How to Map a Shakespeare Speech | Explore Shakespeare with Ben Crystal | 18 mins

[@Concetta20]

This is keeping my brain from atrophying during quarantine. Thanks, Ben! ☺️. That’s a fascinating technique.

[@ConstanzeWeber]

Absolutely ingenious!! What an amazing technique! Who knew watching someone count to ten - give or take - could be so utterly compelling? Thank you so much for sharing your incredible insights!

[@heydenrychm]

I teach acting at a University and I have been using your book "Shakespeare on Toats" for my Shakespeare classes since 2011. In the current situation with lockdowns and move to online learning, this video is much appreciated. Thank you so much. Happy Birthday, Shakespeare!!!!

[@georginahooton7006]

This is so useful. Thanks Ben! I've just finished reading your book 'Shakespeare on Toast' and I have your 'Springboard Shakespeare' for Macbeth on order. I'm just about to qualify as an English teacher in June, so thoroughly enjoying building on my subject knowledge with the help of all your work. Really enjoying reading and seeing what you've created to help make Shakespeare more accessible!

[@mb.7105]

Shakespeare content is exactly what we all need💯

[@grumpysanta6318]

That is so freakin' cool.

[@scotthutson736]

Wonderfully described, sir. I've only recently learned of your work and your father's research on OP. It has given fantastic new meaning to the writings of Shakespeare for me. Thank you for sharing this.

[@shakespeareontoast]

Cheers Scott!

[@pytrell]

Absolutely awesome! Remarkable! Thank you very much, Ben and David Crystal [once again], for changing my mood in these quarantine times.

[@snoopenny]

Nice video. I love the cardiogram at the end. I love how you use your fingers! I do it too. When I happen to be studying on the subway (NY), t wonder what people think? I teach Shakespeare and I look at the 10-syllable line as the character’s heartbeat. If there are more than 10 on a line, it’s the heart racing. If it’s 12 or more, the heart is really beating and the excitement spills into the nest line. Trochees are also very important. Then I ask my students to color certain words - not all because the it gets fussy. But words like “outrageous,” I ask them to the feel the “rage.” I’m a classical Stanislavskian, but not for the Bard, whom I worship. Color the words pay attention to the heartbeat and and mind the trochees. with a sensitive actor, it somehow manifests itself into a performance!

[@ocdtdc]

Really enjoy these videos. Very helpful.

[@mlinton02]

Brilliant! Thank you! And thanks to Emma Pallant, Shakespeare's Globe Education as well. I'm incorporating this into my aesthetic's classes.

[@uwemuller2944]

Really fascinating! Thanks for this interesting insight into your techniques.

[@adyshih]

This simply amazing !!! thanks so much Ben!

[@alessandroferro5308]

This video is a masterpiece!

[@portinari76]

Thank you.

[@Angelfish-wr1pp]

Incredible

[@Angelfish-wr1pp]

Questions (anyone?): Some lines break the meter. Q: Would most in the audience have easily picked up on this formal aspect? Changing the meter allows for natural speech. Q: Would this effect have been subtle, with the audience engaged in the drama? The plays are not meant to be read. Q: But are they meant to be listened to as verse? Q: Did any playwrights of the time besides Shakespeare manipulate the verse for similar effect?

[@MichAel-yl5do]

did you write that speech yourself? Nice

[@Звездноенебо-ю1о]

Спасибо. Очень неожиданно.

[@jasonshen584]

dude what about the birds

[@crystal_gacha_girl358]

did anyone noticed he missed a word?

[@shakespeareontoast]

oh hells what word did I miss? :-)