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Welcome to Italy. | 0:00:04 | 0:00:06 | |
Shakespeare's Italy. | 0:00:06 | 0:00:09 | |
400 years ago, this was the place William Shakespeare dreamt about. | 0:00:12 | 0:00:18 | |
'To him, Italy was a country of romance, | 0:00:18 | 0:00:24 | |
'beauty | 0:00:24 | 0:00:26 | |
'and mystery. | 0:00:26 | 0:00:28 | |
'Once it was the centre of the Roman empire, | 0:00:30 | 0:00:33 | |
'and, in Shakespeare's time, the heart of the Renaissance. | 0:00:33 | 0:00:37 | |
'Italy set the fashion for the western world. | 0:00:40 | 0:00:45 | |
'In art and poetry, music and manners, | 0:00:45 | 0:00:49 | |
'clothes and even perfume. And, of course, | 0:00:50 | 0:00:54 | |
'politics and power.' | 0:00:54 | 0:00:56 | |
No wonder William Shakespeare was so fascinated with Italy. | 0:01:05 | 0:01:09 | |
Our Italian cities were like exotic stage sets, | 0:01:09 | 0:01:13 | |
perfect for the most colourful stories. | 0:01:13 | 0:01:17 | |
There's hardly a play without a mention of Italy. | 0:01:25 | 0:01:29 | |
And he set more than a third of them here. | 0:01:29 | 0:01:33 | |
O, Romeo. Wherefore art thou, Romeo? | 0:01:33 | 0:01:38 | |
If you prick us, do we not bleed? | 0:01:38 | 0:01:42 | |
I would rather hear a dog bark at a crow than a man swear he loves me! | 0:01:42 | 0:01:49 | |
Did my heart love till now? | 0:01:49 | 0:01:51 | |
We Italians love Shakespeare. | 0:01:51 | 0:01:54 | |
Somehow this Englishman managed to capture the true essence of us Italians - | 0:01:54 | 0:02:01 | |
how we speak, how we behave and how we love. | 0:02:01 | 0:02:04 | |
He taught you how to love through the stories he told about us. | 0:02:04 | 0:02:10 | |
'Venice. The most romantic place in the world. | 0:02:54 | 0:02:59 | |
'And a favourite setting for the plays of William Shakespeare. | 0:03:00 | 0:03:04 | |
'This has been the home of my family since before Shakespeare's time.' | 0:03:06 | 0:03:12 | |
"Venezia, Venezia. Chi non ti vede, non ti prezia." | 0:03:13 | 0:03:18 | |
"Venice, Venice. Only those who don't see you don't value you." | 0:03:18 | 0:03:23 | |
The words of Shakespeare himself, | 0:03:23 | 0:03:26 | |
quoting an Italian proverb in Italian. | 0:03:26 | 0:03:30 | |
Shakespeare painted a picture of Italy as the Land of Love. | 0:03:35 | 0:03:41 | |
It became a favourite destination for the fashionable Elizabethans. | 0:03:44 | 0:03:49 | |
That English love affair with my country is as passionate today as ever. | 0:03:49 | 0:03:56 | |
With a good ship and a fair wind, it could take just four weeks | 0:04:01 | 0:04:06 | |
to travel from London to Italy. | 0:04:06 | 0:04:09 | |
And what about Shakespeare? Did he ever come here? This is the most tantalising question. | 0:04:19 | 0:04:25 | |
Is it so crazy to think that he was in Italy? | 0:04:25 | 0:04:29 | |
Because, in 1585, | 0:04:29 | 0:04:31 | |
at the age of 21, | 0:04:31 | 0:04:33 | |
Shakespeare just vanishes from history for seven long years. | 0:04:33 | 0:04:38 | |
No one knows what he was doing. No one knows where he was. | 0:04:38 | 0:04:43 | |
Shakespeare scholars call this time his "lost years". | 0:04:43 | 0:04:48 | |
'Shakespeare seems to know everything there is to know about Venice. | 0:04:52 | 0:04:57 | |
'Of course, he knew about gondolas. | 0:04:57 | 0:05:00 | |
'He knew the Rialto was where merchants did business. | 0:05:02 | 0:05:07 | |
'He appreciated that we Venetians make excellent maps | 0:05:12 | 0:05:16 | |
'and sea charts. | 0:05:16 | 0:05:18 | |
'He knew a traditional gift here is a dish of doves. | 0:05:18 | 0:05:23 | |
'And that our favourite Venetian saying is, "Sano come il pesce." As healthy as a fish. | 0:05:24 | 0:05:32 | |
'He even knew about the boats connecting Venice with the mainland, the traghetti. | 0:05:35 | 0:05:42 | |
'So how could he know so much about us? | 0:05:43 | 0:05:46 | |
'Historian Alberto Toso Fei is a Venetian expert on Shakespeare.' | 0:05:52 | 0:05:58 | |
'It's nice to imagine that William Shakespeare came here. | 0:07:03 | 0:07:07 | |
'The buildings, the canals, the flavour of the place is so much the same as in his time | 0:07:07 | 0:07:13 | |
'that it's easy to feel it's possible.' | 0:07:13 | 0:07:17 | |
'I learned about Shakespeare when I was at school and he's stayed with me ever since. | 0:07:27 | 0:07:33 | |
