The Tempest is a difficult play to nail down. It is also the most reinterpreted and adapted of Shakespeare’s plays. In this episode, Sheldrake pursues three themes – Love, Power and Art – and examines how they have been reinterpreted over the centuries.
It’s difficult to know what, and particularly who, to talk about in Othello. Iago is a distraction, Othello likes to inflate his own sense of himself, whilst Desdemona can seem even less than she is. Which is odd, because the characters too find themselves not quite knowing how to interpret what they see in front of them. Or they misunderstand completely and interpret too easily. Their perspective is awry. And because Shakespeare wants to show us just how easy it is to do that, he makes audience after audience lose their perspective too.
Twelfth Night seems to be everyone’s favourite Shakespeare play. Why is this the case? Could it be something to do with the fact that it is a play about playing? This play is a hymn to the pleasure and virtue of playing and play wins over anti-play, though of course the real motto is that it’s the taking part that counts.
King Lear is a work of obvious genius, so what to say about it in fifteen minutes that can illuminate it? Using the historical idea of service, and the relationship between service and – believe it or not – love, we can get a handle on all sorts of relationships in the play. And Sheldrake thinks these handles can help us whether we are in a classroom, sitting room or rehearsal.
Globe Education is launching its new season, a rich array of theatrical and academic events culminating in a two-day conference next April. Sheldrake went along to the Globe to interview Dr Will Tosh to talk about the theme of the season, namely Amity, and some of the upcoming events, including performances at the Inns of Court. Amity is the Renaissance ideal of friendship and if you know the magic of, in Cole Porter’s memorable phrase, a perfect blendship, then tune in for some reflection on the subject.
We all have an image in our mind’s eye of Shakespearean performance during Shakespeare’s lifetime, but what happened between then and now? Why didn’t the Restoration court like Shakespeare? Who is David Garrick? For answers to all these questions and more, seek no further.
Shakespeare nicked stuff from everywhere; prose narratives, history books, other plays. Sheldrake rattles through a few of the old chestnuts and a few of the lesser-known borrowings, showing Shakespeare as a great adapter of stories.