Week 3 – Shakespeare’s “The Winter’s Tale” – Hermione’s arrest and defense at trial – The Rehearsal Room [Video, Audio, and Transcript versions]

Geoffrey
Anyway, here’s what we’re gonna do today, you guys. And

thi this will smack a little bit of, of what we did in The Crucible, because what I’m gonna ask you to do is speak directly to the camera and whoever is not speaking to watch the screen.

And when you are speaking,

I’d like to, to look down at the script, or if you have it on your, on your screen.

Look at it on the screen long enough to, long enough to pick up a line as, so it’ll go something like this. You knew of his departure as, you know, what you have done as, you know, what you have to under 10 to do in his absence. So if, if you can only pick up two words or three words, that’s fine. But take him off the page and take ’em right to the camera.

So the person who is listening, this is the way I came up of with, of, of overcoming some of the, the drawbacks of doing things on Zoom. So the person who’s listening to you can simply listen.

And we’re not going for pace or anything, anything at all like that. What what we’re trying to do is, is get some connection.

It’s odd because you’ll be tempted to look at the person, but even that’s.

Shannon
Be connecting with your camera.

Geoffrey
Yeah. Even well, which is exactly what we did as you recall in Crucible where you were connected.

Shannon
I mean, there were faces out there, but you couldn’t really look at the faces. ’cause you had to keep track of where the theoretical person you were looking at was.

Geoffrey
If, if you, I mean, if you, if your eyes drift to the person, to the actual person, that’s fine. What I, what I, what I want you not to do, and I will stop you if I see you doing it, is, is look at the script.

Even, even if you are not quite sure, you know, if the other person is finished speaking, I’d rather have a big old pause while you go. That must be me. And go down and, and, and then come back. I, I do not care at all about pacing. All I want is the opportunity for each of you to listen to the other without looking at the script. I mean, it’s, it’s clear what I’m saying at this point. Yes. So let’s start that and let’s start this scene where, where we said we would, which is Shannon, your line now for conspiracy. I now for conspiracy. I know not how it tastes.

Shannon
Okay, so we’re going back to the original spot. ’cause last week you moved it up to the top of that page.

Geoffrey
Yeah.

Shannon
We’re going back.

Geoffrey
Well.

Gideon
I never, I never heard yet is where we started with Leon’s.

Geoffrey
All right, let’s do that then. I’m terrible. That’s where we’re gonna start. We’ll start with Leons.

I know yet that any of these bolder vices wanted less impedance to gain. Yeah. Yeah.

See how well you can do this? I will, I don’t have to be on this at all.

So I’m gonna stop my video. I’m gonna, and, and mute myself. But I’ll, I’ll come in if I see you drifting away.

Chris
Okay.

Geoffrey
Start when you feel like it.

Chris
Alright.

I now heard yet that any of these bold vices wanted less impedance to gain. Say what they did then to perform it first.

Shannon
That’s true enough though. Tisa saying Sir, not due to me.

Chris
You will not own it.

Shannon
More than mistress of which comes to me in name of fault. I must not at all acknowledge for ese with whom I am accused.

I do confess I loved him in honor as he required with such a kind of love as might become a lady like me with a love even such

so and no other as yourself commanded, which not to have done, I think had been in me both disobedience and in gratitude to you and toward your friend whose love had spoke even since it could speak from an infant freely that it was yours. Now, for conspiracy, I know not how it tastes though it be dished for me to try. How all I know of it is that Camilla was an honest man and why he left your court. The gods themselves wanting no more than me are ignorant.

Chris
You knew of his departure as you know, what,

what you have entertained to do in absence.

Shannon
Sir, you speak a language that I understand not

my life stands in the level of your dreams, which I’ll lay down.

Chris
Your actions are my dreams. You had a bastard by you had a bastard by pules and I, but dreamed it

as you were past all shame those of your fact our so, so past all truth, which to deny conceives more than avails for us.

That bratt has been cast out like to itself. No father owning it, which is indeed more criminal in thee than it.

So thou shall feel our justice in whose easiest passage look for no less than death.

Geoffrey
Excellent. I’m gonna stop you for a second and just have you go through that again, Chris. It it’s really good. Really good. But just see if you can, I I can just see your eyes going down to the next sentence as you come to the end of what you know.

Chris
Okay. Alright.

Geoffrey
You what I mean? It’s, it’s really, it’s a tiny thing. But you guys are, you guys are doing this so well. I just wanna encourage you to get it even sharper.

It’s really so interesting to hear.

Sharon, can you start from, my life stands in the level of your dreams, which I’ll lay down just to give, get him into that. Okay.

Shannon
Which is, I wanna be like that modifier’s in the wrong place here because I ’cause the life is what she’ll lay down. Not his dreams, but it’s okay.

Geoffrey
Life seems a little

Yes.

Shannon
Yeah. Okay. Hi Paul.

Geoffrey
Hi everyone. Sorry. Hey, welcome. Turn my video off ’cause I’m not sure where we’re, sorry Paul. We’re just doing some, we’re working on this scene. So just stay joined with us, but we’ll get to you in a little bit. Okay.

Shannon
My life stands in the level of your dreams, which I’ll lay down.

Chris
Your actions are my dreams. You had a bastard by Pulis and I, but dreamed it

as you were passed all shame.

Those of your fact are so, so past all truth.

Thy bratt has been cast out like to itself.

No father owning it, which is indeed more criminal in thee than it.

So thou shall feel our justice in whose easiest passage look for no less than death.

Shannon
So spare your threats. The bug that you would frighten me with, I seek to me can life be no commodity and the crown and comfort of my life. Your favor I do give lost for I do feel it gone. But no, not how it went.

My second joy, the fruits of my body from his presence. I am barred like one infectious.

My third comfort starred most unluckily is from my breast. The innocent milk in it. Most innocent mouth hailed out to murder myself on every post proclaimed a trumpet with imm modest hatred.

The child bed privilege denied, which longs to women of all fashions.

Lastly, hurried to this place in the open air before I have got strength of limit.

Now my le tell me what blessings I have here alive that I should fear to die, therefore proceed. Yet hear this

mistake me, not no life. I prize it. Not a straw, but for my honor, which I would free if I shall be condemned upon surmises.

All proofs sleeping else.

But what your jealousies awake, I tell you, ittis rigor and not law

your honors. All I do refer me to the oracle Apollo. Be my judge.

Geoffrey
That.

Shannon
Was the end of it.

Geoffrey
Yes, that’s the end. That was superb. It’s exactly what I was looking for. And, and I hope I’m, I’m gonna stop talking for a second and, and let me know what you guys felt or got from it or hated about it or anything, Shannon. ’cause you had, let’s start with you.

Shannon
It’s because I had a a strong reaction. It.

Geoffrey
You because you had a str. I mean, you were, it it was wonderful. It was moving you. I I thought, I mean, I thought I saw a little, little, you know, some tears coming to your eyes. It was.

Shannon
Well, this is the tricky thing about me playing Hermione because I cry so easily. Do you? And this woman does not. Well, she.

Geoffrey
Didn’t. I mean, you, you didn’t, so that’s, that’s fine. I can see it because there’s a camera on your face. Hi Paul. He’s out.

It, it just, it it, it, it proves my theory that if you get the words right, the emotions will come unbidden often, you know, if you’re a good, if you’re a good actor, that we’ll just sort of take that as, as red from all you guys.

So please say something. Make me stop talking.

Shannon
It’s, oh, no.

Geoffrey
No, you go ahead. You go ahead.

Shannon
Okay. I mean, it was, it was instructive in the sense of there were thoughts that I wished I could grab more of because it did feel like I was cutting something off in the middle. But sometimes that was fine. I was like, I do, there is, there’s something about the endings of the lines. Even though they come in the middles of sentences so frequently in this set of dialogue that still, it just makes, even trying to memorize it, it it does form like a natural ending. And I don’t know whether that’s just a visual thing, but, you know, it’s looking at like for ies with whom I am accused, I do confess. It’s, it was, it was really hard to try to look down and be like, I do confess.

