how I work on a Shakespeare speech

After deciding to direct a Shakespeare play, but before starting rehearsals, I spend many days studying the script. Below, I'm going to take you through some of the games I play to get a handle on the text.

As an example, I'll use the famous Saint Crispin's day speech from "Henry V." If you want to see two great examples of the speech performed, rent the Laurence Olivier and/or Kenneth Branagh movie adaptation. It's interesting to compare how those two very different actors approach the same speech.

Perhaps the greatest "cheerleader" speech ever written, Henry proclaims it to his men before they go off to fight the French. Here's the complete speech:

This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

WHAT DOES IT MEAN?

The first thing I do is to read it without looking up any of the obscure words or references. I want to experience it the way a "virgin" audience experiences it. They won't be able to check Cliff Notes during the performance, so I need to know what will be hard for them to understand.

Truthfully, it's impossible for me to put myself in the shoes of a Shakespeare newbie. I know that "'Zounds" is short for "God's wounds" (and that vowel-sound in it is "oo" and now "ow"). I can't make myself unlearn that. So sometimes it helps for me to read the speech aloud to a "lay person" and ask him what he thinks it means.

Here are the immediate questions that spring into my mind:

- who is Crispian?
- what is "the feast" and "the vigil" that occurs on "St. Crispian's day"?
- what is a vigil?

I'm lucky that, in this speech, everything else is pretty clear and is close to contemporary language. In many speeches, I will have to look up a word or two in each line. To do this, I use many resources that I've collected over the years, which you can use if you want to know about St. Crispian (you didn't think I was going to tell you the answer, did I?) Wikipedia can also be helpful for answering historical and factual questions. Here are some particularly useful resources:

- The Oxford English Dictionary. This is a very expensive dictionary, but it's the dictionary of dictionaries. In it, you'll often find several pages defining a single word, giving all its variant meanings. You can pick up cheaper copies of it on Ebay, and pretty much every library has it. Many libraries let members access it online for free.

- Shakespeare Lexicon and Quotation Dictionary. This is a special dictionary that just lists and defines the words Shakespeare used.

- Pronouncing Shapespeare's Words. It's one thing to know what a word means, but that doesn't help you know how to say it.

Finally, and most important, I buy every edition I can find of the play itself. So if I'm directing "Henry V," I will go to a used bookstore and buy the Penguin edition, the Arden edition, the Oxford Edition, and so on. Each one has different notes. I crack them all open to the passage I'm studying and read what they have to say about it. I compare these editions to the First Folio, the first printed version of Shakespeare's plays, which is easy to find online.

Speaking of online, since it's so easy to find the plays on various websites (I mostly use playshakspeare.com), I always copy and paste the text into a Word document. That way, I can easily annotate the text.

WHAT IS ITS TRANSLATION?

Getting back to the speech: to make sure I understand it, I translate it into modern English.

This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.

Today is a holiday called "The Feast of Crispian." Anyone who is still alive at the end of the day, and gets home safe, will stand up tall (with pride) when the holiday is mentioned and will get excited by the name "Crispian."

He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'

The guy that lives through today and make it to old age will -- every year on the night before the holiday -- have a party for his neighbors and tell them "Tomorrow is Saint Crispian's" Day.

Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'

No translation necessary.

Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day:

(The "yet" here is troubling. Perhaps it means "as," as in "as all shall be forgot." Perhaps it means "as someday.")

Most old men forget (as everything will be forgotten some day), but he will remember well what feats he did that day.

then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.

Then all of our names will be as commonly spoken by him as every-day words. Harry the King, Bedford and Exetor, Warwick and Talbot, Salsisbury and Gloucester. They will be remembered whenever he makes a toast.

This story shall the good man teach his son;

No translation necessary.

And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;

No translation necessary.

For he to-day that sheds his blood with me
Shall be my brother;

No translation necessary.

be he ne'er so vile,
This day shall gentle his condition:

No matter how vile (low born?) he is, this day will make him a gentleman.

And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

And high-born men in England, now in their beds, will curse themselves for not being here (with us), and they will think of themselves as pussies compared with those of us who fought together on St. Crispin's day.

Sorry about the word "pussies," but I often find it helpful to get as slangy and colloquial as possible. The translation is just for me, and the more I can make it colorful and "just the way some guy might speak at a bar," the more accessible it will be to me.

You may disagree with parts of my translation. I'm not crazy about all of it, myself. But I'm not going to publish it (except on this blog). It's just to help keep me on track and to bring the speech down from its lofty heights.

WHAT IS IT'S METER?

Next, I scan the lines for meter. For any of you who need a refresher (or an intro -- don't be ashamed), Shakespeare wrote in blank verse. Blank verse is ten syllables long, and it alternates between stressed and unstressed syllables, like this: tee-TUM, tee-TUM, tee-TUM, tee-TUM, tee-TUM (say that aloud). For instance:


For sooth I know not why I am so sad.
for SOOTH i KNOW not WHY i AM so SAD.

What's interesting is that Shakespeare sets up this basic rhythm and then strays from it, like a Jazz performer improvising around a standard. One common variation is the feminine ending, in which there's an extra (unstressed) syllable at the end:

To be or not to be, that is the question.
to BE or NOT to BE, that IS the QUEST...... ion


He also sometimes reverses the stressed/unstressed order for one (or more) of the pairs:

Now is the winter of our discontent
NOW is the WINter of our DISconTENT

Notice how the "NOW is" reverses the order of the stressed/unstressed standard. It would be odd to say "now IS the winter..." unless someone else had just said "Now ISN'T the winter..." and you were trying to contradict him.

The "of our" is another variation, in which there are two unstressed syllables in a row, rather than a stressed and an unstressed one.

Though Shakespeare plays with these variations, he inevitably returns to the standard tee-TUM, tee-TUM, tee-TUM, tee-TUM, tee-TUM before too long. It's worth noting when he strays and when he keeps to the standard meter. Often, we can learn things from both. For instance, a character who speaks completely in regular meter may have an orderly state of mind. Another, who continually strays, may be nervous or confused.

It's important not to get too bogged down in this stuff. You and I might stress certain words differently, and there's no right way of saying a line. Scanning is a useful tool. It can help you, as long as you're not dogmatic about it.

Here's my first scan of the speech, in which I try to force it to rigidly follow the standard pattern. Say it allowed and see which lines work that way and which don't:

This DAY is CALLED the FEAST of CRISP i AN:
He THAT out LIVES this DAY, and COMES safe HOME,
Will STAND a TIP-toe WHEN the DAY is NAMED,
And ROUSE him AT the NAME of CRISP i AN.
He THAT shall LIVE this DAY, and SEE old AGE,
Will YEAR ly ON the VIG il FEAST his NEIGH ....... bours,
And SAY 'To-MORrow IS Saint CRISP i AN:'
Then WILL he STRIP his SLEEVE and SHOW his SCARS.
And SAY 'These WOUNDS I HAD on CRISP in's DAY.'
Old MEN for GET: yet ALL shall BE for GOT,
But HE'LL re MEM ber WITH ad VAN tag ES
What FEATS he DID that DAY: then SHALL our NAMES.
Fa MIL iar IN his MOUTH as HOUSE hold WORSDS [How many syllables in familiar?]
Har RY the KING, Bed FORD and EX e TER, [Do we really want to say Harry and Bedford that way?]
War WICK and TAL bot, SALIS bur Y and GLOUCE ...... ster, [difficult to scan]
Be IN their FLOW ing CUPS fresh LY re MEM ..... ber'd.
This STOR y SHALL the GOOD man TEACH his SON;
And CRISP in CRISP i AN shall NE'ER go BY,
From THIS day TO the END ing OF the WORLD,
But WE in IT shall BE re MEM ber'd; ---------- [ or "re MEM ber ED"? ]
We FEW, we HAP py FEW, we BAND of BRO .......... thers;
For HE to-DAY that SHEDS his BLOOD with ME
Shall BE my BRO ther; BE he NE'ER so VILE,
This DAY shall GEN tle HIS con DI ti ON: [ HOW many syllables in condition? ]
And GEN tle MEN in ENG land NOW a-BED
Shall THINK them SELVES ac CURSED they WERE not HERE,
And HOLD their MAN hoods CHEAP whiles AN y SPEAKS
That FOUGHT with US up ON Saint CRISP in's DAY.

Here's a second attempt. This time, I have marked lines as [ok] if they seem natural when scanned using the tee-TUM standard. I also call lines [ok] if they have a feminine ending, because this is such a common deviation from the norm:

This DAY is CALLED the FEAST of CRISP i AN: [ OK ]

He THAT out LIVES this DAY, and COMES safe HOME, [ FORCED]
HE that out LIVES this DAY, and comes safe HOME [ BETTER ]

Will STAND a TIP-toe WHEN the DAY is NAMED, [ OK ]

And ROUSE him AT the NAME of CRISP i AN.

He THAT shall LIVE this DAY, and SEE old AGE, [ FORCED ]
HE that shall LIVE this DAT, and SEE old AGE, [ BETTER ]

Will YEAR ly ON the VIG il FEAST his NEIGH ....... bours, [ OK ]

And SAY 'To-MORrow IS Saint CRISP i AN:' [ OK ]

Then WILL he STRIP his SLEEVE and SHOW his SCARS. [ OK ]

And SAY 'These WOUNDS I HAD on CRISP in's DAY.' [ OK ]

Old MEN for GET: yet ALL shall BE for GOT, [ OK ]

But HE'LL re MEM ber WITH ad VAN tag ES [ OK ]

What FEATS he DID that DAY: then SHALL our NAMES. [ OK ]

Fa MIL iar IN his MOUTH as HOUSE hold WORSDS [ OK ]

Har RY the KING, Bed FORD and EX e TER, [ FORCED ]
HAR ry the KING, BED ford and EX e TER [ BETTER ]

War ICK and TAL bot, SALIS bur Y and GLOUCE ...... ster, [FORCED]
WAR ick and TAL bot, SALIS bur Y and GLOUCE ...... ster, [ BETTER ]

Note: the "salis" in "Salisbury" is pronounced as one sylleble, as in salisberry steak. Pronunciation guides (see above) really help with this kind of confusion.

Be IN their FLOW ing CUPS fresh LY re MEM ..... ber'd. [ OK ]

This STOR y SHALL the GOOD man TEACH his SON; [ OK ]

And CRISP in CRISP i AN shall NE'ER go BY, [ OK ]

From THIS day TO the END ing OF the WORLD, [ OK ]

But WE in IT shall BE re MEM ber'd; [ PAUSE ]
But WE in IT shall BE re MEM ber ED [ NORMAL SCAN ]

We FEW, we HAP py FEW, we BAND of BRO .......... thers; [ OK ]

For HE to-DAY that SHEDS his BLOOD with ME [ OK ]

Shall BE my BRO ther; BE he NE'ER so VILE, [ OK ]

This DAY shall GEN tle HIS con DI ti ON: [ OK ]

And GEN tle MEN in ENG land NOW a-BED [ OK ]

Shall THINK them SELVES ac CURSED they WERE not HERE, [ OK ]

And HOLD their MAN hoods CHEAP whiles AN y SPEAKS [ OK ]

That FOUGHT with US up ON Saint CRISP in's DAY. [ OK ]

Why do all this? We certainly don't want to say the lines with a robotic tee-TUM rhythm. But that rhythm is there, and it's a big part of what makes the verse verse. If we study it, we get its rhythm in our bones. Once it's part of us, we can mostly forget about it. We can speak primarily for meaning, not beat. But the beat will be there.

WHAT ARE THE SENTENCES?

Next, I look at the speech in terms of sentences. I forget that's it's poetry. My goal here is to really feel the speech as a series of complete thoughts.

The punctuation is controversial, because it wasn't written by Shakespeare. Each edition of the play has its own punctuation, created by that edition's editor. This is one of the reasons I buy multiple editions. I look at each editor's choice and pick the punctuation I like best. My goal isn't to be a scholar. My goal is to find an easy, fun and exciting way to say the lines.

FIRST SENTENCE:
This day is called the feast of Crispian.

SECOND SENTENCE:
He that outlives this day, and comes safe home, will stand a tip-toe when the day is named, and rouse him at the name of Crispian.

THIRD SENTENCE:
He that shall live this day, and see old age, will yearly on the vigil feast his neighbours, and say 'To-morrow is Saint Crispian:' [ note the quotation]

FOURTH SENTENCE:
Then will he strip his sleeve and show his scars.

