Arden Performance Companions – serie

Classical Rhetoric, the art of persuasion, formed the sum and substance of Shakespeare’s education and was the basis of his understanding of the power of language and how it worked to move, delight and teach. Rhetoric, which seeks to explain the way that language works to influence others, provides a powerful, transformative tool for approaching text in performance. This book helps you understand the key concepts of rhetoric. It gives clear explanations, stripped of jargon, and examples of rhetorical technique in the plays. It also provides engaging, practical exercises to unlock character and to identify themes in the plays through the lens of rhetoric. Academically rigorous, based on more than a decade of practical experience in the use of rhetoric in drama at the highest level, it is an ideal companion for anyone engaging with Shakespeare in performance.

Classical Rhetoric, the art of persuasion, formed the sum and substance of Shakespeare’s education and was the basis of his understanding of the power of language and how it worked to move, delight and teach. Rhetoric, which seeks to explain the way that language works to influence others, provides a powerful, transformative tool for approaching text in performance. This book helps you understand the key concepts of rhetoric. It gives clear explanations, stripped of jargon, and examples of rhetorical technique in the plays. It also provides engaging, practical exercises to unlock character and to identify themes in the plays through the lens of rhetoric. Academically rigorous, based on more than a decade of practical experience in the use of rhetoric in drama at the highest level, it is an ideal companion for anyone engaging with Shakespeare in performance.

Classical Rhetoric, the art of persuasion, formed the sum and substance of Shakespeare''s education and was the basis of his understanding of the power of language and how it worked to move, delight and teach. Rhetoric, which seeks to explain the way that language works to influence others, provides a powerful, transformative tool for approaching text in performance. This book helps you understand the key concepts of rhetoric. It gives clear explanations, stripped of jargon, and examples of rhetorical technique in the plays. It also provides engaging, practical exercises to unlock character and to identify themes in the plays through the lens of rhetoric. Academically rigorous, based on more than a decade of practical experience in the use of rhetoric in drama at the highest level, it is an ideal companion for anyone engaging with Shakespeare in performance.

Classical Rhetoric, the art of persuasion, formed the sum and substance of Shakespeare''s education and was the basis of his understanding of the power of language and how it worked to move, delight and teach. Rhetoric, which seeks to explain the way that language works to influence others, provides a powerful, transformative tool for approaching text in performance. This book helps you understand the key concepts of rhetoric. It gives clear explanations, stripped of jargon, and examples of rhetorical technique in the plays. It also provides engaging, practical exercises to unlock character and to identify themes in the plays through the lens of rhetoric. Academically rigorous, based on more than a decade of practical experience in the use of rhetoric in drama at the highest level, it is an ideal companion for anyone engaging with Shakespeare in performance.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner’s work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner’s techniques.Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner's work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner’s note to his actors that 'text is your greatest enemy’, Shakespeare and Meisner are often considered ‘strange bedfellows’. The rhetorical complexity of Shakespeare’s text can often be perceived as rules an actor must learn in order to perform Shakespeare ‘properly’. Meisner’s main rule is that 'you can’t say ouch until you’ve been pinched’: in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner’s tools of ‘acting is reacting’ to discover the infinite freedom within the apparent constraints of Shakespeare’s text.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner’s work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner’s techniques.Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner's work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner’s note to his actors that 'text is your greatest enemy’, Shakespeare and Meisner are often considered ‘strange bedfellows’. The rhetorical complexity of Shakespeare’s text can often be perceived as rules an actor must learn in order to perform Shakespeare ‘properly’. Meisner’s main rule is that 'you can’t say ouch until you’ve been pinched’: in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner’s tools of ‘acting is reacting’ to discover the infinite freedom within the apparent constraints of Shakespeare’s text.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner''s work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner''s techniques.Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner''s work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner''s note to his actors that ''text is your greatest enemy'', Shakespeare and Meisner are often considered ''strange bedfellows''. The rhetorical complexity of Shakespeare''s text can often be perceived as rules an actor must learn in order to perform Shakespeare ''properly''. Meisner''s main rule is that ''you can''t say ouch until you''ve been pinched'': in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner''s tools of ''acting is reacting'' to discover the infinite freedom within the apparent constraints of Shakespeare''s text.

