Acclaimed theater director and producer Philip Parr is best known for his work on Shakespeare's performances. He is the Artistic Director of the York International Shakespeare Festival, an event that attracts global audiences and performers to celebrate the works of William Shakespeare. The couple have a rich background in classical theater and have directed numerous plays both in the UK and internationally. His innovative approach often includes contemporary interpretations of classic pieces, making them accessible and engaging for contemporary audiences. Under his leadership, the York International Shakespeare Festival gained prominence, presenting a variety of performances, workshops and educational programs. In addition to their festival work, Par is also involved in various theater projects and collaborates with artists and institutions to promote cultural exchange and the performing arts. His dedication to the arts and creative vision have contributed significantly to the theater community, earning him respect and recognition within the industry. Three Shakespeare plays were performed at the XXXVIII City Theater festival produced by the International Shakespeare Festival from York: "The Epiphany Night", "As You Like It" and "Macbeth".
About Shakespeare, his works and how they affect the audience today A couple of stories for "Vijesti"...
Can you give us an overview of the York International Shakespeare Festival and its main aims?
The York International Shakespeare Festival was founded by a group of colleagues in York in 2015. The idea was that, although Shakespeare is often performed in Great Britain, it is usually only in English. Audiences are often unaware that Shakespeare is a great international playwright whose works are performed in many languages, reinterpreted and used in different ways. His works have enormous political relevance in other countries, in a way that they never can when they are in the English language, especially in Great Britain. We wanted to ensure that the best, most interesting and most experimental productions were somehow brought to the UK. There was previously a Shakespeare festival in Bath until about 2006, which I ran, and I wanted to start something new to continue the collaboration I had with my European colleagues. Our aim was to bring these works to British audiences so that they would understand that the plays are not just one-dimensional, as they are often seen within the English language tradition.
How did the cooperation with Budva City Theater come about for this year's performances?
Last year I went to a meeting organized by EFA, the European Festival Association, in Sarajevo and met many fascinating people. Milena (Lubarda Marojević) and I then started talking about the nature of theater. One of the things that my company, Parabola, does is make theater with people from the community, not necessarily actors, to help them tell their stories. We've done it all over the world. We've also been developing ways to democratize Shakespeare, especially in places where there isn't a strong tradition of amateur theatre. Often Shakespeare is seen as difficult or awkward because of the language. However, participating in a play can change that perception. When people say the lines in the play, they begin to realize that Shakespeare belongs to them. This process involves making large-scale collaborative Shakespeare plays with a cast of 100 people, to show everyone that Shakespeare is not just something to be seen, but something to be owned from within through performance. Milena and I talked about whether such a project could be done here and we started planning a potential project for 2025. Meanwhile, Milena invited us to bring something this year, and here we are.
Why were these three plays chosen?
I was asked to create three plays for the International Shakespeare Festival in Craiova, Romania, as the centerpiece of Shakespeare's Village, an outdoor performance space that reflects elements of Elizabethan life. I decided to perform "Epiphany Night", "As You Like It" and "Macbeth". We perform two a day, in a very authentic style focused on the actors and the text. These performances were ready, and considering the context of the festival and the types of spaces available, they seemed perfect. We brought in a small cast capable of performing all these pieces.
How does the International Shakespeare Festival strive to keep Shakespeare's works relevant and appealing to contemporary audiences?
We are looking for interpretations and productions by theater makers who understand that Shakespeare has something to say now. Shakespeare's plays deal with universal themes such as love, political conflict, grief and death, which remain relevant. Shakespeare lived through similar problems and, although he does not offer solutions, he encourages us to think, make decisions, take a stand and open a debate. For example, "Romeo and Juliet" does not suggest that the only way for young lovers to be happy is through suicide, but it does reflect a world so difficult that such a tragic outcome is possible. Contemporary audiences may find different solutions, but the emotions and situations that Shakespeare portrayed remain relevant, and that is why we continue to perform his works.
What were the key challenges in bringing this production to Grad Teatar Budva, especially in terms of cultural or logistical differences?
There were not many difficulties. We designed these productions to be touring, and the entire show fits into five large suitcases. Productions are actor-centered, allowing them to take ownership of the performance and adapt to the space they are in. This flexibility means that actors can use the space creatively, making each performance unique. The tour here was a logistical delight, and we were well taken care of.