FIFTH SENTENCE:
And say 'These wounds I had on Crispin's day.' [ another quotation ]

SIXTH SENTENCE:
Old men forget: yet all shall be forgot, but he'll remember with advantages what feats he did that day: then shall our names, familiar in his mouth as household words, Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, be in their flowing cups freshly remember'd.

SEVENTH SENTENCE:
This story shall the good man teach his son; and Crispin Crispian shall ne'er go by, from this day to the ending of the world, but we in it shall be remember'd we few, we happy few, we band of brothers; for he to-day that sheds his blood with me shall be my brother; be he ne'er so vile, this day shall gentle his condition: and gentlemen in England now a-bed shall think themselves accursed they were not here, and hold their manhoods cheap whiles any speaks that fought with us upon Saint Crispin's day.

Would you divide up the sentences differently?

You'll notice that in this speech, the sentence structure gets more and more complicated at the end. I find it useful to break such complex thoughts up into main phrases and parenthetical side phrases. I often do this for the whole play. Here, I'll demonstrate with the sixth sentence:

SIXTH SENTENCE:
Old men forget: yet all shall be forgot, but he'll remember with advantages what feats he did that day: then shall our names, familiar in his mouth as household words, Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester, be in their flowing cups freshly remember'd.

SIXTH SENTENCE RE-PUNCTUATED:

Old men forget (yet all shall be forgot), but he'll remember (with advantages) what feats he did that day: then shall our names (familiar in his mouth as household words) -- Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester -- be in their flowing cups freshly remember'd.

Having done this, I'll then speak the sentence with the side-phrases removed:

Old men forget, but he'll remember what feats he did that day: then shall our names be in their flowing cups freshly remember'd.

That's the main point. Everything else is gravy. Putting the gravy back in, I'll try to speak it differently from the main point (the meat and potatoes): I'll rush through it or mumble it out of the corner of my mouth, the way people do when they're over-emphasizing that something is parenthetical:

OLD MEN FORGET (yet all shall be forgot), BUT HE'LL REMEMBER (with advantages) WHAT FEATS HE DID THAT DAY: THEN SHALL OUR NAMES (familiar in his mouth as household words) -- Harry the king, Bedford and Exeter, Warwick and Talbot, Salisbury and Gloucester -- BE IN THEIR FLOWING CUPS FRESHLY REMEMBER'D.

This is not necessarily the way I'd say it in performance. Maybe I'd decide to push all the names (Harry, Warwick, etc) instead of mumbling them. The goal here is simply to learn about the structure of the sentences and to understand their logic.

WHAT ARE THE CONNECTIONS BETWEEN SENTENCES?

Now that I've chopped the speech up into individual sentences, it's time to join it together again. Sentences don't exist as islands. They are sub-units in a larger argument. For years, I've done a crucial exercise (one of the most enlightening ones for me) with both Shakespeare and contemporary texts. I've turned all sentences into phrases in one big sentence. Whenever there's a period (or some other kind of full stop, such as an exclamation point), I replace it with a linking word or phrase, such as "and" or "for example." If there's no way to link two sentences logically, I add in the cheat link of, "Anyway, changing the subject..."

Here's my attempt to do this with the Saint Crispin's Day speech:

This day is called the feast of Crispian:
[AND] He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
AND rouse him at the name of Crispian.
[IN FACT] He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
AND say 'To-morrow is Saint Crispian:'
THEN will he strip his sleeve and show his scars.
AND say 'These wounds I had on Crispin's day.'
[IT'S TRUE THAT] Old men forget: [IN FACT] yet all shall be forgot,
BUT he'll remember with advantages
What feats he did that day: [AND] THEN shall our names.
[THOSE NAMES WILL BE] Familiar in his mouth as household words
[FOR EXAMPLE] Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
[WILL] Be in their flowing cups freshly remember'd.
[AND SO] This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

I speak the speech this way a few times, until I'm really comfortable with how the sentences join together into a whole argument. Then I get rid of the links and speak it normally, but I keep the links in my head. This generally allows me to say the speech as if it was a complete, logical entity.

WHAT ARE THE LINE ENDINGS?

Actors and scholars argue about how to deal with the endings of verse lines. The most extreme view points are held by folks who think you should pause at the end of every line and those who think you should only pause where you would in prose, at commas or full stops.

The end-stoppers (the former group) argue that if you don't pause at line endings, there's no way the audience can hear the verse as verse. The punctuation folks point out that often the speeches make no sense if you pause at the end of the lines. For instance, what does "And gentlemen in England now a-bed" mean? It's an incomplete thought.

A great way to straddle the two schools is to decide that the speaker knows the general idea of what he wants to say, but he's only thought out HOW he's going to say it up the end of the current line. To try this out, I pretend to be a very absent-minded speaker, and I add little phrases like so...

This day is called the feast of Crispian: [HOW DO I PUT INTO WORDS WHAT I WANTED TO SAY ABOUT IT...?]
[OH YEAH!] He that outlives this day, and comes safe home, [AND DO WHAT...?]
[OH YEAR!] Will stand a tip-toe when the day is named, [And... And... And...?]
[OH YEAH!] And rouse him at the name of Crispian. [Okay. I'M DONE.]
[OH, WAIT. ONE MORE THING! ]He that shall live this day, and see old age, [WILL... WILL... WILL WHAT...?]
[OH YEAH!] Will yearly on the vigil feast his neighbours, [And... And... And...?]
[OH YEAH!] And say 'To-morrow is Saint Crispian:' [And then what...?]
[OH YEAH!] Then will he strip his sleeve and show his scars. [Okay. I'M DONE.]
[OH, WAIT. I THOUT OF SOMETHING BETTER! ] And say 'These wounds I had on Crispin's day.' [Okay. I'M DONE.]
[OH! WAIT! THERE'S MORE I WANT TO SAY:] Old men forget: yet all shall be forgot, [But.... ?]
[OH YEAH!] But he'll remember with advantages [Wait! What will he remember? ]
[OH YEAH!] What feats he did that day: then shall our names. [Okay. I'M DONE.]
[OH! WAIT! THERE'S MORE I WANT TO SAY:] Familiar in his mouth as household words [What's that guy's name? What's his name...?]
[OH YEAH!] Harry the king, Bedford and Exeter, [And.... And... And... Who else shall I pick? ]
[OH YEAH!] Warwick and Talbot, Salisbury and Gloucester, [Wait? What about them? ]
[OH! I KNOW ] Be in their flowing cups freshly remember'd. [Okay. I'M DONE.]
[OH! WAIT! THERE'S MORE I WANT TO SAY:] This story shall the good man teach his son; [Um... What story...?]
[OH! WAIT! I FORGOT TO MENTION THAT...] And Crispin Crispian shall ne'er go by, [FROM WHEN TO WHEN?]
[GOT IT!] From this day to the ending of the world, [BUT...?]
[But we in it shall be remember'd;
[OH! I KNOW ] We few, we happy few, we band of brothers; [WHY DID I JUST SAY "BROTHERS"?]
[OH! I KNOW ] For he to-day that sheds his blood with me [WILL WHAT...?]
[OH YEAH!] Shall be my brother; be he ne'er so vile, [UM... WHAT WILL HAPPEN TO HIM?]
[OH YEAH!] This day shall gentle his condition: [ANYWAY, WHAT WAS I TALKING ABOUT...?]
[OH YEAH!] And gentlemen in England now a-bed [SHALL WHAT...?]
[OH YEAH!] Shall think themselves accursed they were not here, [AND WHAT...?]
[OH YEAH!] And hold their manhoods cheap whiles any speaks [ANYONE THAT WHAT...?]
That fought with us upon Saint Crispin's day.

I actually speak the speech this way, pretending I'm William Shatner. I always have a great time doing this. When I actually perform it -- or help an actor perform it -- my end-line pauses will become very short and many of them will vanish. But I'll have a gut sense of where each line ends, and that sense will be another tool in my belt.

WHAT IS THE RHETORICAL STRUCTURE?

In Shakespeare's day, all school children studied rhetoric. Rhetoric is the WAY you say things as opposed to the meaning of what you say. There are many well-known and effective rhetorical devices. One you might know is listing three examples. For some reason, it's more powerful to say "friends, Romans and countrymen" than it is to just say "Friends and Romans."

Shakespeare uses many rhetorical devices in his plays. Educated Elizabethans would have been able to point them out, just as nowadays, if someone says, "I am the eggman," most of us will instantly get that it's a reference to a Beatles song. Shakespeare's characters also know about rhetorical devices and use them on purpose to help sway each other.

If you're interested in rhetoric, you can study it and see how many devices you can find in Shakespeare's writing (and contemporary writing). But I find it's most important to know about two devices -- the two that Shakespeare uses constantly. They are the Ladder Of Thought and Thesis/Antithesis.

A Ladder of Thought is a build: You can see it here:

This story shall the good man teach his son;
AND [even more important] Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
AND [what's MORE!] gentlemen in England now a-bed
Shall think themselves accursed they were not here,
AND [MOST IMPORTANT OF ALL!] hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

Speak this section as if each and tops the last one, and as if you'd only thought of the first one when you started speaking. "I want a cookie ... Oh! And pie.... OH! ANNNND CAKE!!!!"

Thesis/Antithesis is a fancy term for opposites. A very short one is "to be (thesis) or not to be (antithesis)." Shakespeare plays are riddled with these opposites.

Sometimes the thesis and antithesis are right next to each other, as in "to be or not to be," but other instances of the device are more complex. Sometimes the thesis comes ten or even twenty lines after the antithesis. Sometimes the thesis goes on for ten lines, only to be followed by a one-line antithesis (or vice versa).

Shakespeare plays with this device over and over, and he plays it in many different ways. It's important for actors to locate them, because if you don't know you're speaking a thesis/antithesis, you've missed the whole point of the speech.

Here are some other examples:

Now is the winter of our discontent (thesis),
Made glorious summer by this son of York (anthesis).

I am made of that self metal as my sister,
And prize me at her worth. In my true heart
I find she names my very deed of love; (thesis)

Only she comes too short... (antithesis)


In the above speech, Regan (daughter of Lear) is saying to her father, "I am just like my sister, and you should think of me the way you think of her. EXCEPT..." The whole point of the first part ("I'm just like my sister") is a setup for the second part ("EXCEPT..."). If the actress playing Regan doesn't understand that, she won't get why she's saying "I am made of that self metal as my sister."

Here's an example, from "Pericles," in which the Thesis is so long, it's easy not to notice that it is just one part of a two-part device. In the following, the Governor of Tarsus is talking about how rich his city used to be and how poor it is now:

This Tharsus, o'er which I have the government,
A city on whom plenty held full hand,
For riches strew'd herself even in her streets;
Whose towers bore heads so high they kiss'd the clouds,
And strangers ne'er beheld but wond'red at;
Whose men and dames so jetted and adorn'd,
Like one another's glass to trim them by;
Their tables were stor'd full, to glad the sight,
And not so much to feed on as delight;
All poverty was scorn'd, and pride so great,
The name of help grew odious to repeat. (thesis)

But see what heaven can do by this our change:
These mouths who, but of late, earth, sea, and air
Were all too little to content and please,
Although they gave their creatures in abundance,
As houses are defil'd for want of use,
They are now starv'd for want of exercise; (antithesis)

Is there a Thesis/Antithesis in the St. Crispin's day speech? Not an obvious one, but perhaps you could say that Henry is contrasting the men who fight with the ones who stay home:


He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition: (thesis)


And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day. (antitheis)

In fact, isn't that the argument of the whole speech? "You are going to want to fight with me so that you become legendary, as opposed to those stay-at-home cowards that everyone will forget."

OTHER GAMES

There are so many other ways to explore the language, each of which will give you a better gut feeling of the speech. If you play enough of these games, you will eventually feel that the words are yours, not Shakespeare's, and at that point, you'll sound completely natural speaking them (and they'll be a cinch to memorize).

