Performance Evaluation

Personally I thought our first performance in the New Theatre was the best we'd done so far. I felt we used the space better than in previous rehearsals, spreading out in the opening scene to make for visually pleasing staging which allowed all of the audience to see most of the characters on stage from the Thrust theatre arrangement. This therefore helped to keep their attention, helping them to stage engaged with the action. 

I thought that the whole cast kept a good focus, with everyone making sure they heard their cues and kept themselves in the world of the play. 
For the first time doing the fifteen minute long open I thought that we maintained a strong focus, although I found my mind did wander slightly, although not allowing me to stray from my given task of cleaning guns. I was never longer than a minute or so before I refocused focused and watched out for our next moments of action. I thought this work really helped to portray the factory atmosphere, aiding the audiences future understanding of what was going on.

Specifically in the second French scene I thought it had dramatically improved, as we all brought a lot more energy, bouncing off each others vibes to display our characters anguish at English advancement. During our the scene I found that I had improved my own character, able to maintain a stronger regal posture and attempted to remain strong and clear with my lines to give the essence of my Kingly persona, although I do feel as though I may have rushed some lines due to nerves.

At times the nerves did cause people to rush lines or mumble them but the nerves also meant that everyone wanted to do they're best, meaning that as it was our first time with an audience we were also very excited, giving the play a lot of energy.

One small thought I had was that I was conscious that in the beginning scene Jasmin should've been brought forward before myself because I thought it may have looked to some audience members that I was Henry instead of her and bring her forward first would clear up any confusion that it might have caused.



The performance in Brighton required a lot of focus from everyone because the layout was slightly different to how we'd rehearsed and with no rehearsal available before the performance we all had to adapt our movements individually. We had to make sure we paid attention to the different exits, mainly relying on common sense to sort out any differences. Every member of the cast and crew also had to remain focused at all times as the backstage was on show to the audience and with anyone messing about would've distracted their attention away from the play.
Those on stage had to be especially focused, more so than before, because performing in the cafe meant that we had to contend with the general public who weren't always savvy to what was going on resulting in regular distractions that required the cast to work around effectively.

I also found that in our French scenes we could go for it even further. With conditions meaning that we had to raise our voices to even be slightly heard by our audience it meant that our scenes, which mainly had an air of anger to them, could be almost shouted, giving them a more angry feel that I thought gave us more energy to play about with the scene.   
I personally didn't feel completely ready to perform in Brighton because I was unused to the staging and we'd not rehearsed in a week which I also heard was an opinion reflected by many others. However I felt the differences gave the performance a whole new energy that helped to make the performance more concise, without scenes dragging for longer than necessary, helping to maintain the play's flow and the audiences attention.



From the two performances I think there are a few thing that we can take to our performance in Stratford, one primarily being projection, especially due to having to perform outside. As the theatre will be outside it will not have the same acoustics that the New Theatre had, and as we found out in Brighton we must project to be heard to retain the audiences' full attention. It is therefore important to avoid having backs to the audience, because with no wall for the sound to bounce off the sound with not reach the audience.
We must also make sure to be prepared to cope with issues that might arise from the different space, as well as issues from the public, weather and props which are all things that can't be planned for. This requires us to work professionally, maintaining a constant focus and the ability to be flexible if needs be. 

Eighth Session: The tech run

During the technical rehearsal it was predominately focused on sorting out the back stage departments jobs, however it was an opportunity for the cast to familiarise themselves with the set before the dress rehearsal so then we could just focus on our performance.

One of our first notes for the rehearsal was about the opening, asking us to make more of the space and spreading out to make more it more aesthetically pleasing. Originally we'd been rather bunched together leaving huge gaps at the forefront of the stage because we weren't used to performing in such a large space. This meant that we had to utilise our spacial awareness which required us to maintain a good focus, however for the second section of our tech rehearsal a lot of people struggled to take it as serious and lacked the same energy because they weren't in costume. I felt this occurred as some people struggled to commit to their characters as costumes had previously aided their characterisation as well as being slightly jealous as they weren't in costume like the rest of us, which we all saw as a novelty.
With it also being a larger space it meant that we needed to make sure we projected our voices as Shakespeare's words are the most important part of one of his play to be able to understand what it occurring.

