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Is there anybody there?

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Is there anybody there?

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This is Radio 3, is there anybody there?

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You dancin'? -- Who's askin'?

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I'm askin'. -- You're askin'?

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I'm askin', are ya dancin'?

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Am I dancin'? I'm dancin'.

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A'right, I'll have yer chair then.

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Hello, good evening and welcome to the third in our series of

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Shakespeare Masterclass: An Actor Prepares.

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Last week, if you remember, we were concentrating largely on the body.

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Well, tonight it's the turn of the voice, and we'll be doing some vocal work.

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Well, here's our space, where's our actor?

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Well, we're very lucky to have with us in the studio this evening Hugh.

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Hello Hugh. -- Hi. -- Hi.

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What have you prepared for us this evening, Hugh?

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I have a speech from Troilus, III.3 ... it's the Ulysses speech.

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The Ulysses speech, T&C, three three. That's on page sixty-six in your Cambridge editions

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if you'd like to follow at home.

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So, Hugh.

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What I want you to do first of all is to imagine that you're a racing car going round a track.

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All right? -- Right. -- Now there's a video camera attached to you, so

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as you go round the track we're all going to get a good view of it.

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OK? OK. Now later on, Hugh, we'lll be taking your engine apart.

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Piece by piece. Oiling it, putting it back together again.

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All right. -- All right? But first of all, let's have a view shall we?

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OK. -- Thank you, Hugh.

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Hugh?

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Yes?

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Why are you squatting?

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Oh. Sorry, I thought ...

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I don't think we're ready for that yet, are we? -- No.

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Just the speech.

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Time hath, my lord,

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A wallet at his back, wherein he puts

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Alms for oblivion, a great sized monster

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Of ingratitudes.

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Well. As you can see, Hugh, there's still a long way to go, isn't there?

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All right, let's start right at the beginning, shall we?

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Right.

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What's the word -- what's the word, I wonder,

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that Shakespeare decides to begin his sentence with here?

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Ummm ... "Time". First one.

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"Time".

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"Tiiime". -- ... yup.

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And how does Shakespeare decide to spell it, Hugh?

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T, I, M, E.

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T, I, ...?

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M. -- Emmm E. -- Yup.

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And what sort of spelling of the word "time" is that?

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Well, it's the ordinary spelling.

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It's the ordinary spelling, isn't it? It's the conventional spelling.

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So why, out of all the spellings he could have chosen,

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did Shakespeare choose that one, d'you think?

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Well, um, because it gives us "time" in an ordinary sense.

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Exactlywelldonegoodboy, because it gives us "time" in an ordinary ...

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in the conventional ... sense. --Oh, right.

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So. Shakespeare has given us "time" in a conventional sense.

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Yeah.

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But he's given us something else here.

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Have a look at the typography, what do you espy?

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Oh, aaah ... it's got a capital T.

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Shakespeare's T, very much uppercase there, Hugh, isn't it? -- Yeah.

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Why.

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'Cause it's the first word in the sentence.

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Well, I think that's partly it.

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But I think there's another reason too.

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Shakespeare has given us "time" in a conventional sense ...

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Uh huh.

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... and "time" in an abstract sense.

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Right. -- All right? -- Yeah.

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Think your voice can convey that to the viewer? -- I hope so.

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I hope so too. All right, give it a go.

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Just the one word?

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Just the one word for the moment. -- Yeah. OK.

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Whoawhoawhoawhoawhoah.

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Hugh, Hugh, Hugh.

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Where do we gather from?

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Oh the buttocks!

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Always the buttocks! Sorry. Yeah, right.

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Gather from the buttocks. Thank you.

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TIIIME

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What went wrong there, Hugh?

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Um ...

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I don't know, I got a bit lost in the middle actually.

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What I want you to do now is to take the word "time"

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and to start adding some of your own feelings.

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All right? -- Right.

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Some of your feelings of ruin and hopelessness and tragedy and despair,

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feelings of loss and grief and bereavement.

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But feelings, too, of hope and spirit, and love and ambition.

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All right?

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Feelings of jealousy, envy and covetousness.

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Right. Um.

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Wantonness?

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No, leave wantonness out, Hugh.

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All right. -- All right?

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So. One more time then, all right?

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But I think what we'd better do first is ...

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do you feel ready for a little exercise designed to build up your confidence

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and help your voice projection?

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Yes. -- You do? good.

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With me, then, I want you to adopt the Mime Stance. All right? -- Right.

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Mime Stance ... good. Now, hand on shoulder ... good boy.

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Now what I want you to do, after 3, with me,

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is to say the word "time", ten times, very fast.

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Right. -- All right? -- Yeah.

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Without the script? -- Off book, yes.

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So: Three.

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Timetimetimetimetimetimetimetimetime, time.

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You see? -- Oh, right.

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You get that sense? That sense of ...

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Uuuhhh ...

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drivel.

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That sense of what I like to call time ... collapsing into nonsense, Hugh.

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A sense of nonsense. -- Nonsense.

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Shakespeare knew it was there, we can't shirk it now.

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Put it in with the others, all right? Gathering from the buttocks.

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Thank you.

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TIME!

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Hm.

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Much, much better, Hugh.

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Well done, we make tremendous strides. This is very exciting work.

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I'm very excited, I hope you're excited too.

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All right?

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So. Hugh.

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What I want you to do now is to see how great the strides we've made have been

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by reading the rest of the speech as well,

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using what we've learned.

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OK. All right. -- yeah? -- right.

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TIME! hath my lord a a wallet at his back where he puts alms for oblivion

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a great sized monster of ingratitude.

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Well, as you can see, still a very long way to go there.

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But we'll be returning to Hugh with that speech later on,

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perhaps in our 1988 series.

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But meanwhile, until the same time next week,

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from Shakespeare Masterclass: an Actor Prepares,

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it's good night and God bless.

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Eh. Diz iz well in control.

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I play queen D8,

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followed by knight H5 to F4,

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exploiting his double deaf bones and weak king side.

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Yeees.

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Iz ztrong move.

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Queen D8.

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Oh, wha's he done that for?

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Was all nice before, it went black-white-black-white all the way down, in a kind