Yes, I know there are only 154 sonnets by William Shakespeare (not counting those in the plays). But for our new project we have also filmed a reading by a very distinguished actor of the Dedication that was included in the 1609 quarto edition. Here is today’s short press release about this exciting release that features filmed performances by many wonderful actors of each and every poem, plus texts, interviews, notes and a whole lot more:
SHAKESPEARE’S SONNETS TO FOLLOW THE WASTE LAND TO THE iPAD
Faber and Faber, Touch Press, Illuminations and The Arden Shakespeare are delighted to announce that they are in the final stages of producing a spectacular edition of Shakespeare’s Sonnets for the Apple iPad. The title features specially filmed performances of all 154 sonnets by a stellar cast that includes Fiona Shaw, Sir Patrick Stewart and David Tennant. It also features the complete Arden notes, providing unsurpassed commentary on the poems.
This digital edition follows Touch Press and Faber’s iPad app The Waste Land that presents T. S. Eliot’s great poem in an innovative and widely praised interactive format. read more »
The New York Times online is developing a smart interactive format for the discussion of big cultural events. You can get a good sense of their approach from Circling the ‘Ring’. Earlier this month The Metropolitan Opera started three full cycles of its ambitious, sometimes crazy but often wonderfully bold staging by Robert Lepage of Wagner’s four operas. And the NYT feature is offering a range of background features, often as videos, plus discussion and an intelligently-formatted selection of comments. There’s also a very good related article by Anthony Tommasini with Peter Gelb, the Met’s general manager, The Met, the ‘Ring’ and the rage against the machine. For my reactions to the HD Live screenings of three of the productions, go here, here and here (and that’s Jay Hunter Morris and Deborah Voigt in Siegfried above). Also, for a way to get round the pesky NYT limit on the number of articles you can read each month – as well as for a host of other links – go across the jump. read more »
In case you hadn’t noticed, the Shakespeare spring kicks off tonight. First up is a cluster of programmes on Sky Arts – a goodly number of them, including Being Shakespeare, produced by Illuminations. Then there is the big BBC season Shakespeare Unlocked, which is online and on air right through to July. We are making our own contribution to this, of course, with our BBC Four film of the RSC’s new Julius Caesar. And the director of the play and film, Gregory Doran, who is also the RSC’s new Artistic Director, was on Radio 4’s Midweek talking about this and more. Plus Julius Caesar is itself part of the World Shakespeare Festival, which offers a cornucopia of delights through the summer. Not to mention (because I can’t yet – but can on Monday – our Shakespeare’s Sonnets project.) So it feels like the time for a Shakespeare miscellany: something from Greg first, then the Sky transmissions, a trailer for the BBC season and lots of other links. read more »
There’s something slightly unreal about these final couple of days before we start work at the location for Julius Caesar. If all goes well, cleaning and prepping the site starts tomorrow, and then the art department will get going on Monday. A week later, on the morning of 23 April, we’ll be shooting the first scene. Lots of people are in the middle of lots of preparatory work, but at the same time there’s still some crucial paperwork to complete. To get through the final negotiations on that, the only thing to do is to keep calm and carry on. As Brutus says to the assembled and angry populace, ‘Be patient till the last.’ I thought therefore that it might be a good time for a little history. So, class, if you could open up your copies of James Shapiro’s1599: A Year in the Life of William Shakespeare, we’ll begin. read more »
The past couple of months have seen the appearance of two comparatively slender – and in some ways, strikingly similar – volumes of belle-lettrist writing about cinema. Each is written by a figure with a literary reputation and each tackles just a single film from the canon of high modernism. In Zona Geoff Dyer takes on Andrei Tarkovsky’s Stalker (1979), while Adam Mars-Jones’ Noriko Smiling considers Yasujiro Ozu’s Late Spring (1949). I’m going to leave the pleasures of Zona for another time, and muse today on Noriko Smiling, a book that I really wanted to like. I admire Ozu’s films (although I’m no expert), I invariably enjoy attempts to find new ways of writing about art cinema, and when I first picked up Noriko Smiling I delighted in its elegant design and satisfying binding (the publishers are Notting Hill Editions). Having now read the book, however, I think it is a bit pointless and a bit thoughtless, by the end a bit insightful but too often more than a bit irritating. read more »
The detail above from the sheet music for Cole Porter’s 1949 Kiss Me Kate comes from a rich online (and real world) exhibition (until 4 June) at Yale University’s Beinicke Library. Remembering Shakespeare details ‘the process of remembering that has allowed Shakespeare to be transformed from one of a number of talented writers for an emerging entertainment industry in Elizabethan England into the best-known and most highly valued author in the history of the world.’ The exhibits at Yale are mostly printed books and illustrations of various kinds, and as such are perfect for reproduction on the web. So the online offering feels like a genuine complement – and not just a second-order, and as a consequence inferior, experience. read more »
Let’s start a new week’s links with a terrific post at The Bioscope, And the ship sails on. Just what was filmed of the Titanic, Urbanora asks, and what survives today? Precious little, it turns out, since the only genuine extant shots are the ones of the ship in Belfast that open the newsreel below (shot by Gaumont but is now controlled by British Pathé).
What does the extant film of the Titanic signify? Of itself, it has little to say. It is not very interesting film of a big ship. It evokes no sense of loss, greatness, vaingloriousness, hubris or tragedy. We bring those feelings to the film, once we are told what it signifies. We invest our feelings in what we see on the screen. Yet there is that special frisson when we see the footage and realise that what is now history was once actuality. A connection is made that is part of the unique power of film, collapsing time while simultaneously making us aware of the yawning gap of time.
Beyond the break you’ll find more links to great stuff – to which I’ll add during the coming week. Already featured are discussions of John Berger and Beyoncé, Hamlet and The Hunger Games, plus the most astonishing dance film you’ll see all week (the lobby card above is a clue).
The morning of Good Friday. Two weeks and three days before we begin filming Julius Caesar. In just ten days we start work at our location, cleaning, building sets – and driving away pigeons. We are a significantly bigger crew now than we were a week ago, but it’s still a holiday for most. The panic has yet to kick in. At the RSC rehearsal rooms in south London, director Greg Doran has scheduled a session for, first, an exploration of Act V Scene 3 (the death of Cassius), and then some time working alone with Ray Fearon on his role of Mark Antony. Along with the stage management team, I sit at a table at one end of the large room. In the centre is a circle of six chairs, and around are the spindly lines of coloured tape that mark out the dimensions of the stage and the set. read more »
Monday morning, three weeks before the start of principal photography on Julius Caesar. Six of the crew meet in bright sunshine outside a Northern Line station. We have come to recce the location which is a ten-minute walk away. There are pavement introductions, the first stage in a process that is fascinating and – if we’ve made even one or two great choices – rewarding. A team of around thirty forms for a brief, intensive period of production. At the wrap they scatter, perhaps to work together in the future, perhaps never to meet again. This morning there is subdued excitement, a sense of potential and perhaps a trace of nerves (those are mine). The walk allows us to talk about jobs just finished and acquaintances from other shoots. Then we are at the chain-link gate behind which is our modern-day ‘Rome’. read more »