Browse content similar to Living Shakespeare. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Now on BBC News, a series of stories about Shakespeare's | :00:12. | :00:13. | |
The web of our life is of a mingled yarn, good and ill together. | :00:14. | :00:19. | |
They're here, in Chinese, Russian, Japanese, Hindi, | :00:20. | :00:22. | |
but the impact of Shakespeare's works around the world can be proven | :00:23. | :00:25. | |
in more than just 1,000 translations. | :00:26. | :00:37. | |
He was born right here, right inside this house in | :00:38. | :00:41. | |
In the 1600s, that's about a 3-day horse ride from London and from this | :00:42. | :00:57. | |
quintessentially English scene, hundreds of stories have unfolded | :00:58. | :00:59. | |
that have resonated the world over for the past four centuries. | :01:00. | :01:01. | |
We'll tell five such amazing stories from influential figures in China, | :01:02. | :01:04. | |
South Africa, Lebanon, India and the UK. | :01:05. | :01:06. | |
For the people you're about to hear from, Shakespeare's influence | :01:07. | :01:27. | |
is more than a touchstone for universal experiences. | :01:28. | :01:29. | |
His stories relate to specific events in their everyday lives. | :01:30. | :01:33. | |
In a moment we'll head to China, where we hear about the power | :01:34. | :01:36. | |
But first we go to South Africa, where actor Doctor John Kani talks | :01:37. | :01:40. | |
about the danger of playing Othello during apartheid. | :01:41. | :01:55. | |
Arise, black vengeance, from thy hollow cell. | :01:56. | :02:12. | |
Even today, Othello still makes people uncomfortable. | :02:13. | :02:23. | |
The story of the black general turned murderer through jealousy | :02:24. | :02:25. | |
I was fully aware of the risk of playing this part in apartheid | :02:26. | :02:37. | |
But in 1987, when I was offered the role, I could not refuse. | :02:38. | :02:46. | |
She loved me for the dangers I had passed. | :02:47. | :02:54. | |
And I loved her that she did pity them. | :02:55. | :03:00. | |
This only is the witchcraft I have used. | :03:01. | :03:07. | |
It was an opportunity to bring the relationship between black | :03:08. | :03:10. | |
I remember that when we walked out the audience shouted at us | :03:11. | :03:19. | |
The struggle against apartheid was bitter and violent. | :03:20. | :03:27. | |
During the rehearsals, there was a tense atmosphere. | :03:28. | :03:37. | |
But Othello at the Market Theatre opened to rave reviews. | :03:38. | :03:46. | |
In 1994, I was 51 years when I voted for the first time in my life. | :03:47. | :04:12. | |
I still walk about with those 51 years of horror. | :04:13. | :04:15. | |
Othello is a play which is woven into the struggle for equality | :04:16. | :04:19. | |
When we look at Shakespeare he affirms in us the equality | :04:20. | :04:23. | |
I still walk about with those 51 years of horror. | :04:24. | :04:40. | |
Let husbands know their wives have sense like them, | :04:41. | :04:42. | |
they see and smell and have their palates both for sweet and sour, | :04:43. | :04:46. | |
Over these 22 years of our democracy, I look back | :04:47. | :04:59. | |
Have we done enough to make a society which has space | :05:00. | :05:02. | |
for Othello and Desdemona were they won't be persecuted? | :05:03. | :05:09. | |
But words are words, I never yet did hear | :05:10. | :05:11. | |
that the bruised heart was pierced through the ears. | :05:12. | :05:31. | |
Despite wanting to be a nonracial society, | :05:32. | :05:32. | |
This is sometimes my fear in Othello, that Iago, the villain, | :05:33. | :05:36. | |
Desdemona is murdered, Othello kills himself but Iago | :05:37. | :05:39. | |
That somehow Shakespeare leaves racism alive. | :05:40. | :05:48. | |
It was at a moment in 1987 I realised the power of the arts, | :05:49. | :05:54. | |
the power of theatre as a force for change. | :05:55. | :07:09. | |
Over the years, many celebrated actors have come here to Stratford, | :07:10. | :07:11. | |
