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Fiona Shaw |
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With:
Fiona Shaw
During her visit to the Brooklyn Academy of Music with the Abbey Theatre's production of Ibsen's John Gabriel Borkman, Fiona Shaw discusses taking on one point of this lesser-known play's unromantic triangle and links her work with co-stars Alan Rickman and Lindsay Duncan back to their membership in the Royal Shakespeare Company 25 years ago. She also talks about having to get a degree in philosophy before she was allowed to enroll at the Royal Academy of Dramatic Art; her quick leap from RADA to the stage of the National Theatre in The Rivals -- and why she stayed too long; the unique confluence of talents that came together at the RSC during her time there; her ongoing collaboration with director Deborah Warner and the uproars that accompanied their productions of Beckett's Footfalls and Shakespeare's Richard II; why she spent a lot of time as Hedda Gabler rearranging the furniture; how she finds modern equivalencies in the great tragedies like Medea and Electra; her first encounter with Chekhov, doing The Seagull under the director Peter Stein, and how the rehearsal process at Stein's Italian home influenced the production; how she and Warner were permitted to do Beckett's Happy Days after being "banned for life" from Beckett's work 13 years prior; how she approached T.S. Eliot's poem The Waste Land as a theatrical text; and the great fun she had throwing off her tragedian's mantle to appear in London Assurance with Simon Russell Beale.
Original air date - February 9, 2011
Running Time - 1:03:12
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