'I think it was Shakespeare who taught me everything about the art of love. | 0:07:33 | 0:07:39 | |
'Well, almost everything. | 0:07:39 | 0:07:43 | |
'Young love. | 0:07:46 | 0:07:49 | |
'Tragic love. | 0:07:49 | 0:07:51 | |
'Triumphant love! | 0:07:51 | 0:07:54 | |
'How to be a true lover.' | 0:07:54 | 0:07:57 | |
But Shakespeare didn't start out like this. | 0:08:02 | 0:08:06 | |
He seems to have had all the arrogance of a young man in a hurry. | 0:08:06 | 0:08:12 | |
Do you marry with your heart or with your head? | 0:08:12 | 0:08:16 | |
Shakespeare seemed sure you should marry first for money | 0:08:16 | 0:08:21 | |
and worry about love later. | 0:08:21 | 0:08:24 | |
'So what about Shakespeare in love? | 0:08:25 | 0:08:28 | |
'Well, he married at just 18. | 0:08:28 | 0:08:31 | |
'His wife, Anne, was much older. | 0:08:31 | 0:08:34 | |
'She was a farmer's daughter and she came with a generous dowry. | 0:08:34 | 0:08:39 | |
'This is the ancient university town of Padua, | 0:08:58 | 0:09:02 | |
'for centuries the scene of young romance, | 0:09:02 | 0:09:05 | |
'of student love. | 0:09:05 | 0:09:07 | |
'It is the set of Shakespeare's first Italian play and it set a pattern. | 0:09:12 | 0:09:18 | |
'First, look around for inspiration and see what's already been written.' | 0:09:18 | 0:09:23 | |
The romantic story The Taming of The Shrew was "borrowed" from an Italian play | 0:09:27 | 0:09:34 | |
written some years before by Ludovico Ariosto. | 0:09:34 | 0:09:38 | |
His version was set in Ferrara, | 0:09:38 | 0:09:41 | |
but Shakespeare chose to move it to the learned atmosphere of Padua. | 0:09:41 | 0:09:47 | |
'But it wasn't enough. So next he went further back in history | 0:09:48 | 0:09:53 | |
'to find ideas he could play with. | 0:09:53 | 0:09:56 | |
'He set about studying our thinkers and philosophers. | 0:09:58 | 0:10:03 | |
'For Shakespeare, Italy was like an intellectual treasure trove.' | 0:10:04 | 0:10:10 | |
In our modern world, we have hundreds of "How To" books. | 0:10:11 | 0:10:16 | |
How to lose weight, how to get over a nervous breakdown, | 0:10:16 | 0:10:21 | |
how to be successful in life. We think it is a new thing. | 0:10:21 | 0:10:25 | |
Far from it. | 0:10:25 | 0:10:27 | |
Self-help books were already huge in 16th-century Italy | 0:10:27 | 0:10:33 | |
and long before. | 0:10:33 | 0:10:35 | |
The founding father of all guide books to life | 0:10:38 | 0:10:43 | |
was one of our greatest Roman poets - Ovid. | 0:10:43 | 0:10:47 | |
De Arte Amandi - The Art of Love. | 0:10:49 | 0:10:52 | |
'Written around the year 1BC, | 0:10:55 | 0:10:58 | |
'it was still one of the most popular books in Shakespeare's day. | 0:10:58 | 0:11:03 | |
'This is a precious edition from 1526.' | 0:11:06 | 0:11:10 | |
Book One. | 0:11:13 | 0:11:15 | |
How To Get Her. | 0:11:15 | 0:11:17 | |
"Dress well, have a good haircut, remember her birthday | 0:11:17 | 0:11:23 | |
"and promise her the Earth." | 0:11:23 | 0:11:26 | |
Book Two. How To Keep Her. | 0:11:27 | 0:11:30 | |
"Never ask how old she is, win over her servants, | 0:11:30 | 0:11:35 | |
"let her miss you, but not for too long." | 0:11:35 | 0:11:39 | |
Book Three is for le donne. | 0:11:39 | 0:11:42 | |
"Learn music and dance, put on makeup, | 0:11:42 | 0:11:45 | |
"but not when he's looking. Try a mix of younger and older lovers." Nice. | 0:11:45 | 0:11:52 | |
"Don't leave out seductive coos and delightful murmuring. | 0:11:52 | 0:11:58 | |
-"And when you like it, show it with panting breaths." Very nice. -Ssh! | 0:11:59 | 0:12:04 | |
'In The Taming of The Shrew, Shakespeare updates Ovid for the modern audience. | 0:12:10 | 0:12:17 | |
'Some jokes for his female fans | 0:12:17 | 0:12:21 | |
'and lots of jokes for the young Elizabethan men about town.' | 0:12:21 | 0:12:26 | |
There are two young couples in the play - Hortensio and Bianca, in love in the traditional fashion, | 0:12:28 | 0:12:34 | |
and Petruchio, the hero, | 0:12:34 | 0:12:37 | |
and Katherina, the shrew. | 0:12:37 | 0:12:40 | |
Shrew, by the way, didn't mean an old woman, | 0:12:40 | 0:12:43 | |
but a headstrong, difficult young woman. | 0:12:43 | 0:12:48 | |
This is courtship without love. | 0:12:53 | 0:12:56 | |
Petruchio is after Katherina just for her money. | 0:12:56 | 0:13:00 | |
