Scene Study prepares you to perform key scenes for your theater class or audition. We've got all the information you need for a great performance.

Excerpt from Act 2, Scene 1 Dialogue: Katherine, Bianca, Baptista

 

BIANCA

Is it for him you do envy me so?
Nay, then you jest, and now I well perceive
You have but jested with me all this while.
I prithee, sister Kate, untie my hands.

KATHERINE

[strikes her]

If that be jest, then all the rest was so.

Read the full dialogue.

 

 

Understanding the Given Circumstances

  • This scene takes place in the home of Baptista, a wealthy nobleman of Padua.
  • Bianca is Katherine’s younger sister. Baptista is their father. Bianca is the favored child. 
  • Bianca wants to be married and has several suitors. However, Baptista has decreed that Katherine must marry before Bianca does. Katherine seems to have contradictory impulses toward marriage, though. She is not eager to marry a suitor she considers unworthy, but she is not necessarily opposed to finding a partner and moving out of her father’s home.
  • Katherine has a reputation in Padua for being violent, shrewish, and therefore unmarriageable. In Act 1, suitors openly display infatuation for Bianca and insult Katherine to her face.

 

Blocking and Movement

In theater, blocking is the process of planning the actors’ physical movements and positions. Be sure to show respect and establish trust when working with scene partners. As you prepare to block this scene, ask yourself the following questions:

  • When the scene opens, Bianca’s hands are bound. What are they bound with? How tightly are they bound? How does this restrict her movement? 
  • Anyone who is or has a younger sibling will recognize the tactic of “playing up” one’s injuries at the hands of an older sibling as a tactic for sympathy. How much is Bianca dramatizing the trauma of being tied up for the benefit of her father? Are her tears real or a display?
  • At one point, Katherine strikes Bianca. Is this act of violence comic? Painful? What effect does it have on Katherine? What effect does it have on Bianca?
  • Baptista tells Bianca to go into another room and do some needlework, but she does not immediately do so. Why not? Then Katherine “flies at” her. How does Baptista stop this violence from escalating?
  • Baptista has the last line of the scene. He is alone. To whom is he speaking?

 

Status Between Characters

Who is in control of this scene? Who has the power? At first glance, it appears that Katherine, the violent “shrew” of the play, dominates Bianca and even terrifies their father. A closer reading of the scene, however, may complicate the readers’ assumptions about who wields the most influence. The physical violence is an obvious exercise of power, but some parts of the speech indicate that Bianca might have more power over Katherine than is immediately apparent. To discover how and where these subtle power shifts occur, consider these questions, and perhaps add a few of your own:

  • Why does Katherine want to know who Bianca’s favorite suitor is? What does that tell you about Bianca’s status?
  • Why doesn’t Bianca tell her sister whom she loves?
  • How do power dynamics shift once Baptista enters the room? 
  • Katherine speaks about dancing barefoot at Bianca’s wedding and being humiliated by being passed over both in her father’s love and in courtship. What is Baptista’s response to this?

 

Full Act 2, Scene 1 Dialogue: Katherine, Bianca, Baptista

 

Enter KATHERINE and BIANCA, her hands bound

BIANCA

Good sister, wrong me not nor wrong yourself,
To make a bondmaid and a slave of me.
That I disdain. But for these other goods—
Unbind my hands, I’ll pull them off myself,
Yea, all my raiment to my petticoat,
Or what you will command me will I do,
So well I know my duty to my elders.

KATHERINE

Of all thy suitors here I charge thee tell
Whom thou lovest best. See thou dissemble not.

BIANCA

Believe me, sister, of all the men alive
I never yet beheld that special face
Which I could fancy more than any other.

KATHERINE

Minion, thou liest. Is ’t not Hortensio?

BIANCA

If you affect him, sister, here I swear
I’ll plead for you myself, but you shall have him.

KATHERINE

Oh, then belike you fancy riches more.
You will have Gremio to keep you fair.

BIANCA

Is it for him you do envy me so?
Nay, then you jest, and now I well perceive
You have but jested with me all this while.
I prithee, sister Kate, untie my hands.

KATHERINE

[strikes her]

If that be jest, then all the rest was so.

Enter BAPTISTA

BAPTISTA

Why, how now, dame! whence grows this insolence?—
Bianca, stand aside.—Poor girl, she weeps!
 (to BIANCA) Go ply thy needle; meddle not with her.
(to KATHERINE) For shame, thou hilding of a devilish spirit!
Why dost thou wrong her that did ne’er wrong thee?
When did she cross thee with a bitter word?

KATHERINE

Her silence flouts me, and I’ll be revenged.

Flies after BIANCA

BAPTISTA

What, in my sight?—Bianca, get thee in.

Exit BIANCA

KATHERINE

What, will you not suffer me? Nay, now I see
She is your treasure, she must have a husband,
I must dance barefoot on her wedding day
And, for your love to her, lead apes in hell.
Talk not to me. I will go sit and weep
Till I can find occasion of revenge.

Exit

BAPTISTA

Was ever gentleman thus grieved as I?

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