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Peter Hall was just organizing the Royal Shakespeare Company. It was going to be an ensemble, it was going to be in repertory, it was going to have a home in London as well as in the Midlands, and all of those things were happening at that time.

Trevor Nunn

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Trevor Nunn
Age: 84
Born: 1940
Born: January 14
Film Director
Film Producer
Theatre Director
Theatrical Director
Ipswich (parish)
Sir Trevor Robert Nunn
Home
Royal
Wells
Halls
Well
Shakespeare
Going
Peter
Midlands
Things
Happenings
Repertory
Time
London
Ensemble
Happening
Organizing
Company
Hall

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Mem'ry All alone in the moonlight I can smile at the old days Life was beautiful then.
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If you're a director, your entire livelihood and your entire creativity is based on your self-confidence. Sometimes that's dangerously close to arrogance.
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In the commercial theater, I've been pretty fortunate. The producers that I've worked with have allowed me to define the artistic integrity, the artistic limits of the work.
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So, through all that early professional career I would occasionally do a musical, a pantomime or a play with songs. The next stop would be a Shakespeare, or an Ibsen, or a play by a brand new writer who had never done anything in the theater before.
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What you're doing is putting into professional play the way that you relate to other people, the way that you analyze and relate to a written text, the way that you would persuade anybody to do anything. It has to do with listening, with humility and a sense of yourself.
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The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
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I always believe it's better to have 30 imaginations working on a project, rather than one imagination telling the other 29 what to do.
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Soundbite and slogan, strapline and headline, at every turn we meet hyperbole. The soaring inflation of the English language is more urgently in need of control than the economic variety.
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If you can't fully believe in your ideas, it very quickly communicates to a group of actors who need something to hold onto. They need to believe that whatever criticism, whatever comment is received, is meant.
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If you feel very deeply about something, it's not possible to sacrifice your integrity about that.
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I tend to arrive in the rehearsal process with very strongly developed ideas about what I want to do. But I don't like those ideas to be things that are not subject to change, or subject to development, or subject to challenge.
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I so wanted to perform, and I grasped every opportunity.
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In a way, I have to have a dictatorship. I can't be told that I'm wrong. That conflicts with what I was saying earlier about listening. It isn't to do with receiving criticism and responding to other views, it's who has that last decision.
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I had a feeling about Shakespeare's soliloquies, that there should be a real exchange between the actor and the audience.
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One fine day I discovered that more complex plays really have to be directed.
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I would be terribly disappointed if anything would get in the way of my being cast in something, or if performances were canceled. It was a fix that I obviously needed.
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I've experienced a private doubt, something that I've kept deeply inside, and then eventually delivered a piece of work that people responded to with huge enthusiasm.
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The thing that I had saved up for myself and wanted most to bring off was a fully fledged professional production of Hamlet at the Royal Shakespeare Theater in Stratford.
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