Globe Education Online

In her second blog post, Penny discusses the discoveries she has made about Ophelia during rehearsals, the decisions made about her songs and her character's 'back history'.

Discoveries

This week we have been up on our feet, trying things out in lots of different ways. I have found myself constantly asking questions. I have to keep reminding myself that it's okay not to have all the answers yet, as it's very early days. It's good to keep asking the questions though, at this stage.

Through standing up and trying things out I have made some interesting discoveries. When first approaching a scene the natural thing to do is to approach it instinctively, however Giles (Block, director) has pointed out that it is almost always possible to play the same scene in a way which is the opposite of that first instinct. An example of this is the scene where Ophelia goes to Polonius to explain that Hamlet has just come into her, "…his doublet all unbraced, No hat upon his head, his stockings fouled.." (Act 2 scene 1). Instinctively you want to play this scene as though Ophelia is petrified. But Giles suggested that at the scene could equally be played as if Hamlet's visit was wonderful for Ophelia, she was, after all, in love with him. The second approach to this scene proves to an audience that Ophelia really loves Hamlet which otherwise might not be so clear. We're also trying to show the audience the depth of their relationship in other ways e.g. by putting them into the same space a lot, not only when they're speaking to each other, but in between scenes as well. If Ophelia is the last person to leave a scene and Hamlet is the first person to enter the next, there is a moment when they are seen together. We are trying to make as many links between them as possible. This is also very useful for me as it charts Ophelia's journey through the play. It therefore helps the audience as well. It's my job to make Ophelia's journey clear for the audience.

I have also discovered that Ophelia is almost like a scientist in the way that she describes things. She always uses the most incredible detail. When she describes Hamlet to Polonius in Act 2 Scene 1, she describes every action and every look he made, so vividly and clearly. This is a huge clue to her character. Once you learn these things, you can begin to flesh out the skeleton for yourself.

Songs

I have been working on Ophelia's songs with Claire [van Kampen, director of theatre music]. I haven't been performing the songs yet, just thinking about ideas. Claire wanted me to tell her what I think about Ophelia, what my thoughts are about who she is and what she represents, as well as my approach to her character. Claire needs to know all this so that she can make the songs as personal to me as possible. We have agreed on folk music for the songs, rather than a more classical Elizabethan approach.

'Back history'

There is very little history in the play about Ophelia, e.g. we do not know why she has no mother. I have decided that she died giving birth to Ophelia who was then brought up by wet nurses, perhaps out in the country rather than at court. These nurses may have sung to her and these are the songs that she sings, in her madness, in order to comfort herself. Although the above are simply my ideas it is helpful for me to create a 'back history' for Ophelia.

These comments are the actor’s thoughts and ideas about the part as s/he goes through the rehearsal process – they are simply his/her own interpretations and frequently change as the rehearsal process progresses.

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