We were intrigued to learn that Zaporizhzhia, the sixth-largest city in Ukraine, is home to the exciting academic and cultural venture that is the Ukrainian Shakespeare Centre

Assistant Professor Darya Lazarenko writes:

When this idea first came up, everybody laughed at us – what would Shakespeare have to do with a totally unknown-to-the-world industrial city in the south of Ukraine? We agreed, and jokingly spoke about establishing a Shakespeare Museum. Why not, after all? To paraphrase the words of Ben Jonson, “he was not of an age, but for all time” – and all countries (and cities, at that)! We kept calm and carried on. And so, in Zaporizhzhia, Ukraine in 2009 the Ukrainian Shakespeare Centre was established by Professor Nataliya Torkut, a Ukrainian Shakespeare and Renaissance scholar, and a team of devoted ‘Ariels’.

Ukrainian Shakespeare Centre

Ukrainian Shakespeare Centre

 
Today the USC is one of the leading Ukrainian academic institutions in the domain of Shakespeare studies, and though we are still sometimes looked at as ‘upstart crows’, we do not mind – we feel proud, in fact. Our aim is to help Ukrainian scholars, teachers, students, readers and theatre-goers believe they all can be upstart crows too.

The Centre organized and successfully carried out five International Shakespeare conferences (in 2009, 2010, 2011, 2014 and 2016). In cooperation with the Union of Ukrainian Women in the USA, we established an Annual competition of Shakespeare research papers for young Ukrainian scholars, named after Vitaliy Keis. We all very much enjoy reading those ambitious, daring and sometimes even touchingly iconoclastic works that are sent to us for review. We believe this initiative will help us fight the “copy and paste” syndrome that has befallen the young generation.

Professor Nataliya Torkut

Professor Nataliya Torkut

 
In 2009 the Centre launched the website The Ukrainian Shakespeare Portal, which is the first attempt of multimedia representation of Ukrainian Shakespeareana. The portal is regularly updated – it contains a large selection of articles on Shakespeare-related issues (written in Ukrainian, Russian and English), Ukrainian translations of the Bard’s drama and poetry, and an extensive database concerning the Ukrainian reception of Shakespeare’s legacy. Going online for us is one of the ways to prove Shakespeare is not just modern and relevant, but is at the very edge cutting edge today.

To foster Shakespeare scholarship in Ukraine, the Centre has established the annual scholarly journal Shakespeare Discourse (three issues have been published so far). This journal has gained recognition not only in Ukraine but also abroad. Its regular contributors are Shakespeare researchers from the USA, Canada, the UK, Poland, Romania, Bulgaria, Slovenia, Germany and the Netherlands.

Shakespeare Tragedies Kyiv
We have already started a process of collecting a special Shakespeare library which is unique for Ukraine. Thanks to donations made by Helmut Bonheim, Sophie Pashe, Stanley Wells, Balz Engler, Paul Franssen, Daniel Doerksen, Mary Elisabeth Smith, Michael Dobson and others, this library will allow us to provide critical works on Shakespeare to our colleagues all over Ukraine.

Another aim of the Centre – probably, the most significant one in the long-term perspective – is spreading Shakespeare’s word among young people in our country and making the Bard’s heritage a core element of the Ukrainian school literary curriculum. The members of the Centre conducted several seminars on teaching Shakespeare at school, established the annual competition for school teachers ‘The Best Shakespeare Lesson’ (since 2013), and offer scholarly and methodological support of Shakespeare-related projects at school. In 2014 we launched the email subscription Shakescribe.ua which contains curious facts about the Bard, his writings, life and times.

Professor Kateryna Vasylyna

Professor Kateryna Vasylyna

 
Youngsters are the most challenging and at the same time the most gratifying audience. They often come to us with a conviction that Shakespeare is just a monument on a high pedestal – celebrated, even worshipped, but – alas! – boring. Our aim here is to let the kids see the truth about Shakespeare – his plays are anything but boring! We do it by encouraging them to play along – become Shakespeare scholars themselves and discover, for example, why Malvolio’s stockings were actually yellow and why he so much favoured the notorious cross garters.

They become philosophers when dwelling on the mysterious words of Ben Jonson: “Thou are a monument without a tomb” and work on their eloquence while defending Shakespeare-the-glover’s-son against the anti-Stratfordian claims. By finding out that Shakespeare married young and that he turned out to be a very successful businessman they establish a close ‘supertemporal’ connection with him – he seems to them younger and less of a monument. We hope that in such a way we will kindle the light of curiosity that will in the future make them devour hundreds and thousands of books – not only Shakespeare, but other writers too. We hope that reading will help them change the world and make it a better place for all of us to live in – without war and hatred.

