Shakespeare on Toast

Getting a Taste for the Bard

Ben Crystal

• Éditeur: Icon Books
• Année: 2015
• ISBN:
  9781785780318
• Sujet: Letteratura
• Sous-sujet: Teatro shakespeariano

Actor, producer and director Ben Crystal revisits his acclaimed book on Shakespeare for the 400th anniversary of his death, updating and adding three new chapters. Shakespeare on Toast knocks the stuffing from the staid old myth of the Bard, revealing the man and his plays for what they really are: modern, thrilling, uplifting drama.The bright words and colourful characters of the greatest hack writer are brought brilliantly to life, sweeping cobwebs from the Bard – his language, his life, his world, his sounds, his craft. Crystal reveals man and work as relevant, accessible and alive – and, astonishingly, finds Shakespeare's own voice amid the poetry.Whether you're studying Shakespeare for the first time or you've never set foot near one of his plays but have always wanted to, this book smashes down the walls that have been built up around this untouchable literary figure.Told in five fascinating Acts, this is quick, easy and good for you. Just like beans on toast.

Act 1

Setting the Scene

Scene 1

Hollywood

Here’s a thing: Shakespeare is partly responsible for the film career of Arnold Schwarzenegger.

Schwarzenegger got his first part in an American film (Hercules in New York, 1970) because Joe Weider, his friend and promoter, convinced the film’s producers that Arnie had been a great Shakespearian actor in Austria, which, of course, he hadn’t.

As it turns out, Weider’s claim didn’t end up being so far from the truth: in 1993, in the film The Last Action Hero, a young boy – the world’s biggest fan of the world’s best action hero – imagines Schwarzenegger as a Terminator-style Hamlet. The boy is watching Laurence Olivier in the 1948 film Hamlet: Hamlet is about to kill his murderous uncle Claudius – but hesitates, ponders the situation. ‘Don’t talk. Just do it!’ the boy mutters at the screen. Suddenly, the muscle-bound Schwarzenegger has replaced Olivier:

HAMLET: Hey Claudius? You killed my father … [He picks Claudius up] Big mistake! [He throws Claudius through a stained-glass window; Claudius’ body falls down a cliff]

NARRATOR: Something is rotten in the state of Denmark, and Hamlet is taking out the trash! [Multiple shots of Hamlet fighting and killing guards. He slices through a curtain with his sword to reveal the king’s advisor Polonius standing behind it. Polonius pushes Hamlet’s sword aside]

POLONIUS: [smiling] Stay thy hand, fair prince.

HAMLET: Who said I’m fair? [He shoots Polonius with an Uzi. Multiple shots of Hamlet walking through Elsinore castle, shooting soldiers with his Uzi]

NARRATOR: No one is going to tell this sweet prince good night.

HAMLET: [cigar in his mouth] To be or not to be? [taking out his lighter] Not to be. [lights his cigar, castle explodes]

Schwarzenegger as Hamlet? Surprising, perhaps, but Shakespeare really does seem to get everywhere in this modern life. Slightly less surprising might be Shakespeare’s part in the budding career of the young Sir John Gielgud, who became one of the most acclaimed Shakespearian actors of the 20th century.

Gielgud’s first job as a professional actor was as a spear-carrier in a 1921 production of Henry V. One of the smallest parts in a play, a spear-carrier usually has very few lines (if any), and as the name suggests, the part requires the actor to stand still at the back of the stage, holding a spear/sword/bowl of fruit, look pretty, and bow. Not to be discouraged by his measly one line, the young actor continued acting, and eight years later Gielgud performed what many people say was the greatest Hamlet ever.

Hamlet is considered to be the most sought-after and the most elusive role for actors, and the play remains the most produced of Shakespeare’s works; countless productions, interpretations and re-interpretations have been dreamt up, trying to nail down The Definitive Hamlet. Schwarzenegger’s, though, is the only one to have thrown Claudius out of a window.

Talk about character assassination.

Scene 2

A present-day street

Shakespeare invented the word assassination, a Bard-fact that will always boggle my mind. The word assassin has an 8th-century Arabic origin, but assassination is all Shakespeare.

Even-handed, far-off, hot-blooded, schooldays, well-respected are Shakespeare’s too, as are useful, moonbeam and subcontract. If not for William S, we would be without laughing yourself into stitches, setting your teeth on edge, not sleeping a wink, being cruel only to be kind, and playing fast and loose, all adding to what turns out to be a very long list. In total, he introduced around 1,700 words and a horde of well-known phrases that we still use today.

Most of us would be happy if we added just one word to the language, never mind well over a thousand that last over 400 years.

Think (or Google) assassination and JFK comes up. Then, most likely, Abraham Lincoln, Martin Luther King and Julius Caesar. Their assassins are just as infamous: John Wilkes Booth, Lee Harvey Oswald, Brutus et al. Not to mention Guy Fawkes, one of the best-known (although failed) assassins, who attempted to blow up King James I and Parliament in November 1605.

Shortly after Fawkes’ botched effort, Shakespeare wrote Macbeth, partly, some think, in response to the civil unrest of the time. And it’s also the play in which he coined the word assassination.

Now, in the early 21st century, Shakespeare really is everywhere.

Elvis quotes him in his No. 1 hit ‘Are You Lonesome Tonight?’ His plays are performed everywhere in countless languages. There have been productions using actors from all over the planet in the virtual computer world, Second Life. At the Edinburgh Fringe Festival in 2015 (which runs for only 22 days) there were dozens and dozens of productions, either of his plays or that used his plays as a starting point. And he’s not just in theatres, of course.

Although the first film of a Shakespeare play (King Lear) was made way back in 1899, it’s probably Baz Luhrmann’s 1996 movie Romeo + Juliet that has done more in recent times than anything else to make Shakespeare more of a household name.

