O Reform it Altogether

And now the advice to the players is coming to an end…

Now this overdone, or come tardy off, though it makes the unskillful laugh, cannot but make the judicious grieve; the censure of which one must in your allowance o’erweigh a whole theatre of others.

Overdoing moments might make a few people laugh, but everyone else may be rather disgusted. Think of everyone else before you ham up a moment for a cheap laugh. Remember again holding up the mirror to nature – an honesty is required. Once you lose that you lose your audience.

O, there be players that I have seen play—and heard others praise, and that highly—not to speak it profanely, that, neither having th’ accent of Christians nor the gait of Christian, pagan, nor man, have so strutted and bellow’d that I have thought some of Nature’s journeymen had made men, and not made them well, they imitated humanity so abominably. O, reform it altogether.

This should sound familiar to you. How many times have you seen a movie with a famous actor who just, well, sucks? There are plenty of actors out there who are “big” whose abilities to believably play another person are rather small.

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Suit the Action to the Word

Hamlet’s Advice to the Players continues! There’s a lot he has to say about acting. After all, he wants the lines he wrote in The Mousetrap acted well.

Be not too tame neither, but let your own discretion be your tutor.

You must find a delicate balance between the energy you give to the speech and the naturalism. Too much energy and you’re bombastic, too little and the audience falls asleep. Experiment until you find what feels right.

This is harder than it sounds. Acting Shakespeare’s text is entirely about finding a balance between making yourself understood and letting the words come out, having lots of energy and being relaxed, using the poetry and sounding natural.

Suit the action to the word, the word to the action,

This is another part of that balance you must find. Rather than explain this part (it sort of explains itself) I think it’s best that go in a different direction.

What you need to do here is match your intention/objective/motivation to the text. You have a NEED to speak these words in order to get what you want. If you let yourself be taken by the text — don’t force it — to the emotional level that it requires and you are all the while aware of your objective while speaking it, any actions you take will be suited to the words and the words to the action.

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Do not saw the air too much

Hamlet’s advice to the players continued…

Nor do not saw the air too much with your hand thus, but use all gently;

I think you know what this is about. Have you ever seen an actor (or someone in your life) who repeatedly uses the same gesture? It gets old pretty fast. We all have this problem to some degree, but it may be harder to notice in some. Video tape yourself acting a piece and watch it in fast forward. If you see the same gesture over and over: stop doing that! Actors sometimes feel the need for one super strong gesture but it can get pretty annoying. Find actions that match what you’re saying. A downward chopping motion into your other hand means nothing.

for in the very torrent, tempest, and as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness.

I’ve seen an actor onstage who was trying to be mad who just walked back and forth and did the same hand gesture over and over and over. Don’t be him.

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Trippingly On The Tongue

And now the first in the series of posts expounding Hamlet’s Advice to the Players. Let’s begin at the beginning.

Speak the speech, I pray you, as I pronounc’d it to you, trippingly on the tongue.

With a couple couples of alliteration Hamlet speaks volumes. “Speak the speech … trippingly on the tongue.” Chapters of acting books and entire books have been written on being able to speak a speech trippingly on the tongue. Well what exactly does that mean?

Trippingly means light and quick, with a sense of ease, fluently. Sounds pretty straightforward, right? Basically this means that when you speak, it generally shouldn’t sound like you’re proclaiming your lines “Full of Sound and Fury” (Macbeth), but rather let them come out.

Easier said than done. You need a detailed understanding of everything you’re saying, the important words needed to tell the story, awareness of the literary devices that make the verse and prose come alive, memorization of the piece so good that you could recite it in your sleep, and a very well exercised set of articulators (mouth, tongue , lips) for excellent diction. It’s a lot, but who ever said acting was easy?

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