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The Routledge Companion to Actors’ Shakespeare

John Russell Brown, Kevin Ewert

Judi Dench

Publication details https://www.routledgehandbooks.com/doi/10.4324/9780203816196.ch3 Stanley Wells Published online on: 30 Jun 2011

How to cite :- Stanley Wells. 30 Jun 2011, Judi Dench from: The Routledge Companion to Actors’ Shakespeare Routledge Accessed on: 26 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9780203816196.ch3

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She the analytical. her than as to rather named intuitive and approach to is talk her students herself. it to about but about given of much able great talking not being is to groups private, indeed of intelligence and or before self-deprecating Her the privilege activities, professional modest, the her her for is about had She theorizing some with have to work. I reviewed her discussions of and about many have informally in public, see her and general part to the times, able taken of been several members have have them I I of Judi, press. Dame some of performances, contemporary her older an As century. Ashcroft Peggy and rciinr ihwo h a okd uha ee al rgr Doran, Gregory extended one Hall, only of Peter excellent know the as actress, I Shakespeare published, such a been as have worked, her of Nunn study has Trevor and she Eyre whom Richard with practitioners Dames great other three with along stands Dench Judi altdne,adswsho efracso hkser ie yhrelder her by given Shakespeare of performances fi school saw Je brother and dancer, ballet rehearsal. in production the Directs Pro- by volume interview celebratory an a from and edited biographies Judi and popular Darling though transcribed And believe Jackson). I Russell was fessor (it 1996 in published olwdhrbohra tdn tteCnrlSho fSec n rm in Drama she and career, Speech a of about a School with uncertain graduated Central Still she the mind. start, at shaky in a student this after a with where, as London York mistress. brother of wardrobe her was town followed mother home her her which for in Plays, Mystery York At the in part took s iai,a ela re in Ariel as well as Titania, rst uiDnhdvlpda neeti h har sacid h a miin sa as ambitions had She child. a as theatre the in interest an developed Dench Judi fi s,hwvr h atdt easaedsge,aderle ta r school art an at enrolled and designer, stage a be to wanted she however, rst, 20) hr r lo eie h sa eiw nnwppr n periodicals, and newspapers in reviews usual the besides also, are There (2005). okt h ay aa idn,ElnTry n uiDnho h Shakespearean the on Dench Judi and Terry, Ellen Siddons, Sarah Lady: the to Look ‘ noyadCleopatra and Antony ff r,woas eaeapoesoa co.A colilsepae her played she schoolgirl a As actor. professional a became also who ery, dtdb onMle,2004 Miller, John by edited , – nteln fwmnpromr fSaepaeoe h past the over Shakespeare of performers women of line the in uiDench Judi ’ s ’ tne Wells Stanley 19) hc ie eald a-ydyacutof account day-by-day detailed, a gives which (1990), wlt Night Twelfth h Tempest The 3 27 – hc nldsilmntn sasby essays illuminating includes which n h ue in Queen the and 17)adTra Lowen Tirzah and (1977) nmy in fi a hpe fRs McDonald Russ of chapter nal oa hkser:Suisof Studies Shakespeare: Royal fi – ‘ aeri Shakespeare in Career A s ls ereadwna won and degree class rst le er,EihEvans Edith Terry, Ellen ihr II Richard ’ s ee Hall Peter n she and , ’ ’ – s , Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 wrote optnl u antytmk ntiglk osattuhwt h poetry the with touch constant like anything make yet them within cannot but competently MDnl,20,p 1) u h production the But 116). p. 2005, (McDonald, asdi ntal orciebdrves ihsvrlciiscmliigabout complaining critics several with reviews, bad play receive the of to neglect initially it caused epc o h es tal n u tapligy akn ti,frwihh was didn he it which and for actors, it, Ze revolution at the that hacking to wrote appallingly, text Tynan it the cut left and He all, at criticized. verse rightly the for respect ae rtcs ftevresekn ohati a htmywl aehdafor- a had have well may that way a in heart to speaking in verse mative the of criticism taken a erigaotteper didn I poetry the about learning was I noaientr,wt nepai naoecn aso n Italianate and production passion The adolescent on drama. emphasis poetic between an of acting classical with demands in nature, balance the the innovative about and hard think verisimilitude to psychological her forced have to appears to omn years many so ‘ opa h aso n h emotions. the and passion the play to te oe tteOdVci odnado Broadway. on and London in Vic Old the at roles other eto ori mrc.Btsepreee,paigMrain Maria playing persevered, she But America. in tour on went h a elcdb nte,sihl le co,BraaJe Barbara actor, older slightly another, by replaced was She said But she debacle. later a years it twenty called some the interview Findlater with an Richard in years In Vic press: her fast. Old the in learning the in especially was at do she criticized Ophelia Cicely to harshly as with continue performances were worked to debut 1957 had Her was she Company. she Already Shakespeare as year. Royal trainer, her voice of as student Berry outstanding as medal gold n hn ol tl eantepassion the retain still again could it I play think to I and love would I poetry. hkser opn,soigagetscesa iai nhs16 rdcinof production 1962 his in Titania as success great a scoring Company, Shakespeare hr eemn aypol h ipycouldn simply who people many many were there e efrac iteltra uiti Ze in Juliet as later little a performance Her n16 uiwsivtdb ee alt eoeafudrmme fteRoyal the of member founder a become to Hall Peter by invited was Judi 1961 In fi eas you the because with you see you and Asian h ieta htwsavr as hn od.Iraienwta twsone was it that now realize lessons. I discipline do. marvellous to thing and harsh extraordinary very most a the was of that that time the o came I When face. my down streaming tears with scene nunnery the was I When onNvle h a lyn