It's worth looking at the where Shakespeare switches between short words and long ones:

This. day. is. called. the. feast. of. CRISPIAN.:
He. that. OUTLIVES this. day., and. comes. safe. home.,
Will. stand. a. TIP-TOE. when. the. day. is. named.,
And. rouse. him. at. the. name. of. CRISPIAN.
He. that. shall. live. this. day., and. see. old. age.,
Will. YEARLY. on. the. VIGIL. feast. his. NEIGHBORS.,
And. say. 'TO-MORROW is. Saint. CRISPIAN.:'
Then. will. he. strip. his. sleeve. and. show. his. scars.
And. say. 'These. wounds. I. had. on. CRISPIAN'S day.'
Old. men. FORGET.: yet. all. shall. be FORGOT,
But. he'll. REMEMBER. with. ADVANTAGES.
What. feats. he. did. that. day.: then. shall. our. names.
FAMILIAR. in. his. mouth. as. HOUSEHOLD. words.
HARRY. the. king., BEDFORD. and EXETER.,
WARWICK. and. TALBOT., SALISBURY. and. GLOUCECESTER.,
Be. in. their. FLOWING. cups. FRESHLY. REMEMBER'D.
This. STORY. shall. the. good. man. teach. his. son.;
And. CRISPIN. CRISPIAN. shall. ne'er. go. by.,
From. this. day. to. the. ENDING. of. the. WORLD,
But. we. in. it. shall. be. REMEMBER'D;
We. few., we. HAPPY. few., we. band. of. BROTHERS.;
For. he. TO-DAY. that. sheds. his. blood. with. me.
Shall. be. my. BROTHER; be. he. ne'er. so. vile.,
This. day. shall. GENTLE. his. CONDITION:
And. GENTLEMEN. in. ENGLAND. now. A-BED.
Shall. think. THEMSELVES. ACCURSED. they. were. not. here.,
And. hold. their. MANHOODS. cheap. whiles. ANY. speaks.
That. fought. with. us. UPON. Saint. CRISPIAN'S. day.

It's also worth looking at the end-ing words of each line:

Crispian:
home,
named,
Crispian.
age,
neighbours,
Crispian:'
scars.
day.'
forgot,
advantages
names.
words
Exeter,
Gloucester,
remember'd.
son;
by,
world,
remember'd;
brothers;
me
vile,
condition:
a-bed
here,
speaks
day.

Notice which words repeat:

CRISPIAN:
This day is called the feast of CRISPIAN:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of CRISPIAN.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint CRISPIAN:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on CRISPIN'S day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And CRISPIN CRISPIAN shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint CRISPIN'S day.

DAY:
This DAY is called the feast of Crispian:
He that outlives this DAY, and comes safe home,
Will stand a tip-toe when the DAY is named,
And rouse him at the name of Crispian.
He that shall live this DAY, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's DAY.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that DAY: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this DAY to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-DAY that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This DAY shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's DAY.

NAME:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is NAMED,
And rouse him at the NAME of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our NAMES.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

REMEMBER:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll REMEMBER with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly REMEMBER'D.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be REMEMBER'D;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

LIVE:
This day is called the feast of Crispian:
He that outLIVES this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall LIVE this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

FORGET:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men FORGET: yet all shall be FORGOT,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

WE:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But WE in it shall be remember'd;
WE few, WE happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.'

HE:
This day is called the feast of Crispian:
HE that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse HIM at the name of Crispian.
HE that shall live this day, and see old age,
Will yearly on the vigil feast HIS neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip HIS sleeve and show HIS scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But HE'LL remember with advantages
What feats HE did that day: then shall our names.
Familiar in HIS mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach HIS son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be HE ne'er so vile,
This day shall gentle HIS condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

SAINT:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is SAINT Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon SAINT Crispin's day.

GENTLE:
This day is called the feast of Crispian:
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'
Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall GENTLE his condition:
And GENTLEMEN in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

Notice which structures repeat:

THIS DAY is called the feast of Crispian...
THIS DAY shall gentle his condition...

HE that outlives this day, and comes safe home,
WILL stand a tip-toe when the day is named,
AND rouse him at the name of Crispian.

HE that shall live this day, and see old age,
WILL yearly on the vigil feast his neighbours,
AND say 'To-morrow is Saint Crispian:'

Notice the pairings:

This day is called the feast of Crispian:

[ He that outlives this day, AND comes safe home, ]

[ Will stand a tip-toe when the day is named,
AND rouse him at the name of Crispian. ]

[ He that shall live this day, AND see old age, ]

[ Will yearly on the vigil feast his neighbours,
AND say 'To-morrow is Saint Crispian:' ]

[ Then will he strip his sleeve AND show his scars. ]
[ A TRIPLE: And say 'These wounds I had on Crispin's day.']

Old men forget: yet all shall be forgot,
But he'll remember with advantages
What feats he did that day: then shall our names.
Familiar in his mouth as household words
Harry the king,
[ Bedford AND Exeter, ]
[ Warwick AND Talbot ], [ Salisbury AND Gloucester ],

Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed

[ Shall think themselves accursed they were not here,
AND hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day. ]

Notice the lists:

This day is called the feast of Crispian:
1. He that outlives this day,

and

2. comes safe home,

Will

1. stand a tip-toe when the day is named,

And

2. rouse him at the name of Crispian.

He that shall
1. live this day,

and

2. see old age,
Will
1. yearly on the vigil feast his neighbours,

And

2. say 'To-morrow is Saint Crispian:'

Then will he
1. strip his sleeve and show his scars.

And

2. say 'These wounds I had on Crispin's day.'

Old men forget: yet all shall be forgot,
But he'll remember with advantages

1. What feats he did that day:

2. then shall our names.

Familiar in his mouth as household words

1. Harry the king,

2. Bedford

and

3. Exeter,

4. Warwick

and

5. Talbot,

6. Salisbury

and

7. Gloucester,

Be in their flowing cups freshly remember'd.
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother; be he ne'er so vile,
This day shall gentle his condition:
And gentlemen in England now a-bed
Shall
1. think themselves accursed they were not here,

2. And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.

Notice (and speak) the sensual words:

This day is called the FEAST of Crispian:
He that outlives this day, and comes safe home,
Will STAND A TIP-TOE when the day is named,
And ROUSE him at the name of Crispian.
He that shall live this day, and SEE OLD AGE,
Will yearly on the vigil FEAST HIS NEIGHBORS,
And SAY 'To-morrow is Saint Crispian:'
Then will he STRIP HIS SLEEVES and SHOW HIS SCARS.
And SAY 'THESE WOUNDS I had on Crispin's day.'
Old men FORGET: yet all shall be forgot,
But he'll REMEMBER with advantages
What FEATS HE DID that day: then shall our names.
Familiar IN HIS MOUTH as household words
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be IN THEIR FLOWING CUPS freshly remember'd.
This story shall the good man TEACH HIS SON;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;
We few, we happy few, we band of brothers;
For he to-day that SHEDS HIS BLOOD with me
Shall be my brother; be he ne'er so vile,
This day shall GENTLE HIS CONDITION:
And gentlemen in England now A-BED
Shall think themselves ACCURSED they were not here,
And HOLD THEIR MANHOODS cheap whiles any SPEAKS
That FOUGHT with us upon Saint Crispin's day.

Notice (and speak) the sounds:

This day is called the feaSSSSST of KRRRisPEEan:
He that outlives this day, and comes safe home,
Will stand a TTTiPPP-TTTOOOOW when the day is named,
And ROUSE him at the name of KRRRisPEEan.
He that shall live this day, and see old age,
Will yearly on the vigil feaSSSSST his NAAAAAYbours,
And say 'To-morrow is Saint KRRRisPEEan:'
Then will he STRIP (spit the P) his sssssssleeve and shhhhhhhow his SKarrrrrrrs.
And say 'These WOOOOONDS I had on KRRRiSPin's day.'
Old men forgeTUH: yet all shall be forgoTUH,
But he'll remeMMMMMMber with advaaaaaaantages
What feaaaatttts he DDDid that DDDay: then shall our names.
FaMMMMiLLLLLiar in his MOOOOOOWTH as HOOOOOWZhold words
Harrrrrry the king, Bed - Ford and Ex.et.er,
War-Wickkkk and Tallllbotttt, Saaaaaal'bury and Glooooooowster,
Be in their flooooooowing cuPS FRRReshly remember'd.
This story shall the good man teeeeeach hizzzzzon;
And KRRRiSPin KRRRisPEEan shall ne'er goooooo biiiiiii,

- etc --


WHAT ARE THE ACTIONS?

You're now ready to move on from thinking about the speech as a poem to thinking of it as something a real-life character says. The Russian theorist and director Stansilavsky (who influenced the way most actors are trained today), suggested that you break a speech down into actions. An action is something you're trying to do -- usually to another character or characters. In this speech, Henry is trying TO SWAY THE CROWD.

But that's not granular enough. HOW is he trying to sway the crowd? There's no right answer, but let's go through the speech and try to come up with actions for each part:

MAIN GOAL: enlist the men

SOUND THE GONG, RAISE THE CURTAIN
This day is called the feast of Crispian:

PROMISE
He that outlives this day, and comes safe home,
Will stand a tip-toe when the day is named,
And rouse him at the name of Crispian.

PROGNOSTICATE
He that shall live this day, and see old age,
Will yearly on the vigil feast his neighbours,
And say 'To-morrow is Saint Crispian:'

FORTELL,
Then will he strip his sleeve and show his scars.
And say 'These wounds I had on Crispin's day.'

CUT OBJECTION OFF AT THE PASS BY STATING IT YOURSELF, ANTICIPATE OBJECTION,
SPOIL YOUR OWN ARGUMENT
Old men forget: yet all shall be forgot,

REBOUND FROM DEFEAT, POUNCE ON THE ENEMY
But he'll remember with advantages
What feats he did that day:

SERVE THE CAKE
then shall our names.
Familiar in his mouth as household words

POINT AT PEOPLE IN THE CROWD AS EXAMPLES
Harry the king, Bedford and Exeter,
Warwick and Talbot, Salisbury and Gloucester,
Be in their flowing cups freshly remember'd.

PROCLAIM, FORECAST
This story shall the good man teach his son;
And Crispin Crispian shall ne'er go by,
From this day to the ending of the world,
But we in it shall be remember'd;

EMBRACE
We few, we happy few, we band of brothers;
For he to-day that sheds his blood with me
Shall be my brother;

REHABILITATE
be he ne'er so vile,
This day shall gentle his condition:

MOCK, INVITE FRIENDS TO MOCK (US vs. THEM)
And gentlemen in England now a-bed
Shall think themselves accursed they were not here,
And hold their manhoods cheap whiles any speaks
That fought with us upon Saint Crispin's day.


Having done all this -- and it was a joy to do -- I now feel ready to meet with the actor playing Henry (who has done similar work). We'll have plenty to talk about! In the end though, when he performs, his goal should be to let all these exercises go. He needs to do them until they are a part of him -- until the language is a part of him. Then he needs to forget them and just perform.

Introducing eMarcuscons:

Happy Marcus

##8---o }


Angry Marcus

##8---o {


Sad Marcus

##8---o (


Marcus sucking on a mint

##8---o @


Marcus talking

##8---o []


Skeptical Marcus

##8---o \


Marcus after eating a lemon

##8---o +


Marcus confiding in you

##8---o Y


Marcus sick to his stomach

##8---o $


Marcus with a zit on one side of his mouth

##8---o !


Marcus with a zit on the other side of his mouth

##8---o i


Marcus smoking a cigarette

##8---o L


Marcus after being bitten by a vampire

##8---o { - : --


Marcus wearing his fancy shades

##B---o )


Marcus sticking his tongue out

##8---o P


Marcus after some cocktails

##8---o >


Marcus the next morning with a hangover

##8---o <


Marcus after being punched in the mouth

##8---o ?


Marcus keeping quiet

##8---o X


Marcus talking out of the side of his mouth

##8---o A


Marcus seeing Lisa after a long day at work

##8---o D


Marcus having a bad-hair day

~`##8---o |


Marcus crying

##8=- o {


Marcus sleeping (drooling a little)

##}---o Q


Marcus feeling shy

    &
    |
##8-|
    |
    &

Why the abacus trumps the calculator

The concrete is better than the abstract.

- If you're worried that your life has no meaning, or if you're afraid that God is dead, or if you're terrified of Global Warming, of if you're angry about The State of The Country, ask yourself if you've really gotten to the bottom of your concerns.

These big-issue, abstract worries are one (or more) steps removed from your base nature. Dogs don't care about Global Warming. Cats don't care about politics. Giraffes don't bite their nails, fretting about the meaning of life.

Most likely, what you're really worried about is the fact that your girlfriend just dumped you. Or maybe you're scared that you're about to lose your job; Or you're lonely; Or sexually frustrated.

As scary as Global Warming is, dwelling on it is generally an attempt to elevate yourself above animal concerns. And while it's great to have noble worries, people are animals: we want sex, food, sleep and companionship. If we deny our animal nature, we deny the truth of what we are. Worse: me make it impossible to fix our nuts-and-bolts problems. You can't fix a problem if you don't admit to having it in the first place.

