Richard III (1.4), Week 1: "From Dreams to Deeds" - Shakespeare | The Rehearsal Room - The Working Actor's Journey

Episode Transcript
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>> Geoffrey Wade (00:00):
Amelia is out. We have a brand new puppy and,

(00:02):
needs to be scooped up
and taken out, you know, quite regularly. She's doing
extremely well so far, but
you got to go when they want to go.
so try not to let that, distract you.

>> Speaker B (00:19):
Don't let a puppy distract you.

No, let the puppy. We'll just bring it up here and
do the same to the puppy. Along those
lines, I would like to try
something, this afternoon that,
I would definitely do if we were all, together in
a room, in person. It may be a little more difficult
and even more time consuming on zoom,

(00:42):
but it would be to, go through this
quite, I'm sorry, I just want to get where we're starting,
quite slowly, starting with you murderers.
on that line, I think it's 104. What
shall I stab him as he sleeps?
and what I'd like is for the other

(01:05):
person in the scene. So
this really involves, ah, Daniel and Aubrey.
When the other person is speaking, I want you to
really be watching her or him watch.
Try and see how much, you know in an actorly way
we can pick up from what the other person is saying.
And

(01:28):
that's the person who's not speaking. The person who is speaking.
I'd like you to do this
thing. It's. Again, it's an exercise. It's very arbitrary.
It's easier on. It's easier with this particular,
interchange, but to look down and pick up as much as you
can.
so on this line,

(01:50):
I've just picked up this line. Hang
on, why? Then he'll say, we
stabbed him sleeping, so that you pick up as much of the line
as you possibly can and say it straight to
the camera. I know that's odd because you're not looking at the other
person, but say it straight to the camera so that your
counterpart can really watch what you're

(02:11):
saying. if you can only remember part of it,
it'll be, why? Then he'll say,
we stabbed him sleeping. Right?
There's no obligation to
get the line out. Get the line out quickly. As much as you
can hold in your mind.
Try to take it right to the camera and the other person.

(02:33):
Watch until the person who's
speaking to you is done. This is sort of acting
101. You, you will understand when,
she or he is done, because their
energy will give the end of the line to you.
Or maybe you know, the line, whatever, But I would rather have you
wait until you see the
other Person finish than you go down to the page,

(02:56):
pick up as much as you can.
The urging of that word judgment
hath bred a kind of remorse in me. Right.
It's very slow, it's a little time consuming, but
particularly with this medium, it gives us a chance to kind of see
what's going on with our face. Right. So

(03:16):
let's try it, see how far we can get.
and, anybody have
any questions? You understand what I'm going on about?

>> Speaker B (03:26):
Yeah, I think so. Yeah.

Okay.

>> Speaker C (03:28):
Just kind of, And don't do it at
what would be a finished pace. Do it at a.

Absolutely not. The obligation on this is to connect
with your partner. Not. We're
not concerned at all about pace. We already know
all you guys are good. We know you can do it.
You could do this scene right now, and it would be
interesting. you know, and
probably pretty damn good. So let's just see how much

(03:54):
more we can mine by really taking our time with
no obligation at pace
or performance or anything. Just see what you get
from the other person. I'm going to take myself off
the video so that, you know, and maybe
you could, too, Gideon. There's more space
for, you guys. so

(04:16):
when you're ready,
starting with, what shall I stab him as he sleeps?

>> Peter (04:22):
M.

>> Speaker C (04:25):
What shall I stab him as he sleeps?

>> Speaker B (04:32):
No, he'll say, twas done
cowardly when he wakes.

>> Speaker C (04:40):
Why, he'll not wake till the great
judgment day.

>> Speaker B (04:48):
Why, then he'll say, we stabbed him
sleeping.

>> Speaker C (04:56):
The urging of that word
judgment hath bred a kind of
remorse in me.

M.
What.

>> Speaker B (05:09):
Art thou afraid?

>> Speaker C (05:15):
Not to kill him, having a warrant,
but to be damned for killing him
from the which no warrant can defend me.

>> Speaker B (05:30):
I thought thou hadst been resolute.

>> Speaker C (05:36):
So I am, to let him live.

>> Speaker B (05:44):
I'll back to the Duke of Gloucester and tell him so.

>> Speaker C (05:50):
Nay, I prithee, stay a little.
I hope this passionate humor
of mine will change. It
was wont to hold me. But while one tells
20m.

>> Speaker B (06:11):
How dost thou feel thyself now? How does
thou feel thyself now?

>> Speaker C (06:21):
Faith, some certain
dregs of conscience are yet within me.

>> Speaker B (06:31):
Remember our reward. When the
deed is done.

>> Speaker C (06:38):
He dies. I had forgot the reward.

>> Speaker B (06:44):
Where's thy conscience now?

>> Speaker C (06:52):
Oh, in the Duke of Gloucester's purse.

>> Speaker B (07:01):
When he opens his purse to give us thy
reward, thy conscience
flies out.

>> Speaker C (07:09):
Tis no matter. Let it go.
There's few, or none will entertain it.

>> Speaker B (07:19):
What if it come to thee again?

>> Speaker C (07:24):
I'll not meddle with
Makes a man a coward.
A man cannot steal, but it
checks him. A man cannot lie, but
it.
A man cannot swear, but it checks him. A man
cannot lie with his neighbor's wife, but it detects
him.

Good. Good. I'm gonna stop you just for a second, Daniel. This is
going extremely well now, particularly in this kind
of speech, Daniel, There's. There's the temptation to go down
and read it. so pick up what
you can back to the camera and say it. Don't worry
how long it takes. Don't worry about making the flow
correct. Okay? You guys are doing terrific. Really terrific.

(08:05):
So just start again. I'll not meddle with it.

>> Speaker C (08:13):
I'll m not meddle with.
Makes a man a coward. A
man cannot steal, but it accuseth
him.
A man cannot swear, but it checks
him. A man
cannot lie with his neighbor,

(08:35):
but it detects him. It is a
blushing, shame faced spirit
that mutinies in a man's bosom.
It fills a man full of obstacles.
It m made me once return a purse of gold

(08:57):
that I by chance had found.
It, beggars. Any man that keeps
is turned out of towns and cities as a
dangerous thing.
And every man that means to live well

(09:18):
endeavors to trust to
himself and live without it.
Zounds. Tis even now at
my elbow, persuading me to kill
the duke.

>> Speaker B (09:42):
Take m the devil in thy mind and believe
him not.
He would insinuate with thee. But to make
thee sigh.

>> Speaker C (09:55):
I am strong framed. He cannot prevail
with me.

>> Speaker B (10:04):
Spoke like a tall man that respects his
reputation.
Come, shall we fall to work?

>> Speaker C (10:18):
Take him on the costard with the hilts of thy sword.
And then throw him into the malmsey butt in the next room.

>> Speaker B (10:28):
Oh, excellent device. And make
a sop of him.

>> Speaker C (10:38):
Soft. He wakes.

>> Speaker B (10:40):
Strike.

>> Speaker C (10:43):
No, we'll reason with him.

Good. I'm going to stop you. Sorry to interrupt, Peter.
Just to go over this chunk a little bit, and then we'll just carry straight on.
We're not going to go over it. That was really good. I hope you
guys found something interesting from it, because
I certainly did. I'm just going
to mention a couple of things
really quickly,

(11:09):
which. Oh, sorry. Papers over here,
which were.
Aubrey on line about 115.
Not to kill him. Oh, I'm sorry. No. This is Daniel.
Not, to kill him. Having a warrant, but be
damned for killing. Damned is the

(11:31):
great. Damned is the operative, word there.
I don't know. I don't have a problem with the deed. It's the
aftermath. Right.

>> Peter (11:38):
What did you.

Pardon?

>> Speaker C (11:41):
My connection is going
away again.

Can you. Can you hear me now?

>> Speaker C (11:46):
Now I can.

Yeah. Okay. The key point is about
line 115. Yeah. The
word is damned. Yeah. Right. That's.
And, again, perhaps Gideon can
help with this a little later. But this is a time and
a place where people did
worry about their eternal souls. I mean, people.

(12:08):
This is burning at the stake. Time and battles over
between Christians and.
Sorry. Between Catholics and Protestants.
It was. You know, Elizabeth and James spent most of
their reigns hunting down Catholics. I
mean, hunting them down. So these are
serious big questions.

>> Gideon (12:28):
let me just help with that line by saying that
it's simply an antithesis.
So the stress is not to kill him
and then. But to be damp. So not
A, but B. So those are your
two. Those are your two antithetical words. And that's why you want to
hit damp in addition to all the other reasons.

Aubrey, an interesting thing happened. It may have been
something you do on purpose. It may have been a function of this
very careful going back and forth, which, again, I salute you guys
for. after he says, want to hold
me? But till one counts 20.
I think it's really funny if you just
count to about maybe not 20,

(13:14):
but 10, maybe before you say,
are you ready? Right.

>> Peter (13:19):
Yeah.

How you doing now?

>> Speaker B (13:22):
you just sit there and wait. Like.

Okay. Yeah, I don't know if that was intentional or what, but
it's. Bear that in mind. It's like
it's part of the actual comedy of the scene, I think.
And then, Daniel, I just was picking
this up, so I think you can run with it a little. This line, faith,
some certain dregs of conscience are yet within me.
Is this sort of. It's like, oh, my
God. Don't be afraid of the

(13:46):
humor in that line.

>> Speaker C (13:48):
Okay.

It's like, I thought I was good. Oh, fuck. There's still some on me.

>> Speaker C (13:51):
Okay.

And I think the key to that is the sense of discovery in it. Like,
you're sort of checking yourself and you go, oh,
it's not all quite. It's still a speck here. Yeah, something
like that.

>> Gideon (14:02):
can I just add to that that Dreggs
picks up the idea of the Malmsey butt in the next room.

>> Speaker C (14:08):
Yeah.

>> Peter (14:09):
Yeah.

