tempestsarekind: (where comedy meets romance)
Does anyone know if they've continued filming plays at the Globe for Globe On Screen since Emma Rice has been the Artistic Director? I haven't been paying much attention, since I haven't been that interested, frankly (the weird Dia de los Muertos production of Romeo and Juliet this season made me want to flip some tables, for example), but ironically - given my username and the related fact that Twelfth Night is my heart's most important text - the photos from the current production are piquing my interest:

http://blog.shakespearesglobe.com/post/161017955533/twelfth-night-photos

I know production photos only tell a partial story, but wouldn't it be funny if Emma Rice managed to win me over with Twelfth Night, of all things?

ETA: Well, I read some reviews, so…I'm doubtful that the "winning over" process will happen here. I mean, who knows - I still haven't seen any of her productions, so I feel slightly bad about judging them unseen - but everything I read about them is basically everything I hate in Shakespeare productions (mainly? Not caring about the text. You can have all the bells and whistles you want, if you care about the text; and if you don't, then the bells and whistles won't save you*), so I am not super inclined to poke myself in the eye and then wonder why it hurts…

*Here's the thing. I get the sense, with Emma Rice, that she thinks Shakespeare needs the bells and whistles - not that they might be interesting, or cast new light on the text, but that no one could possibly be interested in Shakespeare without them. Every production sounds like, "Quick! Get some pop music playing, before the punters get restless! Give 'em spectacle; god knows they don't want words." And, well, I've kind of staked my intellectual life on the exact opposite principle - that we can give people access to Shakespeare by respecting their intelligence, their capacity to imagine themselves into unfamiliar worlds, their ability to respond to poetry - so.
tempestsarekind: (the wind and the rain)
Just finished watching King Charles III on PBS. Tim Pigott-Smith was quite moving, and there were lots of Shakespearean echoes (Kate is clearly being cast as Lady Macbeth, and even says "Cry havoc" at one point). Charlotte Riley as Kate is maybe not quite soft enough - which is to say that she plays the Lady Macbeth side of things aptly, but it's hard to imagine her as public Kate. (One of the puzzling things about the play/adaptation: how much are we meant to rely on what we "know" of these figures currently?)

Not totally sure how I felt about the blank verse; I'd need to give it another listen, probably. I like the idea of it, though.

Of course, there are many old friends - and some new! - among the cast: Charlotte Riley from the Wuthering Heights adaptation from a few years back, and Jonathan Strange; Adam James who played Don Pedro opposite David Tennant in Much Ado (and other things; he pops up a lot). Peculiarly, there were three cast members who'd just acted opposite each other in Twelfth Night at the National Theatre: Tamara Lawrance (Viola), Oliver Chris (Orsino), and Tim McMullan (Sir Toby). This is particularly peculiar since, of the three, apparently only Oliver Chris was in the theatrical run.
tempestsarekind: (all the world's a stage)
An article (via Twitter) about the influence of the Globe, twenty years on - not just how it has changed, but how it has affected modern theater conventions, too:

Sphere of influence: Shakespeare’s Globe turns 20
https://www.ft.com/content/90f0f82e-31a1-11e7-9555-23ef563ecf9a
tempestsarekind: (dido plus books)
A post from the OUP blog on Austen's teenaged works, by Kathryn Sutherland and Freya Johnston (who edited the volume of Austen's teenaged writing for OUP).

https://blog.oup.com/2017/04/jane-austens-teenage-writings-audio-guide/
tempestsarekind: (martha at the globe)
I had no idea that the WSC had put up recordings of some of the talks and panels!
http://www.wsc2016.info/world-shakespeare-congress-2016-audio-recordings/

In particular, I can't wait to listen to Adrian Lester's conversation with Ayanna Thompson about playing Othello; I remember several people mentioning it on my Twitter feed as a really great discussion. (And of course, Adrian Lester's Othello was phenomenal…)
tempestsarekind: (marlowe--he fights crime)
I'm being slightly snarky about the unnecessarily breathless, Wikileaks-style headline of this piece:

Spy report that criticised Marlowe for 'gay Christ' claim is revealed online
https://www.theguardian.com/stage/2017/mar/31/christopher-marlowe-spy-baines-note-gay-christ-british-library-online

But the actual fact that you can now view the Baines note online, along with many other resources on the British Library's Discovering Literature website, is rather lovely, actually.