I loved him as in honor. He required, it was much easier to stop it. I do confess. I loved him in a, as in honor he required, I don’t know. So that was, but sometimes you would get through the whole, the whole sentence to the, to a more, a more classically natural stopping point rather than the middle of a thought.

Geoffrey
I, I, I’m not exactly sure about this, but I’ve always heard that, you know, Peter Hall insisted on an end stop for every, every line that the end of a line warranted a stop.

I, I, I think the way you just did that for nee with whom I’m now for Pules with whom I’m accused, I do confess. I loved him. So if you, if you wanna take the tiniest zu there, the tiniest breath, it, it doesn’t have to run through. There’s, that’s perfectly reasonable. It doesn’t sound wrong. It doesn’t sound like, like you stopped there all of a sudden and then restarted on on the next line.

Gideon
Can I just add that it’s precisely that tension that Shakespeare’s looking for. There’s, it’s the end of a line, but not the end of a thought. And you, you can’t ignore either one of them. And so there’s a, there’s a, it’s, it’s like, it’s like the springing up that you see in the Parthenon because the base of the Parthenon is a curve. But when you’re looking at it, it looks straight and it’s meant to, but it feels a lot ’cause it’s bowed up. And that’s what you’re doing. You’re, you’re, you’re balancing these two things and, and you go wrong to go to either extreme. But there you go.

When you know there’s that tension there and can, can articulate it, the verse is, springs into life.

Geoffrey
So yes, two things can be true at the same time. I mean, the, the what what Kian just said about the place where you go wrong is going to the extreme one way or the other. You, you can recognize it. You can acknowledge it.

It doesn’t have to be a, a frustration on your part. It’s a, it’s a, it’s an allowance. It’s a, it’s a, it’s a permission sort of.

So good. That’s, that’s good.

Do you wanna say Mark, can we get, should we go to Chris? Go.

Shannon
To, yeah. Well what did you wanna say, Chris?

Chris
So in that, in your last speech where like the, the bug you threatened me with character-wise, Leonte is not listening to you, even if he’s hearing what you’re saying. He is not accepting and he’s, he’s literally not listening. And in this exercise, which is about listening, so I’m sitting here forcing myself as the actor to listen, which is also forcing Leon’s to listen, realize if he had just listened, he might have, he, he might have backed off a bit. Like it’s, it’s so convincing and so heartfelt

that I j that that that what kind of becomes a tension for me as an actor of, of hearing this, this beautiful speech beautifully done. But as a character being completely unmoved by it. Yes. I find really interesting.

Geoffrey
I think that’s.

Gideon
Interesting. It’s interesting the way when you listen to somebody who’s an ideal ideologue of some kind and preaching to you and trying to change your mind, but you’re, you’re a polite person and you don’t want to directly fight. You listen, but in your mind you’re thinking, this is wrong, this is wrong, this is wrong. I’m just waiting for this person to be quiet so I can do what I wanna do. And, and so there’s a co there’s this, again, it’s a double tension. There’s a tension being paid, but with, but internally it’s being the meaning is being resisted. So you’re, you’re exactly right. It’s a, it’s a, it’s in that tension that the character list.

Chris
Yeah.

Geoffrey
Yeah. Yes. To everything. And, and that’s, that’s a great observation, Chris. I I would, I would think, you know, were we doing this, you know, staging it and all the, all the other stuff, it would, it, it’s a, it, it’s, you know, Shakespeare sort of gives you a gift. It, it’s, it’s, it’s, you, you almost physically have to resist what, what you’re hearing because you’re not deaf. You can hear the words. Yeah. You’re an intelligent, you’re an intelligent person. And, and as Gideon just said, you each thing that you say for everybody else, each reasonable thing is as far as you’re concerned, just an another nail in her coffin. I, I don’t know how, I don’t know.

I don’t know quite, I mean, he, you know, the, the, I don’t think it necessarily benefits us to try to name whatever psych psychological thing he’s suffering from. But, but it’s that thing of you, you, you, you just can’t hear the the truth anymore. You just, every world, every.

Chris
Every reasonable argument she has is proof of what a good liar she is.

Geoffrey
Exactly. And that you almost literally say that. I mean, you say that at the beginning of the scene. Yeah.

What’s I’ve, I’ve never heard that any of these bold vice wanted less impotence to gain say than to perform at first. So, I mean, I know you’re lying. I know you did it, so it’s even easier to lie. And, and.

Chris
I was actually, I was having a discussion about jealousy with someone recently and about how,

how jealousy is a very insecure emotion and about how, how, how jealousy is more about what I as the jealous person I’m going to lose rather than what’s being done to me. And if that fear of loss, like if I didn’t care about her, I wouldn’t be jealous and care about her. I wouldn’t be afraid very good that this thing happened. And so there’s also that, that like, I, you know, now that I’m talking about this out loud, that the thing where I say before about,

is it in the other scene, but like how, how, how good you are at, at, at saying what’s not true. Yeah. Like, it’s almost like, like I’m s i I have to psych myself up to not believe.

Right. ’cause ’cause if she, if she gets me and you know, then I’m duped again and I don’t want that because it’ll hurt too much. Like now I’m rambling a little bit. But No, no, all.

Geoffrey
Those, all those things are fine. I have to.

Chris
I have to not want to believe her.

Geoffrey
Yes.

Chris
Like I have, I have to actively disbelieve what she’s saying. ’cause.

Gideon
If you, if you do believe her, if you do believe her, you could end up I could forgive her. No, you could end up, I was gonna say, you could end up suffering from what he begins the whole jealousy passage with, which is fear of being ridiculed. He’s afraid of growing horns on his head. You know, the, the metaphor of horns, the, the, the man whose wife is sleeping with someone else grows horns that everyone can see, but he can’t. And his whole first speeches are filled with horn imagery. So it, it’s a fear of losing her, but it’s also a fear of losing his own reputation, his own standing.

And I remind you, he’s a king. So, so there are all those layers of fear that go into this jealousy.

Geoffrey
Great, great stuff. You two, I I I will, I will just say that going this slow interestingly sort of forces you to, to pick out operative words or

I didn’t make any particular notes there, there was one early on actually, Chris, we, we had this thing about, about the Brett Haf been cast out like to itself no father owning it, which is indeed more criminal V than it. There was just, there was, it was great. There was such venom in that, in the, the way you said that and the it especially. Yeah. It was, it was just delicious. This, this, this pace and this, you know, having to pick up five or eight words at a time is very useful. It, you, you both found a, a particular richness in, in the language without, without overworking it. Which is always the other trap that nobody on this group seems to be falling into. But often with, with younger or not even younger, some people just, they, they give, they give too much weight to too many words.

You know, that, that Henry four I was just talking about, Henry was actually played by Joe Morton, who’s a lovely actor, a lovely guy, beautiful voice, and just, no, I’m not, I’m not i’ll. This, this is a recorded thing. But there, there were times, there were times I had trouble following his, he had, he has some very naughty speeches and, and I, I had trouble following him because, because he, he sometimes didn’t pick out the words that we needed to hear. So we were lost in a forest of too many words.

Yeah.

Gideon
I, my motto of it is all emphasis is no emphasis.

Geoffrey
Yes. That’s absolutely right. Anyway, I like.

Chris
Jose. I always like the metaphor that Arman used in class of skipping a stone over water, over water. But that’s what the dialogue that should be. You’re moving to a point. It’s just touching every once in a while.

Geoffrey
To get very good. Yeah. Very, very good. The, the, and it was terrific the way that this, this particular limitation actually allowed, allowed that to come out without, without particular effort. Oops, we lost you for a second. Paul, can you hear me?

