Rehearsal
Teachers,
My cuts - what I call vacuuming - are what one might find in almost all films and professional stage productions! As I scan the internet to see how teachers, currently and digitally, approach Shakespeare, I am disappointed, once again, to find mainly programs of essays, tests and bite-sized chunks, designed to fill class hours with analysis and opinions rather than practice. So much time is wasted on the passages that are almost always cut. Why do students have to suffer through unabridged texts, when their parents get to enjoy judiciously cut films and plays? It makes no sense, except for scholars paying off their mortgages with yet more opinion. Shakespeare never hired a critic, or a scholar, only actors!
As a long-time professional actor I was blessed to work with several world-class teachers, directors, and actors. I am the only actor who performed with Maggie Smith in all 5 Shakespearean productions directed by the great Robin Phillips at Stratford, Ontario, from 1978 to 1981. I also played Edgar in Peter Ustinov’s famous King Lear in 1980 and 1981. I was just one actor in a stunning, mainly Canadian, company! All our Shakespearean productions were abridged; many were judged world-class. I have also spent at least 10,000 hours over the years, coaching students and actors through their Shakespearean monologues. Except for the French ladies in Henry V, I play all the parts in the audio-plays. Hearing how an experienced actor stresses these unique texts, what notes he might choose in his voice, should give students a good, initial understanding. The rest is practice and refinement. Essays are a waste of everyone’s time, especially yours. I was constantly bring my ideas to rehearsal, and the response was almost always, “Let me hear it, Rodger.”
By vacuuming Shakespeare, the text becomes quickly comprehensible and playable. By then formatting Shakespeare’s words as thoughts, instead of prose or verse, young people are less likely to become frustrated by a supposed rhythm scheme, or flummoxed by capitals that begin each line of verse, but do not necessarily start sentences. Those capitals confuse almost all young people. Besides, who cares how it is punctuated on a page? SOL encourages young actors to be clear from a stage! In professional theatre no one cares about your scholarly opinions, just the clarity and complexity of your performance!
Good acting can be exacting or intuitive; there are no real rules, except being perfect with the text, which, in itself, can be a fine achievement. So, dig into the words first; find out what they mean. Read the synopsis, explain the situations to the students. Don’t just allow them to decide on emotional responses; they need to think why their character choses specific words, why certain actions are taken. The characters’ successes and failures, perhaps quirks of fate, are what create emotions. I believe that Wonder is the most valuable emotion in Shakespeare.
In real life, I remember the instant that I heard of my son’s death - while mountain-climbing. I could not possibly have prepared for that moment. I had so many thoughts colliding within me, igniting my emotions, I still can’t articulate exactly what they all were. I guess mainly horror, even wonder that such a thing could happen. All I am sure of is that I did not want these feelings, fought desperately not to be over-whelmed by them. I suppose, as an actor, one could try just emoting in such a situation; but without attempting to grapple with specific thoughts, as I did, one would just seem shallow and indulgent.
Less is more - such nonsense. When we have a deep problem we often become still to spend all our energies towards solving the inner conflict. We don’t move, we just think. So that still actor who becomes riveting, gains our respect not by doing less but by experiencing more thought, and likely deeper emotions. He/she does not want to move, sometimes can’t! Audience actually love to watch actors just think, at least the intelligent ones do. We spend our lives observing others think; that is how we survive and prosper! Acting cliches like less is more are practically always wrong! Become a better acting teacher by observing yourself more closely.
To help develop rich thinking at Stratford, Robin Phillips always had a huge dictionary on some table. We were always re-examining words. What we learned would spawn new thoughts and even new emotions. It was all in the words! As actors and characters, we were always listening intently for subtle changes of thoughts from our fellow players, as our performances matured. You don’t have to be doing stuff to be an actor, but you do have to be listening and thinking.
So, my intention in creating this series was to encourage young people to practice the 12 vacuumed plays of Shakespeare Out Loud, to experience Shakespeare’s extraordinary characters - their words, thoughts and emotions, and practice the craft of acting. This practice and refinement of accessible SOL texts - scripts that would be employed in professional productions - teaches the stories clearly, and allows students to experience some of the most creative dramatic language ever written. It also imbeds crucial oral communication techniques, so valuable to future success. Since Shakespeare was obviously addicted to antithesis, making him profound and very funny, I should think the practice of his plays might transfer that talent to others. I therefore put forth the idea that the practice of Shakespeare, out loud, makes one funnier.