Scenes also required a lot more energy to start a scene in order to mask the fading energy as the previous scenes actors leave. This helps to keep the audiences attention and allows the other actors to absorb this energy, thus bringing more energy to the entire scene.

Another important note was to keep our eyes on the stage to avoid breaking the illusion of the fourth wall between the stage and the audience, this keeps the audience engaged in the performance as they begin to feel as though they are looking into the play's world. By looking into the audience it can also put the actor off, especially if you make eye contact or see someone you know which could cause some one to momentarily break character or those that are less secure on their lines to mess up. 

Regards to specific props and set in for myself, it was noted that those gathering the two crowns at the beginning needed to plan the journey of where their crowns were and to whom they were giving them to. It was important to go through this journey before the play begins to make sure the crowns have been set in the right place.
The speed of setting up the French scene was also found to be too long, causing a lull in energy so in conclusion we had to come up with a more efficient method, giving each person a job to move a crate or table. The scene also had to be started a little earlier down stage to avoid losing the audiences attention and distracting them from the changing set. 

To make sure it was accurate to the context it was set in (a World War I ammunitions factory) it was also key that no jewellery or nail polish was worn because the small details matter as otherwise the audience will disengage due to the lack of continuity and the limited care and commitment the cast had for the piece.  

A note for most people was to look at their lines in verse, seeing what different meaning it might give and saying them the way Shakespeare intended. This would help us to understand what we were saying, making the characters more truthful.


 

Seventh Session: Both run through notes

General notes:
In general it was found that the dynamics of the runs were rather slow, often because people had a lack of knowledge of their cues or entrances/exits. It was also effected by peoples' apprehension towards their lines, which was down to either not knowing them well enough or becoming overwhelmed due to the fact that it is Shakespeare. I know that to begin with I found it daunting tackling his work because it often includes language that's not regularly heard in life so it can be a struggle to make sense of it. Therefore I find it helped to be confident with the lines, knowing them off by heart so that you can find your own meaning in it as it's performed as well as doing your own research and translating it. This also helps improve the colour in the lines because you feel as though there are a wider variety of ways to respond which allow actors to play about with the lines, although maintaining it's true meaning.  
   
An issue I found was I struggled to maintain character if set was out of place but Simon pointed out that by moving it to where it should be with confidence and in character, the audience will be kept engaged because the façade isn't broken. Similarly it's important to solve issues that might arise creatively and in character.

It was also suggested to, as well as knowing what your own character is saying, to know what the others in your scene are saying so that you can react accordingly because this will make the scenes more believable as in normal life people always have an opinion. 
Simon also acknowledged that we needed to pay more attention on proxemics, being aware of each other and the space to make sure that it is pleasant for the audience to see, and keeping the stage alive instead of reverting to boring lines.

Throughout the rehearsal it was found that when people messed up they broke character, which in turn meant that any characterisation they'd brought to the scene was lost  and consequently saw the energy leave the scene. Therefore its important to style out mistakes, covering them up in character because in a real performance you can't ask for your lines.

I found that we needed to avoid moving too much, limiting it to just moving when necessary and if it had a purpose because it helped it to appear more natural and didn't over complicate it. It meant that actors were able to listen and respond to what was being said, not always having to face the person you're talking to which makes it more real and believable for audiences.

In the opening & the tableau:
We need to make sure that the movement in the beginning scene doesn't become naturalistic, maintaining its stylistic nature to highlights the idea of the factory's machinery.

