You know what’s nice? When the actor you crush on really does have serious technical chops to talk about. Tomorrow’s Shakespeare on Film class is about actor’s tools, the languages of gesture and expression and such, and I’m using three examples of vocal technique. We’ll talk about how an actor’s voice sounds and what it feels like, but also how it means. How does the way an actor uses his voice affect the meaning of what he says? Here, Whishaw needs to communicate that Richard’s putting on royal authority one more time in order to abdicate his throne, and does it by moving from the light voice of his personal self and emotion, down to the deeper register, the voice of his authority. I want students to think about where the actor puts his voice, in what part of his body; in this clip you can hear Whishaw’s voice drop from a softer register that’s higher both in tone and in body placement, throat and head, down to a heavier resonance in his chest. This pattern recurs through the whole of the play; you need that weight behind the royal speech-act. It’s tempting to gender this difference–his lighter voice is more femme, the lower more masculine–because voices are so stubbornly gendered in culture. (We categorize voices by gender, right? bass, tenor, alto, soprano.) Don’t know if I’ll go there yet, but…Thank you, Ben. Thank you for being so damn good at what you do.