Ah, good. one
other thing I noticed, and this again may have been a function of
how well you know the lines, but I think it's a fortuitous
little occurrence in your longish
speech there, Daniel. you got to, Tis a
blushing, shame faced spirit that mutinies in a man's
bosom. And at that point, you

(14:29):
took the somewhat longer break to go down
to. it fills a man full of obstacles,
which I think is a break that you can incorporate. It's
like
in long speeches, in Shakespeare in particular, I find it interesting
to find the spots where you
could stop, where the speech could stop. It's the end of the

(14:51):
speech. And then. Oh, you know what else? There's something
else that there's another problem with it
because there was this time I gave somebody their gold back.
Right. So give, yourself the opportunity to really
take that break. Find a new energy
that carries you on to the rest of the speech. Right.
Yeah.

>> Speaker B (15:09):
That was cool. I heard that for the first time. Like, I mean, I've heard it,
but I haven't heard it before.

Exactly.

>> Speaker B (15:15):
You what? What did you do? Gold back.

That's the benefit of this.

>> Gideon (15:21):
Can I add to that, too? the
idea. It'll help you to think of mutiny.
So whenever Shakespeare gives a list, it's
never just a list. There's always, a
direction to it. There's always either a build or
there are distinctions. So mutinies in a man's
bosom is happening within, and then

(15:43):
it fills you with obstacles or when you want
to go towards something external.
So it's kind of. It's happening within, and then it's translated
into something without. So that can give you a place
to pause and recognize that
transition from inner to outer. And that might
help that.

absolutely. that's terrific. And then
there's one. Oh, I
know I put it down here somewhere. Oh,
Daniel. in, Elizabethan and
current. Ah, British
speaking, the word C A N,
N O, T is the emphasis on the first

(16:21):
syllable. So it's cannot rather than
cannot. And that line is 155 in my
script. Around in there somewhere. I'm strong,
framed. He cannot prevail. Yeah. And
that's pretty much always the case. Okay,
very.

>> Gideon (16:35):
I agree. Can I add on that line, too?
that I would suggest hitting prevail rather than
the pronoun.
it's not so much that you're distinguishing yourself from other
people, it's that you're saying
you're strong and so we can't prevail.

Right.

>> Gideon (16:55):
That's just a suggestion. Okay, Can I just
add one more thing? And then I'll, go finish with all
my notes. Aubrey, on line
120, just try to
say I'll instead of I'LL
give the long I. Because
in a real audience and also in the

(17:16):
video audience, it makes a difference.
That's it.

>> Speaker B (17:20):
Got it.

Thank you. I have one other small thing
again. This is, Aubrey, and this is a,
pronoun thing. You kind
of partly got it. So I want to encourage you because, in
take, the devil in thy mind and believe
him, I think you can give still a little
more weight to him. So that we realize you're not talking about

(17:41):
the devil.

>> Speaker B (17:41):
You're talking about as opposed to the devil.

Yeah, I
partly heard it, but I think that's a pronoun. We
can, Listen, I agree
with that.

>> Gideon (17:53):
I also noticed something in that
passage, and that is that Shakespeare's
having fun with us. Because
what. What the murderer means is
him conscience. But what
is actually he believes to be true is that
the devil's the one that's going to be causing

(18:13):
trouble. So it's.
The whole thing is double. And the confusion
is slightly intentional. However,
Jeffrey, I completely agree with is right. You have to
bring out the difference between the devil
on one side and the conscience on the other.
Otherwise the joke doesn't work.

Great. All right. Good guys. Really,
a noble and useful, ah, effort. So let's try to
continue it now, with,
Peter. Same deal with you. as we carry
on now. I'm going to,
go off here, but I will stay
on here vocally.

(18:55):
So that if I notice that it begins to
drift too much going down to the
script. I'll stop you again. So let's start it,
with.
Clarence is waking up on, Where art thou, keeper?

>> Peter (19:13):
Where art thou, keeper?
Give me a cup of wine.

>> Speaker B (19:23):
Ye shall have wine enough, my lord.

>> Gideon (19:26):
Anon.

>> Peter (19:26):
Ah,
in God's, name. What art thou?

Daniel? This is you.

>> Speaker C (19:49):
I'm sorry, My.

I had a little connection.

>> Speaker C (19:54):
a man, as you are.

>> Peter (19:58):
But not as I am, royal,

>> Speaker C (20:05):
Nor you, as we are loyal.

>> Peter (20:11):
My voice is thunder, but thy looks
are humble.

>> Speaker C (20:17):
My voice is now the king's. My
looks are mine own.

>> Peter (20:24):
How darkly and how deadly dost thou
speak. Your
eyes do menace me.
Why look you pale? Who
sent you hither?
Wherefore do you come.

To. To.

>> Peter (20:48):
Murder me.

Oh, good.

>> Speaker B (20:51):
Aye, aye, aye, aye.

>> Peter (20:57):
You scarcely have the heart to tell me
so, and therefore cannot have the heart
to do it.
Wherein, my friends, have I offended
you?

>> Speaker B (21:14):
Offended us you have not. But the
king.

>> Peter (21:19):
I shall be reconciled to him again.

>> Speaker C (21:23):
Never, my lord.
Therefore prepare to die.

>> Peter (21:33):
Are you drawn forth among the
world of men? To slay the
innocent.
What is my offence?
Where is the evidence that
doth accuse me?
What lawful quests have given

(21:54):
their verdict up, unto the
frowning judge?
Or who pronounced the bitter
sentence of, poor Clarence death.
Before I be convict by course of
law.
To threaten me with death

(22:15):
is most unlawful.
I charge you, as you hope to have
redemption by Christ's
dear blood shed for our
grievous sins, that you depart
and lay no hands on me.
The deed you undertake is

(22:36):
damnable.

Good, good. Just one. One more time. I'm gonna have you just
do that speech again, Peter, because you're
cheating yourself just a little bit. Going down to the script. Feel free.
If you can only remember one
clause, that's fine. I don't mind you going
up and down. I really want them to get
your eyes the whole time. It's going extremely well, though.

(23:00):
so just
second murder. Give him the line.

>> Peter (23:05):
Yeah.

Never mind. Lord, therefore, prepare to die.

>> Peter (23:11):
Are you drawn forth
among the world of men to slay
the innocent?
What is my affair offence?
Where is the evidence that doth accuse me?
What lawful quest

(23:33):
have given their verdict up, upon, the frowning
judge,
or who pronounced
the bitter sentence of, poor Clarence death.
Before I be convict by course of law.

(23:53):
To threaten me with death is most unlawful.
I charge you, as you hope to
have redemption by
Christ's dear blood shed
for our grievous sins,
that you depart. Lay
no hands on me.

(24:16):
The deed you undertake is damnable.

>> Speaker B (24:26):
M. What we will do, we do
upon command.

>> Speaker C (24:32):
And he that hath commanded is our
king.

>> Peter (24:39):
Erroneous vassals.
The great king of kings
hath, ah, in the table of his law
commanded thou shalt do no murder.
Will you then spurn, his edict and
fulfil a man's.

(25:02):
Take heed, for he
holds vengeance in his hand
to hurl upon the heads that break his
law.

>> Speaker C (25:17):
And that same vengeance doth he hurl on,
thee for false
forswearing and for murder too.
Thou didst the sacrament to fight in
quarrel of the house of Lancaster.

>> Speaker B (25:37):
And like a traitor to
the name of God
didst break that vow.
And with thy treacherous blade
unripst the bowels of thy
sovereign's son.

>> Peter (25:57):
Whom m.

>> Speaker C (25:58):
Thou wast sworn to cherish and
defend.

This is going excellent. One more time. Daniel, do that
line. If you don't remember the next word,
stop talking and look down. Okay. It's going
extremely well.
Aubrey, just give him the whole cue. And like a traitor to the name of
God.

>> Speaker B (26:20):
Yep, yep.

Okay. It's going very well.

>> Speaker B (26:25):
And like a traitor to the name
of God didst break
that vow. And with
thy treacherous blade.
Unripst the bowels of thy
sovereign's son.

>> Speaker C (26:44):
Whom thou wast
sworn to cherish and
defend.

>> Speaker B (26:56):
How canst thou urge God's
dreadful law to us.
When thou has broke it in such dear
degree.

Last?

>> Peter (27:09):
Ah. For whose sake
did I that ill deed?
For Edward. For my
brother. For his sake.
He sends you not to murder me for this.
For in that sin is he as deep as

(27:31):
I.
If God will be
avenged for this deed.
Who know you yet he doth it publicly.
Take not the quarrel from his powerful arm.

(27:52):
He needs no indirect or
lawless course
to cut off those that have offended him.

>> Speaker B (28:09):
Who made thee then a bloody minister.
When gallant springing, brave
Plantagenet. That
princely novice was
struck dead by thee.

>> Peter (28:27):
My brother's love the devil.
And, my rage.

>> Speaker B (28:37):
Thy brother's love. Our duty
and thy faults.
Provoke us hither now to slaughter
thee.

>> Peter (28:49):
If you do love my brother,
hate not me.
I am his brother, and I love
him well.
If you are hired for me, go
back again. And I will
send you to my. My brother Gloucester.

(29:11):
Who shall reward you better for my
life Than Edward
will for the tidings of my death.

>> Speaker C (29:22):
You are deceived. Your brother
Gloucester hates you.

>> Peter (29:28):
Oh, no. He
loves me. He holds me
dear. Go you to him
from me.

>> Speaker B (29:40):
Ay, so we will.

Tell him.

>> Peter (29:46):
When that our princely father York
Blessed his three sons with his
victorious arm.
He little thought of this
divided friendship.
Bid Gloucester think of this, and he
will weep.

>> Speaker B (30:09):
Ay, millstones,
as he lessened us to weep.

>> Peter (30:14):
Do not slander him, for he is
kind.

>> Speaker B (30:21):
Right as, snow in harvest.
Come, you deceive yourself.
Tis he that sends us to destroy you
here.

>> Peter (30:38):
It cannot be.
For he be whipped my fortune
and hugged me in his arms.
And, swore with stabs that
he would labour my delivery.

>> Speaker B (30:58):
So he doth, when
he delivers you from this earth's thraldom.
To the joys of heaven.

>> Speaker C (31:09):
Make peace with God,
for you must die. My lord.

>> Peter (31:17):
Have you that holy feeling in your
souls? Counsel me
to make my peace with God.
And are you yet to your own soul so
blind. That
you will war with God by murdering
me?

>> Gideon (31:37):
O sirs.

>> Peter (31:40):
Consider they
that set you on to
do this deed. Will hate you
for the deed.