Shakespeare figures Torkut 2
Even more projects we see in our mind’s eye. And this, probably, is one of the best things about our Centre – it gives hope, it inspires and makes you believe in miracles – with all the slings and arrows still flying around in these turbulent times. If you would like to join our company of dreamers, “lunatics, lovers and poets”, you are very welcome! We are looking forward to hearing your ideas and suggestions, words of encouragement or criticism, anything from love letters to translations and lesson plans – at lrs_info@meta.ua

For more information, visit the Ukrainian Shakespeare Centre website.

Back in 2014, an illuminating interview with Hollow Crown Fans kicked off the very first issue of Shakespeare Magazine. This month, we caught up with Rose from HCF for a timely update on her Shakespearean activities

Benedict Cumberbatch as Richard III

Benedict Cumberbatch as Richard III

 
Your very own #ShakespeareSunday hashtag began in 2012, and is still reaching new Twitter heights.
Rose: “There have been great themes and theme pickers over the years, and it continues to show just how popular and global the Bard’s works are. The Bard’s birthday celebrations this year actually landed on a #ShakespeareSunday which was great timing, even Stan Lee and Chaka Khan joined in! It really is fun to see who discovers the tag each week, as well as enjoying the creativity of the regular tweeters on the tag.

“Since the interview with Shakespeare Magazine in 2014 we had the unexpected good news that Neal Street were going to make a second series of The Hollow Crown, with Benedict Cumberbatch as Richard III, which has come and gone. Now there are already rumours of a third series involving the Roman plays, so that is certainly an area I’ll be looking into further. It has been a popular theme on #ShakespeareSunday a few times, and Coriolanus a favourite to quote from since Tom Hiddleston starred in the leading role at the Donmar in 2013. The Roman plays seem to be very much the choice of the moment, and Hollow Crown fans are also excited at the prospect of Julius Caesar opening in London next year with Ben Whishaw and David Morrissey!”

Maxine Peake (left) as Doll Tearsheet in The Hollow Crown

Maxine Peake (left) as Doll Tearsheet in The Hollow Crown

 
Which Shakespeare character most resembles you?
“Going off from the Hollow Crown cast for this question, I’d say Doll Tearsheet… maybe. I can rock the English peasant look, for good or bad, even Neal Street thought that when they cast me as an extra for Henry V! Ha Ha.”

If I ask you to give me a Shakespeare quotation, which is the first one that comes to your mind?
“What relish is in this? How runs the stream? Or I am mad, or else this is a dream.” – Twelfth Night (Act IV, Scene 1)

You have the power to cast anyone in the world (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?
“Seth Numrich – Prince Hal / Henry V. I have become a fan of Seth’s via another love of mine, the AMC TV series TURN: Washington’s Spies. Fans of the Bard and history really need to check this show out if they have not done so already. Fantastic cast, gripping storyline and Shakespeare quotes dropped in at various points over the seasons. There is a wonderful YouTube video of Seth quoting from The Merchant of Venice (“The quality of mercy is not strain’d…”) that has not left my head since watching it many moons ago. To see him on stage doing Shakespeare would be a real treat!

Seth Numrich in TURN

Seth Numrich in TURN

 
“In his interview for Muse of Fire (which you can see on Globe Player, 47 minutes in) Seth mentions his desire to play the role of Prince Hal, and he would be perfect. One of my favourite characters from The Hollow Crown and Shakespeare’s plays as a whole. I watched this interview in 2015 and I’m still waiting. If I had the power I’d certainly make it happen! Whilst we all wait, do check out Seth with Matt Doyle in Private Romeo, an all-male cast set in a high-school military academy.”

Follow Hollow Crown Fans on Twitter, and join the #ShakespeareSunday festivities each weekend.

Read our Hollow Crown Fans interview in Shakespeare Magazine 01.

Read the Hollow Crown Fans interview with actor Edward Akrout in Shakespeare Magzazine 04.

“I’d like to see Barack Obama play Brutus in Julius Caesar…” Shakespeare Magazine meets Dr Erin Sullivan of the Shakespeare Institute in Stratford-upon-Avon

Dr Erin Sullivan of The Shakespeare Institute

Dr Erin Sullivan of The Shakespeare Institute

 
Which play or area of Shakespeare are you working on right now – and what are you getting from it?
ERIN SULLIVAN: “Right now I’m working on Shakespeare and digital technology, so my focus is on how technology is influencing or shaping the performance of Shakespeare today. Some of that has to do with the development of live broadcasting, online streaming, or where people might see a production through a screen digitally. Some of it is where directors are using digital technology on stage, live video on stage or a TV screen maybe to show a 24-hour news cycle alongside a Roman play or something like that.

“Then the last area of it is looking at directors or artists that are thinking about whether it’s possible to take performance fully into the digital sphere – for instance, stage a play using social media on Twitter or Instagram, or use that in a hybrid way with production.

