British Museum blog

Filming Shakespeare’s magic

Bill Douglas Centre, University of Exeter


Professor Tony Howard, University of Warwick

Caliban in The Tempest. Courtesy of the Don Boyd Archive at the Bill Douglas Centre, University of Exeter

When I was invited to think about curating a film programme to accompany the British Museum’s exhibition Shakespeare: staging the world, my first thought was to connect with the idea of the Cultural Olympiad, and to focus on Olympic years. In 1948, when London last hosted the Games, Laurence Olivier and Orson Welles respectively directed Hamlet and Macbeth; they’re two radically different films, one a self-conscious classic involving Britain’s finest actors, designers and musicians, the other a ‘charcoal sketch’ filmed in a fortnight but nonetheless one of the most visually brilliant of all Shakespearean films. Together, they invented a genre.

There were attractions to the idea of tracing the parallel progress of the Olympics and Shakespearean film from London to Rome to Tokyo and beyond. But it was soon obvious that our programme should actually relate to the exhibition itself, and to its content. The exhibition is called Shakespeare: staging the world – how has cinema re-imagined the worlds that Shakespeare staged?

So there are three parts to the film programme: ‘Shakespeare’s Rome’, ‘Shakespeare’s England’, and ‘Shakespeare’s Magic’.

With both ‘Rome’ and ‘England’ we have presented two films. First an early landmark in the development of Shakespeare’s adaptation for the screen, then a more recent work, able to build on the groundwork and eager to experiment with ideas of history, politics, and the ways we all encounter them – via the media.

We began with the 1953 MGM Julius Caesar starring Marlon Brando, and we’ll follow it with Ralph Fiennes’ brilliant updating of Coriolanus into the Balkans War and our era of 24-hour television news. Then comes Olivier’s beautiful Henry V and Richard Loncraine and Ian McKellen’s Richard III, set in an Alternative History version of 1930s London, where King Edward married an American divorcee and lived in St. Pancras Station while his brother George…I’d best stop there: spoilers.

The season began with a packed house for Julius Caesar and a post-screening discussion that carried on into the street. We’ll conclude with a study day on Saturday 17 November. We’ll ask how directors have accepted the challenge of visualising the supernatural in Macbeth and The Tempest.

In the morning we’ll focus on ‘Macbeth on Six Continents’, exploring versions from Hollywood (Welles gets in after all), Ladywood, Madagascar and…sorry. No. Spoilers.

And that afternoon we shall celebrate Derek Jarman’s astonishing counter-cultural Tempest, which he filmed in Stoneleigh Abbey in Warwickshire during the 1979 Winter of Discontent.

We shall, I’m thrilled to say, be joined by Don Boyd, The Tempest’s producer (who himself went on to direct Richard Harris as King Lear) and David Meyer, Jarman’s Ferdinand (who previously played Hamlet on screen opposite Helen Mirren). Actually, to be precise, Don directed a modernised Lear set in Liverpool gangland, and David and his twin brother Tony played Hamlet simultaneously opposite Helen Mirren as Ophelia and the Queen.

Shakespeare on screen is extraordinary. It can be something very rich and strange.

The study day Filming Shakespeare’s magic: Macbeth on six continents and Prospero in England is at the British Museum on Saturday 17 November.
Book tickets now >

See all Shakespeare events >

Shakespeare: staging the world is open from 19 July to 25 November 2012.

The exhibition is supported by BP.
Part of the World Shakespeare Festival and London 2012 Festival.

Tweet using #ShakespeareExhibition and @britishmuseum

If you would like to leave a comment click on the title

Filed under: Exhibitions, Shakespeare: staging the world

Enter your email address to follow this blog and receive notifications of new posts by email.

Join 9,231 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

Horatio Nelson died #onthisday in 1805 at the Battle of Trafalgar. This commemorative medal was intended for presentation to the men who fought under Nelson at Trafalgar, with 19,000 struck in copper, of which 14001 were distributed.
#history #medal #trafalgar #nelson Dutch artist Aelbert Cuyp was born #onthisday in 1620. He seemed to be very fond of cows! The Sydney Opera House opened #onthisday in 1973.

Designed by the Danish architect Jørn Utzon, the Sydney Opera House provoked fierce public controversy in the 1960s as much over the escalating cost of its construction as the innovative brilliance of its domed sail-like halls. Now recognised the world over as a magnificent architectural icon jutting into Sydney Harbour, the Sydney Opera House finally opened in 1973. 
In this Christmas card for 1972 Eric Thake (1904–1982) cheekily anticipates the long awaited opening with his domestic version of the grand architectural statement. Crockery stacked in a drying rack forms the shape of the Sydney Opera House, with water from the kitchen sink adjacent. The small housefly resting on one of the stacked plates adds an unmistakably Australian touch.

Text from Stephen Coppel’s 'Out of Australia: Prints and Drawings from Sidney Nolan to Rover Thomas'
#art #architecture #sydneyoperahouse #sydney #print Born #onthisday in 1632: architect Sir Christopher Wren. Here’s a freehand drawing showing the relationship of the domes of the new St Paul’s Cathedral
#history #architecture #stpauls #London #art Room 4, Egyptian sculpture, is the next gallery in our #MuseumOfTheFuture series. The objects in this gallery range in date from 2600 BC to the 2nd century AD. Large-scale sculpture was an important feature of the great temples and tombs of ancient Egypt and was believed to be imbued with powerful spiritual qualities. Sculptures on display in Room 4 include stylised depictions of kings, deities and symbolic objects ranging from the time of the Old Kingdom to the middle of the Roman Period. There are also architectural pieces from temples and tombs.
An imposing stone bust of the great pharaoh Ramesses II presides over the room, while the world-famous Rosetta Stone (in the foreground of this pic), with its inscribed scripts, demonstrates how Egypt’s ancient form of pictographic writing was deciphered for the first time.
#museum #art #sculpture #history #ancientegypt #egypt #hieroglyphs Next in our #MuseumOfTheFuture series looking at all the galleries in the British Museum, it's Room 3. Since 2005 this room has housed a series of temporary displays – The Asahi Shimbun Displays. Usually focused on one object (although sometimes featuring several), it provides a space in which to experiment with display and interpretation. Displays have featured everything from ancient African hand tools to contemporary art, from Old Masters to manga. The current display (pictured) features an enormous print by Albrecht Dürer.
#museum #art #history
Follow

Get every new post delivered to your Inbox.

Join 9,231 other followers

%d bloggers like this: