In this episode, we talk about the advantages of performing Twelfth Night on stage, through the lens of the 2012 Shakespeare’s Globe production starring Mark Rylance (directed by Tim Carroll). We make some comparisons with Trevor Nunn’s 1996 film to illuminate the advantages of the Globe’s production.
This is a continuation of our discussion from episode 8 (part 1 & 2) on the two productions and episode 9, which focussed mostly on the advantages of doing the play on film in Nunn’s production.
Minutes
00:00–00:50 Intro
00:50–4:31 Where scenes are set in the Nunn film
4:31–9:42 Trap doors and spatial metaphors on stage
9:42-11:44 Thrust stages, proscenium stages, and how Twelfth Night works in different theatrical spaces
11:44- 14:37 How did the Globe production work as a recording?
14:37–19:54 How do you capture these landmark productions for posterity when interaction with the audience is so key?
19:54–23:27 Things that only work on stage & the problem with dealing with soliloquies
23:27–24:11 Outro
Credits
Host: Alex Heeney (@bwestcineaste)
Guests: Dan Beaulieu (@DanBeauKnows), Caitlin Merriman (@CaitlinSnark), Craig Ruttan (@crut)
Sound recordist and editor: Cam White (@JediDusk)
Episodes referenced
Interview: Maxine Peake talks playing Hamlet
Episode 9: Twelfth Night — advantages of film
Resources
Nicholas Hytner on how to do Shakespeare
Check out Dan Beaulieu’s Shakespeare podcast, No Holds Bard. Listen to full episodes online here. You can also follow the podcast on Twitter @NoHoldsBardCast. Dan’s co-host Kevin Condardo will be appearing on a future episode of the 21st Folio, so watch for that!