The best-selling guide to acting Shakespeare in a new smaller and lighter handbook size. Shakespeare tells the actor when to go fast and when to go slow; when to pause, when to come in on cue and when to accent a word. His text is full of such clues. He tells the actor when but never tells him why or how. That is up to the actor. Much like bringing a musical score to life, Peter Hall guides us to 'speak the speech'. An essential text for classical training at drama school and an invaluable reference book for actors and directors working on Shakespeare productions. Peter Hall makes watching or reading Shakespeare a richer experience, for audiences as well as actors.

Sir Peter Hall is one of the best-known names in British theatre. This book provides a controversial distillation of Hall's current thinking about the theatre in which he has lived his whole life.

Peter Hall (1930–2017) is one of the most influential directors of Shakespeare's plays in the modern age. Under his direction, the Royal Shakespeare Company and the National Theatre rediscovered Shakespeare as a writer who could comment incisively on the modern world. Productions such as Coriolanus, The Wars of the Roses and Hamlet established his reputation as a director able to bring Shakespeare to the heart of contemporary politics. He later cemented his reputation with epic productions of Coriolanus and Antony and Cleopatra at the National. With the Peter Hall Company, Hall continued to work intensively on Shakespeare, directing plays in the UK and America. Reviewing Hall's work in its cultural and creative context, this study explores his approach to directing and rehearsal. This is the first book to analyse all of Hall's professional Shakespeare productions in a historical context, from the Suez crisis to the 9/11 attacks and beyond.

A major new look at the art and process of Shakespeare for actors.

In these intimate diaries, Hall chronicles the eight frenzied years between 1972 and 1980 when he conducted the historic move of the National Theatre from the Old Vic to the South Bank, and then triumphantly consolidated its position as the leading showcase for theatre in Britain. With remarkable candour Hall describes his relationship with Lord Olivier; with actors Paul Scofield, Ralph Richardson, Alec Guinness, John Gielgud, Albert Finney and Peggy Ashcroft; with playwrights Harold Pinter, John Osborne, Samuel Beckett, David Hare, Peter Shaffer and Howard Brenton; and with directors John Schlesinger, John Dexter, Bill Bryden, Christopher Morahan and Jonathan Miller. In his startlingly frank, incisive style, he creates sometimes affectionate, sometimes acid portraits of his friends and enemies, of great actors in rehearsal. In his foreword, Hall casts a critical eye over the state of British theatre today and, through a discussion of politics and the arts in the eighties and nineties, contemplates its future.

Peter Hall is one of the most significant and influential directors of Shakespeare's work of modern times. Through both his own work and the management of two national theatre companies, the National Theatre and the RSC, Hall has promoted Shakespeare as a writer who can comment incisively on the modern world. His best productions exemplified this approach: Coriolanus (1959), The Wars of the Roses (1963) and Hamlet (1965) established his reputation as a director able to bring Shakespeare to the heart of contemporary politics. However, Hall's career has been very varied, and sometimes his critical failures are as interesting as his successes. The book explores Hall's work as a deliberate articulation of Shakespeare and national culture in the post-war years. The main focus is on his Shakespeare work, but critical attention is also given to non-Shakespearean productions, notably his 1955 Waiting for Godot (and his relationship with Samuel Beckett in general) and his 2000 Tantalus (and his work with John Barton), placing Hall's work in its cultural and creative context. Setting Hall's work against the post-war development of national culture, the book explores how his work with other writers and artists (including Beckett, Pinter and Barton) informed his approach to directing as well as his rehearsal methods and his approach to Shakespeare's text.

(Limelight). Peter Hall's brilliance, particularly in staging Shakespeare, has long been recognized. This book takes us behind the scenes at England's National Theatre to observe a master at work, probing into the depths of a play of enormous challenge and opportunity, shaping and orchestrating text and action.