It’s not the same, but there are similarites. Same Hamlet, same director, and two other common actors including myself. This time I’ll be playing Barnardo, Guildenstern, and First Gravedigger. The rest of the cast — I’m happy to report — are very capable, intelligent, exciting, and talented actors.

We’re taking extra time to have a better cut of the script (thank goodness!). There are plenty of changes to add lines in, take others out, taking choices from a Quarto instead of the Folio and vice versa. It’ll be a little longer, but not by much. This Hamlet will still be fast and furious.

Our new challenge is to do the show in a small space. Before we played in a wide open amphitheater for a crowd of a couple hundred. Now we play in a blackbox theater with around 40 seats. I’m very interested in the differences between the acting style needed for large vs. small spaces. Perhaps certain moments/lines/scenes play better when they are more intimate. On the other hand, quickly paced and action scenes (swordfights?) probably play much easier (and more safely) on a larger stage.

More to come on this soon. We’ve been having really great discussions in our first few table work extravaganzas, so I’ll be picking and choosing some food for thought to share with you, my esteemed readers. Stay tuned for that later this week.

Until then, I’d love to hear your thoughts, questions, and comments on playing Shakespeare on a large stage vs. intimate setting. Discuss!

But the rest of the article chooses not to report on the challenges of staging a play in a dialect or examples of how differences in dialect in equally-talented and trained actors can yield different readings and interpretations of text. Instead, there are a few comments about Nunn’s statement,

“…it is almost certainly true that today’s American accent is closer to the sounds that Shakespeare heard when he was writing.”

You can read the article to see what Professor Stanley Wells has to say about it.

I want to talk about the above quote. It is a common (what I believe to be) misconception that American English is more like Shakespeare’s than British English. Firstly, there are several dialects of English in both the US and UK that vary a great deal from each other. If we’re talking about the perceived “standard” dialect from each country (General/Standard American and British RP/BBC English) I still don’t think American English is any more closely related to Shakespeare’s speech.

English, regardless of where it is being spoken, has been evolving for over 400 years since Shakespeare began writing for the theatre. Language and its dialects change a great deal, especially among super-social societies. There are certainly parts of the US and UK whose dialects have evolved more slowly due to isolation over the past centuries, but there has still been 400 years of dialect evolution.

Perhaps the misconception comes from the idea that British RP is an “invented dialect.” Even so, American English pronunciation has been heavily influenced by our friends across the pond. Remember all those movie stars from the 1930s? Theatre, Film, and Radio in the US had a notably “British” sound for a long time.

So you see why I disagree with Trevor Nunn when he says it is “almost certainly true” that American English is closer to Elizabethan English than modern British English.

David Crystal, world renowned linguist and co-author of Shakespeare’s Words, has done a lot of research on what Shakespeare’s English may have sounded like back in the day. His book, Pronouncing Shakespeare: The Globe Experiment, tells the process of researching this and using the pronunciation in a production! You can also hear David Crystal reading of Sonnet #1 in “Original Pronunciation.” Listen, then decide whether you think modern American or British English “is closer to the sounds that Shakespeare heard when he was writing.”

I mentioned before I was working on a production of Richard III. The running time at the moment is a little over 3 hours — not including intermission — and it’s cut down a bit. Sure, Richard is a long play but that’s not why it’s running so long. It has to do with the speed of the speech. I’ll not rant about the production in general; the audiences seem to like the show, just not the length. Slow Shakespeare is a peeve of mine. Stop acting between the lines!

Shakespeare’s text is supposed to be spoken trippingly on the tongue, not languidly on the lips. I’ve harped on this string before, but “Harp on it still shall I till heart-strings break.” Because, of course, I don’t want to see or be a part of “bad Shakespeare” if I can help it.

I had the pleasure of meeting David Oyelowo at a screening of Kenneth Branagh’s As You Like It, he played Orlando in the film. In a sort of talk-back session he gave some excellently-phrased advice: “Know what you’re saying and talk as fast as you can.” Simple, isn’t it? Yes. Easy? No. Actors these days are all about making the words sound natural. There’s nothing natural about poetry! Nothing natural about theatre, either. We should always strive to be believable, not natural. Don’t be responsible for sound and fury that signifies nothing.