alt aeu n elysokm and me shook really and up came Hamlet, playing was said who Neville, John dotwa apndnext happened what out nd ‘ isJd ec n rJh tieaeyugpaeswoatterparts their act who players young are Stride John Mr and Dench Judi Miss ‘ fl ee ota gi!Teadec oe oseShakespeare see to comes audience The again! that do Never ec.Itriwdb aehLodEasyasltr h said, she later, years Evans Lloyd Gareth by Interviewed uence. fl … pdmcwihIcuh,adIwle nt h tg n played and stage the to on walked I and caught, I which epidemic u ’ ’ epiiee ob lyn pei.Don Ophelia. playing be to privileged re q.Mle,19,p 6.Dnhhrefhssi htZe that said has herself Dench 46). p. 1998, Miller, (qu. oaudn n opligwstelf nsaeta ol o wait not could I that stage on life the was compelling and abundant so … ’ egtahaah,o htyucan you that or headache, a got ve fi hrfr,i oku l u nris nti rdcin norder in production, this in energies, our all up took it Therefore, s tteOdVci 97Ipae pei.I a uigthe during was It Ophelia. played I 1957 in Vic Old the at rst ’ oty bu n-hr ftetx a u.The cut. was text the of one-third about poetry; s ffi fl el a worked had relli ri er eas n fyu aiyhsde,or died, has family your of one because tears in or u ’ Mle,19,p 7.Jd ec per ohave to appears Dench Judi 47). p. 1998, (Miller, TNE WELLS STANLEY ’ nesadaoti sIudrtn o,after now, understand I as it about understand t … ’ h aso,sefelt, she passion, The 28 ‘ o eas oko bu h poetry, the about know do I because now miracle a ’ LodEas 94 .138). p. 1974, Evans, (Lloyd ffi ’ otnscagdwe Kenneth when changed fortunes s relli ’ ttakethat ’ … ebothered. be t ’ l i rdcino 1960 of production Vic Old s eeain vnprasa perhaps even revelation, a ’ hn hycm to come they think t ff r,we h production the when ord, Wls 96 .82) p. 1976, (Wells, – ‘ are tthrough it carried ’ eas hr a no was there because uvv talwell all at survive t wlt Night Twelfth ’ huh at thought I ffi ’ s relli Times Hamlet ‘ Although ‘ verismo a no had ff critic , ’ and but ’ s ’ , Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 ilri eaint e cetneo oe(hc nuyfre e oaadn in di abandon) as to challenge John her new writes forced a injury has, to (which form defy She role dramatic to herself. a type, of on against musical without acceptance even cast happened her the be surprises, to have to relation spring not in risks, might to Miller take that and to ways willing limitations in been personal range has She her guidance. extend in external to but helped Williams. play, Eyre, also Michael of Richard to has actor guidance and the wish Barton the husband, not John on late did Nunn, much her Trevor she as relied Hall, well that appear, Peter as would roles as it such down colleagues, has, turn trusted she to invitations able to been responding course of has Branagh in Nurse her .4) na17 neve h pk fhvn lydLd abt ntu in tour on Macbeth do Lady to played able having be of she not spoke that she might interview saying she 1974 while thinks a she Africa In that 40). something p. be to has brie .19.AdRcadEr a rte that written has Eyre Richard And 169). p. Branagh Kenneth in on Quickly seen Mistress be can of roles adaptation Shakespeare roles musical major in stage her Nurse of on available the three play commercially only and to And Cressida Chichester. opportunity Rosalind, in the as mances given such been Play- suited Juliet not Nottingham well and has seems and she she Oxford which that the for is Vic, result regrettable system Old A Theatre. the the National companies the of as of and Company needs Shakespeare such Royal the determine worked, the to to responded houses, has able has she been rather manager, but which actor appear, for would an she like plays not, Shakespearian which has her in She forces. into external fed by has shaped imagination. drama her of stimulating range and technique wide her a extending in roles, experience of breadth her Coward Noel as such comedies n ihn essces n21,a h g f7. ynw ehp eas of because perhaps now, By 75.) of age the at 2010, in success, less Hall no with and Love Nobody rgde yToa ideo n onWbtr nsrosdaa yIsnand Ibsen by in dramas Jacobean O starred serious in in has and Wilde, Webster, She John Brecht and comedies. and Chekhov dramatic Shaw, situation Middleton of Congreve, Thomas television range Wycherley, by has wide and Jonson, tragedies a she musicals Ben covering Shakespeare, in by plays in as modern comedies been and well have classic as in successes styles, acclaim greatest to her acted of also some Though casting. uiDench Judi isme Night Midsummer A loar.That Cleopatra. rsigi h ugmn fohr a fe eurda xrieo at,btit but faith, of exercise an required often has others of judgement the in Trusting nvtbygvntetetia odtoso h ie e aerhsbe largely been has career her time, the of conditions theatrical the given Inevitably oeprasta n te ao crs ntehsoyo h rts theatre, British the of history the in actress major other any than perhaps More fl ’ ,truhQenVcoi (in Victoria Queen through ), sin u irigya euai his in Hecuba as piercingly but y .On fl n hthrVlmi a ie nyi iie ubro perfor- of number limited a in only given was Volumnia her that and , ec,hrvresekn a seilycommended. especially was speaking verse her uence, ’ aeri oal o estlt.Sehsnvrbe ucpil otype to susceptible been never has She versatility. for notable is career s Cats fi mhrrlshv agdfo ue lzbt (in 1 Elizabeth Queen from ranged have roles her lm ’ o ysee wouldn I scene. my not s , ‘ aei adnlplc otyt oefo ucs none in success a from move to try to policy cardinal a it made ’ Dream s ’ s ’ h oeyo Errors of Comedy The ae,Pne,DvdHr n dadBn,adi light in and Bond, Edward and Hare David Pinter, Casey, oe n Juliet and Romeo fi lm – Sewst ers h oe loudrHall under also role, the reprise to was (She . iai,Ld abt n din nTeo Nunn Trevor in Adriana and Macbeth Lady Titania, ‘ ol ee easked be never would ’ s a Fever Hay r Brown Mrs UIDENCH JUDI ’ ff s n oei oJh Gielgud John to Goneril and Hamlet rn spsil rmtelast the from possible as erent fi 29 mof lm h shwvrammrbeadmoving and