Tuesday, 19 April 2016
Wednesday, 3 February 2016
Making Choices
Reading the Shakespeare plays: Romeo and Juliet, The Taming of the Shrew and Julius Caesar, I gained greater understanding of the characters that I was thinking of playing.
Previously studying Romeo and Juliet, I fell in love with the story-line and characters all over again the Nurse in particular. Her maternal instincts coupled with her sarcastic, bawdy sense of humour makes for the perfect comical character. I feel that as a young actress in training, growing and learning things about the way I'm perceived I would try something which seems like second nature. I find that I can be quite the mother hen and felt that I had the potential to put this in my performance and work this into my characterisation; the challenge would be comic timing. Comedy is not my strong suit, however, I felt that this was an opportunity to try something new.
As she has no monologue of her own, I had to go through the script and piece together bits of dialogue; this I did from Act 2 Scene 5, this is where Juliet is told that Romeo wants to marry her. After collating my monologue, I focused on learning it as quickly as possible. I did this by dividing the script up into units and objectives and then learning it with the set intentions as her emotions aren't steady and alter constantly throughout her speech.
From this I then tried the monologue in the style of pantomime to what I thought her character would be closest related to, I ensured that practising in this way I was the largest character that I could be. I then would do the exact same thing without any movement, focusing on my voice, breathing, projection and intentions. Doing this a few times I made myself more aware with where my tension was held within my body which gave the indication to move with purpose throughout my speech. Watching Baz Luhrmann's alongside the Carlo Carlei version, I saw her played in two completely ways but both still were sincere and truthful to the way in which she was written. I adapted aspects from both and incorporated one or two mannerisms into my speech.
'The Colour of Justice' is a play which is a true story and collated through actual evidence from the 'Stephen Lawrence Inquiry' that took place many years later after the murder of the young boy. This story really pulled at my heartstrings, I read many and watched these videos below:
Previously studying Romeo and Juliet, I fell in love with the story-line and characters all over again the Nurse in particular. Her maternal instincts coupled with her sarcastic, bawdy sense of humour makes for the perfect comical character. I feel that as a young actress in training, growing and learning things about the way I'm perceived I would try something which seems like second nature. I find that I can be quite the mother hen and felt that I had the potential to put this in my performance and work this into my characterisation; the challenge would be comic timing. Comedy is not my strong suit, however, I felt that this was an opportunity to try something new.
As she has no monologue of her own, I had to go through the script and piece together bits of dialogue; this I did from Act 2 Scene 5, this is where Juliet is told that Romeo wants to marry her. After collating my monologue, I focused on learning it as quickly as possible. I did this by dividing the script up into units and objectives and then learning it with the set intentions as her emotions aren't steady and alter constantly throughout her speech.
From this I then tried the monologue in the style of pantomime to what I thought her character would be closest related to, I ensured that practising in this way I was the largest character that I could be. I then would do the exact same thing without any movement, focusing on my voice, breathing, projection and intentions. Doing this a few times I made myself more aware with where my tension was held within my body which gave the indication to move with purpose throughout my speech. Watching Baz Luhrmann's alongside the Carlo Carlei version, I saw her played in two completely ways but both still were sincere and truthful to the way in which she was written. I adapted aspects from both and incorporated one or two mannerisms into my speech.
'The Colour of Justice' is a play which is a true story and collated through actual evidence from the 'Stephen Lawrence Inquiry' that took place many years later after the murder of the young boy. This story really pulled at my heartstrings, I read many and watched these videos below:
After watching these video and shedding a few tears, I then researched the current racist killings that have been occurring around the world. The death of an American student friend of my relative sparked the fire that I needed to root myself in this monologue. One thing I've always found is I need a rooting before I can imagine certain emotions and begin to portray them; the pain and mourning that I witnessed first hand from my cousin about his friend's death was more than I could handle and I was grateful for my outlet within this monologue. The key to this one which would be challenging would be the lack of the maternal element as I wanted to play the solicitor reading Doreen's statement.