Most preferences for the abstract are attempts to elevate ourselves above our animal nature. Which is to say they are lies. Animals are sensual. The see, hear, smell, taste, poop, etc. Yes, man has the ability to reason; he has the ability to manipulate pure symbols. But such grand thoughts must be brought down to Earth, at least occasionally, or they become totally disconnected from who we are, where we live, and what we care about. They will also always be weaker signals to our brain than sensual data. Sand sifted through the fingers will make a stronger impression than sand just thought about.

If your knee-jerk reaction to this is to lash out at me or deny what I'm saying, ask yourself why you're so threatened by classifying yourself as an animal.

(Please note that I'm not trying to thwart Global-Warming activism or suggest it's "just abstract." I'm suggesting that if you're deeply depressed about something, it's more likely to be about something more immediate to your body and social network. At least consider the mundane before assuming you're concerned about the big picture.)

- Try things.

People suck at working things out in their heads -- in the abstract -- but they think they're really good at it. If you've decided something will work (or won't work) without actually trying it, TRY IT. Don't just assume that the image in your head conforms to reality -- even if you're SURE it does.

The only time when imagining should trump trying is when the cost of trying is extremely high.

Remember: your senses are better guides than your imagination. Your imagination can lie to you. It can be influenced by all sorts of prejudice, wishful thinking, mental blind spots and "baggage." But it's much harder to deny what you see with your own eyes, what you hear with your own ears, what you grasp in your hand. Taste the soup before you add salt to it. Maybe it's already salty enough.

Note: for some reason, this gets me in a lot of arguments. I guess it's because people are impatient when they "know" something. When people say, "Obviously, that won't work," I'm the guy who says, "Well, it will only take two minutes to try it, so lets try it." That often leads to rolled eyes and exasperated sighs. But I try it anyway. I find that even if the other guy is right -- and it doesn't work -- if I try, I'm much more sure of the result than if I don't try. The result (perhaps that it doesn't work) is in my gut.

- Work with your hands.

- the purpose of a metaphor is to make the abstract more concrete (or more sensual, which is the same thing). The further an idea gets from nuts-and-bolts reality, the more it should be buttressed with a metaphor.

Example: variables (e.g. in computer programming) are like boxes in the basement. The variable name is what's written on the box in magic marker, e.g. "socks." The contents of the box are what's stored inside the variable. Note that there's nothing to prevent you from storing hats in a box labeled "socks." It's confusing to people who are searching through your basement (so it's probably a bad idea), but the box doesn't care.

Coming up with strong, evocative metaphors is hard work. Don't expect them to just pop into your head. You'll have to make lists and brainstorm. Allot time for this. The more abstract the subject, the more time you'll need. Also, metaphors should always be a work in progress. Keep tinkering with them. Keep making them more and more apt, more and more evocative, more and more sensual.

- Avoid pronouns and non-specific nouns.

I can't tell you how many times I've been baffled by someone saying something like, "When it comes in the mail, please put it in the thing next to that other thing..." You're allowed ONE pronoun per sentence. And if you can't think of the name for something, then describe it (in concrete terms, of course). "When it" -- (if you're sure I know what you're talking about) -- "comes in the mail, please put it next in that blue container next to the round object on the shelf."

- Consider using real tools.

Computers are great. But sometimes paper and pencils are better. There's a big whiteboard in my office. When I'm stuck on a difficult programming problem, I leave my desk, walk over to the whiteboard, and start making charts, notes and pictures. Occasionally, I find myself wishing for a giant screen, so that I could use Photoshop instead of the whiteboard. But then I realize that just the act of holding physical markers in my hand and moving them about cements ideas in my brain better than pixel pushing ever could. If the particular problem can be expressed with stacks of coins or groups of paperclips, even better. We evolved to manipulate 3D objects -- not pixels. If the end-result must be expressed in pixels, that's all the more reason to translate it into a nuts-and-bolts metaphor.

- Read what you've written out loud.

Out loud is concrete. It produces sounds that you hear. It forces you to move your mouth. You will find way more errors -- and learn to write in a natural, conversational voice -- than if you read what you've written in your head. If you need to keep quiet, then just move your lips as you read (or whisper). Hasidic Jews mouth words when they read. They understand that the words of God are more likely to get stuck in their craws when they're not just thought about. When they're forced into the mouth.

- The best art tickles our animal impulses. It doesn't distance us from them. This is why sensual art will always move people more than conceptual art. It's why narrative forms will always engross people more than avante-guarde, non-linear ones. We're used to beginnings, middles and ends: sunrise, day, sunset... birth, aging, death...

If you're committed to conceptual art and non-linear storytelling, then make sure the details of your work are tied to the sensual. It's fine to break the fourth wall, but when you do so, pass out pieces of chocolate, not nuggets of philosophy.

Lonliness Ends

Someone on a message board threatened to commit suicide because he was so alone. I wrote a response to him and got a lot of positive email about it. I really just tried to write what I wish someone had said to me back when I was 22, single and convinced I would be alone forever. As it turned out, the suicidal guy requested that the posts be removed, so the moderator deleted them. That's fine. I hope he's getting the help he needs.

In case it helps someone else, here's what I wrote:

I was alone for decades, and I learned something really important. I'm not going to tell you "you can be happy alone." I think some people can and some people can't. I feel in my bones that I'm meant to be coupled. That's just who I am. And (too bad for me) I don't couple easily. I'm not one of those people who is happy being with just about anyone. So I NEED to be coupled and I'm also INCREDIBLY PICKY about who I'm coupled with (added to which, women have never been lined up around the block).

So what have I learned? I've learned that though loneliness is agonizing, being in a good relationship IS WORTH WAITING FOR NO MATTER HOW LONG YOU HAVE TO WAIT. I'm so glad I didn't do something stupid when I was in my twenties and miserable. And I might have, even if a fortune teller had convinced me I'd be happily married in my 40s. Back then, I might have said, "Fuck that. I want to be in a relationship NOW!"

If -- God forbid -- my marriage ended and I found myself alone again. And if I didn't find anyone else to be with until I was 70, I know now it would STILL be worth it. Love at 70 is still LOVE. In other words, if that fortune teller came to me now and said, "Sorry, your marriage will end in two months and you won't find another partner for thirty years," I would wait out the 30 years. They would be worth enduring. Not that I'd just endure them. I'd thrive as best as I could. But my point is that love doesn't have to happen NOW to be worth waiting for.

So while you're alone, work on yourself. Become an interesting person. Become a kind person. You WILL find a companion. The odds are in your favor, even if you're ugly, even if you're not super-confident. The odds may not favor you finding someone tomorrow. The odds may favor you finding someone in five years, ten years, fifteen years or whenever. But it will happen. And when it does, it will be sweet.

Top Ten Insane Things I Did Most Days In 2008:

1. spent twenty minutes reading, trying to ignore the tiny scrap of paper on the floor, the crumb on the table or the blinking light on modem, until my head felt like it was going to explode, and I realized I'd read the same three words over and over. Finally I got up and picked up the paper or crumb -- or moved the modem to face the wall.

2. watched my wife throw a tissue in the toilet that she'd just used to wipe off some lipstick. Had to flush and wait for the flush to finish so that I wouldn't pee on the toilet paper.

3. double-checked that the front door was locked before going to bed; then went upstairs, got into bed and got under the covers. Couldn't sleep because I kept thinking maybe I only imagined I'd locked the door. Finally couldn't stand it and went downstairs to check the door. Went back upstairs, tried to sleep, once again worried that I hadn't ACTUALLY locked the door...

4. got bent out of shape because someone next to me on the subway was humming really quietly. I could just barely hear it. But I couldn't stop hearing it. I couldn't think about anything else except for the humming. If it's not someone humming, it's someone drumming or shaking his leg. When I was on jury duty recently, I had trouble concentrating because the lady next to me kept shaking her leg.

5. Couldn't sleep because the sheet was rumbled under me. No matter how many times I tried to straighten it, there always seemed to be another rumple. Or I couldn't figure out what to do with one of my arms. How can I now know how to arrange my arm when I'm in bed? I've been sleeping with my arms all my life. Still, I can't figure out how to lay them so they're comfortable.

6. Turned the volume down on the TV because it was too loud. Turned it up because it was too quiet. When it's too quiet, I strain to hear it and that gives me a headache. When it's too loud, it feels like a tumor in my head. But I can't get it just right. Just right seems to be in-between two volume settings that are right next to each other. The remote won't let me set it to in between. It bothers me just as much when I'm not even paying attention -- when my wife's watching. I say, "It's a little mumbly. Can you turn it up? Now it's too load. Can you turn it down?" She sighs.

7. little specks of dust on my iphone screen drive me crazy. I try to wipe them off, but every time I do, rubbing the screen scrolls the text or starts up an application.

8. I can't stop itching. I try to just let the itch itch. I say that no matter what, I won't scratch it. After about three minutes, I feel like I'm going to blow a gasket, so I scratch. Then I get another itch somewhere else. I realize that I'll keep having itches as long as I think about itches. How do I stop thinking about them?

9. I'm watching one of those commercials where there's an extreme close up of someone talking to me about their upset stomach. I feel like they're invading my space. I tell them to back the fuck up. I don't get why they think I care about their heartburn. I don't KNOW them. "I DON'T CARE ABOUT YOU," I scream. "BACK UP!"

10. I lay in bed at night and an image of a spoon comes into my mind. It's bent. I try to mentally straighten it out. It won't straighten. This bothers me. It's an imaginary spoon, and I'm the one imagining it. I should be able to straighten it out. But it won't straighten. So I try to put it out of my mind. But I can't stop seeing the bent spoon.

Mrs. Key

Mrs. Key taught 3rd grade, and she turned my little life upside down. I remember, back then, we stayed with one teacher for almost the entire day. We'd have special teaches for Art and Gym, but other than that, one teacher would teach us everything.

We'd quickly learn our teacher's favorite topic. One would lean more heavily on science; another more heavily of history; Mrs. Key -- Lord, save her -- was a fanatic about spelling. And I am the world's worst speller. Even to this day, I can barely spell the word cat. Nowadays, we have spellcheck, so it doesn't really matter. Back then, it was more of a problem. Mrs. Key turned into into a catastrophe.

She gave two spelling tests each week. You took home a list of words on Monday, memorized them, and then on Tuesday you took the first test. She marked them, returned them to you, and gave you one more night to study them. Then on Wednesday you retook the test.

Mrs. Key put up a huge scoreboard on the wall, so that we could all see how well or poorly kids were doing on their spelling tests. My rank was always way down at the bottom. At that age, any sort of ranking system hooked deeply into our DNA. I actually got taunted on the playground for my bad spelling.

Mrs. Key hit students with a ping-pong paddle. She would take offenders out in the hall. The rest of us would sit in the room counting the whack! whack! whacks! and giggling, but it was nervous laughter. I never got paddled, but I lived in fear. I was sure my day would come. In my mind, it had nothing to do with transgressing. It was just something that happened to you, at random.

Mrs. Key chastised you if you asked to go to the bathroom. She did this in front of the whole class. I remember one kid standing in front of her, holding his crotch and jumping up and down while Mrs. Key delivered a long lecture about how recess was for taking care of business, not for playing.

One day, about an hour after recess, I realized I had to pee. I looked up at the clock. Still two hours before school ended. Would I be able to wait that long? Twenty minutes later I was in agony. But I didn't dare ask Mrs. Key if I could go. So far, I'd managed to avoid the humiliating lectures, and I didn't think I'd be able to handle one now without crying in front of the class.

I started shivering. My body was actually going into little convulsions from trying to hold my pee in. Then, in a rush, it came out. The warm pee ran down my leg and formed a puddle on the floor by my desk. I looked around. No one had noticed. Slowly, inch-by-inch, I pushed backwards with my feet until my desk wasn't immediately near the puddle. I managed to maneuver myself and my desk so that it looked like the puddle could have come from one of several kids.

It was getting near the end of the day, now, and I thought maybe school would end without anyone noticing the puddle or the wet stains on my Pants. Then a little girl named Cindy got up to sharpen her pencil, almost stepped in my pee, screamed, and said, "There's water on the floor!"

Mrs. Key glanced up from her desk and barked, "Well, get some paper towels and clean it up!" And I sat and watch -- horrified -- as Cindy mopped up my pee. I was too much of a coward to take responsibility.

That year, I developed stomach problems. I had a three-block walk to school, and halfway there, every day, I would throw up. My mom kept making my breakfasts lighter and lighter. She even tried serving me ice cream for breakfast. I threw it up.

I remember feeling that if I kept myself really calm, I might be able to hold my breakfast in. So I'd keep my breathing regular and walk to school really slowly. I felt like a bubble that just might not pop, as long as no one touched it. But if anything jostled my senses -- A loud car going by, a kid saying hi, a thought about Mrs. Key's ping-pong paddle -- I'd barf.

