Martin Sadler
A UK citizen professional actor for 30+ years. I've played minor and major characters in several Shakespeare plays and found every one a joy to perform both the verse and interactions with characters.
Location UK expat now teaching directing Shakespeare at Klaipeda University and TEFL as a private tutor.
Activity
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Martin Sadler made a comment
Much thanks to all at Lancaster University for this wonderful course which has opened my mind!
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Martin Sadler made a comment
As a professional actor for 30+ years I've performed in several Shakespeare plays in parts both major and minor. Apart from the obvious needs of good direction the importance of speaking iambic pentameter was sometimes overlooked. Not through uncaring but lack of knowledge.
This course has been of great interest to me because of its academic approach to... -
Martin Sadler made a comment
Excellent talk. Enjoyable and enlightening.
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Martin Sadler made a comment
These detailed analyses of keywords and how they are broken down into comparable units adds another dimension to the study of Shakespeare's beautiful prose and poetry. It helps enormously to have this further knowledge which we can include in our ongoing appreciation of his works.
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Martin Sadler made a comment
I had to really concentrate during that talk - ha ha! Fortunately, the wrapping up section helped to clarify it.
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Martin Sadler made a comment
Malvolio, the steward in Olivia's household in Twelfth Night, is a pompous character. He speaks rhetorically to those characters stationed below him then switches to a fawning Uriah Heap when addressing the Lady Olivia. This speech style becomes almost overtly emotional when he's been duped into believing she has a fancy for him. His speech pattern at all...
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Martin Sadler made a comment
A very helpful final video full of positive advice and helpful tips to benefit teachers and their students. One very important aspect I've always used in my many years of teaching learners at all levels is appropriate humour. Especially during the first lessons with new students. They'll probably feel nervous so a smiling teacher and some light-hearted...
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Martin Sadler made a comment
I learn so much more with every week. And the best of this is that it instills a deeper understanding of the plays and sonnets and an ongoing desire to learn more.
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Martin Sadler made a comment
As helpful and useful it is for an academic study it won't change the sentiment of the dialogue Shakespeare wrote in his choice of vocabulary.
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Martin Sadler made a comment
I've tried several times during different exercises on various days and I can't register with CQPweb.
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Martin Sadler made a comment
Extraordinary, for me, to have a new way to consider neologisms. So many aspects to consider when deciding if it's a nonce word.
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Martin Sadler made a comment
A very instructive second week. I learn more and more and my enthusiasm increases.
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Martin Sadler made a comment
I had to think twice about some of the words.
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Martin Sadler made a comment
Once I receive the confirmation email, I've been waiting more than an hour so far, I think I'll enjoy using this programme.
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I registered and over an hour later I'm still waiting to receive the email fromCQPweb confirming my application.
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Slightly off point but it irks me a little, I hope I don't seem pedantic, when people reply to 'how are you' with 'good'. This question, a formality when meeting someone, usually refers to their health and well-being and although 'good' is appropriate the more suitable response ought to be 'well'. The use of good doesn't only mean health it could as easily...
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I usually associate the use of horrid as being in a child's vocabulary and used in relation to things a more mature person wouldn't. For example: a horrid ice cream because it didn't taste nice rather than being scary.
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Thanks to all the academics who worked tirelessly over very long periods to compile their different dictionaries. How they have helped students and Shakespeare fans.
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Martin Sadler made a comment
Bottom line being the more data (information) is gathered and sorted before being compiled the more insight we will have about the plays, sonnets, poetry etc.
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Martin Sadler made a comment
I remember scanning through microfiche files in the early 1970s. The screen view would wobble and you had to constantly fiddle with the controls to be able to read what you were viewing.
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Martin Sadler made a comment
This fascinating subject is similar to linguistic studies.
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Martin Sadler made a comment
Interesting exercise. It felt a beginner lesson in origami.
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Reading many of the comments I notice to use of 'faithful transcription'. But what does that mean? Who's to know if something is faithful?
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@SamOliver In response to your question about how one reads the plays today, Sam, it must be also asked how it affects an actor's interpretation of the text. But it was ever thus, perhaps. As we move further and further away from the period when Shakespeare wrote his plays more questions will be asked. But there can be no definitive answers. Unless there is...
