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On Shakespeare
With humor, wit, and based on a lifetime of experience, a fascinating backstage pass to the life and plays of the Bard from a Shakespearean actor and director with 50 years of experience
So I'm sitting here backstage, waiting for my entrance, caked in fake blood and taking part in a play that is brutal, nihilistic and offensive according to all criteria of "good taste." And it's thrilling.
Did Shakespeare really write all those plays? Why do actors do Shakespeare in modern dress? How does one prepare a role? What's it like doing a long run? Did Shakespeare believe in ghosts? Was he a subversive? Every day after every performance around the world, theatergoers ask these sorts of questions. Here, a man who thinks, breathes, and interprets Shakespeare's canon every day of his life gives his responses to these questions based on experience and reflection. After many years of reading, performing, and directing Shakespeare in the UK and in Australia with the Bell Shakespeare Company, John Bell offers a unique view of the histories, tragedies, comedies, and romances, and a memorable insight into the sonnets. His passionate relationship with Shakespeare informs and deepens our understanding of the man and his works. Vivid, accessible, and fascinating, this is a book that confirms Shakespeare's enduring relevance to our lives.
So I'm sitting here backstage, waiting for my entrance, caked in fake blood and taking part in a play that is brutal, nihilistic and offensive according to all criteria of "good taste." And it's thrilling.
Did Shakespeare really write all those plays? Why do actors do Shakespeare in modern dress? How does one prepare a role? What's it like doing a long run? Did Shakespeare believe in ghosts? Was he a subversive? Every day after every performance around the world, theatergoers ask these sorts of questions. Here, a man who thinks, breathes, and interprets Shakespeare's canon every day of his life gives his responses to these questions based on experience and reflection. After many years of reading, performing, and directing Shakespeare in the UK and in Australia with the Bell Shakespeare Company, John Bell offers a unique view of the histories, tragedies, comedies, and romances, and a memorable insight into the sonnets. His passionate relationship with Shakespeare informs and deepens our understanding of the man and his works. Vivid, accessible, and fascinating, this is a book that confirms Shakespeare's enduring relevance to our lives.
432 pages, Paperback
First published January 1, 2011
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Displaying 1 - 9 of 9 reviews
February 28, 2012
There are still new things to be learnt about Shakespeare's plays and the social setting(s) in which they were written and first performed - as John Bell taught me. Examples: that Shakespeare was a country lad who, despite his later metropolitan sophistication, acquaintance with modern Protestant philosophy (as studied at Hamlet's Wittenberg) and possible agnosticisim, still has a nostalgia for the old ways - the old faith, medieval history, folklore (morris dancing, faeries!), rustics.... Here's a snippet:
"....[at the RSC Stratford on Avon] I shared a dressing room with [Judi Dench's] brother Jeffrey for a while. One evening Jeffrey came in from a day's cycling around the Stratford countryside. He had stopped to chat to two old gaffers who were trimming hedges. When asked what they were doing one explained: 'I rough-hew them and he shapes their ends.' Suddenly the line from Hamlet sprang out with new significance:
There's a Divinity that shapes our ends,
Rough-hew them how we will.
Who else but a Warwickshire country man would have thought of that image? And how amazing to find the expression still in the vernacular four hundred years later".
I think actors would find this book useful - it contains examples of what is bad acting and tips about how to play various roles. Bell points out that the constant changes in Shakespearean acting styles are attributable not just to changes in society but to technical factors - the changes in size of theatres and design of stages being the obvious ones. Also how the candlelit indoors performances at the Blackfriars theater allowed for much more expensive staging for the late romances - music, dance, magic effects for Prospero's island, for instance - than would have been possible in broad daylight at The Globe.
The writing is stylish and individual and yet "On Shakespeare" is an easy read. John Bell is an engaging, down to earth and erudite guide.
"....[at the RSC Stratford on Avon] I shared a dressing room with [Judi Dench's] brother Jeffrey for a while. One evening Jeffrey came in from a day's cycling around the Stratford countryside. He had stopped to chat to two old gaffers who were trimming hedges. When asked what they were doing one explained: 'I rough-hew them and he shapes their ends.' Suddenly the line from Hamlet sprang out with new significance:
There's a Divinity that shapes our ends,
Rough-hew them how we will.
Who else but a Warwickshire country man would have thought of that image? And how amazing to find the expression still in the vernacular four hundred years later".