And these are the rules of the game, according to Shakespeare. | 0:13:00 | 0:13:05 | |
Don't ask her to marry you. Just tell her the wedding date. | 0:13:05 | 0:13:09 | |
Don't make it to the church on time. Be late, very late. | 0:13:13 | 0:13:17 | |
So even if she hates you, she will love you when you arrive. | 0:13:20 | 0:13:25 | |
Even if she means no, she say yes. | 0:13:27 | 0:13:31 | |
Back home, beat your servants so she'll see you're the boss. | 0:13:40 | 0:13:45 | |
Bamboozle her until she'll say and do anything you order. | 0:13:47 | 0:13:52 | |
If needs be, starve her. | 0:14:02 | 0:14:05 | |
Promise her favours, then withhold them. | 0:14:09 | 0:14:13 | |
Of course, this couple is nothing like Petruchio and Katherina. | 0:14:19 | 0:14:24 | |
Look at them. They really love each other. | 0:14:24 | 0:14:28 | |
But Shakespeare is saying to us these are the new dos and don'ts of love. | 0:14:28 | 0:14:34 | |
He's even saying marry for money. | 0:14:34 | 0:14:36 | |
Whatever she's like, get her money and make her obey you. | 0:14:36 | 0:14:41 | |
This is the work of a young man who has never fallen in love. | 0:14:42 | 0:14:47 | |
GUESTS CHEER | 0:14:49 | 0:14:51 | |
'It was after his wife gave birth to twins that Shakespeare vanishes from history. | 0:14:56 | 0:15:03 | |
'The so-called seven lost years when maybe he was here in Italy getting away from it all.' | 0:15:04 | 0:15:11 | |
After the lost years, Shakespeare reappears in London. | 0:15:15 | 0:15:20 | |
It's 1592. He's newly and passionately in love. | 0:15:20 | 0:15:24 | |
But who was she? | 0:15:24 | 0:15:26 | |
Most scholars believe she was Italian, of course. | 0:15:26 | 0:15:31 | |
And her family came from just a few miles away from here. | 0:15:31 | 0:15:36 | |
'This is Bassano del Grappa, | 0:15:41 | 0:15:44 | |
'ancestral home of Emilia Bassano, | 0:15:44 | 0:15:47 | |
'a child of professional musicians who came to London in the 16th century. | 0:15:47 | 0:15:54 | |
'Shakespeare celebrates his great love for her in his sonnets.' | 0:15:55 | 0:16:00 | |
He describes her | 0:16:02 | 0:16:04 | |
as a beautiful lady with dark hair and raven black eyes. | 0:16:04 | 0:16:09 | |
We know her today as La Dama in Nero. | 0:16:09 | 0:16:14 | |
'Still musical, the Bassano family survives today, | 0:16:20 | 0:16:25 | |
'but scattered around the world. | 0:16:25 | 0:16:28 | |
'Peter Bassano is an English brass player and conductor.' | 0:16:28 | 0:16:32 | |
Hi, Francesco. Good to see you. How are you? | 0:16:32 | 0:16:37 | |
Food, wine - brilliant. Generally, terribile! | 0:16:38 | 0:16:42 | |
-Let's try with my terrible English! -What a good idea! | 0:16:42 | 0:16:47 | |
How can you be so sure that Emilia was the Dark Lady? | 0:16:49 | 0:16:54 | |
Shakespeare paints a portrait in the sonnets of a dark, musical lady | 0:16:54 | 0:17:00 | |
and Emilia fits all those bills. The timing's right. She was first identified in the early 1970s | 0:17:00 | 0:17:06 | |
by a very famous historian, who discovered her in the casebooks of a doctor and astrologer, | 0:17:06 | 0:17:13 | |
Simon Forman. And it was that description that pointed him in the direction of Emilia. | 0:17:13 | 0:17:20 | |
Once you start looking at the plays, there's this whole coincidence. | 0:17:20 | 0:17:24 | |
There's a Bassanio in The Merchant of Venice, a Bassianus in Titus Andronicus. | 0:17:24 | 0:17:30 | |
The name Emilia in its various forms comes up five times in the Shakespeare canon. | 0:17:30 | 0:17:35 | |
So there's something that points in her direction. She's a very good candidate for it. | 0:17:35 | 0:17:41 | |
-And how did Shakespeare meet Emilia? -Well, nobody knows exactly, | 0:17:42 | 0:17:48 | |
but Emilia had become a mistress of Henry Carey, who became a patron of Shakespeare's company of actors. | 0:17:48 | 0:17:55 | |
-Yes, but what about his wife? -Well... | 0:17:55 | 0:17:59 | |
Poor Anne Hathaway. | 0:17:59 | 0:18:01 | |
Of course, it was a shotgun wedding. | 0:18:01 | 0:18:03 | |
She was pregnant, she was several years his senior, she was just a farmer's daughter. | 0:18:03 | 0:18:09 | |
I don't think there was an enormous amount that they had in common. | 0:18:09 | 0:18:14 | |
He was highly intelligent, highly read. She was an illiterate woman. | 0:18:14 | 0:18:18 | |
