{"id":1829,"date":"2013-02-06T17:45:42","date_gmt":"2013-02-06T22:45:42","guid":{"rendered":"http:\/\/stateofshakespeare.com\/?page_id=1829"},"modified":"2018-12-22T15:48:49","modified_gmt":"2018-12-22T20:48:49","slug":"interview-breakdown","status":"publish","type":"page","link":"https:\/\/stateofshakespeare.com\/?page_id=1829","title":{"rendered":"Teach"},"content":{"rendered":"\n

Below is an alphabetical (last name) list of the interviews, with the lessons\u00a0covered. \u00a0Read the topics for your curricular needs and listen to the interviews.\u00a0 **We recommend the starred interviews as most valuable for actors just starting out.\u00a0 For a list of topics and the interviews that cover them click here.<\/p>\n

In addition to the interview, every interview\u00a0has a link to a\u00a0scansion page<\/strong> with footnotes and rhetorical analysis<\/strong>.\u00a0 You can listen to the monologue and follow along on the page. \u00a0Or just click on the\u00a0Speeches and Scansion<\/a>\u00a0under the learn & teach<\/a> section at the top of any page.\u00a0 Most interviews refer to line numbers for your benefit.

Jolly Abraham<\/strong><\/a>\u00a0The Winters Tale\u00a0Act 3, Scene 2<\/strong>\u00a0 Tackling the courtroom scene Jolly discusses the ins and outs of Hermione’s plight. \u00a0In the beginning stages of rehearsals, Jolly talks about line endings and how they have changed her view of speaking Shakespeare. \u00a0She is frank in her discussion of monosyllables and talks Hermione’s stakes and pursuit of honor.<\/div>\n
Ellen Adair<\/a><\/strong>\u00a0 All’s Well that Ends Well\u00a0 Act 2, Scene 2<\/strong>\u00a0 Our first interview and perhaps our most analytically oriented.\u00a0 We talk about Short Lines, Shared Lines, Speaking the thought, extra feet, alliteration, metaphor, repetition and end stops.\u00a0 We also spend some time talking about Linklater and using the voice.\u00a0 Finally we talk about end lines and whether she is a versist or a punctuationalist.<\/div>\n
Marion Adler<\/a><\/strong> \u00a0Much Ado About Nothing \u00a0Act 1, Scene 1 \u00a0<\/strong>A delightful Marion Adler describes, in detail, her process in attacking the convoluted prose spoken by Beatrice. \u00a0Equating her process to dancing, math and singing, Marion displays her abilities in a few sections from the text. \u00a0Asked about whether Shakespeare prizes Love or Honor more highly, Ms. Adler comes squarely down on the side of Love. \u00a0She also equates acting Shakespeare with musical theater and dance.<\/div>\n
Celeste Ciulla<\/a><\/strong>\u00a0 Julius Caesar Act 1, Scene 2\u00a0\u00a0<\/strong>Celeste tackles such subjects as finding the\u00a0 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.\u00a0 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.\u00a0 We talk how she uses scansion and takes clues from the meter.\u00a0 Finally we talk about how to make the language clear and you why you don’t have to do much more.<\/strong><\/div>\n
Ray Chambers<\/a>\u00a0Pericles \u00a0<\/strong>Ray talks about what makes a good student of acting, what challenges they have to overcome in making ideas clear. \u00a0Ray is\/was also dyslexic and he spends time talking about overcoming his dylselxia. \u00a0We also spend some time talking Pericles and it’s particular brand of magic.<\/div>\n
Celeste Ciulla: The Power of Theater<\/a><\/strong>\u00a0 For those interested in what makes theater so magical and enduring.\u00a0 A touching anecdote.<\/div>\n
Chris Clavelli<\/a>\u00a0The Winter’s Tale Act 1, Scene 2<\/strong> Chris dives into how his life experiences inform his choices and understanding of the roles he plays. \u00a0He also talks about dealing with long lines, the sounds of the words and not letting his emotions override the words. \u00a0He also spends time on how he learned by watching other actors.<\/div>\n
**Louis Colaianni<\/a><\/strong>\u00a0Romeo and Juliet Prologue\u00a0<\/strong>Louis gives us nothing short of a master class in speaking Shakespeare. \u00a0He 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. \u00a0A must listen for any student.<\/div>\n
Comedy v. Tragedy<\/strong>\u00a0<\/a> Here is a semi-serious discussion of what the difference is between the two genres.\u00a0 Do we get to the heart of it?\u00a0 Maybe.\u00a0 But we do offer up some food for thought!<\/div>\n
Drew Cortese<\/a>\u00a0<\/strong>\u00a0Richard III\u00a0Act 4, Scene 4 \u00a0<\/strong>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. \u00a0We 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. \u00a0An all around great teaching interview.<\/div>\n
