Featured Member: BareShakespeare
Theatre was a lively treat for the audiences of Shakespeare’s time, and why shouldn’t it be so today? Aiming to make the works of the famous bard less intimidating and more accessible is BareShakespeare. The company takes theatrical conventions of the 17th century and gives them a contemporary, refreshing feel. BareShakespeare’s audience members are invited to participate in the action, so go ahead: hoot at the puns, hiss at the villains and coo over the lovers. It feels good to let your inner groundling out.
BareShakespeare’s newest production, Cymbeline, opens tonight (10/2) in New York. Emily Ehlinger tells us more about the theories and practices of this new company.
If your Shakespeare is “bare”, what is it that you have stripped away?
We strip it down to only what the text calls for. No unnecessary props or costumes and we try to avoid layering any personal politics or gender issues on top of the plays. History continues to repeat itself, so the stories are still relevant. The text is enough and our job is to mine it to tell the best story we can. Our goal is to operate as a touring troupe of Elizabethan actors would and we do that by having a small troupe and operating on a “what do we need” basis.
How did you come up with the idea to form a Shakespeare Company that encouraged audience participation?
We were inspired to bring out more audience participation by watching high school students. I participated in Shakespeare & Company’s Fall Festival of Shakespeare last fall. Shakespeare & Company sends directors into area schools to lead students through an exploration of a Shakespeare play, culminating in a full scale production. They would then bring all the schools’ productions together for a very full weekend. All the kids would stay for each others’ shows and they were the best audience — “booing” the villains, “awwwing” the lovers, becoming whatever the actors on stage needed them to be, and of course they also yelled things out that might have seemed “inappropriate” at times. It made the plays come to life in a new light and I really understood for the first time how much a part of each show Shakespeare’s groundlings were.
What works of Shakespeare lend themselves especially well to audience participation?
All of them. Every soliloquy isn’t just a pretty speech, but it is the speaking character reaching out to those they believe they can confide in that moment: the audience. The audience can also transform into whatever you need them to be: an army to rally, a court to address, a suicide helpline, a conspirator, or even someone to whom you need to defend the actions of yourself or others against… The possibilities are endlessly exciting.
How did you find out about Fractured Atlas and what motivated you to become a member?
As a new company we were looking for a support network and Fractured Atlas not only came highly recommended but had most everything we could want easily accessible.
How do you use your Fractured Atlas membership?
We have taken advantage of the volunteer accident liability insurance it has available and have gotten fiscal sponsorship, so that we can accept tax-deductible donations.
Is there any advice that you would give to a young actor interested in performing Shakespeare?
Study rhetoric, get into a dance or movement class, observe and experience life, and see as many live theater productions as possible.
What’s next on your professional horizon?
After Cymbeline closes, we’d like to choose another production to workshop. We’re also going to work on developing an educational outreach program to work with children who, for whatever reason, wouldn’t normally have the opportunity to experience Shakespeare through performance.
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BareShakespeare’s production of “Cymbeline” opens Friday, October 2nd, and runs through October 11th, at Where Eagles Dare. For information on tickets, other events and future projects, see their website: www.bareshakespeare.org.
Tags: member profile, shakespeare, theatre
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