Search Results : louis colaianni sonnet

Mar 192015
 

Untitled
Sonnet 65

Louis Colaianni

Louis4

Louis Colaianni on Sonnet 65 and how the miracle of language conquers time.

Click here to follow along with the text.

Click here for a scanned version of the text.

Sonnet 65

 

This Sonnet is used in our Aside with Louis Colaianni.

  1. Since brass, nor stone, nor earth, nor boundless sea,
  2. But sad mortality o’er-sways their power,
  3. How with this rage shall beauty hold a plea,
  4. Whose action is no stronger than a flower?
  5. O, how shall summer’s honey breath hold out
  6. Against the wreckful siege of battering days,
  7. When rocks impregnable are not so stout,
  8. Nor gates of steel so strong, but Time decays?
  9. O fearful meditation! where, alack,
  10. Shall Time’s best jewel from Time’s chest lie hid?
  11. Or what strong hand can hold his swift foot back?
  12. Or who his spoil of beauty can forbid?
  13. O, none, unless this miracle have might,
  14. That in black ink my love may still shine bright.

Artists

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

WEBSITE

Jolly Abraham coming soon
www.ellenadair.com
Marion Adler coming soon
Kevin Asselin

www.billbrochtrup.com
Debra Ann Byrd

www.davidcarlonline.com
www.celesteciulla.com
Hamilton Clancy
www.chrisclavelli.com
Louis Colaianni
@corteseatwork
Kelly Curran
Valorie Curry

www.pearltheatre.org
Jacopo Della Quercia
www.jamesdevita.com

www.shakespeareontheroad.com

www.lukeforbes.com

wikipedia.org/wiki/Ellen_Geer
wikipedia.org/wiki/Willow_Geer
www.thesonnetmannyc.com
www.grantgoodmantheatre.com

www.facebook.com/blake.hackler
Katie Hartke
thethingstheplay/jeffreychawkins


Ralf Jean Pierre
Ty Jones

scottkaisershakespeare.com

Ted Lewis Coming Soon
www.facingpageproductions.com

www.theatricum.com
www.hudsonwarehouse.net
www.thisoldchef.com
www.theshakespeareforum.org

James Newcomb coming soon.

Nick Newlin

www.jason-oconnell.com
http://www.mariachristinaoliveras.com
osburnt.com

Xavier Pacheco
www.shakespearenj.org/Partin
www.facebook.com/NewYorkRep
www.shakespeareontheroad.com
linkedin.com/valerie-clayman-pye


colindavidreese.blogspot.com
Kevin Rich
robertrichmond.com
www.margaretrobinson.net
www.stratfordfestival.ca/company
www.epictheatreensemble.org

www.linkedin.com/pub/gareth-saxe
www.kenschatz.com
James Shapiro
Vilma Silva
www.fiascotheater.com

www.theatricum.com
wikipedia.org/John_Douglas_Thompson
Curt L. Tofteland
Eric Tucker
www.charlestuthill.com

Sam Underwood

Brian Vaughn
www.stahome.org

www.epictheatreensemble.org
www.shakespearetavern.com
rebeccawatson.org
richardsheridanwillis.com
www.lisawolpe.com


www.gabrazackman.com

 

 

Topics Index

 

A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

A                                                 
ADD/Learning Disorders

African American Shakespeare

Alexandrine

Alliteration/Assonance

Allusion

Anti-Semitism

Antithesis

Archaic Language/Archaisms

Arts Education

Auditioning

top
B                                                               
Bad Quarto

Bawdy References

Beat Change

Breath

top
C                                                               
Character

Clarity of ideas/thoughts

Clowns

Commitment/Courage

Complex Ideas

Consonants

Context

Continuants

Cue Scripts/Sides

top
D                                                               
Deletion

Digital Age

Direct Address/Audience connection

Discovery

Double Meaning

Dramatic Irony

top
E                                                               
Editors

Elision

Emotions/Playing Emotions

English Speaking Union Competition

Extra Beats

Extra Syllables

top
F                                                               
Fear (As an actor)

Fight Choreography

Fools

Freedom

top
G                                                               
Gender Bending/Reversal

Generalized Acting

Gundpowder Plot

H                                                               
Heightened Language

Homonym

Honesty/Authenticity

Humor

top
I                                                               
Iambic Pentameter

Imagery/Images

Imagination

Improvisation

Indication

Inflection/Pitch Change

Inhuman/Otherworldly Characters

Irregularity of verse

top
J
K                                                              

Key Words/Keywording

L                                                               
Language

Learning from Other Actors/Watching

Lexicon

Line Endings

Linguistic Fingerprint for Individual Characters.