memorable a however is She . ’ ‘ nwhwt prahte,actually them, approach to how know t vr atsetkso a ots e;it her; test to has on takes she part Every n et Waterhouse Keith and ,t rsMroh(in Murdoch Iris to ), oal mn ui eodnsare recordings audio among Notable . er V Henry ’ opa ti England. in it play to n a ese n heard and seen be can and , ’ igLa.She Lear. King s ’ Iris ’ ’ s hkser in Shakespeare Mle,2004, (Miller, Mle,1998, (Miller, radMrs and Mr .N doubt No ). ’ direction s Romeo ‘ Nor ’ s ’ Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 LodEas 94 .11.I ae er h a otimhi ohrls Similarly roles. both in triumph to to was stage she from years transition later the In with 141). p. 1974, Evans, (Lloyd creypretbepue iteslne htsget h okn ftechar- the of working the with suggests perhaps where it, that knows use silence, can She little she it. and a overstress occurs, pause, acter not line, haste. perceptible does verse unintended the scarcely but of within a rhythm, impression break an of the light never conscious caesura, of is the is there speed she physical however, the a speed, verse, at to the In on mercury, all move like For and three, 60). feeling p. all of its burst incorporates a make that with writes, means to action it Pennington agility complicate Michael required mental half-thought, actor Her is related fellow it. a her syllable demands as situation Every can, the she if crisp. projected. that fast and that consonants speak supported of can the fully reminiscent She is pure, contribution. energy, voice are and The vowels clarity Ashcroft. Peggy exemplary The predecessor of great is her delivery of vocal her verse, and replied h ean e rfrnefrtecalne ftete nevee yaflo actor, fellow a by said Interviewed she theatre. 2007, of in in challenges Elizabeth Ford-Davies, the Queen Oliver for her preference her for retains one she winning many and in far), later (so star to enough aversion de appeared notice a that said trademark frequently reading a is appearing as It was seen she handicap. been which a has in and that theatre asset huskiness a an a outside both with along as volume, and and pitch both dwarf menopausal a with Cleopatra direct him to saying couldn I and laugh, a get should eshrefa h erro rdto,adsecnb quite be can she and tradition, her a to of tribute bearer paid vocal the has in as She training herself verse. sees the for of Shakespeare, this demands in performing the teachers in understanding in especially, and and delivery training, for need Voice. Her in Crack a With Dench: to had heroines, romantic playing when especially has, she years Cleopatra and Antony That came. laugh the night od hsi e aua paigvoice speaking natural her is this cold, is she Though smile. she mischievous youth often the In radiant, with and expressive. gifted illuminatednot intelligence and face her penetrating years, large the her over eyes mellowed by has her which beauty luminous regular, delicate, a are had features Her embonpoint. writes, McDonald knows. Judi training. she by developed as and short extended be is may Dench these though attributes, intellectual 218). p. 2007, time: hogotteitriw htsegvsteern nepai nteactor the on emphasis an runs there gives she that interviews the Throughout n actor Any fi inisi h oc riigo training voice the in ciencies ’ id h huh rcse nwihmaigadper olse h has She coalesce. poetry and meaning which in processes thought the mind, s you ‘ e.Idon I Yes. e oeoto t n h uinetahyus much so you teach audience the and it, of out more get ’ aeri eemndi atb neetadiecpbepyia and physical inescapable and inherent by part in determined is career s “ – – el oeyuko htyou what know you hope I Well, fi mn hmCcl er,Jh atnadPtrHl.Serightly She Hall. Peter and Barton John Berry, Cicely them among ’ efe w nhs hr sntigmc h a oaotthat, about do can she much nothing is There inches. two feet ve ‘ iei eymuch very it like t oc beautiful voice tteNtoa har n18,sebgnthe began she 1987, in Theatre National the at ’ h h har isover wins theatre the why s ’ e t eddtehnrdhpromneadthat and performance hundredth the did We it. get t fi ’ TNE WELLS STANLEY m n17,asked 1973, In lm. ff fteTryfml,sehsawd oa ag of range vocal wide a has she family, Terry the of ‘ aigacpe ee Hall Peter accepted Having rdnwdy oyugatr.I ohprose both In actors. young to nowadays ered ‘ In ’ fi ’ Wls 96 .8) h a ocnurher conquer to was She 82). p. 1976, (Wells, onMiller John ; m,bignmntdfra sa i times six Oscar an for nominated being lms, noyadCleopatra and Antony 30 ’’’ MDnl,20,p 1) vrthe Over 111). p. 2005, (McDonald, ’ edig o r etn u to out setting are You doing. re ’ okaothri called is her about book s hkser nLove in Shakespeare ‘ fi aeyuatdin acted you Have ‘ madtlvso vr single every television and lm uiDnhde o aea have not does Dench Judi ‘ oefo huh to thought a from move hr a ieIknew I line a was there fi rei akn about talking in erce ’ niaint do to invitation s fi h ednyto tendency a ght fi s eera by rehearsal rst ’ ’ Mle,2004, (Miller, (Ford-Davies, fi 19) But (1998). lms? ’ she , Judi ’ s Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 fe tesdteiprac nvresekn fwa uiin call musicians what of speaking verse in importance the stressed often arigoe ftetn rmoent rslal oaohr rdcn an producing another, to syllable or note one from tone the seamless apparently of over carrying ehia n mgntv atr hti euto ihydvlpdartistry. developed highly in a Countess the of as result her a directed is who that Doran, mastery Gregory imaginative and technical rt that: wrote oewst eCepta n se eaottemaigo iei h play. the in line a of meaning the about me next asked her that and me Cleopatra, told if she be delightful afterwards a to room of dressing was performance her role In enchanting manners. an of was comedy It slight Grossmith. Weedon and George advance in read play not to does her asked she he that when Doran, roles to According for said appear. preparation she to is Countess her she the which of in said plays the often is It ie htde onapoeso bopino oewstkn lc.Sei