Day Three: Voice, Movement, Costume and Set


Voice Workshop - By Megan Cameron

As we made our way up to the Courtyard Theatre, I wondered what exactly this would entail. Surely it would only be shouting or whispering? I was wrong.

After playing some awareness games, we did a warm up involving vocal exercises and stretching, before learning some tongue twisters, creatively put into songs.

We were given Shakespearean insults and compliments including: 'Thou rank, onion-eyed dogfish' and 'Thou delicate, sweet-tongued wafer-cake'.

Shouting up to the gods and speaking down to the stalls in the awe inspiring theatre, even those of us who don't want to be actors, felt a special connection to Shakespeare and his plays.

Halfway through the week, I for one feel unbelievably lucky and like I will remember and use the information and experiences given to us for a very long time. For anyone thinking of applying next year – go for it!

Interesting fact: the songs in the vocal exercises only contain consonants.

Movement Workshop - Julia Hodder

This might sound, but this is the way actors get their sense of space on the set, exercise their movement and text coordination.

The important ingredients are the contact and using the right tone of voice.

Whilst moving on stage, looking at the character you're addressing will turn any word in to a meaningful, powerful statement.

Interesting fact: Did you know that eye contact is the key element to pass a meaningful message?

Costume - Electra Perivolaris

'Know'st me not by my clothes?' Cymbeline, Act IV, Scene 2.

Costume designs the character and tone of any production. The director and designer meet and discuss the message, period and concept to ensure that the costumes fit the director's artistic vision.

The thrust stage of the RST makes it essential that details of costume are given great attention because of the proximity of the actors to the audience.

The dressers also play a key role. They have to have nimble hands and be quick thinking!

Interesting fact: Only linens and silks are used in costumes. Silk moves in light to give fluency. However, it is very easily marked so cotton wraps are put over costumes to protect them. The making of a costume is very time consuming and can take three weeks.

Set Design - Lucy Wilkins
I really enjoyed going to meet Emma, the Assistant Designer at the RSC. The session, even though it was only one hour long, had so many different aspects to it, which kept all of us engaged.

We looked through sketch books, stage and costume designs and saw the 3D model of the Julius Caesar set.

One of the tasks we completed was to design a soothsayer's costume. Emma gave us a briefing and from that we accumulated our ideas and let our imaginations loose before explaining our ideas to the group. 

My vision was to create a sumo wrestler, but it didn't quite go to plan and I don't think it will be seating on the 3D models anytime soon.

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Teaching Shakespeare