Coming to London, being away from home, he would have been attracted to someone like Emilia, | 0:18:18 | 0:18:24 | |
who had a striking personality, musical, a poet herself. | 0:18:24 | 0:18:28 | |
And...I guess he just couldn't help himself. | 0:18:28 | 0:18:32 | |
How long do you think the affair lasted for? | 0:18:36 | 0:18:40 | |
Well, I think the physical affair wasn't that long, perhaps 18 months, two years maximum, | 0:18:40 | 0:18:45 | |
but the emotional affair stayed with Shakespeare for life. | 0:18:45 | 0:18:49 | |
-She has really stolen his heart. -I think so. And it's wonderful to bring her back home again. | 0:18:49 | 0:18:56 | |
Of course, the sonnet was invented by us as the Italian language of love. | 0:19:05 | 0:19:12 | |
The word sonetto means little song. | 0:19:12 | 0:19:16 | |
And the father of the Italian sonnet was the great 14th-century poet Petrarca. | 0:19:16 | 0:19:23 | |
'Just an hour away, in the valley of San Giorgio, | 0:19:28 | 0:19:32 | |
'is where Petrarch wrote some of his greatest poetry. | 0:19:32 | 0:19:35 | |
'It was Petrarch who inspired Shakespeare to write sonnets | 0:19:41 | 0:19:46 | |
'and to change the way he wrote his love scenes.' | 0:19:46 | 0:19:50 | |
It is so tempting to think that Shakespeare came here | 0:19:58 | 0:20:03 | |
to pay tribute to his favourite poet. | 0:20:03 | 0:20:06 | |
In a way, this is Shakespeare's true spiritual home | 0:20:06 | 0:20:11 | |
because whenever he had something really profound to say about love, | 0:20:11 | 0:20:15 | |
he used the sonnet. | 0:20:15 | 0:20:18 | |
'Petrarch's great love was Laura. He wrote more than 300 sonnets to her. | 0:20:24 | 0:20:31 | |
'Each one celebrates love and then mourns love at the same time | 0:20:32 | 0:20:37 | |
'because Petrarchan love is always unattainable. | 0:20:37 | 0:20:43 | |
'Lisiero Emma Trentin has looked after Petrarch's house for most of her life.' | 0:20:46 | 0:20:52 | |
Shakespeare was a different man by the mid-1590s. | 0:22:22 | 0:22:27 | |
No longer un novellino, | 0:22:27 | 0:22:29 | |
but a man who has known a passionate love, | 0:22:29 | 0:22:33 | |
the affair with Emilia. Now he is a master of poetry, too. | 0:22:33 | 0:22:38 | |
He would experiment by taking the sonnet to new heights. | 0:22:38 | 0:22:44 | |
And his next work would be a masterpiece. | 0:22:44 | 0:22:48 | |
'Shakespeare wrote Romeo and Juliet in about 1586. | 0:22:57 | 0:23:02 | |
'But the story of two young lovers tragically separated by their families was already well known, | 0:23:04 | 0:23:11 | |
'its origins lost in the mist of Italian legend.' | 0:23:11 | 0:23:16 | |
Are you here to search for your Romeo? An Italian Romeo, no? | 0:23:18 | 0:23:24 | |
I prefer Spanish. Spanish, not Italian. | 0:23:24 | 0:23:28 | |
There is Romeos and Juliets everywhere here. | 0:23:32 | 0:23:35 | |
It's good. I like a city where the heart is king, | 0:23:35 | 0:23:40 | |
but how much is true? It is a fascinating story. | 0:23:40 | 0:23:45 | |
It was our great Italian poet, Dante, | 0:23:52 | 0:23:57 | |
who mentions the Montecchi and the Cappelletti for the first time. | 0:23:57 | 0:24:02 | |
It is just a name check in his Divine Comedy, | 0:24:02 | 0:24:06 | |
written in the early 1300s. | 0:24:06 | 0:24:09 | |
He places them in Purgatorio, Purgatory, | 0:24:10 | 0:24:14 | |
among the troublesome and feuding families. | 0:24:14 | 0:24:18 | |
We know that the two families, Montague and Capulet, did exist... | 0:24:18 | 0:24:23 | |
They say this 14th-century house | 0:24:32 | 0:24:34 | |
was once the home of the Montecchis, | 0:24:34 | 0:24:37 | |
the real family which was the inspiration for the Montagues in the play. | 0:24:37 | 0:24:43 | |
Today the house is a restaurant. | 0:24:43 | 0:24:47 | |
Here is Juliet's house, or so they call it. | 0:25:00 | 0:25:04 | |
They say that if you stand beneath her balcony | 0:25:19 | 0:25:23 | |
and you make a wish, they come true. | 0:25:23 | 0:25:26 | |
See how she leans her cheek upon her hand. | 0:25:43 | 0:25:47 | |
O, that I were a glove upon that hand, | 0:25:47 | 0:25:51 | |
that I might touch that cheek. | 0:25:52 | 0:25:54 | |
O, Romeo, Romeo, | 0:25:55 | 0:25:58 | |
wherefore art thou, Romeo? | 0:25:58 | 0:26:02 | |
Deny thy father and refuse thy name. | 0:26:02 | 0:26:06 | |
