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NEW SITES for SHAKESPEARE: Theatre, the Audience and Asia Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 NEW SITES FOR SHAKESPEARE New Sites for Shakespeare argues that our understanding and enjoyment of Shakespeare is limited by the kinds of theatre we have seen. On repeated visits to Asia, John Russell Brown sought out forms of performances which were new to him, and found that he had gained a fresh and exciting view of the theatre for which Shakespeare wrote. New Sites for Shakespeare shares these extraordinary journeys of discovery. This fascinating study pays close attention to particular theatre productions and performances in Japan, Korea, China, Bali, and especially India. The book is divided into separate chapters which consider staging, acting, improvisation, ceremonies, and ritual. The reaction of audiences and their interaction with actors are shown to be crucial factors in these theatrical experiences. Bringing to bear his background as theatre director, critic, and scholar, the author considers current productions in Europe and North America, in the light of his insights into Asian theatre. Ultimately this book calls for radical change in how we stage, study, and read Shakespeare’s plays today. Theatre writer and director, John Russell Brown was an Associate Director of the National Theatre, London for fifteen years and has taught at various universities in the UK and US. He is currently Consultant to the School of Drama at Middlesex University. Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 NEW SITES FOR SHAKESPEARE Theatre, the audience and Asia John Russell Brown Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 London and New York First published 1999 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, NewYork, NY 10001 This edition published in the Taylor & Francis e-Library, 2001. © 1999 John Russell Brown The right of John Russell Brown to be identified as the Author of this Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data A catalogue record for this book has been requested ISBN 0-415-19450-4 (pbk) ISBN 0-415-19449-0 (hbk) ISBN 0-203-03045-1 Master e-book ISBN ISBN 0-203-17546-8 (Glassbook Format) Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 CONTENTS List of Plates vii Acknowledgements ix Introduction 1 PART I Visiting 5 1 Open Stages: presence and occasion 7 2 Audiences: on stage and off stage 29 3 Ritual: action and meaning 43 4 Ceremony: behaviour and reception 53 5 Performance: imagination and involvement 71 6 Improvisation: freedom and collusion 91 7 Response: actors and audiences 103 8 Settings: actors and stages 121 PART II Returning 137 9 Criticism: texts and study 139 10 Control: directors and companies 144 Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 11 Scenography: theatres and design 162 12 Actors: training and performance 173 Forward prospect 190 Notes 200 Index 206 v Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 PLATES 1.1 Jatra actors prepare backstage 8 1.2 Jatra actors ready for cross-gender roles 8 1.3 The stage crowded for a dance by Jatra actors at the beginning of an evening’s entertainment 11 1.4 A Jatra actor makes an exit 19 1.5 The stage-manager’s and control position behind a Jatra stage 23 2.1 Preparations for a cremation on Bali 30 2.2 A cremation procession on Bali 31 2.3 The crowd around a pyre on Bali 32 4.1 The central character supported by members of the chorus in Waiting for Romeo 57 4.2 Ceremonial dance in a production of King Lear 58 4.3 Clear and energetic acting in The Prisoner of Zenda 68 5.1 Kutiyattam performance; Margi Madhu as Ravana in Himakaram 73 5.2 Kutiyattam performance; Margi Madhu as Arjuna in Subhadra Dhananjyan 77 5.3 Ammannur Kochukuttan Chakyar Madhu (Margi Madhu) 78 7.1 An onnagata performer; Tokicho as the wife of a warrior, rehearsing at Sadler’s Wells Theatre, August 1977 113 8.1 Shang Changrong in the title role of King Qi’s Dream (based on King Lear) 130 Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 8.2 Shang Changrong, actor; photographed during a break in rehearsal 131 8.3 Folk dance in Seoul 133 vii Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 ACKNOWLEGEMENTS My debts to others while writing this book are huge and numerous; I could have done very little alone. At the University of Michigan, Ann Arbor, I enjoyed the help of students, friends, and colleagues, especially Erik Fredricksen, the Chairman of the Theatre