Okay okay I wanna play

Spin the wheel for a Shakespeare character!

Reblog for sample size, etc. Would love to hear what you got + reasoning in the tags!

In preparation for my going to see this play, I present to you:

Goneril: Yes, Father.

Regan: Of course, Father.

Cordelia: What kind of a question is that?

Kent, post-banishment: I would’ve built him a little terrarium. ):

Else the Puck a liar call;

Anyway, here’s Wonderwall.

whoops

#when you set out for revenge dig two graves#unless you’re hamlet#in which case you’re going to want to rent a backhoe (x) YOU’RE NOT LEAVING THAT IN THE TAGS BUDDY

the most insane double casting i’ve heard of is ophelia and horatio being played by the same actress. the implications of that drive me crazy

you guys are doing things in the tags of this post

#to this day my favorite performance of hamlet i’ve seen is one where there were two hamlets#one was the dutiful son and the other was his vengeful id#and they split all the lines in the play depending on which hamlet was speaking#all the soliloquies became arguments between the two and it was SO good#the second hamlet doesn’t appear until hamlet’s father appears and tells him Claudius is to blame for his death#he opens to curtains and his first line is ‘Murder?’#and the other characters can’t see that second hamlet at first - just the initial one#until slowly throughout the play the second hamlet is the one they look at and interact with#until finally the first hamlet - the dutiful prince - is the one who’s ignored#anyway it was metal as fuck holy shit#i wish i could watch it again but i have no idea if it was recorded (via rythyme)

shakespeare characters having weird reactions to deaths: macbeth / hamlet / julius caesar

sorry to be pedantic outside of the tags but i love these as exhibits a b and c of why the “shakespeare is meant to be performed” cliche is real; on the page they look wild but actors know how to read the embedded stage directions

two of these examples can’t be shared lines of iambic pentameter (both gertrude’s line and brutus’ are already rushed and irregular at eleven syllables, so laertes and cassius both get their full ten beats for two or three words) and one of them doesn’t have to be (macduff and malcolm’s lines add up to ten beats indicating that it’s shared but no one will call the scansion cops on you if you split it into two and divvy up the extra ten syllables between them, which imo is the more playable option)

remember that verse is symphonic and that those extra syllables are notes in the orchestration of the scene— they have to go somewhere, either into beats of rest or sound. there’s a lot of ways to score any of these moments but one possibile notation for the first is

MACD: your royal father’s murdered.

(rest/ rest/ rest/ rest/ rest/)

MAL: oh.

(rest / rest / rest/ rest/ rest/) ...

by whom?

all that silence affords the director a moment to let a lightning-fast scene (the entire cast pouring onstage in ones and twos, yelling over each other at varying levels of authenticity) come to a screeching halt, and the severity of the situation set in. for the actor it’s playable as all hell, and ultimately very human: the kind of raw shock that makes you ask stupid questions. you get the same thing with laertes. tbh i’ve always found “drowned? (rest / rest /) oh. (rest / rest / rest / rest/ rest /) .....where?” to be utterly goddamn devastating in how realistic it is, bc what else can you say to that? if someone told you with no warning that your sister drowned, what else would come out of your mouth in the moment but something stupid and mundane? oh. ..........where did it happen?

the other notable similarity in these three moments is the use of un-words: two ‘o’s and a ‘ha’ (they aren’t meant to be pronounced exactly like “Oh” or “Ha”; traditionally shakespearean un-words are performed as unarticulated sounds, sighs, groans, exhalations etc). un-words leap out to the actor because it is a character rendered speechless. i made a post a few weeks ago about how big of a deal it is when people written by william shakespeare dont have words for what they’re experiencing/when the pain is so big that even in a metanarrative universe where you are only the words you speak you are forced to admit that something is unspeakable, and every “o” or “ha” or “ah” etc is a moment of this horror, this defeat at the hands of your own medium

it’s a rich moment for actors because in classical text it’s frowned upon to act “outside” of the line (to waste vocal qualities on things that aren’t words, ie to take a pause from speaking your richly layered monologue to let out a pained exhale. “act on the line” says your director, smacking you on the knuckles with a copy of freeing shakespeare’s voice), it’s diva-y and amateurish to take more syllables than you’re given. but when you’re given the space of ten beats for “ha portia”, who will dare call you a scene hog for stretching that “ha” into five notes of agonized, wordless noise?