I think actors would find this book useful - it contains examples of what is bad acting and tips about how to play various roles. Bell points out that the constant changes in Shakespearean acting styles are attributable not just to changes in society but to technical factors - the changes in size of theatres and design of stages being the obvious ones. Also how the candlelit indoors performances at the Blackfriars theater allowed for much more expensive staging for the late romances - music, dance, magic effects for Prospero's island, for instance - than would have been possible in broad daylight at The Globe.
The writing is stylish and individual and yet "On Shakespeare" is an easy read. John Bell is an engaging, down to earth and erudite guide.
July 24, 2012
Hmmm... part biography, part DIY manual and part time travel journalism, 'On Shakespeare' is a bit of all! John Bell's personal history is interesting, albeit well known and his take on 'these are the ones I've done and this is how I did it' is informative if you ever find yourself playing a male Shakespearan lead, however, it is his 'interviews' of Shakespeare's contemporaries are the best component of this book.
He takes us back to Elizabethan pubs and theatres to 'meet with' Will's players, publishers and various other fellow Thespians using incredibly well researched information to create conversations and Q&A sessions which do bring new knowledge of the man and his life. As Shakespeare has been 'done to death', this novel approach really does carry the entire book.
He takes us back to Elizabethan pubs and theatres to 'meet with' Will's players, publishers and various other fellow Thespians using incredibly well researched information to create conversations and Q&A sessions which do bring new knowledge of the man and his life. As Shakespeare has been 'done to death', this novel approach really does carry the entire book.
June 27, 2012
I think that anyone who works in theatre whether they be actor, director, stage manager, designer, sound or lighting that has a love of creating new theatre and working on Shakespeare in particular will find this book a useful tool for the discovery of the plays from the eyes of one of Australia's theatrical treasures. Full of good insights into not only the plays but the sonnets and the poetry that Shakespeare wrote.
May 3, 2022
It would be hard if not impossible to find an Australian who would know more about William Shakespeare than John Bell and if you wanted to find the proof of his expertise and you couldn't get to a Bell Shakespeare production then this book will more than suffice. 'On Shakespeare' is a remarkable book in that it combines so many strands in approaching Shakespeare. Part biography, part actor's manual, part autobiography, part literary criticism, even part fiction, this book will reinvigorate the jaded Shakespearean addict and perhaps find new fans for the poet and playwright. Aside from a couple of stumbles it is a most erudite and entertaining text.
Perhaps the most important benefit of reading John Bell's words on Shakespeare is he brings a combination of passion and professionalism to his discussion of Shakespeare life and career. A director, actor and theatrical producer himself Bell 'gets' Shakespeare in a way that academics and non-performers don't. Often the plays and poetry of Shakespeare are made mundane by boring teachers trying to impart knowledge of his work to bored students. Or perhaps a production of one of his works is held to be inaccessible due to the language, the possible perception of elitism or a production that goes for style over substance. Bell banishes these problems in 'On Shakespeare' because he brings the career, the life, the texts of Shakespeare to life as vital means of interrogating our world. Each page in this book is filled with life and with artful understanding that engages the reader's imagination. Whilst not perfect Bell's book makes Shakespeare alive in ways that a more academic dissertation or an unwieldy biography could.
One important reason for this is that when Bell talks about specific plays or characters, or offers his (very informed) opinion about Shakespeare he applies what he has experienced himself. Take for example the author's excitement and nostalgia in describing what it was like to live in Stratford-Upon-Avon and to work with the Royal Shakespeare Company in the 1960s. Bell readily conveys how important and how relevant Shakespeare is to him and it is hard for the reader not to latch onto his fervour.
Bell also outlines his specific interpretations of Shakespeare within the parameters of a few important aspects of how one relates to the Bard. There is the stress Bell plays on acting the roles offered by Shakespeare's plays; one cannot be but impressed by what understanding the author brings to 'reading' the dramatis personae of Shakespeare's plays. Additionally John Bell makes frequent reference to how he has endeavoured to create a dialogue between Shakespeare and both Australian audiences and Australian theatres. Whilst he comments upon the universality of Shakespeare it is most satisfying to see Bell articulate ideas as to what he has done to develop a uniquely Australian construct of Shakespeare's work.
