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| Filename |
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DS_RK_vi12.mov |
| Short Desc |
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Twelfth video interview clip with Theatre Designer Ralph Koltai |
| Description |
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Question: Do you think there is still a role for Shakespeare? I would like to move on to thinking about Shakespeare a bit. Answer: Of course there is and there always will be, but I'm not sure that I should make that statement when one may assume, having gone on for 400 years, I guess will go on a little longer. Shakespeare, from a design point of view, has never been, for me, the most rewarding, the most appealing writer. I have always felt that Shakespeare doesn't need me, you know. I have done 15 or16 Shakespeares of which I think 2 I was quite pleased with and the others (makes gesture?) but that's me. Other colleagues will feel probably differently about it but I have never found that Shakespeare for me just gets me going saying Yippee I am allowed to do a Shakespeare, I always feel as I said a second ago. Only the director has a very powerful idea of how to bring something out in a particular Shakespeare play, they do then think 'Oh you can make a contribution in that direction' and I haven't actually, except once with an all male production of As You Like It in 1967 which is in my book. That was one of the two or three that I thought worked because there was an idea there and the idea worked and we had a wonderful cast of Ronald Pickup, Charlie Kay, Robert Stevens and Sir Anthony Hopkins as Audrey who hated being in it and wearing a frock I remember. It was wonderful but you need to have a very very strong idea and Shakespeare basically is a director's playwright not a designers'. If you are asked to do The Tempest, well I can you do three desert islands before breakfast, it's got nothing to do with The Tempest, what you need to know is, what you want to say, who's Prospero? who's Ariel? who's Caliban?. You want to know what to say about the play and then yes, you can create the space for it. There are plays which are directors' plays which require ideas more so than others. Greek tragedy usually does, The Bachiae for instance. It's a work that comes from the mind and has got very little to do with the space that you create. And as I say The Tempest is an example in the case of Shakespeare. Where it's more dominantly based on what you say about what do you or the director or whoever organises this production, thinks. It's the meaning of those characters within that play. |
| Source |
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DS_20_06_01 (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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3 minutes 38.02 seconds |
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Arts and Humanities Data Service (AHDS). Copyright 2003-5.