I think I'd like to read Fool. I've often felt that one of the best and worst things about Shakespeare is the lack of back story to the characters. In the hands of a good director and good actors, you can make up for this, and create something completely different every time. In the hands of bad artists, it's just deadly dull. Iago, for example - we have only the slimmest ideas of why he might be targeting Othello - passed over for promotion, rumors he seduced his wife, racism, perhaps? - but these reasons aren't really given much emphasis in the text; in fact, you could miss them if an actor didn't point them up. So, you: the actor, the director, gotta ask yourself, what the fuck, Iago? What the fuck is your problem?
On that note, I heard an awesome piece of acting advice last year: "Find the hero and the villain in your character, and let them go to war."
Buried in the thick, thick pile of sawdust without butter are principles long outdated ("the king can do no wrong") and still revered today ("Better that ten guilty people go
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On that note, I heard an awesome piece of acting advice last year: "Find the hero and the villain in your character, and let them go to war."
Buried in the thick, thick pile of sawdust without butter are principles long outdated ("the king can do no wrong") and still revered today ("Better that ten guilty people go ( ... )
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