Playing roles with fewer lines
June 5, 2014
I thought I'd have time. Five scenes in ten acts, one character, no understudying - a very light load by any criteria on this project!
I thought to myself, I'd have loads of time to reflect, from the perspective of a 'veteran' of the profession, a foil to that of the first timers. I couldn't have been more wrong.
About time in any case; which will come as no surprise - alas alas - to my colleagues, having had the extraordinary good fortune in work over the decades, on larger parts with many lines. I had quite forgot just how demanding and how very exhausting playing roles with fewer lines can be!
With Shakespeare, the text is chocker-full of clues as to who you are and what you are up to. It's like a rail track on which the story of the play travels; the fewer lines you have, the more gaps there are in this rail track. These gaps you must fill in, imaginatively, sensually, accurately, believably, for which, much research is needed, much selection, and inevitably much trial and error.
In our 21st century world of visual imagery, of the close up, and of an abused and debased language; in our post Stanislavski, post Chekhov, post Grotowski, post Lecoq, post Artaud world of theatre, we ignore the reasons for the silences, for what is not said, for who does not speak at our peril. These silences create the context out of which a centuries' old text speaks as clearly to us now, as it did, though in quite another way to when it was written.
All great fun, but for this could-be great grandmother, it's very exhausting, so I'm off to Stratford's Leisure centre for a session round the gym!
Image caption: Paola Dionisotti and Jasper Britton in Henry IV Part II
by Paola Dionisotti
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