BART 97A87 - At the heart of Betrayal in Shakespeare's work (Hamlet/Macbeth/Richard III)

William Shakespeare is an explorer of human nature. His theatre is timeless, and his imprint has endured across the ages. He continues to fascinate, having inspired painters, poets, musicians, and filmmakers alike. He is a source poet, a bearer of hope, and a fighter against absurdity. His writing stimulates the imagination. To encounter his work is to experience emancipation: he crafted his language not only for the audience but above all for the actor. This workshop is a collective exploration of his work as a vehicle for political wisdom — a deep dive into a profoundly human and contradictory world, where power, love, death, ambition, fate, and free will coexist. Through theatrical practice, we will discover how the texts of this existential playwright shape the body and guide us to the character. We will learn to inhabit the stage space — and to let it inhabit us. Using a range of tools — training, improvisation, games, and shared experience — we will establish a personal and unique connection with his theatre, in an atmosphere of kindness and play. Finally, we will build a connection with the other — the audience — without whom theatre cannot exist. An honest, powerful, and unembellished link that brings us back to ourselves. A craftsman's work in pursuit of truth. Academic expectations: To awaken Shakespeare's words so they resonate here and now, as if they were springing from our own mouths. The text is not a museum piece — it's a battlefield where meaning and body clash and reconcile. By the end of the semester, the student will have: Gained confidence on stage. Developed a strong, personal voice in performance. Acquired tools for analyzing Shakespearean texts — transferable to other works. Learned to harness their imagination in service of the stage, through conscious artistic choices.

Jonathan GENÊT

Atelier

English

Readings: Zen in the Art of Archery – Eugen Herrigel The Complete Works of William Shakespeare (with a particular focus on Macbeth, Hamlet, and Richard III) With Shakespeare – Peter Brook The Empty Space – Peter Brook Play and the Theory of the Duende – Federico García Lorca Notes on the Melody of Things – Rainer Maria Rilke Macbeth after Shakespeare – Heiner Müller Actors and Their Dreams – Krystian Lupa The Floating Actor – Yoshi Oida Towards a Poor Theatre – Jerzy Grotowski Films: Throne of Blood – Akira Kurosawa Macbeth – directed by Justin Kurzel Hamlet – staged by Thomas Ostermeier Looking for Richard – directed by Al Pacino

Spring 2025-2026

Grading criteria: Two Written Assignments: An inner monologue: Personal appropriation of Shakespeare Writing in the style of Shakespeare — 30% Performance Work: A monologue or soliloquy and a group scene — 30% A Prepared Improvisation — 30% Participation — 10% (Including feedback and constructive exchange with peers) Students will be assessed based on: Engagement and commitment to the work Research and memorization of texts Clarity of speech and articulation Progress and development over the semester Availability and attentiveness within the group Punctuality is essential in a collaborative setting. We will keep our phones — and ChatGPT — tucked away in a drawer during sessions. Late work policy: Late work is not welcome as participation is key, 2 overdue dates are a maximum. Late arrival policy: Late arrivals are not welcome as participation is key and it is disruptive for the group. 2 late arrivals are a maximum

Session 1:Getting to Know Each Other / Building a Collective. Introduce yourself through a story that belongs to you. Session 2: Presenting Oneself Through Narrative .Exploring Shakespeare's Sonnets. Session 3:Finding One's Body / Voice. How can we make ourselves available to access a more intimate form of speech? Opening up to different possibilities of performance. Understanding the mechanisms at play. How can we transform body, voice, and presence? Which character would you like to play in Shakespeare — and why? Session 4:The Chair Exercise. Selection of monologues/soliloquies. Exploring different translations. Session 5: Textual Preparation: Deconstruction and Reconstruction . Introduction to caesuras, beats, and clusters. Making a choice is already staging. Shakespeare's words are our own. I am the one speaking. Session 6: First Presentation of Monologues. Each piece will be shared, discussed, and collectively analyzed. Through constructive feedback, we will nurture and develop each personal proposal. First encounter with an audience. Session 7: Dissociating Physical Form and Text. The text becomes embedded in the subconscious — in the present moment. Continuation of monologues and first readings of group scenes. Session 8: Mirroring Our Inspirations .In which works do we find echoes of the poet? What connections can we draw to our contemporary world? Session 9: Group Scene Presentations. What do we learn about ourselves — by taking action and by observing others? Session 10: Each Student Becomes a Director. Every student takes on the role of director for another group. Session 11: What Does It Mean to Repeat? How can we find a new path each time, so that performing isn't simple repetition, but a constant discovery — alive and in motion? Session 12: Final Presentation and Feedback