Andrew Scott as Hamlet at the Almeida Theatre

Andrew Scott as Hamlet at the Almeida Theatre

 
“What am I getting from it? Lots! It’s really fun because it means getting to go and see lots of different things. There’s lots of things I’ve been to, thinking it’s not for my project – and then a screen appears and I start rifling through my bag for a notebook! I think, in general, I’m really interested in how people take hold of Shakespeare, what people of different generations have found exciting or emotionally engaging about his plays. Technology has really proliferated and become such an important part of our lives in the last 20 years. That’s one of the biggest changes I’ve seen in my own life, so I think that’s why I was drawn to it.

“A lot of what I’m looking at is still big theatre companies like the RSC or the National Theatre and sometimes slightly smaller ones like the Almeida, but it has also opened up a whole world of what you might call ‘grassroots Shakespeare’ – amateur versus professional. A lot of people are doing Shakespeare themselves in lots of ways and using things like Twitter to explore a character or look at the text in a new way.”

What have you learned about Shakespeare that would have surprised your younger self?
“Gosh, there must be many things. I know for certain when I first came here to do my MA, the thing that surprised me most was, in some ways, that I didn’t know anything about the different versions of different plays. So, the idea that for Hamlet there were three different printings of the play either during Shakespeare’s time or shortly after his death, and that there are some significant differences between those printings – the same with King Lear – that’s something that I remember really blew my mind when I first got here.

Quarto edition of King Lear, 1608

Quarto edition of King Lear, 1608

 
“It’s interesting that in a play like King Lear there can be one line and different versions of that line that actors or scholars can choose from, because although the shape of the play itself is still pretty much the same, there are a lot of moments when you can pick your favourite version. There’s a bit more scope for playing with the text or reinventing it at times that we might not expect. It seems a long time ago, when I came to study, but that’s the thing that surprised me the most.”

Which Shakespeare character most resembles you?
“There’s lots of ones in different moments that I identify with – Brutus with his pensive deliberateness or Falstaff and his fun, but I think the one that first came to mind was Rosalind (As You Like It). In the way of, hopefully, her vivaciousness, her determination to get things her way, but in a good sense! Really going after what she wants, really embracing love and friendship, and that being an important part of their life. That’s maybe one that I would aspire to be like, I should say, as opposed to saying that’s me.”

Rosalind (As You Like It)

Rosalind (As You Like It)

 
If I asked you to give me a Shakespeare quotation, which is the first one that comes to your mind?
“Definitely something from Hamlet, and all the speeches came to mind. I remember one quote that always really struck me when I was younger studying was Hamlet saying ‘there is nothing either good or bad but thinking makes it so’. I thought that was so true. There’s so much black and white truth, but then so much of it is also about the way that we take a certain idea and make it mean something for us. Also, at the darker ends of things, people can really twist things back and forth. So, yes, that was the first one that came to mind.”

What is your favourite Shakespeare myth?
“I like the one about Shakespeare poaching deer at Charlecote. I think just because it makes him seem like kind of a lovable rogue! I guess it’s a Falstaffian or Eastcheap sort of side in that it’s not really that bad of a thing to do, but a bit naughty and a bit funny. Also it very much locates him here in, not in Stratford itself, but out here in the Warwickshire area. Just trying to think about what he would have been like and what he would have got up to.”

You have the power to cast anyone (actor or otherwise) to play any Shakespearean character. Who do you choose – and which role do they play?
“Gosh, there’s so many good ones! I know who I want to cast, but let me think about who I want them to play… Okay, so I’d like to see Barack Obama as Brutus in Julius Caesar. I thought Henry V might be quite nice too, but now that he’s sidelined from power a little, I’d like to see him play that very pensive, thoughtful, would-be politician and see what he makes of it. I think he’d be really good, too! I think he’s very intelligent and quite cerebral, but also funny.”

President Obama with actor Leonardo DiCaprio

President Obama with actor Leonardo DiCaprio

 
“I think he’d be a good Henry V too because he can be fiery and rousing and, I think, he’s got such a nice sense of humour and I think that nice act at the end of Henry V with the wooing of Catherine, I think he’d be pretty good in. Maybe if I could have the two shows in rep, I’d have him doing both! That would be my ideal.”

For more on Dr Erin Sullivan, visit her blog, Digital Shakespeares.

A visually-beautiful new film adaptation of Shakespeare’s Measure for Measure, ‘Rahm’ transports the Bard’s tale from 17th Century Vienna to modern-day Lahore in Pakistan

Billed as “A Sufi Adaptation of Shakespeare’s Measure for Measure”, UK/Pakistan film Rahm (“mercy” or “compassion” in Urdu and Arabic) was premiered this week at the London Asian Film Festival.

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From 17 March it will be screened at selected Cineworld cinemas in London (Ilford, Feltham, Wembley, Wood Green) and Glasgow (Silverburn), before going on wider release across the UK.

From Friday 24 March: Selected Odeon Cinemas (Manchester Trafford Centre, Manchester Printwork, Leicester, Leeds-Bradford)

From Friday 31 March: Watermans in Brentford

From Friday 14 April: Ipswich Film Theatre

Tuesday 18 April: MAC Birmingham

For more details about Rahm, check out the film’s official website.