Gideon
No, he is muted. I’m mute at myself, but I’m.

Geoffrey
Here. Oh, you’re there. Yeah. He’s still.

Chris
In participants.

Geoffrey
Still there. Just to let you know what’s going on. I I’m asking people to, I direct everything they say directly to the camera. Yes, I figured. And the, and the other person or people in, in your scene as it is only watch the screen. So to, you know, you you’ll go to the script to pick up his as much of a line as you can is true enough though. T a saying sir, not due to me, that that’s, that’s what I want. So that we’re never, we’re never actually we, we reading it, you end up with this very slow pace. But as you can see, really interesting things happen and it gives, it gives the, the, the listener or listeners an opportunity to actually listen.

I, I know everybody here is a very thoughtful actor and, and your tendency is, you know, as you hear your cue coming up, is to go to your script so that you can pick up the queue and do all that. We’re not interested in any of that stuff right now. Don’t need queues picked up. We, we want to make sure that we’ve heard and communicated the whole thing.

Six. Let’s, let’s go through this then. And unless somebody has something more to add at this point, let’s go to the, the first scene with all of us.

Even me as the lard, the lad.

Chris
Were you doing with funny voice? At least walk, funny.

Geoffrey
Walk. I’m sitting really funny right now. Yeah.

Chris
It was awesome. Perfect.

Paul
So we’re going to the top. Is that it?

Geoffrey
We’re going, yeah. To the beginning of where we started on this scene, which is was he met there, his train Camilla with him. That that line. Is that right? That’s where we’ve been. Yep.

Chris
Yeah.

Geoffrey
And I will.

Paul
Wait, help me out here. What, according to what you name the sections, which section is this? Gub.

Geoffrey
This is.

Paul
Affirming the truth. I.

Geoffrey
Got it. Affirming the truth.

Paul
Yep.

Geoffrey
It’s about line 44. 43. Yep.

Paul
I’m there.

Geoffrey
Okay, just, just one second.

Right. And Paul, even though I am in in this, I’m going to really keep my eye on people. If, if you, if, and it’s very tempting if you start to drift off to your script, wherever it is on the screen or down here. We’ll just start and go back. I mean we’ll just st stop and then go back. Oh, Chris is.

Chris
Frozen. Nope, I’m good. Oh, I was just, Chris was just dealing with his.

Geoffrey
Headache. Not moving.

Chris
It’s good. I did in fact take something Shannon good too. Two.

Geoffrey
Okay.

Chris
Are we ready?

Geoffrey
Yes. Go ahead.

Chris
Once he met there, his train, Camilla with him.

Geoffrey
Behind the tuft of pines, I met them. Never saw I men scour. So on their way I add them even to their ships.

Chris
How blessed am I in my just censure, in my good opinion? How blessed am I in my just censure? In my true opinion,

I lack for lesser knowledge how

in being so blessed,

there may be in the cup a spider steeped and one may drink, depart and partake. No venom for his knowledge is not infected.

But if 1%, the aboard ingredient to his eye make known how he have drunk,

he cracks his gorge, his sides with violent hefts. I have drunk and seen the spider.

Camillo was his help in this, his pander.

There is a plot against my life. My crown falls true. That is mistrusted

that false villain whom I employed was pre employed by him. He has discovered my designs and I remain a pinched thing. Yay. A very trick for them to play at will.

How can the posts to be so easily opened.

Geoffrey
By his great authority, which often have prevailed, which, which often have no less prevailed than so on your command.

Chris
I know it’s too well

give me the boy.

I’m glad you did not nurse him though. He does bear some signs of me.

Yet you have too much blood in him.

Shannon
What is this sport?

Chris
Bear the boy heads. He shall not come about her away with him and let her sport herself with that. She’s big with Fortis ese has made these swell thus.

Shannon
But I’d say he had not.

And I’ll belie and I’ll be sworn you would believe my saying, how air you lean to the nay word.

Chris
You my lords look on her mark her well be but about be but about to say she is a goodly lady.

And the justice of your hearts will,

will thereto add ts pity.

She’s not honest, honorable

praise her. But for this her without door doom, praise her. But for this her without door form, which on my faith deserves high speech and straight the shrug, the hmm and or or ah. These

petty brands that calie duff use. Oh, I am out that mercy does for calie will sear virtue itself.

These shrugs, these ss and haws. When you have said she’s goodly come between or you can say she’s honest, but be it known

from him that have most cause to grieve it

for him that has most cause to grieve. It should be she’s an adulterous.

Shannon
Should a villain say so the most replenished villain in the world, he were as much more villain.

You my lord do. But mistake.

Chris
You have mistook the lady es for leones

of the thing which I’ll not call a creature of thy place. Blessed barbarism making me the precedent should a like language use to all degrees

and and mannerly distinguishment leave out twist the prince and beggar.

I have said she’s an adulterous.

I have said with whom more she’s a traitor.

And Camillo is a ary with her and one that knows what she should shame to know herself.

But with her most vile principle that she’s a bed swer.

Even as bad as those

that vulgar give bold titles I and privy to this their late escape.

Shannon
No, by my life privy to none of this.

How will this grieve you? When you shall come to clearer knowledge that you thus have published me. Gentle my Lord, you scarce can write me through Lee then to say you did mistake.

Chris
No. If I mistake in those foundations which I build upon the center is not big enough to bear a school boys up

away with her to prison.

He who shall speak for her is a far off guilty. But that he speaks.

Shannon
There’s some ill planet reigns. I must be patient till the heavens look with an aspect more favorable good. My lord’s I am not prone to weeping as our sex commonly are the want of which vain dew per chance shall dry your pities.

But I have that honorable grief lodged here, which burns worse than tears. Drown.

Beit, you all my lords we thought so qualified.

As your charities shall best instruct you, measure me.

And so the kings will be performed.

Chris
Shall I be heard?

Shannon
Who is that goes with me. Beseech your highness. My women may be with me or you see my plight requires it to not weep good fools. There is no cause.

When you shall know your mistress as deserved prison then abound in tears. As I come out this, this action I go on now is for my better grace.

I do my Lord. I never wished to see you. Sorry. Now I trust I shall my women come. You have leave, you

go do our bidding heads.

Geoffrey
Beseech your highness. Call the queen again.

Paul
Be certain what you do, sir, lest your justice prove violence in the which three great ones suffer yourself, your queen, your son.

Geoffrey
For her. My Lord, I dare my life lay down and will do it. Sir, please you to accept it that the queen is spotless in the eyes of heaven and to you, I mean in this which you accuse her.

Paul
If it proves she’s otherwise I’ll keep my stables where I lodge my wife.

I’ll go in couples with her.

Then when I feel and see her, no father trust her.

For every inch of woman in the world, I, every dram of woman’s flesh is false.

If she be.

Geoffrey
Good, good. I’m just gonna stop you for a second. It’s very good. Paul, you’re you’re doing what actually Chris did earlier, which is towards the end of the sentence, your eyes are going down to pick up the next one. See, let’s just do this speech again. Okay. And re really see if you can not look down until you’ve finished speaking. Got it. On each each sentence. Very good though. Very good start.

Paul
If it prove.

Geoffrey
Yes.

Paul
If it proves she’s otherwise

I’ll keep my stables where I lodge my wife.

I’ll go in couples with her.

Then when I feel and see her,

no father trust her.

For every inch of woman in the world,

I every dram of woman’s flesh is false.

If she be.

Chris
Hold your pieces.

Paul
Good, my Lord,

it is for you. We speak not for ourselves.

You are abused.

And by some put her on

that will be damned for it.

Would I knew the villain I would land damn him

be she honor flawed.

I have three daughters. The eldest is 11, the second and the third nine and some five.

If this, if this proved true, they’ll pay for it

by mine honor. I’ll gel them all.

