everywhere.

Does this mean we should ignore them? Or tolerate them? Or wink at their “little indiscretions” (which are actually horrific more often than not)?

Absolutely not.

But we also shouldn’t empower the assholes to discredit entire ideologies through the mere fact that they self-identify with those ideologies. And that remains true even if a particular asshole is expressing their jackassery through the ideology: Someone claiming that all men should be murdered doesn’t mean that women suddenly no longer deserve the right to vote. Reprehensible people making criminal threats against Anita Sarkeesian’s life because her videos aren’t very good don’t make her videos immune to all criticism.

Of course, none of this is going to make the shitty people go away. In an era of mass social media, the megaphones are too cheap, too readily available, and too easy to hear. But you’ll improve your own life by keeping your mind open (instead of locking whole swaths of humanity out of it). You’ll improve the public discourse by continuing to contribute to it (instead contributing to tribalistic feuds).

And I think you’ll also find yourself a lot less angry and depressed at the world around you. Because while there may be shitty people everywhere, there’s not nearly as many of them as those trapped in tribalism would like to think.

Numenera features player-facing mechanics: Whenever an action requires diced resolution, it’s always the player who rolls the dice. If a PC is being attacked, the player rolls to dodge. If the PC is attacking, the player rolls to hit. There are a lot of advantages to this system, particularly in the ways that it seamlessly interacts with the pool-spend, GM intrusion, and difficulty adjustment mechanics.

But the drawback of player-faced mechanics is that they can’t be used to resolve contests between NPCs. Numenera opts for one of two relatively straightforward work-arounds (to be used at the GM’s discretion):

(1) In keeping with other mechanics in the system, the NPC with the highest level automatically succeeds.

(2) If that’s undesirable for some reason, “the GM should designate a player to roll for one of the NPCs. Often, the choice is obvious. For example, a character who has a trained attack animal should roll when her pet attacks enemies.”

The problem with this method is that, because of the way NPC stat blocks and pools work in Numenera, the result doesn’t factor in the NPC’s skill whatsoever: There is no modifier applied to the roll, so an NPC that’s level 2 at attacking has the exact same chance of hitting an NPC opponent as an NPC that has a level 7 attack.

What makes the problem even more vexing is that a large number of character options feature allied NPCs (like the aforementioned trained attack animal).

NPC ALLIES

NPC allies have an effort pool equal to level x 3 per day.

NPC allies also gain one recovery roll per day. This recovery roll can be used as an action at any time, restoring 1d6 + level points to their effort pool.

When rolling for an NPC, adjust the die roll by +1 or -1 per difference in level. For example, a level 5 NPC attempting a level 3 task would gain a +2 bonus to their die roll. The same NPC attempting a level 7 task would suffer a -2 penalty to their die roll.

DESIGN NOTES

These rules are short, simple, and to the point. They present a minor disruption to the purely player-faced mechanics, but without bulking out an NPC to have the same complexity as a PC. (In terms of utility, it’s particularly important that the mechanics don’t actually require a specialized NPC stat block: The effort pool can be easily derived from any existing NPC or creature.)

In actual play, the addition of the effort pool provides just enough interest to make running an NPC ally interesting while the level adjustment to the die roll for NPC vs. NPC actions provides enough distinction between characters that their interactions don’t feel flat or artificial.

These rules can be found in the “House Rules” section of my Numenera system cheat sheet.

The first thing to say about Big Hero 6 is that it’s a ton of fun wrapped in a beautiful aesthetic surrounding well-earned emotional heartaches and catharsis. If you’re the type of geek who’s likely to be reading this website, then you’re probably going to adore this film.

With that being said, I was interested in the way that Big Hero 6 failed to be an ensemble movie: It comes very, very close (featuring a diversity of interesting characters in supporting roles), but ultimately misses the opportunity. (And that’s not necessarily a bad thing for the film, which instead succeeds very well at being a film about its protagonist.)