A significant portion of each class should be oral, not just listening to the teacher, but the students orally playing and refining text out loud. They cannot do this with unabridged texts. They will also not fully understand even very rare, brilliant unabridged readings by professionals. Do you? Sometimes the text is just too dense. Also, rambling on about the complicated parts does not make one a successful teacher of Shakespeare, nor does filling their iPads with blinking vocabulary and plot updates. If you have to judge/grade your students, do it with your ears. It will take effort and talent on your part to grow good readings, as each student/actor has different needs. You need to attend to them all. You don’t know what you are going to teach each day until they bring their oral practice to you. Grade them on improvement, on effort, how well they think and play their roles. Reward those who memorize them.
Having some performance goals, like a full reading, should morph your class to a cast! The goal of a performance will unite them. Get your tech-kid to record and assemble the play, or good bits, for posterity. Ask the principal, or another class, to hear your reading. Also, perhaps find yourself a stage manager and assistant director in your group - they can be wonderful organizers, with scripts and schedules and such. The Stage manager might also make a sturdy prompt book where good ideas may be recorded. SMs are also, usually, text-police, making sure everyone sticks to the exact words! If your goal of recording some scenes, or the play, is accepted, everyone should have some role! If you are doing R&J, parts as large as Juliet and Romeo might have to be split up several times. Think all the casting and scheduling through carefully; therein lies success!!!
Of the hundreds of boomers I have asked about Shakespeare over the years, all of the fond memories were of teachers who could either act, or got the kids acting Shakespeare. ALL! Like good directors, teachers need to not only know their stuff but be encouraging to everyone. Nowadays, kids can even practice online with each other. Encourage that. Technology could be a huge bonus for scene-practice. During my over 30 years in the theatre there was always a goal, an opening night, another performance! Give everyone the goal of playing some Shakespeare out loud! They’ll remember this experience.
Any age can do the Dream and Much Ado, and R&J. All three of those have detailed acting-guides as well, with hundreds of actor-suggestions. Twelfth Night also has an extensive guide and is rather perfect for 11s and 12s, as are the tragedies, and indeed all the SOL plays. The texts, perhaps with even more cuts, are also ideal for any productions. In class, assign readings early and regularly so students have time to practice. Cast creatively. As an example, and as suggested in the guide, cast your smallest student as Sampson, at the beginning of R&J. It is quite hilarious that way. Casting is a director’s most important task; try to serve the play and your students. It is all here on this website, you just need to do some reading, learn some new language, take some chances and work really hard. SOL is always highly interactive instruction. If you are good at this you will learn to speak to one actor, and the whole class, at the same time, because you have ideas about what good acting is. Rhythm can’t help you, so get used to talking about the thoughts that might create the words. Those answers will provide the vocal colours and perhaps the emotions behind them.
While I am aware of the powers of modern tablets, I believe that providing paper scripts, so the young actors may jot down, and remember, their notes, helps them build clear and nuanced oral performances. A spiral backbone makes them durable as well, and easily held in one hand, sometimes a good prop. They are not electronic devises and therefore cannot distract young minds. They cannot be broken. They help introduce pencils back to young people, ones with good erasures. When used, practiced with, drawn upon, with notes jotted down, scripts become mini-libraries of ideas. Here is the back cover for the series: lots of ideas there.
The practicality of these scripts makes a substantial difference to the process. The effort you, or I, must put in is well worth it! You can also get a Printer to produce them, with any cover you want, even colour-coded for your cast/class. Make them spiral and durable, and have a supply of pencils. I have never prepared a part any other way. The paper script allows one to think, craft, and most importantly, play! If they never use pens on them, they can be erased and re-used next year. If the kids want to keep them, all the better. If you do print texts, I would include useful resources like insults and compliments, fun, oral warm-ups for any class. While I know that the tablet can work, too much added literary information on the device distracts from the oral purpose of the scripts. I can name very few figures of speech but you will certainly find me using them all adroitly on my speeches page. I have a thorough list of them, but never think of them while acting. I think the thoughts of the characters, that create them!
I created this series to be orally performed, not regurgitated. Sure, the kids need to learn the story; more importantly they need to play it! Anyway, the texts work best if the students only use pencils. As a professional actor I would write in my text until the note had become obvious, then erase it. By opening night my text would be clear of pencil, just like first rehearsal. Then I would start again with what I learned through playing shows. Good actors never stop working on a part while audiences keep arriving. One can always improve a performance!