14. They shall not see to bring false generations.

They are co-heirs.

And I had rather glib myself

then they should not produce fair issue.

Chris
Cease no more. You smell this business with a census cold as a dead man’s nose. But I do see it and feel it as you feel doing thus. And see with all the instrument that feel.

Paul
If it be so. We need no grave to bury honesty.

There’s not a grain of it.

The face to sweeten

of the whole dony earth.

Chris
What lack I credit.

Geoffrey
I had rather you did lack than I my Lord, upon this ground

and more it would content me to have her honor true than your suspicion.

Be blamed for it. How you might.

Chris
By what need we commune with you

on of this. But rather follow our forceful instigation.

Our prerogative calls, not your counsels, but our natural goodness imparts this, which if you are stupefied or seeming so in skill, cannot or will not relish your truth. Like us inform yourselves. We need no more of your advice.

The matter, the loss, the gain. Sorry, I lost, I lost power here for a second. The matter, the loss, the gain, the ordering on, it’s all properly ours.

Paul
And I wish my

you had only in your silent judgment, tried it

without more overture.

Chris
How could this be either th one more ignorant with age or that worked born a fool.

Camila’s flight added to their familiarity,

which was as gross as ever touched. Conjecture that lacked sight only not for approbation, but only seeing all other circumstances made up to the deeded to push us on this proceeding

yet for a greater confirmation or in an act of this importance or more hideous to be wild, I have dispatched in post to sacred delphis to Apollo’s temple nominees and Dion, whom you know of stuffed sufficiency now from the oracle they will bring all whose spiritual counsel had shall stop or spur me. Have I done well.

Geoffrey
Well done. My Lord.

Chris
Though I’m satisfied and need no more than what I know yet shall the oracle give rest to the minds of others, such as he whose ignorant credulity will not come up to the truth.

So have we thought it good from our free person, she should be confined lest that the treachery of these two spread, hence be left her to perform. Come follow us. We are to speak in public for, for this business will raise us all.

Paul
The laughter as I take it.

If the good truth were known.

Geoffrey
Once again, just so, so interesting to hear this, to hear this, this way. I, i know it’s very difficult and I, I salute, salute you for being willing to, to try it.

Paul, you let’s do, do you have any thoughts or feelings or discoveries or anything you wanna say? Let’s start with you.

Paul
It’s remarkably clear doing it this way. Yeah. And it’s a little frustrating, but only because of the habits that we have formed and the conventions that we’re used to. But it’s remarkably clear. The ideas are so much clearer because we’re not worried about trying to pick up the next line or observing the meter or the rhythm or anything like that. We’re just looking at each other and saying what we’re, what we, what we mean.

Geoffrey
Good. I’m, I’m good. I’m so glad you feel that way. I mean it is, it is clearly, you know, an exercise. Yeah. But as with something, something we’ll try later, which is to go through it pretty much as quickly as one can, the the remnants of it hang on into your actual performance because you, it it, right. It’s, it’s useful. And as you, as you observe it, it really does make things tremendously clear.

Paul
And then the other side of it, which is a completely different angle from which to look at it, is the frustration of having to wait to look to get the line and look back up adds to antagonists. Frustration of trying to get my ideas through to this blockhead that I’m talking to.

Geoffrey
Interesting. Yeah. Interesting.

Shannon
Well, and the, the breaking up of Leone’s lines, because it makes it even harder for Hermione to be like, what?

Wait, what? Like this little piece, where is this going? What is this what I think it is? You know?

Yeah. It’s sewing it together becomes such a agonizing process.

Geoffrey
Great. And yes. And that, that’s the other, the other side of this is that you have to listen rather than trying to get ready for what you’re, you’re saying next. Right.

Paul
It removes one of the distractions that we have in our lives and on the screen. Yeah. And that is the script. We’re not looking down at the script. So I’m not listening to Chris talk and looking at the script to hear what he’s saying. I’m listening to Chris talk.

Geoffrey
Yeah.

Paul
And I’m hearing what he’s saying. ’cause I have to listen to what he’s saying. Yeah.

Geoffrey
It’s, it, it’s great.

I I I was, you know, it’s when when, when I’m doing work with people and I’m encouraging to encouraging to pick up their cues and to move along, you know, we always talk about the fact that in normal human conversation you’re only half listening because you’re getting ready to respond.

So as soon as that person just stops flapping their goddamn jaw, you can come back with this wonderful thing you’ve, you’ve thought of or this great rejoinder. But so we, we often don’t listen as carefully as, as you’re, you’re forced to here. So this is, it’s a terrific exercise.

And anybody else wanna chime in with anything?

I’ve.

Gideon
Got a couple of verbal specific things which I know aren’t based on actually acting the part, but which I heard and might point out if you want me to.

Geoffrey
Sure. Go. Sure. With the understanding that we were doing a a.

Gideon
Yes. No, I understand that. Cool. Leon auntie’s line 76

with that. She’s big with the, that means that, which,

so it has to be not so swallowed, but give us some weight on the that.

Paul
Did you say 76 Gideon?

Gideon
Yeah. Line 76.

Paul
Are we in the same script line? Line numbers.

Gideon
Line is, he shall not come about her away with him and let her support herself with that. She’s big with.

Paul
Sorry, I had to scroll down into the next scene. My bad. Sorry.

Geoffrey
It’s okay.

Gideon
Line 1 0 4, the auntie’s.

You hit th a little bit instead of place and it, it’s, it’s her place, meaning her rank that you’re concerned with as opposed to her rank versus someone else’s.

So I would hit place more than that.

Always understanding that you were, you know, interrupting yourself to concentrate on something else.

Line 1 21 Hermione,

I, I still, I’ve said this before, but I still need more on the word. Then you scarce can rightly throughly. Then when you, you come to clearer knowledge to say you did mistake, when you come to clearer knowledge to say you did mistake won’t be enough.

You with me? So I just.

Geoffrey
I, I’ll, I’ll just, I I, that was, that’s a line that’s always kind of to me as well. And I noticed in a different addition that there is a comma then is set off by commas, if that helps at all.

Gideon
Yeah. The printer does that in order to make the point I’m trying to make here. Yeah.

Geoffrey
So.

Gideon
Shannon do you get, do you get what I mean? I don’t wanna labor it too much, but I I just want you to, I think.

Shannon
The comma idea helps. Okay. Because then the sentence is gentle. My Lord, you scarce can write me throughly to say you did mistake.

Which makes total sense to me.

Gideon
Yeah. So, so the then is the antithesis of the, of line one 19 when Right. How will this grieve you? When you shall come to clear knowledge, then you won’t be able to write me.

You got what I’m saying? So if you think of the word Yeah. Then as an antithesis, that’ll help.

Shannon
Yes.

Gideon
Okay. Yes. Line 1 34. I just wanna hear the t and pities makes it more pitiful.

Line 1 64. This is antagonists.

I wanna hear that. A in van rather than then we tend to make those two words sound the same thing.

But to make the point here, it’s gotta be the longer ass sound than.

Paul
Than when I feel and.

Gideon
See than when I feel her. No farther. So no farther than right. Yes. So just.

Paul
Then when I feel and see her, no father trust her.

Gideon
Again.

Paul
Then when, then when I feel and see her, no father trust her.

Gideon
That’s it. That’s good. Okay. Two 16. Who’s that? Leon’s. Oh, you said, does, does push us on. You were just.

Geoffrey
Oh, that’s just the, I’m.

Gideon
Not remembering it precisely. I know it’s push on this proceeding rather than push us on. I just didn’t want you to learn it the wrong way. 2 33

auntie’s. What do I mean from our free person? She should be, oh, I just wanted to point out in this speech, Chris, that you start with I, I am satisfied. I know, but the oracle’s gonna give rest to the minds of others. And then you go to the plural, the royal plural. We thought our free person, right. Follow us. We are to speak in public. Raise us all. So you’re going from the, from the personal.

