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| Filename |
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DS_JT_vi08.mov |
| Short Desc |
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Eighth video interview clip with Theatre Designer Jenny Tiramani |
| Description |
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And then I, and then I came to The Globe and Mark was appointed director and three days later he said 'come in, I want to talk to you', because the theatre wasn't finished by this stage but he said 'next year we're going to open the theatre and I want to do modern dress, obviously', because that what, you know, one of the things he believes is crucial, you know, crucial, to keep doing Shakespeare as it was done in modern dress, as it was written to be done. But he said, you know, 'we're gonna want to do Elizabethan productions, too and I don't want it to be in fancy dress'. And he'd been in several productions where he'd been dressed rather ludicrously, as he called it, in fancy dress, you know. He said 'is anything known about what the Elizabethan's really wore and what did they wear on stage and could we do it, and how much would it cost?' And so I went off and researched that and three minutes into the search someone said 'you've got to phone Janet Arnold', which I did and formed a friendship with her which, she really completely kind of helped me do hand-made Elizabethan clothes, which is what we also now do. So doing that, those hand-made Elizabethan productions in the modern dress of sixteen hundred, for me has been the sort of third phase of me designing Shakespeare, you know, going away from the kind of let's set it in some historical time, through to let's set it in our own time, through to let's set it back in Shakespeare's time. What I've never done and can't really ever see myself doing, although the closest I got to it was in one production with Branagh, King Lear, which you might say was timeless, but I'd say was pretty close to the seventeen nineties, but it wasn't, it was a bit generalised. What I can't bear are generalised, timeless productions of Shakespeare. That's just not my bag at all. I don't enjoy going to watch those productions unless there's a very special performance there that I'm, you know, wanting to see that person acting. But I don't find it helps me as an audience really watch the plays, and I certainly wouldn't design a play like that and have refused to do that on some occasions. Not my thing. So, that's my journey through Shakespeare as a designer, if you like. The production I'd say that changed the whole way that I, you know, approach Shakespeare was The Tempest, was the first one I did with Mark and Claire, which was when I felt for the first time that I'd made it my own, you know, that I'd got my own way into the play with them as collaborators. And that was special. |
| Source |
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DS_06_06_02 (mini DV tape) |
| Format |
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Quicktime Progressive (video) |
| Type |
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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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6 minutes 12.09 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.