Finally, my mom took me to the doctor and be prescribed what I called "the yucky green medicine." I had to drink a small cup of the vile stuff every morning. I'm surprised it didn't make me throw up. In fact, it steadied my nerves and allowed me to get to school with my breakfast in my stomach. I didn't know until I was grown up that the green meds were tranquilizers.

The next year the faculty did some shifting around, and as if I was cursed for something bad I had done in a former life, I got Mrs. Key again.

At the time, my best friend was Joe Frommer. Joe and I had sat next to each other in 3rd grade. We spent every recess playing together (instead of taking care of business) and we rushed off to each-others' houses after school. I don't think it's an exaggeration to say that Joe's friendship kept me sane throughout 3rd grade.

But in 4th grade, Mrs. Key specifically demanded that Joe be moved to another class. She felt he and I were unnaturally close, and she wanted us separated.

Something in me snapped. I couldn't have put it into words, but I just knew I couldn't let this year be like the last one. So I made my mom drill me on spelling words. I don't remember having much of a social life in 4th grade. I remember going home after school and memorizing lists of words, and then making my mom quiz me on them until I was perfect.

That year, I went from the bottom of the scoreboard to the top. I aced test after test. I became the class champion. Mrs. Key used me as an example. She made me tutor other kids.

I decided I loved Mrs. Key and that she was the best teacher ever. I used to go over to her house after school. We'd sit, drink lemonade, and watch her husband mow the lawn. Once, Mrs. Key took me out to a malt shop. This was the 70s, not the 50s, but Mrs. Key knew where there was this throwback soda-fountain store. She took me there, bought me a root-beer float (which I didn't like, but agreed to drink because Mrs. Key said it was good), and showed me off to the woman behind the counter. "This is my best speller," she said. The woman asked me if I could spell foreign. I tried but couldn't. I hadn't practiced foreign with my mom.

In class, Mrs. Key started this ritual: when we'd finished taking our spelling tests, we'd all turn our papers in, and she'd put the stack on the side of her desk, to grade later. Except for my paper. Mine, she'd grade right then in front of the whole class as I stood by her desk. When she was done, she'd hold it up so the whole class could see another perfect paper. Then she'd take it over to the wall and tape it by the scoreboard.

This went on for weeks, and I started to feel sick again. I started to worry that I wouldn't be able to keep up my perfect score. And I was confused. I'd never been perfect at anything else before. But I sort of wanted to fail, too.

And one day I did. I was standing by Mrs. Key's desk, as the whole class watched her grade my paper. My eyes drifted a little ways ahead of her pen, and I saw that halfway down the page, I'd misspelled Saturday. I didn't exactly misspell it; I just forgot to capitalize the S. But that was an error in Mrs. Key's class. So all I could do was to stand there and wait for her to notice it.

When she finally did notice it, I saw a huge grin form on her face. And I realized then that she wanted me to fail! I remember her writing a big -1 across the top of my test, and that's about all I remember except for floods and floods of relief washing over me.

Tim Burton's "Sweeney Todd" [SPOILERS!]

Everyone I know loved Tim Burton's adaptation of "Sweeney Tood." I'm the exception. But, like all my friends, I found it visually stunning: meaning that each shot looked like a arresting painting or photograph. On top of that, I've always loved Sondheim's music and lyrics. And the story moves me. So, a great story, fantastic music, stunning visuals... what's not to love?

Redundancy. Rather than finding a way to make the visuals add a new element to the music, Burton uses them to illustrate the music. One example: in the song "By the Sea," Mrs. Lovett sings,

In our cozy retreat kept all neat and tidy,
We'll have chums over ev'ry Friday!

Burton decides to show us what's in Lovett's mind's eye. He cuts to a fantasy image of Sweeney Todd and Mrs. Lovett entertaining some friends. But that's unnecessary. The image is already in the lyrics. Burton doesn't need to illustrate it. (I'm surprised he doesn't place a calendar in the shot, showing that it is -- indeed -- Friday.)

Okay, maybe he doesn't need to illustrate the lyrics, but what's wrong with doing so? Ultimately, I can't defend my view, other than to say my aesthetics don't allow gratuity or redundancy. But I think most people would cringe at prose that said, "One upon a time there was a little girl named Margaret. She was little. Also, she was female. When she was born, her parents named her Margaret." Perhaps to those who aren't cursed with my redundancy-radar, such lapses are less noticeable when a visual duplicates a lyric.

If you give people enough treats, they tend to ignore (or not notice) that the treats could be better. So if you're sufficiently dazzled by picture, story and music (and acting, etc.), you may not be bothered by redundancy, even if you admit that, on some level, it's a fault. The movie is good enough to entertain you.

Yes, but it could be better.

Music is wonderful because each instrument adds something unique. They don't just ape each other. And all the unique sounds work together to make a whole greater than the sum of its parts. We especially feel this when music has lyrics. For instance, "Eleanor Rigby"'s sad music doesn't illustrate its sad lyrics. The lyrics are sad in one way; the music in another way. Both of these ways work together to create something deeply moving.

Now, I like The Beach Boys. But I think they're much stronger musically than lyrically. I don't think their lyrics are redundant; I just think they're weak. "Good Vibrations" is a stunning piece of melody, harmony and timing. But the boys could have done better than, "Im pickin' up good vibrations. / She's giving me excitations." To be honest, I'm so dazzled by the tune, I don't generally notice the lyrics. I simply enjoy the song. In this sense, I'm like my friends who are so dazzled by Burton's eye candy and Sondheim's music, they don't notice the flaws in "Sweeney Todd."

But that doesn't mean it couldn't be better. I'd be even more thrilled by "Good Vibrations" if its lyrics matched the brilliance of its music. So even if "Sweeney Todd"'s flaws don't disturb you, I hope you'll see that it is flawed -- and that those flaws could have been (and should have been) dealt with. And the movie would have been better without them. I don't think it's good. You may think it's good enough. But dammit, it should have been great!

I'd like to focus on Burton's handling of the song "A Little Priest." In the song, Todd and Lovett try to outdo each other with gruesome puns about pies made out of people:

TODD: What is that?

LOVETT: It's priest. Have a little priest.

TODD: Is it really good?

LOVETT: Sir, it's too good, at least!
Then again, they don't commit sins of the flesh,
So it's pretty fresh.

TODD: Awful lot of fat.

LOVETT: Only where it sat.

TODD: Haven't you got poet, or something like that?

LOVETT: No, y'see, the trouble with poet is
'Ow do you know it's deceased?
Try the priest!

TODD: (spoken) Heavenly!
Not as hearty as bishop, perhaps,
but then again, not as bland as curate, either!


Burton films this by placing the characters in a room surrounded by windows. Before each person-in-pie pun, one of the Todd or Lovett happens to look out a window and see the sort of person he or she is singing about. So, for instance, Mrs. Lovett looks out the window, sees a priest, gets the idea, and sings, "It's priest..."

Aside from being redundant, this destroys the fun. The fun -- besides the fun of gallows-humor -- is hearing two smart people, Todd and Lovett, on a spree of pure invention. It's like you're watching what you think is an actor doing brilliant improv, then all of the sudden you see he's reading cue cards. It was much more fun when you thought he was making it up. In Burton's version, Lovett isn't smart enough to think up "priest" on her own. She has to see one.

Given Burton's interpretation, I'm not sure what to make of lines like this:

LOVETT: (spoken) Now let's see, here... We've got tinker.
TODD: Something... pinker.
LOVETT: Tailor?
TODD: Paler.
LOVETT: Butler?
TODD: Subtler.
LOVETT: Potter?
TODD: Hotter.
LOVETT: Locksmith?

Isn't the whole point that they're brilliantly trying to stump each other? It's not brilliant if they can see a parade of London professionals walking by at opportune moments, giving them hints. A clever scrabble match gets reduced to one in which each player gets to consult a dictionary before taking his turn.

But the worst sin is that by turning the song outward -- by focusing on what Todd and Lovett are looking at -- Burton misses how deeply this song illuminates character. We don't care about priests and tailors. We care about Todd and Lovett. This song is about two people who have been talking past each other coming together and forming a cohesive unit.

Before "A Little Priest," Lovett moons over Todd, but Todd barely registers her. He's too caught up in anger and lust for revenge to care about her. Sondheim paints this picture beautifully in the song "My Friends." The "friends" in the song don't refer to Todd and Lovett. Rather, Todd is singing a love song to his razors. Never once does he refer to Lovett, though she's is in the room with him, simultaneously singing a love song to him, which he doesn't notice:

Todd (to his razors): You there, my friend,

Lovett (to todd): I'm your friend too, Mr. Todd.

Todd: Come, let me hold you.

Lovett: If you only knew, Mr. Todd.

Todd: Now, with a sigh,

Lovett: Ooh, Mr. Todd,

Todd: You grow warm in my hand...

Lovett: You're warm in my hand...

Todd: My friend,

Lovett: You've come home.

Todd: My clever friend...

Lovett: Always had a fondness for you, I did...

And so it goes. In fact, even "A Little Priest" begins with the characters talking at cross purposes and misunderstanding each other. Shortly before the song, Todd kills his first victim. He and Lovett are trying to figure out how to dispose of the body. Todd suggests waiting until dark and then burying it. But Mrs. Lovett has a better idea. She explains it to Todd obliquely, hoping he'll get it. But he doesn't.

MRS. LOVETT: Seems a downright shame...

TODD: Shame?

LOVETT: Seems an awful waste...
Such a nice, plump frame
Wot's 'is name has...
Had...
Has!
Nor it can't be traced...
Bus'ness needs a lift,
Debts to be erased...
Think of it as thrift,
As a gift,
If you get my drift!

No?


But then there's finally that golden moment when the lightbulb goes off in Todd's brain. Suddenly, he's in same time and place as Lovett.

LOVETT: Seems an awful waste...
I mean, with the price of meat
What it is,
When you get it,
If you get it...

TODD: HAH!

LOVETT: Good, you got it!

And for the first time, he sings to her as if he's noticed her, as if he appreciates her:

TODD:
Mrs. Lovett, what a charming notion
Eminently practical
And yet appropriate as always!
Mrs. Lovett, how I've lived
Without you all these years, I'll never know!

And this leads them into the partying and punning (the music, by the way, is a waltz). They hatch their great idea. Todd will murder people; Lovett will dispose of their bodies by making them into pies. The perfect crime, each member doing his or her part, each needing the other. It's appropriate that this song ends Act I (of the original stage version). The whole act has been about the two characters dancing around each other. Now they are dancing with each other. Act II will be about how their union falls apart. (And, at the end, right before Todd pushes Lovett into the oven, he reprises a bit of "A little Priest," this time sung mockingly. He re-interprets their former union as a sham.)

Even within "A Little Priest," Todd and Lovett have a complex relationship. True, they come together. But Todd's obsessions risk ripping them apart:

LOVETT: Try the friar,
Fried, it's drier!

TODD: No, the clergy is really
Too coarse and too mealy!

LOVETT: Then actor,
That's compacter!

TODD: Yes, and always arrives overdone!
I'll come again when you have JUDGE on the menu!

Todd's last line kills the game. Musically and lyrically, it doesn't rhyme. It's "out of tune" with the rest of the song. [UPDATE: in a comment to this post, James Troutman pointed out that the line contains an internal rhyme ("you" and "menu"). He went on to say, "Musically it provides a modulation from E flat to D flat and the song stays in that key until the end. To me it conveys a sense of moving towards the conclusion, as opposed to moving in a totally new direction."] Luckily, Mrs. Lovett distracts him, getting him back on track. And by the end, they're a couple again:

TODD: Have charity towards the world, my pet!

LOVETT: Yes, yes, I know, my love!

TODD: We'll take the customers that we can get!

LOVETT: High-born and low, my love!

TODD: We'll not discriminate great from small!
No, we'll serve anyone,
Meaning anyone,

BOTH: And to anyone
At all!

Like many Sondheim fans, I own the original-cast recording. I've listened to this song dozens of times. The puns were fun at first, and they're still fun, but the don't surprise me any more. What brings me back to the song, again and again, is the delicate balance of Lovett and Todd's relationship. The feeling of euphoria when they come together; the heart-skipping-a-beat feeling when they almost come apart. (And the foreshadowing that they eventually will -- that Todd's obsessions will destroy any chance of harmony between them.)