a is She in Williams, place. Michael taking husband, was some- her role and aware a her been of Nobody saw to have I absorption Mrs mind I 1986 of and room. subconscious in process rehearsal her Late a the assimilator. allowing down great of it by deep once problems private, process that the in creative rehearsals times solve the done and before into often fully over preconceptions is more mull of the work herself Absence that The throw does role to roles. she begins. a her that her undertaken has enable impression has she may the for she give start which seriously should when of nothing times play prepare And all new before. not a after played in are already act there has to but she agree script, sometimes the will seen she not Maybe true. always not You o eal ormme h iei h us a rn.She wrong. was pulse would the she if stages line early her in the on And remember rhythm lay. to iambic stress the the able where out be about beating not doubt line, in verse if the hand feel would She verse. olse ohrdlvrtetx a oha atrcasi Shakespeare in class master a hear to was text the deliver her to listen to h eodln loe e oln ntenx ormnslalswith monosyllables to four wants next she that the revelation on the to land on to leading love, her of maternal end allowed tough the line lifting And second expressed. the compassionately and precisely, considered e natural easy the release et o xml,we h ones(nAtOe cn he)sy to says catch Three) hath fear Scene My Bertram: One, for Act love the (in her with dissembles Countess sense she the the as completing when Helena before example, line a For of next. end the considering and lifting fHelena: of word the of end the at son my love You and loneliness, your of mystery The orsl tears salt Your ’ egigt aet elm h story the me tell to have to going re ‘ see ’ loigtenx hae( phrase next the allowing , ‘ o oem son. my love You et Waterhouse Keith , ’ ed o oalsense all to Now head. fl fi … wo on.Secncne nipeso fti hog a through this of impression an convey can She sound. of ow s ie hr tesmyhv u n uiwudlf the lift would Judi on, run have may others where line, rst ‘ ’ don I orfnns;nwIsee I now fondness; your d ff ’ nwtepa.Nvrse t edi,o eni it. in been or it, read it, seen Never play. the know t c fteln nig,nvrpuig omc as much so pausing, never endings, line the of ect ’ UIDENCH JUDI ’ rmtzto of dramatization s 31 fi ‘ ’ h ytr fyu loneliness your of mystery the nd Mle,20,p 7) u hsi clearly is this But 171). p. 2004, (Miller, ’ i gross: tis All h ir faNobody a of Diary The Mle,20,p 175). p. 2004, (Miller, ’ elTa nsWell Ends That Well s ’ ekto seek d fl s out ush legato ’ )tobe ’ – s ,by the Mr , Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 idn,segae ttehpesti,adwt etr ieta fa exasperated an of that like gesture a Sarah with latter-day and her a of twin, to like brother, hapless up manner, the tra imperious twin herself at wonderfully Drawing identical glares a below. she in his courtyard Siddons, height her sees the great) for and very in (not impatient oblivious, dinner, full is balcony, to she a in existence on come whose appears to Judi Antipholus when husband moment interpolated wordless on blt,ee h eie oluha esl,i mn h ulte htmk e a her make the that qualities betokens, the it among that is self-importance herself, at of laugh player lack to team the desire, natural fun, the even of ability, sense irrepressible This ly nhrflo cosi eera n vno tg,adfrcrsn.Setells she She jokes corpsing. the for and for stage, of famous on performance laugher, even a great and hearty in Ser- a rehearsal incident a is in began. an She and actors of rehearsals fun. fellow chuckler, of her before husky sense on well a in a plays with steadily tasks giggler, incompatible grew a daily role however the not joker, her that is pursued doubt approach no of she have iousness I as and imagination it, about her thinking was she Already eln htda yptyfrAraai e plight. which her true in of in way touches Adriana the with for style in sympathy production succeeds draw the performance that by her feeling required and exaggerations the reality, farce underlies that in she knows grounded Judi be but to splendid, needs is This confrontation. uncomfortable exceedingly Nunn Trevor the in touches, even humanizing true the was for This looks style. She the a roles. below during of person characterization and staleness. her against rehearsals in militating in apparent toes, both their jokiness on everyone And keep appears. well she may which run in company any tafr,adltri utai,te odn tafr gi and again Stratford themselves, London, of then so Australia, in and later other and Barton each Shakespeare Stratford, John of of in precursor search Viola a played in clearly Judi twins so about it play makes slight other relatively though which range, h rdcinsyeof style production The less no is speaking verse of matters technical to brings Judi that seriousness The ffi h oeyo Errors of Comedy The o said I But length, in election. out from it you draw stay to To and it, eke To hr sfnybred fancy is where eni uhasae n h cn a nyjs started. just only had scene the and state, a such in been long, too speak I say to supposed was I ftesae ee edsa ob,PlyJmswiigt sing to waiting James back Polly the at Gobbo, band as wind stage Geddes the the was Peter of There stage, centre choice. the the his in make of standing to was about Williams Bassanio, Michael as scene casket the In oieoa iet i notehuefrwa a nyb on ob an be to going be only can what for house the into him directs policewoman c ff sddtemns evn ol ae osn nhron aenever have I own. her on sing to James Polly leaving monks, the did as , ‘ erection – ’ n lo vrsnesehsbe tr h aua edrof leader natural the star, a been has she since ever also, and i u opietetime, the peize to but tis ’ h adjs u onterisrmnsadwalked and instruments their down put just band The . h efrac a ese nvdo ihso sthe is spot high A video. on seen be can performance The . ’ n ybohrJe brother my and , h oeyo Errors of Comedy The ’ S rdcin22tms