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| Reviews: |
| A low impact (for Python) sketch done in the classic Pythonesque style. This sketch gets little attention as it's rather quiet and not at all over the top style comedy. Also, this is an album sketch which reduced its visibility significantly. | - Stavro Arrgolus |
| Facts: |
| An interview with an old Shakespearean actor who has OSD and obsesses about the number of words in his plays. (Stavro Arrgolus) |
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| Song Lyrics: |
Now it's time for Great Actors, introduced as usual by Alan
Semen.
Alan: Sir Edwin, which has been for you the most demanding of
the great Shakesperean tragic heroes that you've played?
Sir Edwin: Well, of course this is always a difficult one, but
I think the answer must be Hamlet.
A: Which you played at Stratford in 1963.
E: That's right, yes, I found the role a very taxing one. I
mean, er, Hamlet has eight thousand two hundred and sixty-two words, you see.
A: Really.
E: Oh yes. Othello's a bugger too, mind you--especially the
cleaning up afterwards, but he has nine hundred and forty-one words lessthan Hamlet. On the other hand, the coon's got more pauses, sixty-two quite long ones, as I recall. But then they're not so tricky, you see--you don't have to do so much during them.
A: You don't.
E: No. No, not really. And they give you time to think what
sort of face you're going to pull during the next speech so that it fits the words you're saying as far as possible.
A: How many words did you have to say as King Lear at the
Aldwitch in '52?
E: Ah, well, I don't want you to get the impression it's just a
question of the number of words... um... I mean, getting them in the right order is just as important. Old Peter Hall used to say to me, "They're all there, Eddie. Now we've got to get them in the right order." And, er, for example, you can also say one word louder than another--er, "To *be* or not to be," or "To be *or* not to be," or "To be or not to *be*"--you see?
And so on.
A: Inflection.
E: And of course inflection. In fact, Lear has only seven
thousand and fifty-four words, but the real difficulty with Lear is that you've got to play him all--you know, shaky legs and pratfalls and the dentures falling out, 'cause he's ancient as hell, and then there's that heartrending scene when he goes right off his nut--you know, "bliddle dee dee diddle deebibble dee dee dibble beep beep beep," and all that, which takes it out of you, what with having the crown to keep on. So Lear is tiring, although not difficult to act, because you've only got to do despair and a bit of anger, and they're the easiest.
A: Are they? What are the hardest?
E: Oh... um, fear.
A: Fear?
E: Mmm, yes, never been able to get that--can't do the mouth. I look all cross--it's a very fine line.
A: What else?
E: Apart from fear? Er, jealousy can be tricky... but for me, the most difficult is being in love--you know, that openmouthed, vacant look that Vanessa Redgrave's got off to a tee. Can't do that at all. And also I'm frightfully awkward when I try that happy prancing, you know. Which is a shame, really, because otherwise Romeo's quite good for me--only three thousand and eight and quite a lot of climbing and kissing.
A: Sir Edwin--get stuffed.
E: I've enjoyed it.
(Stavro Arrgolus) |
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Current Rating
9.0
(1 vote)
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Message:
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Song samples are provided for information purposes only and are intended
to enable the users to sample the music (as they are in very low quality) before
they take the decision of purchasing the music. This right is expressly permitted
under "Fair Use" as nonprofit educational purposes only. The
ownership of the copyright of the songs rests with the respective owners.
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