Consciously or unconsciously, Burton works against this. He's so intent on illustrating, he misses the forest for the trees. It's as if, reading Sondheim's lyrics, he rubbed his hands together, grinning at all the wonderful images they called up, looking forward to displaying them on a big screen. Though Burton will laugh at me all the way to the bank, I'd go as far as to say that he doesn't just misunderstand Sondheim, he misunderstands cinema. He thinks of it as a means to show off cool images. He doesn't think of it as a unique vehicle for story-telling, one that offers the craftsman an orchestra of instruments, each of which should be playing its own tune (though adding to the whole) or not playing at all. There's no room for fat. Fat should be trimmed. "You must kill all your darlings."

How would I have filmed the scene? Well, I wouldn't have shown a single priest, tinker or chimney sweep. If the room must have windows, the curtains would be drawn. Todd and Lovett would have been in Lovett's pie shop. They would have been discussing the body while Lovett got on with her business. She would have been making pies. Todd would have been seated in a chair, perhaps. Maybe staring into space; maybe cleaning one of his blades.

Once Todd gets Lovett's idea, and they go into the punning section, they would use Lovett's pies as joke props. Pretending they are people pies. Eventually, when the punning got fast enough, they would have dispensed with the props altogether. Words would have been enough, their eyes meeting, maybe for the first time. One thing Burton and I agree on: at they height of their unity, they would waltz around the room.

But that's not cinematic! Burton's version is a movie version, not a stage version. You can't just have people in a room, talking (or singing).

Hogwash. Most movies have dialogue scenes. Think of the most "visual" filmmakers. Scorsese, Coppola, Kubrick. In "The Shining," the most dramatic scenes involve Shelley Duval and Jack Nicholson talking. Famously, HAL 9000 and Dave talk in "2001." There's plenty of talking in "Taxi Driver" and also plenty in "The Godfather." Not every scene needs to be about "great visuals." A wise artist knows when to pull the camera back and when to push it in. He knows when a scene is about vista; he knows when it's about character.

And if there is no way to make a story "cinematic" (which I don't think is true in this case), the wise artists remembers that not every story needs to be filmed in the first place. Just because it exists, it doesn't have to be a movie.

POSTSCRIPT:

My idea of a well-filmed musical number is "My Forgotten Man" from "Gold Diggers of 1933." It's the most brilliant (and yet understated) number ever filmed, and Burton should have studied it as gospel. All you would-be Burtons can see it here:


http://www.youtube.com/watch?v=1qR7EtTdLbU

The scene starts with a dumbshow, underscored by a musical prelude. It's the Depression. A sad Joan Blondell bumbs a cigarette off a guy in the street. He seems down-and-out, too. They lock eyes for a moment and then he moves on. None of this illustrates the upcoming lyrics in a literal way. There's no mention in the song of cigarettes or meetings in the street. But it compliments and deepens the song's story.

Next, we get a prolonged closeup of Blondell singing (or rather speaking) the song. Some directors might prefer something more "cinematic," yet what could be more so than a closeup? What other medium allows it? You can't create closeups on the stage. They're relatively weak on television. (I'm sorry you have to watch this one on YouTube.) This closeup forces you to confront Blondell's pain. Her eyes complement the lyrics more eloquently than any other image I can imagine.

Then, in its most brilliant section, the camera moves away from Blondell to a tenement window, in which you see another woman. She too starts singing the song:

Remember my Forgotten Man.
You put a rifle in his hand.
You sent him far away.
You shouted hip hooray.
But look at him today.

The lyrics tell the story of a forgotten man. Yet the camera lingers on a woman. It then moves from window to window. In each window, there's a woman by herself -- in one case, a woman with a baby. These are the "forgotten women" who aren't mentioned in the song, except by the words "my" and "me."

It would have been so easy to show rifles and people shouting hooray. But the director (the great Busby Berkely) went in another direction. Realizing that such shots would be redundant, he opened the song up in an unexpected way. He let the music do its job, the lyrics do theirs, and the images make their own, unique contributions.

how has art changed the world?

On an online forum, someone asked "How has art changed the world?"

My response:

I don’t think art has changed the world any more or less than anything else (trees, politic, war, germs, rocks…). And I don’t think it’s changed the world in noticeably different ways than anything else. Which isn’t to say I think art is inert.

My problem is with the word art. It’s a useful word, but it’s necessarily fuzzy, and I think it falls apart when you try to use it in big philosophical questions. There is no one thing called art. Art is a collective word used to label a huge cloud of activities. What can we say about all those activities? Maybe only that “art” involves objects or activities that aren’t completely (or obviously) utilitarian yet which seem important. I’m not satisfied with that definition, but it’s the best I can come up with right now.

In any case, since art is a fuzzy catagory, when you try to build grand statements on it, you’re building on a really unstable scaffolding. It’s much safer to talk about how individual works of art have impacted the world: how “The Rite of Spring” changed music; how Shakespeare changed the language, etc. But that’s not as interesting as “a grand unified theory” of Art.

Why do people make art? I think they do it because they have to. Not all people have to, but enough do. It’s an urge — an itch. Where does it come from? I have no idea. My guess is that it’s a byproduct of other, more utilitarian processes: the need to communicate, the power of emotions and sensations, etc. For whatever reason, peoples in all cultures throughout all times have produced art.

Each piece of art impacts different viewers (listeners, etc.) in unique ways. How does art change the world? Ha! We can’t even say clearly how a single Picasso painting changes the world, because it changes the world in a zillion different ways. It changes the world by the sum total — or by the individual amounts, if you’d rather think of it this way — of the ways that it changes each viewer (and the artist).

You can say, “Yes, but how does it impact Art History?” And it’s fine if you care more about that than how it changes my grandmother. But that’s your arbitrary interest. The fact is, it changes both in some way.

Does art change in people in unique ways — ways that non-art objects don’t change them? Maybe. Maybe some people. But not necessarily in uniquely powerful ways. I’ve been destroyed by art. But I’ve also been destroyed by sunsets, love, kittens and really good cheeseburgers. Art goes into the mix like everything else.

What fascinates me is the fact that you asked this question. People ask variations of it all the time. I have a theory about it: I think we have two conflicting urges. One is to engage in activities that are more or less about pure sensation. These activities seem to have very little utility, especially when you separate them from their traditional roots in religion (which itself may have little utility). But that doesn’t stop us from wanting (needing?) to make and view art.

At the same time, we have another powerful urge to discard anything that’s not clearly useful. We could call it the Protestant Work Ethic, but you can be a Jew or an Hindu and still feel its profound tug.

We have a profound need to work; we have a profound need to play. We have a profound need to not-waste-time. We have a profound need to waste time. I think this tug is immensely important to human history and to individual experience. I’m not sure how it’s important, but I know that I wrestle with it every day. And I see everyone I know wrestling with it, too. (You even see it WITHIN art, where you have the Hollywood excess on one hand and the “Kill all your darlings” minimalism on the other.)

Ultimately, I think it’s impossible to harmonize the two forces. The tug between them is the Human Condition. But that doesn’t stop people from trying. Maybe trying is part of the Human Condition, too! The desire to pound art into a pragmatic framework often leads to questions like this (though it may not have been your motivation). It also leads to actors feeling guilty about not contributing enough to society, which is why we all have to suffer through Ben Affleck (or whoever) making public service announcements. It’s why people don’t want their kids reading a book unless it has “a good lesson in it.”

Here’s a thought experiment: what if I could conclusively prove to you that art had no purpose beyond hedonistic pleasure? What if art is like pot or sex without procreation? Would you think less of it? Would you stop viewing it? Stop making it? Would you view or make art anyway but feel guilty while doing so? I’ve heard people say things like, “art isn’t art unless it has a moral aspect” or “art isn’t art unless it makes you think.” But when I see a child finger painting on an easel, I doubt he’s trying to overthrow the government or muse on Existentialism. He’s scratching an itch.

will I or won't I?

I've been thinking about my state of mind when I first wake up in the morning. Due to my workload, I set my alarm for 6am every morning. This wouldn't be such a big deal, but I'm unable to get to bed before midnight, and I generally don't fall asleep right away when I am in bed. I know this isn't enough sleep. I said "yes" to too many projects, and this is the price I'm now paying for it. Come March, things should ease up a little bit.

I used to try to work out between six and seven. Now, since my publisher is chewing me out for being late on some chapters, I use that time to write. I write from six until eight. Then I get ready for work. Or at least that's the idea. Some mornings, the alarm goes off, and I hit the snooze button and stay in bed.

I've come to feel that I have no control over whether or not I'm going to get up and work. In fact, the night before, when I'm setting my alarm, I get this feeling that whether I'm going to get up or not is totally random. I've reached a detached state, where I think, "Okay, I'm setting the alarm. I wonder how I'll react to it." (Is this how drug addicts feel? "I'm trying to quit. I wonder if I will? Oh, damn. I'm reaching for another hit!")

It's easy for me to understand the mental mechanism when I stay in bed: the alarm goes off, I'm exhausted, I say, "screw that!" and I roll over and go back to sleep. What fascinates me are the times when I get up and start working. I wish I could say that I master myself. "Yes, you're tired, but you have work to do!" In fact, I do say that, but it seems to have no effect on whether or not I'll actually get up and do the work. It will make me feel more guilty, as I'm lying in bed, drifting back into a slumber, but it won't necessarily guilt me out of bed.

No. On the days that I get up, I just ... get up. I'll be lying there, mulling over the possibilities: "I'm so sleepy... I could get up ... or I could sleep more ... or I could ..." And then suddenly, I just bound out of bed. Before I know it, I'm slipping my arms into the sleeves of my bathrobe and padding downstairs. It feels like something that just happens, that just comes over my body. It doesn't feel at all like a decision.

It doesn't always happen. And I haven't figured out anything that will make it more likely to happen (or less likely). It appears to be utterly random.

I'm not worried about myself. I know that if something really important was going on -- a fire in my apartment or a plane I need to catch -- I'd get up. I always do in those situations. But though the writing is important, it's not vital that I do it on any given day. It's just vital that, in general, I keep at it. Which makes the get-up/don't-get-up decision harder to make on any given day, for whatever is making it.

I'm never been much of a believer in free will. But I do believe in the feeling of free will. I think this feeling is based on an illusion, but it's a strong feeling none-the-less. I'm not used to not feeling it.

My guess is that when one needs to make a decision, two opposing modules in the brain duke it out. I'll call them the yes and no modules. They both vie for dominance, and somehow one of them wins. The body makes a move. Or not.

After the fact, the winning module hands over his data to the "I" part of the brain. So I -- the conscious part of me -- feels like it has made a choice. This makes sense from a Darwinian perspective (I think), because if the choice winds up being successful, and I feel like I've made it, I'll be able to "make the same choice" in the future, in similar situations. The "I" module will trump the no module, saying, "I'm not going to listen to you. This worked well last time, so we're doing it again!"

But I guess that, when I'm awakening, the part of my brain that gives ownership of the winning solution to "I" isn't activated yet.

Or that theory may all be bullshit. But it's very odd to feel like a spectator, waiting for something else in me to make a decision!

what if you knew God's purpose?

I just finished reading a fun, forgettable sci-fi/thriller called "Blasphemy." In it, a group of scientists seem to have contacted God. God explains to them His reason for creating the universe, which is, essentially, to help Him think. The universe is like a giant computer. All of the galaxies, stars, planets, people and animals are the "ones and zeros" in this computer, and we're all working together to solve some great problem.

This got me thinking about the so-called "meaning of life" that many people search for and wonder about. If they're searching for it, they must think (or at least suspect or hope) that it exists. It exists; they're just not sure what it is.

Imagine someone revealed it to you. Imagine someone was able to categorically inform you that the meaning of everything -- or the purpose of everything, which I think is a better way to put it -- is to do X, Y or Z. To All Work Together On Some Big Project. To Help Defeat An Evil Demon. To Transcend Matter And Become Pure Spirit. Whatever.

Let's say someone proved this purpose to you, and you had no doubt in the validity of the proof. You now know the purpose of living, the purpose of everything. Now what?

I can't grasp the concept of a purpose without some sort of intelligent designer behind it. As I see it, it makes sense to speak of a hammer or a teapot as having a purpose, because someone designed those tools with a goal in mind. On the other hand, a rock doesn't have a purpose, though an individual person can choose to give it one. Even in that case, purpose is endowed by a thinking mind.

(People speak of evolved traits as being purposeful: "ducks evolved webbed feet in order to propel themselves through the water." But I interpret such statements as metaphors. Traits evolved due to a cause-and-effect process: some ancestor species to the duck lived in the water. Individuals of that species that happened to have webbed feet were able to swim better, which increased those individuals' chances of survival. There was no purpose; there were just events that happened. And the outcome of those events is that ducks now have webbed feet. Saying "ducks evolved web feet in oder to..." is a shorthand, metaphorical way of describing a purposeless process.)

