All 2 entries tagged Othello
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February 17, 2014
Several years ago in 2007 when I served as a judge for the Caine Prize (commonly known as the African Booker), the winner of the short story competition was the Ugandan writer Monica Arac de Nyeko, whose story Jambula Tree told of the tender love between two girls.
The love between the girls flies in the face of their society’s conventions but gives them strength, confidence and purpose. It was clear to the Caine Prize judges and to other readers of the Jambula Tree that the writing of this story of forbidden love took some daring on the part of the young author. It was the same kind of daring that prompted Radclyffe Hall to pen The Well of Loneliness, and for Jackie Kay to produce The Adoption Papers.
The prevalence of homophobic laws and anti-gay feeling across several African countries has recently been in the news. On the BBC website a depressing map of discrimination appeared, and in January of this year another Caine Prize winner, the Kenyan memoirist Binyawanga Wainana, wrote ‘I Am a Homosexual, Mum,’ a ‘lost chapter’ to his memoir One Day I Will Write About This Place to coincide with his 43rd birthday, and subsequently received numerous letters of support from writers and artists across the globe.
The Caine Prize, one of many, many literary awards, is perhaps serving inadvertently as a means to push new thinking about what it means to be ‘African’ as well as new writing from the people of African origin and descent.
And what does this have to do with Shakespeare? Or with BBAS?
We too are running a writing competition. It is called Othello can be white, Romeo can be a girl, and is aimed at young writers.
Although the creative process is intrinsically an embattled one, often requiring the artist to fight multiple demons, writing competitions can help scribes to share the struggle and to give voice to ideas, feelings and personal insights that would otherwise remain hidden. Competing for a tangible reward and public acknowledgement can be a spur to making a daring statement, to writing the lost chapter or even paragraph of a play, a film or a book.
This Shakespeare writing competition, Othello can be white, Romeo can be a girl, comes after a full year of the BBAS operation, working with schools, local authorities and theatres, and has been devised to encourage young people to share their thoughts and experiences on the casting of Shakespeare’s plays; we are looking for original, engaged responses that show knowledge and creativity.
We are looking for entries that explore how Shakespeare’s plays have been cast, or could be cast for an imaginary stage, film or TV production. We are certainly not only thinking about ‘race’, skin colour or ethnicity; nor are we only interested in the two plays referred to in the title of the competition.
Entries can focus on any Shakespeare play or film. Entrants can respond in a piece of creative writing, exploring their ideas more generally, or in an essay-based format.
The competition will be judged in two categories: 14- 18 year olds (Upper Secondary, and 19-25 year olds (College/University).
Othello can be white, Romeo can be a girl is running as a pilot competition (not open to the general public), but welcoming submissions from a wide cross-section of schools, colleges, writing groups and theatres with which the BBAS project has been in contact over the last year. This group includes drama schools such as RADA, Bristol Grammar School, Royal Holloway College, London, the Curve Theatre in Leicester and the Tricycle Theatre in north London, as well as schools and academies in Lancashire, Yorkshire and Slough.
From these different places we expect to capture a sense of young peoples’ views on the staging of Shakespeare’s plays today. If the youthful audience that packed out the Barbican Theatre this week for Tom Morris’s Bristol Old Vic production of A Midsummer Night’s Dream is anything to go by, the appetite for non-traditional casting is alive and well; in addition to partnering with Handspring Puppet Company, whose puppets convey both mysticism and devilishness, there is a multi-racial cast of young men and women mostly appearing costumed as carpenters’ mates, Hermia played with full feistiness by Akiya Henry, and the cheeky Bottom bringing Miltos Yerolemou even more fans.
The riotous comedy that kept the Barbican audience in their seats until the play closed with the majestic swaying Oberon and Titania bidding us farewell, was a far cry from the quiet sensibility threaded through Monica Arac De Nyeko’s Jambula Tree love story. Both productions were bold and experimental, however.
