• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Twelfth night - Act 3, Scene 4 - How would I play Malvolio?

Extracts from this document...


Act 3, Scene 4 - How would I play Malvolio? First impressions are always very important and Malvolio's must set his character for the whole scene. Socially during Twelfth Night's era the maid would enter a room before the guest that showed them where the room was and they often renounced the visitor the master/mistress. But given Malvolio's current mood he would be so eager to speak to Olivia he may want to enter the room first. Upon my entrance I will have a sort of "pushing contest" with Maria in the doorframe so that I could get through first. When I actually manage to get in front of Maria I will brush my clothes haughtily with quick movements to show that Maria is below me. I will then raise my head up high to make sure that Maria understands her place. On Malvolio's first line I will bend down on one knee in front of Olivia and kiss her hand twice to exaggerate my inappropriate behaviour; Malvolio is Olivia's butler and does not carry the status to kiss her hand. ...read more.


I will wrap my arms around her and speak. When I talk about "the sweet Roman hand" I will take hold of one of her hands gently and attempt to kiss it. This action will allow Olivia to get free of the irrepressible Malvolio's arms and walk away. Malvolio will follow and stand near to her. Line 27 Olivia asks Malvolio if he will go to bed. This surprises Malvolio so I will react immediately and energetically with a lot of power and volume in my voice. I will also open my eyes and raise my eyebrows. When I tell her "I will come to [her]" I should stroke her head down wards fairly quickly until I get to her bottom and I will slap it. Malvolio might do this because slapping someone's bottom can often be used cheekily and Malvolio thinks she has just been cheeky enough to ask him to sleep with her. At line 33 I will stroll towards centre stage and fling my arms into the air bellowing, " Yes, nightingales answer daws!" ...read more.


I will also prolong the word "so" at the end of the sentence so Olivia can easily interrupt and also so he looks more pompously ridiculous. If I drew a spiral in the air on this word it would also help emphasise the above. Immediately before Malvolio says his final line before Maria and Olivia exit I will make three clicks of my tongue as if he feels that Olivia is sillier than he realised to forget her letter. I will say the final line as if I am completely bored out of my mind. As soon as the servant enters I will walk into centre stage and slump down while standing my face should face the audience as if I am much too bored to listen to the servant. My face should gradually come into shock as I realise what has happened but I will not be in my final facial expression till they have actually exited the room and I could gesture and mouth a final "WAIT!" but they would have already gone. There will be a blackout as soon as I have refaced the audience. Beth Ridley U5R Drama ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our GCSE Twelfth Night section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related GCSE Twelfth Night essays

  1. Examine the ways in which Shakespeare creates comedy for the audience in Act 3 ...

    Bottom, of 'A Midsummer's Night's Dream' is another good example of a Shakespearean fool. One theme of 'Twelfth Night', and one that recurs in many of Shakespeare's plays, is confusion and farce. It begins when Viola lands on an unknown shore, and promptly dresses as a man in order to find work in Duke Orsino's palace.


    Every time he spoke he was cruel & cold, - This directors view of him shows, in my opinion that the director believed Malvolio deserved everything he got, as there is no other side to him, no smile but a forced one, - no reason to feel sorry for him.

  1. Analysis of Comedy in Act 3 Scene 4 of Twelfth Night

    His pride and arrogance that he is 'worthy' to marry Olivia is extremely funny. It is also the dramatic irony that makes it humourous, as the audience and most of the characters realise where he is quoting from whereas Olivia doesn't understand what he is talking about and believes it to be 'midsummer madness'.


    This effect is to bring some comedy into what could easily be seen as a serious situation. Some of the time she thinks that Cesario is kind, giving and caring husband when in fact he isn't Cesario at all but in fact is Sebastian.

  1. Twelfth Night - Consider Shakespeare's portrayal of Malvolio throughout the play and say how ...

    your invention' These lines offer the first hint of doubt in Malvolio's voice. The audience may be thinking that he is starting to catch on. '.....Why have you suffer'd me to be imprison'd, kept in a dark house, visited by the Priest, and made the most notorious geck and gull, That e'er invention play'd on?

  2. Looking at Act 2 scene 5 and Act 3 scene 4 consider the ...

    These included tricks such as hiding live birds in an empty pie case, so that they flew away when the startled guests cut open the crusts. It was a mad time full of pranks and confusion, just as in the play.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work