>> Speaker C (31:55):
What shall we do?

>> Peter (31:59):
Relent and, save your souls.

>> Speaker B (32:05):
Relent? No.
Tis cowardly and womanish.

>> Peter (32:13):
Not to relent is beastly,
savage, devilish.
Which of you, if
you were a prince's son, being pent from
liberty as I am now,
if two such murderers as yourselves
came to you would not

(32:35):
entreat for life?
you would beg were you in
my distress,
My friend,
I spy some pity in thy looks.

(32:56):
O, if thine eye be not a flatterer,
come, thou on my side and entreat
for me
a begging prince.
What beggar pities not?

>> Speaker C (33:15):
Look behind you, my lord.

>> Speaker B (33:19):
Take that and that.
If all this will not do,
I'll drown you in the malmsey. But within.

>> Speaker C (33:35):
A bloody deed and desperately dispatched.
How fain like Pilate, would I wash my hands
of this most grievous murder?

>> Speaker B (33:55):
How now.
What mean' st thou that thou help' st me not?
By heaven, the, Duke shall know
how slack you have been.

>> Speaker C (34:13):
I wish he knew that I had saved his brother.
Take thou the fee
and tell him what I say.
For I repent me that the duke is slain.

>> Speaker B (34:34):
So do not I
go, coward as thou
art.
Well, I'll go
hide the body in some hole
till that the duke give order for his burial.

(34:55):
And when I have my meadow,
I will away for this
will out. And then I must
not stay.

alright, guys, really.
Oh, bloody hell. Sorry, sorry, sorry, sorry. Really
terrific. And I hope you found it as useful,
as I did. It's wonderful to think that
emerge. So, just in general.
Great. You know what I want to do
before I give you any more notes, I just want to go over

(35:33):
this last bit.
just the last, few exchanges between
the murderers. Starting with the second murderer's a bloody
deed and desperately dispatched. and I think
we'll stay on for this. But, Daniel, you're doing a terrific job
of just giving it right to the camera, but this
time I want to suggest that you do this

(35:55):
as internally as you want. Right?
Yeah. I don't even care if I hear it.
in this particular go through. Okay.
this is a person having a real
crisis of faith or identity

(36:15):
or who he is or, you know, this is a really
bad thing that's happened.
so just let that work
on yourself without any
obligation to perform it. We're just going to get to see
your face and then Aubrey when you come in
M.

(36:36):
again, let's artificially or
not, let's really ramp
up how betrayed you feel. The
fact that you've now put your own soul
in jeopardy, you know,
whatever that means to you, but you're clearly having some.
Having some problems with it. and

(36:57):
just see if you can really let him
have it,
Second, Daniel, on this, on
your final speech, take thou the fee
and tell them what I say. I think the operative word there
is for I repent. Me. Right, so just
let lift that word in Dakin

(37:20):
Matthews. Dakin, is always talking about lifting words rather than
hitting them. Because it's not always just saying it
louder. It's. It's lifting it with an intensity or
it's repentance that you need. You need absolution.
You are in desperate states.
and again, the first murder is see how much you can let him have it on.

(37:42):
I don't give a fuck. Why don't you get out of here, you
pussy? Which is what
you say.
and then you also, see how, whenever he
leaves, which I think is pretty quickly, see
how internal this can become for you.
All right?

>> Speaker B (37:59):
Yep.

So, since you guys are doing so well, take this
opportunity to go. To pull these things way far
apart. Very internal. Very,
I don't pissed off for lack of the other word.

>> Speaker B (38:13):
Yeah, sure. Great.

Okay. So let's just do that, but then we'll go through the
whole scene.

>> Speaker B (38:19):
So, I'll go off my video while you're.

Okay, hang on.

>> Speaker C (38:21):
My connection.

>> Gideon (38:22):
Slow.

>> Speaker C (38:23):
Hang on. You guys are
still there.

I can still hear you. There you go.

>> Speaker C (38:28):
Yeah, I got you.

Yeah.

>> Speaker C (38:31):
From a bloody deed, right?

Yes. Give yourself a second to, imagine
what you've just seen. This five minute
scene. You've been through.

>> Peter (38:43):
M.

>> Speaker C (38:55):
Bloody deed and
desperately dispatched.
How fain like Pilate, would I wash my hands
of this most grievous murder?

>> Speaker B (39:19):
How now,
what mean' st thou that thou help' st me not?
By heavens, the duke shall know how sleep black
you have been.

>> Speaker C (39:36):
I would he knew that I had
saved his brother.
Take thou the fee and tell
him what I say. For
I repent me that the duke is
slain.

>> Speaker B (39:54):
So do not I go,
coward as thou art.
I will go hide the body in some hole

(40:15):
to let the duke give order for his burial.
And when I have my mead, I will away.

Okay?

>> Speaker B (40:27):
This will out, and then
I must not stay.

Good, you guys. Really good.
This m medium can be, deceptive,
but it needs that much acting.
When there's that much acting, it's fantastic, man. It makes your hair stand on
end. Really, really good,
Daniel, really terrific. I'm not going to

(40:55):
go through it again. But the next time, if you want to make
that first part, the bloody deed, even
more internal, just talk to
yourself, okay? Just talk to yourself. Really.
It's a Case of this is fucked up. What the fuck have
I done? I'm a dead man. I got a
fuck. I wish I hadn't done that. And she comes in and yells at you.

(41:17):
And that's. I mean, it's also a sort of
dramatic. Theatrically. It's fun if we have
somebody who's like. And then somebody comes in,
you know? but great.
And, Aubrey, I just. I love. She's getting
this steel in her. It's
terrific. and, Peter, you

(41:39):
still with us, I hope.

>> Peter (41:40):
Yeah.

so let me go back a little bit.
I, just
really like the way that's going.
Clarence, I loved your. To Murder Me
There was almost, always. It was just on the edge of being

(42:05):
bemused. It was terrific.
and I see that as this scene goes
on, you
did a great job of moving from an almost
disbelieving thing and then trying to just literally figure out
what's going on.
Towards the end of the scene,

(42:26):
you were losing that. It was much more
serious. But. But there was an arc there, or
a scoop or however you want to envision it.
But I love that beginning.
I would suggest that Clarence, on your line.

(42:46):
is another one of these. Again, I keep looking for
these places where it's almost as if the scene could stop. It's like,
what's the problem? What have I done to offend you? You haven't
offended us. You've offended the king. Oh, well,
we're going to be good. So that's the end of
this scene. And again, that allows us
to, The next guy. No, no, you're going to

(43:07):
die.
this longer speech of yours that you drawn from the world of men,
again, was wonderful.
the way you're questioning him, I'm not sure it needs to go much faster than
that.

>> Peter (43:21):
But.

But I, saw another one of these
breaks here. Again, because the way we're doing it. But
to threaten me with death is most unlawful. Is
the end of your sort of legal argument. Right?
You haven't done this. You haven't done this. You don't have a warrant. You did that. You can't be here.
And then you did this. Naturally, but I just want to make sure that
you're hearing it. I charge you as

(43:42):
you hope to have redemption. That's now moving on.
You're now taking an active thing.
So here's. You know, I'm royal, you're not. Here's what you're
going to do next. Right again. That helps us get
a new energy.
they force you to take a whole different tack.

(44:02):
Ah. On erroneous vassals. The king
of kings. Now, it's not legal. Now it's,
a moral argument. Exactly.

(44:23):
Oh, first m. Murder. and that's terrific. We
can find these chunks where it starts with a legal
thing. No, we don't care about that. Okay, well, then you have a
moral obligation. We're going to take care of that.
A slightly longer argument.
then, Clarence, when we get to your thing,
if you are hired for Mead, it seems to me then

(44:45):
it really devolves down to just money.
So with each of these things, you
have a sort of, I don't know,
however you want to work at it. It's like you have a smaller place to stand, you're working in
a smaller box. Or you could say you're working in a,
a more and more practical, worldly thing. You know, you got
legal, you've got religion, and then you got. Oh, this is about

(45:07):
money. Oh, I can get you m money.
And with each of those, his
self assurance, perhaps, or his seriousness
goes up, his self assurance maybe goes down.
Whatever Right there changes in there.
Aubrey, first murderers line. Thy brothers
love our duty. Can we get duty instead

(45:29):
of duty? Yes, it's the same you as in Duke,
and Duke later was perfect, so I know you can do
it.
and again, for the,
antithesis. It's thy faults,
right? Because he talked about his rage. It's not your rage.

>> Gideon (45:48):
You're at fault.

You have a moral problem. You weren't just
mad. Don't give me that.

>> Speaker B (45:53):
Okay, yeah, yeah.

Anyway,
I'm sure there's a, name for the rhetorical structure of
that, where we have three things. Is there a name
for that?

>> Gideon (46:03):
Gideon, there are probably 12 or
14 rhetorical things going on here which I'm not going
to name to you, but I will point out
that Clarence, says, my brothers love
the devil, which starts with a D, and my
rage. And then you go to thy
brother's love, which is exact repetition. Our
duty, which is duty, which is starting with

(46:26):
the same letter as devil, and then
rage versus faults. So
they're separating as the list
continues to the third thing. They're separate.

>> Speaker B (46:37):
Right?

Excellent, excellent. yes. So we're
turning to money now.
Clarence,
I think this line is so interesting. When the first
murderer says, I millstones as he lessened us to weep.

(47:02):
however you want to work this, it sounds a bit to me particularly
since you have that O there, which I think you
can make a little more use of, I
think Clarence is beginning
really to worry
about his situation even.
Yes. He's in a bad situation anyway.

(47:23):
But,
look at that line. It's both. you can't
say that about him, but I think there's some doubt
creeping in or something, and I think the
O helps you get to there. So don't. Don't
shortchange it.
Okay.

(47:44):
Where I really got that, clearly, was on your next line.
It cannot be, for he'd be wept my.
He'd be wept my fortune. I
could. I could feel you trying to work it out. Like,
I just saw him a minute ago, and it was.
Everything was cool, I think. Right.
So that's. That's terrific. Continue, in that.

(48:05):
In that vein and explore, it even
more. this is a
small thing. It's just a small verse thing.
again, Peter, about. I don't know. It's my line
262.
the line is that you will war with God by murdering
me. Just make sure it's murdering, not murdering.

