Book contents
- Frontmatter
- King Lear: A Retrospect, 1939–79
- Some Conjectures on the Composition of King Lear
- The War in King Lear
- King Lear: Art Upside-Down
- ‘And that’s true too’: King Lear and the Tension of Uncertainty
- The Taming of the Shrew and King Lear: A Structural Comparison
- Medium and Message in As You Like It and King Lear
- Playing King Lear: Donald Sinden talks to J. W. R. Meadowcroft
- Hamlet’s Special Providence
- Antony and Cleopatra: ‘The Time of Universal Peace’
- Patterns of Motion in Antony and Cleopatra
- Theme and Structure in The Winter’s Tale
- Peter Street at the Fortune and the Globe
- English Actors at the Courts of Wolfenbüttel, Brussels and Graz during the Lifetime of Shakespeare
- Shakespeare at Stratford and the National Theatre, 1979
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Textual Studies
- Index
- Plate Section
Playing King Lear: Donald Sinden talks to J. W. R. Meadowcroft
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- King Lear: A Retrospect, 1939–79
- Some Conjectures on the Composition of King Lear
- The War in King Lear
- King Lear: Art Upside-Down
- ‘And that’s true too’: King Lear and the Tension of Uncertainty
- The Taming of the Shrew and King Lear: A Structural Comparison
- Medium and Message in As You Like It and King Lear
- Playing King Lear: Donald Sinden talks to J. W. R. Meadowcroft
- Hamlet’s Special Providence
- Antony and Cleopatra: ‘The Time of Universal Peace’
- Patterns of Motion in Antony and Cleopatra
- Theme and Structure in The Winter’s Tale
- Peter Street at the Fortune and the Globe
- English Actors at the Courts of Wolfenbüttel, Brussels and Graz during the Lifetime of Shakespeare
- Shakespeare at Stratford and the National Theatre, 1979
- The Year's Contributions to Shakespearian Study 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Textual Studies
- Index
- Plate Section
Summary
JWRM. It's eighteen months since I first heard that you were rejoining the Royal Shakespeare Company to play Benedick and King Lear. I particularly wanted to see your Lear because I've always admired the things that you've done, and the play is a favourite of mine. Now that I've finally seen it during the Aldwych run, I find that the production poses a number of questions for me as an academic. But before we get down to specifics, perhaps you'd tell me how you go about preparing a Shakespeare role, one that you haven't previously done.
DS. Well, you mustn't take this personally, Bob, but I never read any authorities; and the first thing I do is go through my text and cross out all stage directions.
JWRM. What text do you use?
DS. For Lear we used — not because of its value as a text-we used the New Penguin Shakespeare, merely because of its size.
JWRM. I think it's a very good text.
- Type
- Chapter
- Information
- Shakespeare Survey , pp. 81 - 88Publisher: Cambridge University PressPrint publication year: 1981