The speed of the text has a lot to do with that. Shakespeare’s plays (and most other classical works) are not natural everyday speech, it’s thought and action. When people criticize Shakespeare saying “nobody talks like that!” smack them. I mean, say, “That’s the point!” People think a lot faster than they speak, and if the verse is thought, then the words need to move a lot faster than natural speech.

The challenge is to know exactly what you’re saying, why you’re saying it, hit the right words, understand the rhetoric, and make the text clear at a fast pace. But when all that comes together you’ve got a heck of a performance. Why do you think Branagh is so good? He’s not a star for his good looks, I’ll tell you that much.

It’s worth noting at this point that verse needn’t always be spoken quickly. There are moments that can be slowed, there are even occasions for pauses (which Shakespeare may have written in — more on this another day). But in general, the text should be continuous stream of text. The rate may quicken, slow, and pause briefly, but it must flow.

On the page the characters seem loquacious, but on the stage they must be vivacious.

• Twelfth Night. All male. On a Submarine. At Christmas. No lie.
• The Tempest performed literally on an island. Spectators on the mainland.
• King Lear performed in a latrine. Mad king on a pissoir.
• Richard III in a Wyoming corral for horses.
• Romeo & Juliet in a Nevada bordello.
• R&J performed as if in wasteland on huge articulated truck. Ms as Raj, Cs – medieval knights. Underscored throughout on keyboard.
• a very literal RSC prod of Richard III. “Winter of our discontent” – snow fell; “glorious summer” – sun shone.

Leave a comment if you have others! It’s always fun to see the crazy things people do with their “new and exciting interpretations!”

I happen to be involved in a production of Richard III with a new spin on it, I’ll let you know more about it — and audience reactions after it opens next week. It might turn out to be a hit, who knows? There’s a fine line between fine art and fine turd, no?

I say using Shakespeare’s text and not acting for a reason. This isn’t abook about acting, per se. It’s about using the text to effectively bring meaning, emotion, story, and acting to the audience; all necessary to “act” Shakespeare. Hall continuously repeats the fact that the text will serve as your strongest ally if you know how to use it. If my post about it can’t convince you of that fact, Peter Hall’s book can.

The advice is wonderfully concise. By page 61 Hall has already laid out and explained “the rules.” The next hundred pages or so are textual analysis of scenes and monologues that are not to be skimmed or skipped. Read the whole book! The explanation at the beginning has plenty of value, but until you see the techniques in action you won’t fully get it. This is probably the closest you will get to having Peter Hall giving you a private lesson on Shakespeare.

If you aren’t already familiar with the acting process the book might not be for you. The book assumes that you have a decent understanding of what Shakespeare’s text is and how it works. It seems to me that there’s too much info in here for someone new to acting Shakespeare. Not that you’d get nothing out of it, but some of the ideas won’t sink in as well as one who has more Shakespearience.

As an added bonus, you can hear Peter Hall working with a couple actors on the publisher’s website. Go ahead and listen to it now for a preview of what’s in the book.

Is this the best book ever? I haven’t had anything bad to say about it yet. Rather than looking for a criticism, I’ll conclude. Peter Hall has been working with some of the best actors for the past 50 years or more. He’s picked up a lot of great knowledge and wisdom along the way. Pick up a copy. Whether you’re an actor, director, vocal coach, dramaturg, student, or scholar, I’m sure you’ll find it helpful.

Shakespeare’s Advice to the Players is available from Amazon.com.

When learning to act Shakespeare (or any classical and poetic texts for that matter) there are often rules we are taught. That is, if you are taught by anyone who has had some real Shakespearience. Rules like observing the scansion, speaking to the end of the though, breathing only at the end of a verse line, having good diction, pronouncing words a certain way. The rules are never exactly the same depending on who you ask, but there are always rules.

I once heard from an actor that he felt limited by the “rules of Shakespeare.” He said it was something like acting inside a box because he had to follow so many rules that his own creative process felt muffled.

This was a good observation and I’m sure that many actors feel this way. So before we talk about breaking the rules, let’s talk very briefly about what the rules are for.

