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SHAKSPER 1991: Query: The Actors' Perspective?
From: Ken Steele (ksteele@epas.utoronto.ca) Date: 06/13/91
Shakespeare Electronic Conference, Vol. 2, No. 165. Thursday, 13 Jun 1991. From: Ken Steele <ksteele@epas.utoronto.ca> Subject: The Actors' Perspective Date: Thu, 13 Jun 91 15:34:17 EDT Dear Fellow SHAKSPEReans; Among my favourite events at Shakespeare conferences are the discussions or performances given by professional actors and actresses, shedding light on their preparation for, interpretation of, and unique perspective on plays by Shakespeare. Fortunately, it would seem that this is becoming a regular feature of the second nights at Shakespeare Association of America gatherings: Tony Church and Vivien Heilbron were wonderful in Philadelphia (1990), as were Fiona Shaw and Juliet Stephenson in Vancouver (1991). As a student of Shakespeare with little theatrical experience (I remember playing Tweedle-Dee in grade school, but that's about it...) I find the actors' perspectives enlightening and fascinating. I've just finished reading Philip Brockbank's 1985 collection, *Players of Shakespeare: Essays in Shakespearean Performance by Twelve PLayers with the Royal Shakespeare Company*, and as the title suggests, it's a wonderful opportunity to get more of the same (only different). Its 1988 sequel, edited by Russell Jackson and Robert Smallwood, is also proving rewarding. And although satis quid sufficit, as the illustrious Holofernes would have us know, I can never have quite enough of a good thing and am seeking more sources of theatrical insight into the acting, directing, and rehearsal of playtexts, Shakespearean and otherwise. Yesterday I spotted another possibility in Toronto's "World's Biggest Bookstore": Susan Willis' *The BBC Shakespeare Plays: Making the Televised Canon*. This is a very recent book, but has anyone seen it yet? How does it compare to the other two books mentioned above? And more importantly, are there other sources people would recommend? Basically, I'm trying to get backstage vicariously, to better understand the nature of stagecraft, rehearsal, and performance. Any guidance would be much appreciated. Yours, Ken
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