synopsis of the comedy of errors
TRANSCRIPT
Egeon, a merchant from Syracuse, is arrested andcondemned to death for illegally entering Ephesus, a
rival city. Brought before Solinus, the Duke of Ephesus,Egeon tells the tale of his misfortune. Many years before,Egeon’s wife Emilia gave birth to twin sons. At the sametime, a lowerclass woman gave birth to another pair oftwin sons, whom Egeon bought to serve his twins. Sailinghome, Egeon’s ship encountered a huge storm andwrecked. Egeon’s family tied themselves to opposite endsof a mast—Emilia grabbed their youngest twin and oneservant boy, while Egeon took care of the eldest twin andthe other servant. The mast split in half, and Egeonwatched helplessly as his wife and son drifted away. Aship from Corinth rescued Emilia and a ship fromEpidaurus rescued Egeon; Egeon’s ship was too slow tocatch up with the other and the family was separated.Egeon returned to Syracuse and named the survivingboys after their lost brothers: his son, Antipholus, and theservant, Dromio. When Antipholus turned 18, he tookDromio with him on a quest to find his lost brother. Afterfive years, Egeon set out to find the son he had raised,and so his travels brought him to Ephesus. The Duke,moved by Egeon’s story, grants him until the end of theday to raise the thousandmark ransom that will save hislife.
Antipholus of Syracuse and his servant Dromio arrive inEphesus the same day disguised as natives ofEpidamnum. Antipholus sends Dromio to the Centaur, alocal inn, with their money and luggage. When Dromioreappears, it is not his own servant but his servant’stwin—Dromio of Ephesus who serves Antipholus ofEphesus. Dromio of Ephesus scolds Antipholus for beinglate coming home to his wife for dinner, and Antipholusof Syracuse in turn beats Dromio for denying that hereceived any money. Dromio runs off and Antipholus setsoff in search of his gold.
At the home of Antipholus of Ephesus, Adriana is fumingbecause her husband is late to dinner. Dromio of Ephesusreports that his master denied having a wife and refusedto come home. Infuriated, Adriana sets out to find herhusband. Dromio of Syracuse returns to Antipholus ofSyracuse when Adriana and her sister Luciana appear.Mistaking him for his brother, they convince Antipholusof Syracuse to come home with them to dine and instructDromio of Syracuse to stand guard at the door. WhenAntipholus and Dromio of Ephesus arrive, they find theirdoor locked against them. Enraged, Antipholus ofEphesus decides to give a gold chain that he ordered forAdriana to the Courtesan instead.
Meanwhile, Antipholus of Syracuse has fallen in love withLuciana, though she protests that he is married to hersister. The kitchen maid, Luce, claims that Dromio ofSyracuse is her love. Antipholus and Dromio decide thatboth women are witches and plan to leave Ephesus.Antipholus sends Dromio to book passage on the nextship. Angelo the goldsmith delivers the gold chain meantfor Antipholus of Ephesus to Antipholus of Syracuse.Antipholus of Syracuse tries to pay the goldsmith, but thegoldsmith insists he’ll collect payment later.
Antipholus of Ephesus, still angry at his wife, sends hisDromio to buy a rope’s end to beat Adriana. Angelo meetsAntipholus of Ephesus in the street and demands paymentfor the gold chain. Antipholus refuses to pay for a chain hehas not received and is arrested. As Antipholus is being ledaway, Dromio of Syracuse arrives to report that theirpassage out of Ephesus is booked. Antipholus instructshim to go to Adriana for bail.
As Antipholus of Syracuse walks about town wearing thegold chain, Dromio of Syracuse appears with the bailmoney. When the Courtesan appears and demands thechain he promised, Antipholus believes she too is a witchand makes a speedy exit. The Courtesan decides to go toAdriana and inform her that her husband is mad.