(If you’re new here, I discuss many of the rules and some of their significance in the Speaking Shakespeare section and a few in more specific detail in my dissection of the “Speak the Speech” speech.)

The rules of verse speaking make up a form. Sort of like the rules of a game of sports. If people are playing by different rules, we get lost. I’m reminded of an account of a game played several decades ago of between a group of Baseball-playing Americans and Cricket-playing Brits. When the end the game arrived, both sides claimed the victory.

A better example would be the form of opera singing. Regardless of how you feel about opera, it has an undeniable set of rules that make up the form. The way a singer produces sound and phrases pieces of music have been practiced over many years of instruction. If an opera features a soloist who only had a rock-music background their performance would fall flat. They’d be unable to communicate the proper sounds that the audience expects.

The rules work similarly in Shakespeare, but are perhaps less limiting than those of opera. The form of Shakespeare is inexorably linked to its content. You might even say Form=Content. This means that the way the verse is structured and composed has a heck of a lot to do with what the character is communicating. I could write a whole book on the subject but that’s not what I’m talking about now. In the end, it’s all about communicating the story to the audience. When the rules aren’t followed the story becomes opaque to the listener.

Recently I heard an actor in conversation (on the merits of verse) with a director say something to the effect of, “I don’t see the scansion stuff as rules to follow, maybe just a tool you can choose to use. I heard about opera singer who said she would rather hit a note a little flat or sharp than only concentrate on getting the notes exactly right.” A terrible paraphrasing of what was said, I’m sure, but you get the gist of it.

It’s an attractive thought for one who doesn’t understand the form to find an excuse not to use it. What’s wrong with the above statement? The actor forgets that the opera singer has already mastered his/her form. The rules are not the alpha and the omega of the art, but just as every skyscraper has a steel frame, so must every creative artist have some form — however invisible — guiding their work.

The opera singer has already spent years being able to hit every note on the correct pitch with the correct rhythms so that performances can be done with ease. Without thinking about hitting the right notes. What they can think about instead is conveying the meaning and emotional content behind the music. So if they happen to go sharp or flat, it is because they have much more behind their performance than just hitting the notes. Because this opera singer has mastered her form, she can afford to bend the rules.

The actor who felt like he was “acting in a box” did not throw away the rules even though they felt constricting. Once the rules are learned, practiced, enforced, and finally mastered, there are infinite possibilities.

Form will set you free.

Why do you think greats like John Gielgud, Laurence Olivier, Judi Dench, Ian McKellen, Kenneth Branagh are so great at what they do? Not because they bend or break the rules. But because they have mastered them. The guidelines they learned have nearly become instinct and they are free to be free above the super-solid foundation they stand upon. This is the place where you are able to act outside the box. Not because you threw it away, but because you used it.

To deny the form is to say that you know better than the aforementioned brilliant actors who have had a lifetime of experience. The form doesn’t change, though the way it is expressed does. The foundation will remain the same, but what you build on top of it will be unique to you and the time you live in. So remember, because it is worth repeating:

Form will set you free.

There was a lot that was unusual about this performance. Unusual, that is, if you’re theatre-going experiences have been limited to mostly high-budget, indoor, full length, late evening performances. This play began at 6pm in an outdoor amphitheatre, no set, minimal props, costumes out of the actors’ closets, was a one-night-only event, and ran no more than one hour and forty minutes, sans intermission.

That’s right. We did Hamlet in less than 100 minutes. How? We cut. A lot. Now let’s not turn this into a discussion of the blasphemies of cutting so much text out of a play or how it’s not the play as Shakespeare intended. That’s not what I want you to take away from my telling of my experience.

The play was, among other things, lots of fun. Both for the actors (all eleven of us) and for the audience — of which there were a few hundred. As you may have surmised, we took a very bare-essentials approach to the play. It moved very quickly. The story not only moved quickly because of the cuts, but we aimed for a fairly fast pace as well. Our goal was to tell a good story before the sun set. I think we did that much.

It really brought to my attention that there isn’t a whole lot that is necessary for good theatre. Theatrical philosophy texts often repeat the fact that theatre consists of at least a space, a performer and a spectator. We had no fancy proscenium to hide behind. We were outdoors. No electrical lights, we used the sun. No sound system, but we had a guitarist and the chiming of a nearby clock tower. No microphones. The costumes consisted of articles of clothing in our closets. Nothing fancy, just something to suggest the character.

