898 posts
|
Post by bordeaux on Oct 26, 2016 18:58:42 GMT
It is a very good read and articulates some doubts I've had about Emma Rice's appointment. There is a good example of her naïveté, perhaps, when talking to journalists, or is it just clumsy thinking? When she says 'No 14-year old from Nottingham is going to work out what that means' is she implying that a 14-year old from Guildford is? |
|
421 posts
|
Post by schuttep on Oct 26, 2016 19:02:43 GMT
I was under the impression that the Globe's raison d'être was to investigate the ways that Shakespeare's plays could have/would have been produced in a theatre as near to his as was possible with the information we have. If that changes - and I'm not saying that it shouldn't - then what is the real point of having a theatre space as near to Shakespeare's vision as we can make it?
That's not to say (and I agree with the philosopher AC Grayling on this point) that the plays should be preserved in aspic as I believe that doesn't do justice to Shakespeare's genius. It's precisely because directors can breathe new life into Shakespeare that Shakespeare survives and is relevant for every generation.
The dichotomy is reconciling my first paragraph point with my second.
Emma Rice seems to have failed to do this. I''m not sure there's any shame in this either for her or the Board in appointing her. Mark Rylance (that well known advocate of Shakespeare not being the author of the plays) managed it, as did Dominic Dromgoole. But I can't see there's a magic formula to be able do so.
|
|
|
|
Post by Deleted on Oct 26, 2016 19:03:53 GMT
|
|
|
|
Post by Jan on Oct 26, 2016 19:21:34 GMT
I've mentioned here before that Rice is actually quite a conservative middle-class director whose successes like Brief Encounter, Rebecca, The Red Shoes, The Umbrellas of Cherbourg etc. appeal to a similarly conservative middle-aged demographic. She rather neatly makes this point herself by saying she'd rather listen to the Archers than watch Shakespeare. The Archers ? Seriously ? Anyone here listen to the Archers ? Her cultural references are hardly likely to be familiar to 14 year old in Nottingham. She is no doubt a good director, but not really innovative and actually a bit old fashioned when it comes to Shakespeare, we've been seeing that approach from the likes of Cheek by Jowl and Filter for decades. |
|
898 posts
|
Post by bordeaux on Oct 26, 2016 19:57:55 GMT
Thanks for that elucidation; it makes more sense now. |
|
4,153 posts
|
Post by kathryn on Oct 27, 2016 8:47:21 GMT
we've been seeing that approach from the likes of Cheek by Jowl and Filter for decades. It's funny, a couple of years ago we saw the archive screening of Cheek By Jowl's As You Like It from the early 90s - the one with Adrian Lester - and it struck me then how much the Globe playing style must have been influenced by CbJ. Perhaps it's just because when you're a touring production you have to get the essence across through the words and the actors - you can't rely on elaborate sets and props and complicated effects. So maybe with that line of influence running through both styles they thought they'd be able to find a common ground? |
|
4,955 posts
|
Post by Someone in a tree on Oct 27, 2016 11:51:00 GMT
|
|
|
|
Post by Deleted on Oct 27, 2016 11:59:31 GMT
Look at all these boring people assuming the weirdly insubstantial statement of "artistic differences" was true and therefore Original Practice is confirmed to be definitely the best way and nothing else should ever be tried again, even though Rylance and Dromgoole were hardly slaves to the idea of OP and massive tradition themselves.
|
|
|
|
Post by Deleted on Oct 27, 2016 12:44:04 GMT
He makes avery good case for why research based academics should never be allowed to run a theatre. |
|
1,119 posts
|
Post by martin1965 on Oct 27, 2016 16:27:35 GMT
Talking of facebook, I enjoyed this exchange on the RSC's page ... Quite right too, its obviously nothing to do with RSC |
|
1,119 posts
|
Post by martin1965 on Oct 27, 2016 16:32:33 GMT
I've mentioned here before that Rice is actually quite a conservative middle-class director whose successes like Brief Encounter, Rebecca, The Red Shoes, The Umbrellas of Cherbourg etc. appeal to a similarly conservative middle-aged demographic. She rather neatly makes this point herself by saying she'd rather listen to the Archers than watch Shakespeare. The Archers ? Seriously ? Anyone here listen to the Archers ? Her cultural references are hardly likely to be familiar to 14 year old in Nottingham. She is no doubt a good director, but not really innovative and actually a bit old fashioned when it comes to Shakespeare, we've been seeing that approach from the likes of Cheek by Jowl and Filter for decades. Agree totally JB! |
|
117 posts
|
Post by ldm2016 on Oct 28, 2016 7:46:51 GMT
"complaints from customers about the lack of authenticity, have left many of my co-workers in tears and signed off work with stress-related depression" What a load of nonsense and so typical of today... Wow. I sincerely hope your loved ones never have cause to seek help for mental health issues, because it's clear there'd be no sympathy coming from your direction. Whatever you think of Emma Rice's work or the sanctity of Shakespeare or whatever, people being in a place of severe work-induced stress is absolutely nothing to be dismissive and sneery about, and if it feels like it's a modern day thing that never happened in the past, then you are quite simply deluded. People may not have had the support or the help back in the olden days, and they may not have felt able to talk about it or had the terminology to talk about it, but people sure as hell suffered from work-induced stress and stress-related depression nonetheless. Don't you dare be so disgustingly dismissive of that. You are entitled to your opinion, I am entitled to mine.
I hate the actual saying but people need to "man up" sometimes. People moaning about the authenticity of a theatre production should be borderline annoying at worse.
