Tony Harrison: reclaiming Poetry for the Stage and For the People
The death of Tony harrison marks the loss of a truly singular voice in 20th and 21st-century theatre. As Peter Hall astutely observed, Harrison “brought a great poet back to the theatre.” This was no small feat, particularly in an era increasingly dominated by prose.
Harrison, a self-described “meter-reader” from Leeds, defied expectations by achieving remarkable dramatic prominence. his success stemmed from a powerfully direct and vigorous use of language – a quality reminiscent of Jean cocteau’s vision of theatrical poetry as “thick like the rigging of a ship,” boldly visible and undeniably substantial.
Harrison’s brilliance lay in his amazing versatility. He tackled French comedy, Greek tragedy, and medieval Mysteries with equal flair, consistently demonstrating a remarkable range. his 1973 adaptation of Molière’s The Misanthrope, expertly staged by John Dexter, was a watershed moment.Harrison’s updating of the text brilliantly captured the original’s comedic energy, as evidenced in lines like, “She’d daub a fig leaf on a Rubens nude / But with a naked man she’s not a prude.”
His interpretations of Phaedra Britannica and The Oresteia were equally compelling. However, it was The Mysteries that truly showcased his gift for fusing the earthy and the elevated – a cornerstone of English dramatic tradition. A line like Judas’s justification, ”Bursar was I, balancing t’brethren’s budgeting book,” perfectly embodies this synthesis of realism and alliteration. The Mysteries powerfully demonstrated Harrison’s commitment to bridging the gap between high and low culture.
Harrison didn’t just preach inclusivity; he lived it.The Trackers of Oxyrhynchus, frist performed in Delphi in 1988 and later at the National, exemplified this. The play, about Oxford scholars becoming characters in a lost Sophoclean satyr-play, was daring and provocative. Its original production, famously illustrated with a photograph of clog-dancing satyrs sporting prominent prosthetics, sparked both shock and delight.
The published edition included a preface that served as Harrison’s artistic manifesto. He passionately argued for a unified culture, one that transcended class and categorization, embracing both the tragic and the comic, the mystical and the mundane. This remains essential reading today.
Throughout his multifaceted career, Harrison continually pushed boundaries.He directed his own work, created films for television, and staged events in unconventional spaces - a Yorkshire wool-combing shed, a Roman stadium in Vienna, and an archaeological site in Delphi.
Ultimately, Tony harrison will likely be remembered for his ability to revitalize classic texts, proving that erudition doesn’t necessitate elitism and popularity doesn’t demand condescension. He was a shrewd, kind man whose life and work embodied the unified sensibility he so passionately pursued.His legacy is a powerful reminder of poetry’s enduring relevance and its capacity to connect with audiences on a deeply human level.