With 1,105 films to his name in November 2015, this writer from a small Warwickshire town four centuries ago is far and away the most prolific writer of movies: in 2015 alone, there were 42 films made of his plays (never mind the thousands of fridge magnets, mugs and soft toys of his likeness).

The only writers with more screen credits to their names aren’t writers of movies, but writers of soap operas. It’s become a bit of a cliché to say it, but it’s still true: if Shakespeare were alive today he’d be writing for the soaps rather than the movies or the theatre.

But more on that later.

Scene 3

A library

Despite this fame and apparent worldwide success, there’s something about Shakespeare that makes him feel inaccessible to many people. It seems that

• Shakespeare has become classed as high art – as literature. He didn’t start out that way. His plays were originally the tools of actors; only much later were they books to read rather than plays to perform, as 80 per cent of his audience hadn’t learnt to read. Literature with a capital L has claimed him, and that acclaim has caused modern Shakespeare audiences either to revere or to hate him, neither of which are Good Things.
• Shakespeare often appears cumbersome because it looks like he wrote in Olde English, which can make his plays seem to be full of unfamiliar words.
• Shakespeare writes in poetry a fair amount of the time, and the very idea of ‘poetry’ puts a lot of people off. Not only that, but he uses a style of poetry that can be daunting just to look at.

The upshot of all this is that Shakespeare is often dumbed down and made ‘accessible’ by diluting, translating or rewriting his plays into modern English to try to draw people to his work. Either that or he’s ignored in a cocktail of panic and preconception that he’ll be too much hard work or just plain dull.

But Shakespeare is the man who made people believe there was an island owned by a magician (in The Tempest) and that statues could come to life by the power of love (in The Winter’s Tale).

He’s only Literature-with-a-capital-L until you put him back into context as an Elizabethan writer, not a 21st-century idol. Then, once you discover the key to it all, reading Shakespeare’s poetry is a bit like following the clues in a Sherlock Holmes novel, or reading The Da Vinci Code: when you discover that he wrote his directions to his actors into the poetry, and work out how to decipher them, it all makes a lot more sense.

As for the words, well, admittedly, some of the words he uses might not have been in general use for a few hundred years, but a rather cooperative 95 per cent are words we know and use every day.

Hold that thought for a second: only 5 per cent of all the different words in all of Shakespeare’s plays will give you a hard time. That means there’s more contextual knowledge needed to watch an episode of the American political TV drama series The West Wing than there is to get through one of Shakespeare’s plays.

The problem is, many give up by the time they get to the words. Successfully vault the Long Jump of Literature, stumble over the Pit of Poetry, take a quick look at the actual words he used, and the slightly odd spellings slam the final nail in the coffin. Whichever play has been briefly picked up is left once more to gather dust.

This isn’t the way it has to be.

I’m going to show you how to read the instruction manual that is a Shakespeare play, because that’s what they all are. Manuals, written by Shakespeare, for his actors, on how to perform great stories. It’s the method that got me into the plays, and if it worked for me, who once wouldn’t be seen dead near a production of Shakespeare, it’ll work for you.

The key to it all is Theatre: both the space he wrote for and the event that the people were paying to see.

Directing the stage

When reading, or interpreting Shakespeare for the stage, we only have his words. Everything else is left open and the only tool we really have is our imagination, which has to work hard to understand a series of coded instructions.

One of the best ways I’ve heard it put, no one other than a master chef should be able to look at a recipe and tell you what a dish will taste like. No one other than a master conductor should be able to look at all the black dots of a full Mozart score and hum the confluence of musical parts to you. No one other than Shakespeare’s actors were meant to read the separate parts that comprise a play.

Too often our first introduction to Shakespeare is being handed the printed play, the full score, rather than letting us hear it being played. As they say, they’re called Plays not Reads.

Take a look at any first Act of any Shakespeare play, any one will do. Look at the page, at what Will has given us – he hasn’t given us much: Act, Scene, entrance of characters, names and then speeches:

KING LEAR
Actus primus, scoena prima

[Enter Kent, Gloucester, and Edmond.]

KENT
I thought the King had more affected the Duke of Albany than Cornwall.

GLOUCESTER
It did always seem so to us …

No stage directions, no mention of character age, or background. Contrast that with, say, Act 1 of Arthur Miller’s plays, where stage direction or character background can take up over two pages:

THE CRUCIBLE

ACT ONE
(An Overture)

A small upper bedroom in the home of REVEREND SAMUEL PARRIS, Salem, Massachusetts, in the spring of the year 1692.

There is a narrow window at the left. Through its leaded panes the morning sunlight streams. A candle still burns near the bed …

The scene-setting goes on for another seven or eight lines – then Miller gives us four pages of historical setting, then some stage directions for the actor playing Parris, and THEN the dialogue begins …

It’s a relief it doesn’t happen in Hamlet.

Hamlet is 33 years old, he has a beard, dressed in black. He likes going for walks in graveyards, and spent time while studying as an amateur theatrical …

Although they aren’t as explicitly laid out as Miller’s, there are just as many stage directions in Shakespeare’s plays as there are entrances into the Labyrinth (1986).

Worm: It’s full of openings, just you ain’t seeing them … Things aren’t always what they seem, so you can’t take anything for granted.

Scene 4

Stratford-upon-Avon

Context – what he wrote and when he wrote it – is everything, because no one knows who Shakespeare (the man) really was. Some of the very few absolute facts about the man himself that we know for definite are that

• There was once a man called William Shakespeare.
• He was born in Stratford-upon-Avon.
• He married Anne Hathaway, a woman at least seven years older than him, from his home town of Stratford-upon-Avon; they had three children together.
• He is buried in Stratford-upon...