Creative writing competitions can encourage boldness, daring and experimentation. They can also encourage us to be more considered and reflective. The winners in each category of the Othello can be white, Romeo can be a girl competition will receive £200 cash and tickets to Shakespeare’s Globe; there are prizes for the runners up too. We hope there will be many rewards from participation.
Apart from winning the Caine Prize for her story back in 2007, Monica Arac de Nyeko’s bravery is being further rewarded. Her short story has been made into a film, a South-African/Kenyan production, by the Kenyan film-maker Wanuri Kahui, better known for sci-fi. The screen version of Jambula Tree is already garnering praise and Monica is set to become more famous.
October 15, 2013
IRA ALDRIDGE’S EARRINGS
Part way through his address about the exhibition on Black and Asian Shakespearean performances called ‘To Tell My Story’ currently on display at Lambeth Library, Professor Tony Howard told his audience the story of Ira Aldridge’s daughter giving the earrings her father had worn during his acclaimed performances of Othello to Paul Robeson as he was about to play the same part. The story felt significant for two reasons: firstly, that it meant Black actors had been documented successfully playing Shakespearean roles in Britain since the 19th century; secondly, that it was an item of costume that indicated the exoticism of the role of Othello and so to symbolise something of the essential tension in the relationship between Shakespeare and Black and Asian actors today.
The exhibition is interesting. It starts in the 19th century and documents through some eight panels the highlights of Black and Asian Shakespearean performances in mainstream British theatre to the present day. Initially, it tells the tale of American Black performers in the 19th and early 20th centuries. Then it goes on to document the resistance to, and eventual inclusion of, British Black and Asian performers in a wide range of roles as waves of immigration swept by the tides of world history changed the composition of Britain’s population.
‘Here the sable African is free‘ Ira Aldridge declared in an ex tempo address to an adoring audience. The stage was his home, the play text his weapon of choice. Aldridge, like Robeson after him and many other actors since, understood the politics of performance, that the direct conversation between performer and audience can be tremendously powerful, the universal humanity of Shakespeare’s play an unshakeable platform for messages of equality and creative expression.
The display, and Professor Howard address, pointed out a number of firsts : Edric Connor as Gower in Pericles, the first ‘coloured’ actor to perform at the Royal Shakespeare Company; Cy Grant’s appearance as Othello opposite a young Judy Dench in scenes from Othello broadcast on ITV; the scandal in 1979 when the BBC wanted to bring in James Earl Jones to play Othello; Norman Beaton’s role in Measure for Measure; Talawa Theatre Company’s 1986 production; Tara Arts who described their Shakespeare as ‘the empire striking back’.
After the main address, actors Nicholas Bailey and Karen Bryson, who have both played Shakespearean roles, talked about when Shakespeare became a part of their lives and how they came to love his plays and were eager to do more. Professor Howard described the point of the BBA Shakespeare Project as ‘to celebrate achievements’. When the discussion was opened out to the audience, it was apparent that there were deep and abiding questions that the exhibition raised that begged discussion and perhaps deeper enquiry, including:
Why did it feel as if there fewer opportunities for Black and Asian actors to play Shakespearean roles today than there were a decade ago? Has theatre become complacent about using Black and Asian actors because it has already happened? What roles are there for Black British actors who were unwilling to play servants? Must actors wait on a director’s or producer’s artistic vision for a play before they can be looked at for roles? If colour blind casting is the right way to go, what right has anyone to object to a white actor playing Othello? Aren’t all minorities including gay and Jewish characters underrepresented or stereotyped in Shakespeare? If theatre is make believe, who can’t any actor play any part? The discussion in response to all these concerns was - needless to say - lively.
Shakespeare’s words are my story, Karen Bryson stated at the end of the evening’s presentation; the journeys of his characters are my journey. With these words, she summed up the dynamic relationship between actor and playwright, performer and audience. Conversations continued to hum in the atrium of Lambeth Library for a good while after the presentation ended. Shakespeare, whether you like or loathe his work, cannot be ignored.
11th October 2013