The BBC put together a series of television commentaries from Orson Welles, "Orson Wells' Sketchbook" none of which need more than his then slightly unfamiliar face (without, he underscores, the usual false nose he wears for roles), his unmistakable voice, and his illustrations — taken, literally, from his sketchbook.
In these six fifteen-minute broadcasts, which originally aired in 1955, Welles talks about not just the inauspicious beginnings of his illustrious working life but his experiences with the critics, the police, John Barrymore and Harry Houdini, the infamous radio production of War of the Worlds , and bullfighting Playlist here.
posted by The Whelk
on Apr 22, 2014 -
Original Pronunciation (OP)
"...performance brings us as close as possible to how old texts would have sounded. It enables us to hear effects lost when old texts are read in a modern way. It avoids the modern social connotations that arise when we hear old texts read in a present-day accent." The site includes transcripts
of Shakespeare plays and other writings with IPA
notations, indicating how to pronounce them in OP. It also includes some audio recordings
. [more inside]
posted by grumblebee
on Sep 11, 2011 -
"I HEREBY REQUEST
that my body or any part thereof may be used for therapeutic purposes including corneal grafting and organ transplantation or for the purposes of medical education [...] with the exception of my skull, which shall be offered by the institution receiving my body to the Royal Shakespeare Company for use in theatrical performance." [more inside]
posted by oulipian
on Sep 11, 2010 -
The Case for the First Folio
For centuries, editors of Shakespeare's plays have conflated different published editions (quartos and folios
) in an attempt to create one true text as the writer intended. In this essay (.pdf file) Jonathan Bate, one of the editors of The RSC Shakespeare
makes the case that in fact what they're doing is editing together different drafts of the play originated by the bard at different times in his life attempting to make better dramatic sense. Essentially that none of the texts you studied at school are what Shakespeare intended to be performed at all. [more inside]
posted by feelinglistless
on Jan 25, 2008 -
The things I will not do when I direct a Shakespeare production, on stage or film.
"32. I will not employ a conception of Caliban which would require him to wear a ghastly furry costume reminiscent of a hypothetical offspring of Chewbacca and the Wolf from Into the Woods
." "358. If cast members, especially fairies, are supposed to sing, I will make sure they can actually sing before opening night."
Some of these appear to have been agreed to through bitter experience. I don't know about you but I'd like to add 400. I will not set A Comedy of Errors
in a climbing frame which is meant to represent a lunatic asylum and have lookalikes played by the same actor in both parts as if has a split personality (watching that show was possibly the longest two hours I've spent in a theatre).
posted by feelinglistless
on Feb 26, 2006 -
Cleveland Press Shakespeare Photographs
Er, no, not photographs of
Shakespeare--that would be difficult--but of Shakespeare's plays in performance, 1870-1982. Covers productions in all media; photographs can be browsed by dramatic genre (tragedy, comedy, etc.). On a related note, see also Harry Rusche's Shakespeare Illustrated
(outstanding and extensive site devoted to nineteenth-century paintings of scenes from Shakespeare's plays).
posted by thomas j wise
on Sep 27, 2003 -