In 2009 after Mad Duck’s Coriolanus, I put producing and directing Shakespeare aside in order to pursue other work in new practices including large theatre, new play and translation development and multi-disciplinary work. The remarkable discovery was that my work on Shakespeare had greatly prepared me for work in all these forms.
He feeds his characters with a heartbeat, a breathing pattern, and if you follow first folio work as I do, a whole series of clues and movements that allow the language to physically and internally move the actor.Â
What makes Shakespeare international? Why are artists from non-western or Anglo cultures compelled to adapt his stories? Why are his plays done across the world in different languages? If one does not understand the words, how does one know if it’s any good?
One of the challenges in many of Shakespeare’s plays, especially the histories, is the fighting.Â
In my own practice with Shakespeare, I originally embraced modern dress. This was done for several reasons including budget.