Touchstone

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In the Globe Theatre Company's production of As You Like It, Touchstone was played by David Fielder.

About David Fielder

David Fielder has worked with many theatre companies, including Shared Experience, the Royal National Theatre and the Royal Court. This is his second season at the globe. Last year he played Fluellen in Henry V. He has also worked extensively in television, including roles in The Bill and Inspector Morse.

Click on the numbered links to follow David's journey as he creates and plays the character of Touchstone in the Globe Theatre.

David Fielder - Introduction

The rehearsals for As You Like It took place in a converted warehouse in O’Meara Street, about 5 minutes walk from the Globe theatre itself. The rehearsal room is very large and has an outline of the Globe stage marked out in tape on the floor; there are also 2 pillars in the room. These arrangements help the actors to prepare for working on the Globe stage. The actors will not rehearse on the Globe stage until the technical rehearsal, although some classes are held on the stage.

Each day, the actors received their ‘call’, the time s/he is expected to report for rehearsal. During the rehearsal period an actor’s day will vary considerably, each actor may rehearse scenes, attend a class (voice, text and movement) or have a costume fitting with the wardrobe department. A typical day might begin at 10.00am and finish at 6.30pm – sometimes there are also evening calls.

During the rehearsal period (particularly at the beginning) each actor will research his/her character. To help the actors the assistant director will find relevant books, pictures etc. and bring these to rehearsal. Extracts from books and pictures are often stuck onto the rehearsal room walls. Actors will also experiment with using props in rehearsal; these will be rough versions of the final prop and will help them to build the prop into the scene. Similarly some form of rehearsal costume will be worn e.g. long skirts for the women, this will help actors to get used to moving, sitting etc. in their costume. In particular actors will use the actual shoes they will wear in performance during rehearsal. This is to wear the shoes ‘in’, as they are made using Elizabethan techniques and there is no specified ‘left’ and ‘right’ foot. Many actors also feel that wearing the correct shoes helps them to ‘get into’ character.

The companies have 6 weeks of rehearsal before the technical and dress rehearsals and this is the period covered by these comments and activities. Generally the beginning of this period is spent improvising around the text and in development of character; towards the end of these 6 weeks actors will rehearse scenes in detail and run parts of the play. The exact method of working in rehearsal is established and shaped by the director.

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David Fielder - Character Notes 1

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply their own interpretation and frequently change as the rehearsal process progresses.

This is David’s second season at the Globe and he is looking forward to performing at the theatre again this year. He enjoys the first days of rehearsal, getting to know the company – however he always hates the first read through of the play as he feels there is too much pressure on people to perform their parts. An exercise David always does at the beginning of a rehearsal period is to write out every word of his part, he feels that the act of writing helps him to think about the words and highlights any sections of the text which he may not understand. In many ways he is terrified by the part of Touchstone, because he is a clown or fool and originally much of the part would have been improvised by Robert Armin, the clown in Shakespeare’s company. A modern equivalent might be Tommy Cooper or the use of sports personalities such as Frank Bruno in pantomime.

By the second week of rehearsal David’s fear is lost, this is because he is now working through scenes in the rehearsal room, and can explore ideas with the director and with other members of the company. David finds it useful to improvise scenes which are referred to in the play but are not seen on stage, for example the scene where he meets Jacques in the forest.

David feels that Touchstone does not like Le Beau. He has decided that Touchstone’s position at court has become increasingly difficult under the rule of Duke Frederick and this is partly the reason behind his decision to go to the Forest of Arden. When Touchstone leaves with Rosalind and Celia he effectively rules out the possibility of a return to the court – as a fool he is little more than a servant and has no power or position. David has decided that Touchstone will put on lots of airs in the forest as most of the people that live there will be of a lower social status than he is. Touchstone has been a companion to Celia and Rosalind for a long time; there is no mother in either of their lives and David feels that Touchstone is very protective towards them.

In order to research his part David is reading about Robert Armin and the role of the fool in Shakespeare’s plays.

Activities

1. Adjectives

One way David worked on his character was to write a list of adjectives which he felt described Touchstone....

Either: From what you know about Touchstone write your own list of adjectives to describe him.

Or: Choose a character you have played in Drama, or know well from a book and write a list of adjectives which describe him/her.

2. Who is the Robert Armin of our time?

It is believed that Robert Armin originally played Touchstone, he was an actor well known for taking the role of the fool in Shakespeare’s plays – Armin was a comedian or personality in his own right and the audience would recognise him as such. David feels that the modern equivalent would be a well known comedian or personality creating a role in a new play.

Can you think of somebody who is a modern equivalent of Robert Armin? David can only think of Tommy Cooper or Max Wall, both of whom are not really contemporary…

3. Say each word

Another technique David uses is to go through a speech building it up word by word eg.. for his first line "Mistress, you must come away to your father." David would go through the speech saying "Mistress", then "Mistress, you", then "Mistress, you must" and so on ..

Try this technique for yourself with any line or speech in the play. Do you think it is a useful technique? What effect does it have on your understanding of the language and line/speech as a whole?