This practical handbook is invaluable for anyone performing, teaching, studying or simply wanting a new way to enjoy Shakespeare. It provides an outline of Meisner''s work and legacy, a discussion of that legacy in the light of the enduring global popularity of Shakespeare, and a wealth of practical exercises drawn from Meisner''s techniques.Shakespeare writes about the truth in human relationships and human hearts. Sanford Meisner''s work unlocks truthful acting. They would seem a perfect match. Yet, following Meisner''s note to his actors that ''text is your greatest enemy'', Shakespeare and Meisner are often considered ''strange bedfellows''. The rhetorical complexity of Shakespeare''s text can often be perceived as rules an actor must learn in order to perform Shakespeare ''properly''. Meisner''s main rule is that ''you can''t say ouch until you''ve been pinched'': in other words, an actor must genuinely feel something in order to react in a performance which is alive to the moment. This book explores how actors can use Meisner''s tools of ''acting is reacting'' to discover the infinite freedom within the apparent constraints of Shakespeare''s text.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

Romeo and Juliet always use ''thou'' to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ''thou'', but no man ever does. Why? When characters address the dead, they use ''thou'' except for Hamlet, who addresses Yorick as ''you''. Why? Shakespeare''s contemporaries would have known the answers to these questions because they understood what ''thou'' signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ''trulls'' and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating l se-majest , Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author''s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text. Written by theatre practitioner Ed Woodall, who trained with Lecoq himself, and Shakespeare academic Abigail Rokison-Woodall, this guide begins with warm-ups and ensemble-building, and moves through explorations of the story, the world of the play, the text, character emotion, thought and physicality and staging. Lecoq’s method often relies on ‘play’, and play is often seen as trivial or inconsequential. This book argues that the more playful you are, the more playfully you investigate your speech or scene and the more physically motivated that playfulness is, the more vital and lifelike your acting of Shakespeare will be.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text. Written by theatre practitioner Ed Woodall, who trained with Lecoq himself, and Shakespeare academic Abigail Rokison-Woodall, this guide begins with warm-ups and ensemble-building, and moves through explorations of the story, the world of the play, the text, character emotion, thought and physicality and staging. Lecoq’s method often relies on ‘play’, and play is often seen as trivial or inconsequential. This book argues that the more playful you are, the more playfully you investigate your speech or scene and the more physically motivated that playfulness is, the more vital and lifelike your acting of Shakespeare will be.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text. Written by theatre practitioner Ed Woodall, who trained with Lecoq himself, and Shakespeare academic Abigail Rokison-Woodall, this guide begins with warm-ups and ensemble-building, and moves through explorations of the story, the world of the play, the text, character emotion, thought and physicality and staging. Lecoq''s method often relies on ''play'', and play is often seen as trivial or inconsequential. This book argues that the more playful you are, the more playfully you investigate your speech or scene and the more physically motivated that playfulness is, the more vital and lifelike your acting of Shakespeare will be.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Jacques Lecoq to the process of rehearsing or workshopping the Shakespeare text. Written by theatre practitioner Ed Woodall, who trained with Lecoq himself, and Shakespeare academic Abigail Rokison-Woodall, this guide begins with warm-ups and ensemble-building, and moves through explorations of the story, the world of the play, the text, character emotion, thought and physicality and staging. Lecoq''s method often relies on ''play'', and play is often seen as trivial or inconsequential. This book argues that the more playful you are, the more playfully you investigate your speech or scene and the more physically motivated that playfulness is, the more vital and lifelike your acting of Shakespeare will be.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Konstantin Stanislavsky to Shakespeare.Shakespeare and Stanislavsky provides a guide for actors, acting students, directors and teachers who want to apply the work of influential theatre practitioner, Stanislavsky, to the process of rehearsing and workshopping Shakespeare’s play texts. Acting tutor and director, Annie Tyson, makes applying Stanislavsky’s methods to Shakespeare simple and accessible. She rejects and dispels the myth held by some that Stanislavsky and Shakespeare are incompatible, showing instead how the Shakespearean text offers clues to specific acting choices that are intricately connected to action and character. Drawing on years of acting, directing and teaching experience at the Drama Centre London and RADA, Tyson’s guide is full of practical tips and humour. This guide also includes a series of interviews with actors and directors who explain their approach to applying Stanislavsky to Shakespeare.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Konstantin Stanislavsky to Shakespeare.Shakespeare and Stanislavsky provides a guide for actors, acting students, directors and teachers who want to apply the work of influential theatre practitioner, Stanislavsky, to the process of rehearsing and workshopping Shakespeare’s play texts. Acting tutor and director, Annie Tyson, makes applying Stanislavsky’s methods to Shakespeare simple and accessible. She rejects and dispels the myth held by some that Stanislavsky and Shakespeare are incompatible, showing instead how the Shakespearean text offers clues to specific acting choices that are intricately connected to action and character. Drawing on years of acting, directing and teaching experience at the Drama Centre London and RADA, Tyson’s guide is full of practical tips and humour. This guide also includes a series of interviews with actors and directors who explain their approach to applying Stanislavsky to Shakespeare.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Konstantin Stanislavsky to Shakespeare.Shakespeare and Stanislavsky provides a guide for actors, acting students, directors and teachers who want to apply the work of influential theatre practitioner, Stanislavsky, to the process of rehearsing and workshopping Shakespeare''s play texts. Acting tutor and director, Annie Tyson, makes applying Stanislavsky''s methods to Shakespeare simple and accessible. She rejects and dispels the myth held by some that Stanislavsky and Shakespeare are incompatible, showing instead how the Shakespearean text offers clues to specific acting choices that are intricately connected to action and character. Drawing on years of acting, directing and teaching experience at the Drama Centre London and RADA, Tyson''s guide is full of practical tips and humour. This guide also includes a series of interviews with actors and directors who explain their approach to applying Stanislavsky to Shakespeare.