(Also, one of the other things mentioned in the article is Derek Jarman's notebooks for his film of Edward II.)

…what

Mar. 24th, 2017 02:58 pm
tempestsarekind: (it is margaret you mourn for)
"The second Mrs Hardy might have known what was coming from the manner of Hardy's proposal. He had taken her to the churchyard to show her the grave of wife No. 1, and, pointing to another vacant plot, he said, 'That's for you.' By this, she took it that he was proposing. Before they're anything else, if they're any good at all, most writers are absurd."

--Alan Bennett, Six Poets: Hardy to Larkin

Heh. This gives a new meaning to "Ah, are you digging on my grave?"
tempestsarekind: (ghost girl)
This feels personally timely, given that I'm teaching selections from Ovid's Metamorphoses at the moment:

In which the Magpie sees wild boars as lost children
https://catapult.co/stories/in-which-the-magpie-sees-wild-boars-as-lost-children

On the aftermath of Fukushima, and people under pressure.
tempestsarekind: (posner and scripps)
So I happened to turn on PBS to find an episode of DCI Banks on, and who should run up - and spill coffee all over the main character - but Samuel Anderson as a new detective constable joining the unit!

Then Vicious aired after that - not the episode Sam Barnett is in, but there was still a millisecond of him in the behind-the-scenes featurette that followed the episode.

I decided then to watch the beginning of one of the DVDs I got from the library: the second season of Silk (the first season aired ages back on PBS; I honestly can't remember if they ever got around to airing the second season in my neck of the woods). I couldn't really remember much about the show, except liking Maxine Peake, but I watched the first episode contentedly enough. And then, in the preview for the next episode, a split second of a familiar face: Jamie Parker! It seems to me that at some point I must have been informed that he was in an episode of Silk, but this is not information that I could have previously retrieved without seeing him in the preview.

That's nearly half the set in one evening - and all of them accidents!

(Also, Indira Varma is obviously not a History Boy, but I didn't know she was in the second season of Silk either, yet there she was as well.)
tempestsarekind: (wtf?)
I'll tell you one thing I just have absolutely no desire to let into my brain or take up any space in my consciousness: this "sexy Jack the Ripper" nonsense ABC seems to be going with for Time After Time. NO. Even the ads are just disgusting. Jack the Ripper was a serial killer, you losers, not the bleeping Bachelor.

I'd sort of thought about trying out an episode, because I like time travel narratives, and while the actor playing H. G. Wells comes across as fairly sans gorm in the early trailer, maybe there'd be some entertaining man-out-of-time hijinks in the early episodes, which are sadly missing from my life since Sleepy Hollow got canceled.* But now? No way. Not even.


*Shh, I know it - SOMEHOW - didn't actually get canceled, even though they managed to rip the heart out of the entire show. Just leave me my delusions.
tempestsarekind: (peddlers of bombast)
(the above comment is made about a ruff.)

The Globe's Twitter feed led me to a video I hadn't seen before: Paul Chahidi, who played Maria in the 2012 revival of Twelfth Night (as well as the original 2002 production), and Jenny Tiramani (Renaissance clothing expert) being interviewed about the costume for Maria. Some nice closeups of the various layers of the costume:

https://www.youtube.com/watch?v=EmGms1zjxoE
tempestsarekind: (ophelia has so few options)
I feel like I know some people who would be interested in this, if they haven't already seen it:

Sisters doing it for themselves: radical motets from a 16th-century nunnery
https://www.theguardian.com/music/musicblog/2017/mar/10/radical-motets-from-16th-century-nunnery-musica-secreta-lucrezia-borgia

