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| Filename |
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DS_JN_au08.mov |
| Description |
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Question: How does that change when you do your work in other environments? Answer: UmmÕ? wellÕ? you know, not to put too finer point on it, Shakespeare doesn't really need that much help, Andrew Lloyd Webber does in the sense that the very, um, the very nature that the audience that goes to see these things has different demands. They have, you know, the people who are going a to see Shakespeare, more often than not have an investment in the language, have an investment in the idea about the language and people that go to a musical they're going there to have a good time or to hear the latest hits by so and so and, and, or get a complete package which more often than not means something they can go Õ?Ahhh' toÕ? you know, that sounds a little bit snobby, but that's not meant to, it's just the different, you know, it's just a different thing and like myself going to the cinema and seeing Richard III, but also seeing, you know, West Side Story at the cinema as opposed to on the stage, you know, still probably the greatest musical of the twentieth century, based on a Shakespeare play. And, you know, why was it so thrilling to see, you know, Richard III and West Side Story? Because something about the nature of those stories, the structures, the characters, you know, are universal, they are timeless, they jump, you know, decades and eons andÕ? my suspicion is that they probably will always be with us. Some of the other stuff I have worked on recently I suspect will not be with us for very long, but it is still, you know, it's, you couldn't possibly, I don't think, do, have a diet on just doing Shakespeare all the time. I think that's, that's, you could become a bit ossified and a bit sort of in aspic, and I think it is quite important for people that are working on Shakespeare to go outside of it occasionally and bring stuff back and vice versa. |
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DS_16_05_02 (2xmini 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. |
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2 minutes 16.22 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.