| >> |
01/26/09(Mon)04:55 No.3523039>>3522996
You can actually learn from the old texts, techniques that are used for particular stagecraft. Let's just say that you scored a role in The Tempest, that's going to be recreated classically, no mechanical aids. that's the selling point, ye olde theatre, ye olde style.
But you've never studied shakespeare. How the fuck are you meant to articulate the point of the play if you can't understand what you're saying. By actually reading and understanding the history of shakespeare, you get a greater understanding of how to read and perform it. A big point in favour of this is, have you ever noticed that in the solliloquys the main point of the little dialogue sems to be repeated three times, albeit in a slightly different fashion each time? That's because back in the day you had to address each part of the audience in turn, because you simply wouldn't be heard otherwise. To the front, the first third, to the left, the second third, to the right, the last third. Just look at how the globe is arranged and you'll see that this is basically the reason why. Tiers and tiers of seating, even above the stage itself, but that was mainly for the rich fuckers to show off their latest threads. Silliloquys and the basis for their use, a summation of the plot points to date, basically formed the precursor for the modern monologue. A lot of current techniques are based of outdated methods of articulation. Amazing really.
So yeah, not a requirement, but it can be extremely helpful. |
