British Museum blog

Making magic

Shakespeare’s Restless World is currently being broadcast on BBC Radio 4. Today’s episode New Science, Old Magic takes us closer to Dr John Dee and his magical world.


Greg Doran, Artistic Director Designate, Royal Shakespeare Company

I have always been intrigued by theatre magic. Dr Dee is famous for having created an amazing illusion when he was a student at Cambridge in the 1540s, and even now I can’t work out how he did it. He put on a play, Aristophanes’ Peace, in which an Athenian mortal flies to heaven on the back of a dung beetle basically to ask the Gods to stop the Peloponnesian war. How did Dee manage to convince the audience that he was flying around Trinity Hall on the back of a giant dung beetle? I would have real problems doing that in the Swan Theatre in Stratford.

Unless you have the mechanics that are available to productions like Chitty Chitty Bang Bang or Mary Poppins, that kind of illusion is really hard to pull off, so I am rather fascinated by Dee. On open stages like the Swan or the Globe, with no lighting effects to speak of and the audience wrapped all the way around the stage, it’s very difficult to hide the strings.

It is intriguing to wonder how Shakespeare and his company at the Globe created magic. We know they did have effects; they could create thunder, for example. But in the controlled environment of the indoor theatres like the later Blackfriars Theatre, where there was more theatre machinery around, they had a far greater control of light – and if you can control the light, you can control the effect.

When you go to a Shakespeare play you are wondering how they are going to do Banquo’s ghost in Macbeth or how Hamlet’s father is going to appear. On an open stage this kind of illusion is harder to do. Patrick Stewart played Hamlet’s ghost in the 2008 production of Hamlet with David Tennant and we created an illusion that wherever he went on the stage, smoke surrounded him. It was actually a little machine tucked up under his great coat, but it made him look as though he was floating on a cloud of smoke wherever he went.

We did a production of Macbeth with Tony Sher and Harriet Walter in 1999, and we decided at the end of the banquet scene we needed to spook the audience. As Lady Macbeth left the banquet, she picked up one of the candles from the table and as she left, suddenly all the candles on the table extinguished by themselves. In fact the witches were sitting under the table and pulled the wicks through the candles, which is why they went out. The witches then suddenly pushed all the chairs over from underneath the table and threw the table in the air and the audience were pretty shocked; I have to say that was fun.

We spend a lot of time trying to work out the very simple magic that, of course, Shakespeare’s theatre was investigating all the time.

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 New Science, Old Magic

Find out more:
Royal Shakespeare Company
Behind the scenes at the RSC

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

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

Join 16,356 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

The Museum looks spectacular with a blue sky overhead – especially in this great shot by @whatrajwants. You can see the beautiful gold flashes shining in the sun. This triangular area above the columns is called a ‘pediment’, and was a common feature in ancient Greek architecture. The copying of classical designs was fashionable during the late 18th and early 19th centuries, and was known as the Greek Revival. The sculptures in the pediment were designed in 1847 by Sir Richard Westmacott and installed in 1851. The pediment originally had a bright blue background, with the statues painted white. #regram #repost #architecture #neoclassical #sculpture #gold #BritishMuseum Concluding our short series of gold objects from the Museum’s collection is this group of items found in the Fishpool hoard. The hoard was buried in Nottinghamshire sometime during the War of the Roses (1455–1485), and contains some outstanding pieces of jewellery. 1,237 objects were found in this hoard in total. At the time it was deposited, its value would have been around £400, which is around £300,000 in today’s money! The variety of this collection of objects includes brilliant examples of fine craftsmanship. The turquoise ring in the centre was highly valued as it was believed that turquoise would protect the wearer from poisoning, drowning or falling off a horse.
#hoard #gold #jewellery #turquoise #treasure Continuing our exploration of the golden objects in the Museum, this amazing inlaid plaque is from 15th-century China. Lined with semi-precious stones, this piece would have formed part of a pair sewn into a robe. We can tell this belonged to an emperor of the Ming dynasty because only he would have been allowed to use items decorated with five-clawed dragons.
#Ming #gold #jewellery #China #BritishMuseum Our next trio of objects shows off some of the shimmering gold in the Museum’s collection. This stunning piece of jewellery comes from Egypt and was made around 600 BC. It was worn across the chest – this type of accessory is known as a ‘pectoral’. Popular throughout ancient Egypt, pectorals have been found from as early as 2600 BC. This example is made from gold and is inlaid with glass, showcasing the incredible level of craftsmanship in Egypt at the time, and asserting the status of the wearer. Falcons were important symbols in ancient Egypt – the god Horus took the form of a falcon.
#AncientEgypt #gold #jewellery #BritishMuseum In 1991, BMW invited South African artist Esther Mahlangu to make a work of art in their Art Car project to mark the end of apartheid. Her work, with its brightly coloured geometric shapes, draws on the traditional house-painting designs of Ndebele people in South Africa. Under apartheid the Ndebele were forced to live in ethnically defined rural reserves – their designs are an expression of cultural identity, and can be read as a form of protest against racial segregation and marginalisation.

See this incredible Art Car as part of our #SouthAfricanArt exhibition, which opens 27 October 2016. You can book your tickets now by following the link in our bio.

Esther Mahlangu (b. 1935), detail of BMW Art Car 12, 1991. © Esther Mahlangu. Photo © BMW Group Archives.
#SouthAfrica #history #art #design Mapungubwe was the capital of the first kingdom in southern Africa from AD 1220 to 1290. This gold rhinoceros, alongside four other gold sculptures, was discovered in three royal graves there. They are among the most significant sculptures in Africa today. They depict animals of high status – an ox, a wild cat, and a rhinoceros – and also objects associated with power – a sceptre and a bowl or crown. These treasures were discovered alongside hundreds of gold objects, including bracelets and beads. Gold was mined in the regions around Mapungubwe for trade with the coast, as part of an international trade network stretching as far as China, becoming a status symbol for the kingdom’s rulers.

On loan from the University of Pretoria @upmuseums, these gold treasures will be a highlight of our #SouthAfricanArt exhibition, opening 27 October 2016. Find out more about the exhibition by following the link in our bio.
#SouthAfrica #rhino #art #history
Follow

Get every new post delivered to your Inbox.

Join 16,356 other followers

%d bloggers like this: