Lehrende/r: Michael A.C. Claridge
Veranstaltungsart: Übung
Anzeige im Stundenplan: 05.874.211
Semesterwochenstunden: 2
Unterrichtssprache: Englisch
Min. | Max. Teilnehmerzahl: - | 45
Anmeldegruppe: ELC 211
Prioritätsschema: Senatsrichtlinie Zulassung gemäß Richtlinie über den Zugang zu teilnahmebeschränkten Lehrveranstaltungen vom 07. März 2007. Nähere Informationen hierzu entnehmen Sie bitte www.info.jogustine.uni-mainz.de/senatsrichtlinie
Voraussetzungen / Organisatorisches: NOTE: 1. You do NOT need any previous acting experience to participate in this class! 2. As well as our weekly sessions, we will be using some of the hours formally set aside for Self-Study in the module description as one full-day Saturday workshop, on 16th November, 2019, from 10 a.m. to 5 p.m. Elizabethan actors had no director to tell them what to do, and stage sets were almost non-existent. Shakespeare filled his playscripts with hints how to perform them, and clues for his audience about when, where and why the action is taking place. He also gave his actors a range of possibilities from which to select in developing their characters, encouraging them to investigate different options and potential interpretations. Thus, the Shakespearean actor was a ‘detective’, sifting the script for clues, reaching the most plausible solution via trial and error in rehearsal work. What strategies could he employ in this search? What further considerations did the physical context of Elizabethan theatres demand of or offer the actor – especially given the need to work together with the audience as a fellow-player and active member of the production? How can a present-day actor – or someone interested in exploring how an actor approaches a Shakespeare play – acquire and utilise these strategies (especially given the general absence of stage directions)? How can we exploit the very physical nature of Shakespeare’s language? How can we search the evidence to reveal the wealth of possibilities, and then zoom in on the most convincing solutions for our audience? In short, how does a Shakespeare play shift from being ‘words on a page’ to a live event on stage? What makes every performance a unique event; how can we involve and work with our audience as an active participant in that performance? This series of connected workshops will explore Shakespeare scripts as an ‘enabling’ medium, opening up multiple options, rather than a ‘restricting’ one pointing to only one possible interpretation. It will also demonstrate that Shakespeare’s language – when explored in practice, when spoken and given physical life – is nowhere as difficult as it seems when simply read on the page…! Each session will use very active, hands-on experiment and experience, taking extracts from Shakespeare’s plays as our basis, assisted by a variety of ‘tools’ developed by Michael over 40 years of drama direction as well as from workshops at Shakespeare’s Globe, London. Be prepared to go where you have never gone before with Shakespeare, especially if your contact with his plays so far has been solely through the (admittedly fascinating) academic study of a literary text and/or watching Shakespeare on film – as Chorus expresses it in Henry V: “Let us … on your imaginary forces work…” Questions? Drop Michael an email at mclaridg@uni-mainz.de
