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Reminisces about experiences reading and writing Shakespeare. Lauds Shakespeare's role as storyteller.
Traces his lifelong experience of learning to "speak" Shakespeare's texts on stage.
Advocates teaching Shakespeare to actors by exploring range of interpretive possibilities and focusing on language, action, and politics.
Argues for the significance of Shakespeare and theatre as a form of human expression and of human contact.
Discusses similarities between the ways in which Henry V and John Donne's sermons worked on audiences to promote questioning and reflection both during and well past their performances.
Relates Berry's directorial experience creating a Shakespearean world through language in her 1988 King Lear (q.v.).
Discusses pressure and excitement of acting Shakespeare's characters, with a focus on performing madness in Hamlet and Edgar.
Explores how performing Shakespeare's characters in every production results in unique and different outcome, based on his own acting career. Abridged as "Rory Kinnear: My life on stage with Shakespeare," The Independent 18 April 2014.
Discusses general readers' difficulties understanding Shakespeare while suggesting simple ways to enjoy and appreciate Shakespeare's plays.
Offers an analysis of Othello based on his acting experience. Suggests that having Othello waterboard (torture) Iago in the temptation scene (3.3) would give Othello responsibility for the play's tragedy and heighten Othello's greatness.