So, at first, concentrate on why characters say what they do, why they choose each w0rd. You’ll need to read the play carefully first and have some background knowledge as well, but from day one you will be working with your ears and your students’ minds and voices. As your cast reads, then plays, keep refining and orally practicing the thoughts that cause the words, and as their oral skills improve, their performances mature, the plays will teach themselves. I, personally, give and take reading assignments, interchanging students on the fly, searching for the best casting in the room, letting lots of kids try a troublesome, or fun, section. I encourage the high notes in their voices, the notes of wonder and delight. Productions will block themselves through oral understanding and practice: the feet are easy to organize when the minds are clear.
Another technique I often employ is allowing all the students, at the same time, a minute or so to practice a word, or a line, or their insult, out loud. I always start the competitions that way. If they all practice boldly at the same time, they will not hear each other, or fear being heard. They can practice and gain confidence before speaking alone. It will take some gentle insistence for the kids to accept this practicing out loud, all together, but once they realize no one is judging them, it helps them safely explore. It also allows the teacher opportunity to encourage the shy, but quite possibly very talented students, hanging at the back. EVERYONE MUST SPEAK DURING THESE PRACTICES! The more out loud in Shakespeare Out Loud, the better!
Also, accept that rhythm is a literary concept rarely discussed and never stressed in professional rehearsals. The English language is built on stressed and unstressed syllables. So what? It would be awfully dull with only one stress. Iambic pentameter verse mostly allows more ink to be printed on expensive French paper. Besides, skilled actors make their text sound like heightened and invented everyday speech. Maggie Smith certainly did. That is why I formatted the words of Shakespeare not in prose or verse, but in thoughts; and why students and actors play them so readily and naturally. The best verse-speaker that I ever worked with, Nicholas Pennell, told us, “When meeting new verse, write it around the walls of a room using no capitals and no punctuation. Find out what the words mean first!” AND, when mounting an actual production, blocking immediately is a sure sign of desperation. The play needs to sound right before it is allowed to stand. Don’t get them on their feet with empty brains; that is what recess is for!
Also, my synopses are all the best, the most accurate, that you will find anywhere. I challenge anyone, except AI, to better any of them. If your students have questions, the synopsis will likely answer them. I apologize for the bragging, but I have searched some fantastical synopses over time. This teaching of Shakespeare is another big business, often filled with speculation and nonsense, all in pursuit of paid-off mortgages.
Now, if you, as a teacher, lack the confidence to make suggestions and direct readings, I’ll wager that there are students/directors in your class who will help. Good directors are almost always great listeners. They’d listen for, and shape, thought from their actors. They ask good questions like, “Why did your character choose that word?” As long as you cast well and demand daily readings, you have done your main job. The smart, or intuitive, people in the room can figure out a play. They’ll be shaping it with their own voices.
You must also learn to demand silence when students are reading or playing aloud. Initially this might be difficult, but your students must learn silence is not empty, it is often crammed with thought. The length of a silence often reveals the precise thought that created it. This can make silences hilarious. Silence is also how we respect our fellow actors. If in a band, would one speak while others were playing? Robin wouldn’t even let us giggle from the back of the huge auditorium. Of course, while working your way though a scene, the class will experience outbursts of delight, and that is great, but you must discipline them to not to keep attention from the actors. They night decide to do something. A class of SOL will leave you exhilarated and exhausted - constantly holding the reins tightly, then releasing them. Once you and your students are attuned to one another, you should all have a ball. Don’t forget how funny Shakespeare is.
EVERYTHING that you need as a teacher of Shakespeare is on this site. Read the SOL versions; they work. Then, read them out loud. They work even better! Then play them 0ut loud! If you are still unclear about certain passages, listen to my audio-plays. Read my guides that are packed with hundreds of acting notes. Work hard! Then get used to being that cherished teacher who was so good at bringing Shakespeare to life! Such are remembered through lives, but always for their powers of play.
As for political correctness, little Dromio, from Two Gents, is mistaken for his long-lost identical twin. This scene was certainly far, far to politically incorrect to be included in a recent Vancouver production, but it is a hoot to play on its own. Will wrote lots of questionable passages! Just choose the right challenges for your kids, then encourage them to practice bits, scenes, speeches, whole plays, or the extensive free resources and monologues found on this website. If they memorize some words well, and play them joyfully, and actually remember them in later-life, you will have accomplished something important. A belief!
Lastly, if you are interested in the series and this approach, the Complete Series and Guides is my summer-sale, and a wonderful library resource for your teachers and your students!