BBC – Documentary about William Shakespeare: No kitsch alarm

It was to be expected that in Shakespeare’s homeland the great playwright would be judged somewhat more appropriately than in the Federal Republic, which is plagued by the Guido-knoppization of cultural television. The fact that the three-part documentary by Julian Jones (“William Shakespeare: A Genius and His Time”, in the original “Shakespeare: Rise of a genius”) turns out to be excellent over long stretches is surprising. The revenge that German public broadcasting still has on the English genius is simply that it let the documentary series on the special-interest channel Arte end up somewhere in the pre-Christmas program.

Jones tells Shakespeare’s life chronologically, divided into three hour-long chapters. Each episode highlights a creative phase, with pleasantly little emphasis on the usual private life documentary kitsch. The focus is on Shakespeare’s work in the theater and the content of his plays. His family circumstances (he lived with his wife and three children) are touched upon and only explained where they are relevant to his work – which was often the case: the most famous poet in the world was born the son of a craftsman, too poor to finish school and studies, he became a theater genius with his plays about political struggles, which was protected by the royal family.

Episode 1, “The Stagehand”, shows difficulties such as the first successes of Shakespeare, who came to London from the countryside, and his gaining a foothold in the metropolis’s theater world. Episode 2 is called “Fame and Rebellion”: It sheds light on the phases after the first major successes: Shakespeare’s plays become audience magnets – also thanks to vulgar language and brutal depictions of violence – and earn him the admiration and support of Queen Elizabeth. Episode 3, “The King’s Servant”, deals with dependencies and tensions between the theater troupe and the throne: the pious Protestant King James I becomes the successor to Elizabeth I, Shakespeare becomes the author of the royal drama company, but always finds the balance between theatrical realism and rebellion.

What is commendable is the fact that the scenes from the playwright’s life, wordlessly recreated by actors (Daniel Boyarsky, who appears very tired as Shakespeare), are not only accompanied by well-founded commentary throughout, but also by various experts. British acting stars such as Jessie Buckley, Judie Dench and Martin Freeman enthusiastically report on their experiences with Shakespeare roles. Former Prime Minister Gordon Brown also has his say and attests to Shakespeare’s realistic feel for politics. The fact that the talking is left to the voice-over and the interviewees serves to ensure objectivity and greatly benefits the documentary.

Those unfamiliar with Shakespeare in particular will find a clear summary of his crucial stages in life and a solid basis for reading or going to the theater. For as entertaining as the poet’s plays are, the more prior knowledge of Shakespeare’s time and intentions, the richer the Shakespeare experience. After all, his plays were aimed at an audience that knew exactly what political facts were being alluded to.

It becomes understandable that leftists are right when they see Shakespeare as their “comrade” (Erik Zielke) and that his life consisted of many courageous and risky steps that are hardly imaginable today. One might think that it was a huge coincidence that William became the great Shakespeare we know him as today. The man always had a lot of luck in his life. This may have been a necessary but not sufficient condition for his legendary work: Shakespeare seemed to have known exactly what he was getting into and weighed his risks carefully.

Intrigues, intrigues, oppression and rebellion – Shakespeare reflected his experiences and knowledge in his plays. Unfortunately, it is not a given and it is the merit of this biopic that it portrays this largely without any loss of complexity.

The value of the three films lies above all in the plasticity of the close connection between artistic standards and social conditions. They show Shakespeare’s life as an exemplary one: that of the artist in society. They show that the question of genius cannot be avoided, simply because genius always raises the question of the system: namely, how a society should be set up that helps the gifted individual to emancipate. The BBC three-part series raises the questions; we are the ones who have to answer them.

Available in the Arte and ZDF media libraries