Category: Shakespeare

ken-branagh: All is True, dir. Kenneth Branag…

ken-branagh:

All is True, dir. Kenneth Branagh

When the renowned Globe Theatre in London burns to the ground during a 1613 performance of William Shakespeare’s play Henry VIII, the 49-year-old playwright, poet and actor returns to his home in Stratford-upon-Avon to face a troubled past and his disregarded family. 

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Response to The Stage article, 15 August 2018The Globe’s Head of…

Response to The Stage article, 15 August 2018

The Globe’s Head of Higher Education & Research, Dr Farah Karim-Cooper, responds to an article that appeared in The Stage on 15 August 2018:  

Shakespeare’s Globe sparks new row with lighting designers over claims of racial discrimination

This
week the Globe is hosting a festival to discuss Shakespeare and race. The
workshops and symposium are being attending by a variety of people across the
theatre industry and academia. The academics and theatre artists attending and
participating in the Shakespeare and Race festival have experience of attending
and performing in plays in many other theatres with lighting design. It is not
just the experience of the Globe that is informing this discussion. The Sam
Wanamaker Playhouse utilises various types of handheld candles and stage
designs, all contributing to ensure an actor’s face is illuminated properly. It
would be wrong to deny that this issue exists in theatre today. There are many
factors that contribute to discrimination of an actor of colour, lighting is
certainly an element, alongside other factors including blocking, costuming and
stage design.

We’re
glad discussion and debate have been sparked and would encourage a continued
conversation, and invite people to attend the remainder of our festival,
including a workshop on Women and Theatre in Britain, Playing Othello featuring actors who have all played the role, Hip-hop Shakespeare Unplugged,
and Shakespeare and Race Across Borders: a scholarly symposium.

Having discussed the many issues
facing actors of colour with actors attending our festival, this is certainly
an issue that should not be dismissed. The conversation is, and must remain,
complex and our festival is an attempt to open up conversation in the fight
against discrimination.

Shakespeare & Race Symposium speakers. Our Shakespeare &…


Professor Kimberlé Crenshaw


Professor Luke Harris


Ian Smith


Ayanna Thompson


Arthur L. Little and Kim F. Hall

Shakespeare & Race Symposium speakers. 

Our Shakespeare & Race festival culminates in an international symposium – Shakespeare and Race Across Borders: A Scholarly Symposium

This ground-breaking conference brings together scholars from the disciplines of race, Shakespeare, theatre and performance studies to discuss the ways in which race is taught at university, discussed in the critical field and represented in performance.

Keynote speakers for the symposium comprise Professor Kimberlé Crenshaw, Professor of Law at Columbia Law School and UCLA, she coined the term “intersectionality” and is a leader in the intellectual movement of Critical Race Theory.

Professor Luke Harris is Associate Professor of American Politics and Constitutional Law at Vassar College and co-founder of the African American Policy Forum.

Ian Smith is a professor of English and teaches at Lafayette College. His current research project, Black Shakespeare, examines Shakespeare’s interest in social and political racial identities.

Professor Ayanna Thompson has written extensively on the subject of Shakespeare and race. Ayanna is the 2018-19 President of the Shakespeare Association of America and Director of the Arizona Center for Medieval & Renaissance Studies at Arizona State University.

Arthur L. Little is an Associate Professor of English at UCLA and author of numerous articles on Shakespeare, race and justice.

Kim F. Hall (Barnard College) will also be on the panel. Kim is Lucyle Hook Professor of English and Professor of Africana Studies at Barnard College, University of Colombia

Other keynote speakers:

Devon Carbado teaches at UCLA School of Law and has won numerous teaching awards, including the inaugural Fletcher Foundation Fellowship.

Ania Loomba is the Catherine Byson Professor of English at the University of Pennsylvania where she researches and teaches early modern literature, race and feminist theory.

Joyce Green MacDonald is the Associate Professor of English at the University of Kentucky.

See the website for a full list of speakers.

