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DS_JT_au11.mov |
| Description |
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Question: In terms of the space and the design working together, do you feel that The Globe or any other space you?ve worked in is sort of an ideal space for Shakespeare? Answer: Well, you get different aspects of the plays. I mean the amazing thing about the plays is how many different aspects of them you can pick up in one production and it, you know, so other aspects of them slip away. And you know, you get a great production of Hamlet that really is concentrating on the personal, you know, the recent Brook one, just on the relationships and the families. And you get another great Hamlet production which is really dealing with the political kind of aspect of the play, the large canvas, and you don?t get an intimate feel and if it?s in a very large theatre, it?s very difficult to create that, whereas the Brook one is perfect for a small space, you know, where you can home in just on a couple of characters and, you don?t do the large-scale scenes. So it?s hard to think of anywhere you know, more ideal than The Globe, the plays just come to life there, but they come to life in a particular way that I now love for me, which is that the audience actor relationship releases things that I?ve never got before and never enjoyed and I think Hamlet is a good example of that, that we did in 2000, because I studied Hamlet at school and I knew the play very well and I?d designed it for Kenneth Branagh before, but I?d never been in love with the play in a way. I have with Lear and Macbeth. They?re both plays that I?ve absolutely loved, always got something out of going to see productions. Hamlet, no, I just didn?t get it quite, it irritated me as a play. And just on the first performance at The Globe it suddenly, it just changed. I mean it transformed and I, you know, it was fabulous. And it?s because, I think that the soliloquising was so clearly not an actor talking in a spotlight to empty air, but was actually an actor talking to, well in Shakespeare?s day 3,000 people and saying ?my soul, you are my soul, you are my conscience, what should I do?? in a way that engaged, even me, you know [laughs], an old cynic. I didn?t feel like this would be a man who was in any way indulgent. I felt this was a young man who had engaged me in this, in these dreadful problems and that I was part of helping find the solution, you know, I was totally, actively engaged and then in very different ways, the audience become Henry V?s army. You know, you are standing there and you are there, you are in the muddy French fields, you can?t help it, you know, you?re not listening to the play and connecting with the actors, if you are just sort of day dreaming, then fair enough, but otherwise, if you?re watching and listening to the play at The Globe, you?re in the play, you are playing. And that, that?s you know, that?s what?s fantastic about it. |
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DS_06_06_02 (mini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
| Rights |
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This clip may be used for educational purposes only, any commercial use of this material requires permission from the copyright holders. Misuse or misrepresentation may result in legal action. Copyright holder: Christie Carson, COMPH, Royal Holloway University of London. |
| Length |
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3 minutes 21.09 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.