When Lauren is singing it is important to listen to the word, giving the impression that although maintaining to work we do react to the song, letting it trigger a response. Maybe it encourages sad or hopeful emotions as it talk about our loved ones being so far away. The song needs to spread across the room gradually to the camaraderie of the women workers, showing how they've all be brought closer together due to the war. 

When Chloe calls for a break we need to remember to use the whole space, so that when the chorus begins they're watched from the whole stage. It's important as the staging is in traverse and with us spread across the stage, more of the audience will be able to see our reaction and will then consequently be drawn to the chorus as well as feeling more involved in the performance.

For the tableau it must be a gradual acceptance of ideas because it must give the impression that its not a regular occurrence so maybe guns and jackets need to be grabbed after some hesitation as the idea begins to settle. However this mustn't be overplayed because we need to be ready to hit the position by the final line in the prologue. For my character I choose for her to begin apprehensive of what's going on but after being puled into position she eagerly joins in and starts morphing into her character. I like that each person has a different journey towards the final tableau as it makes it interesting to watch and the energy bounce off each other, which I feel makes my own performance better. 
We then must take time to leave the stage so that there isn't a crush to leave, which might distract away from the scene that's being performed.


Pg 18 notes:
In my first scene as King Charles of France (Act II scene IV) it was mentioned that the staging required to be set up by the chorus as well as others from the French court, minus myself and the Dauphin. This should help to speed up the process, although if it does take a while we must stage the scene down stage which helps to keep the play flowing and the audience's attention captured.
Another character note is that I must remember to retain a regal posture because although I can sit like a man, it shows little of his kingly status. This requires me to improve my posture, walking and sitting with a straight back and shoulders back. 

Final scene:
Focusing on characterisation I could include an edge of bitterness in my final scene (Act V scene II) due his country's loss of the battle, however my character also holds the knowledge that with his daughter marrying the King of England his grandson will one day become the King of both England and France. Therefore although he may hold some resentment towards King Harry and his court, he is somewhat content with the results.

Rallying the troops

This is a brief clip of the ending of Jasmines final speech as King Henry, showing her rallying the troops with strong voice and war-like spirit. She is seen effectively gaining the support of her "soldiers" as her words are spoken clearly, making sure people can understand her requests. 

This is the same scene, however a few weeks later, after more rehearsal and you can witness how Jasmines character has progressed to an even strong one. She stands with more confidence and a more kingly presence, showing her status above the rest, which is also represented through her good posture. 

Stage Layouts

I found it helpful to draw out the stage layouts for my different scenes to familiarise myself with them so that I could become comfortable in the space. It took away my apprehension of working in the space so that I could focus predominantly on my characters, therefore giving them a more truthful portrayal that would be more enjoyable for an audience to watch.   I could also perform on the stage reflecting the characters' relationships with it, again aiding the authenticity of my roles.

By also including my entrances and exits it helps to make me more efficient, being in the right place at the right time for my scenes. This helps my own performance, as well as others, because each scene can flow into the next without hindrance of people late on stage which helps people to maintain their characters.

Sixth session: Physical Workshop - the battle (includes character notes)

The Battle- 
The French and English army were split between stage left and stage right, where from there people from each side rose over the tables to cross the stage with guns raised. This idea was to pay homage to the men that went "over the top" in WWI and each line of soldiers symbolized the waves of men that would've made that journey. It was important that we maintained a strong focus, with regimented movement that was in sync in order to give the impression of the army. By next combining the two sides as they approach the front it gives the impression of the ambiguity of the soldiers, suggesting how all sides are equally effected by war which enforces our want to show the futility of it. 

To begin it was difficult to make our movement as regimented as it could be, however with an improved focus it started to give a clearer war like impression when our movements became clipped and in time with each other, mirroring those of soldiers. People also struggled to hold the guns correctly and some of us with small pistols did look like "Charlie's Angels" but after being told and gaining more confidence wielding the weapons the images improved.

