By Don Raymond
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Additional resources for Le triomphe de l’amour ! – Tome II
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2:37 PM Page 120 Dream, which correspond to the ‘deadly theatre’ that Brook targeted so unerringly in The Empty Space. As Jatinder Verma of London-based Tara Arts, whose recent production of The Merchant of Venice was set in Cochin in Kerala, points out: ‘Shakespeare is strong on class structures and hierarchies, but these hierarchies have broken down in England. In Asia we still have strong hierarchies. ’3 One director who sees Shakespeare’s work as utterly Asian is Japanese master Yukio Ninagawa.
As Harold Brooks has pointed out, the music, song and dance elements in The Dream are an intrinsic part of the work’s plot, not merely an optional extra (see Brooks 1979). The work’s spectacle and its sound world go hand-inhand with the lyricism of Shakespeare’s dramatic rhythms and cadences. The recurrent meme in all of these transpositions – and in visionary, landmark stage interpretations such as Harley Granville Barker’s 1914 Savoy Theatre production, Peter Hall’s 1959 Stratford production or the 1970 Peter Brook Royal Shakespeare Company production – relies on transmitting or regenerating the sound-vision balance at the heart of Shakespeare’s play.
The 1939 American swing musical Swinging the Dream – starring a youngish Louis Armstrong, incidentally, as Bottom – inclined more, not surprisingly, to the Purcell Following the dream/passing the meme: Shakespeare in ‘translation’ 117 STP-28-2-02-Ingham 4/18/08 2:37 PM Page 118 adaptation mode. Britten, by contrast, saw something intrinsically English, pastoral and eternally magical in Shakespeare’s language, which he opted to transpose remarkably faithfully. At the same time that Britten was composing his faithful yet independent version – and there is clear concord in the discord of this paradox – George Balanchine was conceiving his neoclassical ballet of the Dream (1962) for La Scala Ballet Company, fusing his own visions of pure dance with Mendelssohn’s inspirational music.