Writing sample two - Excerpt from analysis of stage directions in “The Merchant of Venice”

It is important to note that the Merchant of Venice (Merchant) was written in the 1600’s and first performed in 1605. It is speculated that the play was performed in an outdoor theater, likely at night, lit by lanterns and candles and therefore have a minimum amount of special effects. Other things to note is that the play can be viewed as being timeless and is not restricted to the reality of the 1600’s, for example, the ships that Antonio has which supposedly go to Mexico, did not exist at the time; the assumption by Portia in the final scene that the nightingales only come out at night is incorrect or that the island of Belmont where half the play takes place did not theoretically exist. In other words, since Merchant is not based completely in reality or in a particular time, it is assumed that the play, settings and direction can be presented according to the vision of the director. The following would be my interpretation of Merchant.
Areas of stage directions are noted as follows:

Actors/characters’ entrances, exits, and positioning:
Stage entrances, the number of people who enter the stage and the order in which they enter the stage can help define the personality or wealth of each character. When the main antagonist, Shylock enters the stage, he usually enters the stage alone or ahead of the other characters, but not alongside any other characters. For example, when Shylock is first introduced in act 1, scene 3 as the initial bond is being discussed, he enters first then Bassanio, the person who is proposing the bond. Also, at the trial scene, where the legality of the bond is being discussed, Shylock enters and exits the scene alone. Even in act two, scene two, when he is discussing his daughter’s disappearance with his friend Tubal; they both enter the scene separately. This type of staging shows he is an outcast, a Jew in Venice, a miserable person who is alone, even from his daughter, and sets his apart from his Christian counterparts. On the other side, the other characters, Antonio, Bassanio, and Portia tend to appear in groups when entering or exiting the stage. They also enter in on an equal level, showing good friendship, and no animosity between these characters from act one to act four. Examples include the opening scene with Antonia, Bassanio, Gratiano and two other friends who discuss Bassanio’s dilemma of going to see Portia in Belmont, which is prior to the Belmont scene where Portia and Nerissa are entering the stage together, discussing how annoying her potential suitors are. This situation also applies for the servants of masters, who walk behind their masters, indicting the rank of the party.
For example, how Leonardo/Gobbo follows Bassanio onto the stage, and the servants’ of Portia’s suitors (the train) follow them onto the stage.