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[[image - picture of a convertible car with the top down, driver's side door open, and an Irish setter in the passenger seat]]

Chevelle Malibu Super Sport Convertible.

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THE GREAT HIGHWAY PERFORMERS
CHEVELLE! BY CHEVROLET [[/centered]]
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[[end page]]
[[start page]]

scenes, but without losing either hu-
manity, rhythm, pace, or urgency.
Hamlet must impress us with his lone-
liness and agonies of soul without
seeming portentous or self-pitying.
In no other part that I have played
have I found it so difficult to know
whether I became Hamlet or Hamlet
became me, for the association of an
actor with such a character is an extra-
ordinarily subtle transformation, an
almost indefinable mixture of imagination and impersonation.
I played Hamlet as I imagined him,
using many of my own ideas and
helped by the directors and actors I
had the good fortune to work with in
the various revivals in which I ap-
peared. Hamlet, it seems to me, must
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be re-discovered, re-created, every ten
or fifteen years. The changes in the
world must affect the directors and actors
who seek to create him, as well as
the reactions of the audiences.
The problems of Hamlet can never
be completely solved for the actor. It
is a part of unexampled difficulty and,
though it provides such a variety of
range that no good actor can really fail
in it entirely (for he is bound to suc-
ceed in certain scenes), the demands
of the character are so tremendous that
one feels no actor should be asked to
play it more than once or twice a week.
For in such a part the player must real-
ly live and die before our eyes. [[image - square]]
[[line across column]]
This statement is excerpted from Sir John's new book,
Stage Directions, just published by Random House.

Maurice Evans
I recall striding around the countryside outside London preparing for my first attempt at Hamlet at the Old Vic. Book in hand, and declaiming at the top of my voice, I rounded the corner of a quiet lane to find myself confronted with a pathetic crocodile of patients from a local mental institution out for their daily constitutional. I counted myself lucky that hearing my ravings the warders did not ask me to file in with the rest.
How does an actor come to grips with this compelling role? How can he tell exactly what Shakespeare meant? Often the choice of a particular word, if it is thought of in spoken terms gives a clue to Shakespeare's intention at the moment it is uttered. For instance, when the Ghost reveals Claudius's guilt, Hamlet exclaims, "O my prophetic soul! My uncle?" In our modern theatres this line can, if the actor so desires, be delivered as an aside, but in the roofless Globe of Shakespeare's day, seating well over a thousand people, and with not a micro-
[[image - two actors in costume]]
Maurice Evans with Katherine Locke
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phone on hand, the word "uncle" must have been pitched high and loud to be heard all over the theatre. Admit this to be Shakespeare's intention and you immediately have the key to the feverish intensity of the remainder of the scene and in fact, to the proper play-