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I spent the week on poetic analysis of my speeches. Six brightly colored markers, a cup of tea, some pretty music in the background, and an hour is happily passed.
SparkNotes is an amazingly useful (free!) online resource with "no fear" Shakespeare, online texts with modern day English translations alongside the original. It was interesting looking up words I wasn’t sure about, and realizing the meaning of entire sentences was different to what I first had assumed.
Ariel has quite a few rhyming speeches/songs which will be fun to explore in rehearsal. I also loved discovering that a lot of Ariel’s speeches use aspirate, light, tip-of-the-tongue words. When she is spiriting, as the nymph/harpy etc, her sounds become more glottal. That ol’ Shakespeare was clever... DE-LICIOUS!
SparkNotes is an amazingly useful (free!) online resource with "no fear" Shakespeare, online texts with modern day English translations alongside the original. It was interesting looking up words I wasn’t sure about, and realizing the meaning of entire sentences was different to what I first had assumed.
Ariel has quite a few rhyming speeches/songs which will be fun to explore in rehearsal. I also loved discovering that a lot of Ariel’s speeches use aspirate, light, tip-of-the-tongue words. When she is spiriting, as the nymph/harpy etc, her sounds become more glottal. That ol’ Shakespeare was clever... DE-LICIOUS!
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Now here I feel comfortable! I was always good at poetic analysis, finding rhymes, alliteration, assonance, consonance, onomatopoeia, metaphor etc etc. This is the kind of analysis I find FUN.
We looked at the same speech from last week, Alonso’s “O, it is monstrous, monstrous!” speech, and went through the process of analyzing the poetry. We used different colored markers for each of the elements of poetry - oh so appealing to my inner nerd! The language is rich and multilayered and delicious! The themes emerging from the analysis are nature, sound, alchemy, and knowledge v. the physical.
We talked about finding the love of the language. The usefulness of having three oversized copies of your lines - one for scansion, one for poetic analysis, and one for train of thought. Finding the energy of the play, without getting bogged down in analysis.
We looked at the same speech from last week, Alonso’s “O, it is monstrous, monstrous!” speech, and went through the process of analyzing the poetry. We used different colored markers for each of the elements of poetry - oh so appealing to my inner nerd! The language is rich and multilayered and delicious! The themes emerging from the analysis are nature, sound, alchemy, and knowledge v. the physical.
We talked about finding the love of the language. The usefulness of having three oversized copies of your lines - one for scansion, one for poetic analysis, and one for train of thought. Finding the energy of the play, without getting bogged down in analysis.
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I spent the week scanning all my lines... I’ll admit that it does give new insight into how the lines can be read, unearths meaning... But, oh scansion. You are difficult!
I discovered that nearly all of Ariel’s lines/scenes end with the same pattern - u x u x u x.
What does this mean? What does it say about Ariel? Fun things to explore in rehearsal.
It is interesting, and I’ll begrudgingly concede even a little bit fun. But still. Ugh.
I discovered that nearly all of Ariel’s lines/scenes end with the same pattern - u x u x u x.
What does this mean? What does it say about Ariel? Fun things to explore in rehearsal.
It is interesting, and I’ll begrudgingly concede even a little bit fun. But still. Ugh.
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Over the next three weeks we’re having workshops on language and the themes of the play. First up: scansion.
In the rehearsal room, Denise put up butcher’s paper and a speech in oversized text, and we went through how to scan the speech. Now that I’ve engaged with the material more, it is making far more sense.
We started discussing Denise's vision for the show. She is using ideas from the book “Prospero’s Island”, a Jungian analysis of The Tempest. The underlying theme is alchemy, where Prospero has used her time on the island to merge mind and body. In Milan, Prospero was entirely in her head, obsessed with her books and ignoring the ruling of the state, and thus is exiled. On the island, Prospero is forced to come into her body. Through her magic, intuition, and prescience, she merges the two, becoming an enlightened being or a Renaissance magis. The other characters represent various stages of alchemy, and the mind/body dichotomy - Caliban is earth/mud and body. Ariel is fire and spirit.
Much discussion about how all of this, themes, scansion etc, will be important in rehearsal, but not stressed in performance.