This summer, why not study Shakespeare in the beautiful English city of Cambridge? The University of Cambridge International Summer Programmes bring together adults of all ages and backgrounds to learn from some of its finest academics

For centuries, the University of Cambridge has shaped and changed the world through visionary ideas and ground-breaking discoveries. And its International Summer Programmes (9 July–19 August 2017), with their reputation for excellent teaching and inspirational programmes, reflect this heritage.

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The Shakespeare Summer Programme (6-19 August) allows you to find out about the latest developments in Shakespeare studies. You can study the power, beauty, meaning and context of his plays; explore aspects of performance in workshops led by a professional actor and director, and discover connections with the wider world of Elizabethan culture.

Leading academics teach a rich collection of open-access courses and the classroom sessions allow for close discussion with these course directors. Classes are supplemented by morning lectures and evening talks given by subject specialists. What’s more, you can join an excursion to see Much Ado About Nothing at Shakespeare’s Globe and enjoy evening performances of some of his plays in beautiful Cambridge College gardens.

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Other programmes include Literature, Creative Writing, Ancient and Classical Worlds, History, and Medieval Studies.

To add to the experience you can stay in a historic College close to the city centre. Each is different in character, but all offer a warm welcome and the opportunity to meet fellow students at meals in magnificent dining halls.

Long summer days provide opportunities to discover a peaceful side of the city that tourists seldom see. You can explore the beautiful Colleges, visit art galleries and museums, relax in a punt on the river, or share a traditional English tea in nearby Grantchester.

It’s no wonder so many people return year after year to broaden their perspectives, enjoy being in this remarkable place and getting together with old friends from all over the world.

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More information on the International Summer Programmes may be found here, or you can email: intenq@ice.cam.ac.uk

The International Summer Programmes are part of the University’s Institute of Continuing Education.

Can you help us today? An urgent new appeal from the Editor for donations to keep Shakespeare Magazine alive and free

Shakespeare Magazine’s Founder & Editor Pat Reid

“Shakespeare Magazine is made on a micro-budget from a bedroom in Bristol, England (which is where I’m typing this message right now). I generate some revenue from advertising, but not enough to cover the costs. So for the past year I’ve asked our readers for contributions to help me continue. Many have stepped up to help, and I thank them all.”

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“The first issue of Shakespeare Magazine was put together in just 19 days – I’m convinced this was the fastest launch in media history. Issue 2 followed six weeks later, with the third instalment arriving just a month after that. At the moment, the gaps between the issues are getting wider – not because I’m short of material, but because I’m short of money.

Apart for producing six issues of the magazine each year (we only published two in 2016, although it was our most successful year ever), there are other simple, obvious things I’d like to do to make Shakespeare Magazine better.

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These include finding an office, upgrading my primitive equipment, revamping Shakespeare Magazine’s website, recording weekly podcasts, launching a video channel, and making and selling merchandise including the long-awaited Shakespeare Magazine T-shirts. But these are simply beyond my reach while I’m scrabbling for pennies on a day-to-day basis.

I don’t need a lot of money to make Shakespeare Magazine – it’s probably the most frugal publication in the world. But the bigger the donation, the more I’ll be able to do. To give you an  example, £10,000 (or the same amount in dollars or Euros) would enable me to produce three issues of the magazine within a space of six months.

And so today I’m actively seeking big donations: £1,000 or £500 or £100. If you can’t afford that, please give what you can – believe me when I say I am grateful for any donation, however small.

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If you want to know more about how your money will be spent, or if you wish to support Shakespeare Magazine in other ways, such as advertising, sponsorship or loaning resources, please contact me by email at ShakespeareMag@outlook.com where I will be happy to answer your questions.

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“Elizabethan English presents a certain barrier to comprehension…” Author Hugh Macdonald explains why he decided to “translate” three Shakespeare plays into modern English

“My purpose in rendering Shakespeare into modern English is to enhance the enjoyment and understanding of audiences in the theatre. The translation is not designed for children or for dummies, but for educated grown-ups for whom Elizabethan English presents a certain barrier to comprehension.

Shakespeare in Modern English
“When reading Shakespeare, most of us need annotations to explain allusions, mystifying word order, obsolete vocabulary, and deceptive usages of one kind or another which impede understanding, or at least prevent us reading the text at a pace at which we might read Wilde or Shaw plays.

“In the theatre, on the other hand, we have no notes to help us, so many of those baffling utterances pass us by. We still get the drift of the words, we sense the dramatic interplay, especially in a good performance, and we enjoy the poetry, but it is an incomplete enjoyment since much of what is said is not understood.