in the same way that lear’s “howl howl howl” is very much not just the word ‘howl’ said three times these moments demand full, shattering vulnerability from the actor, a dive into the place in the body where pain lives. maybe laertes and malcolm really do say “oh.”, quiet and childlike, or maybe that ‘o’ is a stand-in for the all-air sound that shakes out of you when you get punched in the lungs and try to talk through it, or for that deep animal groan you heard that made you think what was that before you realized it was coming out of your own throat

anyway you get what i mean. you wouldn’t look at a blueprint and say you saw the house, you wouldn’t read the sheet music and say you heard the symphony, etc

after a brief hiatus I am back on my uquiz bullshit, ft. which depressed character from Shakespeare are you? (link in reblogs)

link!

CLEARLY this quiz is 100% accurate because !!!!!!!

I feel like I need to tell everyone how brilliantly the Globe incorporated a deaf Gildenstern into the 2018 Hamlet and then force all of you to watch it

ok, so Gildenstern is played by a deaf actor, Nadia Nadarajah. he* signs all his lines, and either Rosencratz interprets for him, or the person he’s talking to says something that makes it obvious what he just said, depending. how each character reacts to Gildenstern is completely in-character and often hilarious

it’s all brilliant and adds another layer of humor and pathos and you should all watch it

*casting at the Globe right now is gender neutral so I’m just going to use the character’s pronouns

guys I know I’m wittering on about this but the thing I want to emphasize is that there is no tokenism here. they didn’t just shove a deaf actor into a speaking role so they could pat themselves on the back about how progressive they are. they went to the effort of fully integrating Nadarajah’s deafness into the story so that it not only fit organically within the narrative but actually enhanced it. watching Hamlet’s signing disintegrate as his trust in R&G disintegrates adds a depth to that storyline I’ve never seen before. Claudius has exactly the awkwardness of someone who thinks of himself as a good person and therefore thinks he’s being kind and generous with his accommodations for disability, but has never even once actually asked a disabled person what they need, which is so on-point for his character it hurts.

I know Michelle Terry gets a lot of hate mail for her policy of race-, gender-, and disability-blind casting, but fuck all those people. long may that policy continue.

the glenda jackson production of king lear on broadway did something similar with the Duke of Cornwall, and it was actually the best part of the play, imo.  because when Cornwall was speaking to Lear or to the Court, he had a sign language interpreter to speak the actual literal words aloud, but when he was talking to and conspiring with Regan, his wife, they were just signing back and forth with no translation for the audience, and it emphasized the intimacy between the two even as they turn against literally everyone else in the play, which was fantastic.

and the best part of it was, by the second half of the play, you were so used to it, that you didn’t even blink anymore when watching him and listening to the spoken words come from the interpreter - you just watched the actor playing Cornwall and let the words come from the other guy, but the guy kind of fades into the background.  it didn’t hurt that the actor for Cornwall was one of the tallest on stage, and had bright red hair - it was easy to watch him, instead of his interpreter.

which is why it was so shocking and so perfect when the interpreter is the one who kills him.