(48:26):
There's an elision there.

>> Gideon (48:29):
Jeffrey, you're more of a stickler than I am. I heard it, too,
and I thought, no, I'm not going to bother him.

I'm not going to bother with. But Peter's.
Peter is a master. I wish you could have seen. Maybe you did. Did
you see his Falstaff? I saw it.

>> Speaker C (48:43):
I saw.

>> Gideon (48:44):
I wish I had.

so you mean the one we did?

>> Gideon (48:47):
Yes.

Yeah.

>> Gideon (48:50):
In Merry Wives, you mean?

No, no, no. The one we did,
at the Veterans Center.

>> Gideon (48:57):
Oh, no, no, I didn't see. I did see him
as Don Quixote in San Diego years ago.

Yeah, well, Peter can take
it, so I'm gonna. It just. It's a small thing,
but it just kind of leapt out at me. I don't know. So.
Small thing. And, the
whole point of doing this is to push ourselves harder than we
might normally. So,

>> Gideon (49:20):
Can I push you a little?

>> Peter (49:21):
Okay.

Yeah.

>> Gideon (49:24):
Daniel at line 174. 5.

Yes.

>> Gideon (49:31):
Clarence is saying, how darkly and how deadly dost thou
speak. I just. I wanted to make this general point. I make it
all the time for everybody. Dianomatics
used to say that, the character is created by the
words not only they say, but the words that everybody
else says about them. So when
he. When Clarence says, how darkly and how deadly dost thou

(49:51):
speak, that means your previous line has to
be dark and deadly.

Yeah.

>> Gideon (49:57):
So. And the authority of the
king. My voice is now the kings. And
my looks, and, you know,
they're bad looks because two things
are going on. Number one, you're coming to murder him. And two,
you've got this internal conflict going
on. So you do look dark

(50:18):
in deadly.

Okay.

>> Gideon (50:20):
And if you can give him that, then his line.
He doesn't have to push so hard on his line.
Okay.
Line 187. Peter,
when you say, a world of men art thou drawn
forth among a world of men, you're sometimes saying the
instead of a, and it's a. And why
that matters is

(50:42):
it's. Are you, Of all the people in the world,
are you the one picked out to do this horrible
thing? I think
you know that. I think maybe the A
will help rather than the thought.
Aubrey. 199.

(51:02):
Yeah. You hit the will. I would hit or
raise up the do, because the antithesis
is do and command,
so the word do is repeated.
What we will do, we do.
When it's not stressed upon command, the command
justifies what we're going to do.

(51:25):
You get what I'm saying?

>> Speaker B (51:26):
Yeah. Yes. Yes. I just. I had a question about that line.
Just because, like this, the scansion is probably like, what
we will do.

>> Gideon (51:33):
And I know the scansion is what we
will do. We do.

>> Speaker B (51:37):
Yes, yes. Sorry, sorry.

What we do.

>> Gideon (51:40):
Follow the scansion.

>> Speaker B (51:42):
Gotcha. I just didn't know because I was
thinking about will. like, we are
going to do this. Like you're trying to get us not to, but we are going
to do this.

>> Gideon (51:51):
I understand, but Shakespeare's telling you.
As I read it, Shakespeare's telling you that that
antithesis is more important.

>> Speaker B (51:59):
What we will do, we do upon command. Yep.

>> Gideon (52:02):
In other words, you're justifying. It's not just that You're.
You're reinforcing that you're going to do it. You're.
You're reinforcing the justification for
doing right. Does that make sense?

>> Speaker B (52:13):
Yes, it does. Thank you.

>> Gideon (52:14):
Okay. 231.
again, Aubrey. Well, we talked about that
line. I would just say
that you hit. You said
our instead of our. I'm not saying
hit the pronoun, but I'm just saying pronounce the
pronoun. Our duty.

(52:36):
That's gonna take a little practice. Our duty.

>> Speaker B (52:39):
Yep. Great.

>> Gideon (52:41):
Peter, line 237.

>> Peter (52:45):
Oh.

>> Gideon (52:45):
So just, I wanted to point out that the
antithesis is life and death, and the.
Both words end the lines. So
I would Say that you hit the. My
pronoun too much. So it buried the life.
Bringing out life versus death. You get what I mean?
Yep. And then,

(53:08):
line 268, the last. My last run
here.
Oh, the word relent.
Repeat is repeated.
It's Clarence, relent and save your souls. The first word
of relent. No, that's cowardly and womanish. So
now I think, Peter, you need to bring out the. Not

(53:29):
more. It's a,
trochee. It's not an I am.
Is beastly, savage, devilish. You with me?

>> Peter (53:41):
Yep.

>> Gideon (53:42):
That's it. Oh, no. One more thing to everybody.
To. If you possibly can remember, should
be to. Instead of tuh.
Just reads better for everybody.

great.
Let'S do this again. And,
this time I'm not going to, you know, make you go through that
exercise again so that you can, feel free to do it with
a little more, you know, go
through it a little bit easier. But I don't want you to.

(54:16):
I mean, I hope you will, hang on to that
sensation because once again, we have so
much time. It's not that difficult a scene.
And so let's take the luxury of time to make
sure you really know what you're saying. I'm not going
to watch your eyes, although you are all extremely
good at that. It's a very difficult

(54:37):
exercise. the one thing I want to do.
Oh, this,

>> Gideon (54:44):
this.

When you say, when he says, are you going to murder me? And they both say,
I. I,
I don't know.

>> Gideon (54:53):
It's.

It's coming out. Just. It doesn't sound quite right at the
moment.
what do we need? What do we need?
Just don't worry about trying to say it at the same
time. Just respond to him the way you,
the way your character would. But

(55:15):
get right on it. Don't worry about the other person. If you. I know
it's zoom, and it doesn't really work very well, but just
each of you say aye. Aye. Say it twice.
Okay. Don't worry about the other person.
maybe one is enthusiastically and quick. The other might be
hesitatingly. But I still think quick. I think you

(55:35):
want to get in there right away on it, Daniel. Yeah, yeah,
I'm going to do that. Yeah. That's why I came here. Yeah,
I know.
So let's, let's.

>> Gideon (55:46):
Jeffrey, I have a thought. It's
just a suggestion, but
what if, the first murderer says aye right away,
strongly, and the second murderer
chimes. In to
reinforce it more,
worriedly, let's say aye.

All right, let's try it that way.
I'm perfectly willing to, So, Aubrey, come
in.

>> Gideon (56:15):
It separates them again.

Yeah, and again it helps us with the medium. Aubrey, you come in right
away. Daniel, be right on it
also, but you each only say it once.

>> Gideon (56:25):
Just see how it. See how that feels.

Yeah, that's why I'm here.

>> Speaker B (56:28):
Great, good.

let's, start from your, From the
murderous scene. So what, shall I
stab him as he sleeps? Okay.
The whole thing through, I'm going to put a watch on us
this time, just to give us a
reference. So we're not doing pace,
we're doing connection. Still

(56:51):
hearing what the other person listen in response. I know
it's boring stuff to hear, but
can't hear it too often, so I will turn my camera off.
And Peter, why don't you come in when you wake up?
And, let's have you guys,
start us off when you feel like it. Just take a second. I don't know. Shake your
shoulders out,

(57:12):
Walk around yourself.

>> Speaker C (57:24):
What, shall I stab him as he sleeps?

>> Speaker B (57:28):
No, he'll say, twas
done, cat cowardly.

>> Speaker C (57:32):
When he wakes, why,
he shall not wake till the great judgment day.

>> Speaker B (57:39):
Why then he'll say, we stabbed him sleeping.

>> Speaker C (57:44):
The urging of that word judgment hath read
a kind of remorse in me.

>> Speaker B (57:52):
What, art thou
afraid?

>> Speaker C (57:58):
Not to kill him, having a warrant,
but to be damned for killing him, from the
which no warrant can defend me.

>> Speaker B (58:06):
I thought thou hast been resolute.

>> Speaker C (58:08):
So I am, to let him live.

>> Speaker B (58:12):
I go back to the duke of Gloucester and tell him so.

>> Speaker C (58:15):
Nay, I prithee stay a little.
I hope this passionate humor of mine will change.
It was wont to hold me but while one tells 20.

>> Speaker B (58:39):
How dost thy feel? How dost thou feel
thyself now?

>> Speaker C (58:45):
Some certain dregs of conscience are yet within me.

>> Speaker B (58:50):
remember our reward when the deed is done.

>> Speaker C (58:54):
Zounds, he dies. I forgot the
reward.

>> Speaker B (58:58):
Where's thy conscience now?

>> Speaker C (59:00):
Oh, in the duke of Gloucester's purse.

>> Speaker B (59:04):
When he opens his purse to give us our reward,
thy conscience flies out.

>> Speaker C (59:11):
tis no matter. Let it go. There's few, or
none will entertain it.

>> Speaker B (59:17):
What if it come to thee again?

>> Speaker C (59:19):
I'll not meddle with.
Makes a man a coward. a man cannot
steal, but it accuseth him. A man
cannot swear, but it checks him. A man
cannot lie with his neighbor's wife, but it
detects him. Tis
a blushing, shame faced spirit that

(59:40):
Mutiny is in a man's bosom. It fills a
man full of obstacles. It
made me once restore a purse of gold that by
chance I found it.

Beggars.

>> Speaker C (59:51):
Any man that keeps
is turned out of towns and cities
for a dangerous thing. And every man that means to live
well endeavours to trust to himself and
live without it.
Zounds. Tis even now at my elbow,
persuading me not to kill the duke.

>> Speaker B (01:00:13):
Take the devil in thy mind
and believe him not.
He would insinuate with thee but to make thee
sigh.

>> Speaker C (01:00:23):
I am strong framed.
He cannot prevail in me. With me.

>> Speaker B (01:00:31):
Spoke like a tall man that respects his
reputation. Come,
shall we fall to work?

>> Speaker C (01:00:39):
Take him on the costard with the hilts of thy sword.
And then throw him into the malmsey butt in the next
room.

>> Speaker B (01:00:47):
Oh, excellent device. And
make a sop of him.

>> Speaker C (01:00:52):
Soft. He wakes. Strike
no reason with him.

>> Peter (01:00:59):
Where art thou, keeper? give me a cup of wine.

