Guest blogger, Jakub Boguszak, writes…
What surprises me again and again each time I get to perform in a Shakespeare play is how malleable one’s own reading of a play can become once the rehearsal process begins.
There are so many inflections the text acquires only when a situation is physically enacted, when one is forced to respond to other people’s ideas of what their characters and scenes are about; one can look forward to playing the solemn, magisterial and cool Prospero only to discover that he can be actually quite funny in front of an audience (The Tempest); apparently routine lines can gain profound significance when spoken out loud to somebody else (as in Antony and Cleopatra, when Charmian responds with her dying breath: “Ah, soldier!”); the presence of silent characters on stage can turn out to be essential for the architecture of a scene.
I was fortunate to perform in 4 Shakespeare plays produced by an experienced director who gave us the freedom to explore the text ourselves and find its meaning through dialogue – on stage and off. In this sense, the plays became ours as we had to negotiate the meaning of the scenes and the overall progress of the story, while at the beginning only some of us were acquainted with more than our own parts and the basic premise of the play (as indeed was the case with Shakespeare’s company, the King’s Men).
A director can always explain what he or she thinks a particular situation is about and make the actors channel the idea, but I believe that Shakespeare in performance tends to be more rewarding when the actors themselves surprise and challenge one another: whenever the manner of an actor’s response prevents me from acting in the way I imagined my character to act when I was reading the play, I learn something new.
This process can be confusing and frustrating, as all sacrifices and compromises tend to be, but when a director can serve as a moderator of these exchanges, the chance that something both original and true emerges in the performance increases dramatically. If, in the end, the collective effort does not bring about a spectacular production rich with fresh insights, we can always return to the texts themselves and stage the plays in our minds the way we would like them to be staged. Pity we can then only bow to ourselves.