I know it’s a book shop, but it’s still weird to me putting primacy on reading the script of the play rather than watching it in a theatre. It’s like saying “anyone who’s read the Die Hard novelisation knows how hectic the Christmas holidays can be”.
Thing with Shakespeare plays is there’s no one alive today who has met anyone who was alive to see a play at The Globe. The scripts we have are just people’s lines and the bare minimum stage direction. There’s a lot of information missing, and you can interpret it in many ways.
I don’t think I’ve ever seen anyone interpret Hamlet’s To Be Or Not To Be speech as a mentally disturbed 20 year old stomping down a hallway muttering to himself under his breath; it’s always either this huge proclamation or a weirdly wistful thing. And then, immediately after, two interpretations of the Blasting Ophelia section simultaneously: with and without Hamlet noticing the king and company watching.
I know it’s a book shop, but it’s still weird to me putting primacy on reading the script of the play rather than watching it in a theatre. It’s like saying “anyone who’s read the Die Hard novelisation knows how hectic the Christmas holidays can be”.
Especially since Die Hard is based on a novel.
Thing with Shakespeare plays is there’s no one alive today who has met anyone who was alive to see a play at The Globe. The scripts we have are just people’s lines and the bare minimum stage direction. There’s a lot of information missing, and you can interpret it in many ways.
I don’t think I’ve ever seen anyone interpret Hamlet’s To Be Or Not To Be speech as a mentally disturbed 20 year old stomping down a hallway muttering to himself under his breath; it’s always either this huge proclamation or a weirdly wistful thing. And then, immediately after, two interpretations of the Blasting Ophelia section simultaneously: with and without Hamlet noticing the king and company watching.
You’re right. But somehow, you’ve also composed this bookshop’s next sign…