Points of Good Speech for Contemporary and Modern Plays
Questions to Explore by Elisa Carlson
How does the playwright use punctuation? What does this tell us about the rhythm and musicality of the play?
Example: In a Shaw play, try lifting your pitch after a semi-colon. Then reverse. Or, in an Arthur Miller play, try diminishing energy at a dash, then try accelerating energy.
What are the dialects used? What does that say about placement, articulation and musicality of the characters?
Example: Frequently the character of Tom in Glass Menagerie is performed without a southern dialect. What is gained? What is lost?
How are alliteration and internal rhyming used?
Example: What feelings do the repeated vowel sounds of the nonsense words in Caryl Churchill’s play The Skriker evoke?
How is length of vowel and diphthong sounds used?
Example: In August Wilson’s plays, characters may speak for some time before a period is used. Notice how long sounds help the speeches to take shape.
Are all caps, or italics used? How do they work?
Example: In an Albee play, do all caps mean more volume or do they mean that the words go faster?
Is the play written completely in prose, or are there poetic sections? How does the verse work? Is there use of poetic metaphor? How does that work?
Example: What happens when you use the verse line endings in a Charless Mee play, vs. when you run the lines together to make them prose.
Are the sentences long, short – anything in particular? How do they work?
Example: In Naomi Wallace’s play The Trestle at Pope Lick Creek, the sentences are often very short. When the periods are used (rather than run through) see if you can hear the repressive rhythm of the small town the characters inhabit.
Are there pauses written into the script? How do they work?
Example: What is the difference between a Pinter “silence” and. a Pinter “pause?” Is a pause shorter or longer than a silence? Does a pause imply movement or stillness?
Does the playwright repeat words and phrases? What is the effect of the repetitions?
Example: When Mamet characters repeat phrases, what happens when the same inflection is used each time? What happens when you vary inflection?
Has the playwright written instructions on how speech/voice/text is to be used? Is it helpful? Is it complete?
What have other artists and reviewers written or said about the playwright’s writing style, or ‘voice’? Is it helpful, useful?
How does the writing style of this play compare to other of the playwright’s plays? Are there similarities, differences?
Monday, November 7, 2011
Tuesday, October 4, 2011
Trojan Women scene for Suzuki work
Menelaus
O, splendor of sunburst breaking forth this day
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest, proved treacherous,
Who, like a robber, carried the woman from my house.
Go to the house my followers and take her out,
No, drag her out,
Lay hands upon that hair so stained with men’s destruction.
When the winds blow fair astern, we will take ship again
And bring her back to Hellas.
Hecuba
O power who mount the world!
Wheel where the world rides!
O mystery of man’s knowledge, whosever you be:
Zeus named, nature’s necessity or mortal mind,
I call upon you!
For you walk the path that none hears,
Yet bring all human action back to right at last.
Menelaus
What can this mean?
How strange a way to call on gods!
Hecuba
Kill your wife, Menelaus! And I will bless your name.
But keep your eyes away from her. Desire will win.
She looks enchantment, and where she looks
Homes are set fire. She captures cities
As she captures the eyes of men.
We have had experience, you and I,
We know the truth!
Menelaus
O, splendor of sunburst breaking forth this day
Whereon I lay my hands once more on Helen, my wife.
And yet it is not so much as men think
For the woman’s sake I came to Troy,
But against that guest, proved treacherous,
Who, like a robber, carried the woman from my house.
Go to the house my followers and take her out,
No, drag her out,
Lay hands upon that hair so stained with men’s destruction.
When the winds blow fair astern, we will take ship again
And bring her back to Hellas.
Hecuba
O power who mount the world!
Wheel where the world rides!
O mystery of man’s knowledge, whosever you be:
Zeus named, nature’s necessity or mortal mind,
I call upon you!
For you walk the path that none hears,
Yet bring all human action back to right at last.
Menelaus
What can this mean?
How strange a way to call on gods!
Hecuba
Kill your wife, Menelaus! And I will bless your name.
But keep your eyes away from her. Desire will win.
She looks enchantment, and where she looks
Homes are set fire. She captures cities
As she captures the eyes of men.
We have had experience, you and I,
We know the truth!