I personally am satisfied to the, the more public proclamation speaking as the king, the royal plural of the king. I just want you to note that and see if it’ll help you at all.

If anybody’s interested in why the kings use the plural, I can have a disquisition, but I won’t go into it if you already know it.

Geoffrey
L let let me just say a few things real quick. ’cause these are all the things that I thought were particularly good leonis, that break between how a Kirsten being so blessed there may be in the cup of spiders steeped. You found a terrific new energy. It was great. It’s like the idea came to you just then. Really good. Yeah. Good. Exactly the kind of thing we’re looking for in, in this speech. Praise her. But for this, her without door form, which on my faith deserves high speech. The, the way you set that off parenthetically was terrific.

Just encouraging all these good things

is that your line ties again, that vulgar, that vulgar give bolts titles.

You, you slowed down there so much. It was great. It sound, it’s, you got all that, you got all those, those sounds, all that sound imagery. It sounds like stabbing. It sounds like pointed things. Great, great stuff. And that’s again, that’s what

slowing down so much helps Hermione. This is

more for sort of the, the next time through.

It’s just an idea that this line after, shall I be heard? Who is that goes with me.

I think I wouldn’t mind if if it were a little more impatient, a little more, a little more, and in which case it,

I don’t know, find, find the regal daughter of the emperor of Russia in there. Well, who’s fucking coming with me?

Shannon
Well, I, yeah, she also, I mean by the, she’s, she technically asks him for her women to come be seat your highness. Yeah. But by the end of it, he’s not given his approval. And she’s like, come you have leaf you’re going with.

Geoffrey
Yeah, exactly. Exactly. S e exactly. So really inhabit your, you know, princesses and queens don’t ask for things. They, they tell people.

Gideon
She’s also for the first time ignoring his madness because his last line is, shall I be heard? She doesn’t respond to that, right? No.

Shannon
No. Okay.

Gideon
So I’m not dealing with that anymore. Yeah, you can’t be talked to.

Geoffrey
You’re, you’re over there. Okay, so, so what’s all right if we’re gonna do this, what’s the deal? Yeah. How many people do I get with me? Yeah. I’m a queen, right?

I I don’t know if we, if it this from, from before when you should know your mistress has deserved prison, then abound in tears. Just make sure we get the, the then Yeah, it.

Gideon
Was better this time than last time. So you’re working toward it. But I agree.

Geoffrey
And around here.

Gideon
What line.

Geoffrey
One 70 it is for you. We speak not for ourselves. You were abused. It’s all very good. It was very, it’s very good. Let’s just take that as, as red. What I’m, I’m thinking again, this is for a sort of next time through if, if you can find an anti it, antis can’t be as reasonable as Hermione is. Right. And antis I is, I think if you can, as you work on ’em, if you can find something more emphatic. I wrote more emphatic, more disturbed, and I partly get this from the imagery he’s using, which is incredibly graphic and

you know, kind of out there, the, his, his reasoning, what he’s saying is not as re he doesn’t make reasonable points the way Hermione does. He’s talking about there’s not a dram of a woman anywhere worth to sweeten the earth. If, if this is true, I’ll, I’ll mutilate my daughters, I’ll disown them. Which is a terrible thing that these are terrible, extremely visceral images. So as we go through it, I think if, if, if, and also also he’s a person of the court.

This is really wrong. This is not the way society works. And when, when the time is out of joint, that’s not a good thing. Someone has to set it right. Right. If, if, if the king is behaving this way, ev everybody, everything is wrong. So you’re an old older guy. I think he’s not a reasonable older guy. I think he’s an older guy who gets excited about things. Right.

Gideon
Can I just add, can I just add to what you’re saying that Sure. He’s also observing that Leon’s is not responding to the reasonableness of Hermione. And that pushes him further into a passion because he’s heard everything she said and he’s going, yeah, I mean it’s obvious. Why aren’t you getting that? And he is not getting it. And so then, you know, he’s driven to go further, I would say.

Geoffrey
Yeah, good. Pushed in, pushed into a passion that he’s, yeah. Just something to think about as we go through this again. Right. Where are we? We’re about an hour in. Let’s just, let’s just take a moment a little. Where am I? What’s the actual time?

Gideon
6 46.

Geoffrey
Great. Or nine or 9 46 depending on where.

Gideon
You are. Or 9 46.

Geoffrey
Let, let, let’s just take like three minutes to kind of walk around, stretch ourselves, shake your shoulders out, get a drink of water if you need. And then, and then we’re gonna go through both of these again at, at a sort of normal pace and, and see what we, see what we’ve picked up.

I think on, on,

on our next meeting, next and final meeting, I’m, I might try what, what’s called an Italian rehearsals to go through it really quickly, but let’s, let’s just take a moment. What time did we say it was? 6 47. Just like three minutes. Five, five minutes. Come back at 6 52. All right. Okay. See, see you in a second.

Hello everyone. Hello. Hello. Hello. Oh, hello.

Paul
Jeff. Jeffrey, you’ve probably already explained this to everyone, but how is your.

Geoffrey
Tooth? Oh, thank you. It’s, it’s, it’s fine. Thank you. It was weird it that it’s a, the bicuspid, you know, back there and it has a gold inlay in it from, probably from when I was a teenager and

the, the, but that, that’s not what came out. That the sort of inside of the tooth just broke off.

I wasn’t even eating anything dramatic, like, you know, caramel corn or, or you know, carrot or Yeah. Or a carrot or meat or something. It just, it just came out. So it, it, it ended up not being as bad as I thought it was gonna be, be, I thought he was gonna have to, you know, drill and stuff. But he’s, he, he, he used some modern thing that he just built up the inside of the tooth because the, the, the gold thing is still good. Hmm. I thought I was gonna be novocaine up, but it wasn’t a particularly painful,

he, he, he, they use, they use a thing now. They use you know, like an ultraviolet light to cure the Yes.

Whatever the stuff is. There’s, there’s Amelia, and, and at one point I was there, my mouth open and you know this stuff and, and he was sort of adjusting this thing. It’s a little, you know, it’s looks like a big pen or something and he is adjusting the light and then he put it in there and I said, I, I asked him if he was familiar with men in black, you know, men in black, where they have that thing that makes you forget what’s just happened. I think all dentists should have one of those. So they, you go through the whole procedure and then they just make you out and they just zap you. They just zap you. Hmm. Great. So let’s, let’s, let’s do this all again at, at normal speed, whatever that, whatever that means. And there, there won’t be this, this obligation to, you know, to look, try to, try to pick up your cues, but also try to stay.

I I I I’m not gonna care if you don’t pick up the cues, so try to stay with the other person as long as you can and really hear what she or he is, is saying.

There was some stuff I was looking at in preparing for today

and that was

particularly when we get to,

well, once her mining is, is responding, but I’d say he had not from then on there are very distinct places where people are either speaking to each other or to the public and just be aware of those. You probably have them already in mind. I’m gonna just sort of keep an eye out for that as we go through this time. And

that’s it. Let’s just see what we have.

Shannon
Are we doing the, the first scene we’re.

Geoffrey
Doing with all three of us first? Yeah, all three of you. And then, and then we’ll go on to your scene again. The, the end thing. And I just wanna encourage all of you to continue to go further. Nobody, I’m not watching anybody and going, oh, that’s, that’s a bit much everybody. You’re all going the right direction. I, I’d say em embrace it fully. Now Hermione sort of baffled not knowing where she is a lot of the time, you know, trying to figure things out. Chris, you know his, his being all over the place, you can go further with that. And Paul, the stuff we were just talking about

and Anis is

his desperation. The passion I think is what Gideon said. The passion that that he’s employing to try to snap, lay. He’s out of whatever’s going on with him. So go as far as you want.

No, let’s start again.

Chris
All right.