To exit/dress the stage it was suggested that some people die or get injured on their way back over the trenches (tables). From this we discovered that too many people wanted to "die" and blocked the staging for others, it also saw that the only level really used was low to the ground. This saw Olivia and myself to decide to get injured up on the steel deck, helping each other to safety, in order to give a wide range of proxemics. The varied image then looked more interesting for the audience and widened the space so they could see more of what was going on. 


Character development (aside) -
I feel that as my lines weren't completely solid I was unable to fully commit to the role, so by learning my lines better I will be able to focus better on the character and the words I say will become more instinctive. I can then look into my interpretation of the lines, enabling my self a better understanding of what's being said as well as it being more accurate.

For the speech which begins "Where is Montjoy the Herald?"I must remember to have a strong king-like quality, with a powerful voice, as though to rally him men to fight the war. This is the moment in the play when Charles is annoyed with what Harry England is doing through France, which causes him to seek vengeance and insights his attempt to encourage France to fight back. I get the impression he may not completely believe himself but he needs to remain strong for his country so with his Kingly experience he is able to keep a strong stance. Therefore making it important that I deliver the lines correctly.

I felt that I held a good man-like quality to my body, however it needs to be more refined because Charles is a King and would have more sophisticated behaviour. I need to also remember to keep my chest open, with shoulders back, which will help to show my status and character as a man. 

Fifth session: Physical workshop - in the factory (and the beginning tableau)

In the factory-
We worked on the movements in the factory scene that opens the play,  having some props which meant that people no longer had to mime their movements. I was however still miming so Rachel and I briefly worked on making it as honest as possible. As I mimed pushing a heavy lever around, Rachel asked me to imagine it's weight, was it difficult to pull and easy to push or visa versa, or maybe it was all quite heavy or all easily moved. To show me what it might feel like she got me to use her hands as a lever pushing and pulling them round. With the impression in my mind I was then able to apply this to my movement, able to re-enact it displaying similar tension within my arms, which I felt made it look a lot more believable than prior Rachel's help.

 

She also suggested to me that I use my whole body, as the girls in the factory might have done due to their lack of strength compared to the previous workers. However it made it more interesting to the audience watching, as well as giving it the stylised effect Simon wished for.

Tableau- 
The tableau begins  part way through the opening prologue, on the line about "two mighty monarchies", when the chorus pull Jasmine and myself to the front of the stage. Looking confused we must listen to what is being said and start to come around to the idea of performing the play, gradually adopting our Shakespearean characters.

On the final lines of the monologue we must all begin to slowly hit our positions for the final tableau. This is gradual move so that the audience can't see what the image is until we strong hit the final position on "our play". The image we display is a war-like pose replicating the patriotism and battles that are seen within the play, as well as showing what the Chorus has just described.
We struggled to get the movement in time, which I think is because we could not fully understand the reason for the image and what it was showing, however with an improved focus we eventually managed to do so, freezing in unison.     

Fourth Session: Physicality Workshop - working as men

Becoming men/soldiers-
To begin we had to put on and take off our coats, assessing how we did so, but then we had to see how different factors could change how we did it. For example, if it was hot, taking of the jacket could be quite frantic whereas if it was too cold it might be hastily pulled on and zipped up high. We finally looked at how a man might put on the coat different to women, or as though a man or a soldier putting on a uniform. I personally found that putting on the jacket as a man made my movements more sloppy and less refined, not being as accurate as I might normally. Also holding my body in a different way saw me put my arms through a different sleeve first which I found strange but it enabled me to completely embody man-like qualities. 

We discussed what was physically different about men compared to women, talking about them having larger expanses of muscles which means they stand with a broader chest and their arms and legs can be slightly off their bodies, not able to touch it. With a lack of breasts and sensitive tissue males stand a lot more open which is also aided by the appendage between their legs. It was mentioned how they're normally taller and their steps are heavier due to their extra mass, meaning that they often have less fines than women. This meant that to become men we had to embody these qualities and had to really focus on the detail that we observed whilst watching men. With more detail it meant that we could give more a more precise and truthful interpretation. 

