One of the most fascinating and moving aspects of Shakespeare’s plays is the employment of disguise. Hamlet suggests to his companions that he is going to affect an “antic disposition”; Juliet, advised by Friar Laurence, fakes her death; theg witches fool Macbeth with their elusive prophesies; Beatrice and Benedick pretend to abhor each other; and so on. Shakespeare understood what Tom in Tennessee Williams’ The Glass Menagerie would articulate centuries later: “But I am the opposite of a stage magician. He gives you illusion that has the appearance of truth. I give you truth in the pleasant disguise of illusion.” (But in Shakespeare’s plays, the disguise can work both ways.)

Disguise is filled with irony too; Cordelia’s sincere words frame her as the ungrateful child. Iago’s treachery cloaks itself in the guises of honesty.

The plays may lead us to ask ourselves what disguises we are wearing, what layers of disguises. Even the performances involve disguises: not only masks and costumes, not only the assumption of roles, but other wrappings as well. For example, in the beginning, when we were just starting to prepare the scene from Romeo and Juliet, none of the boys wanted to be Romeo—partly, I think, because of all the lines involved, and partly because of his smittenness. So we broke the part in three: one Romeo notices Juliet at the ball, and then, when the silhouette part begins, a different Romeo says the lines while yet a third takes part in the silhouette. Also, we emphasized the dances in the scene, thus taking some of the pressure off of Romeo and Juliet both. They liked this solution and took to it enthusiastically. Capulet is the one who speaks the most—calling for more fire and light, urging the guests to dance, reminiscing with his cousin, and trying to calm Tybalt down. Although he is not in a mask, as host he wears many disguises, trying to tend to others, while also yearning for a successful party, which not only helps assure his daughter’s future but brings back memories of his youth.

All of this leads me to a beloved song in three versions (and possibly disguises): “Disguise” by Cz.K. Sebő. It has more in common with Shakespearean disguises than may seem on the surface, even though, to my knowledge, it is not directly influenced by Shakespeare’s work. The original version, solo acoustic guitar and voice, was released by Cz.K. Sebő in 2015, when he was in his early twenties; versions by Platon Karataev and capsule boy (Cz.K. Sebő’s electronic subproject) followed. The original Cz.K. Sebő song is my favorite of the three; the bareness, simplicity, and vulnerability come together. It comes close to breaking my heart (but doesn’t, because it soars, and also because I’ve been through so much like this). It brings to mind Hamlet’s “But I have that within which passes show, / These but the trappings and the suits of woe.”

But the next two versions (disguises?) bring something out of it that might not be obvious in the original. The Platon Karataev version not only gives it a big sound, not only makes the guitar part richer, but also reveals a vastness that was there all along. This song is about all of us; we are all wearing disguises, all waiting and hoping that someone or other will talk to us and see us. The Platon version also makes me wonder: what is the “this” in “this is just a disguise”? Even the statement may be a disguise. We’re made of disguises upon disguises; what may seem our deepest, most honest revelation may actually be a mask or shroud, or someone else’s favorite clothes.

Then comes the capsule boy remix of the Platon Karataev version: a return to the origin, in a way (in that Cz.K. Sebő and capsule boy are the same person), but with changes. This electronic version brings out both the terror of the first part (“so please look at me… so please talk to me”) and the possibilities of the second part, which here become downright sweet and playful.

This song is beloved by many because it speaks to our yearning to show someone who we really are. But it also plays with this “really.” Do we know who the “real” self is? Is there one?

I believe that there is a real self, but (as hackneyed as this may sound), to find it we also have to lose it, and it is not discrete but porous, blurry, unbounded. One of my favorite moments of the song is “I am full of yellowness ’cause i was never enough.” The very word “yellowness” is a disguise, because the stress (on the “o”) is different from what I would expect in English. But I love that pronunciation and stress–it sounds like “lowness” and makes a connection between “yellow” and “low.”

I have felt throughout my life that “this is just a disguise,” not because I put on a front, but rather because attention is in short supply. The exceptions are times like now: in the preparations for the Shakespeare festival, it really doesn’t matter what people think of me, as something else is at stake involving many people. We will all be in disguises of many sorts, but through this, we will play ourselves. The disguises enable the release.

“Disguise” is not the most Shakespearean song in the Platon Karataev/Cz.K. Sebő repertoire, but it evokes Shakespeare for me and has been on my mind and in my ears. Platon songs with a more direct Shakespeare connection include “Lady Macbeth” and “Aphelion” (at times I hear “aphelion” as “Ophelia” in disguise; in any case, the song evokes Hamlet strongly) but there are others with subtle allusions and influences—for instance (I think), “Most magamba,” “Litmus Heart,” “Bitter Steps,” and “Light Trap.”

I am moved by my students’ dedication to the project; they have shown openness, excitement, and true attention. One of the challenges, early on, lay in slowing things down: having the opening processional and the later pavane dance be truly slow. Tempo is a disguise in its own right: fast things disguise themselves as slow, present as future, and vice versa. Hamlet says, “There is special providence in the fall of sparrow. If it be now, ’tis not to come; if it be not to come, it will be now; if it be not now, yet it will come. The readiness is all. Since no man, of aught he leaves, knows aught, what is’t to leave betimes? Let be.”

Speaking of Platon Karataev, Gergely Balla sent us a wonderful message about the festival:

“Shakespeare drámái az eddigi Platon Karataev szövegekre is hatottak és ez valószínűleg így lesz a jövőben is. Fontosnak tartom a szolnoki Varga Katalin Gimnázium, valamint a Verseghy Könyvtár közös kezdeményezését, mert újra és újra vizsgálnunk kell, hogy mit tudunk meríteni ezekből a művekből. Változatosnak és izgalmasnak ígérkezik a program, mely pont egybeesik két új Poket kiadással (Hamlet, Rómeó és Júlia). Szóval jó fesztivált kivánunk!”

Approximately:

“Shakespeare’s plays have influenced Platon Karataev’s lyrics up to this point and probably will continue to do so. I consider the joint initiative of Katalin Varga High School and the Verseghy Library important, because again and again we must consider what we can draw from these works. The program looks varied and exciting, and it coincides with two new Poket releases (Hamlet, Romeo and Juliet). We wish you a good festival!

I added a lot to this piece after posting it.