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| Filename |
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DS_JT_vi23.mov |
| Short Desc |
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Twenty-Third video interview clip with Theatre Designer Jenny Tiramani |
| Description |
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Question: So, do you think that the sort of purest debate has come and gone? Answer: Yeah, yeah I do actually. I think we've, we're a bit over that now and now it's having to be taken seriously, you know, and this season particularly, you know, more so. Every season the reaction changes and yeah, I feel that's over. Question: Did you feel that you were responding to it at any point? Or were you just sort of weathering the storm? Answer: No, as a designer, do you mean (Yeah) In my work there? Not personally. Although I think last year not doing any Elizabethan productions was our way of saying, ' we don't have to do that'. So there were two, there was one timeless King Lear that I didn't do, that Hayden Griffin designed, a modern Macbeth that Laura Hopkins did. Terrific design. And I did Cymbeline with Mike Alfreds and so, that was in a way a response to, because the Hamlet, although Hamlet got very, very good, sound reviews, it did say 'oh, why are they going back to doing traditional Shakespeare', and I think that's, you know, it's also partly because that had women in it and I don't think it's ever really worked just doing Elizabethan costume and women playing the women, 'cos that's not really, that's not original practice, so it just, women, I wouldn't want to wear a corset, I don't think it's very interesting to put women in that sort of, not in a straight way. I mean, you know, other productions in other companies do that, but for me it's only interesting to do Elizabethan if you've actually got boys playing the women, you know, then the whole thing starts to have a different sort of echo to it. Question: And does that change the way you design as well? Answer: Yeah, yeah, totally, totally. You wouldn't put, you wouldn't put men and women into the same things playing a woman. You know, there's a whole separate set of criteria that, and of course, that's because we have a lot of baggage. I have a lot of baggage as a woman about being put into repressive kind of, you know, clothing. And so many actresses won't go with that and of course, if you don't go with that, if you've got actresses who really want, you know, 'oh, do I really have to have it like this? No, I can't deal with the train. I feel hampered by the costume'. Well of course, you're supposed to feel hampered by the clothes. That's the whole thing, that women were, you know, constricted in their lives generally and that, you know, for women to be liberated often meant dressing up as a boy and to go out, that was the only way you could go out in the street, in disguise as a young man. So it's, you know, all those sort of issues are what it raises and what you dilute, I think if you do women in Elizabethan dress with men in the, I think an all-woman production would be interesting and might come up soon. But not just to do everyday life, men and women, it's not very interesting I don't think. Question: And those sort of casting and costuming decisions, do they illuminate the plays in different ways, do you think? Answer: Oh totally. Yeah, completely I just think, I think you certainly, even Henry V was a bit of a revelation to me, you know which only has quite minor women parts in it for Katherine, The Queen of France and Alice. But doing something like Twelfth Night, where the whole play is about, you know, sexual identity and gender, it's, it's sort of, markedly, profoundly different, it's, it's, it allows you to kind of observe relationships, I think as an audience and learn about how people behave and what love does to people, what grief does to people, you know, what being a young woman who can't express herself means. It makes those things seem very, very clear, you know, it's a good object lesson. |
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DS_06_06_02 (mini DV tape) |
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Quicktime Progressive (video) |
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Resource Movie |
| 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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4 minutes 09.13 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.