Linklater

Long thoughts/sentences

top
M                                                               
Making Choices

Making Sense of the line/words

Memorization

Metaphor

Metric Variation/Meter

Mid line stop/Mid line ending

Moment to Moment/In the Moment

Monosyllables

N

O                                                 
Objectives

Operative Words

Oral Tradition

Original Practice

Otherworldly/Inhuman Characters

Overcoming Obstacles

top
P                                                               
Pace/Rhythm Change/Rhythm

Paraphrasing

Pauses

Personalization

Phrasing/Breaking text up

Physicality

Pitch Change/Inflection

Playable Moments

Poetry/Speaking Poetically/Poetic Language

Pronouns

Prose

Punctuation

Pyrrhic

top
Q                                                               
Quartos

Questions/Rhetorical Questions

top
R                                                               
Relationships

Repetition

Rhetoric

Rhyming Couplet

Rhythm Change/Rhythm/Pace

Rule of Three

Rules/Breaking the Rules

top
S                                                               
Scansion

Shakespeare on Film

Shared Lines

Short Lines

Sides/Cue Scripts

Simile

Sonnet

Sounds of Words

Speaking Poetically/Poetic Language

Specificity

Sprung Beat/Sprung Rhythm

Subtext

Suzuki

Syncopation

top
T                                                               
Text/Story

Theater Education/Outreach

Thought Process/Thoughts

Threes

Tragedy

Training

Transposing Text

Trochee

Trusting Yourself

Trusting/Using the Text/Language

top
U                                                               
Using Yourself

V                                                               
Verbs

Verse Speaking

Verse vs. Prose

Verse vs. Punctuation

Villains/Playing Villains

Vocal Technique

Vowels

top
W                                                               
Warm Ups/Preparation/Rehearsals

Words

return to top
X
Y
Z


return to top

Speeches and Scansion

 


A B C D E F G H I J K L M N O P Q R S T U V W X Y Z

A

A Midsummer Night’s Dream

top

top

top
B
C

top
D, E, F, G
H

top

top

top

Henry VI, Part 3

top

top
I
J

Julius Caesar

top
K

top
L

Love’s Labor’s Won

M

Macbeth

top

top

The Merchant Of Venice

top

top
N,
O

P, Q
R

top

top

top
S

top
T

top

top

The Two Gentlemen Of Verona

top

Titus Andronicus

top

top
U, V
W

X, Y, Z
top

Teach

 

Below is an alphabetical (last name) list of the interviews, with the lessons covered.  Read the topics for your curricular needs and listen to the interviews.  **We recommend the starred interviews as most valuable for actors just starting out.  For a list of topics and the interviews that cover them click here.

In addition to the interview, every interview has a link to a scansion page with footnotes and rhetorical analysis.  You can listen to the monologue and follow along on the page.  Or just click on the Speeches and Scansion under the learn & teach section at the top of any page.  Most interviews refer to line numbers for your benefit.

