It's the way that you do it:
Before the vultures start picking - I know it ain't totally accurate - I can hear a couple of sounds that shouldn't be there, and the whole process of 'reconstruction' is speculative ... blah, blah, blah.
What I think is exciting is the difference attempting the original sounds makes - this suddenly becomes a much better poem. It is good fun to say.
I can see why it was included in the original collection - and even why Shakespeare might have had a fondness for it.
Performing it this way I felt like I was close to the young man who wrote it - and there is a sincerity to it that gets lost with 'posh-Shakespeare'.
I can also see the dramatic poet here - much more than the lyric one.
Technorati Tags: Shakespeare, Shakespeare Sonnet, Sonnet 145
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I often feel that the language becomes more vivid, more powerful, in that full-throated Elizabethan style, with it's growling consonants and rich, full vowels. The Received Pronunciation is dreadfully tame by comparison. Working with American actors, one of the hardest things to do is to get them to stop trying to sound like Lawrence Olivier or Patrick Stewart and relish the potentials in their own accents, which are no less "authentic" than was John Gielgud's. I usually try to play for them a bit of the "old sound" to snap them out of it.
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