This book provides actors, directors, teachers and students with a clear, practical guide to applying the work of influential theatre practitioner Konstantin Stanislavsky to Shakespeare.Shakespeare and Stanislavsky provides a guide for actors, acting students, directors and teachers who want to apply the work of influential theatre practitioner, Stanislavsky, to the process of rehearsing and workshopping Shakespeare''s play texts. Acting tutor and director, Annie Tyson, makes applying Stanislavsky''s methods to Shakespeare simple and accessible. She rejects and dispels the myth held by some that Stanislavsky and Shakespeare are incompatible, showing instead how the Shakespearean text offers clues to specific acting choices that are intricately connected to action and character. Drawing on years of acting, directing and teaching experience at the Drama Centre London and RADA, Tyson''s guide is full of practical tips and humour. This guide also includes a series of interviews with actors and directors who explain their approach to applying Stanislavsky to Shakespeare.

This practical guide uncovers the roots of Brecht’s lifelong obsession with Shakespeare and makes the case for reading the two together today. By connecting these two great playwrights, Stephen Unwin imagines new possibilities for Brechtian productions of Shakespeare and outlines practical suggestions for how to stage such productions.Drawing on directing and performance experience in over 60 productions, Unwin’s knowledge of Brecht provides students, teachers, and practitioners with practical exercises for use in the classroom and rehearsal room. The book charts a chronology of Brecht’s engagement with Shakespeare before delving into his core theories and practices which detail a Brechtian approach to reading, performing and staging Shakespeare that is still pertinent today. Unwin also provides an in-depth look at five of Shakespeare’s plays through Brecht’s own words and imagines a Brechtian staging for them. In simple, non-theoretical language Shakespeare and Brecht reveals how Brecht can help us understand Shakespeare, but also how an understanding of Shakespeare can help explain Brecht for a new chapter of Brechtian Shakespeare in the 21st century.

This practical guide uncovers the roots of Brecht’s lifelong obsession with Shakespeare and makes the case for reading the two together today. By connecting these two great playwrights, Stephen Unwin imagines new possibilities for Brechtian productions of Shakespeare and outlines practical suggestions for how to stage such productions.Drawing on directing and performance experience in over 60 productions, Unwin’s knowledge of Brecht provides students, teachers, and practitioners with practical exercises for use in the classroom and rehearsal room. The book charts a chronology of Brecht’s engagement with Shakespeare before delving into his core theories and practices which detail a Brechtian approach to reading, performing and staging Shakespeare that is still pertinent today. Unwin also provides an in-depth look at five of Shakespeare’s plays through Brecht’s own words and imagines a Brechtian staging for them. In simple, non-theoretical language Shakespeare and Brecht reveals how Brecht can help us understand Shakespeare, but also how an understanding of Shakespeare can help explain Brecht for a new chapter of Brechtian Shakespeare in the 21st century.

This practical guide uncovers the roots of Brecht's lifelong obsession with Shakespeare and makes the case for reading the two together today. By connecting these two great playwrights, Stephen Unwin imagines new possibilities for Brechtian productions of Shakespeare and outlines practical suggestions for how to stage such productions.Drawing on directing and performance experience in over 60 productions, Unwin's knowledge of Brecht provides students, teachers, and practitioners with practical exercises for use in the classroom and rehearsal room. The book charts a chronology of Brecht's engagement with Shakespeare before delving into his core theories and practices which detail a Brechtian approach to reading, performing and staging Shakespeare that is still pertinent today. Unwin also provides an in-depth look at five of Shakespeare's plays through Brecht's own words and imagines a Brechtian staging for them. In simple, non-theoretical language Shakespeare and Brecht reveals how Brecht can help us understand Shakespeare, but also how an understanding of Shakespeare can help explain Brecht for a new chapter of Brechtian Shakespeare in the 21st century.