SOME FOOLS NEVER LEARN MIKE RYAN HOW TO

And all four of you are there to sort of demonstrate some of these ideas as weвЂ™re talking about them.

you, yourself, of course, youвЂ™re an actor, but you have three actors in the studio with you, correct? GRANT: I should mention here that, while weвЂ™ve been talking, you have three actors.

SOME FOOLS NEVER LEARN MIKE RYAN HOW TO

So, it really just becomes a matter of actors learning how to read the verse map, so that you can unfold all of this information that the playwright has put in there for you. It has your tactics, what you need to get done on stage to another character, embedded in it. It has your objective, what you want as an actor, embedded in it.

WAYTH: I think itвЂ™s intimidating for an actor who doesnвЂ™t know how to handle it, but, I mean, ultimately, verse, once you find the tools to handle verse, verse is actually easier than contemporary text, because well-constructed verse text does so much of your homework as an actor for you. GRANT: And what about the fact that so much of it is written in verse. Little, lowly me doesnвЂ™t have a right to speak this.' 'These words are so great, I donвЂ™t have a right. They really are terrified of it, and I think it comes down to reverence. WAYTH: Well, I donвЂ™t use that word lightly. Many of us are quite familiar, or at least slightly familiar, with Shakespeare, and IвЂ™m wondering why it strikes terror in the hearts of people who want to perform for, in many cases, for a living. And IвЂ™m wondering what goes into that terror? I mean, these are plays. GRANT: You know, thatвЂ™s such a strong word you used: terrified. So, I thought, why not write a guide that would be kind of a quick hit for actors who needed that kind of experience and that kind of training very quickly. There must be many actors out there who need something like that, and if theyвЂ™re in a more rural area or something, they donвЂ™t have access to that. So, I thought, you know, thatвЂ™s a unique program at American Conservatory Theater. They didnвЂ™t know how to approach it, they didnвЂ™t know how to find material, and that they really, really needed to find a way to get a handle on it quickly. And I asked my students at the end of the two-week session, why they wanted to take a class like this, and they told me that they were absolutely terrified of doing Shakespeare. And I sometimes teach at the American Conservatory Theater, and they have a two-week Shakespeare intensive, which is really to get actors, you know, a little bit of skill in handling Shakespeare verse. LAURA WAYTH: ThereвЂ™s nothing else like this out there. NEVA GRANT: So, Laura, what inspired you to write this book? We brought Laura in, along with a group of actors, to demonstrate techniques that can help even the newest aspiring Shakespearean shine on stage. Laura Wayth, assistant professor of theater at San Francisco State University, has written a how-to book called The Shakespeare Audition: How to Get Over Your Fear, Find the Right Piece, and Have a Great Audition. This podcast is called вЂњA Poor Player that Struts and Frets His Hour Upon the Stage,вЂќ and itвЂ™s directed at a specific portion of our Shakespeare Unlimited audience: people who appear on stage in Shakespeare, and even more so, people who may want to appear on stage in Shakespeare, but havenвЂ™t yet. IвЂ™m Michael Witmore, the FolgerвЂ™s director. MICHAEL WITMORE: From the Folger Shakespeare Library, this is Shakespeare Unlimited. Previous: Portraits of Shakespeare | Next: Shakespeare in India

Some fools never learn mike ryan