British Museum blog

When the world came to London


Dora Thornton, Exhibition Curator

Four centuries ago, the world began to come to London, which was reaching for the status of a world city. It was a time in which so many aspects of the modern world have their origins. In the forthcoming exhibition, Shakespeare: staging the world we explore these developments though the lens of Shakespeare’s plays. It was above all in the London playhouse that Shakespeare’s generation explored the strangeness and variety of humankind. Shakespeare gave his people, and London’s visitors, a vocabulary and a vision with which they could explore who they were and what it meant to be English, British, or a citizen of the world.

Looking at the Moor’s Head Cup, made by
Christoph Jamnitzer in Munich around 1600,
Bayerisches Nationalmuseum, Munich

As curator of the exhibition, I have had an exciting time over the last four years thinking my way into Shakespeare’s world with objects. It is a new kind of undertaking, and I have had to feel my way between objects and texts, to the extent that it would be impossible to say which came first in articulating the imagined places of Shakespeare’s plays for our visitors.

The exhibition is structured around Shakespeare’s real and imaginary locations — a brilliant concept put forward by the Shakespearean consultant to the exhibition, Professor Jonathan Bate. Through the innovative design of the display, visitors will travel through different settings as they were imagined in the London playhouse. Each place will have its own distinctive feel and atmosphere so that the visitor journeys with Shakespeare’s original audiences.

Following on from the approach of A History of the World in 100 objects, we have chosen objects which take the visitor directly to issues that mattered to Shakespeare and his original audiences. The objects express things that were new; things that had been lost or destroyed; things that were changing or challenging; new cultural encounters and human traffic in a period of expanding global contacts; contested or even explosive political ambitions.

The aim is to create a dialogue between Shakespeare’s imaginary worlds, and the real world as his generation experienced it.

Our collaboration with the Royal Shakespeare Company allows us to introduce an element of performance into the display in evoking “this wooden O” of the London playhouse. It also enables us to bring Shakespeare’s words into the exhibition through digital interventions which our visitors can experience both independently and in juxtaposition with the objects.

The first object is The First Folio of 1623, which preserved Shakespeare’s output as a dramatic artist for all time and assured his classic status. It is not just a text, but an iconic object in its own right, entirely appropriate to a British Museum exhibition in that we work with objects which are also texts; texts which are also objects (think of the Rosetta Stone, the Franks casket, or the Cyrus cylinder.)

We end with another iconic object which is also a text: ‘the Robben Island Bible’: a cheap edition of the Complete Works of Shakespeare which was secretly kept in the Robben Island jail by Sonny Venkatrathnam, hidden beneath Diwali cards and circulated among the political prisoners there. They found a common bond in Shakespeare as they did in their fight against apartheid, and many of them autographed their favourite passages; Shakespeare texts which meant something to them. The book will be open at Nelson Mandela’s favourite passage from Julius Caesar: “Cowards die many times before their deaths: The valiant never taste of death but once.” Unpacking that book on its arrival from South Africa has been the single most moving part of installing the exhibition for me. The arc from the First Folio to the Robben Island Bible is surely a journey worth taking.

Dora Thornton (right) and Becky Allen reading the Robben Island Bible

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: Shakespeare: staging the world, ,

5 Responses - Comments are closed.

  1. Brillient concept for engaging the audience with a deeper subject! Looking forward to seeing it.

    Like

  2. cunzy11 says:

    “Dora Thornton (right) and Becky Allen reading the Robben Island Bible”

    This is exactly how I tend to read books with another person, standing up in front of a grey background. Glad this photo wasn’t staged to pander to the masses who might sit down at a table in a room.

    Like

  3. ritaroberts says:

    Thankyou for sharing this very moving story. I would love to see the exhibition but as I live in Crete, alas too far. I am sure it will be a huge success.

    Like

  4. Laocoon says:

    When I look at the broad palette of Shakespeare events in 2012 it reinforces, for me, the fact that William Shakespeare is indeed the World’s best playwright ‘for any time’. I wasn’t aware of this exhibition and will certainly be attending.

    Like

  5. Vanessa Lindsay says:

    I went to Dora Thornton’s lecture yesterday and then the exhibition, both a complete delight – informative, inspiring, clear, entertaining, enthralling and wise – just as Shakespeare’s plays are. Thank you. My only minor disagreement was with an assertion from a member of the audience that James I is our only erudite monarch; perhaps a few of the others might challenge that, not least Elizabeth I.