How do you choose the creative team and cast for festival productions?
I often work with people I know from previous projects. In this lineup, I've worked with each actor on a different project, even though many haven't worked together before. We rehearsed all three plays intensively over two and a half weeks to build a cohesive ensemble. Rehearsals focused on perfecting specific elements, such as the music and dance at the end of each performance, while leaving other areas flexible. Actors have the freedom to make decisions in the moment, creating a dynamic and evolving performance. This method created a strong ensemble, with many actors coming from York or nearby, and a few from London and Manchester. We aimed to infuse a northern, Yorkshire feel to the plays, particularly in As You Like It, which is set in the countryside.
How important is cultural exchange in your work? What are some of the fulfilling aspects of bringing international Shakespeare productions to different countries?
Cultural exchange has always been an integral part of my work. From my early days in opera, I understood the importance of international cooperation. During the last 30 years of doing theater and working with communities, I have learned so much from other people. Non-English language productions opened my eyes to different interpretations of Shakespeare. These exchanges freed my creativity and enriched my understanding of theatre. Working in different places and at other festivals helped me to understand what culture, theater, music and arts mean to different communities. These experiences have made me a better artist and improved the work I do.
What personally attracted you to the world of Shakespeare and theater?
I started in opera and worked all over the world before moving into theatre. After conducting a chamber opera in London, I was invited to direct a joint production, which led me to the theatre. I started running festivals, including the Bath International Shakespeare Festival, which introduced me to the world of Shakespeare. I came to Shakespeare through international and radical work, which made me realize the global importance of his plays. My journey has since focused on nurturing these exchanges and providing such opportunities, particularly in the UK and York.
What is your favorite Shakespeare play and why is it particularly important to you?
I don't have a favorite Shakespeare play, but I especially love his last four plays: Cymbeline, The Winter's Tale, Pericles, and The Tempest. These plays reflect Shakespeare's maturity as a playwright, with themes of reconciliation and loss. For example, "The Winter's Tale" deals with the jealousy and reconciliation of a family, but also involves the tragic loss of a child. These plays demonstrate a sophisticated understanding of the human experience, combining happy endings with profound learning and growth. To me, they represent the pinnacle of Shakespeare's artistic achievement.
What are some future plans or upcoming projects for the York International Shakespeare Festival?
We are currently working on next year's program, collaborating with different artists and planning projects, including a significant potential project here. We are also working with a German performer on an interpretation of "Richard III" that includes reflections with the "Alexa" device. We aim to rework and re-examine how these plays fit into the contemporary context. In addition, we explore the plays of Shakespeare's contemporaries from other regions. For example, we translated and performed the works of Croatian writers Marin Držić and contemporary plays by a Romanian writer. Next year, we will present the work of Shakespeare's Dutch contemporary, emphasizing that he was not the only playwright of his time. We are involved in various projects around the world, constantly looking for new collaborations and exchanges.
What kind of feedback have you received from the audience and how does it affect the direction of the festival?
Our festival is very audience driven. Although the smallest festival in the European Shakespeare Festival Network in terms of budget and size, we ensure that our York audiences and those who visit the festival experience unique performances that cannot be seen anywhere else in the UK. Audience feedback guides the types of plays we present, including English translations of plays never before performed in the UK and reinterpretations of famous Shakespeare works. This year, for example, we presented “Becoming Othello”, a powerful piece by Deborah Eb Bird, which was well received and deeply resonated with the audience. These are the stories and rethinkings that our audience finds attractive and that guide our programming policy.
How do you see the future of Shakespeare in theatre, especially in the digital age?
Shakespeare will never go away, and we are constantly reworking his plays to keep them relevant. I recently attended the Shakespeare Festival in Gdansk, Poland, which includes innovative projects for emerging theater makers. These initiatives feature radical reinterpretations of Shakespeare using digital tools such as video mapping and projection. For example, there was a rearrangement of “Macbeth” that integrated elements of the forest border between Belarus and Poland, bringing a unique cultural and environmental context to the play. Such projects show how Shakespeare can be adapted for contemporary audiences using modern technology and fresh perspectives.
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