Hamlet: Performers' vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Hamlet: Performers’ vocal interpretation of character (accent, volume, pitch, timing, pace, intonation, phrasing, emotional range, delivery of lines)
Hamlet
- Delivery of Lines: Hamlet’s complexity often results in variable line delivery depending on his emotional state. In his quieter, more introspective moments, lines like “To be, or not to be: that is the question” might be delivered with a quiet, reflective tone. However, lines filled with anger or frustration, like “Give me that man / That is not passion’s slave” may be said with more volume and intensity.
- Emotional Range: Hamlet has an extreme emotional range, from deep melancholy over his father’s death and his mother’s hasty remarriage to fiery rage against Claudius. The varied emotions demand a flexible vocal interpretation from the actor to present a convincing portrayal.
- Pitch and Pace: In moments of introspection or soliloquy, Hamlet’s pitch may lower and his pace slows, suggesting depth of thought, introspection, or sadness. In contrast, moments of anger or madness might be marked with a higher pitch and rapid pace.
Claudius
- Accents: Given Claudius’s status as king, a performer might choose an accent associated with power and authority to reinforce this image. A contrast of accents can be effective in setting him apart from other characters.
- Volume and Pitch: Claudius’s volume and pitch are typically steady and controlled to reflect his political astuteness and manipulative nature. However, during moments of guilt or panic, such as his reaction to the play-within-a-play, his voice may become shaky or hushed.
- Phrasing: The way Claudius phrases his sentences is often strategic and designed to manipulate, with a smooth, persuasive tone used to mask his deceitful intentions.
Ophelia
- Timing and Pace: The disintegration of Ophelia’s sanity can be suggested through a change in the speed and timing of her speech. Her earlier scenes might be marked by measured, controlled speech, while her later lines could become erratic or rushed.
- Emotional Range: Ophelia’s emotional range shifts dramatically in the course of the play, from sweet and obedient to confused and distraught. This requires a flexible vocal interpretation to highlight this tragic transformation.
- Intonation: The changes in Ophelia’s intonation can prove her descending into madness. Early in the play, she may have a gentle, soft-spoken manner, while later, she may shift into singing, shouting, or weeping.
In all cases, the performers use their vocal interpretation skills to create three-dimensional performance of the characters. Remember, they are exploring a range of characteristics - not just one - so their voices should reflect these complexities.