I found your post about the multiple scenes/voyeurism really interesting. I think the effect makes particular sense for a play that is so centered on surveillance and control. I wonder how Bosola, the spy, is incorporated into this idea–he is the one observing others, but is also so much something to be observed himself, because of the way he dominates the scenes he is a part of in the play.
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Hi Carly! My most recent post somewhat addresses the questions you’ve raised in response to my earlier post, most relevantly Bosola’s agency (or lack thereof) in the action of the play. He is indeed something to be observed himself, and he dominates scenes like no other, and yet, as it plays out in the last two acts, he is ultimately presented as a Ferdinand’s mule, rather than as an actor with sole agency. I think, in this light, some of the questions you’ve raised here become even more interesting, as we think about why he is (at times) so willing to carry out Ferdinand’s evildoings. Maybe there is a certain voyeurism that he enjoys in carrying out acts of evil without really feeling like he is the one carrying them out?