Dromio of Ephesus returns to his master with the rope’send. Adriana, Luciana, the Courtesan and Dr. Pinch arrive,hoping to cure the men of their madness. Antipholus andDromio of Ephesus are bound and taken away by thedoctor. Antipholus and Dromio of Syracuse appear withtheir swords drawn to fend off witches. The women runfor help, fearing the madmen have escaped. Adrianareturns to find Antipholus with his sword drawn. She callsfor him to be bound, but he and Dromio seek sanctuary ina nearby priory. The Abbess of the priory refuses to yieldthem up.
The Duke approaches with his prisoner, Egeon. Antipholusand Dromio of Ephesus have escaped from Dr. Pinch andare keen to explain their version of the day’s events. TheAbbess appears, with Antipholus and Dromio of Syracuse.For the first time, the two sets of twins are seen side byside. The Abbess recognizes Egeon as her husband, fromwhom she was separated in the shipwreck many yearsbefore.
The Duke grants Egeon a full pardon upon hearing theamazing tale. Antipholus of Syracuse is now free to declarehis love to Luciana, and all depart to end the happyreunion with a family feast.
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Synopsis of The Comedy of Errors
Floyd King as Dromio and Philip Goodwin asAntipholus in The Shakespeare Theatre’s TheComedy of Errors, 1993.
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SyracuseSyracuse, the home of Egeon and Antipholusand Dromio of Syracuse, is located on themodernday island of Sicily. The city wasfounded in 734 BCE by Greek settlers fromCorinth. Cicero, a famous orator and statesmanin ancient Rome, described Syracuse as thegreatest and most beautiful Greek city.
EphesusEphesus, located on the western coast of AsiaMinor (modernday Turkey), is where the playtakes place. It was also home to one of the SevenWonders of the Ancient World, the Temple ofDiana at Ephesus. The temple was constructed ofmarble and contained 127 sixtyfoot highcolumns and four bronze statues of Amazons.
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The Geography ofthe Comedy
A map of the area where The Comedy of Errors takes place, courtesy of Isaac Asimov’s Guide to Shakespeare.
SyracuseEphesus
There is no historical evidence of a feud between Syracuse and Ephesus. In fact, in the original play byPlautus on which Shakespeare based his work, the two rival cities are Syracuse and Epidamnum.Shakespeare may have chosen to use Ephesus instead because it was more familiar to Elizabethanaudiences as a major center of Christianity. When St. Paul arrived in the city to preach Christianity inthe first century CE, he met with great resistance from the Ephesians who worshipped Diana. InRoman mythology, Diana was the chaste goddess of the hunt and the moon. Shakespeare may haveused his audiences’ familiarity with the story—and the association of the city with a virgin goddess—tomake Emilia’s miraculous appearance as a nun from the abbey all the more amazing and resonant.
Scholars speculate that before moving to London,Shakespeare attended and then taught grammar
school in his hometown of StratforduponAvon. Oneof the cornerstones of an Elizabethan education wasa strong foundation in Latin, the language of ancientRome. Shakespeare probably learned and taughtfrom texts written in Latin, including poetry, oratoryand plays. It is no surprise, then, that the content andstructure of one of Shakespeare’s earliest plays, TheComedy of Errors, is based heavily on the form ofancient Roman comedy. Shakespeare borrowedmuch of his plot from the famous playwright Plautus,whose plays were produced between 205184 BCEand are the earliest works of Latin literature thatsurvive today.
Plautus, in turn, borrowed the plots and structure ofhis plays from ancient Greek comedies, adhering tothe unities of time, place and action set forth by theGreek philosopher Aristotle. Shakespeare, taking his
cue from Plautus, also adheres to Aristotle’s unities.(Shakespeare will do this only one other time in hiswhole career, in one of his very last plays, TheTempest.) Plautus used stock characters (such asservants and masters,) physical pranks and violence forcomedic effect. In The Comedy of Errors, Shakespearealso includes classical stock characters, slapstick humorand violence—for example, the Dromios are servantswho are beaten throughout the play for comedicvalue. Structurally, Plautine comedies often start with aformal prologue, set apart from the first act, whichprovides background information. Shakespeare used asimilar opening device. His prologue is much moreintegrated with the play as a whole. The Comedy ofErrors opens with a long speech in which Egeon,relating his woeful tale, provides the audience withthe necessary background to the play. The old man’sstory then frames the play; Egeon’s pardon and thefamily reunited give The Comedy of Errors a happyending.