Voices in the Dark in rehearsal. The team behind the Young…

Voices in the Dark in rehearsal. 

The team behind the Young Muslim Voices project believe in the power of sharing and telling peoples stories to challenge perceptions, to promote a community of diversity, and to remind us that we are united by more than divides us.

At The Globe our cause is to “celebrate Shakespeare’s transformative impact on the world…”

Voices In The Dark is our chance to question that cause. Does Shakespeare really have a transformative impact on the world? And if he does, whose world is he impacting on?

This questioning led us to two organisations: Intermission and Voices, organisations who are using the power of language, story and performance to try to transform our world for the better.

Voices is a social start-up which aims to creatively challenge perceptions through the sharing and telling of people’s stories. The stories you will hear tonight are all monologues that have been written anonymously (if they so wish) by young Muslims in the UK and tonight they will be performed by professional actors for the first time.

Intermission Youth Theatre is a charity giving young people the tools to make positive choices, to become the best version of themselves through theatre. Using Shakespeare as inspiration, they reimagine his language to tell stories and create their own contemporary interpretations.
Working with these organisations we partnered their scenes and monologues with some of Shakespeare’s own stories to see if we could get any closer to answering our question.

Voices in the Dark is a night of poetry, personal stories, and performance; a call and response from now to then, spanning 400 years of storytelling.

Michelle Terry is the Artistic Director of the Globe. 

Photography: Pete Le May 

Playing Othello.A look at some of the actors who have played…


André Holland photographed by Simon Annand, 2018


Eamonn Walker photographed by Johan Persson, 2007


Lloyd Everitt photographed by Cesare De Giglio, 2015


Kurt Egyiawan photographed by Marc Brenner, 2017


Q Brothers photographed by Simon Kane, 2012


David Harewood in The Complete Walk film, 2016

Playing Othello.

A look at some of the actors who have played Othello at the Globe or as part of Globe projects. 

Hear from our current Othello, André Holland and Golda Rosheuvel who portrayed Othello as a lesbian at the Liverpool Everyman Playhouse at our forthcoming event Playing Othello, part of the Shakespeare & Race festival

Shakespeare and Race. For the first time, Shakespeare’s Globe is…

Shakespeare and Race. 

For the first time, Shakespeare’s Globe is holding a festival on Shakespeare and Race. Farah Karim-Cooper, Head of Higher Education & Research at Shakespeare’s Globe looks at why the time is right. 

Shakespeare’s Globe is hosting its first international festival on Shakespeare and Race. Several questions spring to mind when putting together a festival of this nature at Shakespeare’s Globe:

How does Shakespeare’s work engage with race, racism and people of colour? What was the early modern experience of race? How do modern productions of plays that are preoccupied with race tackle the topic? How do theatre artists engage or not engage with it? Do actors, directors, designers, composers and musicians of colour have access to the same opportunities to pursue a career in theatre and to maintain their careers? How does unconscious bias enable white actors to have the advantage when it comes to costume design, lighting and set design? In other words, do creatives responsible for these arts always think consciously about taking into account skin colour when designing a show? What does it mean to be a person of colour and study, teach, perform, produce and read Shakespeare?

These and many more questions will arise during and beyond the festival – though there is no guarantee of finding answers. Indeed, more questions may be provoked.

Why should Shakespeare’s Globe be concerned with the topic of race now? As an international centre with iconic theatre spaces and a global presence, we aim to explore the ways in which Shakespeare’s plays, his theatres and his moment can be put into dialogue with the present and with issues that we face now in the 21st century, including and especially issues that relate to social justice.

The peer-reviewed journal Shakespeare Quarterly addressed the topic in a special issue. The editors, Kim F Hall (our Sam Wanamaker Fellow, 2018) and Peter Erickson, set some clear objectives for scholars to consider in the advancement of race studies: one of which states the need for “more studies of race and performance that themselves theorise/critique race rather than simply document the activities of people of color in the service of proving Shakespeare’s universality”.

