Richard does Richard
Rehearsal for Richard II has been amazing, and has been a hugemongous period of growth for me as an actor and as a Shakespeare enthusiast. I am somewhat new in performing Shakespeare’s plays. I have read several of them, and have acted in a few of them, but until this incredible opportunity, I have not had the chance to truly dive into the world of Shakespeare’s language, characters, and plot. Through such tangible rehearsal methods, as succinctly explained in Shu-nan’s blog below, and which I will summarize as being practical, exercise-based and actor-driven/ director-“sifted,” I have been faced with challenging myself in approaching acting intellectually to an extent I have never done before. I was immersed in a troupe of actors who relished Shakespeare more than I have ever witnessed any group of people doing, and who seemed to with one mind lead his words towards a brilliant vision. I would not be in the midst of such a unique chance to further grow and appreciate theatre if it had been a more contemporary play, and if it had not been one of Shakespeare’s histories. I actually have never successfully read one his history plays until now, but now know that they are an amazing blend of his mastery of genres, plots, characters, and allusions to everything ever. I vow to remember what I have learned, been reminded of, and had reinforced here and to never second-guess the playwright’s brilliant intentions or my own instinctual choices, opinions, and feelings. From hence forth, my acting shall be helmed by ceaselessly striving to understand and appreciate the tools I am given, namely the text and the people. I am ecstatic to have been given the nourishment and encouragement of Empty Chair, and will know now that no matter how daunting words can be or how mysterious cohorts may appear, they are the essential tools to create truly super theatre!
Very psyched,
George