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When in Rome… (I mean London)Shakespeare’s Roman Influence
Grammar school in Stratford, England, where Shakespeare probably studied Plautus and other Roman playwrights.
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Scholars agree that Shakespeare borrowed plotpoints directly from Plautus’ play, The Menaechmi.Like The Comedy of Errors, The Menaechmi includesa set of twins, separated at birth and reunited asadults in a foreign land after many hilarious instancesof mistaken identity. Shakespeare, not to be outdoneby the Latin master, adds a second set of twins to themix. Doubling the twins redoubles the errors ofmaster to servant, stranger to citizen, and husband towife, creating an actionpacked comedy for hisdemanding Elizabethan audience.
While The Menaechmi is the most frequently citedclassical source for The Comedy of Errors, Plautus’Amphytryon is just as relevant an influence.Shakespeare's treatment of identity and its fragilityare derived from this latter work. In the Amphytryon,the Roman gods Jupiter and Mercury take the shapeof a man named Amphitruo and his servant Sosia. Inthe central scene, the true Amphitruo returns frombattle and finds himself locked out of his house, whilehis Jupiter lookalike takes his place in his wife’sbedroom. Shakespeare includes this scene in his owncomedy, but with a slight twist. Antipholus ofEphesus is barred from his home while Antipholus ofSyracuse, mistaken for his brother, enjoys anincredible dinner prepared by his brother’s wife.
The Comedy of Errors and its Roman precursors, tovarying degrees, deal with the issues of identity,
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violence and servitude. In The Comedy of Errors,Shakespeare begins to examine themes that willreappear in later plays. Twins separated by shipwreckwill recur in the comedy Twelfth Night, which alsocontains scenes of mistaken identity. The questioningof identity will be the focus of several other comediessuch as A Midsummer Night’s Dream and As You LikeIt. In The Comedy of Errors, both the Syracusan andEphesan twins question reality and presume to havegone mad at different points in the play. Insanity is amajor theme in Shakespeare’s mature works such asHamlet and King Lear. Shakespeare will return to thetheme of families separated by tragedy and thenreunited in his later romances, particularly Pericles,which also contains a joyous family reunion scene thattakes place in Ephesus.
Early in his writing, Shakespeare relied heavily ontraditional forms of drama while exploring his ability topush beyond their limitations. Within the formalstructure of a Roman comedy, Shakespeare reveals hisability to push storytelling beyond traditional norms.As several disparate characters and pursuits tumbleinto chaos, the playwright keeps the story on coursetowards a satisfying conclusion through heightenedlanguage and an emotional depth not usually seen incomedies of his time. Although it may have begun asa schoolmaster’s Latin lesson, The Comedy of Errors iscertainly the work of an apprentice who will laterbecome a master.
Aristotle’s Unities
Almost two thousand years beforeShakespeare began writing, Aristotleoutlined the ideal components of a play (ashe saw them) in his essay Poetics.According to Aristotle a good play shouldinclude these three unities:
• Unity of TimeThe entire action of the play should take nomore than 24 hours, i.e. the play shouldtake place in one day.
• Unity of PlaceThe entire action of the play should be inone location.
• Unity of ActionEvery incident in the play should contributeto the main plot and there should be noirrelevant information or action.
Christopher DuVal as Dromio (on table), with CatherineCoulson and Jamie Peck in the 2004 OregonShakespeare Festival production of Comedy of Errors.
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In The Comedy of Errors, Shakespeare experimentedwith different types of comedy, making his
audience laugh in different ways. Some types ofcomedy, often called “high comedy,” appeal to ourmore intellectual sense of humor. Other types ofcomedy rely mostly on silly physical gags, sometimescalled “low comedy.”