Thursday, September 29, 2011
Suzuki Work
Check out these sites:
from Suzuki's recent production of the Greek tragic play Electra, which looks to be set in an insane asylum. Prepare yourself for quite a trip:
http://www.youtube.com/watch?v=JtiNJF0dO7A&feature=related
photo stills from productions:
http://www.youtube.com/watch?v=ISO1Y6obkBs&feature=related
note that the music in this one is the music for the slow tem teke tem walking -- the big swell in the music is where the turns occur
http://www.youtube.com/watch?v=BhHWHNBwH9Q&feature=watch_response
demonstration of the exercises with one professor's ideas about context and purpose
from Suzuki's recent production of the Greek tragic play Electra, which looks to be set in an insane asylum. Prepare yourself for quite a trip:
http://www.youtube.com/watch?v=JtiNJF0dO7A&feature=related
photo stills from productions:
http://www.youtube.com/watch?v=ISO1Y6obkBs&feature=related
note that the music in this one is the music for the slow tem teke tem walking -- the big swell in the music is where the turns occur
http://www.youtube.com/watch?v=BhHWHNBwH9Q&feature=watch_response
demonstration of the exercises with one professor's ideas about context and purpose
Monday, September 5, 2011
Voice II/Shakespeare Monologue Suggestions
Twelfth Night: Olivia, Viola, Maria, Sebastian
As You Like It: Orlando, Rosalind, Phoebe, Silvius
Two Gentlemen of Verona: Julia,Sylvia,Proteus
Much Ado About Nothing: Benedick
Measure for Measure: Isabella, Claudio
King Lear: Edgar, Edmund, Goneril
Romeo and Juliet: Romeo, Juliet, Mercutio, Benvolio
Titus Andronicus: Tamara, Aaron
Othello: Desdemona, Emilia, Cassio
Julius Caesar: Portia, Brutus, Antony
Antony and Cleopatra: Cleopatra
Henry IV: Lady Percy, Hotspur, Hal
Henry V: Henry
Comedy of Errors: Adriana, Luciana, Antipholus
The Winters Tale: Hermione, Paulina
Richard III: Anne, Elizabeth
Merchant of Venice: Portia
Two Noble Kinsmen: Jailer’s Daughter
The Tempest: Ferdinand, Ariel
Love’s Labors Lost: Berowne
A Midsummer Night's Dream: Helena, Hermia, Oberon, Titania,Puck
As You Like It: Orlando, Rosalind, Phoebe, Silvius
Two Gentlemen of Verona: Julia,Sylvia,Proteus
Much Ado About Nothing: Benedick
Measure for Measure: Isabella, Claudio
King Lear: Edgar, Edmund, Goneril
Romeo and Juliet: Romeo, Juliet, Mercutio, Benvolio
Titus Andronicus: Tamara, Aaron
Othello: Desdemona, Emilia, Cassio
Julius Caesar: Portia, Brutus, Antony
Antony and Cleopatra: Cleopatra
Henry IV: Lady Percy, Hotspur, Hal
Henry V: Henry
Comedy of Errors: Adriana, Luciana, Antipholus
The Winters Tale: Hermione, Paulina
Richard III: Anne, Elizabeth
Merchant of Venice: Portia
Two Noble Kinsmen: Jailer’s Daughter
The Tempest: Ferdinand, Ariel
Love’s Labors Lost: Berowne
A Midsummer Night's Dream: Helena, Hermia, Oberon, Titania,Puck
Friday, September 2, 2011
Voice II article...
"The power of the spoken word is something that goes back to the Greeks and Romans in an age before technology. The most powerful thing is the spoken word. So my work is about going back and looking at the real visceral energy of language and what its prime purpose is. And that requires a fair amount of dexterity and physical technique because we’re much less engaged with language now. Speech is less engaged. We don’t speak with the same muscularity, energy or dynamic like people did before there was a visual back up for communication."
http://shakespeare.about.com/od/interviews/a/language.htm
http://shakespeare.about.com/od/interviews/a/language.htm
Points of Good Speech for Classic Plays
Elisa’s Points of Good Speech for Classic Plays… A Place to Start
Work with Edith Skinner’s Speak With Distinction handbook/cd for empowered and expressive “regional-dialect-free” sounds of American English, suitable for ancient Greek and Roman Plays, Shakespeare and his contemporaries, Shaw and Restoration Comedy (when not performed in British RP), also Calderone, Lorca, Chekhov, Ibsen, Strindberg, Beckett and other classic and modern classic plays, especially those in translation that should not be performed in an American Regional dialect.