Jolly Abraham The Winters Tale Act 3, Scene 2  Tackling the courtroom scene Jolly discusses the ins and outs of Hermione’s plight.  In the beginning stages of rehearsals, Jolly talks about line endings and how they have changed her view of speaking Shakespeare.  She is frank in her discussion of monosyllables and talks Hermione’s stakes and pursuit of honor.
Ellen Adair  All’s Well that Ends Well  Act 2, Scene 2  Our first interview and perhaps our most analytically oriented.  We talk about Short Lines, Shared Lines, Speaking the thought, extra feet, alliteration, metaphor, repetition and end stops.  We also spend some time talking about Linklater and using the voice.  Finally we talk about end lines and whether she is a versist or a punctuationalist.
Marion Adler  Much Ado About Nothing  Act 1, Scene 1  A delightful Marion Adler describes, in detail, her process in attacking the convoluted prose spoken by Beatrice.  Equating her process to dancing, math and singing, Marion displays her abilities in a few sections from the text.  Asked about whether Shakespeare prizes Love or Honor more highly, Ms. Adler comes squarely down on the side of Love.  She also equates acting Shakespeare with musical theater and dance.
Celeste Ciulla  Julius Caesar Act 1, Scene 2  Celeste tackles such subjects as finding the  humor in Shakespeare, the power of community in theatrical productions, how to tackle difficult passages of text, whether they be grammatical construction or classical allusions.  What to do with those persnickety small words ay and oh and be.
We cover the idea of slowing down, allowing audience to follow, she talks about preparing by yourself without director.  We talk how she uses scansion and takes clues from the meter.  Finally we talk about how to make the language clear and you why you don’t have to do much more.
Ray Chambers Pericles  Ray talks about what makes a good student of acting, what challenges they have to overcome in making ideas clear.  Ray is/was also dyslexic and he spends time talking about overcoming his dylselxia.  We also spend some time talking Pericles and it’s particular brand of magic.
Celeste Ciulla: The Power of Theater  For those interested in what makes theater so magical and enduring.  A touching anecdote.
Chris Clavelli The Winter’s Tale Act 1, Scene 2 Chris dives into how his life experiences inform his choices and understanding of the roles he plays.  He also talks about dealing with long lines, the sounds of the words and not letting his emotions override the words.  He also spends time on how he learned by watching other actors.
**Louis Colaianni Romeo and Juliet Prologue Louis gives us nothing short of a master class in speaking Shakespeare.  He walks us through the images, language and meter of the Prologue to Romeo and Juliet while teaching us a simple method with which to attack Shakespeare’s text.  A must listen for any student.
Comedy v. Tragedy  Here is a semi-serious discussion of what the difference is between the two genres.  Do we get to the heart of it?  Maybe.  But we do offer up some food for thought!
Drew Cortese  Richard III Act 4, Scene 4  Diving into Richard III, Drew discusses his process in approaching a role, monosyllables, keywording and phrasing, building the language of the speech, where Richard’s rhetoric breaks down.  We also touch on how the language of the character and the other characters informs the role, embracing the absurdity of Richard’s gambits, understanding the images, inflection, rhythm and using the meter.  An all around great teaching interview.
Kelley Curran Henry IV, Parts 1 & 2; Act 2, Scene 3  Kelley explores the relationship between Hotspur and Lady Percy.  She talks the start of the rehearsal process, including table work.  Text wise, we explore what to do with questions, the long “e” sound, the open vowels of the “h” sound and alliteration as well as using specific words to highlight meaning.  Finally, Kelley talks pursuing an objective and changing the pitch of her voice for greatest effect.
Dan Daily  Henry IV, Part I  Act 5, Scene 1  Falstaff uncovered.  A fascinating exploration about how an actor keeps from judging his character negatively.  A lot of conversation about being in a company, researching a role and rhetorical questions.   Worth a listen if you are covering this play.
Jim Devita  Henry VI, Part 3;  Act 3, Scene 2:  Lots of good information from a relentless performer.  Jim spends time talking about the longest speech in Shakespeare’s canon.  We cover the idea of playing metaphors, being authentic, not generalizing when acting.  We spend time talking about training and how acting relates to sports.  With the speech, we talk about staying improvisational, playing the villain, playing emotions and how knowing the history is important.  Jim is a big advocate of how you cannot get specific enough with the thoughts behind the language.
Facing Page & Luke Forbes  Richard 3, Act 1, Scene 2  For your students who are familiar with Spark Notes No Fear Shakespeare series – here is a unique way of using it.   We discuss the differences in the language.  We discuss speaking the verse and how to handle the challenge of acting Shakespeare.  Finally, there is discussion on the Wooing Scene (Act 1, Scene 2) and how it presents a challenge both for Richard III and Lady Anne.
Grant Goodman  Twelfth Night Act 1, Scene 1  A rousing interview about Orsno’s famous speech from Twelfth Night.  Grant discusses the trickiness of the metaphors, the misunderstanding about the opening line, how to get clarity in speaking Shakespeare and what to do with an Alexandrine.  In addition, students get a window into the life of a working Actor.
Blake Hackler & Ken Schatz  The Merchant of Venice Act 2, Scene 2.  King Lear Act 3, Scene 2  Students interested in comic types must listen to this.  Both talk about the challenges involved in playing the comic roles and how they came to accept that these were the roles they were going to make a career out of.
Katie Hartke  Cymbeline Act 3, Scene 2  Katie explores how to stay in the moment while dealing with complicated repetition and interruption.  She also describes what to do with high emotions.  Finally, she gives a cogent breakd0wn of Cymbeline’s plot.
***Jeffrey C. Hawkins  The Two Gentlemen of Verona Act 2, Scene 4  Proteus monologue.  Some topics covered are: learning from watching older actors, we get really specific with scansion and it’s usefulness and using continuants vocally.  We deconstruct a two line piece of the monologue and discuss three different interpretations.  We also talk antithesis, monosyllables, punctuation and the dreaded O!  This is one of our best interviews and a keeper for a student of Acting Shakespeare.
Ty Jones  Macbeth Act 1, Scene 7  Mr. Jones discusses the future of American Theater, what makes a classic, and how Macbeth is a cautionary tale.  His performance of the speech takes on new meaning as he breaks some tricky metaphors down and tackles the big picture by focusing on the small details.
Scott Kaiser  Love’s Labor’s Won  Prologue  Scott talks in depth about the Oregon Shakespeare Festival, his three books on Shakespeare – one dealing entirely in rhetoric – and his play Love’s Labor’s Won and the trickiness of creating a completely new play in rhymed, rhetoric laden verse.
**David McCann  Richard 2 Act 4 Scene 1  A must listen for students.  David is very clear in discussing working with the verse, breath, scansion and meter.  We also cover alliteration, short lines, extra feet, making choices and rhetoric.  A good primer for the beginning student from a master of Shakespeare performance.
Tyler Moss  Hamlet Act 2, Scene 2  Including a discussion of the Bad Quarto and a general history of the various publications, Tyler does a great job at fusing the various versions into one script.  We also cover the idea of paraphrasing as a tool for an actor and the differences in approach when it comes to acting Shakespearean prose versus his verse.