In the rehearsal room, Denise put up butcher’s paper and a speech in oversized text, and we went through how to scan the speech. Now that I’ve engaged with the material more, it is making far more sense.
We started discussing Denise's vision for the show. She is using ideas from the book “Prospero’s Island”, a Jungian analysis of The Tempest. The underlying theme is alchemy, where Prospero has used her time on the island to merge mind and body. In Milan, Prospero was entirely in her head, obsessed with her books and ignoring the ruling of the state, and thus is exiled. On the island, Prospero is forced to come into her body. Through her magic, intuition, and prescience, she merges the two, becoming an enlightened being or a Renaissance magis. The other characters represent various stages of alchemy, and the mind/body dichotomy - Caliban is earth/mud and body. Ariel is fire and spirit.
Much discussion about how all of this, themes, scansion etc, will be important in rehearsal, but not stressed in performance.
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John Barton's "Playing Shakespeare" is seriously excellent.
Rehearsals don’t start for another month or so, but we have some homework to do in the meantime.
We did Shakespeare in high school, and I remember enjoying it somewhat (we did Othello and Merchant of Venice), but I always felt like it was: difficult, something beyond my comprehension, not important because I’m going to be in musicals (seriously. Someone take a bat to my fifteen-year-old head).
So Shakespeare TERRIFIES me. I think it’s because I never understood it. And we’re all scared of what we don’t understand right? Especially when it’s pretentious learning type things.
Today I sat down to read through Speak the Speech. I think Aaron is ready to divorce me after today. I really struggled with it all. WHY IS THERE ALL THIS TERMINOLOGY?! WHO CARES? IT’S SO WANKY! JUST READ THE TEXT AND IT MAKES SENSE! (I really feel that if you read the text enough, the rhythm comes out naturally. It’s all THERE).
I’m pleased to say that after slaving through the Speak the Speech and, surprisingly, absolutely LOVING Part 1 of Playing Shakespeare, I understand scansion! And verse! And iambic pentameter! Ten syllables with a common pattern (da dum da dum da dum da dum), and when that pattern is broken, it usually means something significant. Was that so scary?!
I’ve also started working on my lines. Oh god. I feel like I will never get my mouth and tongue around the language. I’ll never have the words in my head. This. Is. Hard.
- Read a handout from “Speak the Speech”, which breaks down the Shakespearean language and shows how to approach it.
- Watch the RSC series Playing Shakespeare.
We did Shakespeare in high school, and I remember enjoying it somewhat (we did Othello and Merchant of Venice), but I always felt like it was: difficult, something beyond my comprehension, not important because I’m going to be in musicals (seriously. Someone take a bat to my fifteen-year-old head).
So Shakespeare TERRIFIES me. I think it’s because I never understood it. And we’re all scared of what we don’t understand right? Especially when it’s pretentious learning type things.
Today I sat down to read through Speak the Speech. I think Aaron is ready to divorce me after today. I really struggled with it all. WHY IS THERE ALL THIS TERMINOLOGY?! WHO CARES? IT’S SO WANKY! JUST READ THE TEXT AND IT MAKES SENSE! (I really feel that if you read the text enough, the rhythm comes out naturally. It’s all THERE).
I’m pleased to say that after slaving through the Speak the Speech and, surprisingly, absolutely LOVING Part 1 of Playing Shakespeare, I understand scansion! And verse! And iambic pentameter! Ten syllables with a common pattern (da dum da dum da dum da dum), and when that pattern is broken, it usually means something significant. Was that so scary?!
I’ve also started working on my lines. Oh god. I feel like I will never get my mouth and tongue around the language. I’ll never have the words in my head. This. Is. Hard.
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Different Ariel. Same excitement.
I’ve been offered the role Ariel in The Tempest! WOOHOOO!! Can’t wait to get started.
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Final call-backs. Same scenes as previously. Also filled in as a Caliban for a few scenes which was fun. Went for a creepy bird-creature-thing with the harpy scene and thought it was amazing. The director, Denise, promptly stopped me after one line, and explained she wanted a terrifying bird creature. Went away for a bit, invoked all my training, and tried some scary voices. Came back, did a few lines and knew I’d nailed it. So nice to have a director who gives you feedback as you perform. Boom. Drama school, you were exhausting/soul-destroying, but you taught me things that are useful in the real world. Many thank you’s.
