Directing Shakespeare for a Modern Audience
In my ‘vast' experience, there are two keys to directing Shakespeare for a modern audience: 1) Physicalize the transitions By physicalize the transitions, I mean identify the emotional and intellectual transitions both within and between the lines, and use a physical change (blocking, business, set, lighting) to emphasize the change. This is the only compromise to you need to make to help the audience comprehend the story. You don't have to set it in Nazi Germany or the Stone Age or the Far Future, all of which is usually a distraction after the first five minutes anyway. (If anyone can think of a better word for physicalize, I'd be grateful.) By everything works on stage, I mean assume that whatever is written will connect with the audience if properly performed. Shakespeare wasn't having a bad day or writing for a different era or trying to solve a theatrical problem. If it's in the play, it works on stage, then and now. If it isn't working, it's your problem, not his.
2) Everything works on stage
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Eric Nichols says:
Thiis year my daughter's
Thiis year my daughter's high school drama class did a marvelous rendition of a Midsummer Night's Dream...it was a modern setting, but every word was Shakespeare. It was amazing....everything worked. And most impressive, none of these kids even staggered on their lines....and there are some LONG passages in the play, as you know. I don't know what technique they're using for memorization...but I know I couldn't have done it at their age......must be Ritalin or something! :)
eric
Stephen Evans says:
Chikldrens' theater is amazing
I was involved in childrens theater for for a few years, and the benefits for the kids (and everyone involved) were astounding - to see them grow in skill and confidence year after year was wonderful. To do Shakespeare! What could be better!
Belle Yang says:
Your suggestion here
applies to my graphic novel work. Physicalizing the transition in the comics from panel to panel is very important. Darkening the background, making the lines more agitated if the emotions call for such.
Eric Nichols says:
Phil Gildersleeve
Mlle Belle:
My favorite cartoonist of all time was Phil Gildersleeve. He illustrated QST magazine (the flagship publication of Amateur Radio) from the 1930s till the mid 60s. A reprint of all his QST cartoons was reprinted recently.
http://www.arrl.org/catalog/?item=0364
He is the master of the one-panel cartoon, in my 'pinion. It's worth getting a copy of "Gil" just as a reference. (Mine is well-worn).
Eric
Stephen Evans says:
That's Interesting, Belle
I hadn't thought of applying it to other media. Hmmm.
Growing up in Washington DC and reading the Post every day, I've always been a Herblock fan as far as cartoons go.
James Whyle says:
Are we sure?
"If it's in the play, it works on stage, then and now. If it isn't working, it's your problem, not his."
Will's friend Ben Jonson said that the players always marvelled that Will never cut a line, but, "my answer hath been, would he had blotted a thousand."
Shakespeare was writing first drafts for production next week. Not that I think he's not good, mind. Lear is the best play ever written, in my opinion, but gains hugely from being cut down to 90 minutes.
Here's a link to some of my adventures with Will and the Mad King.
Stephen Evans says:
That's My Story and I'm Sticking To It
If Shakespeare wrote it, it works on stage.
Whether you want it in your production is a different issue. Maybe you don't have a blasted heath.
Good article. Though a reading is an entirely different beast than a theatrical performance, in my view.
Belle Yang says:
Nothing sexier than
to hear playwrights argue and think ;) So argue some more. And Steve Hauk needs to join in.
Every cell in me agrees with James about LEAR. I've been working on my Chinese KING LEAR for the past 11 years in graphic novel format. It works like a play and I am performing all the characters.
I like that Stephen is sticking to his guns. Is it possible I can agree with both of you? Cut and Uncut.
http://www.redroom.com/galleryimage/forget-sorrow
James Whyle says:
A man can see with no eyes
Thanks for taking my provocation is such good spirit, Stephen. I would most definately agree that what he wrote can generaly be MADE to work on stage.
That reading grew into a very succesful production. Modern costumes, so the characters looked like people the audience knew. All actors on stage at all times so they could step into scenes cinematicaly.
No set except for a table and some chairs. Just an arena in a circle of benches, on which the cast sat, overlooked by a twelve foot mask whose main feature was the eyes. It's a playing about seeing isn't it? Or not seeing. Look with your ears.
Never had more fun in my life.
And thanks for the comment, Belle. I'd love to see your Lear.