My final choice was Portia from Julius Caesar. At first I was worried that I was playing the same character with the same emotion , however, as I developed my characters for the first two and kept analysing Portia, I realised there was a very subtle difference between all characters which would be where my greatest challenge came into play.
Sunday, 15 November 2015
Picking Monologues
Thinking of monologues Olga gave us the choice between 4/5 diverse monologues for us to have a look at and see if we liked them enough to get the play and read it. I took to 'The Colour of Justice' by Richard Norton-Taylor and the character of Doreen Lawrence and Margo Boye-Anawoma (her lawyer).
Having a look at the script, we were given just over an over to figure our what we wanted to do and how we wanted to manifest the words ourselves. I decided to play Margo Boye-Anawoma who was reciting/reading the statement written by Doreen Lawrence (mother of the son who died due to an incident which was racially driven).
Below I wrote down certain intentions I had for the monologue and also aspects that I wanted to emphasis and explicitly express. I fell in love with this piece it was very contemporary play which also has clear and distinct issues which are of great importance at the moment in society today.
Another technique when searching for whether a monologue is for you or not, is to sight-read the script out loud and see how well the words sit with you and your mouth (thinking of it in the muscular sense).
Having a look at classical monologues as a class, Olga gave us an idea of what we should be looking. Especially those of us that had absolutely no clue where to start. Here ideas are as follows:
Having a look at the script, we were given just over an over to figure our what we wanted to do and how we wanted to manifest the words ourselves. I decided to play Margo Boye-Anawoma who was reciting/reading the statement written by Doreen Lawrence (mother of the son who died due to an incident which was racially driven).
Below I wrote down certain intentions I had for the monologue and also aspects that I wanted to emphasis and explicitly express. I fell in love with this piece it was very contemporary play which also has clear and distinct issues which are of great importance at the moment in society today.
Another technique when searching for whether a monologue is for you or not, is to sight-read the script out loud and see how well the words sit with you and your mouth (thinking of it in the muscular sense).
Having a look at classical monologues as a class, Olga gave us an idea of what we should be looking. Especially those of us that had absolutely no clue where to start. Here ideas are as follows:
There was a great appeal with this monologue, so much so that I decided to order the play and read it.
I have always had a soft spot for Romeo and Juliet but never thought of myself as a 'Juliet'. This led me to reread the play once again and pay attention to other monologues within the text.
From this I bought the following scripts:
-Julius Caesar by William Shakespeare
-The Taming of the Shrew by William Shakespeare
-The Colour of Justice by Richard Norton-Taylor
-Confirmation by Chris Thorpe & developed by Rachel Chavkin
- Romeo & Juliet by William Shakespeare
Class Exercises
Thinking of our bodies as our instruments, and as such we tune/clean and care for instruments in order to ascertain the best sounds we can do, we discussed and worked through some exercises as a class. These are techniques that can (and should) be used daily and before auditions, also as audition preparation.
Aspects to Warm-Up:
-Throat (and neck muscles)
-Face
-Diaphragm (breathing exercises)
-Chest
-Mouth
Areas of the body to stretch:
-Upper back/shoulder region
-Hips
-Knees (soft knees)
-Fingers
-Wrists (roll)
-Ankles (roll)
-Tongue
There are also verbal exercises that would help warm up and open up the mouth and throat region. Tongue twisters are an example:
-She sits shining shoes
Shining shoes she sits
-Red leather
Yellow leather
-Plain bun, plum bun
Plain plum bun
-She sat on the balustraded banister
Inextricably mimicking and hickuping
-Unique New York
New York Unique
-Bab beb bib bob bub
Dad ded did dod dud
Gag geg gig gog gug
Pap pep pip pop pup
Mam mem mim mom mum
Sas ses sis sos sus
Tat tet tit tot tut
Zaz zez ziz zoz zuz
(Experiment with other consonants)
Using these in a drilling sense, helps focus the mind as well. Once we completed many, if not all, of the exercises we were given a sheet of songs which would help us to engage our diaphragm and posture as well as our brains if singing in a round or canon.