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Went over a few Ariel scenes with my husband, Aaron, this morning. He has done a ton of Shakespeare, including Tempest, so it was great to go through the material with him.
I realized we won’t be in Fort Collins for Scapin, so I only read for Tempest. Was given the option of reading for Miranda or Ariel, and I chose Ariel. I felt I did well in the scene opposite Prospero (being played by a woman, excellent), but was a little shaky in the harpy monologue. Until tonight, I had no idea what a harpy was... Oh my lack of classical education!!!
I love watching Americans do Shakespeare. There’s something wonderful about their accents. A fun afternoon...
I realized we won’t be in Fort Collins for Scapin, so I only read for Tempest. Was given the option of reading for Miranda or Ariel, and I chose Ariel. I felt I did well in the scene opposite Prospero (being played by a woman, excellent), but was a little shaky in the harpy monologue. Until tonight, I had no idea what a harpy was... Oh my lack of classical education!!!
I love watching Americans do Shakespeare. There’s something wonderful about their accents. A fun afternoon...
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Ohmigod you guys! I got a call-back! Totally psyched!
Have been reading Scapin and realized that, once upon a time, I have already read it. Lots of parts for men. Girls are virgins or promiscuous. Sigh.
Re-read The Tempest. Totally terrified of the language. Terrified of the meter. Terrified I’ll sound like I have no idea what I’m doing. Am going for Ariel, I think it's one of the more interesting roles of the show. I have the pixie haircut and everything!
Have been reading Scapin and realized that, once upon a time, I have already read it. Lots of parts for men. Girls are virgins or promiscuous. Sigh.
Re-read The Tempest. Totally terrified of the language. Terrified of the meter. Terrified I’ll sound like I have no idea what I’m doing. Am going for Ariel, I think it's one of the more interesting roles of the show. I have the pixie haircut and everything!
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My first audition in Ah-mer-icah! Open auditions for productions of Scapin and The Tempest with OpenStage Theatre.
Actors had to prepare a one minute monologue from any genre, and I did an adapted piece from Ali Smith’s novel Hotel World. It’s been my standard audition piece since 2007, and through PACT/ATYP/Central it has been fine-tuned into a delicious and fun monologue.
It has been drilled into me over time that at American auditions, unless you are auditioning for a character with an accent, even for Shakespeare, always do your audition in an American accent. Practised the monologue in an American accent (general American accent class, you were a godsend), and it felt fluid and natural. Phew!
Auditions were held at the Warehouse, an amazing space that is home to a scene workshop, costume store, and large rehearsal space, all of which are shared by various performing arts organizations in Fort Collins.
I was first off the bat, and I’m glad because it was damn cold, and I was close to frozen. It also meant I didn’t have time to watch the other actors and allow thoughts of “oh-god-what-am-I-doing-here-I’ve-never-even-done-a-Shakespeare” creep into my head.
The piece went well, and I got lovely feedback from the directors. If all else fails, it’s my first American audition DONE. Hurray.
Actors had to prepare a one minute monologue from any genre, and I did an adapted piece from Ali Smith’s novel Hotel World. It’s been my standard audition piece since 2007, and through PACT/ATYP/Central it has been fine-tuned into a delicious and fun monologue.
It has been drilled into me over time that at American auditions, unless you are auditioning for a character with an accent, even for Shakespeare, always do your audition in an American accent. Practised the monologue in an American accent (general American accent class, you were a godsend), and it felt fluid and natural. Phew!
Auditions were held at the Warehouse, an amazing space that is home to a scene workshop, costume store, and large rehearsal space, all of which are shared by various performing arts organizations in Fort Collins.
I was first off the bat, and I’m glad because it was damn cold, and I was close to frozen. It also meant I didn’t have time to watch the other actors and allow thoughts of “oh-god-what-am-I-doing-here-I’ve-never-even-done-a-Shakespeare” creep into my head.
The piece went well, and I got lovely feedback from the directors. If all else fails, it’s my first American audition DONE. Hurray.