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Heather Parish
Southern born- California bred- Northwest educated- Anglophile- Duchess of Dorkiness.
Interests: theatre, history, friends, cooking, reading, sewing, lively arts, good stories.
Recent Activity
These are obviously late in the year, but for those of us who live in the land of eternal summer, where BBQ's stay out until November, these may be useful. My Grandmother LaVerne made a mustard-based potato salad that was... Continue reading
Posted Sep 12, 2009 at Madwoman's Attic: In The Attic
Oh, and I was going to say that a conscientiously studied, well staged and well spoken production IS meeting the audience half-way.
1 reply
For those who would like a more direct link to Mr McWhorter's blog post: http://www.tnr.com/blog/john-mcwhorter/will-shakespeares-come-and-gone-does-the-bards-poetry-reach-us-august-wilsons-co There is an interesting discussion following the post, as well. What I find significant about both the blog and the discussion is that the work of the actors and directors is largely ignored. Shakespeare wrote for actors. The word order, word choices, line endings and breaks are all there to help the actor breathe life into the work. The vowels used are an open door to the emotion that Shakespeare evokes in the passage. The consonants of those specific words help shape the meaning and give context to the emotion. The line breaks after specific words set up a natural breathing in the actor that helps pace the speech. The specific words chosen for the ends of lines are springboards into the next line or thought. That was his genius. Shakespeare didn't just write. He wrote with great specificity toward heightened emotion and a musical sound for the spoken word. And he wrote specifically for an actor's delivery because he knew and loved actors and how they worked. It is the same today. The REAL and PRIMARY translators of Shakespeare's words are the ACTORS. With the guidance of a director, they pour over their words, use lexicons to discover the multiple meanings of the words Shakespeare chose, they make decisions on what meaning to imbue the words, what sounds, pace, pitch and volume to give them, and work for weeks in delivering them with specificity. When this act of translation happens conscientiously and with some skill and understanding, things become very clear to audiences and open the door for their engagement. When the *translation to action* by actors and directors happens lazily, ignorantly, or haphazardly the result is exactly what Jay (above) indicates. But when it doesn't and the actors have the opportunity to do their singular work (work no academic can truly understand until he's experienced it) with the genius of the Bard's words. . .. oh, it is sublime, for both audiences and performer. A bond is created and it leaves them all wanting more.
1 reply
Over here in Shakespeare-land, we have to do a lot of side-step-two-stepping to entice people to see the shows. The #1 issue for the vast majority of people that keeps them from attending a Shakespeare play: “I don’t understand it.”... Continue reading
Posted Sep 10, 2009 at Madwoman's Attic: In The Attic
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On blackstone at spruce (north of herndon). It explains the surge of calls general manager laura got today from folks who have never been to the festival. Continue reading
Posted Aug 20, 2009 at Madwoman's Attic: In The Attic
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Some mobile uploads from last nights fight drill. Actors in action! Broads with broads! (a phrase our fight choreographer, James Sherrill coined once). *** sent via t mobile dash email Continue reading
Posted Jul 23, 2009 at Madwoman's Attic: In The Attic
Anne Bogart says that the "constant state of any company of actors is one of continual crisis". Just the act of performing an objective upon another being is an act of crisis. A third party "judging" the action, is a... Continue reading
Posted Jul 16, 2009 at Madwoman's Attic: In The Attic
Heather Parish has shared their blog Madwoman's Attic: In The Attic
Jun 30, 2009