Quotes of All Topics . Occasions . Authors
Some people think that English poetry begins with the Anglo-Saxons. I don't, because I can't accept that there is any continuity between the traditions of Anglo-Saxon poetry and those established in English poetry by the time of, say, Shakespeare. And anyway, Anglo-Saxon is a different language, which has to be learned.
I am rather partial to Shakespeare, though I haven't done loads. But when it's done right, there's nothing like it. There are layers upon layers upon layers, and you unpack new things constantly. I don't know how he knew so many things - about the world, about women, about human nature, life, death, our fears and hopes.
What is so weird is that young people who want to be 'celebrities' do not want to put in the hard work. They don't want to do the training, go to drama school, read Shakespeare, try different accents and study technique. They just want to be famous. It is not just in England; it's the same in America and all over Europe.
There is a part of me that will forever want to be walking under autumn leaves, carrying a briefcase containing the works of Shakespeare and Yeats and a portable chess set. I will pass an old tree under which once on a summer night I lay on the grass with a fragrant young woman and we quoted e.e. cummings back and forth.
When I was prepping for my Broadway debut as Romeo, it really hit me that I had never done that. I had trained at drama school for three years in my late teens to early 20s, and I'd studied Shakespeare, of course, but I hadn't actually performed it. So to do something like Romeo for my first Broadway role was a challenge.
I talked to friends who are actors and who do Shakespeare loads, and they all said 'learn it so that your family wants to clobber you, they're so bored.' You can never relax, that's the problem, because when you do, a bit of Shakespeare comes up to bite your cheeky behind. It just does, if you're not really focused on it.
The difference between the Parthenon and the World Trade Center, between a French wine glass and a German beer mug, between Bach and John Philip Sousa, between Sophocles and Shakespeare, between a bicycle and a horse, though explicable by historical moment, necessity, and destiny, is before all a difference of imagination.
I know it affected me when I saw certain actors growing up. I had a drama teacher that would take us to see plays in New York, and it was seeing James Earl Jones and Raul Julia - I mean, this guy comes from the place my mother comes from. He's doing Shakespeare right now, and it doesn't seem to matter that he has an accent.
If I'm going to be honest with you, when I trained at school, I feel like I was training to be a chameleon. I want to be that versatile actor who can do anything - that's why you learn fifty different dialects, you do Shakespeare, you do commedia, you do it all so that if any job comes your way, you should be able to do it.
Every time we moved on, I joined a different class in a different school with different girls until, aged 13, my father had taken the decision to pull me out of school altogether. Everything I needed, he reasoned, could be found within the rich language of Shakespeare's plays at which, by then, I was something of an old hand.
My background is in largely in theatre and acting. I grew up in a town with a well-respected Shakespeare Festival, and I fell in with some kids whose parents worked there. We staged all-kid versions of 'Hamlet', 'Cymbeline', a few others. All the while, I was making short films; monster movies, slapstick comedies, claymation.
There is in our society a gulf opening up, a kind of cultural apartheid, between those who are brought up to feel our national culture is theirs, to take ownership of it, and enjoy the privileges of that, and those who are completely disfranchised, those - for example - who will never be taken to the theatre to see Shakespeare.
I was already devouring literature and I was the ripe old age of 15 when I decided to be an actor. I just thought plays were the most fantastic way of expressing life. I thought I'd discovered Shakespeare - 'hey, there's a new guy in town, don't know if anyone's read him.' I was just excited about the whole thing, from day one.
New fathers, political prisoners, traumatised presidential aides, resolute schoolboys, MEPs addressing unfriendly chambers - we all find that Shakespeare has magically anticipated our precise circumstances. How he was possible, I still don't understand; but there isn't a day I'm not grateful that he speaks to me in my own language.
I spent many years in college studying English literature. I was on the verge of attending grad school to get a Ph.D. in Renaissance poetry - my lost careers were being a writer, artist, or academic. Do I regret spending all that time poring over Shakespeare when I could have been getting a jump start on the competition? Not at all.
Once an actor told me he went to the Shakespeare School of Acting, and I said, 'I went to the Shakespeare of Acting, too' and he said, 'Oh really?' And I said, 'I went to Shakespeare Elementary School in Chicago.' He didn't take the joke well, he didn't laugh and didn't think it was funny - I thought it was funny. It's all the same to me.
I guess if you have had a good education as opposed to someone who hasn't been to school, you start off on this journey having studied Shakespeare for years and years or studied classics. I suppose why people see this big divide - the boarding school boys getting all the roles - is because they feel like some people have had a head start.
Whether you're talking about Shakespeare or, you know, if you look at Greek tragedies. I mean, every playwright, every songwriter, every artist who's ever sat down and been moved to create something, has been living in a context. A political moment that's most often reflected in their work. Even if you're, you know, kind of a nature poet.
My mother was the greatest mother in the world. She thought I was the greatest thing on two feet. I'd come home with a little composition I had written at school, and she'd look at it and say, 'It's wonderful! You're another Shakespeare!' I always assumed I could do anything. It really is amazing how much that has to do with your attitude.
This is more than just the rebuilding of the Globe, creating some kind of monument to Shakespeare which he doesn't need. His books are his monuments. But this will be a major center for the study of Shakespeare in performance. We are making the only faithful effort to restore the theater in every respect as close to the original as possible.
I didn't want to be the archetypal sponging brother-in-law, so I didn't go into acting when I got to the States. I thought, 'No, I'll go to school and then I'll be an English teacher; that'll be fun.' But I was horrible as a teacher. As hard as I tried, I just couldn't inspire those kids to take an interest in Milton and Shakespeare and Donne.
When I auditioned for drama college, they asked me to do my Shakespeare. I couldn't do it. They asked me to do my modern, and I couldn't do it. They asked me if I had a song prepared, and I said 'No,' so I sang 'Happy Birthday.' And I did a reasonable improvisation, a reasonable one, nothing special at all. I don't know how I got in, but I did.
Shakespeare's always been sitting on my back, since I began reading. And, certainly, as a writer, he's who I hear all the time. And he's almost indistinguishable now from the English language. I have no sense of what Shakespeare is like. I have no sense of the personality that is Shakespeare. I think, alone among writers, I don't know who he is.