If this review seems far too laudatory at this point it can be balanced by what should be noted as the major flaw in the text. The fictional interviews that Bell includes in his book, where he imagines what it would be like to speak with Shakespeare's contemporaries and colleagues (such as Ben Jonson) are entertaining, yes, however they are also a bit silly. One can see why Bell has included them; these offer a new way to offer biographical information on Shakespeare and Bell as an actor creates dramatic scenes that expand upon these points. Yet they strike a somewhat discordant note when contrasted to what else is written in the book. 'On Shakespeare' would have been served better as a text if these imaginary conversations had been excluded.
This book will find a ready and hopefully highly engaged readership among anyone who has more than a passing interest in William Shakespeare. It will definitely serve as an introduction to the playwright's life, career and specific works. 'On Shakespeare' will definitely resonate with actors and teachers as well, plus there will be those with an interest in Australian theatrical history who will want to read this book. Bell has achieved something pretty special with this book and it deserves to be read and referred to for those who have more than a nodding acquaintance with WS.
Perhaps the most important benefit of reading John Bell's words on Shakespeare is he brings a combination of passion and professionalism to his discussion of Shakespeare life and career. A director, actor and theatrical producer himself Bell 'gets' Shakespeare in a way that academics and non-performers don't. Often the plays and poetry of Shakespeare are made mundane by boring teachers trying to impart knowledge of his work to bored students. Or perhaps a production of one of his works is held to be inaccessible due to the language, the possible perception of elitism or a production that goes for style over substance. Bell banishes these problems in 'On Shakespeare' because he brings the career, the life, the texts of Shakespeare to life as vital means of interrogating our world. Each page in this book is filled with life and with artful understanding that engages the reader's imagination. Whilst not perfect Bell's book makes Shakespeare alive in ways that a more academic dissertation or an unwieldy biography could.
One important reason for this is that when Bell talks about specific plays or characters, or offers his (very informed) opinion about Shakespeare he applies what he has experienced himself. Take for example the author's excitement and nostalgia in describing what it was like to live in Stratford-Upon-Avon and to work with the Royal Shakespeare Company in the 1960s. Bell readily conveys how important and how relevant Shakespeare is to him and it is hard for the reader not to latch onto his fervour.
Bell also outlines his specific interpretations of Shakespeare within the parameters of a few important aspects of how one relates to the Bard. There is the stress Bell plays on acting the roles offered by Shakespeare's plays; one cannot be but impressed by what understanding the author brings to 'reading' the dramatis personae of Shakespeare's plays. Additionally John Bell makes frequent reference to how he has endeavoured to create a dialogue between Shakespeare and both Australian audiences and Australian theatres. Whilst he comments upon the universality of Shakespeare it is most satisfying to see Bell articulate ideas as to what he has done to develop a uniquely Australian construct of Shakespeare's work.
If this review seems far too laudatory at this point it can be balanced by what should be noted as the major flaw in the text. The fictional interviews that Bell includes in his book, where he imagines what it would be like to speak with Shakespeare's contemporaries and colleagues (such as Ben Jonson) are entertaining, yes, however they are also a bit silly. One can see why Bell has included them; these offer a new way to offer biographical information on Shakespeare and Bell as an actor creates dramatic scenes that expand upon these points. Yet they strike a somewhat discordant note when contrasted to what else is written in the book. 'On Shakespeare' would have been served better as a text if these imaginary conversations had been excluded.
This book will find a ready and hopefully highly engaged readership among anyone who has more than a passing interest in William Shakespeare. It will definitely serve as an introduction to the playwright's life, career and specific works. 'On Shakespeare' will definitely resonate with actors and teachers as well, plus there will be those with an interest in Australian theatrical history who will want to read this book. Bell has achieved something pretty special with this book and it deserves to be read and referred to for those who have more than a nodding acquaintance with WS.
September 30, 2024
Having usually approached Shakespeare as a student and teacher of literature, it's very refreshing to see how an actor and director engages with the plays. Schools tend to focus on a few of Shakespeare's plays, but Bell is willing to tackle any and all and find ways to make them relevant to today's world.
December 11, 2012
There's a lot to love in this book.
I'm on record as not being a big fan of John Bell's work as director or actor (admittedly only having seen his productions of the last decade, and not his lengthy career before that). "On Shakespeare" has made me adore the man.
Bell writes cannily about all of Shakespeare's plays, asking such questions as: why and how were they written and staged? What can we learn from them? What challenges face modern theatre companies in staging these works? And how can we as 21st-century readers and theatregoers make these plays work for us?
