Posts Tagged ‘Shakespeare’

h1

‘Nature’s Fragile Vessel’: Journal article by @DrJ_Gregory

August 4, 2017

My journal article on ‘”Nature’s Fragile Vessel”: Rethinking approaches to material culture in literature’ has been published this week ‘Online First’ and will be in the next issue of Cahiers Élisabéthains: A Journal of English Renaissance Studies.

Abstract

The notion of fragility is a pervasive one in Western culture. Considering its appearance in early modern texts can help us to understand the history of fragility, as an idea, metaphor and feeling. The relationship between humans and breakable things is used as a metaphor that recognizes human limitations in body or mind. This essay begins with one peculiar instance of fragility from Shakespeare’s Timon of Athens before analysing other examples in early modern culture. It ends by making a few tentative propositions regarding the relationships between literature, material culture and the representations of human fragility.

Read the article (open access)

As well as reading the one instance in Shakespeare’s work where the word ‘fragile’ is used, the essay considers other early modern writing and paintings. I’m especially interested in the way that people are described in literature as being fragile like an object, whether that object is a ship at sea, or a fragile vase on the edge of a table.

The essay is partly me working out my next steps in this area for a larger project, as well as being an attempt to negotiate the scholarly field as it relates to material culture and object-studies, the idea of the human, and the (now, not so recent) turn to the study of literature and the emotions. It seems to me that these three areas are highly contested and fraught with different priorities, perspectives, and concerns; but these three interdisciplinary research foci still have huge potential in terms of developing new research methodologies, research impact (outside of academia), and, of course, thinking about our engagement with literature.

I’d welcome any comments. My contact details are on my profile page.

Four Ages of Man (national gallery)

The Four Ages of Man (Valentin de Boulogne)

Join the Cardiff Shakespeare Facebook group.

h1

Shakespeare performances in Cardiff and nearby this summer

June 30, 2017

Screen Shot 2017-06-30 at 16.35.40.png

There seems to be so much Shakespeare lined up for the summer it’s difficult to keep track. However, I’m going to have a quick look about and see what I can collect together here. Please let me know if I’ve missed anything and I can add it.

We don’t have anyone lined up to review these, so if you are interested please get in touch with me.

Some of the productions detailed below are playing elsewhere and fairly nearby too. Just follow the links on the play titles to find out more.

Dream_1_1200px_large.jpg

Wednesday 5 July A Midsummer Night’s Dream
Ballet Cymru at Grand Pavilion, Porthcawl

Wednesday 5 July The Tempest
Taking Flight Theatre Production in Newport (2pm and 7pm)

2017-06-16-13-05-11-the-comedy-of-errors-512-1-image1

Thursday & Friday, 6-7 July The Comedy of Errors
The Lord Chamberlain’s Men at Cardiff Castle (Gates open 6.30pm)

Friday 7 July The Merry Wives of Windsor
The Festival Players at Caerleon Amphitheater, near Newport (7.30pm)

Showcase-Richard-III-318x450

Thursday & Friday 13-14 July Richard III
Showcase Performing Arts at Redhouse, Merthyr Tydfil (7pm)

Friday 14 July The Taming of the Shrew
Heartbreak Productions at Chepstow Castle (7.30pm)

Saturday 15 July A Midsummer Night’s Dream
Fringe Theatre Festival, YMCA, Cardiff (2-3pm)

Sunday 23 July Twelfth Night
Everyman Youth production in Sophia Gardens, Cardiff (7.30pm)

20-29 July Macbeth
Everyman production in Sophia Gardens, Cardiff (Saturday at 3pm, and otherwise 8pm; no Sundays)

Saturday 29 July The Tempest
Taking Flight Theatre Production in Cardiff (Noon)

Sunday 30 July The Tempest
Taking Flight Theatre Production in Penarth (4pm)

 

Illyria TheatreSaturday 5 August The Comedy of Errors
Illyria production in Abergavenny (7pm)

Join our Cardiff Shakespeare Facebook group here.

h1

Taking Flight Theatre @takingflightco : The Tempest

June 8, 2017

Clean-Tempest-Poster banner

Taking Flight Theatre return, this time with their unique take on Shakespeare’s The Tempest.

