You know you are in for when it comes to the Song of the Goat. Experimental Polish theatre, based upon a classic text, often Shakespeare, sung in a mixture of polyphony and Eastern European scales, plenty of sex and death: Andronicus Synecdoche may no longer provide the electric shock and surprising violence of their previous work but conforms to their formula and, equally, provides the expected excellence.
Titus Andronicus is one of Shakespeare’s plays that has recently, back into fashion. Unlike Macbeth or Romeo and Juliet its plot is not too familiar, and its aesthetic owes more to Seneca and his bloodthirsty melodrama. It is packed with incident, sexual assaults, family murders, political intrigue and, although this production does not dwell upon it too heavily, really unpleasant racism. There is a villain, who is not only black but is repeatedly insulted by other characters and, indeed, by the author for it. The metaphor of black skin and black heart is certainly worked out. Unlike the Othello fellow, there is no redemption here. Synecdoche does not comment on this feature and it is rather unfair to begin a critique by bringing it up. However, since a theme of this year has been race and representation, it seems important to point out that there is evidence to suggest that Shakespeare was a racist.
This opinion, hopefully, ensures my guest appearance in Piers Morgan’s bearpit, where he can be very outraged at such a slur on the national bard. I can try to tell him that racism was developing as a concept in the early modern period. A more subtle interviewer might ask whether it is fair to judge Shakespeare by contemporary standards. Another might point out that in Othello, there is a sympathetic presentation of an African. The latter is up for debate anyway and I am not judging Shakespeare by contemporary standards. Racism was in the process and having a black villain is part of that process.
Imagine what would happen if we cancelled Shakespeare. How many directors would have to think a bit harder about what show they were going to put on? Imagine the actors longingly remembering the opportunity to spout poetic language and show off their diction. Imagine a world without the shadow of Stratford over it, beneath which all writers must cower.
I think I was reviewing Andronicus Synecdoche.
Song of the Goat are always welcome at the fringe. They have a distinctive dramaturgy. It returns to the choral ensemble roots of tragedy: characters emerge from the group and explore their feelings in Song. The plot is narrated with certain he seems forms in suggestive and symbolic manners. The skill is in never romanticising the violence but not heading towards sensationalism. Hands cut off. Brothers and Sons are killed. The Goths approach Rome ready for war. The trust of this exciting narrative is sung and enacted through a gestural vocabulary of precise movements that is almost dance yet remains naturalistic.
The affect of this production is fascinating. It may wonder through the darker aspects of human history and consider other corrupted couldn’t Roman Empire collapsed due to both 40 and the absence of leadership and ethical standards. Height as himself is compelled to betray his own nation seek revenge. Love is beaten by lust. Power is naked and ambitious and willing to sever limbs and family bonds. The singing, so beautiful, so intense does not indulge sentimentality. This dramaturgy able to hold the ugliness without being seduced by its brutality. It is a vital reconsideration of theatre itself, away of rediscovering something found about the story and the structure of play without relying on the brilliance of the poetry. Another poetry is invented, a poetry of physicality sound that shares with its source and ability to articulate beauty against the grain of the story and its a vicious characters.
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