With exercises, improvisations, and coaching points, Acting Shakespeare is Outrageous! from Focal Press helps actors use the words Shakespeare wrote as a tool to perform and to create exciting and moving performances.
Performing the work of William Shakespeare can be daunting to new actors. Author Herb Parker posits that his work is played easier if actors think of the plays as happening out of outrageous situations and remember just how non-realistic and presentational Shakespeare's plays were meant to be performed. The plays are driven by language and the spoken word, and the themes and plots are absolutely out of the ordinary and fantastic: the very definition of outrageous.
Herb Parker is an Associate Professor in the Department of Communication and Performance, Theatre and Dance, with East Tennessee State University. Directing credits at ETSU include Othello, Race, The Trojan Women, Six Characters in Search of an Author (KCACTF "Excellence in Directing" Meritorious Achievement Award), Caesar 2012 (his adaptation of Julius Caesar), Cat on a Hot Tin Roof, As You Like It, Hamlet, A Midsummer Night's Dream (KCACTF "Excellence in Directing" Meritorious Achievement Award), and Little Shop of Horrors (also a KCACTF "Excellence in Directing" Meritorious Achievement Award recipient). Professor Parker is a long-time member of the Actors Equity Association. He is also the author of A Monologue is an Outrageous Situation! How to Survive the 60-Second Audition.
- Let the Earth O'erflow
- So What Do I Mean, Really, by 'Outrageous'?
- And What Do I Mean 'Caused by Love'?
- How 'Outrageous' Applies to Playing Shakespeare
- Two Suggestions
- Who He was, What he Did and What that Means for Us Actors
- Shakespeare's Theatre
- The Elizabethan Stage
- Shakespeare's Audience
- The Actor's Task
- All Women's Roles Played by Boys
- Scrolls, No Scripts!
- Shaksper's "Outrageous" Plays
- Summary: What This Means for Your Acting
- Shakespeare as a Cold Read
- Lessons Introduction
- Warmup
- Lesson 1: Doing
- Variation: Let the Class Choose What You Become
- Lesson 2: Verse
- Lesson 3: Sound
- Lesson 4: Emotion
- Thou and You
- The Poetry That Doesn't Rhyme
- The Joys of Iambic Pentameter
- Shared Lines
- A Feminine Ending
- More Tools from Shakespeare's Arsenal
- Scansion in Action
- Rhymed Verse and Couplets: A Poet and Do Know It
- Sonnets
- Exercise 21: Write a Sonnet
- Prose: How We Talk
- Dag-nabbit! Shakespeare's Made-Up Words
- Item 1: There is No Subtext in Shakespeare
- Item 2: There is Never a 'Fourth Wall'
- Item 3: Size is About More than Being Big and Loud
- Item 4: Play What the Scene is DOING — Not Just What the Words Mean
- Item 5: Antithesis is Fighting for an Answer by Comparing Opposites
- Exercise 22: Play the Antithesis
- Item 6: Don't Report, Make a Discovery!
- Item 7: Leave Your Hands ALONE
- Item 8: Speak a Soliloquy as if Your Life Depended upon it — Because it Does
- Item 9: Pretty Speeches are About Blood and Guts
- Item 10: Paint the Picture!
- Exercise 23: A Pig in Slop — with the Words
- Item 11: Shakespeare is Too Big for Film
- Item 12: All Shakespearean Characters are Philosophers, and Poets
- "A very ribbon in the cap of youth."
- Glossary: A Listing of Common Shakespeare Terminology
- Practice Speeches for Men and Women
- Bibliography and Recommended Reading