>> Speaker B (01:01:04):
You shall have wine enough, my lord, anon.

>> Peter (01:01:09):
In God's name, what
art thou?

>> Speaker C (01:01:15):
A man as you are.

>> Peter (01:01:18):
But not as I am, royal.

>> Speaker C (01:01:22):
Nor you as we are, loyal.

>> Peter (01:01:26):
Thy voice is thunder, but thy looks are, humble.

>> Speaker C (01:01:30):
my voice is now the king's. My looks are mine
own.

>> Peter (01:01:36):
Darkly. And how deadly dost thou speak?
Their eyes do menace me.
Why, look you pale?
Who sent you hither? Wherefore do you come?

>> Speaker C (01:01:51):
To.

>> Geoffrey Wade (01:01:53):
To.

>> Speaker C (01:01:54):
To.

>> Peter (01:01:57):
To murder me?

>> Speaker B (01:01:59):
I?

>> Speaker C (01:01:59):
I.

>> Peter (01:02:03):
You scarcely have the heart to tell me so,
therefore cannot have the heart to do it.
Wherein, my friends, have I offended you?

>> Speaker B (01:02:15):
Offended us? you have not but the king.

>> Peter (01:02:18):

>> Speaker C (01:02:21):
Never, my lord. Therefore prepare
to die.

>> Peter (01:02:27):
Are you drawn forth among a world of
men to slay the innocent?
What is my offence? Where
is the evidence that doth accuse me?
What lawful quest have given their
verdict up to the frowning judge?
Or who pronounced the bitter sentence of poor

(01:02:49):
Clarence? Death. Before I be convict
by course of law,
threaten me with death is most unlawful.
I charge you, as you hope to have
redemption by Christ. Dear blood shed
for our grievous sins, that, you depart,

(01:03:09):
lay no hands upon me.
The deed you undertake is
damnable.

>> Speaker B (01:03:19):
What we will do, we do upon command.

>> Speaker C (01:03:23):
And he that hath commanded is our king.

>> Peter (01:03:26):
Erroneous vassals.
The great king of kings hath commanded in the
table of his law. Commanded thou shalt do no
murder. Will you then
spurn his edict and fulfil a
man's? Take
heed, for he holds
vengeance in his hand. To hurl upon the heads

(01:03:48):
that break.

>> Speaker C (01:03:48):
His law, and that same
vengeance doth he hurl on thee
for false forswearing, and for murder too.
Thou didst the sacrament to fight in quarrel
of the house of Lancaster,
and.

>> Speaker B (01:04:05):
Like a traitor to the name of God
didst break that vow, and with thy
treacherous blade unripst the
bowels of thy sovereign son,
whom thou wast sworn.

>> Speaker C (01:04:19):
To cherish and defend.

>> Speaker B (01:04:22):
How canst thou urge God's dreadful
law to us, when thou hast broke it in
such dear degree?

>> Peter (01:04:29):
Alas. For whose sake did
I that ill deed? For Edward,
my brother. For his sake. He sends you not to murder
me for this. For in that sin
is he as deep as I.
If God will be avenged for this deed,
O, know you yet. He doth

(01:04:51):
it publicly. Take not
the quarrel from his powerful arm. He needs no
indirect or lawless course to cut
off those that have offended him.

>> Speaker B (01:05:05):
Who made thee then a bloody minister,
when gallant springing, brave
Plantagenet a, ah, princely novice, was
struck dead by thee.

>> Peter (01:05:15):
My brother's love, the devil, and
my rage.

>> Speaker B (01:05:21):
Thy brother's love, Our duty
and thy faults provoke us
hither now to slaughter thee.

>> Peter (01:05:29):
You love my brother? Hate
not me. I, am his
brother, and I love him
well. If you are hired
for me, go back again. I will say
you to my brother Gloucester,
who shall reward you better for my life than
Edward will for tidings of my death.

>> Speaker C (01:05:52):
You are deceived. Your brother
Gloucester hates you.

>> Gideon (01:05:58):
Oh.

>> Peter (01:06:00):
No. He
loves me. He holds me dear.
Go you to him from me.

>> Speaker B (01:06:09):
Ay, so we will tell him that.

>> Peter (01:06:12):
When our princely father York blessed his three
sons with his victorious arm, little thought of this
divided friendship Bid Gloucester
think of this. He will weep.

>> Speaker B (01:06:25):
Ay, millstones, as
he lassen'd us to weep.

>> Peter (01:06:33):
Do not slander him,
for he is.

>> Speaker B (01:06:37):
Kind, right
as snow in harvest.
Come, you deceive yourself.
Tis he that sends us to destroy you here
cannot be.

>> Peter (01:06:54):
For he bewept my fortune
and hugged me in his arms, and
swore with sobs that he would labour
my delivery.

>> Speaker B (01:07:05):
Why, so he doth, when he
delivers you from this earth's thraldom
to the joys of heaven.

>> Speaker C (01:07:14):
Make peace with God,
for you must die. My lord.

>> Peter (01:07:20):
Have you that holy feeling in your souls to counsel
me to make my peace with God? And, are you yet
your own soul? And are you yet to your
own souls so blind that you will
war with God by murdering me?
Sirs, consider they that set you on to do this
deed will hate you for this deed.

>> Speaker C (01:07:48):
What shall we do?

>> Peter (01:07:49):
Relent, and save your
souls.

Relent.

>> Speaker B (01:07:55):
No. Tis cowardly and
womanish.

>> Peter (01:07:59):
Not to relent is beastly,
savage, devilish. Which of
you, if you were a prince's son, being pent
from liberty as I am now, if two
such murderers as yourselves came to you, would not entreat
for life? you would beg?
Were you in my distress,

(01:08:20):
my friend, I
espied some pity in thy looks.
Or, if thine eye be not a flatterer, come,
thou to my side and entreat for me
a begging prince. What
beggar pities not?

>> Speaker C (01:08:39):
Look behind you, my lord.

>> Speaker B (01:08:41):
Take that and
that. If all this
will not do, I'll drown you in the malmsy butt.
Within.

>> Speaker C (01:09:02):
Bloody deed and desperately dispatched.
How fain like Pilate, Would
I wash my hands of this most
grievous murder?

>> Speaker B (01:09:15):
How now. What mean' st thou that
thou help' st me not? By heavens, the
duke shall know how slack you have been.

>> Speaker C (01:09:25):
I would he knew that I had saved his brother.
And tell him what I say. For I repent me
that the duke is slain.

>> Speaker B (01:09:37):
So do not I go,
coward as thou art.
Well,
I'll go hide the body in some hole
so that the duke could give order for his burial.
When I have my mead, I will away

(01:09:59):
for this will out, and then I
must not stay.

Really terrific, guys.

>> Gideon (01:10:13):
It's so wonderful to work with such good
actors. Oh, my goodness. That was really
good.

Really wonderful. Really. I got a few little things
to say, but I.

>> Gideon (01:10:27):
Really good.

Yeah. I want to be sure that you realize that
we're, you know, having the luxury of
nitpicking because this is going really well, and you're all being quite
bold about being willing to
go beyond, you know, what's obvious or what you think,
finding these variations really,
really nice stuff. I'm

(01:10:49):
just going to say something because it's on the last page, and I keep forgetting to say it
last thing.
Daniel, your line for
I repent me that the duke is slain
just erases,
in a way, the word me. I repent me.
It's almost one word, Right? It's not I

(01:11:10):
repent me. It's I repent me.
Okay. I hate to give you a line reading, but.

>> Speaker C (01:11:15):
No, no, I get what you're saying.

Good. Just smudge that word out. Yeah.

>> Speaker B (01:11:22):
While we're on the last page, can I ask a quick question? Maybe Gideon or
you. It's my last line.
for this will out, and then I must not stay.
I know stay is the couplet, so I'M assuming
that's when I should hit. But should I hit must? I'm a
little unsure. I've been kind of playing with both, and I don't know if your
ears have a different thought on that.

>> Gideon (01:11:41):
Well, let me just suggest some things, and you can do it
how you want. Stay is the opposite
of stay. I'm going to go away. I'm going to stay
or I'm not going to stay. So it's
both a parallel. Not stay is the same as away.
It's a rhyme, and it
reinforces the idea. this will
out means it's going to come out. People are going to

(01:12:04):
know about it. It's not just that
Gloucester going to know about it, but everybody's going to
know pretty soon. So suddenly you
realize that you're in danger. Not the spiritual
danger the other guy's worried about, but
material danger. at the same time, on the
word need, you've now got double your
salary, right? Because he says, take them.

(01:12:27):
So it's more money, but it's
accompanied by external debt.

>> Peter (01:12:34):
Yeah.

>> Speaker B (01:12:34):
Great.

>> Gideon (01:12:35):
I don't want to tell you how to say it, because if you know that
you'll say it, fine.

and since you allowed me, I will just say that, stay
is the important word. Great.

>> Speaker B (01:12:46):
Okay.

We don't need a lot of words emphasized, so let me put
it that way.

>> Speaker B (01:12:50):
Great. Thank you.

to my ear. let me,
just say some things, I guess, and
then. And then, Gideon, you can jump in.
I don't have too many.

>> Gideon (01:13:05):
I have about seven.

Okay.
I'm not too sure about this, but let's let me know
what everyone thinks. First, murder. Early on,
when, second guy says judgment Day, first martyr
says, well, then he'll say, we stabbed him sleeping.
So that he mentions Judgment

(01:13:30):
Day. Well, at that point, then
he'll, I'm sorry. Then he'll say, we stabbed him
sleeping, perhaps.

>> Speaker B (01:13:37):
I see what you're saying. So you're wondering if we. If we emphasize the
then.

Yeah.

>> Speaker B (01:13:41):
Like at that point, then he'll say, yeah,
I see.

Perhaps think of it that way. Yeah. They're not going to say it today.
On Judgment Day. They'll say it then.
Maybe when he wakes up.

>> Speaker B (01:13:53):
At that point, then he'll say this.

Yeah.
Second, murder. Daniel, this whole section went
extremely well. Not to kill him.
so I am to let him live. I wrote very good.
certain Dregs of Conscience.
Really terrific stuff. I really like your thinking

(01:14:18):
in there. Aubrey,
I see what you're getting at for my taste. I think
this might be getting a little too light
with just,
reward in particular.