See, they folded the character of the servant who kills Cornwall into the person of this character who had been such a non-entity that you almost forgot he was on stage - until you realize, no, this is another person, and he’s been here, watching all this the whole time, and he finally gets to the breaking point where he can’t stand by and translate anymore, he has to do something to stop the cruelty he’s seeing, and it’s not just a random guy who comes in for the scene and sees them blinding Gloucester, it’s the man whose been by his side for the entire play, the man who was his voice who finally has a line of his own.  who finally speaks on his own behalf to say “no.”

and then, of course, he gets killed, but Cornwall dies in the same scene so it’s not like they need to get a new translator or anything.  but it was the most fucking brilliant choice i’ve ever seen re: casting in a Shakespearean production, and the rest of the play pales in my memory in comparison.

inspired by @whereforebase, i made my own shakespeare quiz: WHICH AWFUL DADDY FROM SHAKESPEARE ARE YOU? (link in the reblog)

LINK!

I made a ‘which female character from shakespeare’s histories are you’ uquiz because of course I did (link in reblogs)

link!

hey. you ever wanted to find out which gay shakespeare character you are? well, now you can

[screenshot of quiz results: aufidius from coriolanus]

a month ago i picked up a book on stage directing in my school’s black box and opened to a random page and it was something about making shakespearean actors rehearse by adding the word fuck to their lines to turn the archaic language into something familiar for the emotional resonance (of course taking it out as rehearsals move along to fix rhythm/etc but just to start off) and the example it gave was the solid flesh speech. like. iirc it was specifically “but two fucking months dead”

and like. im obsessed with this. as a concept. not even for acting i just think it’s so fucking funny. to be or not to be, that’s the fucking question. is this a fucking dagger i see before me. this is the excellent fuckery of the world -

What fucking fire is in mine ears? Here is my fucking butt.

“Press not a falling man too fucking far!” - Lord Chamberlain, Henry VIII, Act 3 scene 2

One of my absolute favourite things in the world is a ‘fuck run’. If the energy is too low, or the intensity is dropping the director might ask you to run a scene, or sometimes even the whole play, and insert ‘fuck’ or any of its derivatives wherever you feel the urge to. I have never experienced anything so quickly and ferociously liven a scene. It’s like a defibrillator. 

Once did the last half of Oedipus Rex as a ‘fuck run’ leading to such incredible double entendres as: ‘Oedipus, son, dear child, who motherfucking bore you’.

Other highlights from times I’ve either taken part or seen a fuck run:

“I would eat his heart in the fucking marketplace” ”I have, of late, though wherefore I know the fuck not, lost all my motherfucking mirth.” “Your royal father’s fucking murdered.” “Fuckfuckfuck. O, by fucking who?” ”Gentlemen, remember that I am a fucking ass” ”Why the fuck did you bring these fucking daggers from the place? They must lie fucking there! Fuck! Go fucking carry them, and smear the sleepy grooms with fucking blood” “Screw your courage the FUCKING sticking place and we’ll not fail”

this is a great title because it makes it sound like the globe decided to up the tragedy by literally murdering random theatregoers 

Shakespeare plays as screencaps from The Good Place

As You Like It

Comedy of Errors

Cymbeline

Hamlet

Julius Caesar

King Lear

Macbeth

Measure for Measure

The Merchant of Venice

A Midsummer Night’s Dream

Much Ado About Nothing

Othello

Pericles

Richard II

Richard III

Romeo and Juliet

The Taming of the Shrew

The Tempest

Troilus and Cressida

Twelfth Night

The Winter’s Tale

First images of Ruth Negga as Hamlet (Gate Theater Dublin, 27 Sept-13 Oct 2018)

“Negga is a princely Hamlet, full of gracious entitlement, capricious and deeply wounded. This is a gruelling performance; three-and-a-half hours, with Hamlet on stage most of the time, other than a brief respite in Act Four.

Negga combines vulnerability and ruthlessness, her tiny frame asserting its dominance of the action throughout by theatrical force of will. She brings a freshness to these oh-so-familiar speeches. “ (x)

jamie parker’s harfleur speech in henry v (shakespeare’s globe, london 2012, dir. dominic dromgoole)

and teach them how to War

Is Mamma Mia! is a lost Shakespeare comedy/romance?

Evidence for:

Evidence against:

Conclusion:

I hate this because it’s true