Kelley Curran<\/a> Henry IV, Parts 1 & 2; Act 2, Scene 3 \u00a0<\/strong>Kelley explores the relationship between Hotspur and Lady Percy. \u00a0She talks the start of the rehearsal process, including table work. \u00a0Text 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. \u00a0Finally, Kelley talks pursuing an objective and changing the pitch of her voice for greatest effect.<\/div>\n
Dan Daily<\/a><\/strong>\u00a0 Henry IV, Part I<\/strong>\u00a0 Act 5, Scene 1\u00a0 <\/strong>Falstaff uncovered.\u00a0 A fascinating exploration about how an actor keeps from judging his character negatively.\u00a0 A lot of conversation about being in a company, researching a role and rhetorical questions.\u00a0\u00a0 Worth a listen if you are covering this play.<\/div>\n
Jim Devita<\/a>\u00a0<\/strong> Henry VI, Part 3;\u00a0 Act 3, Scene 2<\/strong>:\u00a0 Lots of good information from a relentless performer.\u00a0 Jim spends time talking about the longest speech in Shakespeare’s canon.\u00a0 We cover the idea of playing metaphors, being authentic, not generalizing when acting.\u00a0 We spend time talking about training and how acting relates to sports.\u00a0 With the speech, we talk about staying improvisational, playing the villain, playing emotions\u00a0and how knowing the history is important.\u00a0 Jim is a big advocate of how you cannot get specific enough with the thoughts behind the language.<\/div>\n
Ray Dooley<\/a>\u00a0 The Tempest; Act 1, Scene 2:<\/strong>\u00a0 Using Prospero’s long scene with Miranda, Ray gives a master class on how to approach a role.\u00a0 He talks what to do with so many words, how to dive into the “fairy tale” of Shakespeare and what aspiring actors should work on.\u00a0 A great listen for any up and coming actor.<\/div>\n
Facing Page & Luke Forbes<\/a><\/strong>\u00a0 Richard 3, Act 1, Scene 2<\/strong>\u00a0 For your students who are familiar with Spark Notes No Fear Shakespeare series – here is a unique way of using it.\u00a0\u00a0 We discuss the differences in the language.\u00a0 We discuss speaking the verse and how to handle the challenge of acting Shakespeare.\u00a0 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.<\/div>\n
Grant Goodman<\/a>\u00a0 Twelfth Night Act 1, Scene 1 \u00a0<\/strong>A rousing interview about Orsno’s famous speech from Twelfth Night. \u00a0Grant 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. \u00a0In addition, students get a window into the life of a working Actor.<\/div>\n
Blake Hackler & Ken Schatz<\/a><\/strong>\u00a0 The Merchant of Venice Act 2, Scene 2.\u00a0 King Lear Act 3, Scene 2<\/strong>\u00a0 Students interested in comic types must listen to this.\u00a0 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.<\/div>\n
David Hammond<\/a> Henry V, Prologue\u00a0\u00a0<\/strong>Master teacher David Hammond explores the relationship between scansion and rhetoric.\u00a0 He talks about elevating words, finding the root of the thought.\u00a0 A very helpful way of looking at scansion.\u00a0 He gets to the root of how to speak Shakespeare.\u00a0 A very instructive interview.<\/div>\n
Katie Hartke<\/a><\/strong>\u00a0\u00a0Cymbeline Act 3, Scene 2<\/strong> \u00a0Katie explores how to stay in the moment while dealing with complicated repetition and interruption. \u00a0She also describes what to do with high emotions. \u00a0Finally, she gives a cogent breakd0wn of Cymbeline’s plot.<\/div>\n
***Jeffrey C. Hawkins<\/a><\/strong>\u00a0 The Two Gentlemen of Verona Act 2, Scene 4\u00a0 <\/strong>Proteus monologue.\u00a0 Some topics covered are: learning from watching older actors, we get really specific with scansion and it’s usefulness and using continuants vocally.\u00a0 We deconstruct a two line piece of the monologue and discuss three different interpretations.\u00a0 We also talk antithesis, monosyllables, punctuation and the dreaded O!\u00a0 This is one of our best interviews and a keeper for a student of Acting Shakespeare.<\/div>\n
Ty Jones<\/strong><\/span><\/a>\u00a0\u00a0Macbeth Act 1, Scene 7<\/strong>\u00a0\u00a0Mr. Jones discusses the future of American Theater, what makes a classic, and how Macbeth is a cautionary tale. \u00a0His 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.<\/div>\n
Scott Kaiser<\/strong><\/span><\/a> \u00a0Love’s Labor’s Won \u00a0Prologue<\/strong> \u00a0Scott 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.<\/div>\n
**David McCann<\/strong><\/a>\u00a0 Richard 2 Act 4 Scene 1<\/strong>\u00a0 A must listen for students.\u00a0 David is very clear in discussing working with the verse, breath, scansion and meter.\u00a0 We also cover alliteration, short lines, extra feet, making choices and rhetoric.\u00a0 A good primer for the beginning student from a master of Shakespeare performance.<\/div>\n
Tyler Moss<\/a><\/strong>\u00a0 Hamlet Act 2, Scene 2\u00a0<\/strong> 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.\u00a0 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.<\/div><\/div><\/p>\n