Keep in mind: Vowels/Diphthongs are how humans express emotion and Consonant sounds are how we express intention, how we get what we want. Mark Rylance puts it more beautifully when he says: “Vowels express the Soul, Consonants express the Will.” If you don’t embrace the sounds of English fully, you miss the opportunity to connect with the text on an important, primary level. The audience does, too.
Based on Edith’s work, these sounds particularly elevate and illumine the text as well as establish class and education:
‘wh’ : whether, which, why, when, anywhere, whistle, whipped
‘liquid u’ following t, d, n: Duke = dyook, news, tune, reduce, opportunity
Use the front vowel sound ‘i’ as in ‘bit’ in prefixes: reduce = rih-‘dyoos rather
than ruh-‘dyoos or ree-‘dyoos, deduct, between, beneath, receive, review, before.
Articulation of ‘t’ and ‘d’ when followed by ‘y’: did you not ‘did jew’, can’t you not ‘can’t chew’.
Recognize and distinguish the back vowel sounds, particularly the short ‘o’ as in honest, pop, horrible, Florence, common, and the lengthenable ‘aw’ in cause, law, drawing, daub, saw.
Articulate final voiced consonants: seize = seez (not seese), judge, find, livings, rouge, deserve.
Articulate medial ‘t’ sounds: meter = ‘me-ter (not ‘me-der), waited, entertainment, elementary.
Moderate ‘r’ coloring. There is no need to go to a non-rhotic British sound in a word like “heard” (“huhd”) but neither should it have a hard ‘r’ burr as in many American regional dialects (“hurrrd”).
Recognize and use lengthenable sounds, identified by Skinner in her book: vowels: ee, er, oo, aw, ah diphthongs: aye, eye,oy,oh,ow. In order for a vowel to be lengthened, it must be in the primary stressed syllable of the word and followed by a voiced consonant. Diphthongs follow the same rules, but must be in the final (or only) syllable of the word. Vowel examples: ee is long in seize, short in street/er is long in deserve, short in hurt/oo is long in snoozing, short in snoot/aw is long in cause, short in caught/ah is long in calm, short in papa. Diphthong examples: aye is long in wade, short in wading/eye is long in time, short in timely/oy is long in boys, short in noisy/oh is long in own, short in ownership/ow is long in frown, short in brownie.
Breath: If Rylance is right and Vowels are Soul/Consonants are Will, perhaps we can say that Breath is Inspiration. We breathe in rhythm with our thoughts. In complicated classic texts it can be necessary to plan your breath phrasing so that you get the breath you need. I also recommend that actors think about/feel how their character specifically breathes, how he/she needs to breathe to survive in the world of the play. Without breath-life, your voice will stop at the footlights, your soul and will cannot be expressed.
Vocal Placement: Start with your most balanced, supported, resonant sound. From there you can move the voice around to wherever it needs to be (depending on character choices and the space you are playing in) without losing strong support and resonance. Don’t let instinct replace thought in rehearsal when it comes to placement until you’ve been practicing this for many years: where we instinctively place our voice in our day to day life, or our gut reaction to character and stakes, is often strident and limited onstage.
Musicality: Our musicality on stage is far wider than that of our day to day life. Musicality on stage reflects relationship and stakes, and is crucial to story-telling and communicating complex thoughts. Do a full warm up through your range before every rehearsal and performance. Two concepts to consider: “New Thought = New Pitch” and “Pitch for Emphasis”. Listen for how clarity is improved when you change pitch as you move into a new thought, or how a single word gets special emphasis and more specific point of view when you lift or drop it in pitch.
Text: If the play is in verse, use the verse form. Honor line endings rather than running verses together into prose. Study scansion to aid you in clarity and using the natural rhythm of the verse. Use of musicality, long sounds, identifying operatives (see below) and exploring punctuation will help you find and release into the structure of prose.
Identify operative words (you may also hear these referred to as ‘story-telling’ words or ‘target’ words). These are the few words per verse line or sentence that take primary stress and help the audience to follow the story. They are usually verbs and nouns; rarely will they be negatives, pronouns or modifiers.
Explore alliteration (repetition of consonants) and internal rhyming (repetition of vowels). Often the will or the emotion of your character will be revealed in the sounds they choose to repeat.
A Note on “Rustic” speech: There are many characters in these plays that are poor and uneducated. Their speech will naturally be a little rougher. You can get there without pasting on an American Regional dialect (like Southern, for instance, which is unfortunately often used) by exploring these adjustments: harder ‘r’ coloring / no ‘liquid u’ or prefix of ‘i’ or ‘wh’ or medial ‘t’ / did jew, can’t chew / wider range of musicality / extreme use of long and short sounds / vocal placement in just one primary resonance / and etc. In terms of story-telling, however, stay on those operatives. Don’t see Rustics as any less clearly spoken than Royals (unless it’s in the writing) or your audience will get lost, and so will you.
Work with Edith Skinner’s Speak With Distinction handbook/cd for empowered and expressive “regional-dialect-free” sounds of American English, suitable for ancient Greek and Roman Plays, Shakespeare and his contemporaries, Shaw and Restoration Comedy (when not performed in British RP), also Calderone, Lorca, Chekhov, Ibsen, Strindberg, Beckett and other classic and modern classic plays, especially those in translation that should not be performed in an American Regional dialect.
Keep in mind: Vowels/Diphthongs are how humans express emotion and Consonant sounds are how we express intention, how we get what we want. Mark Rylance puts it more beautifully when he says: “Vowels express the Soul, Consonants express the Will.” If you don’t embrace the sounds of English fully, you miss the opportunity to connect with the text on an important, primary level. The audience does, too.
Based on Edith’s work, these sounds particularly elevate and illumine the text as well as establish class and education:
‘wh’ : whether, which, why, when, anywhere, whistle, whipped
‘liquid u’ following t, d, n: Duke = dyook, news, tune, reduce, opportunity
Use the front vowel sound ‘i’ as in ‘bit’ in prefixes: reduce = rih-‘dyoos rather
than ruh-‘dyoos or ree-‘dyoos, deduct, between, beneath, receive, review, before.
Articulation of ‘t’ and ‘d’ when followed by ‘y’: did you not ‘did jew’, can’t you not ‘can’t chew’.
Recognize and distinguish the back vowel sounds, particularly the short ‘o’ as in honest, pop, horrible, Florence, common, and the lengthenable ‘aw’ in cause, law, drawing, daub, saw.
Articulate final voiced consonants: seize = seez (not seese), judge, find, livings, rouge, deserve.
Articulate medial ‘t’ sounds: meter = ‘me-ter (not ‘me-der), waited, entertainment, elementary.
Moderate ‘r’ coloring. There is no need to go to a non-rhotic British sound in a word like “heard” (“huhd”) but neither should it have a hard ‘r’ burr as in many American regional dialects (“hurrrd”).
Recognize and use lengthenable sounds, identified by Skinner in her book: vowels: ee, er, oo, aw, ah diphthongs: aye, eye,oy,oh,ow. In order for a vowel to be lengthened, it must be in the primary stressed syllable of the word and followed by a voiced consonant. Diphthongs follow the same rules, but must be in the final (or only) syllable of the word. Vowel examples: ee is long in seize, short in street/er is long in deserve, short in hurt/oo is long in snoozing, short in snoot/aw is long in cause, short in caught/ah is long in calm, short in papa. Diphthong examples: aye is long in wade, short in wading/eye is long in time, short in timely/oy is long in boys, short in noisy/oh is long in own, short in ownership/ow is long in frown, short in brownie.
Breath: If Rylance is right and Vowels are Soul/Consonants are Will, perhaps we can say that Breath is Inspiration. We breathe in rhythm with our thoughts. In complicated classic texts it can be necessary to plan your breath phrasing so that you get the breath you need. I also recommend that actors think about/feel how their character specifically breathes, how he/she needs to breathe to survive in the world of the play. Without breath-life, your voice will stop at the footlights, your soul and will cannot be expressed.
Vocal Placement: Start with your most balanced, supported, resonant sound. From there you can move the voice around to wherever it needs to be (depending on character choices and the space you are playing in) without losing strong support and resonance. Don’t let instinct replace thought in rehearsal when it comes to placement until you’ve been practicing this for many years: where we instinctively place our voice in our day to day life, or our gut reaction to character and stakes, is often strident and limited onstage.
Musicality: Our musicality on stage is far wider than that of our day to day life. Musicality on stage reflects relationship and stakes, and is crucial to story-telling and communicating complex thoughts. Do a full warm up through your range before every rehearsal and performance. Two concepts to consider: “New Thought = New Pitch” and “Pitch for Emphasis”. Listen for how clarity is improved when you change pitch as you move into a new thought, or how a single word gets special emphasis and more specific point of view when you lift or drop it in pitch.