“As an example, no one who arrives at the theatre unprepared can be expected to make sense of Prospero when in Act V, Scene 1 of The Tempest he says the following lines, however well he speaks them:

‘As great to me as late, and supportable
To make the dear loss have I means much weaker
Than you may call to comfort you…’

“The meaning is there in the text, and none of these words is obsolete, but it takes a second or two to disentangle it, by which time (in the theatre) the play has moved on.

prospero
“The experience of seeing Shakespeare is for most English speakers (and I naturally exclude Shakespeare scholars since they are fluent in his language – or should be) is not unlike seeing a play acted in a foreign language with which we are very familiar though not completely fluent. Much is thus missed.

“When Shakespeare is translated into other languages, the preferred solution is, in most countries that I am aware of, a translation from the nineteenth century, now hallowed by a certain tradition, and not presenting the listener with the sort of difficulties that English speakers face when hearing Shakespeare in the original.

“As far as I know, Germans do not perform Shakespeare in 16th-century German nor the French in Renaissance French. They prefer Schlegel’s or Guizot’s or Laroche’s version for the very good reason that these versions bring the text fully to life for a modern audience. They could be said to get more today out of seeing these plays in the theatre than Shakespeare’s compatriots do.

“Even scholars will admit that Shakespeare is sometimes very hard to understand. Countless passages show editors disagreeing about interpretation, and many of the jokes are notoriously baffling. In performance directors will normally cut lines or passages of which no one can make sense, or at least of which the audience is unlikely to grasp the meaning.

Rosalind
“A modern translation has to opt for an interpretation that has at least some likelihood of being correct, although sometimes the words are clear but the meaning is not. It will be objected, no doubt, that the language is too fine to be meddled with and the poetry sacrosanct. Many people have committed to memory familiar lines whose  replacement will always jar, even when the lines have been stored in the memory without being understood.

“A modern version may provoke an astonished ‘So that’s what it means!’ as readily as ‘Don’t trample on my Shakespeare!’ The world is not yet ready for ‘To live or not to live, that is the question’, but it can have no strong objection to ‘All the world’s a stage, and all the men and women merely actors’.

“As for the poetry, I believe that blank verse is still a superb vehicle for the modern language; so long as verse is rendered as verse and prose as prose, the gains will outweigh the losses. My translations respect rhyme in blank verse as well as the meter.

“Songs I have left untranslated. I have replaced the second person singular (thou and thee) with the plural form, since that is universally adopted in modern speech. Again, there is some loss, since there are social and personal implications in the alternate use of thee and you. But since those implications cannot be instinctively grasped by a modern audience, the gain is greater than the loss. I have adopted modern word order wherever possible, although occasionally when an archaic word order offers no confusion, I have left it unchanged.

Coriolanus
“What exactly is modern English? I believe the best solution for translating Shakespeare is the language the Edwardians would have recognized as stylish and good. I avoid slang as far as possible, even when Shakespeare throws in words that were slang to him, and I avoid recent neologisms that sound sharply anachronistic.

“I believe it is possible to reflect Shakespeare’s most elevated language in the modern equivalent, and also to adopt a more colloquial tone when he does something similar. As an experienced translator of opera for singing, I find my motives and aims are the same when translating Shakespeare: to make the work better understood in the theatre.

“Since the current fashion is to sing opera in the original language to audiences who do not understand that language, the problem of intelligibility is acute, only crudely addressed by supertitles and the like. Opera audiences have the music to assist understanding, or sometimes to distract them from understanding, so that the loss of a few lines is not so critical as in the spoken theatre.

“I expect the same irrational responses to my attempts to translate Shakespeare as those levelled at opera in English, but although I have no desire to banish Shakespeare in the original from the stage, I persist in thinking that the alternative of performing his plays in a modern translation will bring enlightenment and pleasure to many.”

Shakespeare in Modern English
Three Plays (As You Like It / Coriolanus / The Tempest)
Translated by Hugh Macdonald
Go here to order it from Amazon
Go here to order it from Troubador Books
Visit Hugh Macdonald’s website

(Classic images courtesy of the Victorian Illustrated Shakespeare Archive)

Paris-based journalist Carolina Rosendorn asked Shakespeare Magazine’s Editor Pat Reid three brief questions about tourism in the Bard’s home town of Stratford-upon-Avon. His response was a 2,000-word sprawl of sightseeing tips – and unabashed Shakespearean fan worship.

Interview by Carolina Rosendorn        Photos by Emma Wheatley

Do you consider yourself a Shakespeare fan? Why? What do you love about his work? Please feel free to elaborate as much as you want.

PAT REID: “Yes, I do consider myself a Shakespeare fan. One of my reasons for launching Shakespeare Magazine was the recognition that Shakespeare does have fans in the modern sense of the word. Shakespeare – and his body of the work – has fans in the same way that a famous actor or band or football team has fans. You get this with lots of cultural figures from the past, but with Shakespeare the fan energy is equal to all of the others put together.”