Department, P.A. Skantze, who commented on a first version, and all those students who enabled me to put what I was learning into practice in a series of productions that included plays by Chekhov, Farquhar, Goldoni, Mamet, Racine, and Shakespeare, and the première of Blue, by Surrena Goldsmith. The University’s various grant-giving committees in the Theatre Department, the School of Music, the School of Graduate Studies, and the Office of the Vice- Provost for Research contributed generously to my expenses. At Middlesex University, I am indebted to Leon Rubin who showed me how to use the opportunities of travel and with whom I could talk through my adventures. Away from home, I owe a very special debt to Ram Gopal Bajaj who invited me to teach and direct at the National School of Drama, New Delhi. I am most grateful for his generous help, and that of his colleagues, students, and many friends, during those months. My thanks are also due to Vicki Ooi for inviting me to contribute to a Conference on Asian Performing Arts, to King-fai Chung and Fredric Mao for two invitations to work with actors at the Academy of Performing Arts in Hong Kong, and to the Japan Foundation in Tokyo and London for generous assistance at all times. Several critics and friends have encouraged and helped me as the book was being written: Robert Weimann by his careful response to early versions of several key chapters; Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 Dennis Kennedy by reading and commenting on an early draft and inviting me to Trinity College, Dublin; A.K. Thorlby by meticulously annotating the same draft and helping me to consider the wider implications of my theme; and Talia Rodgers whose work as editor at Routledge has not only guided and supported this publication but provided inspiration to many besides myself who try to write about theatre and performance. I am deeply grateful for all this help. ix ACKNOWLEDGEMENTS To numerous editors, I am indebted for publishing several articles which were, in effect, preparations for writing this book: ‘Acting Shakespeare’, Shakespeare from Text to Stage (Bologna: Cooperativa Libraria Universitaria Editrice Bologna, 1993), ‘Jatra Theatre and Elizabethan Dramaturgy’, ‘Representing Sexuality in Shakespeare’s Plays’, and ‘Theatrical Pillage in Asia’, New Theatre Quarterly (1994, 1997, 1998), ‘Shakespeare, Theatre Production, and Cultural Politics’, Shakespeare Survey (Cambridge: Cambridge University Press, 1995) and ‘Theatrical Tourism’ in Journal of Literature & Aesthetics (Kollam, Kerala; 1997). I am grateful for permission to use later developments of material from these publications. I have also drawn upon passages in ‘Back to Bali’, originally published in The Critical Gamut: Notes for a Post-Beckettian Stage, ed. Enoch Brater (Ann Arbor, MI: University of Michigan Press, 1995). On my travels I found help and friendship on all hands: more especially, in Japan, from Takahashi Yasunari, Suzuki Tadashi, Ninagawa Yukio, Wayne Silka, and Kondo Hiro, together with the helpful officers of the Japan Foundation; in Korea, from O Tae-suk and Kim Su-gi; in China, from Luo Jian Fan, Rong Guang Run, and Chang Shu; in Bali, from A. Badra and I.B. Alit. My indebtedness in India is particularly extensive: in Calcutta, to Pratibha Agrawal, Samik Bandyopadhyay, and Usha Ganguli; in Orissa, to Byomakesh, Biswakesh, and Byotakesh Tripathy; in Kerala, to K.N. Panikkar and K.A. Paniker; in Bangalore, to Arundhati Raja, Girish Karnad, B. Jayashree, B.V. Karanth, and Sunder Raj; in Bombay, to Feroz Khan, Rajeev Naik, and Shata Gokhle; and during an early visit to New Delhi, to Smita Nirula and Balwart Gargi. In these many ways, my book has had many contributors and its merits will be in large part due to them; its faults and failures, likely to be numerous when working with such a wide perspective, are very much my own. While preparing this book for the printer, I have been greatly helped by Tom Keever at Columbia University, New York, and by Jason Arthur and Ian Critchley at Routledge; I am most grateful. Quotations from Shakespeare’s plays are from Peter Alexander’s edition of 1951, unless otherwise noted. John Russell Brown, Court Lodge, Hooe. Downloaded by [Central Uni Library Bucharest] at 04:02 08 October 2013 x INTRODUCTION Over the course of more than six years I have been able to visit theatres in Asia that were almost entirely new to me.
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