April 6, 2016 § Leave a comment
When we first encounter theatre—often Shakespeare—it is as the written word. Of course, there are the theatrics of sports and politics, and we may have been to a play or two (or Joseph and the Amazing Technicolour Dream Coat), but the first time we really settle down to think and talk about theatre it is as a script, on the page, in front of us, written by a man who has been dead for 400 years.
There are two ideas that I want to unpack here; both explore theatre as a living thing, though coming at it from different angles. The first is concerned with our capacity and ability to understand theatre as performance, not simply as text. Because you know what, theatre is fun, and theatre is important. Even in Australia.
There’s nothing wrong with Shakespeare; although—if I may indulge an opinion—I think more people enjoy the idea of liking Shakespeare than they do actually like Shakespeare. Shakespeare is fine. But it is the approach that is most concerning. And this approach leads to a widespread misunderstanding of what theatre is, how to talk about it, how it looks and, most significantly, how it comes to be the way it is — but I’ll get to that later. « Read the rest of this entry »