The author of the article, Laurie Stras - who conducted a recording of the motets, just out - argues that the motets were written by Leonora d'Este, daughter of Lucrezia Borgia. There are also Soundcloud links to recordings of some of the pieces in the article, which is nice!
tempestsarekind: (hamlet/horatio OTP)
Does anyone - people who have been to conferences more recently than I have, and stopped by the Arden table, for example - know anything more about the Arden Performance Editions series?

http://www.bloomsbury.com/uk/series/arden-performance-editions/

The first editions aren't due out until November in the UK - which is too late for me to order Romeo and Juliet for English 9 in any case (assuming I teach it again next year) - but I'm wondering about their layout (more space for notes!) and their "reduced punctuation." The New Cambridge edition (the one I use) is better than some about not cluttering the text up with prescriptive exclamation points, but it's still pushier about this sort of thing than I'd like; it would be nice to have an edition with notes that doesn't require me to constantly tell my students not to make arguments about tone based on the presence of exclamation points.

I also wonder - will their Hamlet be a conflated one, or will it follow the current Arden edition in being based on Q2? I'm finding that my ninth-graders are managing the density of the footnotes in R&J decently well, but the New Cambridge Hamlet's footnotes are unsettling some number of my juniors this year. But I like the ease of teaching the play from a conflated edition instead of having things like "How all occasions do inform against me" in an appendix, even though I like the availability of versions based on Q2 or F for more scholarly purposes (I also own the Arden 3 and the Oxford, the latter of which is based on F).
tempestsarekind: (hamlet--though you can fret me)
A little look at the history of Yorick's skull in Hamlet, on the eve of Andrew Scott's first performance of the title role at the Almeida:

Alas, poor Yorick! The shocking life of theatre's greatest skull
https://www.theguardian.com/stage/2017/feb/16/andrew-scott-hamlet-skull

And here's a tidbit about David Tennant and Andre Tchaikowsky (the skull who played Yorick for a while, until he was supposedly replaced by a prop):

it wasn’t until David Tennant played Hamlet in 2009 that the skull was finally used in a live performance, which provoked a minor media frenzy. Even though the company claimed that the prop had been replaced by a replica, so as not to “distract” audiences, artistic director Gregory Doran admitted months later that Tchaikowsky had in fact starred alongside Tennant throughout.


I don't know how I missed that last part of the story!

hmph

Feb. 12th, 2017 07:34 pm
tempestsarekind: (austen snark is the best snark)
Inexplicably crabby (okay, so knowing me, it's not actually that inexplicable) that there is an Oxford Handbook of Shakespearean Tragedy, but there isn't one for comedy - and yet there are handbooks for "Shakespeare and Embodiment" and "Shakespeare and Dance" either in existence or in the works. But why would you need one for the comedies? Obviously, they don't matter.
tempestsarekind: (come along ponds)
I saw a trailer for the film The Circle today. John Boyega showed up early, and I thought, "oh, is this that movie where he was going to play a computer genius? Cool." Emma Watson showed up, and I thought, "oh, I didn't know she was in this." And then I heard a familiar Scottish voice and saw a familiar face -

- and literally shrieked, "KAREN! HI KAREN!" Because I have problems. I guess the wires to that particular knee-jerk response are still hooked up?
tempestsarekind: (i am my father's daughter [elizabeth])
(Yes, I am now just scrolling through the Arden website to see what's in the pipeline. Shut up.)

Oliver Ford Davies wrote a book on fathers and daughters in Shakespeare, and it comes out in June!
http://www.bloomsbury.com/uk/shakespeares-fathers-and-daughters-9781350038462/

I am of course interested in this topic anyway (I gave a conference paper on it a couple of years ago), but it makes me especially happy that my favorite Polonius wrote about it.
tempestsarekind: (dido plus books 2)
This looks like a book to check out once the publication date arrives (March 9, 2017):

How to Read a Dress: A Guide to Changing Fashion from the 16th to the 20th Century
by Lydia Edwards
http://www.bloomsbury.com/us/how-to-read-a-dress-9781472533272/

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