By Jonathan Holmes
ISBN-10: 0415319587
ISBN-13: 9780415319584
Merely Players? marks a groundbreaking departure in Shakespeare stories by means of giving direct voice to the Shakespearean performer. It attracts on 3 centuries worthy of actors' written reflections on enjoying Shakespeare and brings jointly the twin worlds of functionality and academia, delivering a special source for the coed and theatre-lover alike.
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Additional resources for Merely Players?: Actors' Accounts of Performing Shakespeare
Example text
Is the problem relevant? 102 If an actor is playing all the parts in the same season, the answer seems to be a resounding ‘yes’. 105 Here, the actor takes psychological consistency to the point of analysing a play in which his character does not even appear. Interestingly, the most recent RSC productions of both tetralogies in 2000– 2001, which have surprising similarities to Noble’s Plantagenets in the staging of Henry VI,106 have produced greater disparity among the casts as to this sense of a ‘journey’.
144 Sher, at this point still a South African exile, appropriates the displaced within himself to sanction the authority of his performance. His Judaism is not different enough, does not carry the cultural otherness today that it did four hundred years ago. Therefore, other facets of his identity—his birth nationality and, interestingly, his homosexuality —are conscripted into service as signifiers for oppressed otherness.
4, 172–74) Revealing the complex significance of this scene further, Troughton played the Q1 version of line 162: ‘Richard loves Richard; that is, I and I’ rather than Q2’s ‘I am I’, explaining that ‘the first Richard in the sentence is the audience and the second is himself, the man. ’95 Richard’s self-induced death was emphasised in the production, in which Richard dies under the weight of Richmond’s words, spoken from a balcony full of ghosts, and his own deformity. For once, actor and scholar are in harmony.