“For a fan like me, Shakespeare is endlessly fascinating. Even if I was to focus solely on his life and works, that would keep me occupied forever. But Shakespeare touches on so many things – and so much Shakespeare-related activity has taken place in the centuries since his death – that I’d need multiple lifetimes and several additional brains to even begin to process it all.”

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“People often ask me if I ever run out of material for the magazine. The truth is that if I was able to cover all meaningful Shakespeare activity in the world, the magazine would be a thousand pages long – and I’d have to publish a new issue every day.”

“There is definitely a ‘trainspotting’ element to being a Shakespeare fan – being amused by gloriously tacky Shakespeare merchandise or delighted by a knowing reference to Hamlet in the Power Rangers TV show. But what I love about Shakespeare’s work is that it seems to touch on all the important questions of life, and seems to offer suggestions for how to get through it. Shakespeare’s plays are broadly divided into Comedies, Histories and Tragedies, and ultimately his works range from hilariously funny to educational to emotionally enriching. You can’t ask for much more from an artist.”

“Not forgetting Shakespeare’s Sonnets and long narrative poems, which are also all of those things. But to give one example of the power of Shakespeare I’ll choose Romeo and Juliet. It’s become quite fashionable to be dismissive of that play, but I remember standing reading it on a London tube station a few years ago, and I had tears running down my face because Shakespeare’s words were just so beautiful.”

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Why do you think that people all over the world visit his birthplace at Stratford-upon-Avon?

“Whenever you have fandom you always find a kind of quasi-religious element, and Shakespeare has certainly spread around the globe like a religion. So it’s not unusual that people want to make pilgrimages to the shrine, as it were. But even without the Shakespeare connection, Stratford-upon-Avon would still be a lovely place (although perhaps it’s because of the Shakespeare connection that people have fought to preserve its essential loveliness).

“Personally, I love going there. It’s a beautiful and tranquil place. It has quite a magical feel, similar to other historic English towns like York, Bath and Oxford – and it has a certain mystical kinship with ancient sites like Glastonbury, Avebury and Stonehenge. I think a lot of people visit Stratford-upon-Avon because of Shakespeare, but end up falling in love with the place for its own qualities.”

“As a tourist destination, Stratford-upon-Avon seems to run like a well-oiled machine. It’s able to accommodate huge numbers of people without getting too uncomfortable, and thankfully I haven’t noticed the kind of environmental damage you might expect from so much human traffic.”

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“For a typical visit with my partner and child, we will drive the 75 miles from Bristol and park in the town centre. We’ll buy a ticket that allows us to visit the Birthplace and other related houses (usually the ticket allows return visits too). At the Birthplace, we’ll ask some of the actors to perform a speech or scene or sonnet for us, and one of the musicians does a splendid version of Titania’s Lullaby from A Midsummer Night’s Dream.”

“Then we walk over to Holy Trinity Church to visit Shakespeare’s tomb and see the famous effigy. Next to the church is the Dell, a pleasant park by the river. In the summer they have open air performances by amateur companies. It’s free, and often highly entertaining. While waiting for the next show, we can hire a rowing boat and enjoy splashing around on the river. This is right next to the Royal Shakespeare Theatre, and it’s not unusual to see one of the star actors chatting to students on the lawn. Also nearby is The Dirty Duck (it’s a pun on ‘Black Swan’), a legendary pub where the actors go boozing after performances. On a sunny day, with ice-cream in hand, it’s all rather blissful.”

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“Stratford-upon-Avon is also an academic centre, with the Shakespeare Centre, the Shakespeare Institute and the Royal Shakespeare Company’s own avenues of research. Once I went to interview the venerable Professor Stanley Wells, who has since been knighted. Afterwards, he took me to the office next door to meet his colleague Paul Edmondson, so I was able to do an impromptu interview with him as well. There are several other Stratford-based academics I’m keen to interview, and the Shakespeare Institute certainly has the aura of being a wonderful place to study.”

“It’s impossible to walk around Stratford-upon-Avon without embarking upon some imaginative speculation about Shakespeare and his life-long relationship with the place. This is a creatively healthy and imaginatively rewarding pursuit, just as long as you don’t confuse your speculation with objective fact.”

“Shakespeare Magazine has readers all over the world, and this has certainly educated me in terms of how different nationalities relate to the English language and England itself. Often, countries that have serious political differences with the UK are home to particularly fervent Shakespeare fans. I’ve concluded that people have a powerful desire to find common ground, and Shakespeare can be an important conduit to that.”

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“And Shakespeare still has that mark of quality – people everywhere know that he’s supposed to be the best of the best, and so they want to find out more.”

“In this day and age, I have to say that I worry about Stratford-upon-Avon’s vulnerability to a terrorist attack. It would be a nihilistic, self-defeating gesture by the perpetrators, but it would be a tragedy for civilisation.”


