Shakespeare question

[BroomstickBoy]

Posted: 2/16/08 at 9:34pm

So I'm auditioning for A Midsummer Night's Dream at the end of the month, and I've been told the auditions are concentrating on movement rather than reading the text. I've been informed that this is because the most important aspect of Shakespeare is the movement rather than the words.

I'm a bit perplexed because I've always thought the importance was in the text, mainly because in every adaptation of Midsummer I've seen (I've seen 4/5 film versions of it, I've yet to see the 1935 film), the main focus on the performances is in the delivery of the text, and movement just comes along with it.

I'm not sure how to really focus on the movement, however it's not too hard in Midsummer with all the action going on.


So, my question is, what do you think is more important and why? The text, or the movement? I figured I'd ask people on here since any patronizing responses will go way over my head if read on the internet :).

[IdinaBellFoster]

Posted: 2/16/08 at 11:12pm

The text without a doubt. It's what makes Shakespeare's plays special. Otherwise, they are just stories of crazy kings or cross dressing women.

[KJisgroovy]

Posted: 2/16/08 at 11:23pm

There was a very, VERY famous production of Midsummer directed by Peter Brook in 1970... methinks... that focused on movement a great deal more than was common for a production of that play at that time. You can look it up... you'll find endless descriptions. It revolutionized a lot of things and is a great touch stone. I would imagine that would be the direction they are headed in this production.

That said. The words are what makes shakespeare Shakespeare. Almost all of his plays have source stories, it was his poetry that elevated them to greatness... or whatever. So. Yea. The words are what is important. Always. Unless you're doing circus theater I guess.

Though, it should be said, Mary Zimmerman... Tony Award winning director and Macarthur Genius grant person... does all sorts of movement experiements in her auditions and all of her work is based on ancient literary texts... often Shakespeare... and often it seems she casts for movement and looks and not vocal performance ability... so... none of this is really helpful.

It depends on the director I guess... but it would seem that a director would really have to know what they are doing if they were going to focus a shakespeare play on "movement." I mean... there aren't many Mary Zimmermans in the world... and there is certainly only one Peter Brook (who also puts a strong focus... if not a razor sharp focus on text).

So. There it is.


kmc

[keen on kean]

Posted: 2/17/08 at 6:29pm

I saw the Peter Brook DREAM, twice in England and three times in New York. The settings and costumes were revolutionary - white box stage set and stylized hippy-type costumes. There was a lot of movement at different levels, particularly climbing along the proscenium, and the use of trapezes for the fairies, but there was no doubt in anyone's mind that the words rule. Those beautiful Royal Shakespeare voices, their fluidity with blank verse, the fact that Alan Howard was SOOO gorgeous at that time in his career. I can see that ease of movement would be important for the non-human creatures, but frankly a little awkwardness is endearing and not inappropriate for both the pairs of lovers and more especially the rude mechanicals! Best of luck with the audition!

[Ed_Mottershead]

Posted: 2/17/08 at 8:12pm

The language, the language, the language. You can get by with Shakespeare without the movement, but not without the language. Movement is an enhancement and much to be desired, but the language comes first.

[BroomstickBoy]

Posted: 2/17/08 at 10:11pm

Thanks so much for the comments (and luck wishes keen!). Keep em coming!


I just wonder how important the movement really is in the context of this show, because at the auditions they're not reading cold from the script. I'm auditioning for Puck, so perhaps that's not so difficult because he moves a lot, so I've noticed in the versions I've seen.

This should be interesting, since the director is cutting Theseus, Hippolyta and Egeus(sp) and supposedly using modern music in the show.

[IdinaBellFoster]

Posted: 2/17/08 at 10:14pm

If you cut Theseus, Hippolyta and Egeus, the show cannot work.

I'm not just saying this because I played Theseus, but all three of them set the plot into motion.

The whole point of the 4 lovers is that Egeus has banned Hermia from marrying Lysander. So he brings his case to the duke. The duke also bans the marriage, thus creating the problem for the lovers. Hippolyta is also important, because the whole play is focused around her wedding to Theseus.

This director is ruining this classic.

[BroomstickBoy]

Posted: 2/17/08 at 10:20pm

Well from what I've heard, she's directed the show before, and has changed her mind about things frequently. First she was gearing it towards teens and twenty-somethings, then didn't want to cast anyone under 30, now it's 20-60+ in the age range and she's cutting a major part of the show. So who knows?

[IdinaBellFoster]

Posted: 2/17/08 at 10:23pm

Well all I can say is, good luck to her.

[george95]

Posted: 2/17/08 at 11:30pm

You know when I first read this thread, I thought "duh of course the text is more important than movement".

But I thought about my sophomores who are studying Julius Caesar right now, and how they respond to the text differently if we read it or if we act it out.

They definitely get more out of it when they watch it and engage more than one of their senses. But, it also takes them a while to get their heads around the text.

So I guess you could say that movement is more important since Shakespeare's words are meant to be seen and not read. But, you do need to have a good command of the words before you can apply movement to them.

[BroomstickBoy]

Posted: 2/17/08 at 11:55pm

George95,

Thanks for bringing that up, I didn't think of it that way.

I guess it is a good idea to apply the action/movement soon to see exactly if those auditioning can bring the characters to life.