rmOtbr16 in 1969 October from times, 202 production RSC s TNE WELLS STANLEY h ecato Venice of Merchant The 32 ff n enr ly smonks. as Lloyd Bernard and osrce h play the constricted Dnh 96 p 204 pp. 1996, (Dench, : ’ acclmsclbased musical farcical s fi al,i 92 in 1972, in nally, wlt Night. Twelfth ’ ‘ emotional s elme Tell – 205) ’ s Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 hteeyn si,smtmswt hmevs oeie ihsmoees in else someone with sometimes themselves, with play this sometimes for in, disguise love is her everyone of that written has She Japan. aytxue fta mto,adgvsi omn forms terms: many similar so in it gives spoke and Barton emotion, John that of textures many fVoa n bu h asi hc h ovydi hog oeet gesture, movement, interpretation through her it in conveyed this she of in which something vocal in suggest and ways to expression the tried facial about I and closed, Viola, it Judi of after of two quality or prime year a is texturedness one select to there seem productions romance most or and moods and emotions oc sfeh vr ylbecer u hr sn ito rtr.Seoesi an in opens She oratory. of hint no is there but mode: clear, story-telling casual, syllable almost every fresh, is voice tdorcrigo ato h cn aeb uimn er ae,i 1998 in later, years many Judi by made scene the of part of ( recording studio A hkser i ieadWork and Life His Shakespeare si ih e ehp,wr oa uwr in [upward woman a I were perhaps, be, might it As hnshe When Duke hnteDk a nee,h one oasoladple tcoeto close it sitting pulled actress before The and away him. it stool to pulled back a she it it; to pulled on he sit pointed down; should he Cesario that entered, indicating had him, Duke the when etosaea h n ftesee h ol eelt shrsympathetic her us to reveal could she scene, situation: audience. the own the her of with to at into end the entered amusement knew promoted was the complicity who at of newly those bond onstage for a boy Left so meaning and of a girl; dimension a extra was in boy an understandable held court, be at favour would that nervousness oigaa,btteseewspae o t uleoinlpwr Judi power. emotional full its for played her true about prevent was the lines to scene her her of to spoke reminder the on Dench initial held but and an him away, given towards were stool moving line, her we pulled the Duke, he of as the situation delivery with the scene in next wistfulness her as well Viola us as showing irony intelligent was There u nest,adlt nteseeteecm rlin uino comic a of fusion brilliant a emotion. deep came boy? of my there sense love, a her scene with the irony an in of apprehension late and intensity, ful y[mhsso both on [emphasis My paigeuvclyt oca e w igie oteraiyo the of reality brother. her the lost to had she disguise, that believed own genuinely the her she from which conceal movingly in situation to us took equivocally voice speaking the in catch too brothers, the all And ’ Itriwwt atnin Barton with (Interview ‘ xrsieo h impossibility], the of expressive daugh- – ’ aor,dsocrigysapdhro h oo;mmnslater, moments bosom; the on her slapped disconcertingly favours, s n vroewt hi dao love. of idea their with everyone and – ’ n mhsz ttruhu.Iwne osudaltentsta are that notes the all sound to wanted I throughout. it emphasize and oe a dsic pause], [distinct man a loved ] fi s perda or,Vlnie ogauaigCsroo the on Cesario congratulating Valentine, court, at appeared rst ’ ’ needn eiinea ela e a her as well as resilience independent s se Orsino. asked , fl …’ ‘ D) emt naayi fhwsesoei.The it. spoke she how of analysis an permits CDs), 2 , My ection: ele eai;adatn as olwdb a by followed pause tiny a and Cesario; replied , ‘ aineo Monument a on Patience ly n Players and Plays ’ and UIDENCH JUDI ‘ ‘ malteduheso yfather my of daughters the all am I Whoe ’ ‘ cig nwiigaotti rdcina production this about writing In acting. s Th etcnan neomu ag of range enormous an contains text [T]he ‘ 33 fa- ’ ’ ahrhdaduhe epai on [emphasis daughter a had father ] rIwo yefwudb i wife. his be would myself woo, I er ’ momentary s ’ s ’‘ oebr16,p 9.Many- 49). p. 1969, November , ‘ Shakespeare, eacoy h ere flove of degrees The melancholy. fi toa iuto fViola of situation ctional fl cin ml ntevoice, the in smile a ection, ’ ‘ ihaqitybeauti- quietly a with u idtysse of sister thy died But ff ’ Wls 97 .50) p. 1977, (Wells, cint aue In nature. ectionate fl Dnh 96 .202). p. 1996, (Dench, nhns in of signs inchings, ’ – h says, she ac rbitterness or farce ’ shouse,/ ‘ ae so takes ’ Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 oeyo h cn 34 ihhrgr red,i hc h a od a sfnyas funny as was cold, a has she which in it friends, seen girl ever her have with I (3.4) scene the of comedy odme o rd n cr omuch? so scorn and pride for condemned happy entirely not performance of her born wisdom in the a of fun portrayal take of her to enormous maturity, of agreed parcel was some had and of part she There was that woman It experience. replied retained. a she was as it omitted, that Beatrice often condition was on line only role the that Judi to h n ftescn eeto cn,we h mre rmhdn fe hearing after hiding from emerges she when scene, deception criticized. second herself the of end the dice. false with me, of it won he before once Marry, one. single seiisb ikn po h ugsin ntetx htBarc n eeikhad Benedick and Beatrice that text ‘ the a in love suggestions a the had on up picking by asperities h replies, she neetn rsns fitrrtto.We h aet lyBarc nJh Bar- John in Beatrice play to the came of she When potential ton interpretation. can intellectual of insisting) freshness and of interesting emotional tires full exist), never they the rightly, (when release very caesuras to Barton, of lines. performer John endings, which the line (on of help antithesis observance of how technical of and the works, of something verse demonstrate the to help Judi may of is, basis it though crude analysis, This oe ay oe o aels h er fSgo Benedick. Signor of heart the lost have you come, lady, Come, h huhflesta uibig otepeaaino oecnrsl in result can role a