All language subtitles for 04. Working with Text - Carving Out Words

In Shakespeare, some of it's rhythmic,

some of it's about the pattern of words

and how they fall. And thereby it tells

you to some degree what words to

emphasize, what words to underscore. In

other texts, it may be it may be more

open. You could emphasize that word and

that that makes it mean something else.

you could emphasize this word and that

gives it a slightly different meaning. I

mean sometimes I'll even to this day I I

can do a scene

and I'll do a take and a take and a take

and a take and then a director walk up

and say you've been emphasizing this

word. Can you emphasize the last word in

the sentence this next take you do just

so that I can hear whether that's the

emphasis?

And I may think, well, I'm I think I'm

right the one I'm doing, but I

understand why you want me to emphasize

a different word. There are any number

of ways to be able to figure out which

thing to emphasize, but you can't

emphasize everything. You have to make

choices. You know, I want you to do that

tomorrow.

I want you to do that tomorrow.

Th these are all just questions of

aesthetic and choice and and

interpretation. What you think the

writer or the character means to

emphasize.

I'm Dharmic and I'll be doing Iago from

a

less do I ever make my fool my purse

by my own g knowledge of profane if I

would time expend with such a snipe

but for my sport and profit

I hate the moore

and it is thought abroad that twix my

sheet he had done my office

I know Not if it be true, but I for me a

suspicion in that kind will do as if for

shorty.

He holds me well. Then better shall my

purpose work on him.

Casio is a proper man. Let me see now.

To take his place and to plume up my

will in double navery. How? How?

Let me see.

After some time to abuse a lossier that

he is too familiar with his wife.

He had the person and of a smooth

disposed to be suspected frame to make

women false.

Moors of a free and open nature. I think

men honest that but seem to be so and

won't be led us tenderly by the nose as

asses are.

I have it. It is engendered. Hell and

night must bring this monsters birth to

see the world's light.

Thank you.

Okay, there seems to be a tendency to

race through things.

What I want to make sure you understand

is what does it mean when you say you

have done my office? You talking about

yourself? He's done something to you.

Yeah.

What is it he's done?

He has taken

given the lieutenant position to Casio.

Got it. So

done is the word Shakespeare has used.

What does the word done mean?

It's finished.

That's right. He has finished my office.

He has humiliated me. And when you say

he's done my office, I have no idea that

that means anything to you. It sounds

like he ordered some coffee. He has done

my office. This is what I mean by

carving out the word. By making sure

that we understand what you mean because

it's Shakespeare. And so he's not saying

he's [ __ ] me over. He's saying he's

done my office.

That is humiliating.

It is not a, you know, casual

thing you're describing because what you

were leading yourself to is all right.

Casio is a what do you say? Proper

proper man.

He's a proper man.

He's not like me. He's a proper man.

So, how do I do this to him after what

has been done to me?

The rage

that you were experiencing I don't think

you're working on.

I'm what I'm missing in this is what is

driving you to say these things. you

have been humiliated

by a guy,

you know, it's like I mean, as an actor,

I suppose it's like when we, you know,

we go in and we audition for something,

we [ __ ] think we owned it and then

they cast this [ __ ] guy who's famous.

It's like, of course, they went for a

[ __ ] name.

That's the feeling is that you have been

usurped. You have been passed over. How

does it begin? What's the first four

lines?

Thus do I ever make my fool my purse.

Thus do I ever make my fool my purse.

But when you go thus do I ever make my

fool my pur. I have no idea what you're

talking about. I have no clue as to what

that's supposed to mean. And you got to

carve this stuff out. I'm going to have

you sit down because I want you to think

about this. All right. Thank you.

I hate them all.

And it is thought abroad that Twix my

sheet. He had done my office.

I know not if it be true,

but I for mere suspicion in that kind

will do as if for shortity. He holds me

well. The better shall my purpose work

on him.

Casio is a proper man.

Let me see now.

to take his place and to plume up my

will in double navery. How? How?

Let me see.

After some time to abuse a fellow's ear

that he is too familiar with his wife,

he hath the person, and of a smooth

disposed to be suspected, framed to make

women false.

The Mo is of a free and open nature,

that think men honest, that but seem to

be so, and will be led as tenderly by

the nose as asses are.

I have it.

It is engendered.

Hell and night must bring this monstrous

birth to see the world's light.

Yeah. It's interesting. It's It's when I

listen to you do it,

it's like there's there's things that I

I I think you either haven't asked

yourself

like what does that mean? which is

always a very important question to ask.

What does that mean? And then there are

things where you seem to fly by

without relishing

things like double navery. I mean,

that's a kind of remarkable way to

describe something. It's not just

navery. It's double navery. What I will

do is so duplicitous

that it's like I'm doing it twice.

That's what it means. But it's almost

like you don't relish the language that

you're being given.

And then there are times when it feels

like you pass over things that we don't

quite get. There's a moment where you're

talking about Casio is this

and he

you say something about Athell, but then

you say he and you're actually talking

about Casio at that point, but it sounds

like you're talking about a fellow. So

time carving out the what do you mean

and little things like

he is what to make women false.

These are these are kind of remarkable

lines that you fly by and it makes me

think that you haven't broken it down.

And also, it seems to be you're stuck in

a and again we've seen this and we've

talked about it, a kind of mood where

nothing in the monologue catches you by

surprise

because you're just doing it all the way

along. Whereas there's a moment in the

end where you go, that's it.

That's how I'm going to do it. It must

do. You know, there's all these words,

these emphasises, these things that you

could grab onto

and express that just kind of float by.

We don't hear them. They're not carved

out. Because this is the thing about

Shakespeare, you have to make that

language come alive. And if you don't

understand a word, it doesn't do any

good to fly by it. I mean, very often we

see this sometimes with monologues

where, you know, we see actors who they

talk fast enough that they're hoping you

just won't [ __ ] notice that they

don't know what they're [ __ ] talking

about.

And and you know, we can't do that. We

have to, you know, in things that are

asking us to take our time to relish.

And also what the whole what this whole

monologue is about is deception and

intrigue and lying. You're going to

you're going to make him believe his

wife has been unfaithful to him.

Well, that's pretty big.

But if it flies by, we don't we can't

capture it. So, I don't think it's a

good piece for you until and if you

exercise every single meaning of every

single word, you know exactly what it is

that he's saying and you're able to

carve that stuff out in the musicality

that Shakespeare is written in.

But thank you for getting up. At a place

like Julliard, you do a tremendous

amount of vocal work. Um, exercises that

are about trying to discover your

capacity for dexterity,

your ability to make something make

sense. And that very often I think the

rhythmic

um

those kinds of lessons where we would

rhythmically

keep working on something, keep striving

towards something you're trying to

understand the the nature of why

Shakespeare wrote it the way he wrote

it. Um

it's it's not always the most natural

thing to have something that always

rhymes or sounds like it rhymes. Um,

but the beauty of the language and that

music, um, it's it's I think after a

while you you learn to play that music.

You learn to play it in your own way.

I think one of the reasons why we love

watching different actors attack Hamlet

or attack Henry V or attack Athell is

because part of the joy is to see how

different actors will approach the same

role.

It's never the same. It's always

incredibly exciting to see someone

else's way into a part or a play. Well,

we used to do all kinds of uh vocal

exercises, some of them being

Shakespeare, some of them not being

Shakespeare. Um, in order just to be

able to learn about your own facility.

Um, miles and miles of endless beach

lined with mimosa.

Um, he thrusts his fists against the

posts and still insists he sees the

ghosts. There's so many Giuliard

students right now that will just be

going, "Yeah, yeah, I've never forgotten

that either.