Join the Magic Staff Liner Corporation and indulge yourself with a jaunt on the newest addition to their fleet- their number one luxury ocean liner, The Remembrance.  Let their crew take care of your every worry, your every woe on their 10 year anniversary cruise to the Island that Time Forgot.

Expect lots of laughs, physical comedy, live original music and most of all expect the unexpected.

This performance has live integrated BSL interpretation and audio description. Touch tours and BSL introductions are available by arrangement- please contact beth@takingflighttheatre.co.uk or on 07785 947823 to discuss this, or any other access requirement.

This is an outdoor performance so please wrap up warm and bring your brolly/sun cream/blanket/travel chair!

Performance dates: 

Thursday 8th, Friday 9th, Saturday 10th performances in Thompson’s Park. Audience to meet at the Romilly Road entrance.

Sunday 18th performance in Roath Park. Audience to meet at the conservatory entrance.

Read our review of last year’s Shakespeare production.

Visit the Taking Flight website, book tickets, and find out about their performances outside of Cardiff too.

h1

Interview on Shakespeare with Yvonne Murphy, Omidaze Director

April 23, 2017

Romeo and Juliet OmidazeTo celebrate Shakespeare’s official birthday, director and producer Yvonne Murphy has shared with us some thoughts on Shakespeare and the latest Omidaze (Oh My Days!) production of Romeo and Juliet, coming to Cardiff later this month. In 2008 Yvonne founded Omidaze Productions, which now has a reputation for exciting Shakespeare theatre and generally shaking things up a bit.

What is special about the Romeo and Juliet production this year?

When the referendum happened last year I watched and listened to our country fracture. British society is at a crucial point in its history and I believe we need space and time to have a proper conversation about what kind of society we want to live in. We are a generation away from the Second World War after which we reshaped our society for the better. I would like to think we are enlightened enough that we can make the necessary fundamental steps, which are now needed without conflict as a catalyst.

I struggled post the referendum to know what I should do next. I felt silenced and fearful. I questioned the role and direction of theatre and the arts generally and what Shakespeare had to do with anything anymore. I went a long way away to come back round to Romeo and Juliet. A story of society. A morality tale of how a broken and dysfunctional society puts at risk the futures and lives of our young people. If Romeo and Juliet had felt empowered, felt able to influence those in power and listened to, then they may have made better and more informed choices. We ignore our young people at our peril. It is all of our responsibility to ensure there is no conflict on our streets and our society is a place which values equality, knowledge, tolerance and understanding. And above all it must be a society in which no one feels fear for themselves and those they love.

What is distinctive about putting on productions of Shakespeare in Wales?

Shakespeare takes time to do well. I have fought for that time. Unless the actors understand the verse structure and every syllable of what they are saying how can they hope to communicate it to an audience? Especially a non-traditional theatre audience who are not used to hearing the language? A four-week rehearsal period is not an artistic decision, it is an economic one and one which needs to change if we are to produce classics of quality. I feel very privileged that the Arts Council of Wales and all our partners felt able to invest in Omidaze to do this work in this way.

Wales is a small nation and one which I think would benefit from less catergorisation of art forms and more breaking of boundaries – I am interested in melding artforms. I am interested in what entices audiences across class, ability, race, gender and age into a circus tent and what creates barriers to the same people for theatre. In all my shows I attempt to blend and break boundaries of different artforms, (circus, stand-up comedy, dance, visual art) to allow as many people as possible a route into the work.

I also made a conscious decision to cast as diverse a cast as possible. If I want to reach a non-traditional audience for Shakespeare then the people on stage must reflect the people on the streets of Wales and Britain. Much work is needed to increase and diversify our casting pool in Wales and then create enough strong quality work and development opportunities to keep talented actors and creatives here.

Omidaze is not just about putting on a show: you are also involved in educational projects. Do Shakespeare’s plays offer room for ‘inspiring change’ or are you always reacting against them?