of preparation the to brings Judi that thoughtfulness The ’ 1976 s IL malteduheso yfather my of daughters boy? the my all love, her am of I sister VIOLA thy died But ORSINO n l h rtesto pue ouerdcs atwrswiprda fto if as whispered words last reduces, volume [pause; too; brothers the all of And antithesis the points [Emphasis love. our in prove little emphasized] but [slightly we vows, indeed still but our for more, in will; swear than Much more, more say are may shows men Our We up] picks [Pace n ihagenadylo eacoy puea h n nyo hsadthe and on monument, this a [emphasis of on only Smiling patience end like the on sat at out She [pause opens melancholy, yellow voice and [the green pined a She with pause] And [Longer cheek. damask her on Feed u e ocamn,[aeypretbepuea h asr]lk worm a like caesura] the at pause perceptible [barely concealment, let But RIOAdwhat lordship. And your ORSINO should emphasis] [slight I IL sih as,lwrn ftetn n oue ln,m lord. my blank, A volume] and tone the of lowering pause, [slight VIOLA esl]adytIko not. know I yet and herself] line] this ‘ indeed? [emphasized] olwn ie padin upward line, following pause] [slight thought, in reduces] pace vowel, the i Mmnaypue h ee od[mhsson [emphasis told never She pause] [Momentary vows ’ th ’ u,[lgtpause] [slight bud, uhAoAotNothing About Ado Much ‘ ff ’ ’ eln tm hl,adIgv i s o t obehatfrhis for heart double a it, for use him gave I and while, a me it lent he paig hwn h s h a aeo e wrns fteway the of awareness her of make can she use the showing speaking, s i nteps.Tekyln oe nrsos oDnPedro Don to response in comes line key The past. the in air and ‘ ‘ What love – u h rudbs fsroseshdbe one gi at again sounded been had seriousness of bass ground the but ’ ] ’ e history? her s fi ei nmn ears? mine in is re ‘ smi- ’ fl tgif Pue a o hs[lgtpue love pause] [slight this not Was [Pause] grief. at ] cino h atsyllable] last the on ection TNE WELLS STANLEY lofrteRC h otndtecharacter the softened she RSC, the for also , 34 ’ aehadtesec pknfarcically, spoken speech the heard have I ’ h says. she ’ os,[as tteedol of only end the at [pause house, s ‘ ‘ told a hsb re tn I Stand / true? be this Can ’ e love, her ] – ’ ’‘ h lgtybawdy slightly the hnImentioned I When ned ylord my Indeed, ’ words s ’ ’ s , Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 cn.Yumyol aet lyavr ml seto h hrce,adte at then and the character, speaks the everybody of not aspect remember character small Second, your whole. very about be a should truth play character to the end have the only may don You you scene. remember First, had. ever ietro h rdcin ee al h a nedbe ieogmno.Sehas She mentor. lifelong a been indeed has who said: Hall, Peter production, the of director Judi Dame clear are speak maxims you these of Most ttetm.Iwoedw h ue htsegv me: gave she that rules the down wrote I time. the at Macbeth she if her asked u uike etrta hs rte ntefr fa brvae ont ti a is it sonnet, abbreviated an of form the action: in the Written in this. point than turning better knew Judi but olau,Dabl oly ata ayMceh rtsthat writes Macbeth, Lady as cast Molloy, Dearbhla colleague, A xeine htBarc sawsrwmna h n fteseeta h a been had she than learning scene a the of to end response the a at woman beginning. is wiser its this a at that is Beatrice showed that nevertheless experience, self-mockery, of element speech the to Responding 0Tuttepa,adyu casting. your and play, the Trust 10 cnm,smlct,adngtaewt humour. don with You lines. negotiate of and end simplicity, 9 the Economy, at up pauses 8 Antithesis, speech. the through 7 Drive 6 Don pause. a 5 Earn scenes. 4 Start metre. the 3 Obey 2 eebrit Remember 1 Judi What eiv tbte hnreportingly. I than and better deserve, it band. dost Believe holy thou a say in others thee up For incite loves shall our kindness bind my To hand. love, loving dost thy thou to If thee, heart requite wild will my I Taming such. on. of love back Benedick, the And, behind lives adieu. glory much? pride, No so maiden scorn and and farewell; pride Contempt, for condemned I Stand ‘ hnw did we When ’ atr fvresekn srcgie yohrmmeso h profession. the of members other by recognized is speaking verse of mastery s stetx,frovosraos eue loar,wihsewsplaying was she which Cleopatra, used we reasons, obvious for text, the as ’ separate. t ’ fi ogeprec,i loehe osm ereavc ie ohrb the by her to given advice degree some to echoes also it experience, long s fi ei nmn as a hsb true? be this Can ears? mine in is re s nasee iei ikstart kick a it give scene, a in rst ’ aet ar h esg,tepa osi o you. for it does play the message, the carry to have t ’ ec ehwt pa h es,wihsedd edidn We did. she which verse, the speak to how me teach d ’ ly o reality. not play, a s noyadCleopatra and Antony ’ yia tl,Jd,wt edresta i o eyan deny not did that tenderness a with Judi, style, lyrical s ’ Fr-ais 07 .217). p. 2007, (Ford-Davies, –‘ ’ aet lytewoeo h hrce neach in character the of whole the play to have t UIDENCH JUDI tr scenes start 35 ee algv etetobs oe I notes best two the me gave Hall Peter ’ ’ huhteavc lal re clearly advice the Though . nesad ssotadfor shorthand is understand, I , Mle,19,p 221 p. 1998, (Miller, ‘ agJd and Judi rang I (3.1.107 ’ – – fl use t 222) 116) ects ’ ve ‘ if Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 o fbd agae etti nhrpromneo edt nTeo Nunn Trevor in Perdita of mistress performance a her is in she prose, this and felt verse I both of of language. production speaking body the of of mastery too her on placed has n rgnlt fitrrtto,we uimvdt h ainlTetet play to Theatre National depth the assisted to Eyre it moved Richard because Judi in least when not Gertrude interpretation, too, of important originality especially and seemed language Body fully that limbs own her of movement sensuous rapt the a eroticism, of innocent and of justi kind music a the with imbued of was enjoyment scene pastoral the in dancing Her uinerte hnadesn n nte.Ti rdcinsyehl h audi- the the held to style out production facing This movement, no