{"id":8360,"date":"2025-03-27T09:58:39","date_gmt":"2025-03-27T09:58:39","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=8360"},"modified":"2025-06-02T16:26:18","modified_gmt":"2025-06-02T16:26:18","slug":"an-actors-beginner-guide-to-performing-shakespeare","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/the-essentials\/an-actors-beginner-guide-to-performing-shakespeare\/","title":{"rendered":"An Actor\u2019s Beginner Guide to Performing Shakespeare"},"content":{"rendered":"

Tips for Shakespearean acting from breaking down Shakespeare\u2019s verse to acting techniques.<\/span><\/h2>\n

For over 400 years, Shakespeare\u2019s plays have allowed actors the opportunity to play out the greatest heights of tragedy and explore the joy of outlandish comedy.\u00a0<\/span><\/p>\n

One of his most popular plays, <\/span>A Midsummer Night\u2019s Dream,<\/span><\/i> has been staged over 118 times. Others, like <\/span>Romeo & Juliet<\/span><\/i> have been transported to the screen as films, such as Baz Luhrmann\u2019s reimagining, starring Leonardo DiCaprio and Claire Danes.\u00a0<\/span><\/p>\n

Most of us would have first encountered the Bard’s work in GCSE English \u2013 probably <\/span>Macbeth<\/span><\/i>, which is one of the most commonly used plays for exams. However research shows <\/span>students struggle to understand Shakespeare\u2019s work<\/span><\/a> because of the complexity of the language. They find it difficult to relate to, so fail to see the relevance of material that was written during the 16th and 17th centuries.<\/span><\/p>\n

As an actor you might be familiar with some of these issues when approaching Shakespeare\u2019s work for the first time. If you can\u2019t understand what you\u2019re saying, how can you possibly master a good Shakespearean performance?\u00a0<\/span><\/p>\n

When I revisited Shakespeare as a drama student, I was encouraged to explore the text in a way that dismantled the preconceptions I had about classical work. Shakespeare didn’t have to be performed in RP and it didn’t need to be set 400 years ago. Shakespeare\u2019s work was ultimately meant for the stage and once you translate the language, you can approach it in the same way you might a modern play.\u00a0<\/span><\/p>\n

The <\/span>Macbeth <\/span><\/i>I studied in GCSE English was not the same <\/span>Macbeth<\/span><\/i> I revisited as an actor. The language felt less intimidating once I could comprehend what was actually at the heart of Shakespeare\u2019s work, and with a few tips and tricks, you can understand it too.<\/span><\/p>\n

Auditioning for Shakespeare Productions<\/span><\/h3>\n

When auditioning for Shakespeare productions, you should have at least <\/span>two monologues<\/span><\/a> available to use. Ideally, a dramatic monologue and a comedic one, to show contrasting styles. Choose a monologue that you know you can memorise, from a play that you\u2019re familiar with.<\/span><\/p>\n

When auditioning for Shakespeare, you want to showcase that you understand the language and that you can perform with nuance, adding your own interpretation to the role. It\u2019s not necessarily about picking a role that no one else will but adding value to the monologue you\u2019re performing so that you\u2019re clearly presenting your ability in the audition.<\/span><\/p>\n

You should have your monologue memorised and know it well enough to take direction if needed. Knowing the plot of the play is also essential, you might get asked questions about your character, and understanding the plot of a Shakespeare play will help you show that you have a grasp of the text.<\/span><\/p>\n

Understanding Shakespeare as an Actor<\/span><\/h3>\n

Before reading Shakespeare\u2019s work, it’s helpful to identify the language and literary devices he uses. Some of the most common struggles for beginners are knowing how to use \u2018scansion\u2019 for iambic pentameter, understanding the difference between prose and verse and why some characters only use one or the other.<\/span><\/p>\n

Here are some of the key factors to understanding Shakespearean language:<\/span><\/p>\n

Verse and Prose:<\/strong><\/p>\n

Shakespeare wrote in both verse and prose, and an easy way to identify which is which is how the lines take shape on the page. Visually, verse is aligned on the left margin, with a jagged edge on the right. The beginning of each line is capitalised and shorter than prose. The lines are also organised into stanzas with potential breaks, similar to poetry.<\/span><\/p>\n

Here is an example of verse used in <\/span>Much Ado About Nothing<\/span><\/i> (Act 4, Scene 1):<\/span><\/p>\n

FRIAR:<\/span><\/p>\n

“Your daughter here the princes left for dead.<\/span><\/i><\/p>\n

Let her awhile be secretly kept in,<\/span><\/i><\/p>\n

And publish it that she is dead indeed.\u201d<\/span><\/i><\/p>\n

Most characters that speak in verse are of high status, so most kings, queens and upper-class individuals like<\/span> \u2018<\/span><\/i>Prince Hamlet\u2019<\/span> or<\/span> \u2018<\/span><\/i>King Duncan\u2019 in <\/span>Macbeth<\/span><\/i> use verse. However some characters may switch from verse to prose and vice versa if the occasion calls for it. For instance \u2018Beatrice\u2019<\/span> in<\/span> Much Ado About Nothing<\/span><\/i> (Act 3, Scene 1) uses verse for the first time in her soliloquy to directly address the audience.<\/span><\/p>\n

Prose, on the other hand, is visually aligned in a block shape and goes right to the edge of the page. It\u2019s closest to conversational speech and doesn’t use metric or rhyme.\u00a0<\/span><\/p>\n

