Emma Smith is the author of the new book This is Shakespeare. Her other books include Shakespeare's First Folio and Women on the Early Modern Stage. She is Professor of Shakespeare Studies at Hertford College, University of Oxford.
Q: As a Shakespeare scholar, what do you think are some of
the most common perceptions and misperceptions about his work?
A: I think lots of us labour under the conviction that when
we find Shakespeare difficult, it’s because we are stupid - and feel sure that
there is a meaning to it all that we are just not getting.
It’s this search for the answer that I try to debunk in my
book - saying instead that Shakespeare asks questions and helps us to ask
questions, rather than giving us (elusive) answers.
The idea that Shakespeare gives us messages (remember the
old Hollywood saying: Hollywood for entertainment, Western Union for messages?)
is something we’ve inherited from the use of Shakespeare in the 19th century
and beyond as a kind of secular scripture.
I’m not sure Shakespeare does have messages or morality in
that way - and to be honest, you can quote from Shakespeare’s works to support
diametrically opposed views.
And finally, I think there is now a cliche that Shakespeare
wrote for the theatre and that it’s only really on stage that the works come
alive. I think that can be true, although I’d also say that some performed
Shakespeare can be really boring and off-putting. But in my book I’m trying to
make a case for the enjoyment of reading Shakespeare.
Q: You write, “Gappiness is Shakespeare’s dominant and
defining characteristic.” How would you define gappiness as it relates to
Shakespeare’s writing?
A: I use the word “gappiness” to mean space -
interpretative, descriptive, philosophical - in Shakespeare’s works, and I
suggest that the plays are really fundamentally incomplete: they need us, and
our active participation, to create meaning. That’s to say, we are not trying
to find out what Shakespeare intended, but more working with those plays and
our own experiences to understand them anew.
So Shakespeare’s plays are full of spaces for us to
interpret - sometimes these are to do with the form of theatre, which doesn’t
give us a narrator or description, so we don’t know what characters or settings
or encounters look or feel like.
Sometimes they are about unresolved questions - whether it
was justified to kill Caesar, for instance, or whether Katherine is tamed at
the end of The Taming of the Shrew.
Gappiness is the oxygen of the works.
Q: A review of the book in The Guardian says, “What This Is
Shakespeare gives the reader most of all, though, is a licence to enjoy the
plays without the cultural and historical baggage they so often carry.” What do
you think of that assessment, and what do you hope readers take away from the
book?
A: I’m enormously grateful for that assessment. I’ve tried
to present a Shakespeare who is less of a chore or a research task, and a bit
more approachable.
I’ve also sometimes identified things about Shakespeare’s
works that I think are problems - he can’t write Act 4, for instance, as you
know if you’ve been trying to glance at your watch in the theatre at about 9:30
on Shakespeare night. I’ve tried to think about him as a working playwright
rather than a literary icon, and to help readers to do that too.
Q: How did you first get interested in Shakespeare, and do
you have a favorite among his works?
A: I wrote my Ph.D. thesis on Shakespeare’s contemporaries -
the kind of plays from the period that haven’t survived, and that often tell us
something quite immediate about audience’s concerns (Shakespeare himself tends
not to be very topical, or even very fashionable).
But I realised that lots of people - from high-schoolers to
theatre buffs - have something to say about Shakespeare, and that his works are
always being reinvented and reappropriated - and that means it’s so interesting
and accessible. I love being involved in a changing field, full of opinions -
I’d be very bad as the academic who is the world’s only expert on her
topic.
Q: What are you working on now?
A: I’ve got two academic projects - an edition of a play by
Shakespeare’s contemporary and sometime collaborator Thomas Nashe - and a book
with my collaborator Laurie Maguire on Elizabethan theatre.
I’m also working on a book about books and our love of them
- it’s called Portable Magic (a quotation about books from Stephen King).
And finally, there are some exciting possibilities around
the 400th anniversary of Shakespeare’s first collected edition, the 1623 First
Folio.
--Interview with Deborah Kalb
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