High comedy has also been called “pure comedy”and often appealed to the more welleducatedmembers of the audience. One type of high comedyis verbal wit, or wordplay. Characters often outsmarteach other with words rather than with physicaltricks or traps. Shakespeare used puns and playedwith the multiple meanings of words to fashion jokes.In The Comedy of Errors, the Antipholus and Dromiobrothers have several skirmishes of verbal wit. TheDromios will often reply to a question or commandfrom their master with a pun, picking up on adifferent meaning of a word to create a joke. Theirmasters will respond in kind, creating a quickexchange of wordplay. Antipholus and Dromio ofSyracuse also have an extended series of jokes aboutNell, the kitchen maid who claims Dromio as her love.Comparing her large person to a globe, they make
jokes about where different countries would be foundon her body. The pair is able to make cracks bothabout the kitchen maid and the other Europeancountries which would have been familiar toShakespeare’s audience.
Another type of high comedy is satire. Satire is a mix ofcomedy and criticism, also known as “biting humor” orthe “criticism of life.” Satire is used as a way of makingfun of people and their style of living and often has anunderlying political message. Playwrights who arewriting a satire will often take a stereotype that appliesto a group of people and make it even bigger andmore extreme than before. For example, it is astereotype that all rich people wear fancy clothes.Therefore, the characters in a satire may wear clothingthat is exceptionally colorful and ornate in order toshow off this stereotype.
Low comedy is far more dependant on action andsituation to create comedic moments. The plot lines oflow comedies tend to be more silly or trivial than theplot lines of satires. The most popular form of lowcomedy is known as farce. Farce is very similar tosatire, but farce tends to be more crude in its humor.
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What are you Laughing at?
The cast of The Shakespeare Theatre's 19921993 production of William Shakespeare's’The Comedy of Errors.
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In addition to these categories of high and lowcomedy, there are certain comedic elements thatspan the different types of comedy. For example thereis incongruity, which is when characters in a play findthemselves out of place or in a different physical orsocial world than the one they are used to. Anexample of this in The Comedy of Errors would beAntipholus and Dromio of Syracuse findingthemselves in the world of Ephesus, which is both farand different from the world where they grew up. Thefact that they are in this new place and in a strangesituation is cause for most of the funny things thathappen to them throughout the play. Incongruity alsoinvolves the element of surprise. The fact that thesecharacters never seem to know what will happen tothem next makes the things that do happen to themall the more surprising and fun for an audience towatch.
Perhaps one of the reasons Shakespeare’s plays wereso popular (and remain popular today) was his abilityto combine elements of high and low comedy in asingle play. Even though The Comedy of Errors couldbe easily defined as a farce because of its use ofmistaken identity and slapstick physicality, there is agreat deal of verbal wit, incongruity and satirecontained in the story as well.
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Robson & Crane in Shakespeare’s Comedy of Errors, 1879. This comic duo’s partnership lasted 12 successfulyears.
Farce often includes dirty jokes and characters thatget into embarrassing or humiliating situations.However, much like satire, farces contain characterswho are exaggerated and over the top. Also, lowcomedies depend on funny plot devices as opposedto witty words. For example, mistaken identity was acommon plot device in low comedy whichShakespeare uses in The Comedy of Errors. Other lowcomedy plot devices include inopportune arrivals,misunderstandings and embarrassing occurrences.
Another important element of low comedy is the useof slapstick or physical comedy. The term slapstickcomes from commedia dell’arte, which is an old formof improvised theatre that began in Italy. Charactersin commedia plays used to physically beat each otherwith a paddlelike stick which had another stickattached to it. When an actor would hit anotherperson, one stick would hit the other, making a loudslapping sound. This made it sound like the actorwas being hit harder than he actually was. Thiscomedic element is used a great deal in The Comedyof Errors. There are several scenes in which theDromios are beaten by their masters during thecourse of the play. It is the repetition of the beatings,too, that adds comedy to the situation.
