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Royal Shakespeare CompanyТеатр перформативных искусств в Стратфорд-апон-Эйвон
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Royal Shakespeare Theatre (3 694,00 km)
Стратфорд-апон-Эйвон CV37 7
Стратфорд-апон-Эйвон CV37 7
+44 1789 748114
Диапазон цен $$
Время работы: С 10:00 до 23:00
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Страница создана 17 марта 2009 г.
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Get closer to the world of theatre on a tour and make it extra special by having afternoon tea in one of our dressing rooms! ☕🎂
Afternoon tea with a tour is available on selected dates in September and October ➡️ http://bit.ly/2lQ9Rgh
A Museum in Baghdad opens a month today!
This powerful new play by Hannah Khalil and directed by Erica Whyman is a story of treasured history, desperate choices and the remarkable Gertrude Bell.
Book your tickets and find out more ➡️ http://bit.ly/2mcedyI
Рекомендуют 292 человека
We’ve just watched Taming of the Shrew tonight. What an amazing production. Fabulous cast and perfor...mance by all involved. 👏👏👏 Ещё
I have seen every production the RSC has staged since 2009. The variety and standard of these, in ge...neral, has been excellent - until this last year. I have always tried to live by the maxim “if you can’t say anything nice, don’t say anything at all” because I do appreciate the amount of work put in by the cast and crew, but after seeing the latest version of “Romeo & Juliet”, I have to express my disappointment in yet another poor production.
Only Andrew French playing Friar Laurence stood out; in the ‘Follies of Mrs Rich’ only Solomon Israel playing Younger Clerimont stood out; in ‘Macbeth’ only Niamh Cusack & Ed Bennett (Lady M & Macduff). The reason these four stood out for me was very simple: they were the only ones who spoke their lines clearly, who were able to show the emotions of their characters, who were, in short, believable. The rest of the casts either mumble incoherently into their chests or bellow their lines so loudly that any nuance is impossible. Tenderness, distress, love, humour cannot be conveyed by continuous shouting. The actress playing Mercutio for example, seems to think that the humour came from pelvic thrusts every five minutes rather than from the words, which she yelled out as if she were a market stall holder in EastEnders. The other problem (as I see it) is that many of the younger actors in particular give the impression that they don’t even understand what they’re saying. So many beautiful, witty or heart breaking speeches have been ruined by this particular shortcoming.
The question I have is WHY has the standard of productions dropped so drastically? Are drama schools to blame for not teaching their students how to understand and project the characters? Is it the casting department who give roles to people who are just not up to the task? Or is it the fault of the director for not reining the actors in because they’re too pre-occupied with trying to be ‘edgy’ or ‘trendy’ or ‘relevant’?
Since Cicely Berry retired, I have noticed a dramatic drop in voice projection, vocal understanding and clear enunciation. A good vocal coach is sorely needed, otherwise actors are going to be unable to perform due to losing their voices completely.
When the RSC get it right, the shows are magnificent : ‘Snow in Midwinter’, ‘Imperium I & II’ and “Twelfth Night” being four recent cases in point. When they get it wrong ……. Ещё
Only Andrew French playing Friar Laurence stood out; in the ‘Follies of Mrs Rich’ only Solomon Israel playing Younger Clerimont stood out; in ‘Macbeth’ only Niamh Cusack & Ed Bennett (Lady M & Macduff). The reason these four stood out for me was very simple: they were the only ones who spoke their lines clearly, who were able to show the emotions of their characters, who were, in short, believable. The rest of the casts either mumble incoherently into their chests or bellow their lines so loudly that any nuance is impossible. Tenderness, distress, love, humour cannot be conveyed by continuous shouting. The actress playing Mercutio for example, seems to think that the humour came from pelvic thrusts every five minutes rather than from the words, which she yelled out as if she were a market stall holder in EastEnders. The other problem (as I see it) is that many of the younger actors in particular give the impression that they don’t even understand what they’re saying. So many beautiful, witty or heart breaking speeches have been ruined by this particular shortcoming.
The question I have is WHY has the standard of productions dropped so drastically? Are drama schools to blame for not teaching their students how to understand and project the characters? Is it the casting department who give roles to people who are just not up to the task? Or is it the fault of the director for not reining the actors in because they’re too pre-occupied with trying to be ‘edgy’ or ‘trendy’ or ‘relevant’?
Since Cicely Berry retired, I have noticed a dramatic drop in voice projection, vocal understanding and clear enunciation. A good vocal coach is sorely needed, otherwise actors are going to be unable to perform due to losing their voices completely.
When the RSC get it right, the shows are magnificent : ‘Snow in Midwinter’, ‘Imperium I & II’ and “Twelfth Night” being four recent cases in point. When they get it wrong ……. Ещё
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