More importantly, he defends such seemingly simple notions as trusting the text (why does every production and work need to be "Relevant" or redundant? he asks!), treating Shakespeare and his audience with far more intelligence and respect than we often do (easily reducing them to "well, the Elizabethans weren't used to this...", etc.), and simply believing that any of these plays are still viable candidates for the theatre.
It's a wonderfully frank look at the plays, acknowledging the flaws and growth periods of the author, but with an eye on history. The fact of the matter is, most all Shakespeare plays (excepting the occasional "All's Well That Ends Well") have had periods of high acclaim, and we shouldn't simply accept the standard classics as all that the author has to offer.
Bell's look at character creation is also very interesting, and the highlights are his "trips" back to Elizabethan and Jacobean England, as he truly probes the complexities of the era, and the ways that theatre was made and preserved.
There are a few minor flaws, but they're easy to brush aside. Sometimes, Bell's knowledge of a play is so minimal that it warrants half a page -- could almost have been left out, really! And he spends perhaps a little too much time detailing some of the productions he worked on. The facts of staging and direction are fascinating, but we don't often need so many names or long lists of cities a show played in. However, since most authoritative texts on Shakespeare come from the UK or US, it's lovely to see performers and theatres from my part of the world get recognition in print, so I'll let it slide.
For the most part, I think this book is equally useful to newcomers and longtime Bardolaters. Bell effectively presents Shakespeare's canon as a living, breathing work, and - as a passionate theatre-maker and -goer myself - his greatest characteristic is his love of ALL kinds of theatre. There's something to be said for the stark minimalism of Peter Brook's "Dream", he argues, but that doesn't necessarily restrict classical productions. What works for the concept is what works.
(Occasionally, newcomers to Shakespeare may be put off by sections where Bell quotes the Bard extensively. Not being a literary scholar, Bell will sometimes let a soliloquy speak for itself, which is grand but may not entirely make sense to a neophyte.)
A joyful read. Well worth it.
I'm on record as not being a big fan of John Bell's work as director or actor (admittedly only having seen his productions of the last decade, and not his lengthy career before that). "On Shakespeare" has made me adore the man.
Bell writes cannily about all of Shakespeare's plays, asking such questions as: why and how were they written and staged? What can we learn from them? What challenges face modern theatre companies in staging these works? And how can we as 21st-century readers and theatregoers make these plays work for us?
More importantly, he defends such seemingly simple notions as trusting the text (why does every production and work need to be "Relevant" or redundant? he asks!), treating Shakespeare and his audience with far more intelligence and respect than we often do (easily reducing them to "well, the Elizabethans weren't used to this...", etc.), and simply believing that any of these plays are still viable candidates for the theatre.
It's a wonderfully frank look at the plays, acknowledging the flaws and growth periods of the author, but with an eye on history. The fact of the matter is, most all Shakespeare plays (excepting the occasional "All's Well That Ends Well") have had periods of high acclaim, and we shouldn't simply accept the standard classics as all that the author has to offer.
Bell's look at character creation is also very interesting, and the highlights are his "trips" back to Elizabethan and Jacobean England, as he truly probes the complexities of the era, and the ways that theatre was made and preserved.
There are a few minor flaws, but they're easy to brush aside. Sometimes, Bell's knowledge of a play is so minimal that it warrants half a page -- could almost have been left out, really! And he spends perhaps a little too much time detailing some of the productions he worked on. The facts of staging and direction are fascinating, but we don't often need so many names or long lists of cities a show played in. However, since most authoritative texts on Shakespeare come from the UK or US, it's lovely to see performers and theatres from my part of the world get recognition in print, so I'll let it slide.
For the most part, I think this book is equally useful to newcomers and longtime Bardolaters. Bell effectively presents Shakespeare's canon as a living, breathing work, and - as a passionate theatre-maker and -goer myself - his greatest characteristic is his love of ALL kinds of theatre. There's something to be said for the stark minimalism of Peter Brook's "Dream", he argues, but that doesn't necessarily restrict classical productions. What works for the concept is what works.
(Occasionally, newcomers to Shakespeare may be put off by sections where Bell quotes the Bard extensively. Not being a literary scholar, Bell will sometimes let a soliloquy speak for itself, which is grand but may not entirely make sense to a neophyte.)