Nick Newlin As You Like It Act 2, Scene 1  Nick is a teaching artist who has created a thirty minute Shakespeare series – he talks about creating it, using it in the DC school system.  He also spends time talking very eloquently about how he goes about making personal choices with the speech in As You Like It.  Talks about using the dictionary in approaching the speech.  Great fun, following his thought process.

Jason O’Connell All’s Well That Ends Well Act 4, Scene 3  Jason shares his experience playing Shakespeare in Bejing.  He discusses his initial disdain for Shakespeare’s plays, and his hilarious mistreatment of a library book.  He reads Parolles speech, and explains how he builds a connection with the audience.  He also talks about how as a young actor, he found a way to connect to Shakespeare’s language.

Xavier Pacheco Hamlet, Act 1, Scene 2 Xavier holds forth about approaching Shakespeare’s text.  Great insight from a high school student who won the English Speaking Union Competition.  He talks transposing text, scansion, understanding the world of the play, short lines and much more.  A great listen from a current student of Shakespeare.

Erin Partin The Tempest, Act 3, Scene 3 & Various Speeches.  Erin reveals her process of working on otherworldly or inhuman characters.  We discuss shared lines and Alexandrines.  Erin displays and talks about how she uses her voice to help get meaning and character across.  We also discuss the relationship between Ariel and Prospero.

