2007

The Shakespeare Conference: SHK 18.0054  Tuesday, 23 January 2007

[1] 	From: 	John Drakakis <This email address is being protected from spambots. You need JavaScript enabled to view it.>
 	Date: 	Monday, 22 Jan 2007 16:19:36 -0000
 	Subj: 	RE: SHK 18.0048 Wordless Macbeth

[2] 	From: 	Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
 	Date: 	Monday, 22 Jan 2007 12:52:33 -0500
 	Subj: 	Re: SHK 18.0048 Wordless Macbeth

[3] 	From: 	Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
 	Date: 	Monday, 22 Jan 2007 17:53:38 -0000
 	Subj: 	Re: SHK 18.0045 Wordless Macbeth

[4] 	From: 	David Evett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
 	Date: 	Monday, 22 Jan 2007 20:54:57 -0500
 	Subj: 	Re: SHK 18.0048 Wordless Macbeth


[1]-----------------------------------------------------------------
From: 		John Drakakis <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Monday, 22 Jan 2007 16:19:36 -0000
Subject: 18.0048 Wordless Macbeth
Comment: 	RE: SHK 18.0048 Wordless Macbeth

OK, now that we've had a good giggle about 'wordless Shakespeare' let's 
perhaps take the proposition a little more seriously.  To reduce 
'Shakespeare' to the 'language' (although this is what perforce Radio, for 
example, has to do) is to push the argument to the opposite extreme. 
Drama, by its very nature consists of words and gestures (let us assume 
that the gestures we are talking about are silent). To eliminate the 
language altogether is to offer only a part of the play, and vice versa. 
Presumably a 'wordless' Shakespeare can only work when you recognise what 
is missing.  In other words, it is a defamiliarising gesture that ranks 
alongside Stoppard's 'Dogg's Hamlet' or the work of the Reduced 
Shakespeare Company, or that of Charles Marowitz. It is now up to those 
who champion wordless Shakespeare to tell us what it is that this 
contributes to our understanding of the play.

Cheers,
John Drakakis

[2]-------------------------------------------------------------
From: 		Larry Weiss <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Monday, 22 Jan 2007 12:52:33 -0500
Subject: 18.0048 Wordless Macbeth
Comment: 	Re: SHK 18.0048 Wordless Macbeth

>[b] in the 'Mousetrap', Hamlet is interpreting and explaining / 
commentating all the time IN WORDS because he does not trust the mere dumb 
show to convey the import.

How does Stuart Manger know what Hamlet is thinking?

[3]-------------------------------------------------------------
From: 		Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Monday, 22 Jan 2007 17:53:38 -0000
Subject: 18.0045 Wordless Macbeth
Comment: 	Re: SHK 18.0045 Wordless Macbeth

The most disturbing feature of the 'wordless' Macbeth must be its 
political dimension. As the Russian Twelfth Night showed in Buenos Aires, 
the Bard's words need not be reduced to anyone's puny linguistics. Who 
needs language? Access from Shakespeare's intense height can make all 
culture's kin. That is, like ours.

Terence Hawkes

[4]-------------------------------------------------------------
From: 		David Evett <This email address is being protected from spambots. You need JavaScript enabled to view it.>
Date: 		Monday, 22 Jan 2007 20:54:57 -0500
Subject: 18.0048 Wordless Macbeth
Comment: 	Re: SHK 18.0048 Wordless Macbeth

In this context I'd be curious to see comments on the musical version of 
Wiv now on view at the RSC.

Dave Evett

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