A joyful read. Well worth it.
April 14, 2013
A version of this review first appeared on the Artshub website in January 2011.
On Shakespeare is a darned good read and will appeal to the general reader as much as the scholar. It is straightforward and basic enough to provide an excellent introduction to Shakespeare, yet it should also have a place in reference libraries as well as on the shelves of anyone with an interest in the Bard’s work or in Australian theatre history. The history of the Bell Shakespeare Company has probably been better covered in Bell’s earlier book, The Time of my Life (Sydney: Currency Press 2002) but there is enough of the topic in the present volume to satisfy the casual reader whose main interest is in learning more about Shakespeare and his works.
For the student of theatre, John Bell’s first-hand reminiscences are hard to beat. What’s more, his résumé and critique of each play is not just scholarly: he knows this stuff from the inside, and his understanding of the characters he has played will be of benefit not only to actors, but also students who have been given the classic ‘compare-the-characters-of-Brutus-and-Cassius’ type of exercise. We learn about Shakespeare through Bell’s ‘interviews’ with his contemporaries; a novel, yet surprisingly credible approach to getting a handle on the man behind the plays.
All this is presented through the eyes of not just a fine actor and director, but of a person who loves what he does. Bell’s passionate relationship with the Bard and his works is what shines through the most, and it’s what will keep you turning the pages. Learning from an expert is good: learning from an expert who loved his subject is even better. Bell’s easy-to-follow colloquial style helps, too.
John Bell’s place in Australian theatre is well-recognised: he has been awarded an OBE and an AM as well as being recognised as an Australian Living Treasure by the National Trust of Australia, as well as a couple of honorary degrees. Furthermore, in 2001 a painting of Bell by artist Nicholas Harding won the Archibald Prize; the following year his performance of Richard, Duke of Gloucester in Richard III earned him a Helpmann Award for Best Male Actor and in 2003 he was named Cultural Leader of the Year. Not bad for a boy from Maitland who set out with little but a dream and lots of determination!
On Shakespeare is a darned good read and will appeal to the general reader as much as the scholar. It is straightforward and basic enough to provide an excellent introduction to Shakespeare, yet it should also have a place in reference libraries as well as on the shelves of anyone with an interest in the Bard’s work or in Australian theatre history. The history of the Bell Shakespeare Company has probably been better covered in Bell’s earlier book, The Time of my Life (Sydney: Currency Press 2002) but there is enough of the topic in the present volume to satisfy the casual reader whose main interest is in learning more about Shakespeare and his works.
For the student of theatre, John Bell’s first-hand reminiscences are hard to beat. What’s more, his résumé and critique of each play is not just scholarly: he knows this stuff from the inside, and his understanding of the characters he has played will be of benefit not only to actors, but also students who have been given the classic ‘compare-the-characters-of-Brutus-and-Cassius’ type of exercise. We learn about Shakespeare through Bell’s ‘interviews’ with his contemporaries; a novel, yet surprisingly credible approach to getting a handle on the man behind the plays.
All this is presented through the eyes of not just a fine actor and director, but of a person who loves what he does. Bell’s passionate relationship with the Bard and his works is what shines through the most, and it’s what will keep you turning the pages. Learning from an expert is good: learning from an expert who loved his subject is even better. Bell’s easy-to-follow colloquial style helps, too.
John Bell’s place in Australian theatre is well-recognised: he has been awarded an OBE and an AM as well as being recognised as an Australian Living Treasure by the National Trust of Australia, as well as a couple of honorary degrees. Furthermore, in 2001 a painting of Bell by artist Nicholas Harding won the Archibald Prize; the following year his performance of Richard, Duke of Gloucester in Richard III earned him a Helpmann Award for Best Male Actor and in 2003 he was named Cultural Leader of the Year. Not bad for a boy from Maitland who set out with little but a dream and lots of determination!
July 11, 2012
Galloped along nicely after a few slow starting chapters. Once Bell gets into his vast knowledge of the literary mechanics and historical stagings of the plays, genre by genre, I began learning more than I ever imagined possible about writing for the stage.
May 15, 2014
Very enjoyable, although his conversations with Shakespeare's contemporaries didn't add much, except colour, since a lot of the information had already been given earlier. But his writing about acting and directing were very much worth reading.
Displaying 1 - 9 of 9 reviews