(excerpt from Performance Approaches to Shakespeare, p. 15)
It is not unusual for a director to spend an extended time doing tablework with a cast – diving deeply into the text, sleuthing out meaning by almost scientifically examining the words and how they are written. Researching the meaning of words, especially obscure ones, is part of the process. Also, deciphering the rhythmic pattern of the blank verse to see what performance clues it might have is a must. It’s also a good way for the performers to get a handle on who their characters are, not by assuming they know, but by discovering what others have to say about them. How does the story develop? Are there any inconsistencies? Are there any troublesome aspects of staging and casting? This is best done on a collaborative basis with all those involved. Peter Brook states, “However much home- work [the director or teacher] does, he cannot fully understand a play by himself. Whatever ideas he brings on the first day must evolve continually, thanks to the process he is going through with the actors…” The Empty Space, Peter Brook
Performance Approaches to Shakespeare 