Was he met there? His train Camilla with him.

Geoffrey
Behind the tuft of pines, I met them. Never saw Imen saw, never saw Imen scour. So on their way I eye them even to their ships.

Chris
How blessed them I in my just censure in my true opinion, a lack for lesser knowledge, I were cursed in being so blissed.

There may be in the cup a spider steeped and one may drink, depart and yet partake no venom for his knowledge is not infected. But if one present the abhorred ingredient to his eye, like known how he had drunk, he cracks his gorge, his sides with violent hefts. I have drunk and seen the spider. Camilla was his help in this. His pander. There is a plot against my life, my crown. All true. That is mistrusted. That false villain whom I employed was pre employed by him.

He is discovered my design and I verbatim pinched thing. Yay. A very frick for them to play at will.

How can the posts to be open.

Geoffrey
By his great authority, which often have no less prevailed than so on your command?

Chris
I know too well give me the boy.

I’m glad you did not nurse him though. He does bear some signs of me yet you have too much blood in him.

Shannon
What is this sport?

Chris
Bear the boy. He shall not come about her away with him and let her support herself with that. She’s big with es has made these swell thus.

Shannon
But I’d say he had not. And I’ll be sworn you would believe my saying how air you lean to the nay word.

Chris
You my lords look on her mark her well be but about to say she’s a good lee lady and the justice of your hearts will thereto add to pity. She’s not honest, honorable.

Praise her butt for this her outward door form, which on my faith deserves high speech and straight to the shrug.

Hmm Or ha these petty brands that cal diffuse No, I am out that mercy does for plummy will sear virtue itself, these shrugs, these ss and ahs when you have said she’s goodly come between or you can say she’s honest but be it known from him that has most cause to grieve. It should be she’s an adulterous.

Shannon
Should a villain say so the most replenished villain in the world, he were as much more villain. You my lord do. But mistake.

Chris
You have mistook Myla s of thou thing which I’ll not call a creature of thy place lest barbarism making me the precedent. Should a like language used to all degrees and mannerly distinguishment leave out betw the prince and beggar. I have said she’s an adulterous. I have said with whom more she’s a traitor and Camilla is a ary with her and one that knows what she would shame to know herself. But with her most vile principle that she’s a bed swer. Even as bad as those that vulgar give bolds titles, I am privy to this. Their late escape.

Shannon
Know by my life privy to none of this. How this will grieve you. When you shall come to clearer knowledge that you thus have published me.

Gentle my Lord, you scarce can write me through Lee then to say you did mistake.

Chris
No. If I mistake in these foundations which I build upon the center is not big enough to bear a school boy’s top away with her to prison. He who shall speak for her is a far off guilty. But that he speaks.

Shannon
There’s some ill planet brains. I must be patient to the heaven’s. Look with an aspect more favorable good my Lord.

I am not prone to weeping as our sex commonly are the one of which vain dew per chance shall try, shall dry your pities. But I have that honorable grief lodged here, which burns worse than tears. Drown. Beit, you all my lords we thought so qualified. As your charities shall best instruct you, measure me and so the king’s will be performed.

Chris
Shall I be heard?

Shannon
Who is that goes with me. Bessi your highness. My women may be with me for you see my plight requires it. No, do not weep good fools. There is no cause.

When you shall know your mistress has deserved prison, then abound in tears. As I come out this action I now go on is for my better grace.

A do my Lord I never wished to see you. Sorry. Now I trust I shall may women come. You have leave.

Chris
Go do our bidding. Hence.

Geoffrey
Seat your highness. Call the queen again.

Paul
Be certain what you do, sir. List your justice proves violence. And the which three, great, suffer yourself, your queen, your son.

Geoffrey
For her. My Lord I dare my life lay down and will do sir, please you to accept it that the queen is spotless in the eyes of heaven and to you, I mean in this which you accuse her. If.

Paul
It proves she’s otherwise I’ll keep my stables where I lodge my wife, I’ll go in couples with her than when I feel and see her no farther. Trust her For every inch of woman in the world, I every dream of woman’s flesh is false. If she be.

Chris
Hold your pieces.

Geoffrey
Good, my Lord, it.

Paul
Is for you. We speak not for ourselves. You are abused.

And by some puter on that we’ll be damned for it. Would I knew the villain would, I knew the villain. I would land damn him be she on earth flawed. I have three daughters. The eldest is 11, the second and the third nine and sub five. If this proved true, they’ll pay for it by mine honor. I’ll gel them all. 14, they shall not see to bring false generations. They are co-heirs. And I had rather glib myself than they should not produce fair issue.

Chris
Speech no more. You smell this business with a sense as cold as a dead man’s nose. But I do see it and feel it as you feel doing just and see with all the instrumented feel.

Paul
If it be so. We need no grave to bury honesty.

There’s not a grain of it. The face to sweeten of the whole dungee earth.

Chris
But lack, I credit.

Geoffrey
I had rather you did lack than I my Lord upon this ground and more it would content me to have her honor True. Then your suspicion be blamed for it. How you might.

Chris
Well what need we commune with you of this, but rather follow our forceful instigation. Our prerogative calls not your counsels, but our natural goodness imparts this, which if you or stupefied or seeming so in skill, cannot or will not relish a truth like us inform yourselves. We need no more of your advice. The matter, the loss, the game, the ordering on is all properly ours.

Paul
And I wish my leash you had only in your silent judgment, tried it without more overture.

Chris
How could that be? And they now aren’t more ignorant by age or that weren’t born a fool.

Camilla’s flight added to their familiarity, which was as gross as ever touched. Conjecture that lack sight only not for affirmation, but only seeing all other circumstances made up to the deeded do much on this proceeding yet for a greater confirmation for an act of this importance to where most pious to be wild.

I have dispatched in post to sacred phos to Apollo’s, temple Es and d Es and Dion, whom you know of stuffed sufficiency now from the oracle they will bring all whose spiritual counsel had shall stop or spur me. Have I done? Well.

Paul
You’re muted, Jeffrey.

Geoffrey
Muted. I’m sorry I well done. My Lord. Well done. My Lord.

Chris
Then I am satisfied and need no more than what I know. Yet shall the oracle give rest to the minds of others, such as he whose ignorant credulity will not come up to the truth.

So have we thought it good from our free person, she should be confined lest that the treachery of the two fled, hence be left her to perform. Come follow us. We are to speak in public for this business will raise us all.

Paul
The laughter as I take it, if the good truth were known.

Geoffrey
Well, that was terrific. Just, just wonderful. I’ve got just a, a couple of really little quick things, a few notes I took mostly at the beginning because I got, I got sort of into it, Chris.

Chris
Yeah.

Geoffrey
Most all these things are, are just reinforcement of good things you’re doing early on. You say cursed at some point.

Chris
How cursed in being so blessed?

Geoffrey
I guess that was it. Yes. Yeah, it was terrific. I was good.

I have drunk the way that

I don’t know the, the way that was going on the imagery was just fantastic. I I just wrote these words down. They were all good things. Oh, pander is an, pander is an interesting word to use, you know, because it has the sexual con connotation, which I think you, I don’t know.

I heard you really used that word that he was a pander. I mean, you could have said helper or ary the way you say later pander iss just an interesting word to use, which you got now onto this,

this bit about what she sports herself with.

It’s almost there.

Can you think of it as thing as being understood?

So it’s that, that where to where does this line.

Chris
Bear the boy? Hence he shall not come about her away with him and let her support herself with that. She’s big with.

Geoffrey
Yes.

Gideon
We get to that this time. It was good.

Geoffrey
It it was good. E even it.

Chris
Would be, you know, if if we were, if we were staging this, it would be a lot easier because that is right there, you know, not, not that we should always be pointing at the thing in Shakespeare, but like it kind of, but.

