our special arts began to see how the 2012 Olympics showed the cracks of our culture
A director recently told me that it does not apply for the vacant post of artistic director of the Royal Shakespeare Company, because I was not sure what a the three words on the name of this organization more: the monarchy, fatherhood and permanent Elizabethan theater companies are concepts currently in the process of change. Similarly, anyone who seeks to promote the "British culture" - a key concept of marketing in the year of the Olympic Games of London 2012 -. Faced with the problem of defining the UK is declining, while the definition of culture is expanded
appears much to qualify for a British flag theoretical lounge entertainment will soon be awarded. The X Factor UK is no doubt - but what is culture? My week with Marilyn, set and filmed in the UK with a British director (Simon Curtis), but an American actress (Michelle Williams) and the production of culture is, no doubt - but British
There is an easy temptation to aspire to return to an era when national borders and creative, it was more just outlined. Artistically, the 2012 will be dominated by two veterans of our schools and libraries: William Shakespeare, chosen as the center of the Cultural Olympiad, and Charles Dickens, whose bicentenary falls in February. These are indisputable British - or at least in English -. Cultural icons of the class you would expect in banknotes
but died at ages 17 and 19, respectively, and - even though both were radical political instinct for creative and innovative - the time and attention of the education system have become conservative brands , fun safely. The cult of Shakespeare and Dickens is a reflection of the legacy. Now that the two writers will double as symbols of Britain in an Olympic year is problematic for two reasons:
First, there is the problem of familiarity. British art directors to announce their intention to explore Shakespeare and Dickens is like the owner of a fish store indicating that next year's menus focus on seafood Three of the most publicized of the year 2011 - Catherine Tate and David Tennant nuts Much Ado, Hamlet, Michael Sheen and Lenny Henry, The Comedy of Errors - give the Cultural Olympiad of the problem that the public can feel as if the 100 meters took 12 months. It is also a common complaint of critics schedules television drama - the BBC, in particular, but also on ITV - have become too dependent on adaptations of Dickens
Besides the risk of overdependence on two writers (with Jane Austen is sometimes used as a substitute for impact), its dominance has led to unintended but serious generations deprive White non-performing talent . Because the stories of Shakespeare, Dickens and Jane Austen, reflecting the society of his time, are largely filled with the white pieces, we are faced with the depressing spectacle of high-profile talent or trained in Britain had migrate to be recognized: Clarke Peters, Chiwetel Eijofor, Marianne Jean-Baptiste, Thandie Newton, Idris Elba and Sophie Okenedo found a better role in the U.S. or Australia, other cultures are less dependent on the period remakes
Okenedo undoubtedly benefited from the bold cast as Nancy in Oliver Twist a 2007 ITV, and continues this corrective action. It is also a relief to know that the BBC next year's season of Shakespeare, under the supervision of director Sam Mendes, will be color-blind casting - now the norm in the theater. The World Shakespeare Festival, which runs from April to September, also addresses multiracially works.
airport novels readyAnd on this issue - that the flag to put on the badge - the sweat really starts to lower the front of the cultural commissars. In a recent article, the outgoing head of the civil service, Gus O'Donnell, predicted the collapse of the UK is now a real possibility - an issue largely ignored by politicians and newspapers to protect the queen, or traditionalists nervous voters. This divide potentially dramatic consequences for the arts.
real independence or psychological
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