08 3 / 2014
"When we took Shakespeare’s “Measure for Measure” into a maximum security woman’s prison on the West Side…there’s a scene there where a young woman is told by a very powerful official that “If you sleep with me, I will pardon your brother. And if you don’t sleep with me, I’ll execute him.” And he leaves the stage. And this character, Isabel, turned out to the audience and said: “To whom should I complain?” And a woman in the audience shouted: “The Police!” And then she looked right at that woman and said: “If I did relate this, who would believe me?” And the woman answered back, “No one, girl.” And it was astonishing because not only was it an amazing sense of connection between the audience and the actress, but you also realized that this was a kind of an historical lesson in theater reception. That’s what must have happened at The Globe. These soliloquies were not simply monologues that people spoke, they were call and response to the audience. And you realized that vibrancy, that that sense of connectedness is not only what makes theater great in prisons, it’s what makes theater great, period."
ouch bullseyeI think it’s simon russell beale who speaks of the audience as the 2nd character in a dialogue (as opposed to monologue)and each character wants something different from this confidant (Iago want witnesses/admiration or hamlet wants an understanding ear)and let me tell you Kevin Spacey spoke directly to the front rows as Richard III and I mean directlyone of my faves of this was the globe’s own Henry V with jamie parker where they made the battle cry call-and-response:for harry! (HARRRYYYY) england! (ENGLAAAAAAAND) and saint george! (SAINT GEOOOOORGE!!!!)i stood there in the driving rain and I stg I nearly stormed the stage with themmeasure for measure (harrietvane)