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. The why of the line – what those of the Method might call motivation – will have to be unearthed or invented by the actor, if necessary, to explain what is apparent to the ear: first comes the form, says Hall, inverting the logic of the Stanislavskian tradition; second comes the feeling. Hall’s convictions shaped the RSC of the 1960s and 1970s, and – since he also directed actors such as Olivier
branching off around countless interstices and alveoli, in opposition to what Maurice Blanchot had denounced as the totalitarian tendencies of a ‘parole continue, sans intermittence et sans vide’ (‘a speech that is continuous, without intermittence and without blanks’). 3 Turning his gaze far upstream, away from the literature of the 1960s and 1970s, Barthes might have taken
visceral response. The Britain of the 1960s and 1970s lacked the kinds of dominant political figures to make Caesar feel topical, but the 1980s and 1990s positively brimmed with analogues to the story of a dictator’s demise and its aftermath. The nation in which Ron Daniels’ 1983 production opened at the RST was as divided along lines of class, geography and race as it has ever been in the modern
point, the chapter discusses altogether six films, made in consecutive historical periods, whose plotlines and casts comprise recognisable elements of Shakespearean origins. Yellow Sky (1948, dir. William A. Wellman), a loose adaptation of The Tempest , is followed by two films from the 1950s: Broken Lance (1954, dir. Edward Dmytryk), a reworking of King Lear , and Jubal (1956, dir. Delmer Daves), revisiting the Othello story. Then comes a more light-hearted version from the 1960s: McLintock! (1963, dir. Andrew V. McLaglen), a shrew-taming western comedy
conducted in Manchester's Royal Exchange, her ancestors imported as slaves to what became British Guyana before her parents immigrated to England in the 1960s in a second wave of the ‘ Windrush generation’) was not the first black British Cleopatra. That distinction goes to Doña Croll, directed by Yvonne Brewster in 1991 for Talawa, the ‘all black’ theatre company Brewster had co-founded five years earlier. 1 After Croll came Cathy Tyson (best known for playing up-market prostitutes on film and television in Mona Lisa
look gutless. Meanwhile, if since the 1960s the RSC had been working to John Barton's specification, that ‘Shakespeare is his text’ (quoted in Brown 1993 , 24), textual editors like Stanley Wells had been troubling Barton's dictum by asking questions about exactly what constituted Shakespeare's text. And writers on performance like William Worthen , James C. Bulman and Barbara Hodgdon were challenging readers to think beyond Shakespeare's-words-as-text, to see the writer as also a ‘wrighter’ of physical performance texts that, released by
towards the Quarto, a shift which may also be traced in the way editing the sonnets has evolved since the 1960s. Interest in, and justification of, early modern punctuation goes back to the turn of the nineteenth and twentieth centuries; in 1898, George Wyndham published an edition of the poems which, according to Ingram and Redpath, ‘argues at length for the authenticity and
militant 1960s’ (Rutter 2006 , 55). It was this ‘political Shakespeare’, Shakespeare influenced by the Berliner Ensemble and presented in a style ‘of “epic” heightened naturalism’ (quoted in Dunbar 2010 , 86), that Nunn was consciously reacting to with his ‘hieratic’ theatre of ‘ritual’. And it was Hall's trajectory that, consciously or not, Nunn was shadowing. For 1972 he announced his own cycle of linked plays, going one better than Hall's Wars trilogy. Nunn and Christopher Morley would create a permanent white box set to
combination of unemployment, drug and alcohol abuse, crime and casual street violence made Glasgow the most dangerous city in Britain – some achievement, given that it sustained its reputation in the 1960s against competition from cities under military occupation such as Belfast and (London)Derry. Even attempts at urban regeneration produced ironic effects: the festering Victorian tenements cleared from Gorbals in the 1950s left behind wastelands, while what replaced them on other urban sites in the 1960s, modern high-rises, ‘cities in the sky’ designed by Basil Spence
’, Proceedings of the British Academy , 146 (2007), 259 – 73. It must be said, however, that numerous seminal works on the Scottish sonnet were produced in the 1960s and 70s. On Mary Stuart’s sonnets, see for instance M.E. Burke, ‘Queen, Lover, Poet: A Question of Balance in the Sonnets of Mary, Queen of Scots’, in M.E. Burke, J. Donawerth, L.L. Dove and K. Nelson (eds), Women