another. arm Char- or one at In intimate. little addressing ence than with Charleson. than rather often the Ian rather formal speaking auditorium dying audience manner, apart, and far the presentational stage Olivier stood a by the acters in then of performed dimensions and was broad Northam, play the Jeremy to perhaps, by response, succeeded was he Hamlet played Day-Lewis Daniel when night, i ogtpyia xrsin n hi lmci iswsankdadmutual and naked addressed a She As was her. kiss play. shocked climactic full that their into desire and come of expression, acknowledgement language physical body sought did him Hamlet and Hamlet Gertrude between scene characters the oett an o ihissiles n h rae twt uheooyand economy such a with was it created It she relief. and profound stillness, and its e acceptance, with the welcome, truth, you silent haunt signal to and to moment move, up to palm unable hands almost Helena, at stare woman. broken a was play the of rest the play for the fathom. set and not could collapsed, she she Judi depths left of herself Hamlet within As discovery the acknowledging herself, ohn hnHln eun,a ffo h ed tteedo h ly e new Her play. the of end the line, the at with dead, living? Countess the you the from to if turns as daughter-in-law returns, Helena when nothing ag fhrtlnsi h n h huh h ol ee ly loar.I Hall In Cleopatra. play, never would she thought she one the is talents her of range fi 97pouto h mrcdiscalne n potnte ihjyu accep- joyous o with to opportunities has and it challenges all its of embraced tance she production 1987 a cn of scene nal o l h mhssta uihref swl stoewowieaothracting, her about write who those as well as herself, Judi that emphasis the all For cnm side ent fhratn,nweebte exempli better nowhere acting, her of keynote a indeed is Economy nteeet h hkser oeta aeJd h raetsoefrtefull the for scope greatest the Judi gave that role Shakespeare the event, the In ’ n w oohrfunction. other so, no still own still, And move that, but Nothing aeo wave A fi cigcmuiae mtoa opeiywt ra cnm fmas and means, of economy great with complexity emotional communicated acting s dFlorizel ed hnyud ac,Iws you wish I dance, do you When ’ aso one ebsrdldhsmte;hreiettnens for tenderness evident her mother; his bestraddled he mounted passion s ’ ff ’ er etn si a o oeutlta point. that until done not had it as beating heart s hr sn el.Teecan There reply. no is There ’ c a devastating was ect egh norgn bevn etaiyrte hnivleetin involvement than rather neutrality observant encouraging length, s ’ h Winter The ’ th All mtosadi h xieeto h cin nyi h closet the in Only action. the of excitement the in and emotions ’ ’ praise: s e,ta o ih vrdo ever might you that sea, ’ elta nsWell Ends that Well s ff r xedn esl noeeyapc fterl,fo the from role, the of aspect every into herself extending er, ’ sTale ’ 99pouto of production 1989 s i hc h lopae rvl euiu Hermione). beautiful gravely a played also she which (in ’ Drni ilr 04 .177). p. 2004, Miller, in (Doran TNE WELLS STANLEY sisdrco writes, director its As . ’ 36 e Judi be. t – fi fe ihrwn rmteproduction the from withdrawing after al,sol undhroutstretched her turned slowly nally, Hamlet ’ hiewsfrteCuts to Countess the for was choice s ‘ h yda ohr oIsee I do mother, dear my Oh, a h lyo its on play the saw I . ‘ htsalIdo? I shall What ‘ h onessays Countess The fi dta nthe in than ed (4.4.140 – 143) fi ’ rst to ’ ’ s s Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 h eainhpbtenatr oe opn n ietrdrn h rehearsal the during lines. director her studies and she as company distraction role, actor, process. between relationship the aainfrterl snta nieysltr process. solitary entirely an not is role the for paration nnt,tepafles h uhrt,tepnieesadvulnerability. and pensiveness the the authority, wit, the and playfulness, intelligence quick the the ininity, energy, the substance: them ‘ oddt h ulm,wienvrlsn h es fauiyn efta could that self unifying a of sense the losing never while character the sublime, encompass the to sordid 97dbtwt h l i opn lyn pei,etc. Ophelia, Ze playing Franco Company in Vic Juliet Old the with debut 1960 1957 1934 York, Born it but there, inspired and touch common the had who Cleopatra the with is loyalty it great that later, learn, to Cleopatra with relationship warm fagetsii.Sei h etlvdEgihatessneElnTry n e success her and Terry, Ellen since actress English Terry loved Ellen best like the stage, is on She spirit. great re a art of her of generosity The admirers. countless by pk ohrgetpeeesr ann nih noteeoin eidtewords: the behind emotions the into insight gaining predecessor, ‘ great thirty- her acclaim to spoke great to Antony as Redgrave Michael with role the played asr Cleopatra Caesar, di its underestimate not did and previously, ntdi igeeoinlrsos.Ti a ra cigahee hog a through achieved acting economy. great physical was highest the This with along response. that technique so emotional vocal audience us, of single The to perfection him. back a his as with in well aisle as united auditorium us the addressing in was stood she who Dolabella a to lyricism h oet e e c sre is act her see to come who hc h a rsne.Seraie h oeyo h oewt efc iigand timing perfect said with he self-con role as her until, with the Octavia, grew about of appearances messenger the comedy questioned the the she As realized transitions. behind brilliant She vulnerably, presented. was suspiciously, she probed which instinc- shrewd, that a with intelligence yet sensual tive richly restless, physically passions, volatile of woman con independence. great her had maintaining she also too while him Clearly from 80). p. 1990, (Lowen, h otyo h oe o,wsflyraie,ciatclywe,hrrestlessness her when, climactically realized, fully was too, stage. spoke role, the she left the almost subdued, and of door, the poetry towards ran The around, abruptly swirled she skirts, her sasrigtemn aeso h hrce,adtpighronqaiist give to qualities own her tapping and character, the of facets many the absorbing is nrpyt Antony to reply in hr r ik