I am never reacting against the text. The text is my absolute starting point and what I begin and end with. It is a story which needs to be told. I do not come with a concept which I want to squeeze the play inside. I read and read a text and let it resonate within me and find the story which I feel strongly needs to be told right now.

I am however reacting against how Shakespeare is often done. My starting point for the trilogy was to ask who is Shakespeare for and where and how can it be staged, by who and for who and why?

Shakespeare is a gateway art. It opens doors, raises expectation and ambition levels and it belongs to all of us. It is a gift which we must share because to close that door is to shut off a light to people.

I was deeply concerned by the lack of gender equality in the theatre industry and I knew Shakespeare was a good starting point to raise awareness around that discussion. However, conversation of equality cannot and should not be confined to gender. Equality is all about power sharing. There are no villains. Just years and years of doing things a certain way and years of lists being created of people to use whether that is a lighting designer, production manager, voice coach or actor. It takes time, energy and conscious effort to change those lists and so that is what I decided to do. In my own small way.

The educational aspect of Omidaze is at our very core. It is not an add on. We rehearse live in schools in front of young people to break open the process. We create workshops to accompany the work and invite young people from disadvantaged areas into our dress rehearsals. We open the doors to young people looking for work experience and we hold Q&As whenever we can. Theatre and the arts in general are in a state of emergency. If we only see arts subjects in schools as vocational and then see a career in the arts as too precarious for anyone not from a stable financial background the voices and work will not represent modern Britain. The arts and culture belong to everyone. We must value them and their impact and create a strong society with them at its core. Whoever heard someone tell a child to only study Maths or Science if they want to be a Mathematician or a Scientist?

As Churchill so famously supposedly said (or is it an urban myth?) when asked if the money ring-fenced for art and culture should be put into the war effort – ‘Then what are we fighting for?’

Yvonne blogs at omidaze.wordpress.com

Read the Cardiff Shakespeare review of last year’s Omidaze Shakespeare production.

Visit the Omidaze website

@Omidaze

Wales Millennium Centre, Cardiff

27 April – 14 May, 2017

Find out about tickets.

If you would like to contribute Shakespeare-related news or reflections, please get in touch with me (Johann Gregory).

h1

Hamlet at the Almeida: A review by @EmiGarside

April 2, 2017

Hamlet Almeida

A review by Dr Emily Garside

Hamlet is a play that is familiar even to those with no direct experience of the play – whether it’s a general knowledge of a much-adapted plot or the countless lines that have made it into common usage. So it is an achievement of a director and cast to not only make the production feel fresh and innovative but also for lines so often uttered they are virtually cliché to sound new.

Robert Icke, former artistic director of Headlong, now associate of the Almeida inserted new life into Oresteia last year, and it’s in a similar vein he has approached Hamlet, starring Andrew Scott as the Danish Prince. The production is modern dress and makes use of video technology but it’s period is indistinct, at times feeling in the present moment, others having a slightly futuristic air.

The major change it feels Icke has made is a shift in pace to the expected ebb and flow of the piece. Gaining infamy for a nearly four hour running time, it doesn’t feel like the theatrical marathon it is. There is a natural pace to the overall piece, and within each scene, down to each line that Icke seems to have taken apart and put together again. Although the first segment is familiar in its staging, approach and length, there is a clattering towards a finale that despite some additions – some from the first Quarto lines, some dialogues additions to staging – that give this take a freshness.

The contemporary staging – so often nothing more than some suits and contemporary furniture – is woven into the staging effectively. The play opens with news footage of King Hamlet’s funeral, and across the play video is used, from a Skype meeting with the ambassadors, to filming The Mousetrap, through to war footage and final evocative images that show integration and addition of film and stage at their most effective. Most engaging of this is the staging of play-within-a-play The Mousetrap in which when Claudius storms out, disrupting both the staged performance and the filming of the royal family, the ‘Pause’ created is so realistic for a moment it feels like there is something genuinely wrong. These elements of meta, thrown back onto the audience across the play, make for an engaging and challenging reading of the well-worn Hamlet.

