Global Shakespeares Series

The Shakespeare Conference: SHK 24.0171  Friday, 12 April 2013

[1] From:        Allston James <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 11, 2013 3:44:58 PM EDT

     Subject:     RE: Solo Shakespeares 

[2] From:        Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>

     Date:         April 12, 2013 10:16:30 AM EDT

     Subject:     Global Shakespeares 

[1]-----------------------------------------------------------------

From:        Allston James <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 11, 2013 3:44:58 PM EDT

Subject:     RE: Solo Shakespeares

Actually, I saw a production of the Lear in question at Lincoln Center a few years back. Indeed, a lone actor did play the king and his daughters in a way that broadened my understanding of the work and floored the audience. Same thing with A. Cumming’s one-man Macbeth, which is currently playing New York. It made perfect sense that a guy in a lunatic asylum might be, oh, a half-dozen entities.

Allston James

Humanities

Monterey Peninsula College

[2]-------------------------------------------------------------

From:        Terence Hawkes <This email address is being protected from spambots. You need JavaScript enabled to view it.>

Date:         April 12, 2013 10:16:30 AM EDT

Subject:     Global Shakespeares

Sorry if I thought it was a joke. Maybe it’s just the way he tells them. The bit about the ‘innovative ideas in the current wave of breakthrough international productions’ threw me. I think I can see that a Japanese Hamlet who sits motionless on stage whilst mechanical dolls enact his thoughts meets some of those criteria—perhaps ‘breakthrough’ is an obvious candidate.  But then what happened to the famed Cardiff production of King Lear in Semaphore?

Terence Hawkes