One of the most intriguing aspects of performing Shakespeare is the rich layer of subtext hidden beneath the words. Unlike modern playwrights, Shakespeare rarely provides stage directions or internal monologues to reveal his characters' thoughts directly. Instead, he embeds subtle cues within the text itself—choices in rhythm, diction, and structure that allow actors to interpret and express unspoken emotions. For actors, understanding and conveying subtext is essential for authentic, layered performances that bring out the complexity of Shakespeare’s characters.
In this piece, we’ll explore techniques for identifying and performing subtext in Shakespeare’s work, from emotional undercurrents to hidden motivations, creating a nuanced portrayal that resonates with audiences.
Subtext refers to the underlying meanings and emotions that aren’t explicitly stated in the dialogue but are implied. It’s what a character may truly feel or think versus what they actually say. In Shakespeare’s plays, subtext often reveals unspoken conflicts, hidden desires, or secret resentments that add complexity to characters. For example, when Lady Macbeth says, “Look like the innocent flower, but be the serpent under it,” she’s not just instructing her husband on appearances but hinting at her own concealed ambition and cunning.
Finding subtext involves reading closely and asking why a character chooses specific words or structures in each line. Often, these choices provide insights into the character’s motivations, fears, and emotional state. For actors, picking up on these clues and integrating them into performance makes the character feel multifaceted and real.
Examining Word Choices and Connotations
Shakespeare’s language is densely packed with connotations—words that carry emotional or cultural associations beyond their literal meaning. For instance, when Hamlet describes Denmark as a “prison,” the choice of such a loaded term suggests his feelings of entrapment and despair. By asking why a character chooses one word over another, actors can often reveal the underlying feelings the character isn’t openly expressing.
Repetition and Emphasis
Repetition often signals an internal conflict or unresolved emotion. For instance, when Lady Macbeth repeatedly insists, “Out, damned spot! Out, I say!” she’s not only trying to remove a literal or imagined bloodstain but is struggling with guilt and denial. Repeating words in such a manner conveys an underlying sense of panic, as if she’s trying to convince herself that she is free from the consequences of her actions. In performance, let repeated words carry emotional weight. Consider pausing or adding subtle shifts in tone with each repetition to convey the growing urgency or desperation in the character.
Exploring Rhetorical Questions
Rhetorical questions often indicate internal turmoil or doubt. In Macbeth, when Macbeth wonders, “Is this a dagger which I see before me, the handle toward my hand?” he’s voicing his fear and uncertainty, torn between his ambition and his conscience. This rhetorical question signals a character wrestling with their own thoughts and doubts. When delivering such questions, aim to reflect this conflict. Instead of treating them as straightforward queries, approach them as moments where the character is processing an inner dilemma. A slight pause before the question or a change in tone can bring out the conflict and deepen the audience’s understanding of the character’s struggle.
Changes in Rhythm and Structure
Shakespeare often shifts rhythm to reflect changes in a character’s emotional state. A line may break from regular iambic pentameter into irregular meter, signalling a change in mood or psychological state. For example, in Hamlet, the line “To be, or not to be—that is the question,” starts in iambic pentameter but allows for pauses, suggesting Hamlet’s hesitation and introspection. Changes in rhythm offer clues to the subtext; a pause or hesitation within a line can signal indecision or vulnerability. Conversely, a sudden, faster rhythm may indicate agitation or urgency. Reflecting these rhythmic changes in performance can bring out the character’s inner world without saying it outright.
Tone in Irony and Sarcasm
Shakespeare’s characters often mask their true intentions with irony, sarcasm, or double meanings. Take Iago in Othello, who tells Othello, “I am not what I am.” The line is a warning about his deceit, delivered with irony that makes his true intentions clear to the audience but hidden from Othello. Playing with tone can reveal these layers of irony. A subtle smirk, a knowing pause, or a shift in vocal intensity allows the audience to pick up on the subtext without it being overly explicit. Irony often works best when the actor allows a slight disconnect between what is said and how it is said, hinting at the true meaning underneath.
Moments of Silence and Pauses
Silence can be as powerful as speech in conveying subtext. When a character pauses, they may be struggling to control their emotions, holding back, or carefully considering their words. For instance, in King Lear, Lear’s pauses when speaking to Cordelia reveal his heartbreak and frustration, as he tries to mask his vulnerability. Pauses allow actors a moment to communicate unspoken feelings. Use them sparingly but purposefully, letting the silence express what words cannot. In moments of pause, facial expressions or slight body movements can indicate inner tension, reluctance, or sadness, creating depth in the portrayal.
Interpreting Stage Directions Within the Dialogue
Shakespeare rarely included explicit stage directions, but clues to physical actions are often embedded within the lines. In Othello, for example, when Othello demands, “Give me the ocular proof,” it implies a gesture or intense gaze. These embedded directions reveal emotional cues; demanding “ocular proof” signifies his building suspicion and need for control. As you read the text, consider what physical actions the lines imply. Where might your character naturally look, step forward, or change posture? Physical choices can add layers to the performance, bringing out emotions or intentions that lie beneath the spoken words.
“What Are You Really Saying?” Exercise
Pick a line with a strong subtextual element and write down what the character is really thinking or feeling as they speak. Try delivering the line twice: first with a neutral tone, then emphasising the underlying thought. This exercise helps actors distinguish between surface dialogue and the true emotion beneath it.
“Layered Read-Throughs”
Read through a scene several times, each time focusing on a different emotion you believe the character may be feeling (anger, jealousy, fear). Afterward, choose the most relevant emotions and combine them subtly in the final delivery. This allows you to create a performance with depth, balancing visible and hidden emotions.
“Pause and Reflect” Technique
When you encounter a line with rhetorical questions or strong internal conflict, practise pausing briefly before delivering it. During the pause, imagine what the character is thinking and let that inform your tone and expression as you continue. This creates a realistic sense of contemplation or struggle.
Subtext is the lifeblood of Shakespeare’s characters, adding realism and emotional depth to their words. By paying close attention to word choice, rhythm, and the unspoken cues embedded in the lines, actors can bring the subtext to the surface, creating compelling and multi-layered performances. Shakespeare’s language, rich with hidden meaning, invites actors to explore the unsaid, turning each scene into a dynamic exploration of human complexity. By mastering subtext, actors breathe new life into Shakespeare’s timeless characters, revealing the universal emotions that connect audiences to the Bard’s world.