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Home :: Archive :: 1996 :: November ::
Re: RSC Dream; Charms (End-Stopped)
Shakespeare Electronic Conference, SHK 7.0826.  Wednesday, 13 November 1996.

(1)     From:   Patricia Cooke <
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        Date:   Tuesday, 12 Nov 1996 23:57:38 +1200
        Subj:   Re: SHK 7.0811  RSC Midsummer Night's Dream

(2)     From:   Harry Hill <
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        Date:   Tuesday, 12 Nov 1996 07:50:12 +0000 (HELP)
        Subj:   Re: SHK 7.0813 Re: Charms


(1)----------------------------------------------------------------------------
From:           Patricia Cooke <
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Date:           Tuesday, 12 Nov 1996 23:57:38 +1200
Subject: 7.0811  RSC Midsummer Night's Dream
Comment:        Re: SHK 7.0811  RSC Midsummer Night's Dream

>I went to the RSC's production of  _A Midsummer Night's Dream_ at Stratford on
>Avon on November 9th. It was wonderful. It is now going on tour. SHAKSPERIANS
>might like to note the following dates :

>9-12 April               State Opera House, Wellington, New Zealand
>16-20 April              Aoeta Centre, Auckland, New Zealand

I don't want to be picky but it is the AOTEA centre.  It means, perhaps, white
cloud, as in Aotearoa, land of the long white cloud, a disputed name for New
Zealand.  We're looking forward to the RSC Dream too.

Patricia Cooke, Secretary & Editor
Shakespeare Globe Centre New Zealand Inc
97 Elizabeth Street Wellington 6001 New Zealand PH/FAX 64 4 3856743

(2)----------------------------------------------------------------------------
From:           Harry Hill <
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Date:           Tuesday, 12 Nov 1996 07:50:12 +0000 (HELP)
Subject: 7.0813 Re: Charms
Comment:        Re: SHK 7.0813 Re: Charms

I understand Scott Shepherd's complaint that end-stopped stage performances of
the verse can tend to be rhythmically tedious, and agree that the Macbeth
soliloquy he cites appears to be almost totally enjambed: there is a palpable
tension in it between urgency of thought and the man's ability to think it to
the point of interior utterance. However, Mr.Shepherd is possibly not hearing
these tensions as he reads [or types out] the lines in question.

He rightly says that the later Shakespeare gives evidence of a new handling of
the pentameter line, but does not give as examples what I thought he might--the
prepositional line-endings to be found in, say, *A WInter's Tale". It should be
noted that the choice to conclude lines with "and" or "the" or "by", or even in
the middle of a proper name as in

                                Sir
        Smile his neighbour,

is in fact a choice which conveys attitude and inflection. John Barton had
trouble with his RSC cast in this play, when his company "naturally" wanted to
enjamb what in actuality are the slightest and rhetorically naturalistic of
pauses. These subtle and character-revealing slight stops are reproductions of
the process of thought, and are vocally possible only after considerable
practice. The delivery, far from ceasing, moves as the mind does.

To me, this is the basis of verse acting, and I expect it is pretty obvious how
strongly I feel about it. If I may, I would like --tomorrow, it's too early in
the morning just now--to provide some instances from performances that will
show concretely just what I mean...

        Harry Hill
 

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