Chicken Shop Shakespeare

It is great to see another film short from the North England based collective Chicken Shop Shakespeare, with Henry V‘s “Crispin day” speech getting the group’s distinctive treatment. This short marks the 600th anniversary of the Battle of Agincourt. It will be especially interesting to watch out for Chicken Shop Shakespeare this year to see how they mark another anniversary – Shakespeare400.

The Henry V short features Lladel Bryant, who delivers Henry’s call to arms on his way to a football match (the video was shot at Bradford City FC). Director Tyron Maynar makes good use of a hand-held camera to provide close ups, which contribute to Chicken Shop’s cinéma vérité style. The short operates through a discourse of the real – this is an urban, contemporary Shakespeare, a Bard for and of the streets. These reality effects are a staple of Chicken Shop’s videos. They speak of the culture and demographic of the collaborators, and probably help teachers to make Shakespeare (more?) appealing to young students in the classroom. Of course, YouTube offers up  earlier examples of urban or street Shakespeare such as Craig Bazan’s Hamlet on the Street from 2007.

 

Recalling this video raises the question as to what Chicken Shop’s next move might be in 2016 – perhaps a new style or theme, one that addresses Shakespeare as something increasingly experienced through digital culture? Either way, hopefully we’ll be provided with more slices of Shakespeare from Chicken Shop this year.

 

For further information see Chicken Shop Shakespeare

 

What if Hamlet used social media?

In this YouTube video Hamlet Gone Viral, Leia Yen takes the dominant elements from our contemporary mediascape (Facebook, Google search, Google maps, Yahoo, Twitter, Tumblr, Gmail, YouTube, the blog) to tell Hamlet’s story. As the Hamlet plot unfolds through a series of media screens, it’s tempting to interpret the video as instance of what Doug Lanier dubs “post-textual Shakespeare”. But the text of Hamlet remains here. It is also creatively re-purposed. In using Facebook’s update culture as its primary narrative device, the video suggests that posting online through social networking and media are communicative acts, modes of self-formation and even biography. Hamlet Gone Viral captures the tension or paradox of online lives, lives that communication brands (from Facebook to Google) enable and, at the same time, frame and, to a degree, contain. We serve their visibility and value as much as our expression. The video also says something about the role of media in knowledge construction. In this twenty-first century characterization of Hamlet, Google emerges as a form of authority. Search assumes something approaching epistemological standing. In Shakespeare and YouTube (Bloomsbury 2014), I suggested that through the platform, “Hamlet never dies. In their productions, tubers partake in a Hamlet-like desire for story and for remembrance, a desire to leave a digital footprint in the contemporary mediascape, via the paternal Bard”. This video takes things further, noting how expression is not simply filtered through a single platform like YouTube but is rather a function of the interrelation of multiple media. This is social media. This is social media Shakespeare. And all three components carry equal weight. But perhaps we are moving towards a post-Shakespeare phase, never mind a post-textual one. The Shakespeare quotation or reference may primarily function here as a conduit for connectivity. Hamlet Gone viral is, then, less about Shakespeare or Hamlet than about the workings of social media itself. The extent to which Shakespeare might get lost amidst different technologies is evident in an earlier video The Internet Tells the Story of Hamlet

But is loss a productive way of thinking about what is happening to Shakespeare – or Hamlet – in these videos? The description accompanying the The Internet Tells the Story of Hamlet video is interesting: “19 separate programs tell the story of Hamlet”. There is a sense of boast here about the number of software programmes that have been used to make the video. But perhaps there is also a suggestion about how the medium or technology simultaneously displaces and transforms Shakespeare.

For the creators of these videos, using Web 2.0 technologies to respond to Shakespeare may not be about displacement or transformation but simply their default, habitual mode of expression. And because of YouTube’s system of tags, as well as its algorithmic tracking of viewer selections, we begin to notice yet more videos where creators use the language of social media to tell Hamlet. What at first seems to be an original conceit, turns out to be part of a wider practice:

These videos are examples of how YouTube and social media platforms are being integrated into teaching. Students are being encouraged to use their familiarity with social media as an entrypoint into their study of Shakespeare. We encounter plot summary but also video as a form of interpretation and close reading.

Hamlet the original vlogger

This is one of the many fine examples where Hamlet’s soliloquy is re-purposed and updated as a vlog. In “Robbie Hamlet rap”, by dmcm720, the soliloquy is performed through the idiom of hip-hop. “Is it better to be alive or dead? “To be or not to be” is how it was said”. It suggests some symbolic connection between Hamlet’s anxious desire to determine an identity for himself and the invitation of the You Tube platform: “Broadcast Yourself”. For more on this and other Hamlet uploads, you might be interested in my article available at http://www.anglistica.unior.it/content/uploading-hamlet-agency-convergence-and-youtube-shakespeare