Our Song List:
-Swing Low/Oh when the Saints/I want to sing sing sing
-This little light of mine
-A baby sardine
-Don't build your house on the sandyland
-Fee fie fiesta
-Gwaderly archer
-Sometime I feel like motherless child
Key Aspects to pay attention to with scriptwork:
Alliteration: The repetition of vowels or consonants at the beginning of two or more words in a phrase.
Antithesis: Setting the word against the word. Sometimes antithesis is more like a balancing act.
So Foul and Fair a day I have seen.
Assonance; The binding together of words through the likeness of vowel sounds produces assonance as in lake and fate. It capture rhymes through repeated sounds.
Onomatopoeia: When sounds and pronunciation of a word traps its meaning e.g. hiss, ping, bang, gossip.
Emphasis: Through the use of stress, tone, pitch, speed or volume we can signal how we want to recieve a message.
The ladder: This device is for building the intensity of feeling. The ladder starts with a statement of image or feeling which is capped by one that outdoes the first, and then another and another rising to the top climactic rung of the ladder.
Focusing On Nuances:
"The fire exit must be kept clear"
As expressed in the table above, there are the 5P's "to 'colour' spoken communication". They are: Pronunciation, Pitch, Pace, Pause and Power. These are all elements we use when talking without thinking about it, using these and focusing on what's said separates a good performance from a great one.
Actors (especially when first looking at script) tend to 'act out' and present dialogue in the manner they think that it should be played rather than looking it at something that they'd say themselves. They overact to a Pantomime level and make the scene seem 'staged'. Breaking down speeches/lines of dialogue and setting intentions and motivations will give the actor a chance to allocate the 5P's to the right effect.
Aspects to Warm-Up:
-Throat (and neck muscles)
-Face
-Diaphragm (breathing exercises)
-Chest
-Mouth
Areas of the body to stretch:
-Upper back/shoulder region
-Hips
-Knees (soft knees)
-Fingers
-Wrists (roll)
-Ankles (roll)
-Tongue
There are also verbal exercises that would help warm up and open up the mouth and throat region. Tongue twisters are an example:
-She sits shining shoes
Shining shoes she sits
-Red leather
Yellow leather
-Plain bun, plum bun
Plain plum bun
-She sat on the balustraded banister
Inextricably mimicking and hickuping
-Unique New York
New York Unique
-Bab beb bib bob bub
Dad ded did dod dud
Gag geg gig gog gug
Pap pep pip pop pup
Mam mem mim mom mum
Sas ses sis sos sus
Tat tet tit tot tut
Zaz zez ziz zoz zuz
(Experiment with other consonants)
Using these in a drilling sense, helps focus the mind as well. Once we completed many, if not all, of the exercises we were given a sheet of songs which would help us to engage our diaphragm and posture as well as our brains if singing in a round or canon.
Our Song List:
-Swing Low/Oh when the Saints/I want to sing sing sing
-This little light of mine
-A baby sardine
-Don't build your house on the sandyland
-Fee fie fiesta
-Gwaderly archer
-Sometime I feel like motherless child
Key Aspects to pay attention to with scriptwork:
Alliteration: The repetition of vowels or consonants at the beginning of two or more words in a phrase.
Antithesis: Setting the word against the word. Sometimes antithesis is more like a balancing act.
So Foul and Fair a day I have seen.
Assonance; The binding together of words through the likeness of vowel sounds produces assonance as in lake and fate. It capture rhymes through repeated sounds.
Onomatopoeia: When sounds and pronunciation of a word traps its meaning e.g. hiss, ping, bang, gossip.
Emphasis: Through the use of stress, tone, pitch, speed or volume we can signal how we want to recieve a message.
The ladder: This device is for building the intensity of feeling. The ladder starts with a statement of image or feeling which is capped by one that outdoes the first, and then another and another rising to the top climactic rung of the ladder.