The task we were given required us to stand in a clump and quickly move out of the way our of leader, this displayed how some soldiers displayed arrogance towards him and were doing it because they had to, compared to some soldiers willingness to comply and their loyalty to their king. Combined with our men-like forms, saw us begin to get the idea of what it was like to be a solider and gave us tips on how we could develop our own characters. 

Physicalising the factory-
We had to constantly bare in mind that the stage is in traverse, meaning that moves needed to be adapted so that the audience can see. The movements therefore also needed to be exaggerated in order to make them noticeable.

Each group had to create their own set of movements to give the effect of the factory, of which most of us repeated to symbolise the mechanical movements of the machines.
We also had to chose what kind of item we were working on, whether it was something you had to be delicate with like an explosive or needed some strong force like a gun.
For this we chose to each have a different movement that we did to the objects that were passed around, symbolising the different processes that went on in the factories. We found it difficult not to create stylised movements as Rachel had suggested, instead often reverting to more naturalistic moves. It was difficult to create movements for the objects because we were using plastic bottles instead of the guns we would be using so it was hard to imagine what we could do with them, however I found that the movements we chose we reasonably easy to adapt to whatever prop we'd be using.  

Through out this we needed to remember how women from WWI would wear corsets, and to embody this we had to hold the top part of our body straight, seeing how this would affect our work. This saw our movement hindered as it limited the range of movements and strength through the arms but it was easy to forget this when focusing hard on the movements, reverting back to how my body would natural work in a factory. 

Self Observation

Third session: Blocking

This lesson we blocked the play so that we could begin to see how the play would look, enabling us so that once we'd blocked it we could focus more on the details of the scenes and our characters. It helped us to see the world of the play coming to life which I found gave me inspiration into how to develop my character as I saw what the other actors on stage would be doing. 
I witnessed in blocking how having to read lines off a script is often a hindrance because actors can't fully commit to what they're saying, which limits their reactions. Therefore I need to become confident with my own lines so that I can spend time developing my character instead of focusing on what I'm saying.

Opening -
Prior to the the play fifteen minutes is spent with us as though working in the factory. Each with our own female character to embody. A telegram is received to which we must react to Sophie's news as though it is a regular occurrence. The chorus spring out after this news as though to put on a play to bring them brighter spirits in times of war. Whilst talking about the two monarchies, myself and Jasmine are placed as the two kings opposite each other with their fellow French or English men behind them.
We all then find a focus out at the horizon as though watching what they group are saying and then as they end break into a hustle and bustle changing into different costumes and gather props.

Charles VI first scene ACT II SCENE IV-
Molly and Mia, as part of the King's court, enter first setting up the throne using some of the crates. The Prince Dauphin, Olivia, and the Constable, Romy, enter next, before I follow as the King, where I climb the staging to sit on the throne, remembering to sit in a man-like fashion. Then after discussing the English advances, we move to stage left in a huddle as the chorus speak and the English prepare for battle stage right.

Charles VI second scene ACT III SCENE V-
Molly and Claudia open the double doors as I enter enraged. The whole stage can be used as I pace in frustration. My character's anger is witnesses through the discussion which resolves to me storming out the double doors which are quickly opened by some of the French court, Mia and Molly, before I burst through.

Second session: Characters and Textual exploration

To begin this lesson we discussed what our rehearsals should be focused on: characters, text and the world of the play. Looking into the world of the text is heavily aided by research of both the play and the factory girls historical context so in this session we concentrated on the characters and text. 

