[1]Question: How relevant you think is Shakespeare and his august body of works in today’s world?
Answer: William Shakespeare is timeless, both as a legendary poet as well as a remarkable playwright. His dramas encompass themes that are universal in appeal and significantly cutting across time and geographical
barriers. They are applicable to one and all and are still relevant today. Subjects of love, hate, death, war, family, relationships, greed , power, ambition, sex, magic and ghosts are but to name a few that determine the premise of this Elizabethan bard’s everlasting creations. His stories are open to stage-screen adaptations and directors frequently exercise creative licence by transporting them to a different realm. For instance, Macbeth in a concentration camp. The multitude of cinematic adaptations of Shakespeare’s plays and the extent to which they are performed and translated into innumerable different languages world-wide, are a testimony to the fact that his works are justifiably labelled as eternal classics.
Q: Can any direct/indirect linkage be established between his plays and the contemporary world of communication and acting skills?
A: In terms of acting styles, there is little evidence about how the Elizabethans and Jacobeans would have performed. Many historians use Hamlet, the tragic hero’s advice to the players, thus borrowing from his speech in the namesake revenge play — “Nor do not saw the air too much with your hand, thus, but use all gently” — to suggest that a realistic style of acting and communicating was prevalent at that time. However in those days, precisely during the era of 16th century, there were no actresses to don the female parts, because women were debarred from participating in any public performance or a given spectacle. The convention was to then rope in young boys to enact feminine roles, indicating that perhaps realistic acting/communicating was also not possible. So, there is a contradiction in the end to this debate. In terms of communication, Shakespeare’s eloquent use of language (which connotes the social, impersonal phenomenon of language as a system of signs) can teach us much about the power of language. For example, one of his most renowned speeches that he penned for the royal character of Henry V in the eponymous historical play: “Once more unto the breach dear friends once more”, is a wonderful case of oration and a persuasive, motivational speech uttered by King Henry as he tries to rally his fighting troops back to a bloody war.
Q: What are the thrust areas you usually stress upon at your standard acting workshops?
A: I’d like to reiterate here that acting is comparatively an easy task. We just need to simplify everything and be specific with our skilled job. You cannot generalise while acting. You have to be consciously meticulous about denoting the slightest, subtlest nuances, since assessing the finer nitty-gritties is of paramount importance. Study the following example on this count — to “tell the truth” and to “be truthful” . These are little intricate things that tend to blur on the surface otherwise. Fact is, acting is not about funny accents, dodgy walks and big facial expressions. It is about researching, creating and being true to your character. Period. Every process is different but I think playing, making choices and listening to other actors is also essential to enable an avid aspirant to “be in the moment” and “into the character” simultaneously.
Q: Did you conduct this acting session only in Kolkata or in other Indian cities as well?
A: We did organise a series of drama workshops solely in Kolkata and I know that in West Bengal there is a great desire and respect for the discipline of performing arts, including “the histrionic department of drama” which was a great news for me as well as the Central School of Speech and Drama, London. This was my second year teaching in India and it was mind-blowing to see students from 2010’s enrolment return to explore, engage and learn more from the engaging and enlightening acting classes. We have been working well with the British Council here in Kolkata and are now getting a lot of interest from other parts of India, especially from the industrial, film capital, Mumbai. So, hopefully that will be something new for us to look forward to in the near future.
Q: Every country has its own cultural and religious codes, linguistic and geographical specificities as well as its salient indigenous customs. In fact, all this has a bearing on its citizens too. Did you spot any striking difference between an Indian student and a European or an American student in terms of interpreting Shakespeare or enacting him?
A: I understand that in India, most students study Shakespeare from an early age in school as they are thoroughly introduced to grand, epical protagonists like a Macbeth and a Julius Caesar or a King Lear as part of their academic syllabi. So logically, some may even come to know about or assimilate Shakespearean plays in greater depths than their Western counterparts, back in the UK. I think one of the key factors to keep in mind while working on Shakespeare is to understand England in the contextual canvas of 1599 when Shakespeare’s Globe Theatre had first opened its gates. Exploring the playing space, performance conditions and talking about how his plays were performed at that time is indeed very relevant while working with the texts. Therefore, a British student would certainly score a vantage point here. When approaching a text, in my opinion, a director needs to analyse it independently, like a novel, untapped subject, so as not to be overtaken or being immensely influenced by the preceding performances or other famous interpretations either on stage or at someplace else.
Q: How enriching has been your stint so far as a tutor at the world-famous Shakespeare’s Globe Theatre?