Nick Newlin<\/strong><\/a>\u00a0As You Like It\u00a0Act\u00a02, Scene 1 \u00a0<\/strong>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. \u00a0He also spends time talking very eloquently about how he goes about making personal choices with the speech in As You Like It<\/span>. \u00a0Talks about using the dictionary in approaching the speech.Great fun, following his thought process.<\/p>\n

Lee Nishri-Howitt<\/a>\u00a0Othello Act 2, Scene 3\u00a0<\/strong>Lee discusses what it was like to approach Shakespeare as a foreign language speaker.\u00a0 He talks the structure of the text, what to look for in the structural changes.\u00a0 Lee also looks at Iago and playing a villain, what happens during the “How am I then a villain” speech.\u00a0 He coins a new term for Feminine Ending and discusses how musical theater people have a leg up on Shakespeare.<\/p>\n

Jason O’Connell<\/a><\/strong>\u00a0All’s Well That Ends Well Act 4, Scene 3 \u00a0<\/strong>Jason shares his experience playing Shakespeare in Bejing. \u00a0He discusses his initial disdain for Shakespeare’s plays, and his\u00a0hilarious mistreatment of a library book. \u00a0He reads Parolles speech, and explains how he builds a connection with the audience. \u00a0He also talks about how as a young actor, he found a way to connect to Shakespeare’s language.<\/p>\n

Xavier Pacheco<\/a><\/strong>\u00a0Hamlet<\/strong>, Act 1, Scene 2\u00a0<\/strong>Xavier holds forth about approaching Shakespeare’s text. \u00a0Great insight from a high school student who won the English Speaking Union Competition. \u00a0He talks transposing text, scansion, understanding the world of the play, short lines and much more. \u00a0A great listen from a current student of Shakespeare.<\/p>\n