Focusing On Nuances:
"The fire exit must be kept clear"
Facial Expression
|
How does it look?
|
How does it sound?
|
What is your gut reaction as
audience?
|
-Furrowed brows
|
Stern
|
Forceful
|
Fear the character.
|
-Glaring eyes
|
One with psychotic tendancies
|
Scary – especially when speaking is slowed right down.
|
Watch that character’s decision closely.
|
-Sparkling, alive eyes
|
‘Too open’ – like one is in a pageant
|
Fake – pitch rises with delivery of lines.
|
Untrustworthy
|
-Lips protruded
|
‘Prestige’ that one thinks very highly of themselves
|
Creepy – in a low tone can be taken more than one way.
|
Dislike (moreover a love-to-hate) character.
|
-Lips pulled over teeth
|
‘Flat’ – tight and like skin has been pulled back
|
Throaty
|
Likeness to the character; likely to be an older person.
|
-A sneer
|
Unmovable
|
Forceful and violent – again dependent on tone delivery
|
Insincere character – distance emotional connection
|
-An overly broad smile
|
Intense
|
Peppy and devious – especially with a higher tone of voice.
|
Deceitful character – you don’t trust that their narrative is what
they said it is.
|
-A frown
|
Forlorn
|
Like a warning.
|
Emotional connection is instant – character seems lost and alone.
|
-The jaw jutting forward
|
Comical/Scary – dependent on the tone with line delivery
|
Comically demanding – like it should be done but the character doesn’t
possess the right status level.
Scary – reminded of characters from the Godfather.
|
Interested – the characterisation isn’t the usual; we want to know
why.
|
-The jaw jammed downwards
|
Tense and tight
|
Numbed – very monotone.
|
Curious –another unusual characterisation.
|
-The jaw hanging freely
|
Amorphous
|
Unimpressed
|
Uninterested – dependent on dialogue and physicality of character.
|
-Shoulders around your ears
|
Comical/Geeky
|
Closed off and higher pitched.
|
Empathy.
|
As expressed in the table above, there are the 5P's "to 'colour' spoken communication". They are: Pronunciation, Pitch, Pace, Pause and Power. These are all elements we use when talking without thinking about it, using these and focusing on what's said separates a good performance from a great one.
Actors (especially when first looking at script) tend to 'act out' and present dialogue in the manner they think that it should be played rather than looking it at something that they'd say themselves. They overact to a Pantomime level and make the scene seem 'staged'. Breaking down speeches/lines of dialogue and setting intentions and motivations will give the actor a chance to allocate the 5P's to the right effect.
Information from External Sources
To help us gather a scope on what we need to do for our auditions, Olga gave us many sources of information from different drama schools and external professional actors.
The information below is not my own, all typed up work from either Birmingham School of Acting, RADA, Royal Central School of Speech and Drama and Guildhall School of Music and Drama.
Birmingham School of Acting
Auditions
1. What sort of pieces should I choose for my audition?
2. Can I cut a monologue together from a scene, omitting other character's lines?
3. Could I choose a piece from a monologue anthology book?
4. Can I perform a poem as part of my audition?
5. Are there some timeworn pieces that one should avoid?
6. Can I choose a piece from a television or film script?
7. How long do my audition pieces need to be?
8. Can I perform a piece with an accent at my audition?
9. Will furniture be available in the audition room?
10. What about props?
11. What about costume?
12. What level of dance ability do I need to demonstrate?
13. Will I get feedback after the audition?
14. How good a singer do I need to be?
1.
For characters and speeches that reflect your experience of the world. Do not attempt to undertake 'disguise' acting by choosing something that requires a funny walk, strange voice or to be someone.
2.
Yes, so long as the edited version makes sense. There is no such thing as a monologue - what you hear in soliloquy is always one half of a dialogue, either with yourself or someone else. If you choose this option, do not cut together lines from different scenes because the text will not make sense and always acknowledge the 'other' person.
3.
Not really. Monologue books are useful for helping people who do not have a broad knowledge of repertoire to begin to look for ideas.
However, there is a danger that you will find a speech in a monologue book, learn it, and study no further. Many books have American pieces, the full text of which cannot acquired in the UK and some of these a purpose-written audition speeches. The other danger with American pieces is that they are culturally outside the experience of many of the applicants.
