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Shakspere: As I Like It Essay, Research Paper

Shakspere: As I Like It

I know you all and will awhile uphold / The unyok 500 temper of your idling. This citation from Henry IV is the first line from a short soliloquy that I had to memorise in grade nine English category. An assignment, I suppose, that was to assist us appreciate linguistic communication, understand character and learn subject. Unfortunately, it was recited to Mrs. Derii at break-neck velocity in a low susurration so as non to upset any of the library frequenters drowsing in the nearby survey carols. At that clip I gave no idea to iambic pentameter, motive, or subtext. I said my piece and escaped with nary a minute to waste. The universe of Shakespeare can be really bleary when seen through the eyes of a 13 year-old Christian male child. I did non like it and I did non cognize why.

I did non believe we should be analyzing Greek mythology either. I thought, Why survey myth when there were so many valuable facts to be learned alternatively? The Bible for case was full of relevant and utile facts that I had learned. I even brought a ruddy, minor version of the New Testament to school one twenty-four hours to turn out Mars was merely an graven image created by pagan and non the God of war, as we were lead to believe. My predicament against the blockheaded non-believers proved bootless. Red planets had won the conflict I thought, but there were many more Fieldss on which to contend.

Thankfully, I no longer see myself as a freedom-fighter shaking my fist at an nescient school system, albeit still an imperfect one. Having shaken off the spirals of my faith, seven old ages has made me a misanthropic and embittered old adult male. This hyperbole is meant in joke, but no uncertainty I miss the many things denied to me as a kid. It is all I can make to rediscover those feelings and experiences of the yesteryear and near them from an

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aim, stainless position ; to seek to take prejudices that one time held me at bay from basking every aspect of life s offerings. Important things like calling picks and faith have grown fiddling. Fiddling things such as childhood odors and ice-cream have grown to be much more of import. For illustration, I feel guilty telling cocoa sundaes at Baskin Robbins presents. The inquiry arises, Why non seek Smurfberry-Pecan-Sherbert alternatively? The reply to that inquiry is reasonably simple: I likely won Ts like the gustatory sensation.

Surely, though, there must be some spirit that entreaties to my taste-buds. This pettiness extends into every determination I make and it is through Shakespeare that I have found solace inasmuch as he, I believe, realizes the darkest or the most cherished minutes in life. My first chance to move in a full length Shakespearean drama came in the Fall of 1994. The University of Waterloo Drama Department mounted a production of Macbeth and my hearing landed me the portion of the Scots Doctor. Of class I wanted to play Malcolm, but that function was given to a far more expert histrion than myself ( sarcastic undertone ) . The fact that the Doctor merely has two speech production scenes mattered small ; I realized I was traveling to be moving Shakespeare. Actually, that statement is embellished. More accurately, I was a small dissatisfied about the determination but grateful however. The fact remained that I had an built-in portion in the secret plan development of the drama and the character development of Macbeth s married woman. In hindsight I realize this function was a good topographic point for me to get down, in that it is better to ease into the manner of the text instead than leap headlong.

The elevated linguistic communication, and more specifically, the iambic pentameter, presented a job for me in that I could non maintain the bringing of the lines fresh. The beat of the clean poetry trapped me into stating the lines about precisely the same each clip. The

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public presentation sounded credible but the deficiency of spontaneousness kept it from making the following degree, a degree where an histrion is able to impact his audience. The Shakespearian duologue intimidated me to the point where I thought excessively much about each line. It was merely after the 5th public presentation that I realized there really was another degree to make. The paradox of planned spontaneousness reared its disgusting and horrid caput, much to my defeat. I knew to suppress this animal was to go a great histrion.

The scene really contains a line that competently captures this quandary. In it, the Doctor comments, A great disturbance in nature, to have at one time the benefit of slumber and make the effects of watching! Shakespeare is mentioning to Lady Macbeth s strange, unconscious ability to act as if she is awake and yet still be asleep. Similarly, a character must look wholly natural on phase without bespeaking that the histrion portraying him is witting about it. In a sense, playing is about schizophrenic in that the histrion, in order to be wholly convincing, must presume a wholly different individuality and non w

aver from it. This is a funny anomalousness in nature so when one stops to show it in words. Taken out of context it even seems rather silly as to why person would pass an hr and a half every twenty-four hours as person else.

Possibly the key to get the better ofing this paradox is merely non to intellectualize it excessively much. In other words, merely make it. I have found the best manner to make this province is through urges in the voice and breath. Because these two elements are linked straight to our emotions they can take us to new readings without witting attempt ; topographic points that would non usually come out of be aftering the scene. Leting the encephalon to close off and the stop to respond makes me react to things as I would in mundane state of affairss. This

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sort of freedom with our physiology requires a certain comfort degree in forepart of an audience, and this is where trust in one s ego becomes important. On phase, the challenge is non to believe about whether determinations will suit the state of affairs or character. If one truly reacts to the events in a scene so those urges are likely right 1s. Of class, I am covering with the all right nuances one brushs during public presentation, non needfully major character determinations about motive or subtext. This does non prevent, nevertheless, the geographic expedition of where urges take a character during the of import dry run procedure. Because these finds in me were non made until subsequently, it appears my dry run procedure for Macbeth did non stop on opening dark.

Following this first toe-dipping into the Bard s pool of plants I became involved with Shakespeare in the Park. Cymbeline was being mounted the undermentioned summer at the Waterloo Bandshell and the battle choreographer wanted to gripe up the scenes affecting swordplay. I enlisted to assist. My limited phase clip and deficiency of lines was countered by the extended dry runs required to larn and hone the techniques of swordplay. Skills such as set uping scope, keeping oculus contact and concentrating on a mark are all important to the safety and credibility of these phase conflicts. One rapidly learns subject and professionalism under conditions such as these. Of class, I did non bury to hold every bit much merriment as I could in the procedure. The broadswords were heavy and the leotardss were compressing but in the terminal I managed to get the better of and sully two Britishs at one time. Belarius managed to acquire in a speedy pang with his quarterstaff under my arm all to the audience s delectation. My experience on this phase will function as an plus in future productions affecting stage-combat.

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The undermentioned twelvemonth proved a extremely successful one for me as an histrion. I managed to set three more dramas under my belt before try outing for The Tempest the undermentioned summer. Unfortunately, the company bring forthing it merely had nine people audition for a minimal 12 parts. Subsequently, two of the histrions took on more than one function while the manager tackled the character of Sebastian. I had the glorious chance as a immature histrion to play the dark and manipulative Prospero. I grew a face fungus to assist conceal my young person and donned the billowing robes traditionally associated with magicians. It was a challenge both vocally and physically to happen an reading of him that would work for both the audience and me. Thankfully, all the feedback I received was both positive and constructively critical.

In this production I realized how vitally of import it is for me as an histrion to hold sincere interaction on phase. Fellow histrions who do non perpetrate entirely to every action they perform affect my response by take downing my thrust. Honest and more interesting reactions do non come out of a scene where the participants are merely traveling through the gestures of the character. I had ever felt this manner, but for the first clip, I found it impacting my public presentation. Shakespeare is non simple text to execute. There is a inclination for the histrion to hotfoot through the voluminous poetry because it may experience unnatural to declaim. The histrion may even experience he or she is blowing the audience s clip. I act because I feel I have something to offer an audience, or else I would non make so. Without that resolve an histrion may happen it hard to go emotionally vulnerable on phase.

Analyzing these dramas for public presentation has allowed me a alone position in understanding Shakespeare s motive for composing. Reading and groking the text

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allows for penetration, but really going the words deeply changes one s experience with the drama. I have ne’er experienced Romeo s true love or Iago s bitter hatred, yet through Shakespeare s poetry I have come near ; nearing an apprehension of their feelings through the writer s creativeness. By reading Shakespeare s work I appreciate his perceptual experience ; by moving it I experience his passion.

Shakspere: As I Like It

ENG 190

Wednesday, October 8, 1996

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