Text: If the play is in verse, use the verse form. Honor line endings rather than running verses together into prose. Study scansion to aid you in clarity and using the natural rhythm of the verse. Use of musicality, long sounds, identifying operatives (see below) and exploring punctuation will help you find and release into the structure of prose.
Identify operative words (you may also hear these referred to as ‘story-telling’ words or ‘target’ words). These are the few words per verse line or sentence that take primary stress and help the audience to follow the story. They are usually verbs and nouns; rarely will they be negatives, pronouns or modifiers.
Explore alliteration (repetition of consonants) and internal rhyming (repetition of vowels). Often the will or the emotion of your character will be revealed in the sounds they choose to repeat.
A Note on “Rustic” speech: There are many characters in these plays that are poor and uneducated. Their speech will naturally be a little rougher. You can get there without pasting on an American Regional dialect (like Southern, for instance, which is unfortunately often used) by exploring these adjustments: harder ‘r’ coloring / no ‘liquid u’ or prefix of ‘i’ or ‘wh’ or medial ‘t’ / did jew, can’t chew / wider range of musicality / extreme use of long and short sounds / vocal placement in just one primary resonance / and etc. In terms of story-telling, however, stay on those operatives. Don’t see Rustics as any less clearly spoken than Royals (unless it’s in the writing) or your audience will get lost, and so will you.
http://online.wsj.com/article/SB10001424053111904787404576534690533590346.html (copy and paste)
Here's the link to an article about Cicely Berry, the greatest living Shakespeare voice & text teacher and coach. She taught Patsy Rodenburg, Andrew Wade and many other great coaches, and has been coaching at the Royal Shakespeare Company for many years.
Thursday, March 17, 2011
Dialect and Accent Resources
FREE
The International Dialects of English Archive (IDEA)
Samples from around the world to download and listen to on your computer.
http://web.ku.edu/~idea/
National Public Radio
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature interviews with native speakers.
www.npr.org
The BBC
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature recorded interviews with native speakers and special programs on the language and culture of that region.
http://www.bbc.co.uk/
Radio Stations
Look for radio stations broadcasting in English and streaming online from the region or country you need, and listen to newscasters, interviews and commercials. I’ve found many useful samples this way, from countries including Trinidad, Ireland, Nigeria and South Africa.
Chamber of Commerce
For a small-town dialect in America, try calling the Chamber of Commerce, or Mayor’s Office. Interview a local resident over the phone, and take notes. You probably won’t have to go much further than the receptionist to get what you need.
Google
Enter the name of the country you need on a search engine and see what turns up – often you’ll find pages that feature recordings of native speakers or have information about the language and culture. Pages on slang from various dialects are especially popular and can be helpful.
The Library
Many libraries carry documentary films that may be useful to you. Listen for interviews and antique recordings. You may also find dramatic films there that feature accents that are helpful. They may also carry books and cds on dialects and accents.
Community Organizations
Find out if there is a community from the region/country you need living in your city. Places of worship and restaurants are two good places to start. Bring a digital recorder and record interviews, if they give you permission.
YouTube
Enter the name of the dialect or accent you are interested in and see what pops up.
TO RENT OR BUY
You can rent or stream online many documentaries and dramatic films featuring interviews with native speakers or actors from the country depicted. Netflix seems to be the best source for streaming, although there are others that are competitive. When you watch a dramatic film, do some research so that you can focus your listening on those actors who are true native speakers.
CLASSIC DIALECT AND ACCENT MANUALS
Jerry Blunt:
Stage Dialects and More Stage Dialects, books and cds
Some terrific basic descriptions and samples here, with more diversity in the second book. Highly recommended.
Lewis Herman:
Foreign Dialects and American Dialects
First published many years ago, very old-fashioned descriptions of dialects and accents you may find useful, especially for plays written before 1960.
Dr. David Alan Stern
Acting with an Accent series, booklets and cds.
www.dialectaccentspecialists.com
NEWER DIALECT AND ACCENT SOURCE MATERIALS
Gillian Lane-Plescia
Accents for Actors series, booklets and cds.
http://www.dialectresource.com/
The widest variety of authentic sources available from a leading theatrical dialect coach. These are the ones I use most often.
Robert Blumenfeld
Accents: A Manual for Actors
A helpful manual with many accents and dialects discussed, with brief samples. Good to have on the shelf.