Geoffrey
That’s, that, that’s exactly how far you can go, what you just did with that. She’s big with, maybe it just needs, maybe it just needs that little space around it. Or, or in quotes.

Chris
Or I like that. I, I I I I I like that with kind of the same,

there are a couple of times like, like pander, like I, I need the right word and the right word here is that, it’s that.

Geoffrey
Exactly. Exactly. Exactly.

Oh God. Did you say mercy does at some point? Oh.

Chris
Yeah.

Gideon
Oh, that’s his self interruption. Yeah. Line.

Geoffrey
Yes. Oh, I’m out that mercy. You just need to lift mercy a little. Morey doesn’t do that. Mercy does that for Lumy will burn out.

Chris
Got it. It.

Geoffrey
Believe me, everyone, these are very small things because I, I thought that was really a terrific way through. I hope you felt the same. Me.

Chris
Too. I did.

Geoffrey
I would just like on, you know, he’ll be guilty in just so much that he speaks. Where was that line?

Chris
It is it,

if I’m mistaken, those foundations which I build upon the schoolboy’s top away with her to prison. He who shall speak for her, for her is a far off guilty. But that he speaks, I I put an unintentional pause between guilty, but that he speaks.

Geoffrey
That’s, that’s fine. All I want you to do is lift the word speaks just a little bit more. If he speaks, he’s guilty just for fucking talking about it. Right. Just, just that he speaks. That’s all. Just lift it. Does that make sense? You look puzzled.

Chris
No, it’s a funny,

it’s a funny way to put this.

It seems to me that, because I’m saying whoever would defend her is not guilty of anything except that he’s defending her. No.

Gideon
No, no, no.

Geoffrey
No, no, no. He’s okay.

Chris
Okay. Then I have the sense of this line wrong.

Geoffrey
Yeah, slightly. Yeah. It, it, what you’re saying is if you, I don’t have the right in front of you, but you’re saying if you defend her, you’re as guilty as she is just for defending her.

Gideon
Right.

Geoffrey
Not talking about making a reasonable argument here. If you’re on her side, you’re against me or you even question me, you’re against me. Right.

Gideon
Chris? I think the problem is with the word, but it means only I think you.

Chris
Do. It’s, it’s, but, but, but is Ams or No.

Gideon
Only it means only, only only the fact that she speaks. He’s, he’s.

Chris
Ah, yeah, yeah, yeah. That’s it. Yeah. That always, that always gets me.

Geoffrey
The but meaning only Shakespeare’s.

Chris
But.

Geoffrey
Yeah.

Chris
Alright.

Geoffrey
A.

Gideon
Couple other people.

Geoffrey
Do. Let’s let, let’s, let’s move quickly through, because I do wanna get to the, to the other one. So I’m not, but that he speaks. Oh, and what, just one other one. Chris. Chris, yes. And again, this is just me, but I think it’s, the word is born a fool. Either you’re too old or you were born stupid. Right?

He says, talk about that you’re stupid and either it’s because you’re old or because you were born that way. Just lift that.

Yeah. Paul and Shannon, terrific. You really took that note about just embracing it and going further. Shannon, there’s your, your first line,

whatever your first line is.

Shannon
What is this sport?

Geoffrey
It was actually that, that too, but more the one. But I’d say he’d not, and I’ll be sworn you would believe my saying. How are you lean to the ward? There, there, the, there was a, a question sort of throughout the lines. What, what, what, what? It was great. It was great. And Paul, same with you. The passion you were finding in him was right there. That’s, that’s your baseline now, right? Okay. So that’s not too much anger. No. You felt there was too much.

Gideon
Anger? No, it was good.

Geoffrey
Not anger. It’s not, it’s not reading as anger. It’s reading as, as a need to save him. You’re not mad at him. You’re trying to save him. Let’s put it that way. I, I just, I always shy away from using anger as a thing. It’s crucial that you save him. It’s crucial because you like him as a man. It’s crucial for the state.

It’s crucial for me. Crucial. It’s crucial for you. I mean, if the state falls, you fall there. It’s, it’s a really, really big deal. It’s not, you’re not stepping into a little spat between a a couple who’s fighting at a cocktail party. Th this is, this is the world you, so the, the passion that you, that you’re bringing to it is great. The need. So th think of it as need, not that you’re angry at him, it’s that you, you, you have to bring him around. I need my pension, bro. That’s it. But so, so what you’re doing was great. Now let’s, I think we got like, where am I? What the fuck.

Gideon
I want, I want one minute to do five very quick notes once for.

Geoffrey
You. One minute, one minute go. Okay.

Gideon
Line 67, Jeffrey.

Geoffrey
Oh yes, you hit.

Gideon
You hit your, and I want you to do more on command your command.

Geoffrey
Yes.

Gideon
Not just your Chris ese, not ese. Yeah. I’ll.

Geoffrey
Prob I’ll probably learn that.

Gideon
Shannon, I I have the one note is on 1 21. I want more on that then still I’m not hearing it.

Shannon
Lying to, I guess I, I tried emphasizing it for a while when I was doing this on my own and it started to sound like Van when I hit it. It sounds like a comparison that I’m setting up and it’s.

Gideon
Not. So all I have to say is if you have in mind that it, it that you’re, that the antithesis is with when two lines earlier, just keep that when in mind then you go to, then it’s gonna be clear. It’s, it, you, you don’t need to overstress it. I don’t mean that. I just need to hear it as meaning. That line two 10, I only have a few seconds.

Leones, you said either thou are more ignorant, but it’s most ignorant.

And line 2 24 Leones.

Oh. Whose spiritual counsel had more on had because it means once, once we have their spiritual counsel, once their spiritual council has been delivered, that shall stop or spur him.

He is lying by the way, or he is wrong because they will have their counsel and it won’t stop.

It’ll only spur him and that’s the disaster. Any case, I just need to hear that had.

Chris
Yeah, understood. Once.

Gideon
Once possessed once in our possession. Yeah. Okay. Good. That’s it. Good work. You guys really just really good.

Geoffrey
It’s so good. All right, let’s.

Chris
Let’s l.

Geoffrey
Let’s go through this last, this scene. Act three, scene two

and just keep doing what y’all are doing.

Chris
All right. Ready, Shannon.

Shannon
Ready.

Chris
I now heard yet that any of these bolder vices wanted less impedance to gain. Say what they did then to perform it first.

Shannon
That’s true enough though is a saying, sir, not due to me.

Chris
You will not own it.

Shannon
More than mistress of which comes to me in name of fault. I must not at all acknowledge for Publicies with whom I am accused. I do confess. I loved him as in honor. He required with such a kind of love as might become a lady like me with a love even such so and no other as yourself commanded, which not to have done, I think had been in me both disobedience and in gratitude to you and toward your friend whose love had spoke even since it could speak from an infant freely that it was yours. Now, for conspiracy, I know not how it tastes though it be dished for me to try. How all I know of it is that Camillo was an honest man and why he left your court.

The gods themselves wadding no more than I are ignorant.

Chris
You knew of his departure as you know what you have entertained to do in his absence.

Shannon
Sir, you speak a language that I understand not my life stands in the level of your dreams, which I’ll lay down.

Chris
Your actions are my dreams. You had a bastard by pules and I but dreamed it as you were all past all shame those of your facts. So, so past all truth, which to deny concerns more than avails for us. Thy brat has been cast out like to itself, no father owning it, which is indeed more criminal in thee than it. So thou shall feel our justice in whose easiest passage.

Look for no more than death.

Shannon
Sir, spare your threats. The bug which you would frighten me with, I seek to me, can life be no commodity. The crown and comfort of my life. Your favor I do give lost for I do feel it gone, but no, not how it went. My second joy, the first fruits of my body from his presence, I am barred like one infectious.