Do you think that everyone who does is a true Shakespeare fan? Or is there some kind of myth around his figure that attracts tourists even if they are not familiar with his actual work? I have come across a fair amount of “Shakespeare lovers” who in fact haven’t really read his work – only seen movies like Shakespeare in Love and such…

“I think probably the vast majority of visitors are not true Shakespeare fans, but that’s fine. Most adult visitors have at least some level of genuine interest in Shakespeare, and visiting Stratford-upon-Avon can only increase that. When I went to Hong Kong and visited the ‘Big Buddha’ nobody berated me for not being a true Buddhist, and I still found it an amazing experience. Likewise, I’m delighted that people from China want to visit Shakespeare’s home, and I’m confident most will take away from it something that they find meaningful.”

“Yes, there is definitely a mythic element that attracts tourists even if they have little or no formal experience of Shakespeare. Especially in the English-speaking world, Shakespeare is so embedded in the culture that people often don’t realise they’re ‘speaking Shakespeare’. So Shakespeare’s Birthplace is also the point of origin for vast swathes of our cultural identity. Visitors recognise this and respond to it in different ways – from pleasant surprise to full-scale intellectual epiphany. And importantly, people always seem happy and excited to be there. Stratford-upon-Avon seems to have an inbuilt feelgood factor.”

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“Expanding on the mythic idea of Shakespeare… there are, of course, many documented myths relating to Shakespeare and his works, and new ones keep emerging all the time. Part of Stratford-upon-Avon’s attraction is the way it feels like so much mythic energy is focussed in one relatively small and aesthetically-stimulating location.”

“Paul Edmondson says that every day he is irked to hear tourist guides in Stratford-upon-Avon perpetuating certain myths about Shakespeare. But ironically, Paul has himself been reinvestigating other Shakespeare myths, and asking if they might have a grain of substance.”

“Yes, I have also encountered self-proclaimed Shakespeare lovers who actually don’t know much about the subject. I try not to judge them too harshly. There’s an aspirational dimension to it, wishing to be seen as a culturally well-rounded person. I will admit that when I was younger I used to imply that I knew more about Shakespeare than I really did. I know a lot more about Shakespeare now, but I can cheerfully admit there’s a vast, yawning chasm of what I don’t know. For me, Shakespeare is a life-long learning project, and Shakespeare Magazine is a way to help myself and others with that.”

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“Shakespeare in Love is actually a great film for introducing people to Shakespeare, and it becomes more enjoyable as you gradually understand all the in-jokes and references.”

“One thing that really frustrates me is when people share dreadful fake Shakespeare quotes via social media. I wish we could shut down the stupid websites that originate these things, because it’s a form of cultural vandalism. Conversely, I love the meme of the actor Tom Hiddleston looking angry ‘because someone, somewhere is misquoting Shakespeare’.”


If there’s anything you want to add, please feel free to do so? Any insights you might have about Shakespeare as a tourist attraction would be interesting.

“Many of the big engine rooms of Shakespeare study and performance are now situated in North America. And I sometimes suspect that some of those guys are starting to believe that their take on Shakespeare is the real deal, and the version that belongs to England is somehow an inferior version. This is how you get ridiculous situations like a Shakespeare festival in Oregon spending millions of dollars on ‘modern-day translations of Shakespeare’, as if Shakespeare’s actual words constitute some kind of problem that needs to be fixed. I certainly appreciate that geographical distance can inspire valid perspectives on Shakespeare, but it’s insane to think that Stratford-upon-Avon and London can be written out of the equation.”

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“There are people in this world who deeply resent the UK because of its colonial legacy – and other, more recent, crimes – but they still love Shakespeare. So it’s strange to see Shakespeare himself apparently falling victim to a form of US cultural imperialism. I should add that, because Shakespeare Magazine has so many US readers and contributors, it’s arguably as much an American publication as it is a British one. The story of Shakespeare in America will never run out of steam, but it’s a story that begins in London and – crucially – Stratford-upon-Avon.”

“I would just like to add that, as tourist attractions go, Stratford-upon-Avon is a pretty great one. There’s loads to see and do, and it’s not too expensive if you plan wisely. There are plenty of London locations with compelling links to Shakespeare, but in Stratford-upon-Avon every inch of the place is connected to the man and his journey from cradle to grave. To stand on the same patch of turf as the greatest Englishman who ever lived is a powerful and precious privilege.”

Read the Shakespeare Magazine guide to Stratford-upon-Avon here.

Shakespeare’s Sisters! With cover stars Harriet Walter, Judi Dench, Sophie Okonedo and Margaret Atwood, Shakespeare Magazine 12 is our biggest and best issue ever!

Happy New(ish) Year, Bard fans – Shakespeare Magazine 12 is here!

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Shakespeare’s Sisters is the theme of Shakespeare Magazine 12.

Meet our fabulous and forthright cover stars:

Harriet Walter

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Judi Dench

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Sophie Okonedo

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and Margaret Atwood

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All of whom speak with great authority, insight and wit about their adventures with the Bard.