4. Status

David feels that Touchstone has a higher status in the Forest of Arden than he does at court.

How can an actor show a character’s change of status to an audience? – How might this effect the way s/he speaks, sits and moves and his/her attitude to other characters?

Suggest ways in which David can communicate Touchstone’s increased sense of status to the audience in the Globe.

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David Fielder - Character Notes 2

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply their own interpretation and frequently change as the rehearsal process progresses.

Touchstone has become a ‘Northerner’ - David has decided to use his own local dialect which is ‘Lancashire’. He has been thinking about music hall performers such as Max Wall or ‘Little Titch’ whose physicality was very pronounced. Robert Armin, the originator of the part was very small in stature.

David has cut some of his longer speeches to remove phrases which will mystify a contemporary audience, e.g. Act 3 Scene 3:

"..It is said, many a man knows no end
of his own goods. Right. Many a man has good horns
and knows no end of them. Well, that is the
dowry of his wife, ‘tis one of his own getting."

David has been told this week that he will have to sing a song with Audrey, he was worried about this but after some rehearsal feels confident that he will be able to sing the song.

As part of the rehearsal process the whole company went away for a residential weekend to an Elizabethan manor house where they lived ‘in role’ and acted out the scenes that are not in the play – in other words what happens to the characters when they are not on stage. This is helpful because it gives the cast a common memory, which they can draw on in later rehearsals. David spent time with Audrey looking after her goats (they imagined the goats!), he was also badly stung by stinging nettles which gave him one idea why Touchstone does not like the forest.

Unlike other Elizabethan clowns David has decided that his Touchstone will never directly address the audience.

Activities

1. What happens off stage?

Actors work to understand their character as a whole, not just what s/he does and says on stage. To help them actors use an exercise in which they decide what happens to their character in between the scenes in which s/he is featured.

What do you think happens when Touchstone meets Jacques in the forest? (Jacques later says "A fool, a fool! I met a fool i th’ forest" Act 2 Scene 7). You could improvise this scene in groups, or write down your ideas in a script format.

If you wish you can use the rest of Jacques speech to give you ideas.

2. Direct Address

David has decided that Touchstone will not speak to the audience directly (use direct address), This is an interesting decision because the Globe as a space invites interaction between actor and audience.

What do you think will be the implications of David’s decision on his performance?

Do you agree with his decision? – Give reasons for your answer.

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David Fielder - Character Notes 3

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply their own interpretation and frequently change as the rehearsal process progresses.

David has decided to devise some slapstick routines for some of his scenes, possibly the scene with Corin – Act 3 Scene 2 and in the ‘Seven lies’ speech in Act 5 Scene 4. He is finding this latter scene particularly challenging and is experimenting with a routine in which Touchstone attempts to beat himself up! He is becoming more aware of the physicality of the character and the need to alter to alter his physical posture to create a misfit. The costume will help, it will resemble Elizabethan ‘motley’ and will be red and gold in colour. One definition of Elizabethan ‘motley’ was that it should resemble the clothes of a child.

David is now considering asking the director to re instate some of the lines which were cut earlier, but knows that this will depend on the final running time of the play, if the play is too long it will not be possible.

The scenes with Audrey are becoming very physical – David and the actor who plays Audrey have decided she is the one to make physical contact and that she is very excited about the prospect of marriage to Touchstone. Both actors want to feel free to play their scenes in a way which is different for each performance.

A useful discovery came from another actor who observed how Feste, the fool in Twelfth Night demanded payment for everything he did that was witty or entertaining. This helped David to explore the mercenary side of Touchstone’s nature and to explain why he finds the forest tedious.

David is now looking forward to working with the audience in the Globe and using their reaction to Touchstone to help him further develop his performance.

Activities

1.Cuts

Early on in the rehearsal process David cut some lines in Act 3 Scene 3 (see above). Now he would like to reinstate these lines- this will have to be agreed by the director.

Imagine you are David, write down what you would say to the director when you ask her to reinstate the lines. You will have to persuade her that they add something to the play. (You could also try improvising this dialogue with a partner).

Alternatively, imagine you are the director of the play. How would you respond to David’s request?

2. Props

During rehearsals David requested a slapstick, bells, and lots of luggage to take to the forest.

Draw designs for the props.

Why do you think David requested each of these props?

At what point in the play do you think Touchstone might use each prop?

3.Animals

One exercise actors often use in rehearsal is to decide which animal most reminds them of their character. The animal David chooses may effect the way he moves or stands as the character of Touchstone.

What animal does Touchstone remind you of? – Give reasons for your answer.

Try this exercise for yourself, maybe with characters from a book you are reading or a television programme. Make sure you explain why the character reminds you of that animal.

Think about the way the animal you have chosen might move, sit or stand if it were a person. Try these ideas out practically.

4. Slapstick Routine

David feels that he should perform a comic, slapstick routine to accompany his speech about the 7 ‘lies’ in Act 5 Scene 4. He is experimenting with beating himself up during the speech!

What do you think of this idea?

Devise your own comic routine for David, remember it should be something that should look comic and will make the audience laugh – it could involve a prop or be made up of a series of actions. Try your ideas out, either on your own or working with a group.

Write instructions for David telling him how to perform your routine.

5.Do you think Touchstone is a mercenary character?

Use close reference to the text and ‘David’s comments’ to inform your answer.

You could develop your ideas into a course work essay.

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David Fielder - Character Notes 4

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply their own interpretation and frequently change as the rehearsal process progresses.

Before each performance, David likes to make sure he is properly warmed up and prepared; to do this he has a routine of physical and vocal exercises. David particularly likes to use tongue twisters to warm up his voice. His favourites are:

Articulatory agility is a desirable ability.

and

I love New York, unique New York.

David and Maggie (who plays Audrey) also go through their dance for ‘A lover and his lass’ before every performance, this ensures that the dance is fresh and helps David to start to get into character. David likes to meet everybody before he goes on stage so he has seen him or her before he meets them in the play, this helps David to mentally prepare for the role, as Touchstone is very personable. When David played Fluellen in Henry V he sat alone in a dark room before going on stage, but he does not do this for Touchstone as he is a much more gregarious character. David also plays games with other members of the company as a means of warming up e.g. ‘head, shoulders, knees and toes’ and concentration games in which the company have to try to count up to 20 together with no 2 people saying a number at the same time. These games help to develop and maintain group awareness.

After he has warmed up David gets into costume, this takes some time as the costume is very fiddly and has many separate parts. David’s ruff takes a particularly long time to put on as it has to be pinned into place.

The company have now gone into rehearsal for their second play of the season, A Mad World My Masters by Thomas Middleton. This means that David either has rehearsals during the day and a performance in the evening or a performance in the afternoon and rehearsal in the evening. When he rehearses in the evening, David often does not get home to Brighton until 2.00am; consequently he is very tired at present. In this second play, David plays a de mobbed soldier who behaves very dubiously – the character is an alcoholic who was once a member of the gentry but has fallen on hard times! The role is very different from Touchstone and David is enjoying playing a contrasting character.

David is still looking a different ways of exploring the character of Touchstone, he is enjoying chatting to the audience (in character) during the interval. He has found that the floodlights used during the evening performances have the effect of focusing the audience and give the evening shows a very different atmosphere from the matinees.

David has kept to his decision in rehearsal not to directly address the audience (during the play itself). The only time he deviated from this decision is during the dance with Audrey and this is a visual rather than a verbal address. He now feels that the show has settled into a rhythm and he is able to develop the subtleties of his characterization of Touchstone.

Activities

1. Tongue Twisters

David uses tongue twisters in his vocal warm up.

Or make up a tongue twister that reflects Touchstone’s character.

2. Talking to Touchstone

During the interval David moves among the audience in character as Touchstone. Members of the audience often approach David to start a conversation with Touchstone.

If you could talk to Touchstone what would you say? Write an imaginary conversation between yourself and Touchstone.

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David Fielder - Character Notes 5

These comments are the actor’s thoughts or ideas about the part as s/he goes through the rehearsal process – they are simply their own interpretation and frequently change as the rehearsal process progresses.

At this point, just over half way through the run of the play, As You Like It was given a 3 week break from performance. This was to give the actors in the Red Company the opportunity to rehearse full time for their second play of the season, A Mad World My Masters and to open that production with a week of performances, before the play went into repertory with As You Like It. David and the rest of the company have been busy with rehearsal, technical rehearsal and previews and have not been thinking about As You Like It during this period. Therefore returning to the play is quite challenging.

The company were called to rehearsal before the show for a line run of the play (for which the actors just say their lines, without movement) and a speed run (for which the actors include their moves but as fast as possible). David found this very useful as it helped him to hear the words of the play again and to be reminded of the way in which the scenes fit together.

David also faced another challenge as during the last rehearsal for A Mad World My Masters Maggie Wells, who plays Audrey in As You Like It, ripped her Achilles tendon. This injury meant that Maggie could not perform in either play. Sonia Ritter (who also plays Nerissa in The Merchant of Venice) has taken over the role and she and David have been rehearsing intensively together in order to develop Sonia’s interpretation of Audrey and to integrate it with the existing production. The fact that David has a new Audrey to work with may cause him to subtly change elements of his performance as he must react to way Audrey is played. Obviously each actress will play the role differently. David has found this very exciting as it keeps his performance fresh. Sonia will also play the role when the company go on tour to Japan and the fact that she is playing the part now will help her and David as they will have longer to develop their stage relationship.

David is very fond of As You Like It and is delighted to be performing the play again. He is now looking forward to performing the two plays in repertory.

Activities

1. Playing Audrey

David is now working with a different actress in the role of Audrey.

Think about everything you have found out about David’s interpretation of the role of Touchstone. What do you think Sonia will need to know about the way David plays Touchstone in order for her play Audrey? (see David's Character Notes 2 above).

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