n Shakespeare in Southern Africa - Editorial

Volume 23, Issue 1
  • ISSN : 1011-582X



Earlier this year I came across a review (by Lloyd Evans) of a Royal Shakespeare Company production of that had clearly irked the reviewer. Evans disparages director Rupert Goold for "spectacular irrelevance" (84) in terms of the set, staging and effects but also criticises attempts to contrive relevance - or at least contemporary resonance - through, for instance, the use of regional British accents and anachronistic costuming. Trying to make the play "accessible" ("a new word for 'provincial', formerly a vice but now an obligation"), notes Evans, the RSC has made things more difficult for "those who have no previous experience of Shakespeare": such novices in fact "want the production conveyed directly and authentically, not burdened with add-ons and hotshot flourishes from alien traditions". So his objections, Evans claims, are not just the "sensitivities of a purist" or "fuddyduddy". Instead, he affirms, newcomers to Shakespeare, recent initiates and seasoned aficionados alike constitute a collective whose credo is "Nothing interests us in Shakespeare more than Shakespeare.

Loading full text...

Full text loading...


Article metrics loading...


This is a required field
Please enter a valid email address
Approval was a Success
Invalid data
An Error Occurred
Approval was partially successful, following selected items could not be processed due to error