Prose is significantly used to show a character’s lack of intelligence or low status. For instance, \u2018Dogberry\u2019 in <\/span>Much Ado About Nothing<\/span><\/i> only speaks in prose and uses malapropisms. Higher-status characters may switch to prose in moments of high emotion or to emulate regular speech patterns.<\/span><\/p>\n

Here is an example of the use of prose from <\/span>Much Ado About Nothing<\/span><\/i> (Act 3, Scene 5):<\/span><\/p>\n

DOGBERRY:<\/p>\n

“One word sir: our watch, sir, have indeed comprehended two aspicious persons and we would have them examined this morning before your worship.\u201d<\/span><\/i><\/p>\n

 <\/p>\n

Iambic Pentameter<\/strong><\/p>\n

Iambic pentameter is a type of metric used to describe the rhythm established by the words in each line. Iamb is a metrical foot with two syllables, (unstressed followed by stressed) and pentameter means five metrical feet. So a line of Iambic pentameter consists of five Iambs making 10 syllables.\u00a0<\/span><\/p>\n

It\u2019s also a stress pattern consisting of stressed and unstressed syllables. The process of analysing the rhythm of verse is known as \u2018scansion\u2019 but first you can say the lines aloud to see where the rhythm might fall naturally.<\/span><\/p>\n

Using Hamlet’s speech below, begin by saying the lines naturally:<\/span><\/p>\n

HAMLET:<\/span><\/p>\n

“To be or not to be, that is the question\u201d<\/span><\/i><\/p>\n

To scan the verse, say the lines again \u2013 but this time stress the capitalised words:<\/span><\/p>\n

HAMLET:<\/span><\/p>\n

“To BE or NOT to BE, that IS the QUESTION\u201d<\/span><\/p>\n

It helps to clap or tap on the stressed words, so you can establish the rhythm.<\/span><\/p>\n

To use scansion in your script, you would take a line of verse and mark where the syllables are unstressed and stressed using these symbols:<\/span><\/p>\n\n\n\n\n\n\n
\u2014<\/b><\/td>\nStressed syllable<\/span><\/td>\n<\/tr>\n
\u02d8<\/b><\/td>\nUnstressed syllable<\/span><\/td>\n<\/tr>\n
|<\/b>\u00a0<\/span><\/td>\nA vertical line to identify feet<\/span><\/td>\n<\/tr>\n
\u2016\u00a0<\/b><\/td>\nA double vertical line for a pause within the line of verse.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

A graphic scan of the line of verse would look like this:<\/span><\/p>\n

To be <\/span>|<\/b> or not <\/span>|<\/b> to be <\/span>|<\/b> that is <\/span>|<\/b> the question<\/span><\/p>\n

\u02d8 \u00a0 \u2014\u00a0 \u00a0 \u02d8\u00a0 \u2014 \u00a0 \u00a0 \u02d8\u00a0 \u2014\u00a0 \u00a0 \u02d8\u00a0 \u00a0 \u2014\u00a0 \u00a0 \u02d8 \u00a0 \u00a0 \u00a0 \u2014<\/b><\/p>\n

If you\u2019re struggling to establish the rhythm, scanning the lines in this way or using X\u2019s and \/\u2019s will help you read the lines of verse with the stressed and unstressed words clearly marked.\u00a0<\/span><\/p>\n

Think of the lines as poetry \u2013 there is a rhythm and structure to be performed.<\/span><\/p>\n

 <\/p>\n

Shakespeare\u2019s Glossary<\/strong><\/p>\n

There are many commonalities between Shakespeare and modern English, however a misconception is that the language is outdated and therefore irrelevant to us. According to <\/span>Shakespeare\u2019s Birthplace Trust,<\/span><\/a> his works actually provide the first recorded use of over 1,700 words we still use today.\u00a0<\/span><\/p>\n

The word \u2018lonely\u2019, for instance, was first coined in <\/span>Othello <\/span><\/i>and the word \u2018bedazzled\u2019 was first used in <\/span>The Taming of the Shrew. <\/span><\/i>There are many words in the Shakespearean language that have become extinct in their use outside of classical text which can make it difficult to articulate as an actor.<\/span><\/p>\n

Words like ‘thou’, ‘thee’ and ‘thine’ can be easier to translate to mean ‘you’, ‘to you’ and ‘yours’. However, archaic words that appear in the text can be looked up in a<\/span> Shakespearean glossary<\/span><\/a>. Once you identify the meaning of a phrase or word, you can unlock a deeper meaning through its modern counterpart.<\/span><\/p>\n

Take this line from <\/span>Coriolanus<\/span><\/i> (Act 3, Scene 3) as an example:<\/span><\/p>\n

CORIOLANUS:<\/span><\/p>\n

“You, common cry of curs!\u201d<\/span><\/i><\/p>\n

This phrase can be translated to mean \u201cYou worthless pack\/crowd of dogs!\u201d It\u2019s an insult and during the speech, \u2018Coriolanus\u2019<\/span> is scolding the people who have rejected him. The rest of the speech builds on this and indicates his emotional state.<\/span><\/p>\n

If you take the phrase and say it in your own words it can help realise the emotional state of your character. You can then return to the original text with a deeper understanding of what you\u2019re saying and how you should be feeling.<\/span><\/p>\n

The language Shakespeare uses is intentional, so take the time to find out what he\u2019s trying to convey to aid in your performance as an actor.<\/span><\/p>\n

 <\/p>\n

Categories and Themes in Shakespeare\u2019s Plays<\/strong><\/p>\n

Most of Shakespeare\u2019s plays can be grouped into four categories: tragedy, comedy, history and the problem plays. Identifying the category is the first step to understanding the themes Shakespeare depicts in the events that unfold.<\/span><\/p>\n