Unlocking Shakespeare.
Shakespearean verse presents many problems for actors both in comprehension and performance but by the application of a few simple techniques, you can make the verse work for you, the actor.
This is an intensive workshop and a unique way of discovering Shakespeare. By referring to The First Folio for a return to the original texts and avoiding the literary and intellectual baggage that has accumulated over the centuries, the workshop combines the theatrical techniques of Jacques Lecoq with a practical approach to interpretation.
The techniques you will acquire during the workshop include:
Textual and verse analysis in relation to performance;
Corporal control and expression;
Breathing;
By studying and practicing these techniques, applying them to scenes and monologues individually and in small groups you get a better grasp of Shakespeare's language.
You will be directed and guided through the process, learning how to use the verse to develop characterisation and at the end of the workshop you will be left with a unique understanding of Shakespeare's verse and how to make it work for you as an actor, a studied and developed monologue, which could be used as an audition piece and a knowledge of some of Lecoq's techniques, particularly in regard to how movement and text are one.
The workshop will be taken by Colin David Reese, an actor and director for over 40 years, working in the UK, Canada and France. Over the course of his career he has worked with such names as Sir John Gielgud, Alan Bennet, Paul Eddington, Nigel Hawthorne, Sophie Marceau, Lauren Bacall and Harold Pinter. He trained at the Webber Douglas Academy, followed by two years with Jacques Lecoq in Paris and has attended many workshops on Shakespeare including “Is Shakespeare Still our Contemporary?” with Jan Kott and “Original Shakespeare” with Patrick Tucker.
To apply for the workshop please contact Lucy on
assistant@marlowes-agency.com
Mob:07538 389961/07505-787122
Marlowes, P.O Box 64576
London, SW17 1BP
Some comments from previous participants;
“the technique is different … and it works”
“ the workshop gave me an understanding of how to use the tools in the text and my speech felt so different afterwards”
“a great tutor and actor sharing his skills”
“the extensive research and knowledge make for a fascinating workshop”
11.3.10
Acting Shakespeare Workshops in Paris
Keys to Performing and translating Shakespeare
For French actors with a good level of English and Anglophones wishing to extend their performance of Shakespeare’s verse.
2 sessions over 2 days
10am – 3pm
Next workshop 29/30 March.
€100.00 / participant - 20% reduction for intermittents/chômeurs
(max 10 participants)
For more information:
colindavidreese@yahoo.fr
01 45 28 01 70
06 63 79 63 30
Understanding for better performance.
Shakespearean verse presents many problems for actors both in comprehension and performance. By the application of a few simple techniques, the actor can make the verse work for him/her.
The techniques that will be acquired in these workshops include:
- Textual and verse analysis with a relation to performance;
- Corporal control and expression;
- Breathing;
- Articulation;
The participants will study and practice these techniques, applying them to monologues.
Finding the keys in Shakespeare’s text.
Shakespearean verse gives many indications of how to create character and the workshops will show how to use it. By referring to The First Folio for a return to the original texts and avoiding the literary and intellectual baggage that has accumulated over the centuries, the workshops combine the theatrical techniques of Jacques Lecoq with a practical approach to interpretation.
The Workshops:
For the workshop, each participant is requested to prepare a verse monologue in English, NOT to learn it by heart.
Soft shoes and track suits for the men and practice skirts for the women.
Please bring a “Complete Works” and a note book and pencil.
Session 1
- First contact with the text – each participant reads their prepared monologue.
- Movement analysis.
- Working with the “pointe fixe” and equilibrium and disequilibrium.
- How physicality affects characterisation.
- How to analyse movement, both one’s own and that of other people.
- Linking movement to breathing. How breathing affects movement and vice versa.
- Verse analysis. Explanation of Iambic pentameter and how Shakespeare exploits and deforms its structure, thereby giving indications to the actor concerning interpretation and characterisation.
Overnight work
The French participants will be asked to translate their chosen monologue, and the Anglophones to study theirs, both using the verse analysis tools/clues discussed during the workshop.
Session 2
Presentation of monologues in both English and translation showing results from overnight work. Criticism and direction from Mr. Reese, inviting comments from the other participants.
Taking a short section from each monologue – committing it to memory, adding movement and breathing pattern to take it to a performance level.
For French actors with a good level of English and Anglophones wishing to extend their performance of Shakespeare’s verse.
2 sessions over 2 days
10am – 3pm
Next workshop 29/30 March.
€100.00 / participant - 20% reduction for intermittents/chômeurs
(max 10 participants)
For more information:
colindavidreese@yahoo.fr
01 45 28 01 70
06 63 79 63 30
Understanding for better performance.
Shakespearean verse presents many problems for actors both in comprehension and performance. By the application of a few simple techniques, the actor can make the verse work for him/her.
The techniques that will be acquired in these workshops include:
- Textual and verse analysis with a relation to performance;
- Corporal control and expression;
- Breathing;
- Articulation;
The participants will study and practice these techniques, applying them to monologues.
Finding the keys in Shakespeare’s text.
Shakespearean verse gives many indications of how to create character and the workshops will show how to use it. By referring to The First Folio for a return to the original texts and avoiding the literary and intellectual baggage that has accumulated over the centuries, the workshops combine the theatrical techniques of Jacques Lecoq with a practical approach to interpretation.
The Workshops:
For the workshop, each participant is requested to prepare a verse monologue in English, NOT to learn it by heart.
Soft shoes and track suits for the men and practice skirts for the women.
Please bring a “Complete Works” and a note book and pencil.
Session 1
- First contact with the text – each participant reads their prepared monologue.
- Movement analysis.
- Working with the “pointe fixe” and equilibrium and disequilibrium.
- How physicality affects characterisation.
- How to analyse movement, both one’s own and that of other people.
- Linking movement to breathing. How breathing affects movement and vice versa.
- Verse analysis. Explanation of Iambic pentameter and how Shakespeare exploits and deforms its structure, thereby giving indications to the actor concerning interpretation and characterisation.
Overnight work
The French participants will be asked to translate their chosen monologue, and the Anglophones to study theirs, both using the verse analysis tools/clues discussed during the workshop.
Session 2
Presentation of monologues in both English and translation showing results from overnight work. Criticism and direction from Mr. Reese, inviting comments from the other participants.
Taking a short section from each monologue – committing it to memory, adding movement and breathing pattern to take it to a performance level.
8.3.10
24.7.09
The Rose Theatre update
The 5 shows at The Rose went very well. And I have been invited to come back during the the season. A number of people were interested in booking the show. I will inform those interested when new performances are booked.
20.5.09
Gift To The Future in London
Gift To The Future will be playing in London at The Rose Theatre, Bankside. This theatre, originally built in 1587, was where a number of Shakespeare's plays were first performed, before the company he was with moved to The Theatre in Shoreditch and subsequently to The Globe. A wonderful opportunity to discover not only The Rose itself but the story of how The First Folio came into existence
The Rose Theatre
Bankside’s First Theatre
56 Park Street London SE1 9AS
(Look out for the Blue Plaque next to Southwark Bridge)
Nearest Mainline / Tube Stations:
London Bridge, Mansion House or Waterloo
Performance times:
Thursday 9th July 7:30 pm
Friday10th July 7:30 pm
Saturday 11th July 7:30 pm
Sunday 12th July 1:00 pm and 6:30pm
Box Office:
Telephone 0207 261 9565
rosebankside@btinternet.com
£10 (£8 concessions)
The Rose Theatre
Bankside’s First Theatre
56 Park Street London SE1 9AS
(Look out for the Blue Plaque next to Southwark Bridge)
Nearest Mainline / Tube Stations:
London Bridge, Mansion House or Waterloo
Performance times:
Thursday 9th July 7:30 pm
Friday10th July 7:30 pm
Saturday 11th July 7:30 pm
Sunday 12th July 1:00 pm and 6:30pm
Box Office:
Telephone 0207 261 9565
rosebankside@btinternet.com
£10 (£8 concessions)
17.12.08
just finished shooting La Mallette Rouge
I've just finished shooting a full length feature - working title "La Mallette Rouge" playing "Arif" a farmer and father of a family in just post war Bosnia. Written by the director Bernard Mazauric the film tells the story of a little Serbian girl lost in the forest after her father has been shot. She finds herself at Arif's farm and he has to look after her ... "you can't leave a little girl alone in the forest" But he knows if he takes her to the local police, as a Serb she will be maltreated, "If I saw a policeman or any other imbecile hurt a little girl, I would kill him ... Do you understand?" So he decides to take the 2 days necessary to take her to the Red Cross. However .... She finally has to stay with Arif and his family until she decides to run away and look for her father.
The post production is now underway and we hope the film will be ready for Cannes!
29.9.08
Edinburgh festival report
All went well during the festival except the dreadful weather ... apparently the worst in years! Most people were very positive about the show and one even said "the highlight of my Fringe" Which is always nice to hear.
Gift to the Future is currently being offered to different theatres and universities and I will post more when I have more news.
Gift to the Future is currently being offered to different theatres and universities and I will post more when I have more news.
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