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DS_JN_au18.mov |
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Answer: I think like all things that are, that stir and make new, and reinvent themselves and have to be reinterpreted, it is all of those things, it's, it's the most fantastic canon of literature, certainly in the English language, I haven't read that much of foreign literature, particularly the French which I believe is rather good and some of the Far Eastern writers, but certainly in terms of the universal effect that it's had on mankind, I mean that I think there's not many people even in China, that haven't in some way shape or form been, you know, touched by it. Somehow it has probably touched [M???] and Karl Marx or, you know, the things that have started particular thought processes that have turned people to become who and what they are. Anyway, as to the, the, kind of Achilles heel that that is, is that it is revered because in England our art, our culture is literary, I mean without question we have an investment in literary, in words. The English have an investment in words. We have a few painters, we have a few sculptors, we have a fewÕ? but we are not like the Italians, we are not like the French where all the art forms have played a part in that life. We have very, very much become aÕ? you know, were a bit ossified and a bit reluctant to experiment. And I think that visually, and it's only in the last thirty years probably that visually people have been able to experiment and open up. But even now, I mean, the little crack I made about, you know, the guys will the quill pens, it's still a country that actually does believe totally and 100% that less is more and that and actually quite frankly, sometimes less is just less, I mean it is sometimes depleted and thin gruel, but people congratulate themselves that they have listened better [fire engine siren] well, if you are an intelligent person you can both listen and hear, and you can hear and see, and you can combine those things so that they become meaningful, you don't have to just live in this kind of black void, this sort of oscillating chamber where words, my dear, are echoing around and around and sort of rather grandly. I mean, get real, we live in the twenty first century. We absolutely have an invested amount. I mean I think you can tell that [laughing] that I'm rather in love with the Shakespeare world, but I think it is death to just not have it alive, to have it contemporaneous or, or rich and teeming andÕ?so I think that England has not had such a rich visual culture, has not been ready to accept visual interpretations of things and therefore some smart alec says, you know, Õ?well you know, it's all designer theatre these days' , I mean, you know, get a life, you know, just get a life, go away, go and live in Italy. You know, go and live in Italy for three years. Go and live in Germany for six weeks, you know, there are fantastic things going on all over the world, South America and America and China and you know, everywhere, and, that people just want to hear [puts of affected voice] plumy voices talking to each other in some sort of suburban, you know, forget it. That's the way to kill it. |
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DS_16_05_02 (2xmini DV tape) |
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Quicktime Progressive (audio) |
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Resource Audio |
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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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4 minutes 49.05 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.