"How Shakespeare's Text
Helps the Actor"

John Barton's master classes

John Barton at Davidson,
as part of the RSC residency
February 2002

the master classes

In 1984, a series of videotapes was released to accompany the book of the same name: Playing Shakespeare, written by John Barton. Working with other Royal Shakespeare Company luminaries like Peggy Ashcroft, Judi Dench, Ben Kingsley, and Ian McKellen, author and director John Barton presented topics for analysis and practical exploration in Shakespeare’s texts. The hour-long tapes have titles that include "Passion and Coolness," "Irony and Ambiguity," and "Language and Character." Another in the series is "The Two Traditions." As described in the synopsis: "Barton and the actors address and analyze the question of how to understand Shakespeare texts, by bringing into balance Shakespeare’s heightened language with our modern naturalistic expectations." This idea may most closely approach the goal of the master classes, "How Shakespeare’s Text Helps the Actor," conducted this week. John Barton is in residence with the Royal Shakespeare Company at Davidson College, and this is truly a rare treat.

Beginning on February 21, in four classes at Davidson College and UNCC, 12 actors and a roomful of spectators have had a chance to watch the master work his magic. We sat in on the first class. Mr. Barton spoke for a few minutes, advising the actors in a general way, emphasizing the idea of "sharing" with the audience. Then he asked for the actor who was to read Sonnet 29. As was true of all the actors, Carrie van Deest had memorized her sonnet. "When, in disgrace with fortune and men’s eyes..." She recited nicely, lent it some verve. Then Mr. Barton said, "Did anybody get lost in the middle?" "Did you know that sonnet is all one sentence?" He quickly took the stage and talked about the text’s meaning, its structure, its emotional color. Lots of information, and then, "Do it again, please." He had layers and layers of things to say. He was gracious, and a little pushy, and had her do it again and again. Each time, he’d say a little more about the words. Pose a few questions. Make a few remarks. He talked about clues and arguments in the text. "Again, please." It was a marvel to watch the sonnet begin to come alive, fill with something like sparkle. The rigorous structure of the fourteen lines was made to release its dense moods - from self mockery and envy to images of singing larks on the wing, with a pretty flourish towards the couplet-ed payoff.

Five sonnets were read on the first day. Three hours. Five sonnets. Six actors. Mr. Barton never deconstructed the work (he probably doesn’t even think "deconstruct" is a word); rather, he delved into the rhythm and meaning and encouraged the actors to do the same. His is a decidedly heuristic approach, from the actor's point of view. He’d stop the actor, say another half dozen things about what’s working, what’s missing, and what’s next. "From here, please." The performances became more fully formed. The actors’ inclination to resist the rhymes and obvious emphases began to break down. And the audience didn’t get lost in the middle anymore.

For more information about the Royal Shakespeare Company’s residency at Davidson College, please visit RSC at Davidson site.