Markus Potter  Hamlet Act 2,  Scene 2  A rousing discussion of how to use your breath when acting.   We also cover paraphrasing and scanning the verse, with particular attention to Short Lines.
Valerie Clayman Pye  Learn a little about her approach to acting Shakespeare as detailed in her book: Unearthing Shakespeare.
Colin David Reese Hamlet Act 2,  Scene 2;  Very in depth discussion about using Cue Scripts in production.  Historical precedent, Patrick Tucker and Stephen Flatter are all talked about.  Other topics covered are:  Scansion, Meter, Breathing and how Shakespeare manipulates the actors using the text.  Good information on the Bodleian Library, Dulwich College archives and the historical context of Shakespeare the Playwright.
Margaret Loesser Robinson  Henry 8 Act 2, Scene 3  A rebel when it comes to traditional approaches, Margaret discusses:  Alexandrines, alliteration, freedom in the text, making choices, playable moments, Punctuation, scansion,  speaking the thought, textual clues and vocal technique.
Tom Rooney Measure for Measure Act 2, Scene 2; Great discussion of the psychology of Angelo -what causes his actions?  Talks how he gets to work on Shakespeare so much as a company member of the Stratford Festival.  Topics we cover include: speaking the verse, long lines and extra beats, Original Practice, Short Lines, Mid-line stops, Tom’s fascinating process in approaching text – including vowels and consonants and their meaning, and the repetition of one word in a line.
Ron Russell and James Wallert  Richard III Act 1, Scene 1 (Interview Part 2)  Featuring the opening speech of Richard III.  We delve into the rhetorical devices in the speech, including the use of the “ow” sound.  We discuss how Shakespeare devised the idea of tragedy.  We look at why Richard switches from the third person to the first in the middle of the speech and what happens.  Other topics discussed:  the use of humor, short lines, mid stops and the nature of Richard’s ambition.
Gareth Saxe  Hamlet Act 3, Scene 1  One of the more interesting subjects we cover is that Gareth performed Hamlet and never used a hard copy of a script.  He created his performance with a shared version of the script on line.  We talk a lot about overcoming your fears through your preparation – trying different things, scanning the verse, resourcing on line and looking at metrical variation.
Gareth Saxe: Lion King and Hamlet, Oh My!  Not only do we talk about the connection between the two plays, Gareth talks about how his experience with The Lion King informed him about acting in less commercial theater.  He talks about the how theater has primal roots and speaks a language all humans can understand.
Sonnet 128 Breakdown    A must listen for those interested in how to dissect the imagery in Shakespeare.  Charles masterfully takes you through the images and language and what they might connote in this short bit from the State of Shakespeare.
**Ben Steinfeld  Cymbeline Act 2, Scene 2  A must for any serious student from an educator, actor and producer.  Ben talks about using the verse, examining the text, choosing to speak in iambic, line endings and following the thought of the verse.  Oh, and he also talks about how to warm up!  If you have to choose one podcast to listen to, this one is it.
John Douglas Thompson  Much Ado About Nothing  Act 3, Scene 2   Hamlet Act 2, Scene 3 John makes it clear that his process includes following the thought of the verse and getting the text into his physicality in performance.  In addition we talk about, memorizing, mid stops, antithesis and metric variation.
JDT: Origin Story  If your student is wondering about a career and how to start, here is a great example.  It’s never too late when it comes to following your passion.
Curt L. Tofteland.  Richard II  Act 5, Scene 5  The founder of Shakespeare Behind Bars talks about his experiences with teaching inmates Shakespeare and compares it to teaching middle schoolers the Bard.  Full of insights into how he approaches the text and why it matters.
Eric Tucker Hamlet Act 4, Scene 4 For those looking to forge a new theater company, Eric talks about his early ventures, his aesthetic and what he aims for with his theater company, Bedlam.  Moving on to the speech, Eric talks about what is important for young actors, knowing lines, end stopping, making sense of the words and when to pause.  He also has a nice little piece of advice on dogmatic ways of approaching the text.

**Charles Tuthill  Sonnet 128  Charles is both insightful and crystal clear when it comes to working with Shakespeare.  He specifically chooses Sonnet 128 to open a discussion on acting Shakespeare in general.  Here are some of the topics covered in this wide ranging interview:

Alexandrine, alliteration, antithesis, Breath, breathing, extra feet, First Folio, iambic pentameter, making choices, Playing the thought, poetry, prose, Punctuation, pyrrhic, repetition, rhetoric, scansion, short line, speaking verse, subtext, textual clues, verse vs punctuation, vocal technique.