T he Comedy of Errors is oneof Shakespeare’s earliest
produced plays. The firstrecorded production in 1594took place at Gray’s Inn inLondon. The rowdy andovercrowded audience nearlybroke out into a riot during theproduction. They rushed thestage and the play could not becompleted. The productionhistory of the play has been wildand varied since that firstperformance. The zaniness andimprobability of two sets ofidentical twins being mistaken foreach other has led manydirectors to play up the farcicalaspect of the play, dismissing anydeeper philosophical musings,even to the point of questioning its authorship,adapting it to the point of mutilation, and adding lotsof music to delight audiences and distract them fromthe “ridiculous” story. But even as a young writer,Shakespeare was beginning to deal with the greatphilosophical questions he would wrestle withthroughout his career: What does it mean to behuman? Where is the line between appearance andreality? What makes up one’s identity?
Antipholus of Syracuse is the character who mostembodies this struggle in the play. He arrives in aforeign land in search of his identical twin brother, apart of himself and his family that has been lost for aslong as he can remember. Upon arriving in Ephesus,Antipholus is stripped of the identity of his nativecountry—he must disguise himself as someone fromEpidamnum, because Ephesus and Syracuse are atwar. If he is discovered to be Syracusan, he will besentenced to death (as we have seen happen toEgeon at the beginning of the play.) Soon thereafter,Antipholus loses everything that establishes hisidentity: his name and his appearance are somehowalready known to all the strangers he encounters. Hesuddenly is told that he has a wife to whom he mustbe faithful, even though he finds himself in love withher sister. His servant, Dromio, also finds his identitycuriously confused, and himself bound to a kitchenwench. This wench can claim him as her own evendown to his birthmarks, those undeniableconfirmations of identity: “the mark of my shoulder,the mole in my neck, the great wart on my leftarm” (III.ii.14546). Antipholus and Dromio of
Syracuse begin their adventure in mild confusion,wondering if they are asleep or awake. As the errorscontinue, they become more frantic in their loss ofidentity. In a panic, Dromio asks his master, “Do youknow me, sir? Am I Dromio? Am I your man? Am Imyself?” (III.ii.73) while the more metaphysicalAntipholus wonders, “Am I in earth, in heaven or inhell? / Sleeping or waking? Mad or welladvised?” (II.ii.21516). The prospect of losing theiridentity is so fearsome that two finally conclude thatEphesus is peopled solely by sorcerers and witchesand they must immediately flee. The confusion onlyends when the two sets of identical twins meet aliving, breathing mirror of themselves; as Dromio ofEphesus tells his twin, “Methinks you are my glass andnot my brother” (V.i.419).
Shakespeare’s characters, even though they areridiculous, have to struggle with larger issues ofidentity. What makes up a person’s identity? What arethe implications of suddenly finding a human beingexactly like oneself? Having grown up so far apart, dothe sets of twins have different personalities, or dothey share an unspoken connection?
Directors of the play have dealt with (or ignored)these issues in different ways. After the initial illfatedperformance at Gray’s Inn in 1594, The Comedy ofErrors was revived ten years later at Whitehall palaceand then disappeared from the stage for over ahundred years. In the mid18th century, manyadaptations loosely based on Shakespeare’s play were
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“ Methinks you are my glass and not my brother” (Act 5, Scene 1)
Staging The Comedy of Errors
Peter Riopelle (left) as Dromio of Ephesus and Paul Riopelle as Dromio of Syracuse in TheComedy of Errors, Utah Shakespearean Festival 2003.
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staged in London. These adaptations included the1716 farce Every Body Mistaken, the 1734 DruryLane production See if You Like It, or ‘Tis All a Mistakeand Thomas Hull’s 1790 adaptation at CoventGarden which significantly expanded the wooingscenes to make the play more romantic. In fact, manytheatremakers around that time thought they coulddo a better job with the play than Shakespeare. W.Woods created a twoact adaptation of the playcalled The Twins, or Which is Which?, performed atthe Theatre Royal in Edinburgh and published in1780, which shortened Shakespeare’s fiveact versionconsiderably, so that the audience, according toWoods, had “less time to reflect on the improbabilityof the events.”
