First Steps.

Analysis is one of the more interesting parts of the acting job; an old friend of mine used to say it was like being a text detective. All the answers to all the questions can be found in the text.

But that can be misleading, much like all the theory placed in your brain by well-meaning professors in well-meaning programs at well-priced Universities. It reminds me a little of the scene in Rodney Dangerfield's BACK TO SCHOOL where he takes apart all the theories set forth by the professor, and interjects a little real-world schooling, in the form of payoffs, and compromises, and such.

Theory is good when it's an ingredient, but it's not the whole soup.

And sometimes, we need to add other ingredients, as well as that textual theory, in order to come up with a character that's interesting to watch, and interesting to play.

And therein lies the problem; the problem of Hortensio.

In reading the text, there seem to be some glaring errors of continuity which some scholars have suggested comes from a re-write somewhere in the play's history. It is suggested on more than one front that the character of Hortensio began simply as a friend of Petruchio's and evolved for some reason into a suitor for Bianca.

The flaws are seen in the fact that apparently Hortensio is a friend of Bianca's Father, Baptista, which would suggest a similarity of status and generation; but then, it's revealed he's also a close friend of Petruchio's which would also suggest a generational connection. Gremio is obviously the older of the two original suitors of Bianca, which would place Hortensio more in Petruchio's generation. He has a free and easy relationship with Petruchio, enough to actually suggest that he marry Kate, and to feel a pang of regret, which he remedies by suggesting that she's a harridan.

But then, when the time comes, and Baptista actually auctions off his youngest daughter, it is only Gremio and the new suitor Lucentio (or, more to the point, his proxy) that attend it; Hortensio is not invited, or even mentioned, which would suggest that Baptista isn't a very good friend at all, or Hortensio isn't considered a serious suitor...or, the re-write that some scholars suggest is truly a flawed re-write.

The Taming of the Shrew is one of Shakespeare's plays that some people point to as proof that the playwright was truly not fond of rewriting; the chief example is the "Induction" scenes featuring the fooling of Christopher Sly, who appears and then seemingly disappears with no explanation or resolution. The Hortensio argument seems to lend credence to the argument...but that doesn't help in the playing of it.

What I do see in the original analysis is that, if we use every OTHER Shakespearean character, or even character type, then Hortensio has the logic and education of Horatio, and appears to suffer some of the buffoonery of the servant class, with comedic beatings, usually at the hands of Kate, as well as his apparent emasculation at the hands of his new wife, lovingly referred to as, "The Widow."

This is where theory leaves off, and practice begins.

I have some options to explore, at the very least:

Hortensio understands that he's the underdog, and goes undercover to circumvent Baptista's desires, perhaps to spirit Bianca away....

Hortensio is not really interested in Bianca, but is more interested in beating Gremio in a kind of suitor competition.

Hortensio is in love with the image of Bianca, but when he discovers what she really is, he admits that kindness trumps beauty.

I have to admit that there has always been a kind of discomfort that comes as you try to apply these thoughts to actual physicality, but I am looking forward to it after a long layoff.

Stay tuned.