Brian Vaughn   The Artistic Director of the Utah Shakespeare Festival has some great advice for actors who are auditioning, both for him and other theaters.
Lisa Wolpe   Hamlet Act 1,  Scene 2;  Wide ranging discussion from the Artistic Director of the Los Angeles Women’s Shakespeare Company.  Topics include gender bending and the historical precedent of women performing Shakespeare. Discoveries made while doing an all-female Shakespeare production.  Acting topics are thick:  staying in the moment vs. playing the emotion, Line Endings, Breath, Rhythm, Using Vowels and Consonants, Scansion and Iambic Pentameter, Working thoughts and Being Specific.  A great interview from a very learned guest.
Gabra Zackman The Taming of the Shrew Act 5, Scene 2  Start with performing outdoors.  We talk about the idea of physicalizing, nuance and metaphor, subtext and how Kate’s language changes.  Gabra spends time talking about her beginnings, good Petruchios and how we are all storytellers.

Scansion

 

TEXTS

Louis Colaianni: Romeo and Juliet; Prologue
Scanned Version
 
Jolly Abraham:  The Winter’s Tale; Act 3, Scene 2
Scanned Version
 
Eric Tucker:  Hamlet; Act 4, Scene 4
Scanned Version
 
Drew Cortese:  Richard III; Act 4, Scene 4
Scanned Version
 
Grant Goodman:  Twelfth Night; Act 1, Scene 1
Scanned Version
 
Jason O’Connell: All’s Well That Ends Well; Act 4, Scene 3
Scanned Version

Erin Partin: The Tempest, Act 3, Scene 3
Scanned Version

Kelley Curran:  Henry IV, Parts 1 & 2
Part 1, Act 2 Scene 3: Scanned Version
Part 2, Act 2, Scene 3: Scanned Version

Richard Sheridan Willis and Robert Richmond: The Tempest 
Act 2, Scene 2: Scanned Version
Act 4, Scene 1: Scanned Version

Katie Hartke: Cymbeline  Act 3, Scene 2
Scanned Version

Chris Clavelli: The Winter’s Tale Act 1, Scene 2
Scanned Version

Gabra Zackman: The Taming of the Shrew Act 5, Scene 2
Scanned Version

Lisa Wolpe: Hamlet   Act 1, Scene 2
Scanned Version

Tom Rooney: Measure for Measure Act 2, Scene 2
Scanned Version

Nicholas Martin-Smith:  As You Like It  Act 2, Scene 7
Scanned Version

Ellen Geer, Willow Geer, Melora Marshall:  A Midsummer Night’s Dream  Act 1, Scene 1
Scanned Version

Colin David Reese:  Hamlet  Act 2, Scene 2
Scanned Version
 
Jim Devita:  Henry VI, part iii; Act 3, Scene 2
Scanned Version
 
Ron Russell and James Wallert:  Richard III  Act 1, Scene 1
Scanned Version
 
Jeffrey C. Hawkins: The Two Gentlemen of Verona  Act 2, Scene 4
Scanned Version
 
Winnie Lok & Luke Forbes:  Richard III Act 1, Scene 2
Scanned Version
 
Tyler Moss:  Hamlet  Act 2, Scene 2
The Shakespeare Forum
 
Markus Potter:  Hamlet  Act 2, Scene 2
Scanned Version
 
Gareth Saxe:  Hamlet  Act 3, Scene 1
Scanned Version
 
Celeste Ciulla:  Julius Caesar Act 1, Scene 2
Scanned Version
 
David McCann:  Richard II  Act 4, Scene 1
Scanned Version
 
John Douglas Thompson:  Hamlet Act 3, Scene 2
Scanned Version
 
Ben Steinfeld:  Cymbeline Act 2, Scene 2
Scanned Version
 
Charles Tuthill:  Sonnet 128
Scanned Version
 
Margaret Loesser Robinson:  Henry VIII  Act 2, Scene 3
Scanned Version
 
Ellen Adair:  All’s Well That Ends Well  Act 1, Scene 3
Scanned Version
 
 
 Comments Off on Scansion