From an actor at my favorite theater in the world. Given that we’ve been talking about script analysis lately, check out #3 for a good example of how lines in different parts of the script impact each other and how even good, trained actors don’t necessarily see the connections immediately. This is also an example of Diamond Lines. Isn’t it funny that you can have Diamond Lines that you somehow completely miss? It’s a V-8 moment when the penny finally drops, and you are so grateful! And oh, yes — read the rest of the post, too. Worth your time!
The Actor’s Renaissance Season is an experience unlike any other in the American Theatre, both for the audience and the actors involved in creating it. Eleven actors. Five plays. Three months. Zero directors.
The 2015 Actor’s Renaissance Actors featured these plays:
- THE TAMING OF THE SHREW by William Shakespeare (1591)
- THE ROVER by Aphra Behn (1677)
- THE WHITE DEVIL by John Webster (1612)
- EVERY MAN IN HIS HUMOR by Ben Jonson (1598)
- MOTHER BOMBIE by John Lily (1594)
In the Actor’s Renaissance Season, there are two levels of “Staging Conditions” applied to the plays. The first level relates to performance:
- We perform with the lights on, so you can see other patrons, and the performers can see you
- We perform in a thrust at the beautiful Blackfriars Playhouse, so you can sit right on stage
- We use cross-gender casting, and all actors plays multiple characters in the same play
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