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Martin Sadler made a comment
Compositing seems to be somewhat similar to doing a jigsaw puzzle for pages 1 to 5. The major difference being that you can't cut bits out of a jigsaw!
A compositor does editing or cutting of text including abbreviating words so everything fits the page. -
Martin Sadler made a comment
It was a laborious process to print these numerous pages. And it must have been arduous and messy work. Slow and sometimes necessary to repeat something when the proofreader finds errors.
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One is spoilt for choice with regard to opting which Shakespeare texts to select. It depends on what purposes one has for any particular choice. It seems it's a more difficult choice if it's for research only although if a text is chosen for performance of the plays then it probably isn't as critical which version is used as opposed to doing research.
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Martin Sadler made a comment
It's helpful to have this explanation of how quarto and folio differ and how they are created.
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It's interesting, although ultimately futile and frustrating, to consider that not every written word or sentences were solely by Shakespeare in the quartos and folios. As has been said often there are probably actors ad libs or suggestions that have been permanently recorded and published.
I think there have been modern day productions in which actors are... -
Yes, I thought the audio was poor. And the video started buffering soon after beginning and didn't stop. I used the transcript.
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Martin Sadler made a comment
This is an eloquent and very detailed analysis of the differences between the original text and its modern interpretation. The first apparent aspect, for me, is the spelling differences and how easily they might be misinterpreted as indicated in powr meaning pour and not power.
Then syntax and how important that is in affecting the emphasis on a particular... -
Martin Sadler made a comment
'Our revels now are ended'
Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air:
And, like the baseless fabric of this vision,
The cloud-capp'd towers, the gorgeous palaces,
The solemn temples, the great globe itself,
Yea, all which it inherit, shall dissolve
And, like this... -
Film has opened the opportunity for people to watch some of Shakespeare's plays when they have no opportunity to see a live performance.
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Genius. Magician. Playwright.
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Martin Sadler made a comment
Gollancz - inspirational!
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Martin Sadler made a comment
Everyone has an opinion. But even experts views might be wrong. Who's right though? Nobody, might be the Bard's response!
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Martin Sadler made a comment
Local first then global if you're fortunate and the play is popular. It's impossible to calculate (box office revenues gives some idea) how much global can mean. Only if there were a way to record number of those who've watched a play or film other than the very basic tickets sold method. This doesn't allow for viewers watching DVDs and streaming etc.
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Martin Sadler made a comment
The more I watch and listen to these experts in their fields the more I realise there is to learn. Wonderful!
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Martin Sadler made a comment
Dr Elliott gives us a different insight to this most examined and discussed great play.
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It's the ongoing discussion about whether a film can really interpret a play as profound as a Shakespeare one? Or perhaps complement it in some way.
Time is often the reason cuts to the text are forced upon a director. As I wrote in the previous lesson the studio calls the shots. Literally.
I've played Polonius on stage in the UK and watched Zeffirelli's... -
Martin Sadler made a comment
Oh - the power of the editor. Final cut - rarely given to the director but decided by studio executives who probably care more about box office revenue than artistic interpretation.
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Martin Sadler made a comment
Orson Welles, a great experimenter in stage and film, made Chimes at Midnight in which he played Falstaff.
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Martin Sadler made a comment
How times have changed with regard to performance choices. Nowadays women play male rôles; the settings of the play; the perspective of the play.
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Martin Sadler made a comment
Use of original practices is interesting but it can never change the facts that modern audiences have a backlog of theatre experience, most probably.
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Martin Sadler made a comment
Of course, Elizabethan theatre goers weren't educated or have the the life experiences that we have today. A simple blast from a trumpet and banging of a drum would have been impressive. Daylight only theatre would have had its effects upon productions too.
For those who went to 'hear' a play to also hear music played would have been a powerful emotion. -
Martin Sadler made a comment
The inclusion of music and musical instruments in plays is so powerful and adds to the dramatic effect.
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Martin Sadler made a comment
Imagine the chaos if actors today could wear their own choice of costume. They've always done their own make-up it's only TV and film where make-up specialists are used.
