Acting Shakespeare’s Language
Oberon Books, UK
(Reviewed below)
Verse translation of Aeschylus’
Oresteia Trilogy
Oberon books UK
(Reviewed below)
Verse translation of Euripides’
Iphigenia in Aulis
(Complete and Performance Versions)
Oberon Books UK
(Reviewed below)
PRAISE INTERNATIONALLY for Acting Shakespeare’s Language
‘A rich and detailed path towards a precise contact with the challenge of speaking and inhabiting Shakespeare’s language… An immensely useful resource.’
RALPH FIENNES, Actor
…a ground-breaking new book… acclaimed throughout the industry.
JANE COYLE, The Stage (UK)
‘This is an immensely useful book, and I feel impelled to rhapsodise a little! It is crammed with common sense and so beneficial to the actor.
GEOFF BULLEN, Emeritus Head of Acting Training, RADA
‘Brilliantly practical and precise in exploring the ways students/actors (young and old) can get to grips with the extraordinary language of Shakespeare in a real way.’
CIARAN HINDS, Actor
‘The complete “Acting Shakespeare” toolkit. Ideal for any actor or student preparing speeches for auditions.’
JOELY RICHARDSON, Actor
‘Acting Shakespeare’s language really is the must have manual for all actors, students, teachers or directors tackling Shakespeare’s plays or speeches.’
SERENA HARRIS Ink Pellet – Arts magazine for Teachers.
‘Refreshingly direct, clear and passionate. This insightful and practical workbook guides you through the challenges and delights of verse and prose speaking.’
ANDREA AINSWORTH, Director of Voice and Text at National Theatre of Ireland (The Abbey)
‘Acting Shakespeare’s Language is written in a clear, practical and supportive manner. Mr. Hinds excels at helping young actors avoid many of the pitfalls of performing Shakespeare.’
JOSEPH OLIVIERI, Head of Acting, School of Theater, Film and Television, UCLA
‘At last! This book is an essential. Acting Shakespeare’s Language is having your own personal acting coach at your fingertips. Each chapter is a compelling acting class; every page is a tantalizing lesson.
‘Andy Hinds’ brilliant new book… is an ideal guide to actors (and directors) approaching the challenge for the first time, but also for the more experienced who want to refresh their skills.’
KENNETH NOEL MITCHELL, Head of Acting, New Studio on Broadway, Tisch School of the Arts at NYU.
Highly recommended…a primary source of knowledge and practice in Shakespearean performance… admirable in its thoroughness… belongs on a very short list of texts that will…prove stimulating and useful to anyone with an interest in the subject… even highly experienced and knowledgeable readers will encounter new ideas or practices throughout the entirety of the book.
MARC SILBERSCHATZ, Scottish Journal of Performance
‘It is to this book’s enormous credit that it focuses in depth on the nuts and bolts of getting lips and heads around the intricacies of verse-speaking without either shirking the difficulties or becoming stilted and dull… I wish I’d had this book when I was acting – I’m delighted to have encountered it as a teacher.’
TEACHING DRAMA (UK)
‘…an accessible, thorough book. Especially interesting on the shifts in language in Shakespeare’s plays and what they signify.’
SUSAN ELKIN, The Stage (UK)
INTERNATIONAL RESPONSE
to the verse translations of The Oresteia and Iphigenia in Aulis
‘This translation brilliantly meets all the criteria (of accuracy and performability) – it is very close to Aeschylus…yet also lucid, lithe and supple, which is no mean feat with an Aeschylean translation! It captures the highlights of the individual plays in strikingly effective passages (masterfully in the Agamemnon first ode, after the entry song; the incantatory invocation at the grave in the Libation Bearers; and the very difficult trial scene, which often drags in performance, was here pacey and compelling…’
Fiona Macintosh, Professor of Classical Reception, Fellow of St Hilda’s College, University of Oxford
‘Hinds’ new adaptation is naturalistic, crystal clear, yet full of an almost Elizabethan richness of poetic imagery.’
Irish Independent
‘Mr. Hinds riveting translations (with Ms. Cuypers) of these glorious Greek dramas leap off the page and demand to be on the stage. The illuminating imagery and vivid verse will make every actor hungry to taste the words and bring these plays to life.’
Kenneth Noel Mitchell, Head of Acting, New Studio on Broadway, New York University
I. Mail on Sunday
‘…manages to render the archaic ancient drama both accessible and engaging without pandering to the usual ‘modernistion’ that the classics are often subjected to.’
Irish Times
‘Hinds’ entertaining and surprisingly easy to follow version of Euripides’ tragedy.’
Sunday Times
Andy Hinds 