Erin Partin<\/a><\/strong>\u00a0The Tempest, Act 3, Scene 3 & Various Speeches. \u00a0<\/strong>Erin reveals her\u00a0process of working on otherworldly or inhuman characters. \u00a0We discuss shared lines and Alexandrines. \u00a0Erin displays and talks about how she uses her voice to help get meaning and character across. \u00a0We also discuss the relationship between Ariel and Prospero.<\/p>\n

Markus Potter<\/a><\/strong>\u00a0 Hamlet Act 2,\u00a0 Scene 2<\/strong>\u00a0 A rousing discussion of how to use your breath when acting.\u00a0\u00a0 We also cover paraphrasing and scanning the verse, with particular attention to Short Lines.<\/div>\n
Valerie Clayman Pye<\/strong><\/a>\u00a0\u00a0Learn a little about her approach to acting Shakespeare as detailed in her book: Unearthing Shakespeare<\/span>.<\/div>\n
Colin David Reese<\/a> Hamlet Act 2,\u00a0 Scene 2;\u00a0 <\/strong>Very in depth discussion about using Cue Scripts in production.\u00a0 Historical precedent, Patrick Tucker and Stephen Flatter are all talked about.\u00a0 Other topics covered are:\u00a0 Scansion, Meter, Breathing and how Shakespeare manipulates the actors using the text.\u00a0 Good information on the Bodleian Library, Dulwich College archives and the historical context of Shakespeare the Playwright.<\/div>\n
Margaret Loesser Robinson<\/a><\/strong>\u00a0 Henry 8 Act 2, Scene 3<\/strong>\u00a0 A rebel when it comes to traditional approaches, Margaret discusses:\u00a0 Alexandrines, alliteration, freedom in the text, making choices, playable moments, Punctuation, scansion,\u00a0 speaking the thought, textual clues and vocal technique.<\/div>\n
Tom Rooney<\/a> Measure for Measure Act 2, Scene 2;<\/strong>\u00a0Great discussion of the psychology of Angelo -what causes his actions? \u00a0Talks how he gets to work on Shakespeare so much as a company member of the Stratford Festival. \u00a0Topics 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.<\/div>\n
Ron Russell and James Wallert<\/strong><\/a>\u00a0 Richard III Act 1, Scene 1 (Interview Part 2)\u00a0 <\/strong>Featuring the opening speech of Richard III.\u00a0 We delve into the rhetorical devices in the speech, including the use of the “ow” sound.\u00a0 We discuss how Shakespeare devised the idea of tragedy.\u00a0 We look at why Richard switches from the third person to the first in the middle of the speech and what happens.\u00a0 Other topics discussed:\u00a0 the use of humor, short lines, mid stops and the nature of Richard’s ambition.<\/div>\n
Gareth Saxe<\/a><\/strong>\u00a0 Hamlet Act 3, Scene 1<\/strong>\u00a0 One of the more interesting subjects we cover is that Gareth performed Hamlet and never used a hard copy of a script.\u00a0 He created his performance with a shared version of the script on line.\u00a0 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.<\/div>\n
Gareth Saxe: Lion King and Hamlet, Oh My!<\/a><\/strong>\u00a0 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.\u00a0 He talks about the how theater has primal roots and speaks a language all humans can understand.<\/div>\n
Sonnet 128 Breakdown<\/a><\/strong> \u00a0\u00a0 A must listen for those interested in how to dissect the imagery in Shakespeare.\u00a0 Charles masterfully takes you through the images and language and what they might connote in this short bit from the State of Shakespeare.<\/div>\n
**Ben Steinfeld<\/a><\/strong>\u00a0 Cymbeline Act 2, Scene 2<\/strong>\u00a0 A must for any serious student from an educator, actor and producer.\u00a0 Ben talks about using the verse, examining the text, choosing to speak in iambic, line endings and following the thought of the verse.\u00a0 Oh, and he also talks about how to warm up!\u00a0 If you have to choose one podcast to listen to, this one is it.<\/div>\n
John Douglas Thompson<\/a><\/strong>\u00a0 Much Ado About Nothing\u00a0 Act 3, Scene 2 \u00a0 Hamlet Act 2, Scene 3<\/strong> John makes it clear that his process includes following the thought of the verse and getting the text into his physicality in performance.\u00a0 In addition we talk about, memorizing, mid stops, antithesis and metric variation.<\/div>\n
JDT: Origin Story<\/a><\/strong>\u00a0 If your student is wondering about a career and how to start, here is a great example.\u00a0 It’s never too late when it comes to following your passion.<\/div>\n
Curt L. Tofteland.<\/a>\u00a0 Richard II \u00a0Act 5, Scene 5<\/strong>\u00a0 The founder of Shakespeare Behind Bars talks about his experiences with teaching inmates Shakespeare and compares it to teaching middle schoolers the Bard. \u00a0Full of insights into how he approaches the text and why it matters.<\/div>\n
Eric Tucker<\/a><\/strong>\u00a0Hamlet Act 4, Scene 4\u00a0<\/strong>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. \u00a0Moving 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. \u00a0He also has a nice little piece of advice on dogmatic ways of approaching the text.<\/div>\n
\n