There's a reason why the term "Generation Snowflake" was coined and this is a perfect example.
How would these people react to a proper crisis?
|
|
|
|
Post by Jan on Oct 28, 2016 7:52:32 GMT
Talking of facebook, I enjoyed this exchange on the RSC's page ... Quite right too, its obviously nothing to do with RSC You cut off that exchange before we could read the RSC's "statement on it". What was it ? I'm all agog to see what they have said. |
|
|
|
Post by Deleted on Oct 28, 2016 8:20:42 GMT
As posted above:
|
|
923 posts
|
Post by Snciole on Oct 28, 2016 8:50:12 GMT
Someone called Kitkat McAthley who apparently works at the Globe just posted this on Facebook (there's a duplication glitch in it but I'm reproducing it here unedited): Increased tour sizes and prices in an already over-crowded theatre, coupled with appaling working conditions while lights are put up and sound equipment installed, and complaints from customers about the lack of authenticity, have left many of my co-workers in tears and signed off work with stress-related depression. I went on a tour last year as a birthday treat and I was shocked at how large the tours were (about 30-35 people, possibly more) and how we had one guide leading them. It felt very unsafe and people in tours kept losing their tour guide. As great as the tour and exhibition are it was a real contrast to the RAH tour where there had been maybe 8/9 people. |
|
|
|
Post by Deleted on Oct 28, 2016 8:58:02 GMT
Stratford-upon-Avon's a research organisation, the Shakespeare Institute, is part of the University of Birmingham and so completely separate from the RSC which can pursue its artistic activities without the interference of a load of academics.
But Shakespeare's Globe is an educational Trust whose Board governs both the Educational Research and the Theatre, so the Globe's Theatre is always subject to academic control of its artistic programme, as has been fatally manifested this week.
We've been fortunate that Mark Rylance, Dominic Dromgoole and Emma Rice until April 2018 have been able to navigate the demands of the academics and negotiate a Theatre programme acceptable to both parties but, now that some of the academics have thrown their toys out of the pram and persuaded the Board to subjugate Theatre to Research, no future Artistic Director would feel that the Board will permit them to artistically direct.
The RSC must be basking in its relative artistic freedom.
|
|
353 posts
|
Post by cirque on Oct 29, 2016 13:27:03 GMT
Dream post. Michael Boyd. Ensemble. Could be fantastic
Had lot of thoughts this week and rather modified some of my opinions.will try to clarify soon .......Whatever Shakespeare's Globe must really get to grips with the immediate future and not tread water for the next year. Still think Dromgoole should caretake next season ......it's very confused.
|
|
|
|
Post by Deleted on Oct 29, 2016 14:38:20 GMT
Emma Rice remains AD until April 2018. Next year's summer season was announced earlier this week. Any Sam Wanamaker Playhouse shows in Summer 2017 are yet to be announced, and next year's Winter season in the Sam Wanamaker Playhouse, Emma Rice's final season, should be announced in six months time.
|
|
353 posts
|
Post by cirque on Oct 29, 2016 16:15:24 GMT
I know all that but do you think that will all continue as planned.....will budgets be cut if other depts suffering......lots in the mix
|
|
|
|
Post by Jan on Oct 29, 2016 16:37:15 GMT
Stratford-upon-Avon's a research organisation, the Shakespeare Institute, is part of the University of Birmingham and so completely separate from the RSC which can pursue its artistic activities without the interference of a load of academics. But Shakespeare's Globe is an educational Trust whose Board governs both the Educational Research and the Theatre, so the Globe's Theatre is always subject to academic control of its artistic programme, as has been fatally manifested this week. We've been fortunate that Mark Rylance, Dominic Dromgoole and Emma Rice until April 2018 have been able to navigate the demands of the academics and negotiate a Theatre programme acceptable to both parties but, now that some of the academics have thrown their toys out of the pram and persuaded the Board to subjugate Theatre to Research, no future Artistic Director would feel that the Board will permit them to artistically direct. The RSC must be basking in its relative artistic freedom. You omit to mention that Rice's spending on lighting etc. has depleted the funds available for the educational department - you can't absolve her of all blame for this shambles. |
|
|
|
Post by Jan on Oct 29, 2016 16:38:33 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). |
|
19,661 posts
|
Post by BurlyBeaR on Oct 29, 2016 16:44:10 GMT
And rather bad form to be slagging off another company's management decisions, one might suggest.
|
|
1,119 posts
|
Post by martin1965 on Oct 29, 2016 16:44:33 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). I wondered about that too JB, far as i know the complete works Cymbeline is the only thing she has done and tjats ten years ago! Not sure why the SMT at Stratford felt compelled to say something. |
|
1,119 posts
|
Post by martin1965 on Oct 29, 2016 16:46:18 GMT
And rather bad form to be slagging off another company's management decisions, one might suggest. And a rival, certainly as far as the Wanamaker Playhouse and Swan are comcerned! |
|
|
|
Post by Deleted on Oct 29, 2016 22:23:26 GMT
Has she been a long-time collaborator ? They hosted the Kneehigh "Cymbeline" - anything else - if he's so bothered then why doesn't he invite her to become an Associate Director at the RSC ? (not holding my breath on that one). Also Don John, adapted and directed by Emma Rice and co-produced by the RSC and Kneehigh, and The Empress by Tanika Gupta and directed by Emma Rice for the RSC at the Swan. Greg Doran appointed Erica Whyman as Deputy Artistic Director, a new RSC post which has replaced the previous structure of a small team of Associate Directors. |
|