>> Speaker B (01:14:33):
Yep.

But there's a little bit in there. Just be
careful of making it too light.

>> Speaker B (01:14:38):
Sure.

You are here to kill a guy.

>> Speaker B (01:14:39):
Yeah. Yeah.

I, think she's got that wicked
irony or whatever it is sarcastic point of view.
But people who are being sarcastic don't laugh at
themselves very much. Just think of it that way.

>> Speaker B (01:14:55):
Yep.

and Aubrey, the line. What if it come to the again
Actually could be a problem. I mean, it is.
You are bantering here. Yes, but it would be a bit of
a problem. Like,
M. Are we going to be dealing with this all afternoon?
Can I count on you when the moment comes?
Right. Just fold

(01:15:20):
that into it.
Daniel, that break after, Tis a blushing
shame faced spirit that mutinies in a man's
bosom. Give yourself that break. I
liked it better when you.

>> Speaker C (01:15:35):
Yeah, I went on and
gave it after obstacles. But it should break
there. It should break where you still.

And it's ridiculous. I mean, I'm expecting you to take a note
the first time around. And I know perfectly well
one never does that. So just,
Yeah, this is one. Aubrey. Oh, excellent device. Make
a sop of him.
I think maybe you see the humor in it. I'm not sure you want to laugh

(01:16:05):
at it. Oh, yeah, that's a good idea.
Let's turn him into a sponge. That'd be
great.

>> Speaker B (01:16:11):
Yeah.

also, SOP has a double meaning. The I.
I thing worked extremely well. Thank you, Gideon. That was
the way to do it.

>> Gideon (01:16:20):
My pleasure.

Peter, this whole section. I shall be
reconciled to him again.
Terrific.
I do have a question.

>> Gideon (01:16:33):
Peter, you're so good.

Yeah. It's just wonderful.
I do have a question here around on my
line. Like the speech that starts around my line.
200 erroneous vassals, the great king of kings.
you have two places where you say his law.

>> Peter (01:16:51):
Right.

And I'll give you the.
It just can't be the same both times.
I'll give you. The first pronoun. Hath in the table of his law
commanded, but then at the end
hurl upon the heads that break his law.
Right.

>> Gideon (01:17:09):
I agree.

Right. Okay, so, you know, lose
the emphasis on his law. It doesn't scan. Right. Anyway,
it's filled with his.

>> Peter (01:17:17):
He has his four times in the speech.

Yeah. you know, you can
use them judiciously. but
that last one was really his law pronoun.

>> Peter (01:17:27):
After that it's not.

Yeah.

>> Gideon (01:17:29):
While we're on this speech, can I just add one note right
here?

Sure.

>> Gideon (01:17:35):
Peter, can you hit the first king
in Great king of kings. Because second
murder said, he that is commanded is our
king. Now you're talking about the king of kings.

>> Peter (01:17:47):
Yes.

Oh, good. That's
probably.

>> Gideon (01:17:51):
Either way, you took all my other notes really? Well,
Peter can do it the first time.

Well, let's see.
I have something circled. I don't know if it was this time or before.
And it's another clearance line.

(01:18:18):
For whose sake did I that ill deed? For Edward.
For my brother. For his sake.
There may have been a time. I don't know if this time before, where you
lifted the he. But it's not. He sends
you not to murder me for this.
It's old. We know who he is.

(01:18:40):
Aubrey, your next line. Gallat springing
brave Plantagenet. All of that sounds
terrific. Just this last line. That princely novice
was struck dead by thee. I think
that's the.
You can even stress all three of them
because it's that monosyllabic thing. It's bump, bump, bump.

(01:19:01):
But it certainly dead by
thee. I think what you were doing
was dropping off the.

>> Peter (01:19:08):
The, ah.

Whatever it was.

>> Speaker B (01:19:10):
We need the whole thing dead by thee. Yep.

Yeah.
get that. this is great, Peter, the way
you're. He's shifting from a kind
of not taking it too seriously to really fighting
for his life.
that line. Oh, do not slander him, for he is kind, was just
lovely. Talk about using the O

(01:19:34):
instead of trying to duck it the way so many of us
do.
second murder. Daniel, on
make peace with God, for you must die. My lord,
you see where I am about line
56. yeah,
it's a sort of, What does Hamlet say to his mother?

(01:19:57):
Assume a virtue if you have it not.

>> Speaker C (01:19:59):
You guys froze on me again.

Oh. Can you hear me?

>> Gideon (01:20:01):
Sorry.

Can you hear me now?

>> Speaker C (01:20:05):
Yeah, I got you.

Hamlet says to his mother, assume a virtue if you have it
not. I want you to assume
complete authority, complete
assurance in what you're doing there. Make yourself.
Make yourself say it without any hesitation.
Okay? Okay. At that point,

(01:20:26):
because Clarence really needs it to fight
against. Okay, okay.
and Clarence, on this, because this.
This is high as the stakes ever get in the scene. on
your speech, Peter.
And this is, oddly enough, for Zoom, this is a physical thing.

(01:20:47):
O sirs, consider that you. They that set you
on to do this deed, will hate you for the deed
you've been kind of physically sitting back after
that. But in fact,
the, murderers. The next person to speak says,
what should we do? And I think rather than taking the
pressure off, you need to keep it on. So

(01:21:10):
you're doing it vocally. You can do it
vocally, but don't ease up in any
way on that. So it's like,
I'm calling, your bet. What are you going to do?
And the second murderer blinks,
at which point you can go on. Then you can attack him again.

(01:21:33):
What are we gonna do? Relent. This is it, right? You can move
forward now.

>> Peter (01:21:38):
I have the answer.

You've found a way in. After this
whole scene, you've broken one guy.
and this is another scansion thing, Peter. It might be
a kind of a fielder's choice
on, about 277.
If two such murders as yourselves came to you,

(01:22:01):
would not came to you.
Oh, it's basically, Which of you would
not entreat for life? I. You would
beg were you in my distress. I think that's a
pronoun.
that I'll give you. I think, because that's what he's saying.

(01:22:22):
If you were me, you do the same thing.

>> Gideon (01:22:26):
Can I just say, don't, die away on beg.
Because beg is an extension of entreat.
To entreat is to request
passionately, but to beg is even more
passionate.

Yeah. And again, these monosyllables are
kind of like the three I was talking about with Aubrey earlier.
You can even stress all three of them. That's
another Dakin thing. When you get
these monosyllables, with this degree of
intensity in this scene, you can do that.

(01:23:01):
that took, 12 minutes and
49 seconds. And, could probably
go a tiny bit faster. Although the work you're
doing is compelling enough so that I don't feel a need
to whip you through it. Well, I'm sorry,
Gideon, was there more you had to.

>> Gideon (01:23:18):
I have a few things. I'll go very quickly.
first murderer, line 116.
I think you want to hit Resolute rather than Resolute.
I thought that has been resolute.

>> Peter (01:23:32):
Pow.

Yeah, I got that one.

>> Gideon (01:23:37):
Daniel, outline. 145.
Oh, you. You hit the pronoun. It made me once
restore a purse of gold.
It's true that you're going from a man.
It does this in a man, and then here's what it does to
me. That's true. But I don't think you want

(01:23:57):
to bury. Restore a Purse of gold.

>> Peter (01:23:59):
That's the.

>> Gideon (01:24:01):
That's, you know, build through the line rather than just
rest on that pronoun.

Daniel.

>> Gideon (01:24:08):
again, line 209.

Yes.

>> Gideon (01:24:16):
What's the line? Oh, you're leaving out the word
receive. Thou didst receive the sacrament
to fight.

>> Speaker C (01:24:23):
Oh.

Oh, yes.

>> Speaker C (01:24:25):
I. I must have cut and
pasted and dropped it. So I don't know if it's my
copy.

>> Gideon (01:24:31):
I figured it was a typo error somewhere, but
it didn't.

>> Speaker C (01:24:35):
It didn't, scan right to me. The meaning didn't scan right
to me without a verb there.

>> Gideon (01:24:40):
Correct. So the first time I
figured it's just because you're reading and changing your eyes. But
the second time I realized there might be a mistake on your
paper. Okay, Peter
2:21.
For in that sin, he is as deep as I.
You are saying, is he as deep as I?

(01:25:01):
Which is the form of a question, but it's a statement.

He is.

>> Gideon (01:25:06):
You're transposing those two little words.

>> Peter (01:25:08):
Right?

>> Gideon (01:25:09):
285. Daniel.

Oh.

>> Gideon (01:25:16):
Your hands were in front of your face. This is for Jeffrey,
too. I just felt like
a little bit of that is okay. But we want to see your.
Yeah, we want to see you saying it.
So I would say don't hide, but Jeffrey,
it's up to you. Of course, it was more about.

>> Speaker C (01:25:35):
Acting and internalizing and, you know.

>> Gideon (01:25:38):
Yeah.

>> Speaker C (01:25:38):
I think I can go that direction without the hands in front of the mouth.

>> Gideon (01:25:41):
Yeah, I thought so too. Okay.

You can certainly start that way. As long
as they're gone by the time you start talking. Yeah.
Because it was actually kind of effective.

>> Gideon (01:25:55):
I just wanted to say, adding on what
Jeffrey said before about, when
you're. You have the pilot line in
284, the
repentance coming in
292, you're actually giving up the money.
So the inner repentance becomes an
external act. So I

(01:26:18):
just. I wanted to point out that when you say take thou the
fee, you're. You're making a
sacrifice in the name of this change of
heart that you've had previous speech.
So you can think of yourself as building
from a bloody deed
through, take thou the fee and I

(01:26:38):
repent me and ah, then I'm gone. Right.
That's an arc. Goes all the way through to,
the exit. That makes
sense.

>> Speaker C (01:26:48):
Yeah, very much so. it's
pilate returning the 30 pieces of silver.

>> Gideon (01:26:54):
It's Judas. But, yes, Judas is what I mean.

>> Speaker C (01:26:56):
Judas. That's what I mean. It's Judas returning the
silver.

>> Gideon (01:26:59):
He starts with Pilate and then he's Judas returning the
silver. That's exactly right. Okay, that's
it. That's what I got.

Well, great. Now I've been talking at length.
Do any of you have any particular questions or
observations or anything you want to say?
You don't have to. Just giving you an opportunity.

