Nothing Comes of Nothing
I am currently working on a play at the University of Miami. That’s not unusual. I am often involved in a production at this time of year. But the play is King Lear, and I’ve only done one other production of Shakespeare since I began teaching some twenty-six years ago.
In my last year as a secondary school drama teacher, I directed a production of the Scottish play. It was to be the first production in a new state of the art theatre, but the construction fell behind. Since the old theatre had already been demolished, we had to perform the play on a makeshift space that wasn’t quite ideal. I probably shouldn’t have mentioned the title of the play so fearlessly and so often. It was pretty stressful, but in the end the production turned out nicely.
Now, some eighteen years later, I’m doing Shakespeare again. But this time is very different. I’m not directing, you see. I’m acting. I have the role of Gloucester, the parallel plot role to Lear. I get to have my eyes poked out and be led around the stage in a bloody blindfold by my students. I have not acted in eight years, and I have no desire to do so. I was drafted, plain and simple. A professional actor was jobbed in to play Lear and he wanted a professional actor to do this parallel role, so the age differential between the patriarchs and college aged students would be consistent. When my chair asked me to step up, I felt I had to say yes because I had already turned down his offer to direct. I have never before acted with students, particularly my own.
Keep reading this article on Bruce’s blog on EdTA’s website!
The Actor as Storyteller is intended for serious beginning actors. It opens with an overview, explaining the differences between theater and its hybrid mediums, the part an actor plays in each of those mediums. It moves on to the acting craft itself, with a special emphasis on analysis and choice-making, introducing the concept of the actor as storyteller, then presents the specific tools an actor works with. Next, it details the process an actor can use to prepare for scene work and rehearsals, complete with a working plan for using the tools discussed. The book concludes with a discussion of mental preparation, suggestions for auditioning, a process for rehearsing a play, and an overview of the realities of show business.