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❝You must listen to stay in the play, in the moment, with the other players and the audience. The inability to listen cuts you off from the world. You need to stay attentive in your spirit.❞
Patsy Rodenburg: Speaking Shakespeare
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Royal Shakespeare Company steps into dispute at Guildhall drama school after senior teacher quits in protest over methods
To Rodenburg’s astonishment, teaching colleagues refused to let her watch their classes. While she is a renowned authority on Shakespeare and classical theatrical texts, she sensed that they do not even “believe in Shakespeare”. She also heard from students that other teachers were not pushing them to excel, instead telling them: “Don’t worry if you can’t do it. Just lie on the floor for a bit.”
Patsy Rodenburg
Gender: Female
Sexuality: Bisexual
DOB: 2 September 1953
Ethnicity: White - English
Occupation: Voice coach, writer, theatre director
❝The release of the voice and the placing of words into space have an emotional effect. When you place a word out of you – into space – you begin to create the thing itself. This is particularly compelling when the language is so concrete and sensual. When characters speak, it is an event: they are making things happen – speech is not separate from action. That is why a curse, for instance, is so potent and frightening. If you place words into space, you cannot call them back – they are out there – so in placing them there, you have to commit to what you have said, thought and felt. No retreat is possible. You must have meant them!❞
— Patsy Rodenburg: Speaking Shakespeare
Carole Satyamurti's eyes
I pinched myself to be there. God knows how I got invited. I can’t remember. Perhaps I invited myself. Poets were there, people I had actually heard of and read and who all seemed to know each other. Jo Shapcott. Maura Dooley. Sarah Maguire. Jonathan Davidson. Phil Bowen. I had the books to prove it. I had published one book and knew nothing. To the Poetry Society, the holy of holies, an…
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21/03/19
- Started off the rehearsal on Thursday with the number game (counting to 20 as a group but each person says an individual number and no two people can talk at the same time) We also did a vocal warm up drawn from Patsy Rodenburg (research which specific exercise was used)
- We then all laid on the floor and did the relaxation Stanislavski technique which we also did at the beginning. This involved lying on the floor while Julie lead us into a guided relaxation and we were asked to think about our character, what our character would be thinking and feeling etc.
- After this, we did some hotseating to help develop characterisation. The questions that were asked and the answers will be made a note of and sent to us over email (edit this post later)
- Subsequently, we split off into pairs and we did an exercise that involved another person reading a monologue or a portion of text than the person who was playing that character. I went with George Binns who plays Billy in the play, and we began by exploring his monologue from the beginning of the play. After we realised that not much work was needed on this, we looked at his monologue about Billy’s childhood experience of touring the army barracks in his home town. He didn’t know exactly how to say it, and wasn’t quite comfortable with how to perform it. I performed it to him in a happy, almost psychotic way. The monologue describes how much he loves the order of the army barracks and really outlines his OCD. My interpretation of that monologue was that Billy feels like he is in heaven. It gives him comfort to see so much order. Because of this I suggested that George channels his inner OCD. This helped him, and he was more comfortable with performing the monologue afterwards.
- Throughout the rest of the rehearsal we did run throughs with support from the creative team. A few ideas were spit balled about Mary and the girls constantly tidying and making everything as Billy would like it throughout the play to outline his OCD and the effect that he has had on them.
- More movement needed throughout the play as according to James Macpherson, our lecturer, when he saw it last week he stated that a lot of the monologues were said standing still, without much action. This meant that he felt it could have been a radio play.
Speaking Shakespeare, Patsy Rodenburg (M, 20s, green shirt, khaki pants, backpack at feet, G train)
daydreaming about what it would be like to have a truly original mind