>> Speaker B (01:27:24):
it was helpful, that exercise I get. I struggle
on Zoom with wanting where to look at any
given point. And you know, it was nice to be able
to have the luxury to actually watch someone's face while they're
talking instead of trying to, you know, figure out what I'm supposed to be
doing. So.

>> Gideon (01:27:41):
You nailed it. You nailed it.

>> Speaker B (01:27:42):
I'm gonna steal that for my acting class.

Yeah, it's something I think I got from an acting.
Helping with an acting. A beginning acting class. And
it's laborious. And when you're doing it with students, you have to
keep. You know, it's like getting a
horse to lift his head or something all the time.
But, it's very
useful.

>> Speaker B (01:28:03):
Yeah. And I think just particularly on Zoom.

Particularly on Zoom. Otherwise just
looking at this little light and. Yeah,
horrible.
I think we've done enough. I'm going to
stick with Peter so that he's not completely
exhausted. And we'll do his
dream stuff. But unless you guys have

(01:28:28):
questions or problems or something you want to go over,
we'll put this off till next
week. And you know, I think you, you're all
just doing super work. And like I say, there's nothing I
like better than a bold and generous
actor, which everyone here is so
great.

>> Speaker B (01:28:47):
Thank you. Thank you all.

Thanks. So, we'll see you guys 5 o' clock next
week, same time.

>> Speaker B (01:28:52):
All right?

Same Zoom panel. Peter, hang on.
So I'm so glad you wanted to do this.
I just.

>> Peter (01:29:02):
Absolutely.

>> Gideon (01:29:03):
Me too.

well, I, will read
the, I mean, let's just go through it so you have a
chance to say it out loud and
do it that way and then we can
talk about it afterwards. so
we're. Whenever you're ready. I will
just stay on with you because

(01:29:27):
I'm the keeper. Okay?
Why looks your grace so heavily today?

>> Peter (01:29:38):
Oh, I have passed a miserable night
so full of fearful dreams of
ugly sights, that as I am a
Christian faithful man, I would not spend another such
night. Though twere to buy a world of happy
days, so full of dismal
terror was the time.

What what was your dream? My lord? I pray you, tell
me.

>> Peter (01:30:05):
Methought that I had broken from the Tower.
And was embarked to cross to Burgundy.
And in my company, my brother Gloucester. Who
from my cabin tempted me to walk upon the
hatches. Thence we
looked toward England. And
sighted up a thousand heavy times. During the
wars of York and Lancaster that had

(01:30:27):
befallen us.
As we paced along upon the giddy footing of the
hatches. Methought that Gloucester stumbled.
And in falling struck me that thought to
stay him. Overboard into the tumbling
billows of the main.
O Lord, he thought, what pain

(01:30:48):
it was to drown. What
dreadful noise of waters in my
ears. What sight of ugly
death within my eyes.
Methought, I saw a thousand fearful
racks. A thousand men that
fishes gnawed upon. Wedges

(01:31:09):
of gold, great anchors, heaps of
pearl. Inestimable stones,
unvalued jewels. All scattered
in the bottom m of the sea.
Some lay in dead men's
skulls. And in the holes where
eyes did once inhabit. There were
crept as to in scorn of eyes

(01:31:32):
reflecting gems.
That wooed the slimy bottom of the deep. And
mocked the dead bones, that lay
scattered by.

Had you such leisure in the time of death. To gaze
upon these secrets of the deep?

>> Peter (01:31:46):
I thought I had, and often
did I strive to yield the ghost.
But still the envious flood stopped in
my soul. And would not let it forth. To find
the empty, vast. And in wandering air.
But smothered it within my panting bulk.
Who almost burst to belch it in the sea.

Awaked you not in this sore agony?

>> Peter (01:32:12):
No, no,
My dream was lengthened after life.
Oh, then begin the tempest. To my
soul I passed
me for the melancholy flood. With that, ah,
sour ferryman. Which poets write of.
Unto the kingdom of perpetual night.

(01:32:35):
The first that there did greet my stranger
soul. Was my great father in law, renowned Warwick.
Who spake aloud. What scourge for
perjury can this dark monarchy afford
false Clarence?
So he vanished.
Then came wandering by a shadow like an

(01:32:57):
angel. With bright hair dabbed in
blood. And he shrieked out loud,
clarence is come. False,
fleeting, perjured Clarence. That
stabbed me in the field by Tewkesbury. Seize
on him, Furies. Take him unto torment.
With that, methought a legion of foul fiends

(01:33:19):
environed me. And howled in mine
ears such hideous cries. That
with the very noise I
trembling waked.
And for a season after could not believe
that I was but that I was in
hell. Such terrible
impression made my dream.

No marvel, Lord, though it affrighted you.
I, though it affrighted you, I am afraid,
methinks, to hear you tell it. Keeper.

>> Peter (01:33:53):
Keeper. I have done these things that now
give evidence against my soul for Edward's sake,
and see how he requites me.
O God, if my
deep prayers cannot appease thee, but
thou wilt be avenged on my misdeeds, yet execute
thy wrath in me alone.

(01:34:17):
Spare my guiltless wife and my poor children.
Keep her. I prithee thee, sit by me awhile.
My soul is heavy and I, fain
would sleep.

I will, my lord God give your grace
good rest.
Right,
Right, right, right.

>> Gideon (01:34:43):
Wonderful.

>> Peter (01:34:45):
This guy shows great promise, this Shakespeare guy.

yeah, I think.

>> Gideon (01:34:51):
Needs to work.

On his imagery a little bit, but otherwise.

>> Gideon (01:34:54):
Yes, Can I give my five notes
first, and then if it gets to be seven o', clock,
I'll. I'll skip out.

okay, cool. Yes, absolutely.

>> Gideon (01:35:06):
Peter, line two.
give miserable its four
syllables. Try giving it its four syllables.

>> Peter (01:35:14):
I have passed a miserable night.

>> Gideon (01:35:16):
Yeah. Line
39,
stopped in.

>> Peter (01:35:25):
My soul.

>> Gideon (01:35:26):
It's a regular. I am because in is the key.
Kept it in.
It's not that it stopped my soul, it's that it
in. It kept it in.

Yeah.

>> Gideon (01:35:40):
Stopped it from moving.
line 47, ferryman is
the M A N is not man,
but man.

>> Peter (01:35:49):
M. Ferriman Ferryman
was poet, writer.

>> Gideon (01:35:54):
61, howlett is with the
ed pronounced for the scansion.
And the last one is line 64. I want you to read it
to me. Scanning it as you read.

>> Peter (01:36:08):
Could not believe, but that I was in hell.

>> Gideon (01:36:11):
Okay, good. I just want you to know that that's there.

>> Peter (01:36:14):
Yes.

>> Gideon (01:36:15):
That it's there like that. And that'll help you with
your stress now. That's it. Really
good.

Okay.
Yeah, it's lovely.
So just in general, I mean, I can't. I'm not going to
really pick out things, I don't think at the
moment. but as with
some of these others, I think what will help

(01:36:44):
you, Peter, is to look for the
places where the speech could
be over. I mean, this is also where it's helpful to actually have another
actor to work with, somebody who's going.
And then what happened? You know, even just,
ah, visually, you know. so you may have to do
a little bit more imagining of that.

(01:37:05):
But again, look for the places where
even perhaps Clarence would like to stop. He
would like to not think about it anymore. But then
it comes, other things that are
always helpful and that I
began to get a bit of in here are,
those moments of. That you're

(01:37:27):
getting so. Well in the main scene now of
sort of puzzling something out. Like,
you know, what happens in dreams. Like, I was
there, but I wasn't there. And
Gloucester was there, but how could he have been there? And then,
There are a number of places in there where you trying to.
Trying to work it out rather than simply

(01:37:49):
recount it. Right.
M. There we go. My
secretary will now answer the phone.
And, In an odd way,
I, think there are places when you're recounting all these

(01:38:14):
wedges of gold and beautiful stones and
pearls and all of this,
particularly in that first part where
you can allow yourself to be, in a way, caught up
in the beauty of it rather than being terrified.
It's like. It's that
resignation point in the. In the Kubler Ross

(01:38:35):
stages of death. It's like, oh, this is
lovely. Right. And again, just so
we can. So we can help you find some different colors. And you don't have
to be in that place of terror
and misery, the whole time.

>> Gideon (01:38:50):
You. You get lost in those jewels for
about five lines. And then you come back
to the slimy bottom of the deep. And the dead bones
scattered.

Yeah.

>> Gideon (01:39:00):
So it's. It's. It's,
It's forgetting death and then being reminded of
it.

Right.

>> Gideon (01:39:07):
Forget death in this kind of beautiful jewelry.
And then you realize where it is and what
it pulls you back.

Textually supported because you're the keeper. Says,
dang. You had time to look at that. You had the leisure to look at these
beautiful things.

>> Gideon (01:39:22):
Yeah.

Gaze upon it. You know, not. Not
snatching pictures. But you were gay. Oh, that sounds kind of nice.
So. So feel free to kind of indulge yourself in
that. you don't.
It's this. These speeches are a
fairly long voyage. So you don't have to be in the.
The worst of it all the time.

>> Gideon (01:39:44):
There's also an irony here, because
he's wanting to die in the dream. He's wanting to give
up the ghost and die. And
the rest of the scene, we're gonna see him begging not
to give up the ghost. Right. Don't kill him.
So there's a wonderful contrast between the dream and.
Even though there are parallels with the drowning, there are

(01:40:05):
also contrasts.

yeah. And along those lines at page
45, where, Just after he's been talking about how much
he was trying to die.
And,
again, we don't have to do the exercise of,
you know, raising your hand. Every time you actually get

(01:40:29):
a picture of the image you're making. But make sure to
really find the difference in the imagery of the
lines between the empty, vast and wandering air
and the smothering, panting bulk,
which are not as clear
as gems and scattered bars of gold, but
they're two really different

(01:40:50):
places.
and then this next bit, Well,
didn't you wake up at that point? You're not supposed to die in your
dreams. He says, no, no. After length. And then
began the tempest to my soul. Give
yourself a break right there. And

(01:41:10):
perhaps gather your thoughts and think.
Do I want to tell him this next bit? Because this
bit was horrible. You know,
the scuba diving part was kind of nice.
Then I had this struggle and then I got to
hell. So just decide
there at the end of line 45, I think it is

(01:41:31):
to go on. Okay.
I'm sure you would do this as you study yourself, but it's always
useful to look for places to find
a new energy. It doesn't always mean a higher energy. I
think sometimes we can afford to
downshift. I think that certainly happens
when,

(01:41:52):
I think that could happen on,
Execute thy wrath in me alone.
Leave my wife and kids. M. Rather
than going to the highest pitch there, maybe that's.
Maybe that's your most
supplant. Right. Look for the different
levels of supplication that

(01:42:14):
happen here.