Shakespeare's home, to perform his plays | :07:12. | :09:39. | |
Over the years, many celebrated actors have come here to Stratford, | :09:40. | :09:43. | |
Shakespeare's home, to perform his plays | :09:44. | :09:48. | |
but it was while performing his greatest tragedy thousands of miles | :09:49. | :09:51. | |
away that a Bollywood actor came to identify with one | :09:52. | :09:53. | |
We know what we are but know not what we may be. | :09:54. | :10:18. | |
As a divorced Bollywood actress living in Mumbai, | :10:19. | :10:20. | |
Between being famous and wanting a personal life, | :10:21. | :10:28. | |
being seen as sexy while retaining my dignity. | :10:29. | :10:32. | |
And India both applauds and castigates me. | :10:33. | :10:46. | |
Near the beginning of William Shakespeare's most famous | :10:47. | :10:50. | |
tragedy, Hamlet, we are introduced to Ophelia. | :10:51. | :10:53. | |
and potential spouse for the Prince of Denmark. | :10:54. | :10:59. | |
Yet Ophelia struggles with the conflict of being her | :11:00. | :11:02. | |
brother's sweet sister, and Hamlet's breeder of sinners. | :11:03. | :11:04. | |
This is the dilemma facing India's women. | :11:05. | :11:08. | |
By some, we are expected to be traditional and pure. | :11:09. | :11:31. | |
While by others, we are encouraged to be independent and sultry. | :11:32. | :11:35. | |
Do you think I meant country matters? | :11:36. | :11:44. | |
There is conflict and confusion in our minds. | :11:45. | :11:47. | |
And these pressures can become unbearable. | :11:48. | :11:50. | |
A social worker abused by men blames herself | :11:51. | :11:54. | |
Another is raped and killed on a Delhi bus. | :11:55. | :12:01. | |
She is questioned for what she is wearing, | :12:02. | :12:07. | |
and shamed for being out late at night. | :12:08. | :12:10. | |
For Ophelia, it becomes quite impossible for her not to disappoint | :12:11. | :12:14. | |
God has given you one face, and you make yourselves another. | :12:15. | :12:30. | |
These women died because they were caught between desire | :12:31. | :12:33. | |
I do enjoy the dazzling glare of Bollywood, but sometimes I don't | :12:34. | :12:42. | |
In Hamlet, I can't ignore the agony of Ophelia. | :12:43. | :12:50. | |
Just as we can't ignore the tragedies | :12:51. | :12:53. | |
In Indian society, there are limitations. | :12:54. | :13:05. | |
I'm hopeful for an Ophelia who doesn't drown in the river, | :13:06. | :13:11. | |
but swims strongly to the other side. | :13:12. | :13:18. | |
Oh, woe is me to have seen what I have seen. | :13:19. | :13:22. | |
Shakespeare's plays may be written in words, | :13:23. | :13:33. | |
but in a moment, we'll hear how it was the imagery and themes | :13:34. | :13:37. | |
that chimed with a dance group during the Lebanon Civil War. | :13:38. | :13:43. | |
Next, though, it is the qualities of his language that enable a deaf | :13:44. | :13:46. | |
Your tales, sir, would cure deafness. | :13:47. | :14:10. | |
When it comes to the works of William Shakespeare, | :14:11. | :14:13. | |
I find myself seeing his tales through sounds. | :14:14. | :14:21. | |
It's a subject close to my heart, as I am a musician who just happens | :14:22. | :14:24. | |
When I read The Tempest, the words positively shout | :14:25. | :14:36. | |
Shakespeare entices us into the play using sound | :14:37. | :14:54. | |
The play is a vibrant mix of noises and sounds of the land and sea | :14:55. | :15:04. | |
To cry to the sea that roared to us, to sigh to the winds whose pity, | :15:05. | :15:09. | |
sighing back again, did us but loving wrong. | :15:10. | :15:12. | |
Lines like these take me back to my homeland in Aberdeenshire, | :15:13. | :15:15. | |
where a walk on the cliffs would force me to face the wind | :15:16. | :15:20. | |
so that I could feel the sound on my cheeks. | :15:21. | :15:23. | |
I have found a way to substitute my hearing loss. | :15:24. | :15:28. | |
I immerse myself into the senses within my skin, bones and muscles. | :15:29. | :15:33. | |
