(Based on a performance of Hamlet)Discuss, in detail, what you felt to be either the strongest or the weakest performance by one actor and explain why. Give details of a particular scene or section, including reference to voice, movement, characterization

Claudius is seen centre stage sitting in his throne. He begins to speak in a serious, yet friendly, tone, the actor striking a good balance between the two contrasting moods in Denmark at the time- mournful and celebrative, as the character intends. The audience can already estimate the characters age to be somewhere between forty and fifty, because of his cunning, experienced demeanour and also quite simply the age of his nephew, younger Hamlet. He shows his experience and age through his confidence, his speech delivered with little hesitance and a clear feel that he believes in what he is talking about. As his speech continues and Claudius gets into full flow, he rises abruptly out of his throne and begins to walk around the stage briskly, addressing the courtiers in attendance more personally. They are lined up either side of Claudius, stage right and stage left, perpendicular to the viewpoint of the audience, and play an important part in the new King’s characterization. They stand very still, barely blinking, and keeping their eye line constantly focused on Claudius, showing their extreme level of respect for him, which could almost certainly be interpreted as fear. Their body language in contrast with the King’s is an excellent juxtaposition and represents their respective statuses in Danish society. As the King walks around the stage, covering almost every inch, they listen to him keenly and hang off his every word, intermittently clapping enthusiastically before he tells them to stop as a section of speech comes to a climax. These climaxes are reached when the actors voice builds to a quick pace, loud volume and high pitch, about four times throughout the speech. A part of the actor’s performance I felt was very strong, and something that I feel I definitely learnt from for my own practical work, was his use of hand gesture. He moved his hands in a different way to emphasize each and every word- pointing towards particular people and supplementing every mood his speech covered with relevant hand gestures, which seemed natural and really made the audience believe what the King was saying, as well as his courtiers. Whereas the attendees’ eyeline was sharply focused on Claudius, he too used eyeline to boost the strength of his performance. The character’s intention is to deliver his speech to perk up the mood in Denmark. The audience gets the feeling in this scene that he is almost trying to intimidate people into forgetting about elder Hamlet, which he does by moving his eyes very shiftily from one person to another, a very persuasive technique, giving his speech a personal feel for all of those in attendance. He mentions that young Fortinbras has written to him, rashly demanding the surrender of the lands King Hamlet won from Fortinbras’ father, and dispatches Cornelius and Voltimand with a message for the King of Norway, Fortinbras’ elderly uncle. Sending them away like this, almost at the click of a finger, further emphasizes his standing. His speech concluded, Claudius turns to Laertes, the son of the Lord Chamberlain, Polonius. Laertes expresses his desire to return to France, where he was staying before his return to Denmark for Claudius’s coronation. Polonius gives his son permission, and Claudius jovially grants Laertes his consent as well. This is perhaps the first moment of the play where perhaps Claudius shows signs of friendship, warmly putting his arms around Laertes as he speaks to him, yet still maintaining glassy eye contact at every moment. Claudius’ attention then turns to Hamlet, to whom he has recognized he must become a paternal figure since the death of his father and his own marriage to the prince’s mother, Gertrude. He tries to convince Hamlet to rise out of mourning for his father, declaring that all fathers die, and all sons must lose their fathers. When a son loses a father, he is duty-bound to mourn, but to mourn for too long is unmanly and inappropriate. Claudius urges Hamlet to think of him as a father, reminding the prince that he stands in line to succeed to the throne upon Claudius’s death. The tone that this manner of conversation creates if reflected by the actor’s sudden change of tact with regards to acting. He begins to speak in a softer, much slower voice, with a more relaxed facial expression adding to the effect. However despite a certain amount of genuine desire to cheer Hamlet up, the actor’s body language makes it clear that what he is saying to Hamlet is also a result of ulterior motives. He wants elder Hamlet to be forgotten as quickly as possible, for him to get on with his reign swiftly, and for the attention of the kingdom to be distracted away from his marriage to his brother’s widow. As he speaks to Hamlet, his warmth seems pretentious, glancing down pensively at the floor every few seconds, as if his guilt keeps catching up with him, and his relaxed posture and gesture seem intentionally forced by Claudius. As he speaks to Hamlet he occasionally goes and sits next to his new wife and holds her hand or embraces her, as if to say that despite any initial misconceptions made about the speed and manner of their marriage, that it was good for Gertrude and that Hamlet should be happy for him. However, this again seems like a façade, his actions and Gertrude’s reactions too frequently unnatural and overemphasized. In review, the performance of Jay Saighal in this scene was fantastic. I found every aspect of what he did spot on, leaving a brilliant first impression of Claudius in my mind, which was vital to my understanding and enjoyment of the plot of the play.