Or, if thou wilt not, be but sworn my love, and I'll no longer be a Capulet. | 0:26:07 | 0:26:13 | |
This is an invite to the Club of Giulietta. Come with me. | 0:26:22 | 0:26:26 | |
Let's have a look. | 0:26:26 | 0:26:29 | |
Sorry. | 0:26:31 | 0:26:33 | |
It is here, the Club of Giulietta. | 0:26:44 | 0:26:47 | |
Bye! | 0:26:47 | 0:26:48 | |
All over the world, people who are unhappy in love write to the Club of Giulietta for advice. | 0:26:51 | 0:26:59 | |
Shakespeare sets the most passionate meeting of Romeo and Juliet at a traditional masked ball. | 0:29:46 | 0:29:52 | |
It's a scene charged with romantic intrigue and flirtation. | 0:29:53 | 0:29:59 | |
When Romeo and Juliet first met, | 0:30:13 | 0:30:16 | |
Shakespeare used a sonnet to make them speak, | 0:30:16 | 0:30:20 | |
the Italian language of love as dialogue. | 0:30:20 | 0:30:24 | |
This is the genius of Shakespeare. | 0:30:24 | 0:30:27 | |
If I profane with my unworthiest hand | 0:30:29 | 0:30:32 | |
This holy shrine, | 0:30:32 | 0:30:34 | |
the gentle fine is this: | 0:30:34 | 0:30:36 | |
My lips, two blushing pilgrims, ready stand | 0:30:36 | 0:30:39 | |
To smooth that rough touch with a tender kiss. | 0:30:39 | 0:30:42 | |
Good pilgrim, you do wrong your hand too much, | 0:30:42 | 0:30:45 | |
Which mannerly devotion shows in this; | 0:30:45 | 0:30:48 | |
For saints have hands that pilgrims' hands do touch, | 0:30:48 | 0:30:52 | |
And palm to palm is holy palmers' kiss. | 0:30:52 | 0:30:55 | |
Have saints not lips, and holy palmers too? | 0:30:55 | 0:30:59 | |
Ay, pilgrim, lips that they must use in prayer. | 0:30:59 | 0:31:02 | |
O, then, dear saint, let lips do what hands do! | 0:31:02 | 0:31:06 | |
They pray, grant thou, lest faith turn to despair. | 0:31:06 | 0:31:09 | |
Saints do not move, | 0:31:09 | 0:31:11 | |
though grant for prayers' sake. | 0:31:11 | 0:31:13 | |
Then move not while my prayer's effect I take. | 0:31:13 | 0:31:17 | |
Thus from my lips by yours my sin is purged. | 0:31:20 | 0:31:24 | |
Then have my lips the sin that they have took. | 0:31:24 | 0:31:27 | |
Sin from thy lips? | 0:31:27 | 0:31:29 | |
O trespass sweetly urged! Give me my sin again. | 0:31:29 | 0:31:32 | |
You kiss by the book. | 0:31:33 | 0:31:35 | |
For us Italians, | 0:31:40 | 0:31:43 | |
Romeo and Juliet strikes a special chord. | 0:31:43 | 0:31:46 | |
It touches the two things at the very heart of our life - | 0:31:46 | 0:31:51 | |
romantic love and family. | 0:31:51 | 0:31:53 | |
And when the two collide, | 0:31:53 | 0:31:55 | |
a love story turns into a tragedy. | 0:31:55 | 0:31:59 | |
Sicily, | 0:32:07 | 0:32:09 | |
an island just off the toe of Italy. | 0:32:09 | 0:32:13 | |
It's part of Italy and yet, in many ways, a different world. | 0:32:13 | 0:32:17 | |
Today, we love to define artists and writers, put them in a box. | 0:32:34 | 0:32:39 | |
Serious or light-hearted? | 0:32:39 | 0:32:42 | |
Profound or funny? | 0:32:42 | 0:32:44 | |
Try doing that with Shakespeare and you are in trouble. | 0:32:44 | 0:32:47 | |
The man who plumbed the depths of tragedy in Romeo And Juliet | 0:32:47 | 0:32:51 | |
is also the man who turned his hand to playful comedy. | 0:32:51 | 0:32:55 | |
Much Ado About Nothing was written in 1598. | 0:33:05 | 0:33:09 | |
It was the dying years of Elizabeth I's long reign | 0:33:10 | 0:33:15 | |
and everyone wanted change. | 0:33:15 | 0:33:17 | |
The court, the government were old and tired. | 0:33:19 | 0:33:23 | |
England was depressed. | 0:33:23 | 0:33:26 | |
Poverty stalked the land. | 0:33:26 | 0:33:29 | |
Plague had made its mark on every family | 0:33:31 | 0:33:35 | |
and unemployment was rising. | 0:33:35 | 0:33:37 | |
People needed cheering up. | 0:33:37 | 0:33:40 | |
CRACK OF THUNDER | 0:33:44 | 0:33:47 | |
'A famous English actress and a friend of mine knows and loves the play.' | 0:33:52 | 0:33:58 | |
-Hello, darling. -How marvellous to see you in Sicily! | 0:33:58 | 0:34:01 | |
-What awful weather! -Yeah. Can I stay under your umbrella? -Yes, you can. Absolutely. | 0:34:01 | 0:34:06 | |
Let's go and see the cathedral. | 0:34:06 | 0:34:09 | |
'Emma Thompson played Beatrice in the movie of Much Ado About Nothing. | 0:34:13 | 0:34:19 | |
'Much Ado is set in late 16th century Sicily. | 0:34:24 | 0:34:28 | |
'Sicilians had grown rich through trade.' | 0:34:30 | 0:34:33 | |