Perhaps the most absurd of these adaptations wasproduced by Frederick Reynolds in 1819. Reynoldscreated a musical extravaganza from the play, cuttingthe text severely but adding additional material fromShakespeare’s other works. According to the titlepage, the script included, “Songs, Duets, Glees, andChoruses, Selected entirely from the Plays, Poems andSonnets of Shakespeare.” Reynolds added a huntingscene to Act 3 and a drinking party to Act 4, as wellas including songs from Love’s Labor’s Lost, Antony &Cleopatra, As You Like It, The Merchant of Venice,and Othello. The play also included some text fromrival playwright and poet Christopher Marlowe, andconcluded with a medley of songs from AMidsummer Night’s Dream and The Tempest. Criticsat the time loved the production, and thought theaddition of music from throughout Shakespeare’scanon was just the thing to improve the silly play.
In 1855, Samuel Phelps produced The Comedy ofErrors at Sadler’s Wells. Phelps restored much ofShakespeare’s text to the original, as he did with somany of Shakespeare’s plays that had been heavilyadapted throughout the 18th and 19th centuries.This was perhaps the first nonadapted version of theplay produced since Shakespeare’s lifetime.
In the 20th century, directors began looking at TheComedy of Errors in a new light. In 1938, the Russiandirector Theodor Komisarjevsky produced the play inStratford. His set was stylized and he crammed everysingle building mentioned in the text onto the stage,creating a nonrealistic crowded urban scene.Another notable element of his production was agiant clock on the back wall which would chime thehour. The hands would whirl around to show thepassage of time, highlighting how critical time is tothe play—since Egeon has until 5:00 to find the bailmoney or he will be executed. Emphasizing thisserious lifeordeath element of the story gave anurgency to the play not seen in the merely farcicalproductions. The Comedy of Errors continued to beadapted, though—in 1938 it became a Broadway hitmusical, adapted by Rogers & Hart as The Boys fromSyracuse.
In 1962, Clifford Williams directed a production at theRSC which was critically acclaimed for the sad,
moving performance of Egeon as well as for thedeeper interpretation of Antipholus of Syracuse,showing flashes of fear and bewilderment as hewanders through a strange city without his identity.The second half of the 20th century has broughtmany varied productions of The Comedy of Errors,which has been redeemed by directors and scholarsalike as being a farcical play with some serious themes.In 1987, the Flying Karamazov Brothers created aromp of an adaptation of the play which was literally acircus—including jugglers, firebreathers, bellydancersand other vaudeville and circus acts.
Directors have also begun to play with doubling theroles of the twins. In Ian Judge’s 1990 RSC production,he cast the same actor as both Antipholus brothersand another actor as both Dromios. The 1984 BBCTelevision production did the same, casting MichaelKitchen as the Antipholus brothers and The Who’sRoger Daltrey as the Dromios. The doubling of theseroles creates some staging problems, particularly in thereunion scene. Directors on stage have found creativesolutions for this, including body doubles. On film theproblem can be solved with editing. In terms of theidentities of the Antipholus and Dromio brothers, thiscasting choice makes a strong statement about theplay. Some critics have complained that casting thesame actor in both roles does not show enough of adifference between the two characters’ personalities.However, casting two different actors as the twinscreates its own problems. How does a director makean audience believe two different actors are identical,even though they are just dressed alike? Directorscontinue to find varied solutions to the problems ofidentity presented in The Comedy of Errors as itcontinues to be produced across the globe.
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Thomas Hull, one of the many 18thcentury adapters of The Comedy ofErrors.
Classroom Connections Before the performance...
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Abuse & Violence in the Play
In The Comedy of Errors Shakespeare uses violence,especially between masters and servants, for comediceffect. Similar to the tradition of “slap stick” in commediadell’arte, characters are violent with each other toemphasize their class differences and to get the audienceto laugh. Have students find examples of violencethroughout the play, especially between Antipholus andDromio. How does Shakespeare use the violence tocreate comedy? Discuss how a director might create thisviolence on stage. Prepare to look for it while watchingthe play, and discuss what works or doesn’t work afterseeing the performance.