I found myself making an easy comparison to The Incredibles, which is in many ways a completely different movie but which also features the formation of a team of superheroes. But whereas Big Hero 6 just misses being an ensemble piece, The Incredibles is a very successful ensemble piece.

The key distinction here is that all four main characters in The Incredibles are fully developed while each possessing a full narrative arc (which is also connected to the overall narrative arc of the ensemble). This is contrasted to Big Hero 6 where all five members of the team are given unique personalities and great dialogue… but notably lack fully developed arcs.

The reason I bring this up is that I noticed that a key difference between the films is that The Incredibles featured multiple sequences in which the main characters are separated from each other, whereas Big Hero 6 basically did not.

So what I’m saying here is:

SPLIT THE PARTY.

Because it’s a really effective way to allow individual characters to develop identities separate from the group identity. (Which will, ironically, enrich the group identity.)

(More on splitting the party over here.)

The Complete Readings of William Shakespeare project is about more than just grabbing a Shakespeare script and jumping in front of an audience. Our advertising slug will tell you that the series presents a unique opportunity to experience these plays in a way that hasn’t been possible since the King’s Men originally performed them 400 years ago. But there’s more to that than just a novelty: We think there’s something exciting, for example, about seeing the cycle of history plays literally unroll before your eyes with a continuity of character and actor.

As a member of our audience, you’re getting a chance to discover things that can only be seen when Shakespeare’s plays are viewed a living body of theatrical work. And part of what we hope will make that experience memorable are the discoveries we’re making as performers. The American Shakespeare Repertory wants to delve deep into the rich depths of Shakespeare’s plays, and we believe that the Complete Readings will prove to be a powerful foundation on which the future work of the company will be built.

That work begins with the script.

BRIEF HISTORY OF SHAKESPEARE’S TEXTS

As many of you probably already know, we have inherited our Shakespeare scripts from an eclectic variety of sources. No manuscript copy of a complete Shakespeare play exists. Instead, the earliest version of Shakespeare’s plays we possess are quartos which were printed in the 1590’s. (Quartos were roughly the cultural equivalent of modern paperbacks.) These were sold by at least half a dozen different publishers, many of whom apparently didn’t possess any sort of authoritative (or even complete) copy of the plays they were publishing. The next milestone in Shakespeare publication was the famous First Folio of 1623, without which many of his plays would have been permanently lost. (Folios were much larger volumes.)

These various editions were reprinted and reissued in a variety of ways over the next hundred years, with each subsequent printing accumulating a fresh set of errors and variants. The modern editorial tradition began in the 18th century, as editors attempted to return to the earliest versions of each text in an effort to produce a more authoritative edition. Modern editions of Shakespeare generally follow the same basic practices established in the 18th century:

1. Modernization of Spelling

2. Regularization of Punctuation and Verse

3. Emendation of Text

Because every editor makes different choices (particularly when it comes to texts which exist in more than one original edition), every edition of a Shakespeare play is slightly different from every other edition of the same play. But over the past couple hundred years, each play has generally (and slowly) accumulated traditions of emendation.

THE COMPLETE READING SCRIPTS

This accumulation of emendation is generally a good thing: When one editor finds a particularly apt solution to a textual problem, other editors copy their work and then try to find other ways to repair the text of the play.

But sometimes the best choice (or the seemingly best choice) eliminates other choices that might also bear fruit if fully pursued. An actor or director, in particular, will scour a play’s script looking for the clues buried within it. And sometimes modern editorial practices can resemble a criminal wiping away the fingerprints at a crime scene: Important information can be lost.

Which is why every Complete Reading is based on a freshly prepared script specifically designed to preserve as many of those clues as possible (while also conveying all the benefits of a fully modern edition).

The script used for our first reading, Macbeth, which I’ll be sharing next week, is fairly representative of the process.

Originally posted September 8th, 2010.