And it worked! If the story is good (and it is) why confound the play with bells and whistles? I talked with some audience members after the show, many of whom were actors too, and were very impressed with what they had just seen. I don’t think most of the people there really expected a bare-bones production of a heavily reduced script in an outdoor daylit location to be as good as it was. I don’t think I expected it either, to be quite frank. Having all talented actors was a a great bonus and we all worked hard, but we didn’t know what the outcome would be.

I had done a fairly bare-bones production outdoors before, but we had digital sound system for playing music, as well as an intermission. We didn’t have a whole lot, but it felt much less of a bare-essentials type of set up.

After this Hamlet, both actors and audience learned a great deal about what theatre is and what it needs and more about what it doesn’t need. We take for granted sometimes the things we have available to us and what is really most important when producing art.

Even so, I would still prefer to have a dressing room.

This is a concept that I’ve been a fan of for some time but never had a word for it. Thanks, Roy.

In one of my very first posts on this blog I advised that it is necessary to love language in order to effectively speak Shakespeare’s language. As time goes on I believe it more and more. It’s not enough to understand the words, to know what you want, know who you are, know the relationships. You need to enjoy the SOUND of the words. That’s where sonicky comes it.

Everything in Shakespeare is sonicky.

Today we’re concerned with meaning. Look up definitions of the words or check No Fear Shakespeare for a translation. Okay, now it’s act-able. Well, yes… but that’s not all there is to it. There’s a whole world of work to do, but I’ll try not to get carried away. We’re still talking about the sound of words.

Back in the day the actors, authors, and audiences cared much more than we do about the SOUND of words. Audiences went to HEAR a play. Not only did they want a good story, it had to sound good too. This a huge aspect of the word choices that Shakespeare makes in his plays.

When Richard of Gloucester (soon to be Richard III) speaks “Now are our brows bound with victorious wreaths” there’s a lot of meaning contained in just the sound of his words. Look at the first five words. They all have huge, open, similar-sounding vowels. They’re followed soon after by “victorious,” whose change in sound is like that of trumpets welcoming the victorious champion.

How about the line “Grim-visaged war hath smoothed his wrinkled front.” Say “grim-visaged” with a sweet and smiling face. Now try it while scrunching up your face. The image it conjures lends itself to how to say it, and vice-versa. Next — “smoothed” — which is a rather smooth word. “Wrinkled” falls into the same category as “grim-visaged.”

Are you starting to see (or hear) what I’m getting at here?

These words have a particular sound, they conjure a particular image, they serve a particular purpose. The specifics are for you to decide but the point is to be specific in the choices you make. The sound of each word carries much of its emotional content as well as meaning. The sonicky-ness of a character’s words is both his/her head and heart speaking together. Yet another reason why Shakespeare’s works are magical to me.

I’d love to dissect more speeches and concentrate on their sonicky properties, but I’ll let you get to work on that first before you hear any more sound and fury from me on this subject.

Let’s hear it for the Bard!

Let me fill you in briefly on what I’ve been up to since I posted. I simultaneously dialect coached productions of Anna in the Tropics and Hay Fever; then appeared as Bernardo/Player/Gravedigger/Osric in a production of Hamlet; subsequently performed in a summer-long run of Love’s Labour’s Lost and As You Like It produced in repertory, playing Costard and Touchstone, respectively. Somewhere in the midst of that I had a day job elsewhere, coached acting Shakespeare for a day at a conservatory, and started a new website. And now I’m beginning work on a production of Richard III.

I’m impressed with myself now that I write it all down. It feels good to have been performing lately… especially when it’s Shakespeare. But you already know how I feel about Shakespeare.

I’ll be posting bits and pieces about my experiences in the shows I performed in and have seen this summer. I also have a truck-load of books that need reviewing. As I finish them I’ll do my best to post a review here. My apologies to my publisher friends.

And, as always, if there’s anything you’d like me to blog about don’t hesitate to contact me and leave a suggestion. I’d like to start some more discussions here like the other thought-provoking ones we’ve had in the past. Till next time…

May the Bard be with you!