British Museum blog

Not of an age, but for all time

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode Shakespeare Goes Global looks at how Shakespeare’s audience left the Globe and became the whole world.

The works of Shakespeare, annotated by inmates at Robben Island Prison, South Africa. By permission of Shakespeare Birthplace Trust


Barrie Cook, radio series curator, British Museum

Working with Neil on the Shakespeare’s Restless World programmes as series curator, I usually felt I had a pretty good idea of the focus and trajectory of each episode as it reached broadcast point. This was not at all the case for the final programme Shakespeare Goes Global. So many ideas, so many directions, so many locations had been mooted throughout the development of the script that, listening to the final version, my inside knowledge wasn’t that much better than anyone else’s. For this final blog post, we thought it might be interesting to look at some of the ideas that got away, from some that were dismissed in an instant to others that remained for some time through the development process.

For a while, Shakespeare’s impact on popular culture was going to play a big part: a programme that could open with the Beatles (‘Lend me your ears and I’ll sing you a song’, Sgt Pepper’s Lonely Hearts Club Band, 1967) and end with the Arctic Monkeys (‘Oh, there ain’t no love, no Montagues or Capulets/ Are just banging tunes and DJ sets and/ Dirty dance-floors, and dreams of naughtiness!’). En route, we’d maybe call in on foreign-language Shakespeare, from the films of Kurosawa and Kozintsev, and dramatic re-workings like Forbidden Planet (The Tempest), My Own Private Idaho (Henry IV) and Rosencrantz and Guildenstern Are Dead (Hamlet) and of course YouTube hits (Green Eggs and Hamlet; the Star Wars Macbeth).

Shakespeare himself began as a purveyor of a vulgar form of entertainment, using understandable language full of references to the world he and his audience inhabited; he used clowns and caricatures and lots of jokes, good, bad and dirty. He wrote song and dance into his plays, some of which were virtually musicals well before Kiss Me Kate and West Side Story, and he set his own words to the pop hits of the day. He revisited other playwrights’ work and was happy to collaborate with co-authors, like a Hollywood screen-writer. So perhaps he wouldn’t have minded if, in turn, his own words and characters were adopted and adapted by generations of artists and entertainers. Even The Klingon Hamlet.

The core object for this final episode is one from the 20th century, a book of Shakespeare’s complete works annotated by prisoners from Robben Island. However, to keep in with the spirit of the series, we felt strongly that we also needed a firm root in the time of Shakespeare. Therefore the impact of the First Folio, the first Collected Works of Shakespeare, would inevitably loom large. Shakespeare himself, it seems, had next to no interest in publishing his plays (unlike Ben Jonson), so it was left to his friends to do it for him after his death.

There is so much to say about the First Folio – how many plays survive only through it, especially for the later part of his career; how important it was in creating the idea of the celebrity author and the cult of Shakespeare; how it changed attitudes to the importance of drama in English. For a while the story of the First Folio in the Bodleian Library, Oxford (acquired hot off the press in the 1620s and with a fascinating history), was going to be the focus of this approach, but it was too much of a digression. A little of this remains in the programme, now focussed on the British Library’s First Folio, but much does not.

The Eric Gill sculpture of Prospero and Ariel on the front
of BBC’s Broadcasting House

The interaction of Shakespeare with the BBC from the first broadcast of his work on 16 February 1923 was always going to be important, and remains in the final version of the programme. Inevitably dropping away was the bizarre controversy over the size of Ariel’s genitals on the Eric Gill sculpture of Prospero and Ariel on the front of Broadcasting House, arbitrated by a committee of eminent Shakespeareans and medical experts. Any reader of Shakespeare knows that prudery was not one of his characteristics and he would presumably have found this whole business in equal parts baffling and hilarious.

From the 2012 commemorative coinage to the opening ceremony of the Olympics (to take its cue from The Tempest’s ‘Be not afeard: the isle is full of voices’), Shakespeare is inescapable this year. Yet he always is; we just don’t usually focus on his importance so consciously.

Shakespeare’s Restless World is on BBC Radio 4
from 16 April to 11 May, at 13.45 and 19.45 weekdays.

Listen to today’s programme Shakespeare Goes Global

Filed under: Shakespeare's Restless World, What's on

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In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
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Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum. Our next special exhibition will explore the remarkable story of Sicily. Discover an island with a cosmopolitan history and identity – a place where the unique mix of peoples gave rise to an extraordinary cultural flowering.
Norman Sicily was a centre of multiculturalism and its art reveals a unique mix of influences. The Norman kings invited Byzantine mosaicists from Constantinople to decorate their cathedrals and palaces. Spectacular golden mosaics can still be found in Roger II’s palace chapel and the cathedrals at Cefalù and Monreale. This mosaic, depicting the Virgin Mary, is all that remains of the extensive mosaics that once decorated Palermo Cathedral.
Book now for #SicilyExhibition, opening 21 April 2016 at britishmuseum.org/sicily 
Mosaic of the Madonna originally from Palermo Cathedral. Sicily, AD 1130–1189. © Museo Diocesano di Palermo.
#Sicily #Italy #art #mosaic #exhibition #BritishMuseum
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