>> Gideon (01:42:15):
Can I just ask if it's clear about what he
means by Warwick? Who? Warwick is,
you know, the background. It's going to come up again
in the other part of the scene. Warwick
is the, father of the
wives, or at least one of the wives of
the Yorks. And he was called the

(01:42:37):
Kingmaker. Ah. I mean,
yeah. And he was the one.
Sorry, Lancaster. He was the one
that, Clarence swore to.
To support the House of Lancaster.
And then he betrayed him when he went to fight with his
brother against Henry vi Lancaster.

(01:42:58):
So later they're going to say
you. You took the sacrament
to be loyal to Lancaster and then you broke
it and you went over back to York, which is your own
family, and it's. It's against Warwick
that you were, rebelling when you did that.
So that's. That's the perjury.

(01:43:20):
So that. So it ties. It ties the two together.

Okay.

>> Gideon (01:43:26):
Thank you.

Because these family things can be.

>> Gideon (01:43:29):
I know it's very complicated, freaking
difficult to follow. I'm always having to look up the
details.

And scourge for perjury means what,
punishment for the perjury. Right? What punishment in
hell do you deserve.

>> Gideon (01:43:43):
For what you scourge? Literally, is a whip.
So, yes. What's the punishment for perjury?

okay. what time is it?
It's not even seven. Do you want to have another
go at it? Do you want to have a drink of water and have a go at it? Do you want to
go at it?

>> Peter (01:44:02):
I'm good.

Okay. and I will try to actually
view the lines this time.
All right. Here we go.
Why looks your grace so heavily today?

>> Peter (01:44:20):
O, I have passed a miserable night.
So full of fearful dreams,
of ugly sights. That as I am
a Christian, faithful man. I would
not spend another such night. Though twere to buy a
world of happy days. So full of
dismal terror. Was the time.

Time. What was your dream, my lord?
I pray you, tell me.

>> Peter (01:44:46):
He thought that I had broken from the tower.
And was embarked to cross to Burgundy. And in my
company, my brother Gloucester.
Who from my cabin tempted me to walk upon the
hatches. Thence we looked toward England.
Spited up a thousand heavy.
It

(01:45:24):
m
heaps of pearl. M inestimable
stones, unvalued jewels.
All scattered in the bottom of the
sea.

(01:45:47):
Some lay in dead men's
skulls. And in the halls where eyes did
once inhabit. There were crept as twere in
scorn of eyes reflecting
gems.
Wooed the slimy bottom of the deep. And
mocked the dead bones that lay
scattered by.

Had you such leisure in the time of death.
To gaze upon these secrets of the deep?

>> Peter (01:46:13):
Methought I had
often did I strive to yield the ghost.
But still, still the envious flood
stopped in my soul. And would not let
it forth to find the empty, vast and
wandering air. But
smothered it within my panting bulk.

(01:46:35):
Who almost burst to belch it in the
sea.

Awaked you not in this sore agony?

>> Peter (01:46:43):
No, no. My dream
was lengthened. Afterlife.
Where then began the tempest
to my soul.
I passed, methought, the
melancholy flood. With that sour

(01:47:04):
ferryman which poets write of. Unto the kingdom of
perpetual night.
The first that, there did greet my stranger soul. Was my
great father in law, renowned Warwick.
Who spake aloud,
what scourge for perjury can
this dark monarchy afford

(01:47:25):
false Clarence?
And so he vanished.
Then came wandering by a shadow
like an angel. With bright hair
dabbled in blood. And he shrieked
out loud, clarence is come.
False, fleeting, perjured

(01:47:47):
Clarence. That stabbed me in the
field by Tewkesbury.
Seize on him, Furies. Take him
unto torment.
Without me thought, a
legion of foul fiends. Environed me in
Howled in mine ears such hideous

(01:48:08):
cries, that with the very noise
I trembling waked, and
for a season afterward could not
believe but that I was in hell.
Such terrible impression made my dream.

No marvel, Lord, though it affrighted you,
I'm afraid, methinks, to hear you tell it.

>> Peter (01:48:33):
Keeper. Keeper.
I have done these things that now give evidence
against my soul for
Edward's sake and see how he requites
me.
O God, if
my deep prayers cannot appease thee,

(01:48:54):
but thou wilt be avenged on my misdeeds,
yet execute thy wrath in me
alone.
O spare my guiltless wife and my
poor children.

>> Speaker B (01:49:12):
Keep.

>> Peter (01:49:13):
I, prithee,
sit by me a while.
My soul is heavy and
I fain would sleep.

I will, my lord God give your grace
good rest.
Well, that was a master class right there.

>> Gideon (01:49:34):
Dynamite. M. Dynamite. I have, two things to
say. Only number one.
Stepped in. You still did stepped in
instead of stepped in. And number
two.

Stopped in. Right.

>> Gideon (01:49:49):
Stopped in. Sorry. theologically, this your
last speech here is
a very good argument why he's not going to be
damned. In fact, he's doing a very
Christian thing, which is, if not praying for
himself, praying for someone else.

Right.

>> Gideon (01:50:07):
And that suggests,
the possibility of. That this
dream is given him to
scare him into repentance rather than
to predict what will actually happen. We
don't know. And Shakespeare doesn't tell us
we can't know those things, but
it disposes us to, hope

(01:50:30):
for the best for Clarence because of this gesture.
So it's kind. You got it.
I'm not saying you should do anything differently from what you
did, helping you see
that the theological implication is
a good news at the end of this.

and, I, will say that this is something I thought about and hadn't mentioned,
but you did automatically,
which is in that speech. The part,
oh, God, if my deep prayers cannot appease thee through my poor
children, is literally a prayer. I mean,
it's like you speak to the keeper, and then you actually
pray and you speak to the keeper again.

(01:51:08):
which was something I heard
and, encourage you to
absolutely do. It was terrific.

>> Gideon (01:51:15):
and it's Christ, like, because Jesus says to
his disciples, sit with me a while in the Garden
of Gethsemane, Stay awake and be with me.

Oh, that's right.

>> Gideon (01:51:25):
And, they. They can't, of course, but
it's a Christ like request,
so there are these overtones.

just terrific, Peter,
the variations in, tone and,
you know, technically the variations, but, you know,
the Accolade choices are, just terrific. And I would say
no, A,
don't do any less than that, and B, don't feel a

(01:51:56):
need to go any quicker than that. Because when.
I mean, as you. I mean, you know all this. But when. When we're
watching someone think or watching someone go through
seems to fill the time. It can. It can take more
seconds, but it seems.

>> Peter (01:52:12):
It's when you don't take the time, actually, that it becomes hard to
follow exactly.

And then it just becomes a list of pretty, pretty things that you've
seen. But I was that time through, I was
seeing you see them.

>> Gideon (01:52:24):
So I agree with that too. I just would
add, go through Peter and
pick the places where you want to pause and where you don't
want to pause, within lines or within
sentences so that you're not,
You're not tempted because of these emotions.
The pause where it doesn't does break the thought.

(01:52:45):
But I'm not saying don't take plenty of
time on getting through the thought.

having said that, I'm going to tell you two that worked.
Or maybe it was three. Two that
worked extremely. I actually wrote them down.
Where Gloucester stumbled, falling struck me that thought
to stay him overboard into the tumbling billows of the main.
At that point, you took a lovely
break. A lot going on.

(01:53:12):
Keep that. I wrote a big yes there. And the
other one was where we had, spoken earlier on line
45. Then began the tempest to my soul. And
it's like you were ginning yourself up to it or
whatever the word is.
those were the only two
I wrote down.
Oh, just a couple of things. Just

(01:53:35):
Peter compliment, period. But that the difference
between the empty, vast, wandering air and the smothered
within. Terrific. It's a completely different
quality of the air. And I wish I could
make my students hear you say, a legion
of foul fiends environ me. Howling
man are using those vowels. It's wonderful. It's just

(01:53:56):
wonderful. And it's. It's
rare to get somebody who sounds contemporary
but still is, willing to do all that.
It's a little past seven now, so
if you'd like, we can stop. Unless you have a real.

>> Gideon (01:54:12):
I need to stop. And if you want to go on,
that's fine, but I gotta go.

Okay. Thank you.
Pardon?

>> Peter (01:54:21):
I'm sorry. I'm good. I have plenty to work on.

You mean good to stop now? Yeah, yeah,
great. well, ah, thank you, Gideon. And thank you, Peter.
Thank you, Peter.

>> Gideon (01:54:32):
So great to work with you. Oh, my goodness.

>> Peter (01:54:34):
Very helpful.

>> Gideon (01:54:35):
Thank you. Super.

so next week. Next week we will. I,
think perhaps, start
with this. Yeah. And then go through the whole thing.
leaving out the little. maybe
I'll write an email about how we'll skip over,
Brackenbury. I think when we do the.

>> Gideon (01:54:54):
Whole thing, we're gonna see how much
the second half of the scene echoes.

Oh, it'll be. Oh, yeah. It'll be
wonderfully useful for, Peter. But,
just terrific. I'm having a blast doing this. And I'm honored
to be working with you, Peter, and not covering you.

>> Gideon (01:55:12):
Bravo, Jeffrey. You're so good.

Thank you. Great.
Good, good, good. Well, I'll see you all on
Tuesday. And if something comes up, you know, send us a
message or something. Have a
lovely evening. Thanks, guys.

>> Peter (01:55:28):
Take care.
Sa.

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Richard III (1.4), Week 1: "From Dreams to Deeds" - Shakespeare | The Rehearsal Room

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Richard III (1.4), Week 1: "From Dreams to Deeds" - Shakespeare | The Rehearsal Room