In part, this festival, and, in particular, the symposium that will conclude it, is a direct response to this article’s call for action. In this festival, we want to ask questions about race, but not in a tokenistic way, and not in a way that suggests we are ticking a box or somehow trying to be ‘trendy’.

The aims of the festival are to invite scholars and artists of colour to speak on this topic openly and provocatively; to test our assumptions about theatre practice and racially diverse casting; to examine what it means to be a scholar or an artist of colour in 2018; to interrogate ourselves and the way in which we privilege white history, white authors and the landmark buildings, monuments

and canons that perpetuate such privilege. How can we turn Shakespeare’s Globe upon itself and ask its occupants and supporters to consider Shakespeare not as a model of universality, but as a site of reflection and empowerment? As a collection of works to jump into and scratch around in rather than merely adore, revere and worship?

The topic of race in Shakespeare is a growing field in America that young, emerging scholars of colour are making important contributions to. In the UK, there is less work being carried out in race studies at undergraduate and postgraduate level. One reason for our conference and its deliberate focus on the US and the UK is to find a way to develop the topic on both sides of the Atlantic.

Being able to listen to scholars who have been working in this field for decades and to hear from activists and thinkers like Kimberlé Crenshaw (American civil rights advocate and a leading scholar of critical race theory) and Luke Harris (director of programs and chairman of the board of directors of the African American Policy Forum raises the stakes of this festival.

Shakespeare’s Globe is at a point in its two-decade long history where it is reflecting upon itself as a cultural organisation; this festival is in part a response to the need for the Globe’s own evolving identity to emerge more fully as one that questions, interrogates and celebrates the potentially transformative impact that Shakespeare has on those who study, perform, read and enjoy his plays with their extraordinary, contradictory, troublesome and, most often, challenging themes.

Shakespeare and Race runs from 11-18 August at Shakespeare’s Globe taking in performances, talks, symposiums and panel discussions.  

publictheater: The Public Theater’s Free Shak…

publictheater:

The Public Theater’s Free Shakespeare in the Park production of Much Ado About Nothing, performed on the Delacorte Theater stage in Central Park. Cast features include Brian Stokes Mitchell, Hamish Linklater, Ismenia Mendes, Jack Cutmore-Scott, Kathryn Meisle, LIly Rabe, and Steel Burkhardt. Directed by Jack O’Brien.  PC: Joan Marcus.

Creative Team: Set, John Lee Beatty; Light, Jeff Croiter; Costume, Jane Greenwood; Sound, Acme Sound Partners; Composer, David Yazbek; Music Conductor, Nathan Koci; Hair & Wigs, Tom Watson; Production Stage Manager, Chris De Camillis.

publictheater: The Public Theaters’s Free Sha…

publictheater:

The Public Theaters’s Free Shakespeare in the Park production of As You Like It at the Delacorte Theater in Central Park during the 2011-2012 season. Directed by Daniel Sullivan, As You Like It features performers Andre Braugher, Lily Rabe, Renee Elise Goldsberry, and Stephen Spinella. PC: Joan Marcus

Creative Team: Set, John Lee Beatty; Light, Natasha Katz; Sound, Acme Sound Partners; Original Music, Steve Martin; Additional Music, Greg Pliska; Music Director, Tony Trischka; Costumes, Jane Greenwood; Wigs, Tom Watson; Fight Choreographer, Rick Sordelet; Choreographer, Mimi Lieber; Production Stage Manager, M. William Shiner

The Winter’s Tale in rehearsal. In a fit of groundless jealousy,…

The Winter’s Tale in rehearsal. 

In a fit of groundless jealousy, Leontes wrecks his marriage, defies the gods, destroys his family and ruins himself. As the years roll around, a new generation flee their own country and take refuge in Sicilia. Unknowingly they bring with them the key to the past, present and future… 

Directed by Blanche McIntyre (the Comedy of Errors, 2014; As You Like It, 2015) 

Opens 22 June with a Midnight Matinee on Friday 13 July. Find out more.

Photography: Marc Brenner