Zitat des Tages über Kleopatra / Cleopatra:
Here you have an incredibly ambitious, accomplished woman who comes up against some of the same problems that women in power come up against today. Cleopatra plays an oddly pivotal role in world history as well; in her lifetime, Alexandria is the center of the universe, Rome is still a backwater.
I really don't remember much about Cleopatra. There were a lot of other things going on.
There is a certain kind of respect for authenticity today that there wasn't back in the days when they did 'Cleopatra,' where everything looked like a giant motel. People want to have it be authentic in the look, and authentic in the way people behave.
Cleopatra had one great advantage. She lived at a time when female sovereigns were not anomalies. And when women enjoyed rights they would not again enjoy for another 2,000 years. You could call them early feminists, if I may use a dirty word.
Indeed, it is measure of how little we know about Cleopatra that the only images of her are either the coins she struck, bearing very unflattering official portraits of her, or some doubtful busts, which may be of other women imitating her coiffure.
I went out to the desert where Cleopatra camped out with her mercenary army. It's a desolate outpost. Nothing has changed since her day. You realize how far she had to travel. Not only is it a good 150 miles against the current, you can't take a ship.
She was not a white woman. She was not a Greek... Until the emergence of the doctrine of white superiority, Cleopatra was generally pictured as a distinctly African woman, dark in color.
Caesar might have married Cleopatra, but he had a wife at home. There's always something.
One of my favourite pieces is 'Antony and Cleopatra' - I'd love to be in that. Or an alternative version of 'Romeo & Juliet' where I get to play Mercutio, something like that.
Girls have always wanted to be pretty, even in Egyptian times. Cleopatra wore all that eyeliner, you know.
We're talking about, essentially, the Roman historians, who wrote Cleopatra into the story mostly so that they could talk about the rise of Rome. And that is one of the problems, of course, in recounting her life. She's only ever apparent to us when there is a Roman in the room, or when her story intersects with the rise of Rome.
I'm very aware that after you've played Cleopatra, there's not a lot that can top that in this sphere, so it means that I want to almost change the sphere I work in rather completely because I will always be comparing it to Cleopatra.
What we know about Cleopatra's looks is based purely on her coin portraits. Engraving was imperfect, and that when you are a ruler and you ask for a coin to be engraved with your likeness on it, you are probably trying to project a certain air of authority.
The studio system collapsed only when Elizabeth Taylor charged $1 million for Cleopatra.
Human brains - in terms of cognition and emotion and consciousness - are essentially the same as they were at the time of Shakespeare or Jesus or Cleopatra or the Stone Age. They are not evolving with the pace of change.
I'm tired of watching as men destroy all the world. Everything used to be beautiful when women were in charge, and now I, working as the physical manifestation of the goddess Isis and the reincarnation of Cleopatra, have decided to save the world.
Cleopatra was on a political mission to save her country and her power, but what we remember about her are these two famed seductions, which are a matter of politics, not a matter of love.
Two of the first plays I saw after I arrived in Britain were 'King Lear' in Liverpool, and 'Antony and Cleopatra' at Stratford. One was produced with hardly a backdrop and the other with gigantic scene changes. I was impressed by what connected the two: the words and their life beyond the stage.
In 'Plutarch,' her voice begins to come out; there are actual 2,000-year-old quotes from Cleopatra, and they are sly and saucy.
The interesting thing about Cleopatra is that she is such a shape-shifter. I mean through history we've all molded her to our times and our places. So there's room for a movie for her, but I don't think it will hew to the book.
Watching and learning from the great Josette Bushell-Mingo, who was playing Cleopatra in Antony and Cleopatra at the time, and then to return to the same stage six months later playing a lead role, was incredible - I fell in love with the poetry and the breadth of the language so much that I didn't want it to end.
