
It's an undeniably exciting undertaking, both for Shakespeare aficionados and for migrant communities in London who are rarely given the opportunity to celebrate their culture on such a high-profile platform. But not every element of the programme has been well received. The Globe has received two open letters about the inclusion of Habima, an Israeli national theatre company, which is scheduled to perform "The Merchant of Venice" in Hebrew in May.
The first, from Boycott from Within, a campaign group comprised of “Palestinians, Jews, citizens of Israel”, argues that the theatre appears to be condoning Israel's illegal settlements in the West Bank by including a troupe that sometimes performs there. The second was sent to the Guardian newspaper in late March by a group of British theatre-makers, including Mark Rylance, an actor and the founding artistic director of Shakespeare's Globe. It calls upon the theatre to withdraw Habima's invitation altogether.
In a statement issued in response to Boycott from Within in January, the Globe commented that the festival will be “a celebration of languages” rather than “a celebration of nations or states”. As Habima is the best-known Hebrew language theatre company in the world, the company's involvement in Globe to Globe is appropriate, the statement continued. And once one starts actively excluding companies, it added, where does one stop? (No further statement has been made since the Rylance letter was published.)
It is easy to share the Globe's feeling that “people meeting and talking and exchanging views is preferable to isolation and silence”. But there is something disingenuous—or naïve, or both—about the way in which the theatre has defended its decision. For many of the companies taking part in Globe to Globe—including Habima, whose general manager, Odelia Friedman, described the company's invitation as “an honorable accomplishment for the State of Israel”—language and national or cultural identity are inextricably linked. Whether the team at the Globe intend this or not, a festival of this stature is a stamp of approval for what a culture is projecting about itself.
Ashtar Theatre, which will be performing "Richard II" in Palestinian Arabic, is a pertinent example. Iman Aoun, the artistic director of the Ramallah-based company, pointed out in an interview that “theatre is a strong tool for raising awareness...We are ambassadors of our people and ambassadors of our culture and the stories of our people: how they live and how they struggle for their being.” She adds: "No matter how hard it is here for us as Palestinians under occupation, Palestinian theatre and Palestinian culture are really able to compete on the world stage”.
Ms Aoun was initially reticent to discuss Habima. She is weary of those who consider Ashtar as a point of contrast with Habima rather than as a group in its own right. But since the publication of the letter in the Guardian, which helped spark a larger debate in the media, she has agreed to be quoted: “It is a relief to know that some UK artists are supporting our cause and the boycott campaign. In fact they are playing an important role in raising public awareness about the atrocities of Israel and its apartheid regime.”
Of course the Globe actively included some companies and actively excluded others. The Balkan trilogy is a fascinating piece of programming because of the region's complex, tragic past; substituting a French national theatre company for the Albanian one would have made for a far less interesting story. Putting Habima and Ashtar Theatre on the same bill is no different. The question is, why is the Globe trying to pretend that politics and theatre have nothing to do with each other, when it's obvious to all concerned that they do.
The World Shakespeare Festival takes place through November 2012; Globe to Globe runs at Shakespeare's Globe until June 9th