Grazie a lei. | 0:34:33 | 0:34:35 | |
'At the time, the capital, Palermo, | 0:34:39 | 0:34:42 | |
'was a place of great palaces and big money.' | 0:34:42 | 0:34:46 | |
-Oh, look at this! -I love the colours. | 0:34:51 | 0:34:55 | |
'As usual, Shakespeare steals from Italian literature - | 0:34:55 | 0:35:00 | |
-'Il Cortegiano - The Courtier...' -That's nice. | 0:35:00 | 0:35:03 | |
'A best-selling guide to etiquette and aristocratic living.' | 0:35:03 | 0:35:08 | |
He's very dark, what he's wearing. Has he been to a funeral, do you suppose? | 0:35:08 | 0:35:13 | |
I think they did wear very dark clothes. Men, in particular. | 0:35:13 | 0:35:18 | |
-He has a very refined face. -Yeah, very. | 0:35:18 | 0:35:21 | |
-Fiero. -Yeah, proud. -Yeah. | 0:35:21 | 0:35:25 | |
Yeah. Yeah, he is. He's quite important. | 0:35:25 | 0:35:28 | |
Or at least he thinks he is. | 0:35:28 | 0:35:31 | |
In a sense, I suppose, Shakespeare invented the romantic comedy with Much Ado. | 0:35:38 | 0:35:44 | |
You know, romantic comedies, we're so used to them - When Harry Met Sally, | 0:35:44 | 0:35:49 | |
Katharine Hepburn, Spencer Tracy, where you have two people who are at each other's throats, | 0:35:49 | 0:35:55 | |
but you know they're going to end up in love. | 0:35:55 | 0:35:58 | |
They must start by hating each other or by being very in conflict. | 0:35:58 | 0:36:02 | |
That's the journey of all romantic comedies | 0:36:02 | 0:36:05 | |
and in a sense, Beatrice and Benedic were the first ones. | 0:36:05 | 0:36:09 | |
This relationship becomes very clear in "My dear Lady Disdain..." | 0:36:09 | 0:36:14 | |
Hang on. | 0:36:14 | 0:36:16 | |
That book that you gave me which has got it in the Italian as well... | 0:36:17 | 0:36:21 | |
Hang on. Oh, there we go. I've found it. | 0:36:21 | 0:36:25 | |
Is it possible disdain should die while she hath such meet food to feed it as Signior Benedick? | 0:36:25 | 0:36:32 | |
Courtesy itself must convert to disdain, if you come in her presence. | 0:36:32 | 0:36:37 | |
SHE LAUGHS It's great in Italian. | 0:36:52 | 0:36:54 | |
Then it comes to this bit, "I'd rather hear my dog bark at a crow than a man swear he loves me, | 0:36:58 | 0:37:04 | |
which you can play in two different ways. | 0:37:04 | 0:37:07 | |
If she's a young woman, you can say, "I don't want to hear men swear they love me," | 0:37:07 | 0:37:12 | |
and that could be someone who's 19 saying, "It's so boring. Boys, boys, boys!" | 0:37:12 | 0:37:17 | |
It could be that, but it could be an older woman saying... | 0:37:17 | 0:37:21 | |
"I have heard it so many times. | 0:37:22 | 0:37:24 | |
"I would rather hear a dog bark at a crow than a man swear he loves me! | 0:37:24 | 0:37:31 | |
It could have an anger to it, a bitterness to it. | 0:37:31 | 0:37:34 | |
It can be played in so many different ways, which is why, of course, it's great writing. | 0:37:34 | 0:37:40 | |
'It's still raining, but there is a man across town | 0:37:43 | 0:37:48 | |
'who doesn't need sunshine to recreate the sparkle of Much Ado.' | 0:37:48 | 0:37:52 | |
CRACK OF THUNDER Crikey! | 0:37:52 | 0:37:55 | |
'We are on our way to see Professor Gabriele Arezzo di Trifiletti, a theatrical historian.' | 0:37:56 | 0:38:04 | |
Francesco da Mosto ed Emma Thompson. | 0:38:06 | 0:38:08 | |
It's strange. It doesn't look like a museum. It's a flat. | 0:38:12 | 0:38:16 | |
"Professor Gabriele Arezzo di Trifiletti." | 0:38:17 | 0:38:22 | |
Allora, look! | 0:38:30 | 0:38:32 | |
Francesco, look! | 0:38:32 | 0:38:35 | |
Amazing! | 0:38:35 | 0:38:36 | |
And this is just the hall. | 0:38:37 | 0:38:40 | |
Incredible. | 0:38:40 | 0:38:43 | |
Look, look, look. Butterflies. | 0:38:43 | 0:38:46 | |
And it's all original. | 0:38:47 | 0:38:49 | |
Don't touch it! | 0:38:49 | 0:38:52 | |
Si. Tesoro. | 0:38:54 | 0:38:56 | |
So beautiful. | 0:39:24 | 0:39:26 | |
EMMA THOMPSON: | 0:39:26 | 0:39:28 | |
And there's a line in... | 0:39:34 | 0:39:36 | |
She says, "It's like the dress I saw the Duchess of Milan wearing." | 0:39:42 | 0:39:47 | |
TRANSLATES INTO ITALIAN | 0:39:47 | 0:39:49 | |
So what kind of materials was she talking about? | 0:39:51 | 0:39:56 | |
Wait, wait, wait. He's talking about the temperature. | 0:40:14 | 0:40:18 | |
They didn't have velvet, they didn't have wool, | 0:40:18 | 0:40:22 | |