Servants & Bondsmen—Status in The Comedyof Errors
Status plays an important role in Comedy of Errors. Asservants, the Dromio brothers have lower status than thetwo Antipholus brothers, their masters. Because he is aruler, the Duke of Ephesus has the highest status in theplay. Explore status by having students walk around theroom as if they were Dromio. When they encounteranother student, the two play “Rock, Paper, Scissors.” Thewinner then becomes Antipholus, the loser remainsDromio. As more students become Antipholus, they mayfind other students who are of the same status and play“Rock, Paper, Scissors” with them. The winners becomeDukes and the losers return to Dromios. Students mayonly play with others of the same status. The winneralways increases in status; the loser decreases. At eachstage, encourage students to explore how they showlower and higher status with their bodies as they interactwith the other students in the room. How is an encounterwith someone of equal status different than with thosewhose status is higher or lower? How does it feel to beDromio? Antipholus? The Duke?
Mistaken Identity
Loss of identity and mistaken identity are essential issuesin The Comedy of Errors. What are the components ofour identities? Ask students to define who they are bycreating an “I am From” poem. Ask students to answer ona piece of paper:
• Where were you born?• Where did you grow up?• What is a typical meal you remember from your
childhood?• What is one of your parent’s famous sayings?• What did you do on Sundays when you were a kid?• Who is the person that was most helpful to you as
you grew up?Other questions about memories or personal informationcan be added. Ask students to compose statements thatbegin with “I am from…” using what they have writtenand adding anything else they want. They should beencouraged to play with rhythm and flow. Students canthen get in small groups and perform each other’spoems. Ask students what they learned about identity.Ask students to discuss or journal about what wouldhappen if the memories and information that create“who we are” were suddenly erased?
Twins in Shakespeare & Popular Culture
The mistaken identity of twins is a comedic device thathas been used for centuries. Shakespeare uses the deviceseveral times in his own work. Where can we find thisdevice still used today in popular culture? From Sister,Sister to The Parent Trap to Mary Kate and Ashley, theconfusions of identical twins can always be used for alaugh. What is the value of returning to a classic device inwriting? Do students think that the use of twins in TheComedy of Errors is an example of Shakespeare workingcleverly within a classic construct, or does theimprobability of the situation with two sets of twins makeit too ridiculous to be believed? What are some othercommon comedic situations that Shakespeare uses in theplay?
Verbal Comedy
The Antipholus and Dromio brothers continually try tooutdo each other with their verbal wordplay. Reread Act2 Scene 2 lines 1120 and Act 3 Scene 2 lines 75180.What is the nature of Antipholus and Dromio’s verbalsparring? What kinds of verbal comedy are populartoday? Ask students to write a scene in which two friendstry to top each other with the cleverest joke. What kindsof things were funny in Elizabethan times that may needto be recontextualized today?
Classroom Connections …After the performance
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Ending Without Words
Antipholus of Syracuse has been searching for his twinbrother for years, yet when they are finally reunited atthe end of the play, almost no words are exchangedbetween them. Since there are no words, it is necessarythat their feelings be conveyed nonverbally in theperformance of the play. Split students into severalgroups that are big enough to perform a piece of thefinal scene. Give each student playing one of theAntipholus brothers an emotion to demonstrate, such asoverjoyed, disappointed, distraught, hysterical or angry.Have each group perform their scene. How do thedifferent emotions change the meaning in each scene?Does it make the ending more complete, or does it stillseem unfinished between the brothers?
Adapting Shakespeare
Plays by Shakespeare are often adapted into movies, newplays or even musicals for the stage. The musical WestSide Story is based on Romeo and Juliet, for example, andthe movie O is based on Othello. Having seen theShakespeare Theatre Company’s production of TheComedy of Errors, how could you imagine it beingadapted into a new play, musical or movie? What wouldyou change about the setting or characters to make itmore enjoyable for a contemporary audience?
