A Shakespearean Actor Prepares

by Michael Hugh Johnson, Adrian Brine, Michael Brine, Adrian & York

Book Overview

Shakespeare knew more than any other playwright about the art of acting and the art of theater; practitioners affirm this. While creating superhuman characters and setting them in situations that... This description may be from another edition of this product.

• Format: Paperback
• Language: English
• ISBN: 1575251892
• ISBN13: 9781575251899
• Release Date: June 2000
• Publisher: Smith & Kraus
• Length: 368 Pages
• Weight: 0.95 lbs.
• Dimensions: 0.8" x 5.4" x 8.4"

Customer Reviews

Makes Shakespeare Even Better!

At the risk of sounding superficial, I bought this book for no better reason than that I happened to meet Mr York briefly at a promotional event and, like another reviewer, I was impressed by the way he came across as a true gentleman - not something one can say about all successful actors. The same charm and intelligence permeates this perceptive study of Shakespeare's work. The only criticism I can make of it is that the title makes it sound as if it is a text only for actors when it is also an excellent introduction to Shakespeare for the general reader, and especially for the general reader with an interest in writing. Although it looks at the plays from an actor's point of view, this is probably the best perspective because it was Shakespeare's own, as an actor writing for other actors. The insights into his stagecraft and his use of language are particularly illuminating, and will add new dimensions to one's appreciation of even those plays with which one thought one was already familiar.

An actor and gentleman

I had the good furtune to meet Michael York at a book signing for A Shakespearean Actor Prepares, while he was on tour in Vermont. He was open, very friendly and respectful of everyone, a gentleman in the best sense of the word. In his book, he generously shares his early theater experiences and his love of the bard. He sensitively guides the reader through the delicate process of uncovering meaning and emotions in the text. Michael's warm, resonant voice, a trademark, naturally results from his text-based approach to acting. In A Shakespearean Actor Prepares, he recommends studying for Richard II this way: "If you read the speech aloud, paying attention to the suggested breaks, and to the key words (the words that are important to Richard), and to the heavy stresses, you will probably find a patrician fury welling up inside you--almost of its own accord." The emotions come through the words, not before them. That's how respect for the writer becomes high art. Careful preparation and passion naturally expressed keeps the actor open to experimentation. Openness, a fresh creative attitude, keeps the actor and person young and handsome.We are lucky to have such teachers and artists.

Wonderful

This is really a wonderful and accessible and readable book about Shakesepeare and his work. Even if you're not interested in the craft of acting, but do have an interest in Shakespeare, I highly reccomend this book. And it is written without any pretension. Obviously the name "Shakespeare" in our culture can carry as much snob appeal as the name "Gucci" or "Hermes" and a fair amount of snobbery is often attached to Shakespeare because of it. But this book comes from a pure love of Shakespeare, so you don't feel you are reading something that is "good for you." He is made enjoyable. As the authors point out, Shakespeare ran the Globe Theater for profit, so had to appeal to the masses to get them to buy tickets. And so he was likely not a snob, and should be (I think!) approached as these authors approach him. This book is an absolute treat.

An important view of Shakespeare as performance art.

This book is well thought out, precise and one of the best, most informative books I have read regarding the performance of Shakespeare. I have studied with many acting teachers including Ada Brown Mather, formerly of RADA, and Patrick Tucker, the main proponent of the First Folio method. Without doubt, this common sense approach to Shakespearean performance is on the mark. The idea of making an argument with a speech, finding the points of a scene that move the story forward, not accepting that the script is a blueprint for performance, etc. are all important points. I also enjoyed the comparison of Shakespearian acting concepts with Stanislovski's approach. A book to keep and review periodically, as important as Granville-Barker's Prefaces to Shakespeare. And timely for me personally considering I am currently performing Macduff in a local theater.Thank you for this practical guide.