but they were having lighter things like "damasco". | 0:40:22 | 0:40:26 | |
Ah, siciliano. Oh, how beautiful that is! | 0:40:31 | 0:40:35 | |
I think that's one of the most beautiful pieces of lace I've ever seen | 0:40:37 | 0:40:42 | |
because it's so simple and it's not overdone. | 0:40:42 | 0:40:46 | |
It's just exquisite, isn't it? | 0:40:46 | 0:40:49 | |
That's Sicilia as well. | 0:40:53 | 0:40:55 | |
They favoured a much simpler style. | 0:40:55 | 0:40:59 | |
Hello. | 0:40:59 | 0:41:01 | |
Beautiful. | 0:41:02 | 0:41:04 | |
Messaggio. | 0:41:10 | 0:41:11 | |
LAUGHTER | 0:41:31 | 0:41:34 | |
-Maybe I can. -I might... -I might be. | 0:41:34 | 0:41:36 | |
I might consider it! | 0:41:36 | 0:41:38 | |
Don't even think about it. | 0:41:43 | 0:41:45 | |
Practise your fan language while I bung this on. | 0:41:51 | 0:41:54 | |
Of course, you know, Shakespeare uses masks often. | 0:42:04 | 0:42:08 | |
I wonder if he ever saw something like that? | 0:42:08 | 0:42:11 | |
Give me the fan. I'm going to talk to you. | 0:42:11 | 0:42:14 | |
FRANCESCO LAUGHS | 0:42:15 | 0:42:17 | |
No, no, no. I might... ALL LAUGH | 0:42:17 | 0:42:20 | |
It's nearly the end, but this is one of my favourite bits because it's terribly funny. | 0:42:28 | 0:42:34 | |
Hang on a minute. Wait, wait. It's stopped raining. Put the brolly down | 0:42:34 | 0:42:39 | |
Of course it's stopped. We've come to the end of the day. | 0:42:39 | 0:42:42 | |
This is where... I love this because it's very Shakespearean. | 0:42:42 | 0:42:47 | |
They are saying they love each other, but they're saying it in a funny way, so you say that bit. | 0:42:47 | 0:42:52 | |
Very ill. | 0:42:55 | 0:42:57 | |
Very ill too. | 0:42:57 | 0:43:00 | |
Then Ursula comes and says everything's all right, you've got to come to your uncle's. | 0:43:06 | 0:43:11 | |
"Will you come presently?" And she goes off. And I say, "Will you go hear this news, signior?" You say... | 0:43:11 | 0:43:18 | |
LAUGHTER Let's go to our uncle's! | 0:43:26 | 0:43:29 | |
And as soon as Emma has gone, the sun comes out. | 0:43:38 | 0:43:42 | |
Cosi e la vita. | 0:43:42 | 0:43:44 | |
-Buon giorno. -Buon giorno. | 0:43:50 | 0:43:52 | |
Before I leave Sicily, I need to make one more trip. | 0:43:54 | 0:43:58 | |
We know some people believe Shakespeare came to Italy during his lost years, | 0:43:58 | 0:44:04 | |
but here in Sicily, things get even stranger. | 0:44:04 | 0:44:09 | |
They believe he was Italian. | 0:44:09 | 0:44:11 | |
I'm on my way to the town Sicilians claim is Shakespeare's birthplace. | 0:44:16 | 0:44:21 | |
Local legend has it that in 1588, | 0:44:23 | 0:44:27 | |
a 24-year-old Sicilian emigrated to England where he became a successful playwright. | 0:44:27 | 0:44:33 | |
His name was Crollalanza. The clue is all in the name. | 0:44:35 | 0:44:41 | |
This is Messina, birthplace of Crollalanza. | 0:44:58 | 0:45:03 | |
Messina is a town determined to reinvent history | 0:45:09 | 0:45:13 | |
and claim the bard for Sicily. | 0:45:13 | 0:45:16 | |
Local journalist Fabio Bagnasco believes we shouldn't dismiss this weird idea altogether. | 0:46:07 | 0:46:14 | |
I'll never go as far as claiming Shakespeare was Italian, | 0:47:58 | 0:48:02 | |
but he definitely had an Italian sensibility. | 0:48:02 | 0:48:07 | |
And it shows more than ever in his greatest and most tragic love story. | 0:48:07 | 0:48:12 | |
The setting, of course, is Venice. | 0:48:25 | 0:48:29 | |
Back in Shakespeare's time, | 0:48:31 | 0:48:33 | |
this city had the most exciting mix of cultures in all the western world. | 0:48:33 | 0:48:39 | |
Venice was the meeting point between east and west. | 0:48:40 | 0:48:45 | |
We were a city where trade was king, not religion. | 0:48:45 | 0:48:50 | |
Here, the Christian world made business with the Islamic world. | 0:48:50 | 0:48:56 | |
This was the most cosmopolitan society in the 16th century. | 0:48:56 | 0:48:59 | |
The figure of Othello, the Moor of Venice, may seem like an outsider, | 0:49:04 | 0:49:09 | |
but this passionate character is the most Italian of anyone in Shakespeare. | 0:49:09 | 0:49:14 | |
As usual, Shakespeare stole the story from Italian literature. | 0:49:22 | 0:49:26 | |
Hecatommithi is a collection of novellas by Cinthio. | 0:49:34 | 0:49:38 | |
It tells the story of a sea captain driven to murder his great love Desdemona | 0:49:38 | 0:49:44 | |