Laban Movement Analysis for Actors

Movement Qualities	Effort Categories
	Space (Direct/ Indirect)	Weight (Heavy/Light)	Time (Quick/Sustained)
Punch	Direct	Heavy	Sudden
Press	Direct	Heavy	Sustained
Flick	Indirect	Light	Sudden
Dab	Direct	Light	Sudden
Slash	Indirect	Heavy	Sudden
Wring	Indirect	Heavy	Sustained
Float	Indirect	Light	Sustained
Glide	Direct	Light	Sustained

We began by focusing of the physical movement of our characters by first looking into Laban techniques. We assessed how each of the movement qualities can be associated with certain characters and then had to chose our own which first fit with our character form Henry V and had to chose another for our factory girl.

After exploring the different kinds of movement I chose to use "glide" as the method of movement for my character Charles VI because as a king I imagine he has a good posture (something that I feel comes with the gliding movement) due to his eloquent upbringing. This would lead him to be light as he extends his body upwards, in a gentlemanly fashion. I also believe that he would be direct due to his strength and determination as a leader of such a large nation, with this personality trait reflecting in his movement.

For my factory girl I chose to look at "punch", although this was later changed to "dab" when I developed her character profile. However adopting "punch" saw me walking in a more brutish manner with stomping feet and abrupt turns, suggesting that my character was quite an angry woman who disliked her job. This was a reason for why I changed to dab because although the movement is still sudden and direct, I felt that with lighter movement it brighter her mood which fit better with the attitude I thought she'd have to towards her work place.

We then explored the text by looking into the first prologue, breaking it down by each line, then after each bit of punctuation so that we could understand how Shakespearean text should flow and how this can change the meaning of what is said. Splitting the punctuation gives the idea of what pace it should be spoken, with sections that have lots of punctuation often having a quicker delivery. However this is not always the case because it can depend on the context of the line, your interpretation and what is actually being said. 

I understood from our exploration that the opening speech is heavily focused on telling the audience to imagine what is happening, for the cast are not real kings and queens and we are not in "the vasty fields of France". The whole speech sets the scene for what is to come, reminding them that it is a play and for them to enjoy.

As well as helping us to forge a better understanding of the opening of Henry V, the task will help us to understand other Shakespearean texts (for example my monologue from The Tempest) and how you might first approach it.  

Ariel Monologue Annotations

Peer Observation

Rehearsal: Staging and Costume

Costume designs for French characters

Costume designs for English characters 

By being able to see what our stage will look like it enables us to begin picturing how it will be in the performance. It allows us to become accustom to what it'll be, being able to familiarise ourselves with it and therefore react accordingly as either character (the WWI factory girl or my role as Charles V). Doing this allows us to develop our characterisation through our behaviour with the staging and props, aiding our physical movements that'll bring the characters to life.  We'll have to evaluate whether our characters are comfortable in this environment. For me, I feel as though my character is, therefore by seeing the set so early it allows my to familiarise myself with it and also become comfortable.

Having also seen our costumes it allows us to think about how they'll affect our movement. Being typical work clothes for our factory workers we'll have to decide whether they're practical for us to work in, being a help or a hindrance, and whether our character is comfortable wearing it.It also helps to form an image in our minds of the world the play is in, helping our focus and development of characters individually and working together in the factory environment, as well as in the world of the battle.

Song with lyrics

Keep the Home Fires Burning

They were summoned from the hillside

They were called in from the glen,

And the country found them ready

At the stirring call for men.

Let no tears add to their hardships

As the soldiers pass along,

And although your heart is breaking

Make it sing this cheery song:

Keep the Home Fires Burning,

While your hearts are yearning,

Though your lads are far away

They dream of home.

There's a silver lining

Through the dark clouds shining,

Turn the dark cloud inside out

'Til the boys come home.

Overseas there came a pleading,

"Help a nation in distress."

And we gave our glorious laddies

Honour bade us do no less,

For no gallant son of freedom

To a tyrant's yoke should bend,

And a noble heart must answer

To the sacred call of "Friend."

Keep the Home Fires Burning,

While your hearts are yearning,

Though your lads are far away

They dream of home.