After the Celebrations
At the end of this crazy comedy, the Antipholus andDromio brothers are reunited with each other and withtheir mother and father, Emilia and Egeon. The last timewe see them, they exit the stage to feast and celebrate.What do you think happens to this family after the play isover? Ask students to write a scene, several days, weeksor even years down the road, about the group adjustingto family life. What issues might come up between familymembers who have grown up apart? Do you think thatthey share an unspoken connection, or will there betensions between them? Where will the family live, inEphesus, Syracuse, or in a different city altogether? Askstudents to create answers to some of the questions thatremain unanswered by the “neatly” tied bow at the endof the comedy.
Casting The Comedy of Errors
Divide students into 68 groups and assign each group acharacter in the play. Ask each group to write adescription of their character. Discuss the quality andfunctions of each role: leading man, best friend, etc. Askthe students to make the decisions of a casting directorfor a new bigbudget Hollywood remake of The Comedyof Errors. Casting only living actors, who would play thelead roles? Are the casting choices justified, logical, funnyor wacky? What attributes does each actor share with therole? How would students handle casting the twins? Askstudents to prepare a character collage from magazineslike Entertainment Weekly and write a short explanation.
Separation & Reconciliation
Separation is a theme of both Shakespeare’s comediesand tragedies. In tragedies, however, these separationsremain permanent, while in comedies the separatedcharacters are “happily” reunited. The Comedy of Errorsends happily, but the last scene comes very close to beinga tragedy. Discuss what would have happened if Egeonhad not seen his son right before his execution. If theerrors of the day were never explained, would Antipholusof Ephesus have ever forgiven Adriana for locking himout? Would Antipholus and Dromio of Syracuse havereturned home only to find Egeon had disappeared? Inwhat other ways could this story have ended up as the“Tragedy of Errors?”
The Comedy of ErrorsBooks or Essays on The Comedy of Errors• Brooks, Harold. Themes and Structure in The Comedy of Errors. Prentice Hall, 1965.
• Charney, Maurice. Shakespearean Comedy. New York Literary Forum, 1980.
• Huston, J. Dennis. Shakespeare’s Comedies of Play. Columbia University Press, 1981.
• Kinney, Arthur F. A Modern Perspective on The Comedy of Errors. Washington Square Press.1996.
• Muir, Kenneth, ed. Shakespeare: The Comedies. Prentice Hall, 1965.
• Whitworth, Charles. Introduction to The Comedy of Errors. Oxford University Press, 2002.
Books on Shakespeare and Teaching Shakespeare• Asimov, Isaac. Asimov’s Guide to Shakespeare. Doubleday, 1978.
• Epstein, Norrie. The Friendly Shakespeare. Penguin Books, 1993.
• Gibson, Janet and Rex Gibson. Discovering Shakespeare’s Language. Cambridge UniversityPress, 1999.
• Gibson, Rex. Teaching Shakespeare. Cambridge University Press, 1998.
• Kermode, Frank. Shakespeare’s Language. Allen Lane, The Penguin Press, 2000.
• Linklater, Kristin. Freeing Shakespeare’s Voice. Theatre Communications Group, 1992.
• Pritchard, R. E. Shakespeare’s England. Sutton Publishing Limited, 1999.
• Papp, Joseph and Elizabeth Kirkland. Shakespeare Alive. Bantam Books, 1988.
• Reynolds, P. Teaching Shakespeare. Oxford University Press, 1992.
Websites• daphne.palomar.edu/shakespeare—Mr. William Shakespeare and the Internet.
• www.bardweb.net—The Shakespeare Resource Center.
• www.sgc.umd.edu—Shakespeare’s Globe Center USA.
• hrsbstaff.ednet.ns.ca/engramja/Svtour.html—Shakespeare: A Virtual Field Trip.
• renaissance.dm.net/compendium/home.html—Life in Elizabethan England.
• www.shakespeare.org.uk—Shakespeare Birthplace Trust
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Resource List