We’re back to our workshop on Readers Theatre. We’re in The Charge of the Light Brigade, by Alfred, Lord Tennyson, looking for a way to use movement without blocking it as if it were a staged play.
So we go to stanza 4:
Flashed all their sabres bare,
Flashed as they turned in air
Sabring the gunners there,
Charging an army, while
All the world wondered.
Plunged in the battery-smoke
Right through the line they broke;
Cossack and Russian
Reeled from the sabre stroke
Shattered and sundered.
Then they rode back, but not
Not the six hundred.
All those sabres cutting down the enemy. What about those sabres? What about costumes? What about props? How about giving everyone a uniform and a sabre and let them chop their way out of the stanza?
What about sabres? Should we have them? Even though it is theatre of the mind, and not conventional staging, you can use a suggestion of costumes, props—as the manuscripts are used In White America. Why you use props, sets, and costumes is so that you can create movement that is integral to the production.
Here are a few thoughts about using movement in our reading of The Charge of the Light Brigade:
- If you are given something to use—a chair, a prop, a bit of a costume, a script, you MUST use it. In our example, how about rolling up your script and with an appropriate line from the poem, use the script as a sabre? But don’t forget to follow through. When does it turn back to a script? How? Why? Practice the movement until it feels right.
- What about facial expressions? Another form of movement. Each soldier will have a slightly different reaction—pick yours and convey it. How surprised, dismayed, terrified are you? Brave? Resigned? Show us how your soldier feels with your body and face.
- Try using the script to ward off the bullets, use them as sabers to charge the enemy. How does that seem?
- What about actual movement? What about some getting off the chair or stool as they get shot, and some stay sitting. In Stanza 5, bullets are flying and hitting each soldier, knocking them out of the fight, KNOCKING THEM OFF THEIR HORSES. How to do that?
Underlying all of it is this: onstage, movement is essential. To be in a place where all attention is on a few figures grouped on an elevated and lighted platform, the people watching need something to look at. Something that draws attention to what is happening and why.
Use the guidelines you already know about stage movement to help you make these critical decisions. Too many props and the piece becomes a play. Too little, and the actor has nothing to do.
Movement draws attention. Just make sure you use it effectively.
Next time: 7 “Vocal techniques. Oral interpretation of literature.”
Catch up on this Readers Theatre series:
1 “The next big thing.” How readers theatre is its own art form.
2 “What Readers Theatre is like.” How to think about readers theatre.
3 “Working with a script in Readers Theatre.” How to use the script effectively.
4 “Make your Readers Theatre production visually appealing.” How to use what the audience sees to make the production come alive.
5 “How the audience responds to focus.” How to use onstage and offstage focus effectively.