I'm tempted to replicate sound colours from the play | :15:34. | :15:38. | |
through my percussion instruments as I hear the words spoken | :15:39. | :15:47. | |
In the plotting between Antonio and Sebastian, | :15:48. | :16:05. | |
I feel the breath of whispers in the night. | :16:06. | :16:10. | |
Here lies your brother, no better than the earth | :16:11. | :16:13. | |
There is drama in the tales of storms and drowning. | :16:14. | :16:27. | |
I saw him beat the surges under him and ride upon their backs. | :16:28. | :16:30. | |
He trod the water whose enmity he flung aside. | :16:31. | :16:39. | |
Anxiety builds and pounds upon my chest cavity until Ariel | :16:40. | :16:41. | |
Shake off, slumber, and beware - awake, awake. | :16:42. | :16:52. | |
Perhaps the use of sound colours is what we most enjoy | :16:53. | :17:01. | |
I wonder if Shakespeare knew what I have discovered - | :17:02. | :17:07. | |
Sometimes a thousand twangling instruments will hum about my ears. | :17:08. | :17:28. | |
What masks, what dances shall we have? | :17:29. | :17:38. | |
Caracalla is a family, a dance company that unites | :17:39. | :17:52. | |
in a country that has seen too much conflict and pain. | :17:53. | :18:01. | |
My father, who founded Caracalla almost 15 years ago, | :18:02. | :18:07. | |
always believed that Shakespeare spent his so-called missing years | :18:08. | :18:10. | |
We really recognise his voice in Lebanon. | :18:11. | :18:16. | |
In 1990, during the final months of the Civil War, | :18:17. | :18:27. | |
fighting forced the company from our homes. | :18:28. | :18:31. | |
As a family, we retreated from Beirut and travelled up | :18:32. | :18:36. | |
So it was here in the mountain palace of Beit ed-Dine | :18:37. | :18:46. | |
just a short drive away that we devised our legendary dance | :18:47. | :18:49. | |
production of Shakespeare's Midsummer Night's Dream. | :18:50. | :18:56. | |
Confined by war, the palace provided a haven for Caracalla, | :18:57. | :19:02. | |
while the Barouk forest, a place of inspiration. | :19:03. | :19:10. | |
Out of this wood, do not desire to go. | :19:11. | :19:13. | |
Thou shalt remain here whether thou wilt or no. | :19:14. | :19:20. | |
Here in the forest, we could forget about conflict. | :19:21. | :19:22. | |
What better place to recreate our Midsummer Night's Dream? | :19:23. | :19:30. | |
To transport Shakespeare's tale of love and magic into dance, | :19:31. | :19:32. | |
we found the thread of the story, inspired by these trees. | :19:33. | :19:35. | |
In our production, Barouk is our mystical forest, | :19:36. | :19:45. | |
and the fairies are enchanted genies. | :19:46. | :19:47. | |
In Lebanon today, for meddling fairies we have political leaders. | :19:48. | :20:10. | |
When the company finally performed Midsummer Night's Dream | :20:11. | :20:13. | |
in the summer of 1990, it heralded a time of peace. | :20:14. | :20:24. | |
Like the works of Shakespeare, dance is a magical language. | :20:25. | :20:26. | |
And it's how we can change our reality. | :20:27. | :20:31. | |
It seems to me that yet we sleep, we dream. | :20:32. | :20:44. | |
AARON: I continue to marvel at the power of Shakespeare | :20:45. | :20:47. | |
As the films illustrate, it always appears possible to tie | :20:48. | :21:00. | |
the issues of the modern world to his works, whether in tragedy | :21:01. | :21:04. | |
This is why the world continues to live Shakespeare. | :21:05. | :21:12. | |
And this, our life, exempt from public haunt, | :21:13. | :21:19. | |
finds tongues in trees and books in running brooks. | :21:20. | :21:33. | |
Sermons and stones and good in everything. | :21:34. | :21:35. | |
To find out more about the essays featured in this series, | :21:36. | :21:39. | |
Follow the links to the Open University and the British Council. | :21:40. | :22:09. | |
Good morning. A cold and frosty foot start to the day and we have also | :22:10. | :22:14. | |
got some patchy | :22:15. | :22:15. |