How would you perform the role of BottomIn Act 1 scene 2?

Bottom is one of the group called the mechanics and he is an central comic character and is the only mortal to enter the world of fairies. In this scene we are introduced to him for the first time and he is one of a mass of workmen who offer a complete contrast to the world of fairies that we saw previously. In the scene a group of artisans discuss the lam they are going to fare as part of Theseuss wedding celebration. The play is entitled, The closely lamentable comedy, and most cruel death of Pyramus and Thisbe. cock Quince takes a roll call of the actors and turn all over out their parts. Bottom the weaver clears the jumper cable role of Pyramus, which pleases him because he is super-confident of his acting abilities. Bottoms costume give reflect his status as a weaver, so wherefore his costume might be torn or dusty. His dramatic status is important because he is a dominant, full of self-importance and eager to dominate the merging of this band of amateur actors.I wou ld also defend his costume quite colourful, to reflect his happy, enthusiastic and quite over bearing character. My performance would be influenced by my physical appearance and vocal propertys. I see Bottom as a tradesman in his forties, taller than the others and of portly build, in fact I would ask him to be physically larger than life and his accent Devonshire in cadence and with a raucous singing vowelise.In this scene, my performance would have to reflect the aspiration mingled with Bottom and Quince. In the beginning of the scene, Quince who is in charge, would walk in rather proud, with an upright posture, and with head held high, maybe greeting the workmen by shake their hands and smiling, as he doesnt want to make enemies and wants them to do what he requires and to ignore Bottom. He would probably forget to acknowledge Bottom and walk non bad(p) past him to place him in his place. Bottoms first line You were best to call them generally, man by man according to t he scrip, shows that despite Quinces dislike for him, and the attempt to begin his confidence, he is still extrovert and larger than life. It was directed to Quince and in playing this part I would make my voice domineering brasslike and give-up the ghost in close to Quince trying to intimidate him, as he is smaller than me. Quince would also be centre point in time, as he is nearly the focal point and is meant to be in charge of the other actors, who would be sitting down, smell up to him.Bottom would stand up in point to compete with Quince and try to push him out of the way or maybe stand in front of him to block him completely. My intention would also to get people to like me and to establish a friendship with them by shaking their hands. I would then break off from doing this to say First steady-going Peter Quince, say what the play treats on.. in a forceful manner and then get closer to Quince, snatching the scroll out of his hand, as if to take over the account myse lf.There would be complete scuffle between them as they fight for passion of the script, and this could be created genuinely comically using large exaggerated gestures and their voice could turn into a crescendo, getting louder to get their point across without the other interfering. As bottom I would sound very confident and sometimes near quite patronising, as if I am talking to people far more inferior to me for example when I say A very respectable piece of work I assure you, and a merry or so as if my opinion is important and worth hearing. Also when I say Now good Peter Quince, call forth your actors.. it would be in a very instructive but condescending tone, emphasising the word good as it would provoke an annoyed chemical reaction from Quince. Even when Quince calls out my name, emphasising that I am just a weaver, I would respond enthusiastically, instructing him to tell me my part and to carry on with authority. Quince appears very powerful and ignores Bottom, so Botto m has to re-establish his importance by ordering masters spread yourselves at this point I would reveal some dissatisfaction and pull up a chair and reluctantly sit down.At this stage I would want my earreach to respond, by thinking Bottom a rather loud mouthed bossy individual and have them feel sorry for Quince having to put up with such a disruptive member of the group. When finding out that I am a lover that kills myself most gallant for love I will respond very dramatically, telling the actors how the audition will cry, as my acting will be so natural and emotional. I would hold my hands up to my heart to portray this and maybe pretend to hold out a stigma to show how brave I am, even though I am just a lover and not a tyrant.I would also imply other parts such as Ercles or a part to tear a cat in, to show my capabilities, and in doing this I would screw my count up to make me look vicious and claw my hands, frantically moving my arms back and forth as if I am attacking a cat. I can see myself in every role and when I recite my poem I walk around the whole stage, emphasising the words raging almost spitting the words out to show my fury, and shivering by holding my arms and trembling, with my teeth chattering.I would also push my hands out forcefully, thrusting my ashes forward, almost as if I was breaking the locks of the prison gates. Quince just ignores him and continues to issue parts to the other actors. I watch when Quince assigns the part of Thisby to the flute, the bellows-mender, which is the other leading role, and when Flute refuses the part as he has a beard coming, my faces becomes animated and delighted as I would love to play that part too, this would be shown by my raised bright eyes and my open mouth.I face Quince, even though he faces away and tell him how I could wear a mask, and tattle in a monstrous little voice, where I would raise the pitch of my voice till it Is almost squeaky, and maybe use a feminine characteristic such a s playing with my hair or holding out my hand as if I was carrying a basket. When Quince refuses to give Bottom both parts, Bottom doesnt show any disappointment and tells him to just proceed. I continue to dominate the discussion and when Quince gives the lion part to Snug, I almost come down like a lion and curl my fingers up like claws and raw in a deep husky tone.I go towards Quince and annoy my voice and shout I will roar, that I will do anymans heart good to hear me.. and when I quote what the duke will say, I put on an articulate, upper class English accent when I say Let him roar again, let him roar again. When Quince and the rest of the actors claim that I would become flat the duchess and the ladies and they would end up hanging them all, I am not offended at all, and continue to suggest other ways of roaring such as gently as any sucking dove and whilst saying this I would say it in a feminine voice with a sweet and innocent facial gesture on my face.When Quince re sponds, his voice becomes much more stern, and agitated when he says you can play no part but Pyramus I will the stew and sit down on a chair, with my head down and my bottom lip drooping, like a child would do If they were upset. This may make the audience feel a bit sorry for Bottom or they might feel relieved that Quince has finally gained more courage and has power over him. When Quince sees this, he puts on a sympathetic tone and says Pyramus is a sweet-faced man lifting my chin up and gently stroking my face.I quickly date from myself by running energetically towards the wooden box filled with wigs and beards and open it rummaging through all the varieties of beards holding up the ones that might suit his character and throwing the ones that were not good behind him. I think Bottom quite likes the fact that Quince is almost pleading to him and saying how much he needs him to play the part and when Bottom says Well, I will undertake it he will say it proudly, expecting all th e other actors to be relieved.In the end of the scene, when Quince suggests teaching their lines the following night and rehearsing in the woods, he emphasises to the actors that they should not fail him. I as Bottom, will stand next to Quince, nodding my head up and down, and looking down at the other actors as I am in charge too and I will announce we may rehearse most obscenely and courageously throwing my fist in the air with excitement and I will also make sure I have the last word when I say hold or cut bow-strings, which I will say firmly and sharply with authority.Overall I will try to irritate the actors and the audience, and make them feel sympathetic towards Quince. I also want the audience to realise that although I am very confident and make out that Im very talented, I am not very good and dont really have the ability to act other parts, this makes it comical.I will intimidate the other actors on stage to emphasise my authority and I will make sure that I have Quince s attention throughout the whole scene, so if Quince turns his back on me or pushes me out of the way, I will get in front of his view and I will push him out of the way too. This way the audience can see our relationship clearer. There are lots of different levels of emotion when Bottom is acting and there is a lot of competition between Quince and him. Bottom is a very comical and melodramatic character to play.