My third comfort stirred most unluckily is from my breast. The innocent mouth milk in its most innocent mouth, hailed out to murder myself on every post proclaimed a trumpet with Im modest hatred. The child bed privilege denied, which longs to women of all fashion. Lastly, hurried here to this place, the open air before I have got strength of limit.

Now my le to tell me what blessings I have here alive that I should fear to die, therefore proceed.

They yet hear this mistake me, not no life. I prize it not a straw, but form an honor, which I would free if I shall be condemned upon surmises, all proof sleeping else. But what your jealous is awake. I tell you, tis rigor and not law your honor’s. All I do refer me to the oracle Apollo. Be my judge.

Geoffrey
Super guys, I hope you’re having as much fun as I am with this. Wonderful. It’s, it’s just, it gets so much richer and richer. Good. So we got about nine minutes.

Gideon
Can I do my four and I’ll then be quiet?

Geoffrey
Sure. You do your four and then I’ll three.

Chris
Gideon look for no less than death.

Geoffrey
Yes.

Gideon
Okay, good. That’s one of them.

Chris
Bravo.

Gideon
I only have three then. Line 70. Herbie with such a kind of love as might become a lady like me become meaning be fitting to be appropriate. Like that dress becomes you. Yes. Yes. It’s, I’m just not getting that meaning out of line 78.

I think there’s an antithesis. I know not how it tastes though. It’d be dish for me to try. How so? Taste and try, try meaning prove it, you know, in experience.

And the last one is 86. I just wanna make sure that, you know, that level means aim, like the object of aim. You’re leveling the arrow at the center of the target, meaning you’re aiming for the center of the target. So I’m, my life is in the, is the bullseye of your dreams. Yes.

Okay. That’s it. Really good work.

Geoffrey
Yeah, it’s just super. What did I write down

Chris? This is a, a bit of a fielders choice, but I think your line 80, what is this? Seven.

Your actions are my dreams.

I think you can, you can really leap on action and throw away dreams.

My life stands on the level of your dreams, your actions are my dream. It’s, it’s a real thing. That’s all

I, I have, you know, again, you look at different additions, you see different things. At least one I’ve looked at says you had a bastard by pules and I, but dreamed it, the editor in that case has put a question mark after it.

You can make it into a question as far as I’m concerned or whatever you want. But it has, it has to, there has to be dripping with sarcasm or mockery or whatever, whatever word you want to use. Let me, can I throw something at you? Yeah.

Chris
Backing up a line. Your actions are my dreams. I would, I mean I I I see that the punctuation is a period, but that is almost a question to me.

Geoffrey
My wife is.

Chris
11 Of your dreams. Like, oh, the shit you’re doing is my dream. I’m dreaming that. You know.

Gideon
So it me. So you’d have to do both of them as questions one topping the other. Sure.

Geoffrey
Yeah. Try that. I I’ll, I’ll I’ll give it to you to, to try. Okay.

Yeah. You’ll have to prove it to me because, because I think it’s a, it’s a comeback from her. It’s you’re correcting her. It’s not a question.

Gideon
Yeah. He’s not to make it a question means he’s crediting her statement enough to ask. You really mean that. And I don’t think it’s that, but I agree with Jeffrey. I think you should try it and see what it feels like and then try the other way and see what that feels like.

Chris
I don’t think, I mean, if, if I’m, if I do it as a question, it’s not, it’s not a, excuse me. It’s not a, it’s not an honest question. It’s, yeah, it’s a, it’s a sarcastic.

Gideon
Sarcastic que yeah. Yeah.

Chris
Really?

Geoffrey
We we’re, yeah. Great. We’re on the same page. Let’s see what you’ve come up with. It. It, it was just, it was a, a little, considering how strong it’s getting, it was a little wishy-washy that time, Shannon. It’s all really nice. I I wanna sort of give you an, an actorly thing to think about here, which is to, is to, to make sure you stay on your voice.

When sometimes when you get worked up your, your voice, you vocally tend to get into a higher register. And, and I think, and this is completely technical, but, but the more, the more Hermione sort of hooks into her gut, this gut that is literally aching right now, right? That strength of limit thing that she talks about and, you know, she’s weak and, and the place where she’s weak, it’s not that she, her legs are upper body strength. It’s, it’s literally her self, her her womanhood, right? That’s where she’s having to dredge it up.

And that’s an image for you. The result I want you to have is to keep, is to stay in that slightly lower register. Don’t, don’t let it get away from you, right.

The the way you did right there. That’s, that’s the voice I want to continue to hear.

And it, it also helps, particularly in this part, it helps ground you rather than sort of rise to him. Like, I don’t know what the hell is wrong with you. It’s okay, this is what we’re gonna do. You know, you’re treating me like a strumpet, you know what I’m saying? I’m not gonna talk anymore. I talk these things.

So we, we got three minutes left. Do do either of you wanna ha have anything you wanna say about that scene in particular? Thoughts or problems or anything? Yes. No.

Shannon
The explanations, I looked up for this first line, and I don’t have them written down right now, now, but none of them quite made it made sense, make, made it make sense to me still of Hermione line on 63, 64 more than mistress of which comes to me in name of fault. I must not at all acknowledge.

Gideon
Let me try.

Geoffrey
Okay. I.

Gideon
Must not acknowledge being mistress of anything. That is not an actual fault that I’ve committed. I’m, I’m not going to admit to something that I didn’t do.

So of which of more than mistress of that which comes to me as a, as a actual fault. I must not acknowledge.

Shannon
Okay.

Gideon
I would acknowledge it if I had any fault, any degree of fault I’d be willing to acknowledge, but I’m not willing to acknowledge any more than I’ve actually done. And you’re accusing me of things that I haven’t done.

Does that help?

Shannon
Yeah. It’s like comes to me, it makes it feel like it’s about the accusation, but it’s, but it’s, what she’s saying is, which is actually more, you know, I’m not acknowledging anything that’s more than actually real.

Gideon
Right?

Shannon
Yeah.

Geoffrey
Yeah.

Gideon
Comes to me. It’s like I deserve, it can mean I deserve, so you, you know, he got what, what was coming to him? You know, that phrase it’s coming to, in that sense, I don’t more than more than mistress of what I deserve to be accused of. I’m not gonna admit.

Geoffrey
It’s a Are you still with us? Oh.

Shannon
Yeah. I think I froze for a second. Yeah, it looked.

Geoffrey
Like you’re fallen asleep briefly. I don’t blame you. Yeah, it, it’s, it’s all that and it’s a bit of the same impulse. Thats that when she says to her women, you can weep for me when it’s, when I’ve actually done something.

Yeah. It’s the same sort of thing. I haven’t done anything. I’ll admit to anything I’ve done wrong, but I haven’t done anything wrong. And and.

Gideon
That’s an introduction to what she then goes on to say, she goes on to list all the things she’s accused of and deny them one by one. So I’ll, I’ll admit to anything I really did, but for this, this, this, this and this. I didn’t do it.

Geoffrey
Yeah. She’s got a list of three there and a list of six in the, the other speech at the end, which, which you’re getting nicely, but just be aware that it’s not just three. It’s getting it to that sixth one.

Shannon
Yeah.

Geoffrey
Dragged out here. I can hardly stand it. And another great day of work.

But we’re gonna stop now. Obviously if anybody has any questions, call or text, I know. Call, it’s so such a boomer thing to do. Call or text. Just get in touch on the phone or Gideon and, and next time, we’ll I think they, Nathan invites some people to come along. There may be, you know, five or six or however may, who knows? But it’ll be another work session and, and we will do an Italian, a very, a very quick thing so that we get just a chance to explore this in as many ways as possible. But I must say it’s, it’s just wonderful watching and listening to you guys work.

Agreed. Play of fun. Good. Yeah. Feel better, Chris. Thank you Paul. Thank you Gw. Thank you. Thank you everybody.

I know it’s a bit late. Happy sweet New Year to everyone.

Chris Shannon. Bye.