Connexion S'enregistrer

Connexion à votre compte

Identifiant
Mot de passe
Maintenir la connexion active sur ce site

Créer un compte

Pour valider ce formulaire, vous devez remplir tous les champs.
Nom
Identifiant
Mot de passe
Répétez le mot de passe
Adresse e-mail
Répétez l'adresse e-mail
Captcha

Beth Dalloway, Alessandro Visentin, Katherine Rodden et Matthew Neal

Les acteurs de la tournée 2011-2012, répondent à nos questions

 Shrew2012-petrucchio-kate2 Shrew2012BiancaLucentio

WHTF:  In what way is it different to put on a play for an audience made of non-native speakers?

BAKM: We have to be physically and vocally clearer when playing for a non-native English audience. Apart from that it is exactly the same as acting for an English-speaking audience.

WHTF: When Peter Griffith writes a play, he keeps in mind its educational aspect. Does it make it more difficult to work on such texts?

BAKM: The educational aspect doesn't change the work of an actor. We still work out our intentions and actions and from that we create the play/ its characters.

WHTF: The timing of things in each play is really great. The exchange between Black Nick Sharkmuck and Cutthroat Keith, for instance, when BNS tries to teach CK how to be a pirate (cf. e-newsletter#1) or when Dennis tries to escape from the people he thinks spot him on the street. How did you make it work? Does it require a lot of rehearsing?

BAKM: Theatre is an ongoing process and every production develops throughout the rehearsal period and into the performing period. Timing and relationship is part of working as an ensemble as well as the understanding of each individual play’s text.

WHTF:  How did you create each character? How do you get into character for each play? How can you so easily pass from one character to another?

BAKM: The characteristics and mannerisms/ physicality/ voice are all developed throughout the rehearsals. Rehearsal period is a period where an actor can try out several ideas in a safe environment. The basic information in regards to the characters comes however from the text. Once the characters are fully developed and rehearsed switching between becomes like second nature.
We warm up physically and vocally individually and as a company once a day in the morning which enables us to access our characters with ease.

WHTF: What is your favourite part/role in this tour? Why?

Matthew: Petrucchio - It is nice to play such a self-assured, outgoing character.
Beth: Katharina - She is a strong independent woman and a lot of her strengths comes out of repression - there is a liberation to find in her character.
Katherine: Bianca - Because I understood the character from the initial reading of the text.
Alessandro: Robin Manley - Robin has a really fantastic journey throughout the play. I enjoy the way he develops throughout the whole play.

WHTF: Now that you have started the tour, are there things that have evolved since the showcases?

BAKM: All three shows became smooth and things that were difficult throughout the rehearsals have now settled, giving us the freedom to explore and play and keep it alive and exciting.

Tiger of the Seas: Audience participation changes the show every day and makes it very exciting and challenging.
Light Fingers: It has become slicker and more dynamic and seems to suit a teenage audience.
Taming of the Shrew: The characters have developed and the whole production seems far more secure and confident.

WHTF: Matt,  after the plays, you had a toast to “strong women” . Was it to make up for your role as Petruchio?

Matthew: No - the women in our company scare me :-)

 


Go to top