ALSO:
Edda Sharpe: How to do Accents
Paul Meier: Accents and Dialects for Stage and Screen (from the editor of IDEA)
Evangeline Machlin: Dialects for the Stage
Ginny Kopf: Dialect Handbook
The International Dialects of English Archive (IDEA)
Samples from around the world to download and listen to on your computer.
http://web.ku.edu/~idea/
National Public Radio
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature interviews with native speakers.
www.npr.org
The BBC
Do a search on this site for stories involving the region with the accent/dialect you are using. Many will feature recorded interviews with native speakers and special programs on the language and culture of that region.
http://www.bbc.co.uk/
Radio Stations
Look for radio stations broadcasting in English and streaming online from the region or country you need, and listen to newscasters, interviews and commercials. I’ve found many useful samples this way, from countries including Trinidad, Ireland, Nigeria and South Africa.
Chamber of Commerce
For a small-town dialect in America, try calling the Chamber of Commerce, or Mayor’s Office. Interview a local resident over the phone, and take notes. You probably won’t have to go much further than the receptionist to get what you need.
Enter the name of the country you need on a search engine and see what turns up – often you’ll find pages that feature recordings of native speakers or have information about the language and culture. Pages on slang from various dialects are especially popular and can be helpful.
The Library
Many libraries carry documentary films that may be useful to you. Listen for interviews and antique recordings. You may also find dramatic films there that feature accents that are helpful. They may also carry books and cds on dialects and accents.
Community Organizations
Find out if there is a community from the region/country you need living in your city. Places of worship and restaurants are two good places to start. Bring a digital recorder and record interviews, if they give you permission.
YouTube
Enter the name of the dialect or accent you are interested in and see what pops up.
TO RENT OR BUY
You can rent or stream online many documentaries and dramatic films featuring interviews with native speakers or actors from the country depicted. Netflix seems to be the best source for streaming, although there are others that are competitive. When you watch a dramatic film, do some research so that you can focus your listening on those actors who are true native speakers.
CLASSIC DIALECT AND ACCENT MANUALS
Jerry Blunt:
Stage Dialects and More Stage Dialects, books and cds
Some terrific basic descriptions and samples here, with more diversity in the second book. Highly recommended.
Lewis Herman:
Foreign Dialects and American Dialects
First published many years ago, very old-fashioned descriptions of dialects and accents you may find useful, especially for plays written before 1960.
Dr. David Alan Stern
Acting with an Accent series, booklets and cds.
www.dialectaccentspecialists.com
NEWER DIALECT AND ACCENT SOURCE MATERIALS
Gillian Lane-Plescia
Accents for Actors series, booklets and cds.
http://www.dialectresource.com/
The widest variety of authentic sources available from a leading theatrical dialect coach. These are the ones I use most often.
Robert Blumenfeld
Accents: A Manual for Actors
A helpful manual with many accents and dialects discussed, with brief samples. Good to have on the shelf.
ALSO:
Edda Sharpe: How to do Accents
Paul Meier: Accents and Dialects for Stage and Screen (from the editor of IDEA)
Evangeline Machlin: Dialects for the Stage
Ginny Kopf: Dialect Handbook
Looking for a dialect scene...
Australian playwrights listed here:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=australian+playwrights
Nigerian playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=nigerian+playwrights
Scottish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=scottish+playwrights
Jamaican playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=jamaican+playwrights
Irish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=irish+playwrights
(Just enter a search for the country you are interested in followed by the word "playwrights" and a site will come up with a list.)
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=australian+playwrights
Nigerian playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=nigerian+playwrights
Scottish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=scottish+playwrights
Jamaican playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=jamaican+playwrights
Irish playwrights:
http://en.wikipedia.org/w/index.php?title=Special%3ASearch&search=irish+playwrights
(Just enter a search for the country you are interested in followed by the word "playwrights" and a site will come up with a list.)
Saturday, January 22, 2011
Voice II, Please Watch
Hi Voice II students, please watch this excellent video interview with the great director Michael Langham. He recently passed away. Langham was a preeminent director of Shakespeare in Canada at the Stratford Festival and in the U.S. at the Guthrie, and ran the Juilliard drama school for many years.
http://www.youtube.com/watch?v=E5fNsLBWJIQ
This is part six of the series -- I recommend you watch all of the segments when you have time.
http://www.youtube.com/watch?v=E5fNsLBWJIQ
This is part six of the series -- I recommend you watch all of the segments when you have time.
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