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Martin Sadler made a comment
Interesting to hear these two actors compare the use of cue lines.
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Martin Sadler made a comment
I've written about cue scripts in relation to earlier lessons. There are pros and cons with using them. If an actor has the whole play to read and work with, as they do today, then it helps them build the character they are going to perform. Take that away and only let actors use cue lines it gives a freshness to the dialogue.
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Martin Sadler made a comment
Actors have to really listen to hear their cue. It makes the scene much more believable.
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Martin Sadler made a comment
It's a world of difference between acting then and now. Democracy didn't exist in Shakespeare's theatre.
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Martin Sadler made a comment
I'd like to see a play today wherein the actors have only been given their lines and a lead-in cue. As performances continue actors would become more aware of what the other actors were saying.
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Martin Sadler made a comment
How much the royal court and its monarch influenced the play writing and choice of subjects.
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Martin Sadler made a comment
How dramatically - deliberate use of this adverb - the rôle of the actor has changed since Shakespeare's era.
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Martin Sadler made a comment
Sad that this is the final week of the course but balanced by looking forward to the fourth week.
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Martin Sadler made a comment
A great week 3!
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Martin Sadler made a comment
I wasn't aware until studying this week's lesson how much the texts differ between quartos and folios.
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Martin Sadler made a comment
Interesting interview hearing Beth Park's views on the two textual versions. I concur with her views.
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Martin Sadler made a comment
I remain in my belief that the Quarto feels more how Ophelia would have spoken.
Difficult choice after watching Beth Park give the two different versions so very credibly. -
Martin Sadler made a comment
I prefer the Quarto version. It feels more instant and unrehearsed by Ophelia.
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Martin Sadler made a comment
Listening to early modern English doesn't let the spelling differences between that era and today's. It's only when you read the text you see.
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Martin Sadler made a comment
First Quarto 1622
Othello: I pray you in your letters,
When you shall these unlucky deeds relate,
Speak of them as they are; nothing extenuate,
Nor set down ought in malice, then must you speak,
Of one that loved not wisely, but too well:
Of one not easily jealous, but being wrought,
Perplexed in the extreme; of one whose hand,
Like the base Indian,... -
Martin Sadler made a comment
It must be both fascinating and formidable for modern day editors to assemble and work through the various different texts from quartos and folios in attempting to compile a definitive text of a play. There will probably never be a definitive version as academic scholars continue to explore and search for new evidence to support their theories.
In much... -
Martin Sadler made a comment
Very interesting and helpful first week. I appreciate the enthusiasm the teachers here have and their obvious love of teaching. Looking forward to week 2.
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Martin Sadler made a comment
I'm interested in the teachers opinions on how best to teach beginners whether face to face or online. I prefer to work with intermediate and upward. Teaching advanced level students is the most stimulating for me and, I think, for them too. I have taught beginners and pre-intermediate and have found it challenging to teach by rote and other forms of...
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Martin Sadler made a comment
It might be that you've used a platform for sometime for other purposes than teaching. If so, you'll be familiar and comfortable with it and its reliability. That's essential as has been underlined in several of the videos here.
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Martin Sadler made a comment
It comes down to co-operation between the teacher and students. If one student is having technical issues, for example, the teacher could ask the other students if they are tech savvy and could help.
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Martin Sadler made a comment
As in many situations in which a group of people are brought together with the same goal there has to be some basic rules set out before lessons begin. Phones switched to mute. Vigorous discussion and debate is welcome but the basic rules of society apply. No unacceptable language including swear words. No personal criticisms or undermining. The teacher is a...
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Martin Sadler made a comment
TTT will decrease as lessons continue. Apart from absolute beginners the target language ought to be the only language spoken throughout lessons. With beginners this would be unfair and unhelpful and would probably lengthen the students progress unnecessarily. I usually suggest beginners have a teacher who speaks at least some of the student(s) native...
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Martin Sadler made a comment
One of the first things I realised after. teaching groups was that, although they might have taken a placement test to ascertain which level they are at, the difference between a student at the entry level to B1 and a student about to enter B2 is quite marked. But they will be in the same class.
This can raise serious problems. Lessons have to be created that... -
Martin Sadler made a comment
It would depend on how many students I have. Only two would make it a less interesting lesson, for me, than if there were more students. A maximum of 8 would be my choice. I wouldn't send pairs to a break room to practise as, in my teaching experience, it helps if all the students watch each pair playing their respective rôles. Humour is an essential part of...
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Martin Sadler made a comment
I teach 121 online and use three pay subscribe teaching/student websites that have many very useful lessons, analyses, guides, links to academic sites and other such sites.
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Martin Sadler made a comment
When deciding on which platform to use there are several factors to consider. First - are they all free to join. They are. Then you have to check if the country and region's internet connection is strong and uninterrupted as well as being sure your own internet is likewise. Some have screen share which is almost requisite to enable use of showing student(s)...
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Martin Sadler made a comment
There are several platforms as well as Skype. WhatsApp, Facebook video chat, FaceTime, and others. It's important to check if they have the important screen share option.
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Martin Sadler made a comment
Looking forward very much to taking this course.
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Martin Sadler made a comment
The notes for line 269 in both editions differs in the later edition (Tempest 3) refers to blue eyes being considered Anglo Saxon (based on 19th century Darwinism) therefore Sycorax couldn't not have been Algerian. This seems to me to be a faulty assumption as many North African Arabs and Berbers have blue eyes. In both editions Prospero uses the 'blue eye...
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Martin Sadler made a comment
As a professional actor my main experience of Shakespeare is in performance having studied, discussed the text with the director and other actors whilst rehearsing for a number of weeks. So, it was interesting and informative to learn about the publishing industry's arrival with the invention of the printing press.
This, together with the comparisons between... -
Martin Sadler replied to Pelin İnci
That's an interesting observation and I agree although I'm not sure about any sense of satire.
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Martin Sadler made a comment
The speaker addresses another, younger, man and tells of his memories of his life from when he was probably the same age as the addressee. For this both Shakespeare's and Jo Shapcott's sonnets use metaphorical allusion such as the autumn season for the age the speaker is. The metaphor for that age is twilight as used in sonnet 73 and in Shapcott's it's a later...
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Martin Sadler replied to John H
@JohnH A good credible observation.
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Martin Sadler made a comment
The more I study Shakespeare the more questions I ask about the new things I learn. An endless joy!
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Martin Sadler made a comment
Did the quartos follow the meter exactly? If they did, were the words in both the same?
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Martin Sadler replied to Ellen Ward
The same process that's used today shows how well refined it became in its earlier evolution.
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Martin Sadler made a comment
As a professional actor and theatre director I would very much enjoy acting in a play by any author and not just Shakespeare in which actors were only their character's lines. It would be terrific, especially during the first performance when each actor in a scene will be listening as never before for his cue. If there's more than one other actor apart from...
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But only for those who were literate and well-off financially.
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Martin Sadler made a comment
* The omission of Shakespeare's name as the author of the play concerned was because, at that time in Shakespeare's playwright career, the printers considered the names of the major performers some of whom would have been well known to theatregoers.
* The development of the printing industry meant that Shakespeare's plays were able to be read by literate... -
Martin Sadler made a comment
This looks like a very interesting second week. Although I've spent years studying and performing his plays I want to learn more about the publication side.
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Martin Sadler made a comment
Very enjoyable and informative 1st week.
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Martin Sadler made a comment
It was very easy to remember the two Latinate words if you listened to the previous audio.
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Martin Sadler made a comment
I wrote a lot about my experience of working with Shakespeare's language in the box for users comments.
I can add that the apparent and obvious difference between his use of language and ours today is that his is considered archaic although many of his words are not difficult to understand by the modern reader.
I believe there is sometimes a major problem... -
Martin Sadler made a comment
Hello - I'm a former professional actor who lived in the London. After over 35 years performing in stage, TV, film, and radio I left the UK in 2010 with Celta and Trinity College, London, TEFL certificates to teach in several countries and for the past ten years have lived and taught EFL in Klaipeda, Lithuania. I also taught directing Shakespeare, in English,...