Of course, any Hamlet is only ever as good as the actor playing the title role. And again, Andrew Scott brings to light elements of the part that even in those moments that usually feel so familiar, there is a different slant to Scott’s performance that creates a freshness. The early and end scenes are emotionally charged and made for the most moving portrayals of the part in memory. In the early scenes, Scott veers from quietly grief stricken to unhinged and over the top from moment to moment. Scott’s balancing of the two elements of grief stricken and depressed works, and although at times the moments of exuberant grief and madness may seem ridiculous, it is because Hamlet himself is indeed at times ridiculous. The intimacy of the venue works in favour of this portrayal as well, with the loud, abrasive Hamlet feeling too close to be comfortable, and the quiet, reflective Hamlet feeling intimate and moving.

Robert Icke’s production has successfully re-invigorated Hamlet in his staging, using the contemporary elements rather than simply creating a backdrop of them. Meanwhile Scott’s Hamlet offers a different take on the classic role, and perhaps one unexpected from the actor. He is a contemplative, but emotional Hamlet, caught in a changing world on both a personal and political level. It’s an intellectual challenging Hamlet for the audience, but also one which resonates with the underlying emotion of the piece.

Visit the Almeida website

h1

A Midsummer Night’s Dream @NewbridgeMemo – March, 1st-4th

February 20, 2017

a-midsummer-nights-dream

Marvellous Pretenders are a newly formed professional theatre company, based in the Newbridge Memo.

The group, who are fronted by director and actor Suzie Rees, are the only professional producing company in the area and will be bringing classic plays to Newbridge over the next few years…the first installment being the Shakespearian classic: A Midsummer Night’s Dream.

Wednesday, March 1st – Saturday, March 4th

Tickets on sale now: £8 standard | £6 concession.

Ballroom Bar Open: 6.30pm | Theatre Doors: 7.00pm | Event Start: 7.30pm.

Find out more

 

If you would like to review this production for Cardiff Shakespeare, please get in touch with Johann Gregory.

***

So why come and see the show?
It’s going to be great fun as the company have approached it as a Shakespearean farce so it’s quite fast and furious. Also, it’s the first opportunity to see classic theatre by the Memo’s own professional theatre company.

Is the show accessible and up to date? What can people expect?
The actors have spent a long time working on understanding the language so that the audience will be able to understand it too.  Our version is a long way from the stuffy, static performances many people associate with Shakespeare.

h1

RSC Live The Tempest – Encore Screenings 7 Feb @theRSC

February 3, 2017

tempest-banner_0

If, like me, you’ve yet to see the RSC Tempest, there is a chance to catch it in Cardiff next Tuesday. I was lucky enough to hear the co-producer Sarah Ellis talk yesterday in Cardiff at an event on digital and the arts, where she discussed the RSC’s collaboration with Intel and Imaginarium Studios. Last semester I was teaching the play on a Late Plays module at Cardiff University and in seminars we discussed what the masque in the play would look like in the twenty-first century, so I’ll be interested to see how this scene is staged especially.

Johann Gregory

Find the nearest cinema screening to you.

BBC NEWS: Shakespeare’s Tempest gets mixed reality makeover

Nature Writing in Wales

A Creative & Critical Writing PhD Sketchbook

Dr Charlotte Mathieson

Website of Dr Charlotte Mathieson

Shakespeare Institute Library

Info on Shakespeare, Renaissance literature and other useful library and research stuff.

GEMS

Group for Early Modern Studies

annesophierefskou

Anne Sophie Refskou

We Are Cardiff

A blog about Cardiff, its people, and the alternative arts and cultural scene!

cityawakenings

Cities. Culture. Regeneration. PhD Musings.

Lets pay more tax

Elspeth Jajdelska

Dr Johann Gregory

An Early Career Academic with special expertise in English Literature & emerging expertise in Creative Economy

Dr Alun Withey

Welcome to my blog! I am an academic historian of medicine and the body, and 2014 AHRC/BBC 'New Generation Thinker'. Please enjoy and let me know what you think.

Thinking in Arden

Blog posts, mainly Shakespearean

The 18th-Century Common

A Public Humanities Website for Enthusiasts of 18th-Century Studies

ESTS

The European Society for Textual Scholarship