Mercutio: I talk of dreams,
Which are the children of an idle brain,
Begot of nothing but vain fantasy,
Which is as thin of substance as the air
And more inconstant than the wind
Romeo & Juliet, Act 1, Scene 4
I’ll never forget the first time I saw Romeo & Juliet. I was young, and despite knowing the outcome of the tragic love story I was unprepared for the realness of the characters, the truth of their emotions, and the stark, gut-wrenching inevitability of the climactic scene which left me breathless and shaken to my core, unearthing emotions I hadn’t encountered in my short life but which, somehow, I understood.
Few movies have the boldness to be both utterly romantic and painstakingly realistic, holding our emotional response in some sort of excruciating stasis between hope and despair, made all the more raw by the immensely empathetic nature of the lives and thoughts and feelings of the two central characters. This movie came out in 2004, a year before I first visited Paris, and now the two are inextricably linked in my mind. I cannot visit Shakespeare & Co without imagining that heartbreakingly casual reconnection between Jesse and Celine, nine years in the making.
Last week I got a bit academic on you and started down this road of form and structure, and what it means to readers and writers and so on. The reason for this dialectic digression stems from my own exploration of the concepts of form over the past few months while I have been structurally editing my manuscript. As anyone who has ever done this knows, ideas of form are integral to the structural process.
Literature and philosophy have been inseparably entwined in the thoughts of humankind since we first had such thoughts about such things. Almost all our modern thinking about narrative structure and form has its foundations, at least in part, in Aristotle’s famous examination of story, Poetics, which itself was a product of centuries of development of dramatic art and narrative experimentation.
A review of documentary Now: In the Wings on a World Stage
At first the idea of Hollywood denizen Kevin Spacey helming a world Shakespearean tour seems slightly self-indulgent, if not rather absurd. And few besides Spacey would have the audacity to film the whole experience for a limited-release feature-length documentary. However the result, Now: In the Wings on a World Stage, is more than surprisingly fresh, it’s a moving and, dare I say it, inspirational reminder of why theatre is one of the oldest and most enduring art forms.