Also this issue, we have:

Jade Anouka’s Donmar Shakespeare in pictures,

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while Hugh Bonneville

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and Benedict Cumberbatch chat about The Hollow Crown.

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We have brilliant guest essays on Shakespeare’s Storms

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and How to think like Shakespeare,

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along with John Foxx’s Arden Shakespeare cover art,

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the madcap comedy world of the Reduced Shakespeare Company,

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and Benedict Cumberbatch stars in a Doctor Strange/Shakespeare mash-up!

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“Where am I going to get a human skull?” On being awarded the Nobel Prize for Literature, musical legend Bob Dylan turns to William Shakespeare and Hamlet for some characteristically shrewd comparisons

Speech by Bob Dylan given by Azita Raji, US Ambassador to Sweden, at the Nobel Banquet on 10 December 2016.

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Good evening, everyone. I extend my warmest greetings to the members of the Swedish Academy and to all of the other distinguished guests in attendance tonight.

I’m sorry I can’t be with you in person, but please know that I am most definitely with you in spirit and honored to be receiving such a prestigious prize. Being awarded the Nobel Prize for Literature is something I never could have imagined or seen coming. From an early age, I’ve been familiar with and reading and absorbing the works of those who were deemed worthy of such a distinction: Kipling, Shaw, Thomas Mann, Pearl Buck, Albert Camus, Hemingway.

These giants of literature whose works are taught in the schoolroom, housed in libraries around the world and spoken of in reverent tones have always made a deep impression. That I now join the names on such a list is truly beyond words.

I don’t know if these men and women ever thought of the Nobel honor for themselves, but I suppose that anyone writing a book, or a poem, or a play anywhere in the world might harbor that secret dream deep down inside. It’s probably buried so deep that they don’t even know it’s there.

If someone had ever told me that I had the slightest chance of winning the Nobel Prize, I would have to think that I’d have about the same odds as standing on the moon. In fact, during the year I was born and for a few years after, there wasn’t anyone in the world who was considered good enough to win this Nobel Prize. So, I recognize that I am in very rare company, to say the least.

I was out on the road when I received this surprising news, and it took me more than a few minutes to properly process it. I began to think about William Shakespeare, the great literary figure. I would reckon he thought of himself as a dramatist. The thought that he was writing literature couldn’t have entered his head. His words were written for the stage. Meant to be spoken not read.

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When he was writing Hamlet, I’m sure he was thinking about a lot of different things: “Who’re the right actors for these roles?” “How should this be staged?” “Do I really want to set this in Denmark?”

His creative vision and ambitions were no doubt at the forefront of his mind, but there were also more mundane matters to consider and deal with. “Is the financing in place?” “Are there enough good seats for my patrons?” “Where am I going to get a human skull?” I would bet that the farthest thing from Shakespeare’s mind was the question “Is this literature?”

When I started writing songs as a teenager, and even as I started to achieve some renown for my abilities, my aspirations for these songs only went so far. I thought they could be heard in coffee houses or bars, maybe later in places like Carnegie Hall, the London Palladium.

If I was really dreaming big, maybe I could imagine getting to make a record and then hearing my songs on the radio. That was really the big prize in my mind. Making records and hearing your songs on the radio meant that you were reaching a big audience and that you might get to keep doing what you had set out to do.

Well, I’ve been doing what I set out to do for a long time, now. I’ve made dozens of records and played thousands of concerts all around the world. But it’s my songs that are at the vital center of almost everything I do. They seemed to have found a place in the lives of many people throughout many different cultures and I’m grateful for that.

Bob Dylan's speech was delivered by Azita Raji, US Ambassador to Sweden

Bob Dylan’s speech was delivered by Azita Raji, US Ambassador to Sweden

But there’s one thing I must say. As a performer I’ve played for 50,000 people and I’ve played for 50 people and I can tell you that it is harder to play for 50 people. 50,000 people have a singular persona, not so with 50. Each person has an individual, separate identity, a world unto themselves. They can perceive things more clearly. Your honesty and how it relates to the depth of your talent is tried. The fact that the Nobel committee is so small is not lost on me.

But, like Shakespeare, I too am often occupied with the pursuit of my creative endeavors and dealing with all aspects of life’s mundane matters. “Who are the best musicians for these songs?” “Am I recording in the right studio?” “Is this song in the right key?” Some things never change, even in 400 years.

Not once have I ever had the time to ask myself, “Are my songs literature?”

So, I do thank the Swedish Academy, both for taking the time to consider that very question, and, ultimately, for providing such a wonderful answer.

My best wishes to you all,

Bob Dylan

© The Nobel Foundation 2016.
General permission is granted for immediate publication in editorial contexts, in print or online, in any language within two weeks of December 10, 2016. Thereafter, any publication requires the consent of the Nobel Foundation. On all publications in full or in major parts the above copyright notice must be applied.

Go here to see this speech on the official Nobel Prize website.