There's a silver lining

Through the dark clouds shining,

Turn the dark cloud inside out

'Til the boys come home.

This song is sung at the beginning of the play, during the opening factory scene. Lauren begins the song which we the rest of us join in with through the chorus. This gives the idea of the camaraderie shared between the women, who would've all been brought together by the war. The gentle song, gives the idea of the hope the women have for their men's return and contrasts nicely with the telegram Sophie receives. The two create a poignant moment, displaying the hardship which faced these women daily.

Through out the song we must each reflect on the words as our characters, seeing how they might mirror what has been happening in our lives. This could therefore be shown as faces of hope or sorrow, wanting their men to come home but also being worried for their safety. 

Character: WWI factory girl

 

Name: Betty Turner
Age: 20
Status: Working Class (but she is not dirt poor) 
Current circumstances: Her sweetheart Johnny, whom she has been with since the age of 16, has been sent off to war and she hasn't heard any news from him in just over a month. Her twin brother Michael and older brother Charles have also gone to war, fighting in the same regiment as Johnny, again there has been little news.  
Attitude to work: A hard grafter, likes to have a laugh with all the girls, a friendly face about the factory, won't be pushed about by others.
Attitude to the war: Originally thought it wouldn't be long before Johnny returned but now beginning to worry as more and more men aren't returning. She's already lost her cousin George and fears for the safe return of Johnny and her brothers. Although she is grateful to prove her self in the work place, she longs for the end of the war and to go back to the way things were before.

Doing this profile on my factory girl has helped me to develop a personal connection to the character as I attempt to imagine what life in her shoes may have been like. The connection also makes me want to do justice to what must've been such an awful time for these women left at home and although some are glad of the chance to prove themselves, experiencing the treacherous wait they suffer not knowing if the next telegram is for them.
Knowing her allows me to build on how I could physicalise her, developing the ways she walks, talks, works and the different gestures and mannerisms she may have. 

Research: Henry V- Play & Character (Charles VI)

The Hollow Crown: Henry V (2012)
Henry played by Tom Hiddlestone

https://www.youtube.com/watch?v=c69fX3Iy1qQ

Character-
26.45
52.30
1.40.55
1.54.35


Henry V (1989)
Henry played by Kenneth Branagh

https://www.youtube.com/watch?v=Zub5yGjm7TM

Character-
34.24
52.18
1.51.44
2.02.46

Both characters are played by older men, maybe in their fifties, and seem to have the typical king like qualities assumed in plays. For example they hold themselves is a strong manner, have good posture, speak well, hold an air of authority etc. 

In the 1989 film in the scene discussing English advances the King appears very solemn, worried about what's occurring due to the painful memories of King Henry's heritage.
On the other hand the 2012 version the King appears more angry and defiant about the advancing attacks. He seems to me more so ready to fight the battle and only spurred on by the memories of what Henry's relatives previously did to France.
I personally like both interpretations, thinking that within my own performance I could use both sides, giving it some light and shade to bring the character to life.

In the 2012 version I see the King a strong, respectable man who says what he must say although at times he wishes he didn't have to be so nice. In the meeting between the two kings at the end of the play I get the impression their is tension between the two, although Charles sounds very polite in what he says I sense in the way he says it he resents what is happening but does it for the sake of his country (or maybe for his own sake). This is the way in which I see Charles to behave because although the scene appears amicable on paper, after just losing a war I can imagine you wouldn't be best please and the air would be heavy with tension.
I get the same impression off the 1989 version, although he seems somewhat more defiant in the way he uses his voice, more angry at the outcome. 

(I used film versions because I found them more accessible, being able to watch the whole play and glimpsing more of their interpretations on my character.)

Henry V: 1st Script Annotations (incl. translations)

OPENING SCENE

CHARLES VI'S FIRST SCENE

CHARLES VI'S SECOND SCENE

CHARLES VI'S FINAL SCENE