in a fit of jealousy. | 0:49:44 | 0:49:46 | |
CRACK OF THUNDER | 0:49:51 | 0:49:54 | |
In Othello, Shakespeare goes deeper into the psyche of Venice, | 0:49:56 | 0:50:00 | |
allowing him to explore sexual obsession | 0:50:00 | 0:50:04 | |
in all its paradoxes and confusion. | 0:50:04 | 0:50:08 | |
Shakespeare was 40 years old when he wrote Othello. | 0:50:13 | 0:50:17 | |
He lived away from his wife. | 0:50:18 | 0:50:21 | |
Like most professional men, he probably enjoyed the attentions of a mistress or two | 0:50:21 | 0:50:27 | |
or as we prefer to call them in Venice, a courtesan. | 0:50:27 | 0:50:31 | |
In the Correr Museum, there is an intriguing survival from Shakespeare's time. | 0:50:34 | 0:50:40 | |
This is a directory of the most important courtesans in Venice. | 0:50:57 | 0:51:03 | |
It tells you how much money a gentleman had to pay - | 0:51:03 | 0:51:07 | |
"per intrar nella sua gratia" - to enter in their graces. | 0:51:07 | 0:51:11 | |
Their names, their addresses. | 0:51:13 | 0:51:16 | |
And even how much money you have to spend - | 0:51:17 | 0:51:20 | |
6, 2, 8... | 0:51:20 | 0:51:23 | |
It's quite interesting. There were hundreds of copies of this directory circulating in Venice | 0:51:24 | 0:51:30 | |
in the middle of the 16th century for eager visitors to the city. | 0:51:30 | 0:51:35 | |
And this is the only copy left today. | 0:51:35 | 0:51:38 | |
THUNDER RUMBLES | 0:51:44 | 0:51:46 | |
The Doge's Palace is the setting for one of the most agonising scenes in the play. | 0:51:50 | 0:51:56 | |
Lovestruck Othello is summoned to explain how he bewitched Desdemona into marrying him. | 0:52:01 | 0:52:08 | |
It is the first hint of how cruel this story will be, | 0:52:11 | 0:52:15 | |
how pure love is corrupted by prejudice. | 0:52:15 | 0:52:19 | |
THUNDER RUMBLES | 0:53:31 | 0:53:33 | |
Othello is eloquent. He speaks the language of romance, | 0:53:35 | 0:53:39 | |
full of music and poetry, | 0:53:39 | 0:53:41 | |
but jealousy will drag him from the stars to the gutter. | 0:53:41 | 0:53:46 | |
And his love will turn into murderous rage. | 0:53:48 | 0:53:53 | |
This is Shakespeare getting deep into the psychology of love, | 0:54:30 | 0:54:34 | |
the miracle of passion unleashed, but the danger too. | 0:54:34 | 0:54:39 | |
No wonder Othello gave us one of the greatest operas in the Italian language. | 0:54:40 | 0:54:45 | |
# Ave Maria | 0:54:45 | 0:54:47 | |
# Piena di grazia | 0:54:47 | 0:54:50 | |
# Eletta fra le donne | 0:54:50 | 0:54:53 | |
# E le vergini sei tu... # | 0:54:53 | 0:54:55 | |
With a little help from Verdi, of course. | 0:54:55 | 0:54:58 | |
# Prega per chi adorando | 0:54:58 | 0:55:04 | |
# A te si prostra | 0:55:04 | 0:55:09 | |
# Prega nel peccator | 0:55:09 | 0:55:15 | |
# Per l'innocente | 0:55:15 | 0:55:22 | |
# E pel debole oppresso | 0:55:22 | 0:55:27 | |
# E pel possente | 0:55:27 | 0:55:32 | |
# Misero anch'esso | 0:55:32 | 0:55:37 | |
# Tua pieta dimostra | 0:55:38 | 0:55:46 | |
# Prega per chi sotto l'oltraggio piega | 0:55:47 | 0:55:55 | |
# La fronte e sotto la malvagia sort | 0:55:55 | 0:56:02 | |
# Prega per noi | 0:56:05 | 0:56:08 | |
# Prega per noi | 0:56:08 | 0:56:13 | |
# Prega | 0:56:13 | 0:56:18 | |
# Ave! # | 0:56:21 | 0:56:29 | |
CHEERING AND APPLAUSE | 0:56:29 | 0:56:32 | |
-Bravissima! -Grazie. | 0:56:34 | 0:56:36 | |
Othello is Shakespeare's farewell note to love. | 0:57:12 | 0:57:16 | |
He shows us how the world conspires to extinguish love. | 0:57:17 | 0:57:24 | |
Never again would he go so deep into the heart of things. | 0:57:24 | 0:57:30 | |
Othello is Shakespeare's most troubling exploration of love. | 0:57:37 | 0:57:41 | |
In Romeo And Juliet, in spite of the lovers' tragic deaths, | 0:57:41 | 0:57:46 | |
there is a feeling that love lives on, | 0:57:46 | 0:57:49 | |
that somehow the world is a better place because Romeo and Juliet's love existed. | 0:57:49 | 0:57:55 | |
In Othello, it is love itself that is murdered. | 0:57:55 | 0:58:00 | |
As we say in Italian, | 0:58:05 | 0:58:07 | |
"grande amore, grande dolore". | 0:58:07 | 0:58:11 | |
"Great love equals great pain." | 0:58:12 | 0:58:15 | |
Shakespeare could almost have written that himself. | 0:58:17 | 0:58:21 | |
Subtitles by Red Bee Media Ltd | 0:59:08 | 0:59:11 |