**Charles Tuthill<\/a><\/strong>\u00a0 Sonnet 128<\/strong>\u00a0 Charles is both insightful and crystal clear when it comes to working with Shakespeare.\u00a0 He specifically chooses Sonnet 128 to open a discussion on acting Shakespeare in general.\u00a0 Here are some of the topics covered in this wide ranging interview:<\/p>\n

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.<\/p>\n<\/div>\n

Brian Vaughn<\/a><\/strong>\u00a0 \u00a0The Artistic Director of the Utah Shakespeare Festival has some great advice for actors who are auditioning, both for him and other theaters.<\/div>\n
Lisa Wolpe<\/a><\/strong>\u00a0 \u00a0Hamlet Act 1,\u00a0 Scene 2; \u00a0<\/strong>Wide ranging discussion from the Artistic Director of the Los Angeles Women’s Shakespeare Company. \u00a0Topics include gender bending and the historical precedent of women performing Shakespeare. Discoveries made while doing an all-female Shakespeare production. \u00a0Acting topics are thick: \u00a0staying in the moment vs. playing the emotion, Line Endings, Breath, Rhythm, Using Vowels and Consonants, Scansion and Iambic Pentameter, Working thoughts and Being Specific. \u00a0A great interview from a very learned guest.<\/div>\n
Gabra Zackman<\/a>\u00a0The Taming of the Shrew Act 5, Scene 2 \u00a0<\/strong>Start with performing outdoors. \u00a0We talk about the idea of physicalizing, nuance and metaphor, subtext and how Kate’s language changes. \u00a0Gabra spends time talking about her beginnings, good Petruchios and how we are all storytellers.<\/div><\/div>
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Below is an alphabetical (last name) list of the interviews, with the lessons\u00a0covered. \u00a0Read the topics for your curricular needs and listen to the interviews.\u00a0 **We recommend the starred interviews as most valuable for actors just starting out.\u00a0 For a list of topics and the interviews that cover them click here. In addition to the<\/p>\n [...]<\/a>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"open","template":"","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"jetpack_post_was_ever_published":false,"footnotes":""},"class_list":["post-1829","page","type-page","status-publish","hentry","post-seq-1","post-parity-odd","meta-position-line-bottom","fix"],"aioseo_notices":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P2Frfq-tv","jetpack-related-posts":[],"_links":{"self":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/1829","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1829"}],"version-history":[{"count":72,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/1829\/revisions"}],"predecessor-version":[{"id":6205,"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=\/wp\/v2\/pages\/1829\/revisions\/6205"}],"wp:attachment":[{"href":"https:\/\/stateofshakespeare.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1829"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}