36 The legacy of women and power in Shakespeare’s plays Ophelia Mills Shakespeare’s women are among the most ubiquitous female characters in Western theatre, and as such, play a key role in shaping cultural assumptions about women both on and off the stage. They are uniquely situated within a patriarchal canon, often given a voice and moments of agency, yet constrained by their relationship with men. A dichotomy emerged early in the module [Acting Shakespeare DRA2044] when our module leader raised the question of how we might think critically about Shakespeare’s dominance of the British theatrical canon, which resonated with both my fascination with Shakespeare and my fears of unthinkingly reinforcing the canon in my performance. This essay suggests that engaging critically with feminist theory allowed me to build confidence, challenge my assumptions, and gain agency within a canon that has historically marginalised women, thereby reframing Shakespeare’s relevance in a modern rehearsal space. Building on what I learnt in the Year 1 Creative Actor module [DRA1018], I learnt about the importance of the rehearsal space as a neutral zone for experimentation and learning outside the real world. This is something I consciously tried to implement during Acting Shakespeare. Early on, however, I recognised that this would not be straightforward. This was particularly evident when undertaking a variation of Wangh’s ‘Just Stand’ exercise (Wangh 2000:119), where we simply had to stand up in front of the class and be perceived for 30 seconds. Although one of the most straightforward exercises we did, it resonated with me throughout the module. Before and when standing, I recognised an intensified level of pre- performance anxiety. While I had previously been aware of my self- consciousness, this moment marked a shift in my understanding of it as a key obstacle I would have to face within this module and performance. Wangh’s discussion of this exercise became a key pillar for addressing this, specifically his assertion that “Showing embarrassment [and stage fright] proves much less painful than trying to hide it; now, all the energy the actor had used [to hide it] is available for him to work with” (Wangh 2000:119). This exercise later informed how I approached Lady Macbeth’s spatial stillness and authority on stage. I knew my anxiety would be present; therefore, instead of trying to suppress it, I acknowledged it and let it fuel my awareness and adrenaline during the performance. Another exercise I found terrifying but ultimately a key building block in [Acting Shakespeare] was the ‘Cut Up’ exercise. This involved taking a series of our favourite quotes and interacting with others doing the same, with the rest of the room watching. This experience highlighted the expansiveness of Shakespeare’s poetry and the power and vulnerability required to embrace the language in performance fully. Echoing Patsy Rosenburg’s idea, “if you place words into space,
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