The Top 5 Mistakes Actors Make in Shakespeare Auditions

Showing posts with label alexander schmidt. Show all posts
Showing posts with label alexander schmidt. Show all posts

Thursday

VIDEO - How to Use the Lexicon

"If you don't know what you're saying,
the audience won't know what you're saying!"
-Me, all the freaking time

I've said this over and over and OVER. You know it's true, but maybe you aren't sure where to start to know how to decipher Shakespeare's language. 

One of the industry-standard tools is Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary, but it can be a little tricky to navigate. Check out my quick video tutorial on how to use this tool!

 

 

Wednesday

Breaking Down the Bard - Tarry, rash wanton!

The first Shakespeare play I ever did was A Midsummer Night's Dream, when I was in sixth grade. I've done it several times over as an adult, and there is one line that was completely butchered - in meaning AND pronunciation - in two of the productions I've done: Tarry, rash wanton!


These are three words that are pretty much extinct in our modern world, strung together. It's not really surprising that it trips people up all the time, but since Midsummer is among the most popular of Shakespeare's plays in both schools and professional theatre, you should definitely know what it means.



Tarry means "stay". Rash means "hasty" or "impulsive". Wanton is not to be confused with the delicious Chinese food dumpling (wonton); and it is pronounced WAHN-tuhn. Wanton has a few different meanings, ranging from a wild and carefree person, to a tomboy, to a sexually promiscuous woman. If you want to learn how to use Alexander Schmidt's Lexicon, which can help you understand just about any word as used by Shakespeare in the contexts of his plays, I have a step-by-step guide here.

Each production can choose which interpretation of wanton they prefer, but a loose "translation" could be:

"Hang on, you reckless skank!"

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!



Breaking Down the Bard - Soft


Romeo
He jests at scars that never felt a wound.
But soft, what light through yonder window breaks?
It is the east, and Juliet is the sun.

Olivia
Thy tongue, thy face, thy limbs, actions and spirit
Do give thee fivefold blazon. Not too fast! Soft, soft!
Unless the master were the man. How now?
Even so quickly may one catch the plague?

Gloucester
And thus I clothe my naked villainy,
With odd old ends stol'n forth of holy writ,
And seem a saint, when most I play the devil.
But soft, here come my executioners.
How now, my hardy, stout, resolved mates,
Are you now going to dispatch this thing?

The word "soft" is already in your vocabulary as the antonym of "hard", and the opposite of "loud". But when you run across this word in Shakespeare's text used as you see in the examples above, it doesn't really seem to mean "cushy" or "quiet". Sometimes, words that used to have several definitions have only maintained a few of them as time passed and language has evolved, so we need to dig a little deeper to understand the true meaning of a seemingly familiar word in its 400-year-old context.

This is an instance where Alexander Schmidt's Lexicon doesn't offer a lot of help:



However, a father and son pair of Shakespeare scholars, David Crystal and Ben Crystal, explore the possible meanings a bit further in their glossary, Shakespeare's Words. (Their website is a phenomenal resource, and can be found here.) Check out the fourth "soft" down:



In the above instances (and many more), the word "soft" is spoken as a sort of interjection. It interrupts the action, and shows a shift in the direction that the scene is about to go. 

In Act II, Scene 2 of Romeo & Juliet, Romeo is hiding from his friends, Benvolio and Mercutio, who were loudly searching for him and mocking him. The appearance of Juliet surprises him. Whether he anticipated her arrival or he just lucked out, this is an exciting change of events, so Romeo's "But soft" is basically another way to say "hold up", or "hang on"!

Olivia is having an exciting moment for her "Soft, soft!" in Twelfth Night's Act I, Scene 5. Although she has sworn off courtship to mourn her father and brother, when she meets the Viola (in disguise as "Cesario"), she is smitten. Alone onstage, she recalls portions of their previous conversation and then lists several of Cesario's best attributes before saying "Not too fast! Soft, soft!" She may be sprung, but she's practically saying "slow your roll!" She hardly knows the guy, but she can't deny her feelings, which propels a lot of action in this play .

Finally, in Richard III, Act I, Scene 3, Richard, Duke of Gloucester, is bragging about how well he is fooling everyone into thinking that he's a good guy in one of his several soliloquies. Then, the two murderers he has hired to kill his brother arrive, and he shifts back into the scene with "But soft, here come my executioners." He might as well say, "wait a moment" as he turns the focus to these new characters.

When you see "soft" used in this way, especially in a soliloquy or aside, be on the lookout for a change in the energy and direction of the scene. Think of it as "hold up", "wait", "just a sec", or even "slow your roll, girlfriend", and you'll help the audience follow your character's journey!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!
To learn more, visit ShakespeareCoach.com.

Breaking Down the Bard - Fair


Helena (A Midsummer Night's Dream)
How happy some o'er othersome can be!
Through Athens, I am thought as fair as she.
But what of that? Demetrius thinks not so...

Audrey (As You Like It)
Well, I am not fair, and therefore I pray the gods make me honest.

Chorus (Romeo & Juliet)
Two households, both alike in dignity,
In fair Verona, where we lay our scene...

You may have guessed that the word "fair" is ALL OVER THE PLACE in Shakespeare's plays. It's a word that we, in the 21st century, primarily use to mean "just, in accordance with the rules or standards; legitimate." And sure, it often means that in Shakespeare's text, too, but it also has a few other definitions, most notably "beautiful", "of a white complexion", and "clear, unspotted, pure." Sometimes, it even means "kind", "good", or even "honorable." 