A: I enjoy teaching at the well-known Shakespeare’s Globe and inspire students to come and involve in from around the world to enjoy reading as well as portraying the bard’s plays. Every workshop is unique to me. I also continue to learn and unlearn new things each time I revisit a text or work with a different group in the process.
Q: Any plans for directing and staging a Shakespearean play? Which tragedies or comedies are your personal favourites?
A: As I am currently observing a busy schedule in acting, I have no plans in the pipeline to direct a Shakespearean piece in times ahead. Nevertheless, my favourite titles from the dramatist’s repertoire are Macbeth, Much Ado About Nothing, Merchant of Venice, both Richard II and Richard III. Honestly speaking, as a Scot, I would love to play the able-bodied and ambitious gallant soldier Macbeth, someday (smiles!).
Q: Which titles from the Elizabethan dramatist’s repertoire would you refer as universal and timeless classics? Cite your reasons.
A: All of Shakespeare’s plays contain ubiquitous themes. Except the period sagas, which when viewed from their specific context of time, setting and events, seem less immortalised. For example, although Richard II is about incidents brewing at the backdrop of British history, the themes within the play, such as leadership, power, ambition are universal. The plays that are most global in essence and entrenched with the timeless topics, are probably the most popular ones. For instance, Hamlet in which the young prince questions the very foundation of human existence or Romeo and Juliet which is about young love, hate and elements of fate or destiny. All this and much more, we can easily correlate with our personal situations in life.
Q: Any significant character that is close to your heart or interesting to analyse and reprise on stage?
A: There are multiple characters in Shakespeare’s plays to whom I am closely attached and find a connect with. But this has however changed over the years depending on my age, casting type and experience. Currently, I would love to take on the challenge of playing “Macbeth” or “Richard II”. However in future further, when I’ll grow a little older, I would love the opportunity to play “King Lear”.
Q: Many Shakespearean dramas have been a fascinating fixation for theatre directors and filmmakers across the world even today, including Bollywood, wherein reputed Indian filmmaker Vishal Bharadwaj has even given his own spin and a rustic angle to it. For instance in Omkara (a take on Othello), or Maqbool (Macbeth). Latest reports claim that even ace director Tigmanshu Dhulia is reeling a Hindi action film adapted from Hamlet. Have you seen any of Indian or foreign interpretations of Shakespeare?
A: I am sorry to admit that I have not seen any of Indian productions of Shakespearean theatre till now. But having heard about their brilliant making and thought-provoking presentations of some notable adaptations from my students, I am keen to catch up on a bulk of those movies seriously!
Q: Literature is not time-bound and even if the bard is eternally exercising his influence upon a myriad creative minds after four centuries from the date of his existence, how acceptable do you think he is among the modern gadget freak, fast-paced, new-age kids? Are today’s school-college going children susceptible to a Shakespearean plot?
A: As previously stated, Shakespeare’s plays are still relevant to a young audience of 21st century’s high-street fashion as the themes and topics touch the human heart and can affect the soul in deeper folds than the wi-fi technology or multi-faceted gizmos! The archaic language can be a barrier but the narratives steeped with a gang culture and young love in Romeo and Juliet for instance, are just as relevant to a teenager today as they were 400 years ago (laughs!).
Q: Do students enjoy reading Shakespeare more in his original scripts or conform to abridged versions, written in simple English with a story format, instead?
A: Each student is different with differing needs, depending on his/her age and education. There are many versions of the texts but it is important to remember that these plays were originally written to be performed and get entertained with. The purpose of education never cropped up in the first place. Students do often find the language to be obsolete and quite an obstacle to be weeded out. So story versions or modern translations can help the student find the text as more accessible and comprehensible prior to dealing with the original text. However, nothing can beat the power of a lingo plus a plot in performance. Translations lose the rhythm of Shakespeare’s verse and so a student, who is not reading or dabbling with the original text, would be missing out on his genius in great deal.
Q: Is the eminent litterateur widely translated across the globe? Or more translations are required to spread the Shakespearean word around?
A: I believe Shakespeare, as the most performed playwright in the world, has been translated into most national languages. As a result, people from all corners, various cultures and different walks of life, can appreciate his tales and characters in tandem. However, in the hindsight I imagine, much of Shakespeare’s adept craft with the language, verse, rhythm and prose will unfortunately be lost in translation, if more initiatives are taken on those lines.
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[1] http://archive.asianage.com/thet2jpg-840