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Home :: Archive :: 2001 :: November ::
Re: Richard II (The Other Place)
The Shakespeare Conference: SHK 12.2660  Monday, 26 November 2001

[1]     From:   Karen Peterson <
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        Date:   Friday, 23 Nov 2001 11:13:14 -0800 (PST)
        Subj:   Re: SHK 12.2657 Re: Richard II (The Other Place)

[2]     From:   Laura Jean Carroll <
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        Date:   Saturday, 24 Nov 2001 21:37:27 +1100
        Subj:   Re: SHK 12.2657 Re: Richard II


[1]-----------------------------------------------------------------
From:           Karen Peterson <
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Date:           Friday, 23 Nov 2001 11:13:14 -0800 (PST)
Subject: 12.2657 Re: Richard II (The Other Place)
Comment:        Re: SHK 12.2657 Re: Richard II (The Other Place)

Stephen Dobbin, in response to Terence Hawkes, writes,

> There are, indeed, reasons why many young actors
> lack the experience in verse speaking and voice
> projection that their seniors had acquired at a
> similar age, and there are important arguments to be
> aired about how to address this.

The same year that I was unable to get tickets to RII at The Other Place
(summer 1999), I *was* able to get tickets to *Don Carlos* there.  I was
in the front row, at the end, so that a good number of entrances and
exits went right by me.  I had satin skirts and capes slapping me in the
face all evening, and I could feel the "swish" from the swords.  I loved
it.

*Don Carlos* is "cerebral*, like *Richard II*.  It's not what I would
call an "intimate" play, though.  The actors needed to enunciate and
make sensible complex, philosophical discourse, which they did
brilliantly.  It was also fascinating to see a number of the same
players that I had seen on previous evenings in the Memorial theatre in
*Othello,* *Antony and Cleopatra*, and *MND* in this very different
dramatic environment.  (I would credit them by name if I could but alas
my programmes are not readily to hand).  I did not note that any of them
had any difficulty with enunciation or vocal projection when they
performed in the larger venue.  Nor did they seem phased by the demands
for greater subtlety posed by TOP.

The RSC's repertory format does have its problems and drawbacks, and I
can understand why Adrian Noble has proposed some changes.  But the
opportunity for actors to work simultaneously in two or more very
different plays, in two or more very different theatrical environments,
seems to me one superb way in which the technical skills (or lack
thereof) noted both by Stephen Dobbin and Professor Hawkes may have been
being addressed in stodgy old Stratford.  I do hope some of that will
continue.

Cheers,
Karen

[2]-------------------------------------------------------------
From:           Laura Jean Carroll <
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Date:           Saturday, 24 Nov 2001 21:37:27 +1100
Subject: 12.2657 Re: Richard II
Comment:        Re: SHK 12.2657 Re: Richard II

Stephen Dobbin wrote,

"Terence Hawkes comment, that "few people in their right mind relish the
proximity of professional actors" is one of the more revealing pieces of
vituperation to have appeared on this site for some while."

I don't much like sitting too close to the actors.  They tend to spit on
and spray the first few rows.

(Sorry, sorry)
Laura Carroll

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