NYTimes.com: Tastes in acting, as in everything else, certainly vary, but a great Shakespearean performance is easy to spot. You know one when you see one, although it’s probably more accurate to say that you know one when you don’t see one: when the language no longer feels remote, when the humanity of the actor and the character seem indivisible, when the emotion being expressed is no longer veiled by poetic phrasing but revealed by it, creating a shock of recognition in your own heart.
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What I was most impressed by was Mark Rylance's role as the artistic director of Shakespeare's Globe Theatre in London. Although it is necessary to preserve the original art form by producing it in traditional manner, Rylance's choice to modernize some productions is ingenious. Art must have the room to grow and change, so why shouldn't this apply to Shakespeare? Some of the best Shakespearean productions I have seen have been set in a contemporary setting or at least a different setting than its original production. Rylance allowed the Globe Theatre to follow in the steps of the RSC and other english companies: he allowed creative teams to find modern and current meaning of shakespeare in today's world. I think that, is a theatrical triumph.
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