Another problem is that many of the speeches in the monologue books are very well know. You must select a speech from a full play that has been published, and it is vital you have read the whole play to understand context and allow that knowledge to inform the work which you are doing.
4.
Not really. Few poems give you the scope to explore a character and his emotional journey in the same way as play text does.
5.
Yes - especially in the classical range and some pieces from auditions books. Always avoid material like Victoria Wood monologues, Alan Bennett's 'Talking Heads' or pieces that are identified with celebrated performances.
6.
If the speech really stands up and works in its own right, then it is perfectly acceptable. However, there are so many factors that influence screenwriting that often a text, which seemed amazing in situ, just doesn't work when taken out of context. Avoid any pieces that are strongly identified with an actor or performance: Keyser Soze from 'The Usual Suspects', for instance.
7.
No more than two minutes - and ideally somewhere between 1 minute 40 and 1 minute 50 seconds. You will stopped if you go over two minutes. However, it is the first 10 seconds that will really need to grab the panel's attention.
Do not get hung up on the idea that your audition speech needs to tell the whole story of the play. A good speech will enable you to give a real insight into a moment in the character's life.
8.
Yes - but only if you are fluent in the accent, if it is your native accent or you speak it like a native and it is appropriate to the character. If it is none of these and it is potentially distracting or likely to disguise you or obscure your real voice, then don't do it. Also remember that Received Pronunciation (RP), also known as Standard English, is a 19th century invention. It did not exist when Shakespeare wrote his play. If in doubt, do the classical speech in your own voice, not RP.
9.
A table and chair will be available in each audition room. However, it is important to remember that if you have an unseen person in a chair, do not put the empty chair in the middle of the stage, otherwise the scene will become a scene about an empty chair.
10.
Unless a prop is absolutely essential - a letter, or a ring - then do not bother. If you do think a prop is needed, bring it with you and ensure you are thoroughly familiar with it. Do not bring a whole suitcases of bits and pieces with you. We are interested in seeing you, not how you juggle utensils retrieved from the loft.
11.
An indication of costume, such as appropriate shoes, shirt or skirt, to assist you is fine. But what is more important is whether or not you can connect to the character and tell us their story. Whatever you wear should be comfortable and supportive of your work. Think about the style and weight of your shoes; fashion heels are not suitable.
12.
You are not required to have any particular level of attainment as a dancer. However, we look to see if you have an ability to be trained in free and co-ordinated movement with a good neutral posture. This potential is assessed in the workshop element of the recall audition.
13.
After your first audition you will receive short, constructive, verbal feedback comments from the audition panel. They may discuss their ideas about your choice of pieces and may make suggestions about how they can be improved or how they feel that you should proceed. During the recall audition you will receive a voice assessment. No further discussion will take place as to why you may, or may not, have been offered a place.
14.
At audition we look at your ability to communicate through text, whether is be spoken (verse, the heightened language of comedy of manners, or contemporary text) or sung.
Royal Central School of Speech & Drama
Those attending auditions for Acting BA, Acting (CDT) BA or Acting (Musical Theatre) BA are expected to prepare two speeches from the list below.
These speeches are listed by the gender of the character as originally written. All candidates should feel free to choose speeches from either list. We would always recommend that candidates select speeches which best demonstrate their strengths and abilities, and that alone should be your guiding principle when selecting your speeches.
Publically directed:
The information below is not my own, all typed up work from either Birmingham School of Acting, RADA, Royal Central School of Speech and Drama and Guildhall School of Music and Drama.
Birmingham School of Acting
Auditions
1. What sort of pieces should I choose for my audition?
2. Can I cut a monologue together from a scene, omitting other character's lines?
3. Could I choose a piece from a monologue anthology book?
4. Can I perform a poem as part of my audition?
5. Are there some timeworn pieces that one should avoid?
6. Can I choose a piece from a television or film script?
7. How long do my audition pieces need to be?
8. Can I perform a piece with an accent at my audition?
9. Will furniture be available in the audition room?
10. What about props?
11. What about costume?
12. What level of dance ability do I need to demonstrate?
13. Will I get feedback after the audition?
14. How good a singer do I need to be?
1.
For characters and speeches that reflect your experience of the world. Do not attempt to undertake 'disguise' acting by choosing something that requires a funny walk, strange voice or to be someone.
2.
Yes, so long as the edited version makes sense. There is no such thing as a monologue - what you hear in soliloquy is always one half of a dialogue, either with yourself or someone else. If you choose this option, do not cut together lines from different scenes because the text will not make sense and always acknowledge the 'other' person.
3.
Not really. Monologue books are useful for helping people who do not have a broad knowledge of repertoire to begin to look for ideas.
However, there is a danger that you will find a speech in a monologue book, learn it, and study no further. Many books have American pieces, the full text of which cannot acquired in the UK and some of these a purpose-written audition speeches. The other danger with American pieces is that they are culturally outside the experience of many of the applicants.
Another problem is that many of the speeches in the monologue books are very well know. You must select a speech from a full play that has been published, and it is vital you have read the whole play to understand context and allow that knowledge to inform the work which you are doing.
4.
Not really. Few poems give you the scope to explore a character and his emotional journey in the same way as play text does.
5.
Yes - especially in the classical range and some pieces from auditions books. Always avoid material like Victoria Wood monologues, Alan Bennett's 'Talking Heads' or pieces that are identified with celebrated performances.
6.
If the speech really stands up and works in its own right, then it is perfectly acceptable. However, there are so many factors that influence screenwriting that often a text, which seemed amazing in situ, just doesn't work when taken out of context. Avoid any pieces that are strongly identified with an actor or performance: Keyser Soze from 'The Usual Suspects', for instance.
7.
No more than two minutes - and ideally somewhere between 1 minute 40 and 1 minute 50 seconds. You will stopped if you go over two minutes. However, it is the first 10 seconds that will really need to grab the panel's attention.
Do not get hung up on the idea that your audition speech needs to tell the whole story of the play. A good speech will enable you to give a real insight into a moment in the character's life.
8.
Yes - but only if you are fluent in the accent, if it is your native accent or you speak it like a native and it is appropriate to the character. If it is none of these and it is potentially distracting or likely to disguise you or obscure your real voice, then don't do it. Also remember that Received Pronunciation (RP), also known as Standard English, is a 19th century invention. It did not exist when Shakespeare wrote his play. If in doubt, do the classical speech in your own voice, not RP.
9.
A table and chair will be available in each audition room. However, it is important to remember that if you have an unseen person in a chair, do not put the empty chair in the middle of the stage, otherwise the scene will become a scene about an empty chair.
10.
Unless a prop is absolutely essential - a letter, or a ring - then do not bother. If you do think a prop is needed, bring it with you and ensure you are thoroughly familiar with it. Do not bring a whole suitcases of bits and pieces with you. We are interested in seeing you, not how you juggle utensils retrieved from the loft.
11.
An indication of costume, such as appropriate shoes, shirt or skirt, to assist you is fine. But what is more important is whether or not you can connect to the character and tell us their story. Whatever you wear should be comfortable and supportive of your work. Think about the style and weight of your shoes; fashion heels are not suitable.
12.
You are not required to have any particular level of attainment as a dancer. However, we look to see if you have an ability to be trained in free and co-ordinated movement with a good neutral posture. This potential is assessed in the workshop element of the recall audition.
13.
After your first audition you will receive short, constructive, verbal feedback comments from the audition panel. They may discuss their ideas about your choice of pieces and may make suggestions about how they can be improved or how they feel that you should proceed. During the recall audition you will receive a voice assessment. No further discussion will take place as to why you may, or may not, have been offered a place.
14.
At audition we look at your ability to communicate through text, whether is be spoken (verse, the heightened language of comedy of manners, or contemporary text) or sung.
Royal Central School of Speech & Drama
Those attending auditions for Acting BA, Acting (CDT) BA or Acting (Musical Theatre) BA are expected to prepare two speeches from the list below.
These speeches are listed by the gender of the character as originally written. All candidates should feel free to choose speeches from either list. We would always recommend that candidates select speeches which best demonstrate their strengths and abilities, and that alone should be your guiding principle when selecting your speeches.
Speeches
for male characters
|
Speeches
for female characters
|
‘Was ever a woman….with some little cost.’ King Richard III (Act 1 Scene 2)
|
‘I pray you tarry….to stay from election.’ Portia from The Merchant
of Venice (Act 3 Scene 2)
|
‘But soft what light…cheek.’ Romeo and Juliet (Act 2 Scene 2)
|
‘Enforced thee…we’ll after them.’ Queen Margaret from King Henry VI
part III (Act 1 Scene 1)
|
‘To be thus is nothing…utterance.’ Macbeth (Act 3 Scene 1)
|
‘Brave warriors….to make thee mad do mock thee thus.’ Queen Margaret
from King Henry VI part III (Act 1 Scene 4)
|
‘Gone already…feel it not.’ Leontes from The Winter’s Tale (Act 1 Scene
2)
|
‘O yet, for God’s sake….so you left him.’ Lady Percy from King Henry
IV part II (Act 2 Scene 3)
|
‘What’s this? What’s this?....I smiled and wondered how.’ Angelo from
Measure for Measure (Act 2 Scene 2)
|
‘You’ve ungently, Brutus…with your cause grief.’ Portia from Julius
Caesar (Act 2 Scene 1)
|
‘I heard myself proclaimed….Edgar I nothing am.’ Edgar from King Lear
(Act 2 Scene 3)
|
‘Gallop apace….may not wear them.’ Juliet from Romeo and Juliet (Act 3 Scene 2)
|
‘Look here upon this picture…O shame, where is they blush?’ Hamlet
(Act 3 Scene 4)
|
‘My Lord, as I was sewing….comes before me’ joined onto ‘He took me
by the wrist…bended their light on me.’ Ophelia from Hamlet (Act 2 Scene 1)
|
‘Tis torture and not mercy….that word banished?’ Romeo and Juliet
(Act 3 Scene 3)
|
‘Hard to seem won….stop my mouth.’ Cressida from Troilus and Cressida
(Act 3 Scene 1)
|
‘Let me see her face again…thou hast done much ill well.’ Ferdinand
from The Duchess of Malfi – Webster (Act 4 Scene 2)
|
‘By day and night he wrongs me….prepare for dinner.’ (Omit Oswald’s lines) Goneril from King Lear (Act 1 Scene
3)
|
‘Shall I expound whore…all that receive it.’ Monticelso from The White Devil – Webster (Act
3 Scene 2)
|
‘What studied torments, tyrant…..and vengeance for’t nor dropp’d down
yet.’ Paulina from The Winter’s Tale (Act 3 Scene 2)
|
‘O that this too too solid flesh…hold my tongue.’ Hamlet (Act 1 Scene
2)
|
‘I left no ring with her….too hard a knot for me to untie’ Viola from
The Twelfth Night (Act 2 Scene 2)
|
‘I would not be thy executioner….that can do hurt.’ Phoebe from As
You Like It (Act 3 Scene 5)
|
|
‘And why, I pray you?....fare you well’ Rosalind from As You Like It
(Act 3 Scene 5)
|
Amongst our research (as well as our handouts) we were incredibly privileged to be visited by Christian Burgess. He is the current Director of Drama at Guildhall School of Music & Drama and has been for the last 5 years; a working professional, Christian trained at there and came out to progress and gain a remarkable CV filled with television, theatre and film acting experience.
- Too Young for Ghosts
- Confusions
- Ghetto
- I Capture the Castle
- Live Like Pigs
- Tales from Ovid
- The London Cuckolds
- Stanley
- Don Juan in Soho
- The Last Five Years
- Badenheim 1939
'He has a strong interest in collaboration across the disciplines and has led many initiatives to bring the School's Acting, Music and Technical Theatre Arts Students together, both inside and outside the curriculum.
He is a regular director at Prima Del Teatro in Tuscany, and is a member of the board of Ecole des Ecoles (a network of theatre schools from across Europe dedicated to sharing philosophy and practical expertise).'
Subscribe to:
Posts (Atom)