So since (in my thought experiment), we've proven that the universe has a purpose, it must be somebody's purpose. Keeping with tradition, I'll call that somebody God. In fact, one might define God as the "person" who created the universe and gave it a purpose.

Fine. So we "know" that God created a universe and gave it a purpose. And we now know what that purpose is. Let's say that we even know how to best live our lives to help further that purpose. (I can imagine a no-free-will version of this thought experiment, where we have no choice but to further the purpose. We're simply cogs in a machine, running according to spec. But to keep things interesting, I'm assuming that's not the case. We can choose to work for or against the purpose.)

My question is: now that you know the purpose and how to further it, do you care? I suspect that there are two sorts of people: those who, given this knowledge, would gratefully fall in line with the purpose and those who wouldn't. I wouldn't. And I didn't realize that until I read "Blasphemy."

Remember, I'm not saying I wouldn't further the purpose because I don't believe these is one. True, in real life I'm an atheist, but for this article, I'm assuming I'm a believer. Someone has proved to me that God does exist and that he has a purpose in mind for us and for the universe. My honest gut response is "Why should I care?"

Let me pause to clarify a couple of things: first of all, I wouldn't cut of my nose to spite my face. If it so happened that God's purpose aligned with my personal goals, I'd be fine with it. If God's purpose for me involved staying with my wife, directing plays, and other things I'm already doing (or want to do), I wouldn't perversely stop doing them, just to be contrary. Still, I'd be doing those things for the same reason I always did them -- because I like doing them. If they furthered God's purpose, that would be coincidence. (Remember: I'm assuming free will, not some physics in which we can't help doing God's work.)

Second, I'm not immune to rewards and punishments. I'd probably fall in line with God's plan if it wasn't too onerous and if He (or some of His followers) offered me enough cash. And I'd definitely fall in line if, by not doing so, I'd spend an eternal afterlife in the Lake of Fire. But let's assume there are no rewards or punishments. Or rather, there are no punishments. The reward -- if you think of this as a reward -- is being part of the process itself: being part of God's plan.

Given all this, choosing to follow God's plan strikes me as similar to choosing to follow the president's plan. Or choosing to follow the king's plan. There's a powerful person; he has a plan; he wants you to follow it, though he won't punish you if you don't. Do you? If so, why? If not, why not?

I know God is much more than a political leader, but my imagination is limited. He's an intelligence, and I can only map that onto a human-like intelligence. So the only way I can understand God is as "a guy." A really powerful guy ... a guy who created everything... but still a guy. As a guy, he has his wants and needs. As another guy, I have mine. Why should I care about His? Why don't I care about His?

In stories and discussions about Purpose or Meaning, it always seems like people are searching for it with the intent of living their lives by it, once they find out what it is. There's never a discussion of evaluating it first. People don't seem to worry about whether they'll like the purpose once they know about it. They don't seem to worry about whether or not it will conflict with their personal goals and lifestyles. Why not? I get the impression that there are a ton of people out there who are lost. They are so lost that they want a purpose. Any purpose. And I suppose any purpose is better than no purpose.

In my cynical moments, I imagine God descending to Earth and saying, "My children: in order to fulfill my purpose, I need you all to grab the first infant you see and bash his head in with a mallet!" And that since this is God's purpose, many people will do it.

On the other hand, am I being colossally perverse not to fall in line with God's plan? (Even if His plan turns out to be something that strikes me as repugnant, boring or evil?) If the entire universe is a machine that does X, is it crazy (and selfish) to work towards Y? I can't help feeling like, selfish or not, I didn't ask to be part of this machine. I can't help feeling the desire to escape from its chains.

Or am I being perverse in the same way as the guy who keeps himself awake for five nights in a row? Our bodies weren't built for that. They were built to spend part of each day asleep. It's perverse to punish your body that way. In the same sense, it it perverse -- unhealthy -- to rebel against the machine you're a part of, even if that machine's purpose is unknowable, boring or repugnant to you?

(The unknowable part is interesting: if God said to you, "I need you to do X, Y and Z in order to fulfill my purpose. Unfortunately, I can't explain to you what that purpose is. But rest assured, if you do X, Y and Z well, you'll be furthering it," would this be enough for you? Would you do what He wants without knowing why He wants it?)

I've noticed that many people have a strong sort of respect for creators that I don't share, and I think this difference between them and me is key, though I'm puzzled as to why I'm so eccentric. And I'm puzzled as to why so many other people don't share my eccentricity.

In the theatre, I constantly hear people talk about "what the playwright intended." If they somehow know what Shakespeare or Ibsen or Mamet intended, they think it's perverse -- or disrespectful -- to thwart that intention. I don't.

(You may find my view selfish, and maybe it is, but I extend it to my own work. If I write something and "put it out there," I don't expect people to use it or interpret it "as I intend it." As a director, I consider my job to be telling stories to an audience. Though I often use written scripts to do this, I don't think my job is "to present the playwright's intentions to the audience." My job is to tell a story. If the story is clearer or more evocative when I thwart the writer's intentions, then I should thwart it. In other words, I see my responsibility to the audience as greater than my responsibility to the writer. And I don't see my responsibility to the audience to be to "tell the playwright's story to them, as he intended." I see it as "to tell the them the most interesting story I can tell."

I wonder if respecting the author/creator's intentions, above everything else, is a cross-cultural, pan-historical syndrome. Have we always done it? Will we always do it? If it's a local effect, what started it?)

As I see it, if I create a tool and keep it in my own house for my own use, it's mine. You don't have a right to break into my house, take it, and use it for your own purposes. But if I create a tool and give it to the public, part of that gift is letting go of my purpose. If I make a tool for you, you're free to use it for your own purpose. You don't have to respect mine. If you feel compelled to respect mine, then I haven't really given you the tool. A gift is given freely, or it's not a gift.

So I can't respect God's purpose just because He is the creator. The creation was a historical event, but the creator no longer has special significance or rights. The Chinese invented gunpowder, but we don't have to consult with them and ask them what they want us to do with it. We can use it for our own purposes. If God wants me to follow His plan, he needs to show me how it will benefit me.

Yes, that's a self-centered attitude. I'm not self-centered towards my friends and loved ones. I'll do things for them, even if they hinder my purposes. So maybe if I had a personal relationship with God, I'd feel differently. But since, to me, God is "a guy," and the world is full of guys, I'm not sure why I should choose this particular guy for a friend.

"Thinking Shakespeare"

Acting is strange. When you do it wrong, you're boring and phony; when you do it right, you're exciting and real. Being "real" means convincing the audience that you're engaging in purposeful thought -- that you seem to be actively trying to figure things out, right there on stage, in real time. If the audience feels that -- since you're read the script and toiled through countless rehearsals -- you already know what's going to happen, you'll seem contrived. If you're Hamlet, you can't know whether to be or not to be; you have to figure it out as you speak. Also, you must seem to be carrying on real conversation: really listening and responding -- even though, having memorized the lines, you know what everyone is going to say.

You screw this up by overcomplicating. You worry about what to do with your hands rather than what your character is trying to achieve. Or you worry about trying to squeeze out tears, because you're sure the audience will think you're a good actor if you can cry on cue. You're enmeshed in your ego, rather than simply trying to achieve some simple action, like talking or listening.

You screw things up by failing to prepare. You don't learn your lines well enough, so they never seem natural. Sometimes this is due to laziness. Other times, it's ego again. You're scared that you'll fail on stage, and every time you pick up your script for a memorization session, you have to think about your impending failure. That's too painful, so you watch television instead. And in the end, you fail, because you didn't pick up your script.

You succeed because you Keep It Simple, Stupid. You memorize your lines, and you play your simple actions. Then you bow and go home. Really, that's all there is to it. You figure out What Your Character Wants and you try to get it, using the playwrights words (which you've thoroughly memorized). But just sticking to this simple plan is incredibly hard. Actors need constant help to do so. Some need to be prodded to memorize their lines; others need to be kicked in the ass and told to get over themselves, their fears, their inhibitions, etc. What does your character want? What should he do to get what he wants. Do that! ONLY do that.

Even those who are committed to the simple plan need continual reminders to stick to it. It's so easy to veer off course. Which is why it's always useful to read clear, to-the-point acting books. They're all the same. They all tell you to figure out what your character wants and then work to get it. But the good ones find a new way of telling you this. Even when you know these books messages before reading them, you read them and say, "Yes! Of course. That's what I should be doing!" And you're grateful to the author for setting you back on The One True Path.

The best acting book I've read in years is "Thinking Shakespeare", by Barry Edelstein. It delves into every nook and cranny of Shakespearean acting. And we Shakespeareans need even more prodding than usual, because added to our egos and our laziness, we have reverence to contend with. Shakespeare is such a lofty figure! How can we possibly measure up? By Keeping It Simple, Stupid. By figuring out what our characters want and working to achieve those goals on stage. That's Edelstein's message. It's been many other people's message, too. But Edelstein tells it well -- and he shapes it specifically to the needs of the Shakespearean actor. But "Thinking Shakespeare" should be read by all actors. For if you can act Shakespeare, you can surely act Neil Simon. The Simonean uses many of the same tools as the Shakespearean, and Edelstein will teach both how to wield those tools. (It's the "figuring out what your character wants" part that particularly hard with Shakespeare. But if you know how to look for them, you'll find clues in the words. Most of Edelstein's book explains how to interpret the words to find these clues.)

"Thinking Shakespeare" is a splendid book for directors, too. It will teach them -- or remind them -- how to analyze a Shakespeare script. It will also help them work with actors. And "Thinking Shakespeare" will thrill the literary scholar or Shakespeare fan. If you've spent all your time viewing Shakespeare through the lens of academia, this book will open you up to a whole new way of reading (not just Shakespeare, but all plays). You'll see plays as conflicts that arise when multiple agents -- the different characters -- all try to achieve their ends at once, inevitably clashing with each other to do so. And you'll see how each character uses facets of Shakespeare's language to achieve his particular ends. Since I started running Shakespeare through the mechanics of the theatre, I've enjoyed reading the plays more than ever. You will too.

Throughout the book, Edelstein repeated asks the correct question (the only question): why is this character using these words now? He answers that question in dozens of ways, including metrical analysis, focusing on verbs, chewing over line endings, etc. But none of this is done for the sake of scholarship; it's done to answer the question "why is this character using these words now?" (So that actors can choose an appropriate action when speaking the words.) For instance, Edelstein urges readers to consider Richard II's change from heightened to simple language in his "Let's talk of graves, of worms, or epitaphs" speech. Near the start, Richard's words are lofty and "poetic," such as when he says to, "Make dust our paper, and with rainy eyes / Write sorrow on the bosom of the earth." But by the end of the speech, his words are simple monosyllables ("I live with bread, like you; feel want, / Taste grief, need friends..."). Why? Why the change from high to low? What does this tell us about what Richard wants? What does it tell us about why he's using these words now? Actors need to understand what such changes mean and know how to use them as tools to aid their craft.

Using simple, non-jargony prose, Edelstein delves into meter, line endings, formal vs. informal address, shared lines, names, rhyme, irony, wit, and more. He's exhaustive and definitive. I dare you to come up with ten topics (applicable to the Shakespearean actor) that Edelstein has forgotten to cover. He's written THE book that every actor and director should skim through (having once read thoroughly) before starting work on a play.

I do have a few quibbles: in his early section on actions, Edelstein suggests that a strong one is "to wonder" (as in "to wonder about a question or problem"). I disagree. An action helps an actor DO something -- as opposed to trying to play some emotional state. For instance, an actor should never try to "be sexy." Instead, he should try "to seduce." To seduce is a playable action. So is "to rebuke," "to compliment," "to mock," etc. These are all things you can try to DO while speaking the playwrights lines. The action that you're playing will necessarily color the way you speak the lines. If I'm saying "you're SO beautiful," I'm going to say it very differently if my action is "to mock" as opposed to "to flatter."

"To wonder," Edelstein's example of a good action, seems more like a state to me. Granted, it's not quite the same as "happy," "sexy" or "pissed off." It makes no sense to say "to happy," whereas "to wonder" is a perfectly fine infinitive. But to me, it's not playable. What exactly do you DO when you wonder? If I'm trying "to seduce," there are various tactics I can employ. I can gaze into your eyes; I can subtly lick my lips; I can speak softly; etc. But what tactics do I employ "to wonder"? Wondering isn't something I do on purpose; it's something that HAPPENS to me when I get curious or confused. (When a scientist is curious, he doesn't take action by wondering; he studies, researches, experiments... When he's lying alone at night, he may wonder, but that doesn't make wondering a playable action. When Hamlet asks "To be or not to be?" he doesn't wonder, he wrestles, searches, beats his head against a problem....) As a director, I'd never tell an actor "to wonder." I'd worry that, by doing so, I'd throw him into trying to play a state -- to BE something (quizzical?) rather than to DO something.