One thing that we have to be aware of when we approach Shakespeare's plays 400+ years after they were written is the ideals of the people presenting the plays and the intended audience. Shakespeare's audience seemed to enjoy, appreciate, and idealize their definition of beauty. This type of "fair" includes people of a pale complexion (particularly ladies), and people with blonde hair.

This is especially apparent in a play like A Midsummer Night's Dream, where the two young ladies, Hermia and Helena, are rivals. Helena mentions in her soliloquy at the beginning of the play that "through Athens, I am thought as fair as she". As the play progresses, we see numerous references to Hermia being darker in color (in hair or skin, it isn't specified): "Not Hermia, but Helena I love./ Who will not change a raven for a dove?" is Lysander's love declaration to Helena. As the "dove" in this metaphor, she would be more "fair" (light in color) than a "raven", and therefore more beautiful to Elizabethans than the darker Hermia.

In As You Like It, Audrey says that she is "not fair", which probably means "not beautiful", but also likely means "not pale." Many characters we meet in the Forest of Arden are shepherds and goatherds, and they would spend a great deal of time in the sun. To many Elizabethans, being pale was part of being ideally beautiful, so the idea of Audrey using "fair" in the "pale/beautiful" context holds up. In the same play, Phebe is insulted when her features are described as dark: "He said mine eyes were black and my hair black..." The amazing thing about Shakespeare's writing is that even though his characters' ideals of beauty may be different from what ours currently are, he makes it abundantly clear that this is what matters in this particular society of the play!

In these instances and many others, "fair" is a synonym for "beautiful." This can apply to objects as well as people:

Proteus (The Two Gentlemen of Verona)
But pearls are fair...

Sometimes, "fair" means "good":

Olivia (Twelfth Night)
Let thy fair wisdom, not thy passion, sway
In this uncivil and unjust extent
Against our peace.

Finally, let's look at the opening lines from Romeo & Juliet. "Fair Verona" could mean a great many things: a beautiful city, a just and lawful place, a place without blemish (i.e. nothing bad happens here), it's elegant, and even fortunate. Any and all of these choices are accurate descriptions of the Verona we see in the text - until things go horribly wrong! 

"Fair" is a very common word in Shakespeare's plays, and now you'll have a jumping off point for what it means in different contexts!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first session!

Monday

What's Up with the Lexicon?


One of the most-used tools for understanding Shakespeare is Alexander Schmidt's Shakespeare Lexicon and Quotation Dictionary, commonly referred to as "the lexicon". For the uninitiated, this book will CHANGE YOUR LIFE. It is a phenomenal tool in finding the exact meaning of most words as they are used in Shakespeare's works.

WHY YOU NEED IT
If you don't know what you're saying, the audience won't know what you're saying! If you are just kinda sure about the meaning of these 400-year-old lines, you won't be telling the story in a specific and clear way, and your audience's experience will suffer. Some of the words in Shakespeare's plays are antiquated, and have fallen out of use, others have changed in meaning over time, and still others were invented by the Bard himself. Nobody just knows this stuff inherently; all classical actors are expected to do a substantial amount of research outside of rehearsal.

WHERE TO FIND THE LEXICON
The Lexicon is available online here, or in two printed volumes if you prefer a hard copy. 



HOW TO USE IT:
1. Pick the word you want to look up... duh.

2. Hardcopy: Use the appropriate volume (A-M or N-Z) just like a dictionary to find the word you're searching for.
Online: Use the toolbar on the left to find your word (listed alphabetically; this may take a few clicks - see the image below).
Note: if you choose to use the "search" tool in the upper right, be aware that your search will be across many other reference materials, not just the Lexicon, and it may include works by other authors, as the search includes the entire reference database established by Tufts.

Choose the first letter, then the alphabetical group, then the word you're searching for.



...And that's how we get to caddis.
(We still might have to figure out what a riband is, though.)

In both the online and hardcopy versions of the Lexicon, words that can be different parts of speech will be listed separately for each use; you may need to determine whether this is a verb, noun, adjective, etc. 
"Female", for example, is shown in two separate entries:






3. Look through the definitions available to find the reference to the play, act, scene, and line for the word you want to define. These are abbreviated, and can take some getting used to. For example, Romeo & Juliet is Rom., Comedy of Errors is Err., Henry VI Part 2 is H6B, and so on. The act number is in Roman Numerals: I, II, III, IV, or V. The scene number will be listed as 1, 2, 3, 4, 5, etc., followed by the line number. Most of the time, the reference material for the line of the play containing the word you are researching will be listed after the definition for that word, as well as most or all of the other instances that word used with the same intended meaning is found throughout the canon.


Notice that "mischief" has two distinct definitions, both of which are listed here. If we were looking up Don John's line "Will it serve for any model to build mischief on?" - from Much Ado About Nothing, Act I, Scene 3, we can see that it is listed with the second definition: "evil done on purpose, harm, injury." Much Ado About Nothing is abbreviated "Ado", along with the act, scene, and line number, which reads "Ado, I, 3, 49". We even get a portion of the line typed out for us in this instance.

Of course, there are many other references you can use in order to get a better grasp on what you're saying, but the Lexicon is a very popular tool that many regard as an industry standard - and now you know how to use it!

Wanna step up your Shakespeare game?
Email shakespearecoach@gmail.com to schedule your first lesson!