    Like

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

Join 16,386 other followers

Categories

Follow @britishmuseum on Twitter

British Museum on Instagram

This Degas print is an example of the subject matter and technique the artist moved towards in the early 1890s. During this time, Degas produced sketchy prints showing female figures post-bathing. In this print we can see that the ink has been reworked during the printing process – the hair and shoulders show evidence of additional brushstrokes. The backgrounds of these works are much more sketchy and blurred than works he produced earlier in his career, perhaps showing his increased interest in figures.
#Degas #print #portrait The intense gaze of this young woman was originally intended to appear in the background of a horse racing scene by Degas, but the painting was never completed. This type of challenging composition is typical of the French artist’s work – he liked to crop the viewpoints of his paintings and sketches to create a different atmosphere. The coolly returned stare reverses the traditional relationship between viewer and subject, and emphasises Degas’ progressive approach to painting.
#Degas #painting #sketch #Paris French artist Edgar Degas died #onthisday in 1917. Today we’ll feature works that showcase his radical approach to framing subjects, and his subtle handling of form and tone. This vivid oil sketch from 1876–1877 depicts a repeated motif in Degas’ work – the Parisian ballet. He captured both performances and behind-the-scenes moments in his paintings and sketches, often using vantage points that give a fly-on-the-wall impression to his work. Degas worked rapidly but precisely – mirroring the movements of the dancers he portrayed – and this work is completed in thinned-down oil paint so that his quick brushstrokes could dry quickly.
#Degas #sketch #oilpainting #Paris #ballet Our #SunkenCities exhibition is the first at the British Museum on underwater archaeology. Over the last 20 years, world-renowned archaeologist Franck Goddio and his team have excavated spectacular underwater discoveries using the latest technologies. 
At the mouth of the Nile, the city of Thonis-Heracleion flourished as the main entry point into Egypt. Underwater excavations have found a large harbour, numerous ships and anchors, proving this was an international port. This magnificent monument was crucial to revealing that Thonis (in Egyptian) and Heracleion (in Greek) were in fact the same city. The decree was issued by the pharaoh Nectanebo I, regarding the taxation of goods passing through Thonis and Naukratis. A copy was found in the main Egyptian temple in each port. The inscription states that this slab stood at the mouth of the ‘Sea of the Greeks’ (the Mediterranean) in Thonis. 
Learn more about the connections between the ancient civilisations of Egypt and Greece in our #SunkenCities exhibition - until 30 November. Follow the link in our bio to find out more about it. 
Stela commissioned by Nectanebo I (r. 378–362 BC), Thonis-Heracleion, Egypt, 380 BC. On loan from National Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation. For centuries nobody suspected that Thonis-Heracleion and Canopus lay beneath the sea. Recorded in ancient writings and Greek mythology, the cities were believed to be lost. After sightings from a plane, a diving survey was organised in 1933 to explore submerged ruins. But it was only from 1996, with the use of innovative techniques and a huge survey covering 42 square miles of the seabed, that underwater archaeologists rediscovered the lost cities. 
Thonis-Heracleion and Canopus were thriving cities long before the foundation of the great port of Alexandria in 331 BC. Finds suggest that they were still inhabited into the AD 700s. The cities’ disappearance was caused by gradual subsidence into the sea – much like Venice today – coupled with earthquakes and tidal waves. This triggered a phenomenon known as land ‘liquefaction’, when the ground turns into liquid. 
This reconstruction shows what the port of Thonis-Heracleion could have looked like, dominated by the Temple of Amun-Gereb. Follow the link in our bio to book your tickets to our #SunkenCities exhibition. © Yann Bernard. © Franck Goddio/Hilti Foundation. Recent underwater excavations at the mouth of the Nile in Abukir Bay, Egypt, have revealed two ancient cities, perfectly preserved beneath the sea. Our #SunkenCities exhibition tells of the extraordinary rediscovery of the international port Thonis-Heracleion, and the city of Canopus, famed for their temples which attracted religious devotees from Egypt and beyond. 
Since 1996, underwater investigation using state-of-the-art technology has uncovered spectacular objects, including colossal statues, religious offerings and ancient ships. The finds shed new light on the interaction between ancient Egypt and the Greek world at a crucial period in their history, from the arrival of Greeks in Egypt around 650 BC, to the reign of the Greco-Macedonian Cleopatra VII, the last pharaoh of Egypt (51–30 BC). With only a fraction of these sites explored so far, annual excavations are continuing to uncover the cities’ long-hidden secrets. 
This 2,000-year-old bust depicts Neilos, the Nile river god. Neilos appealed to Egyptians and Greeks alike – he was the Greek version of Hapy, the Egyptian personification of the annual Nile flood that brought prosperity and fertility to the land. This bust was once mounted into a large decorative shield and adorned a temple in the ancient Egyptian city of Canopus. It was discovered by underwater archaeologists at the base of the wall on which it once hung. 
Follow the link in our bio to find out more about our unmissable exhibition. 
Bust of Neilos. Canopus, AD 100–200. On loan from Maritime Museum, Alexandria. Photo: Christoph Gerigk. © Franck Goddio/Hilti Foundation.
%d bloggers like this: