Speaking Shakespeare

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Overview

In Speaking Shakespeare, Patsy Rodenburg tackles one of the most difficult acting jobs: speaking Shakespeare's words both as they were meant to be spoken and in an understandable and dramatic way. Rodenburg calls this "a simple manual to start the journey into the heart of Shakespeare," and that is what she gives us. With the same insight she displayed in The Actor Speaks, Rodenburg tackles the playing of all Shakespeare's characters. She uses dramatic resonance, breathing, and placement to show how an actor can bring Hamlet, Rosalind, Puck and other characters to life. This is one book every working actor must have.

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Overview

In Speaking Shakespeare, Patsy Rodenburg tackles one of the most difficult acting jobs: speaking Shakespeare's words both as they were meant to be spoken and in an understandable and dramatic way. Rodenburg calls this "a simple manual to start the journey into the heart of Shakespeare," and that is what she gives us. With the same insight she displayed in The Actor Speaks, Rodenburg tackles the playing of all Shakespeare's characters. She uses dramatic resonance, breathing, and placement to show how an actor can bring Hamlet, Rosalind, Puck and other characters to life. This is one book every working actor must have.

Editorial Reviews

Publishers Weekly
Although Shakespeare is the most famous-and lauded-writer in English, most adult readers, theatergoers and students would be hard pressed to admit they fully understand the complexity or complete meaning of his language. Rodenburg, the director of voice at London's National Theater, has written an excellent training guide for actors tackling the Bard, methodically escorting the amateur or professional thespian from understanding individual words to reading lines to performing entire speeches, emphasizing breathing, finding a rhythm, grounding the character in imaginative time and place, and understanding Shakespeare's world view. While Rodenberg's book will be a boon for actors, it deserves a wider audience. By approaching Shakespeare's plays through the lens of the building-blocks of performance, she gives both the common reader and playgoer enormous insight into reading-and hearing-the playwright's words. It's difficult to think of a better way for the layperson to understand Shakespeare's language than by approaching it from the inside out. Her brief but extraordinarily useful explications of the use of puns, irony and rhyme, as well as her examination of how contrasting verse with prose changes tone and meaning, also give a terrific underpinning in understanding the plays. In Rodenberg's capable hands, Shakespeare's complicated words and ideas become completely clear. Her systematic analysis of 17 speeches from some of the more famous plays is a great primer to how character and plot are intertwined in the work. While not a full analysis of Shakespeare's works, this book will be incredibly worthwhile for actors as well as anyone interested in his plays. (Sept.) Copyright 2002 Cahners Business Information.
Library Journal
By exploring the mechanics of Shakespeare's writing, these books clearly illustrate how to speak and understand his texts and ultimately break down the language barrier. Both cover the bard's powerful iambic pentameter and its effect on pronunciation, the irregularities that reveal the emotional and psychological state of each character, and how each word works in relation to another concerning prose, verse, blank verse, and rhyming verse. Scheeder, founder and director of the Classical Studio at New York University, and Younts, professor of the techniques of voice and text at the same institution, present a highly useful pronunciation dictionary, supplemented by a glossary that defines character names, places, and unfamiliar words. They use the International Phonetics Alphabet, respell vowels in their key to pronunciation, and intricately mark in scansion each word. When a word can be pronounced two different ways, they indicate both followed by the play, the act, and the scene in which each form is used. Rodenburg, director of voice at London's Royal National Theatre, divides her training guide into four parts, offering practical exercises that aid in comprehending the speeches that define a character's mental state and intentions. Her book uses two guideposts: the givens (including the word, the line, rhyme, and the story) and the imaginative connections necessary to make a piece engaging to both the actor and the audience. Many books exist to help actors approach Shakespeare's works, but they tend toward more general overviews. Both of these books are rich with information and nicely focused. Recommended for academic and larger public libraries. Elizabeth Stifter, Brooklyn, NY Copyright 2002 Cahners Business Information.

Product Details

  • ISBN-13: 9781403965400
  • Publisher: Palgrave Macmillan
  • Publication date: 7/16/2004
  • Edition description: First Edition
  • Edition number: 1
  • Pages: 368
  • Sales rank: 428,412
  • Product dimensions: 5.77 (w) x 8.06 (h) x 0.99 (d)

Meet the Author

Patsy Rodenburg is the Director of Voice at London's Royal National Theater and the Guildhall School of Music and Drama. She is the author of The Actor Speaks (Palgrave Macmillan 2000).

Table of Contents

Acknowledgements ix
Preface xi
Part 1 Foundation Craft
Foundation Craft 3
The Body 15
The State of Readiness 23
Breath 30
Support 36
Freeing the Voice 40
Placing the Free Voice 46
Consolidation 50
Deepening the Work 53
Range and Resonance 55
Clear Speech 57
Listening 60
Hamlet's Advice 63
Part 2 Structure
The Givens 69
The Word 72
Alliteration, Assonance, Onomatopoeia 78
Rhythm 84
Pauses and Irregularities of Rhythm 95
The Line 103
The Thought and the Structuring of Thoughts 108
The Structure of Scenes 120
Antithesis 121
Rhyme 126
Prose 155
Irony 163
Puns 169
Language games 173
Repetition 177
The Story 180
Location 184
Stage Directions, Props, Entrances and Exits 186
Soliloquy 188
Part 3 The Imaginative
The Imaginative Exploration of the Text 191
Anchoring the Text 201
Focus and Energy 217
Summary 222
Part 4 The Speeches
Richard III 226
Julius Caesar 236
Measure for Measure 242
King Lear 250
As You Like It 266
Much Ado About Nothing 273
The Merchant of Venice 279
Othello 285
Henry V 292
The Winter's Tale 297
Macbeth 303
Twelfth Night 314
A Midsummer Night's Dream 325
Antony and Cleopatra 329
Coriolanus 334
Cymbeline 338
King John 344
Part 5 Checklists
Preparing the Body, Breath, Voice and Speech 351
The Givens 354
The Imaginative 355

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