My second quibble is something of a soapbox issue for me: I'm continually turned off, when I see productions of Shakespeare plays, by actors who illustrate their speeches with hand gestures. For instance, when saying "My words fly up, my thoughts remain below," the actor playing Hamlet might flap his arms like a bird's wings while saying "fly up" and point to the ground while saying "below." I suspect actors do this -- and I see them do it ALL the time -- for a couple of reasons; (a) they think it's amusing; and (b) they think it will help the audience understand the difficult, Shakespearean language.

I object to it because it's (a) redundant and (b) condescending. I can understand "fly up" without gestures, thank you very much. And so can my audience. When I direct Shakespeare plays, I forbid all such gestures. I DO worry that the language might be hard for the audience, but I deal with that by making sure the actors know what they're saying, know why they're saying it, say it clearly, and say it while playing an action. Whenever I stick to this plan, the audience always seems to be able to follow the play -- with no need for pantomimed gestures.

But I mostly hate these gestures because they're phony. I don't believe that the characters would really make them if they were truly 100% focused on trying to achieve their actions. I believe they make them because they're 80% focused on their actions and 20% focussed on trying to amuse (or explain things to) the audience. Since I'm aware of this, I smell fakery. I'm not saying that people never gesture in real life. Of course they do. But they don't tend to gesture in such a self-conscious, theatrical way.

I mostly see these gestures when an actor says something lewd. For instance, when Mercutio says, "love is like a great natural, that runs lolling up and down to hide his bauble in a hole," you can bet that the actor will thrust his hips back and forth to MAKE SURE THAT WE GET IT. Maybe we don't get it (though I think we do, if the actor speaks the line clearly while playing a strong action), but I'd rather miss the sense of a line or two than be constantly distracted by visual Cliff Notes.

I often fear that actors (and directors) are terrified that without these gestures (and without juggling, musical numbers, wacky costumes, etc.), audiences will be bored. Too much Shakespeare! The audience needs a spoon full of sugar to help the medicine go down! But if you assume that Shakespeare is Caster Oil -- or if you assume your audience thinks it is -- you've lost the battle. Produce Shakespeare because you love Shakespeare, and assume your audience loves it too. Of course, some don't love it, and that's too bad. But you're not going to convert them into Bardoholics by making lewd gestures. You may -- you probably will -- entertain them. They'll go home thinking, "Boy, that actor was funny when he mimed jacking off!" But they won't go home loving "Romeo and Juliet."

I'll be off my soapbox in a minute. But I'm standing on it now, because Edelstein (correctly) points out that if a line seems dirty in Shakespeare, it probably is. In other words, Shakespeare intended it to be dirty, and his original audience would have understood it as dirty. Edelstein does NOT suggest making lewd gestures to illustrate with lewd lines, but he does immediately follow his discussion about dirty lines with a chapter on gesture and movement. So while he may not connect the dots, his readers might. They might feel that an expert on "Thinking Shakespeare" has given them permission to illustrate "the beast with two backs." Maybe he has. Maybe Edelstein likes such gestures. As a Shakespearean director and theatre-goer, I'm sure he's seen them often enough. But while he rails against other practices that make Shakespeare seem phony -- Shatner-like inflection and veddy veddy pretentious, British-sounding dialects -- he doesn't speak out against the sort of gestures that I wish had been left behind in the 18th Century, where they belong. Well, maybe Edelstein's not on this soapbox with me.

Finally, I fault the book for the very reason it will surely appeal to many others: though Edelstein claims to be writing for all sorts of people -- laymen and experienced thespians alike -- his target audience is one that quakes in its boots when faced with "King Lear" or "MacBeth." So his prose is very Shakespeare-for-Dummies-esque. "Don't worry. The Shakespeare Police won't arrest you." That sort of thing. I'm sure this hand-holding aids many people, and it probably helps book sales, but it's a bit grating if you're not scared of Shakespeare. It's a bit superfluous if you want "Just the facts, ma'am."

Still, these are minor concerns based on personal quirks. "Thinking Shakespeare" is a fantastic resource. The next time an actor friend has a birthday, I know exactly what I'm going to get him. The next time I direct a Shakespeare play, I'm buying copies for everyone in the cast.

my dad

What made me who I am? I'm a theatre director, a computer programmer, and a technical writer. My father, Harry Geduld, is none of those things. Yet, as I look back, I realize that he's responsible for nearly every career choice I've made and many of the (hopefully endearing) quirks of my personality.

My dad is a Professor Emeritus of Comparative Literature, West European Studies and Film Studies. He retired a few years ago as chair of his department. But while he was running his department, he surprised many colleagues by "ruling" with an olive branch instead of a whip. Those of you who come from academic backgrounds know how political they are: how axes are always grinding and grudges last for decades. Over the years, my dad had accumulated plenty of good reasons to be vindictive. As a younger professor, he was often ill-treated. I don't know all the ins and outs of the situation, but I think it boiled down to the fact that he taught Film Studies. Nowadays, that has more cache, but in the 60s and 70s, scholars sniffed at it.

Student's didn't. Student's ate it up. My dad's classes burst at the seams, while those other professors -- the ones teaching German Literature classes (or whatever) -- were lucky to get three students. So snobbery combined with professional jealousy. Added to this, my dad was a writing machine. He churned out books -- over twenty-five when I last counted. He wrote papers and essays and reviews. His department supposedly had a "publish or perish" rule, but I think my dad was one of the few who took it seriously. So he was a little like "the teacher's pet," following the rules while the other boys stood around on street corners, whistling at girls. Only there wasn't a teacher to pet him. He just believed in hard work and took joy in work well done.

I'm sure many facts in the previous paragraphs are wrong. I was a kid when it happened and it was all very confusing. But I was left with the impression that my dad was working incredibly hard, taking a stand against the world. It really seemed like him against everyone, but he didn't back down. He just kept working hard and fighting the good fight, and after years and years, he finally got the recognition he deserved. And, when he finally got some power and could have rained sorrow down on the heads of those who had belittled him, he instead treated everyone with kindness. That was a wonderful lesson for a child. Though I was brought up in a Jewish home, I learned from my dad to "love thine enemy" and "turn the other cheek."

Since he was a Film Historian, our house was always flickering with movies. Back before DVDs or VCRs, my dad would project movies onto our living-room wall. This is how I first saw "Vertigo," "City Lights," "Gone With The Wind," "2001," and "Sunset Boulevard." Later, my dad bought one of the first consumer video-tape recorders. It was a reel-to-reel machine! Each reel could hold an hour of footage. And I remember when a good movie came on TV, I would try to tape it. Halfway through, I would frantically thread a second tape through the machine, hoping to miss as little of the movie as possible. I got to the point where I could do this in about 30 seconds.

All these movies now float around in my head. I fell in love with stories -- the type people used to tell in old movies, when a good yarn was what was most important. From as early as I can remember, I was awash in stories. Which, I'm sure, is what made we want to work in the theatre. As a director, I'm not interested in making a point or advancing a theme. I just want to tell stories.

Actually, there was another influence on me as a story maker. When I talk to people about what made me decide to become a director, I always bring up the movies on the wall. But there was an earlier influence, and it also came from my dad: he read to me. From when I was too young to remember to when I was eight or nine, my dad read me stories. I'm sure, when I was really small, he must have read me picture books, but what I remember are the novels. He would read me a chapter every night, making all sorts of voices and playing all the characters (the start of my romance with acting?). This is how I first encountered "The Time Machine," "War of the Worlds," The Narnia Books and "The Hobbit." I became a life-long reader, and in addition to printed stories, I also listen to audiobooks. I think they make me nostalgic for those days when my dad read to me.

One time I had to go on a long road trip, and my dad actually recorded himself reading the whole of John Hersey's "Hiroshima" on four or five cassettes. It was harrowing. I'll always remember it, but I've never wanted to reread it. I want it in my head, spoken with my dad's voice.

In addition to Film Studies, my dad also taught English Literature. He is an extremely well-read, cultured man. So he may have been disappointed when his son became more interested in comic books and sci-fi than in Shakespeare and Melville. But if he was disappointed, he never showed it. He never forced Chaucer down my gullet or made me feel ashamed of my lowbrow tastes. Quite the contrary, he BOUGHT me comic books and recommended sci-fi books to me. Eventually, in my own time, I got tired of the "kiddie lit" and graduated to the classics that were stacked on shelves throughout the house. So my dad did the best kind of teaching with me. He let me be my own sort of person but gave me the tools to "better" myself -- when I was ready to do so.

Seemingly without trying, my dad taught me to be a good writer. He tapped away at his manual typewriter (using his two-fingered, hunt-and-peck method, he was faster than any touch-typist I've ever seen), churning out books at the rate of a dime-store novelist. But he wasn't a hack. He was devoted to clear, evocative prose. He introduced me to writers like Orwell and showed me how they structured their sentences around strong, simple verbs. More important, he taught me that all writing was worth doing well. I write much less creative stuff than him. He wrote studies of D.W. Griffith and Chaplin; I write computer manuals. But I labor over each sentence like a poet, and my readers seem to appreciate the effort.

One day, as a teenager, I came home upset about some fight I'd gotten into at school. My dad told me that if I really wanted to win arguments, I should study logic. And he presented me with a dog-eared copy of some logic book he'd had for years. It was a tiny, Strunk-and-White-sized book, but it started an avalanche in my brain that's still rumbling around in there today. I took to logic immediately. I loved how it clarified my thinking and writing, but I wanted to touch it in some purer form. I eventually found that form via computer programming. I think I became a programmer for two reasons: because I wanted to grapple with logic in some tangible form, and because I was transfixed by HAL 9000 when, as a boy, my dad showed "2001" on our living-room wall.

Before becoming a programmer, I spent ten years teaching computer courses. I was a great teacher. If there was a five-star rating system on evaluations, I pretty much always got five-out-of-five stars. I have a legion of former students who keep in touch with me and ask advice. I'm continually invited to speak at national conventions. I owe it all to my dad. Some professors are good writers or researchers but lousy teachers. Not my dad. He worked just as hard at teaching as he did at writing, and he always spoke to his students as equals. When I was a kid, our house was generally filled with grad students, who seemed like friends. Though, as a kid, my schoolteachers were mostly incompetent martinets, I learned from my dad that teaching wasn't about being in charge. It wasn't about discipline or proving how smart you are. It was about communicating complex ideas clear and helping people grow.

My dad filled our house with music. He's been collecting L.P.s since he was a teenager. By the time I came along, he'd acquired shelves and shelves of them. From my friends, I learned about The Beatles and Disco. From my dad, I learned about Shostokovich, Judy Garland, Old British Music Hall ongs, Miklos Rozsa and Stephen Sondheim. These all still play on my stereo today. But more than for the specific music, I thank my dad for making music as essential to me as food or water. I have over five hundred albums on my iPod. I wish I had room for more. When I get done writing this, I'm going to play Shostokovich's Eighth String Quartet. And then maybe the original cast album of "Company."

One thing I didn't appreciate about my dad until I was much older: he was a good husband. As a kid, I witnessed all of my friend's parents separating, divorcing and remarrying. Most of those friends are now divorced themselves. But my dad and mom have been together for almost fifty years. I can't yet claim such success. I've only been married to my wife for eleven years. But things are going well and marriage to me feels like something sacred and worthwhile. And I owe that to the example I witnessed as a child.

In many ways, I'm very different from my dad. I'm not sure what he believes, but I don't think he's a staunch atheist like me. He's a proud Jew, whereas my Jewishness has never been all that important to me. He also an extremely political man. I, on the other hand, rarely think about politics. I suspect sometimes my lack of interest in my roots -- and my head-in-the-sand attitude about politics -- upsets him. I don't blame him for this. I'm a little ashamed of these aspects of myself, too.

I know he's the way he is because, as a child, life treated him harshly. He was a small boy in London during The Blitz, and twice his homes were bombed to smithereens. He was evacuated into the country, separated from his mother and father and subjected to all sorts of anti-semitism. I can't even imagine. I can't because he worked hard to make my life different, better. And it was -- and is. And since he sheltered me from many of his hardships, I can't completely relate to what he wend through. In addition to all the intellectual and emotional gifts he gave me, he gave me the gift of security.

How can I thank him? There are no words.