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DS_JN_au05.mov |
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Answer: I think that one of the reasons that Trevor and I have worked so well together is that Trevor is incredibly literary and literate, I mean in the sense that he wants to bring to the reading of a Shakespeare text something that's meaningful for a contemporary audience, and you know, discovers character and situation that maybe wouldn't be obvious to us through just reading, you know, reading the language but when you see Trevor's productions it just sort of becomes self evident you kind of go, ''OhÕ?, and so, you know, it's a little bit of follow my leader. But I also think that is that I have brought to some of Trevor's productions, a sort of, I've stopped him becoming too literal but, you know, and helped give it something that I call rough edge, I mean it's sort of a little bit unfinished, it has a kind of reality because it doesn't prescribe everything, because you can't, I mean we live in, you know, when you walk into a theatre, whether it's a proscenium theatre, or a theatre in the round or whatever it's patently a contrived situation. And because of television, and because of film, and because of all the hackneyed old fashioned scenery, people have wanted to make things realer and realer but it's finding out how to make things real without being real, it's quite an art to do something where you make people believe and that's the secret, is to make people believe that moment exists, and that moment is held in some kind of weird theatrical juice but it doesn't have to have naturalistic scenery behind it, you can conjure, you know, which Shakespeare was so fantastic at, conjuring up those images for you. The most successful Shakespeare production I've ever worked on was Trevor's Macbeth, I think, with Judy Dench and Ian McKellan, which took place in a, virtually a black box in the Other Place theatre and I remember throwing the scenery out after we'd had a run through and I said Trevor we don't need any of the, you know, just get, junk it, let's just do the, you know, wooden floor, chalk a circle, boxes, don't need it, just use the rehearsal boxes, so it's kind of, you know, if that moment hits and it works, you know, grab it and, you know, don't get too literal about 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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2 minutes 50.19 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.