ihteps.PtrHl a pknt eg scot h had who Ashcroft, Peggy to spoken had Hall Peter past. the with links are There natri ohn ihu nadec.Jd Dench Judi audience. an without nothing is actor An l hssoe nhrpromne rmher From performance. her in showed this All ‘ hnnti cn,Jd ec isqityi onr lcigout blocking corner, a in quietly sits Dench Judi scene, a in not When ’ ut la hr you where clear quite s oe tteOdVic Old the at roles … hoooy(ocnrtn nShakespeare) on (concentrating Chronology htDnhms identi most Dench that ’ s ‘ ’ “ ‘ ratteewsa meo Antony Emperor an was there dreamt I an htsesv esl ysnighsgize edto head grizzled his sending by herself save she that taunt s otikshe think do I htha,m lord? my head, That ’ ’ ,i niiil rmteproaiyta nbe it. enables that personality the from indivisible is s, s ‘ in fl ce nteamrto n a and admiration the in ected fi ievariety nite ffi relli ’ norg a eeoe adi sntsurprising not is it (and developed has entourage s ’ ’ h is She thirty s ’ UIDENCH JUDI egoing re ’ rdcinof production s fi es) 37 ‘ ’ ’ hlysiladfocused. and still Wholly izhLowen Tirzah . h ml rz nhrfc n,gathering and, face her on froze smile the , ’ ” Lwn 90 p 57 pp. 1990, (Lowen, ’ ffi hudcnanalhrlv o him for love her all contain should Lwn 90 .3.AdJd herself Judi And p.23). 1990, (Lowen, culties: fl csadi nbe ytegenerosity the by enabled is and ects fi ’ s perneti a lal a clearly was this appearance rst iec a apbe ewere We palpable. was silence s fi ec nhrdrco,learning director, her in dence oe n Juliet and Romeo ‘ ’ o nwyou know You oglv a love long s ff ’ cini hc h sheld is she which in ection oki eeln about revealing is book s ‘ oho n o and on Both …’ “ gutsiness – ihrp,hushed rapt, with 58). ’ a ydyshe day by Day ff i ihthose with air n other and ’ lnvrget never ll ” ’ h fem- the , fi ff u pre- But eyears ve tg,a stage, fi dence ’ Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 95Ntiga lyos opn:Iael in Isabella Company: Playhouse Nottingham in Macbeth Lady Company: Playhouse 1969 Nottingham 1965 1963 91jisRylSaepaeCmay 92Iael in Isabella 1962 Company: Shakespeare Royal joins 1961 h hkser nttt,i eea dtro h xodadPnuneiin of editions Penguin and Oxford the of Editor General is Institute, Shakespeare the Wells Stanley (1990) Tirzah Lowen, (2007) Oliver Ford-Davies, (1974) Lloyd (2005) Gareth Miller Evans, John and Judi, Dench, (1996) Judi Dench, el,Saly(1976) Stanley Wells, on Dench Judi (2004) and ed. Terry, John, Ellen Miller, Siddons, Sarah (1998) John Lady: Miller, the to Look (2005) Russ McDonald, —— 1975 03Cuts in in Countess Volumnia Company: Festival in Chichester Gertrude Company: Theatre National 2003 Branagh in Quickly 1991 Mistress in 1989 Cleopatra Company, Theatre National 1988 1987 09Ttnain Titania Honour of Companion created 2009 2005 ikHr Books. Hern Nick 137 pp. Press, University Cambridge Cambridge: n Nicolson. and Press. University Georgia London: and Athens Stage. Shakespearean the acetrUiest Press. University Manchester 197 pp. Press, University Oxford Oxford: Jackson. R. and Bate J. (1977) – – 1RylSaepaeCmay oe nld emoeadPriain Perdita and Hermione include roles Company; Shakespeare Royal 71 0RylSaepaeCmay 96 etiein Beatrice 1976, Company: Shakespeare Royal 80 oa hkser:Fu ao rdcin tteRylSaepaeTheatre Shakespeare Royal the at Productions Major Four Shakespeare: Royal iai in Titania h Winter The Night Twelfth ecato Venice of Merchant ing, bu Nothing About Empire British the of Dame created Lear er ie:teMusical the Wives: Merry and Thames himno h hkser itpaeTutadHnrr elwof Fellow Honorary and Trust Birthplace Shakespeare the of Chairman , 99 mgnin Imogen 1979, ; Macbeth ayMcehin Macbeth Lady uiDnh ihaCaki e Voice Her in Crack a With Dench: Judi ‘ aeri Shakespeare in Career A ‘ ee alDirects Hall Peter nItriwwt isJd Dench Judi Miss with Interview An aln ui eerto fJd ec t70 at Dench Judi of Celebration A Judi: Darling isme Night Midsummer A isme Night Midsummer A ’ efrigSaepae rprto,Rhasl Performance Rehearsal, Preparation, Shakespeare: Performing Tale s All ‘ loTae eeiin vial nDD;Rgnin Regan DVD); on available Television, Thames also n ntu nWs Africa West in tour on and , uiDnhtlst aehLodEvans Lloyd Gareth to talks Dench Judi o h easac har Company Theatre Renaissance the for ’ elTa nsWell, Ends That Well s bu h Author The About il in Viola , (1971) cnsfo yLife my from Scenes Bibliography TNE WELLS STANLEY Cymbeline ‘ Macbeth noyadCleopatra and Antony ohRylSaepaeCompany Shakespeare Royal both , ’ 38 ’ ,in s wlt Night Twelfth ’ ’ Dream s Dream s fi din in Adriana , mof lm hkser:A lutae tg History Stage Illustrated An Shakespeare: – 142. odn ednedadNicolson. and Weidenfeld London: . odn ednedadNicolson. and Weidenfeld London: . er V Henry ( ’ fi oeTete Kingston-upon- Theatre, Rose 06 itesQikyin Quickly Mistress 2006, , md16,o V) etc. DVD), on 1965, lmed air Elisabéthains Cahiers Hamlet noyadCleopatra and Antony ’ odn ehe,1990. Methuen, London: . Coriolanus bt 99,Pri in Portia 1969), (both h oeyo Errors of Comedy The esr o Measure for Measure directed ; uhAoAotNoth- About Ado Much – 210. ’ , odn Weidenfeld London: . esr o Measure for Measure hkser uvy27 Survey Shakespeare Macbeth uhAdo Much 0 p 69 pp. 10, .Manchester: il in Viola , London: . 1988, , The King (this ed. , – The 83. , . Downloaded By: 10.3.98.104 At: 01:41 26 Sep 2021; For: 9780203816196, chapter3, 10.4324/9780203816196.ch3 hkser,Sx n Love and Sex, Shakespeare, rilsin articles above), (listed ..teTSadelsewhere. and TLS the e.g. Shakespeare Royal include the books His of Board. the Emeritus of Time Vice-Chairman All Governor years For many Shakespeare: for Honorary was and is Company, He Shakespeare. hkser Survey Shakespeare hkser nSae nAtooyo Criticism of Anthology An Stage: on Shakespeare Mciln 2002), (Macmillan, 21) i rtnso har include theatre on writings His (2010). n ueosrveso niiulpoutosin productions individual of reviews numerous and , UIDENCH JUDI 39 hkser Co & Shakespeare Ofr,19) review 1997), (Oxford, Pnun 06,and 2006), (Penguin, . oa Shakespeare Royal