(Book). Fear grips many American actors and directors faced with the opportunity to perform Shakespeare live. The challenges of Elizabethan British speech patterns, the thought of using verse for hours, the debate over staging a period piece versus "updating" the Bard of Avon all can cause psychogenic trauma on this side of the Atlantic. Let Broadway legend Aaron Frankel show the way in Shakespeare for American Actors and Directors . This book views Shakespeare's work through the lens of American performance, catering specifically to the learning sensibilities of American-bred talent. Its streamlined size and reader-friendly presentation make it a practical tool for actors and directors wishing to learn Bard-based performance tactics. Aaron Frankel plunges readers into the meanings of scenes so they can envision the interplay of characters and step into a role to experiment with ways to convey those meanings. He provides scene examples through which to apply performance techniques. To capture the spirit of the book in Frankel's words, "What is totally current is that Shakespeare's dramatic forte, which is the involvement of his characters with each other, and the core of American acting, which is actors affecting each other, make a perfect match."

Speaking in Shakespeare's Voice: A Guide for American Actors is a book for undergraduate and graduate students of acting as well as for the professional who would like to perform Shakespeare with the skill of a classical actor. It is also valuable for European actors interested in performing Shakespeare in American English and British actors who would like to explore Shakespeare from an American perspective. This guide focuses on the technical elements of voice and speech, including breathing, resonance, and diction, as well as providing an introduction to verse speaking and scansion and to Shakespeare’s rhetorical devices, such as antithesis, alliteration, onomatopoeia, irony, metaphor, and wordplay. These topics are annotated with examples from Shakespeare’s plays to demonstrate how an actor can apply the lessons to actual performance. The book also explores the history of Shakespearean performance in the United States and provides guidance on current editions of Shakespeare’s text from the Folio to online Open Source Shakespeare. A helpful appendix offers examples of two-person scenes and contextualized monologues.

Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.

Fear grips many American actors and directors faced with the opportunity to perform Shakespeare live. The challenges of Elizabethan British speech patterns, the thought of using verse for hours, the debate over staging a period piece versus “updating” the Bard of Avon – all can cause psychogenic trauma on this side of the Atlantic. Let Broadway legend Aaron Frankel show the way in Shakespeare for American Actors and Directors. This book views Shakespeare's work through the lens of American performance, catering specifically to the learning sensibilities of American-bred talent. Its streamlined size and reader-friendly presentation make it a practical tool for actors and directors wishing to learn Bard-based performance tactics. Aaron Frankel plunges readers into the meanings of scenes so they can envision the interplay of characters and step into a role to experiment with ways to convey those meanings. He provides scene examples through which to apply performance techniques. To capture the spirit of the book in Frankel's words, “What is totally current is that Shakespeare's dramatic forte, which is the involvement of his characters with each other, and the core of American acting, which is actors affecting each other, make a perfect match.”

Thinking Shakespeare gives theater artists practical advice about how to make Shakespeare’s words feel spontaneous, passionate, and real. Based on Barry Edelstein’s thirty-year career directing Shakespeare’s plays, this book provides the tools that artists need to fully understand and express the power of Shakespeare’s language.

"Published in conjunction with the exhibition Shakespeare in American Life presented at the Folger Shakespeare Library, Washington, DC, from 8 March through 18 August 2007, in celebration of the Library's 75th anniversary"-- back of title page.

The intelligent, intuitive, indomitable, large, black, American male actor explores Shakespeare, race, and America ... not necessarily in that order. Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love. American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

Playing Shakespeare is the premier guide to understanding and appreciating the mastery of the world’s greatest playwright. Together with Royal Shakespeare Company actors–among them Patrick Stewart, Judi Dench, Ian McKellen, Ben Kingsley, and David Suchet–John Barton demonstrates how to adapt Elizabethan theater for the modern stage. The director begins by explicating Shakespeare’s verse and prose, speeches and soliloquies, and naturalistic and heightened language to discover the essence of his characters. In the second section, Barton and the actors explore nuance in Shakespearean theater, from evoking irony and ambiguity and striking the delicate balance of passion and profound intellectual thought, to finding new approaches to playing Shakespeare’s most controversial creation, Shylock, from The Merchant of Venice. A practical and essential guide, Playing Shakespeare will stand for years as the authoritative favorite among actors, scholars, teachers, and students.

Who says only the British can act Shakespeare? In this unique guide, a veteran acting coach shatters that myth with a boldly American approach to the Bard. Written in the form of a play, this volume's "characters" include a master teacher and 16 students grappling with the challenges of acting Shakespeare. Using actual speeches from 32 of Shakespeare's plays, each of the book's six "scenes" offer proven solutions to such acting problems as delivering spoken subtext, using physical actions to orchestrate a speech, creating images within a speech, dividing a speech into measures, and much more.

Weyward Macbeth, a volume of entirely new essays, provides innovative, interdisciplinary approaches to the various ways Shakespeare's 'Macbeth' has been adapted and appropriated within the context of American racial constructions. Comprehensive in its scope, this collection addresses the enduringly fraught history of 'Macbeth' in the United States, from its appearance as the first Shakespearean play documented in the American colonies to a proposed Hollywood film version with a black diasporic cast. Over two dozen contributions explore 'Macbeth's' haunting presence in American drama, poetry, film, music, history, politics, acting, and directing — all through the intersections of race and performance.