An excellent read
"LONDON — Let’s look on the bright side: The spectacle of ireful Donald Trump supporters disrupting Shakespeare in the Park’s production of “Julius Caesar” and the subsequent tweetstorm of abuse directed at any company with Shakespeare in its name prove that plays retain the power to shock and enrage. Who said the theater is all anodyne, feel-good musicals?
I didn’t see the production that turned Julius Caesar into a Donald Trump look-alike, so I can’t comment on the accuracy of the impersonation or the violence against the president that some people believe it meant to incite. But there are a few things about the nature of Shakespearean drama in general — its subtle shifts in sympathy, the shocks it administers to our prejudices, its suspension of the drives to definitive political action — that obviously weren’t apparent to protesters.
The first of these is that a play, however incendiary its plot, is a very different thing from a political speech. A speech asks us to go out and do, or at least to go away and believe; a play by Shakespeare moves through time, measures action against motive and shows us consequence. We might enter the theater in rash spirits, but we leave it consumed by thought....
Mr. Trump never, in so many words, promoted the assassination of Hillary Clinton when addressing an election rally about the likely effect of her tinkering with the gun laws, but he avoided incitement only by making a sort of comic drama of his words — imagining what others might think or do, playing with future and conditional tenses, painting himself as innocent of any such intention himself. This wasn’t Shakespeare, but it was a departure from the usual blunt declamations of the “Lock her up!” variety. Deep down in Mr. Trump’s ungrammatical subconscious, some ancient understanding of the nature of dramaturgical, as opposed to oratorical, discourse briefly stirred. No, he had not called for Mrs. Clinton to be shot.
Plays don’t tell you what to think, let alone how to act. A good play won’t even tell you what the playwright thinks. What did Shakespeare believe? We don’t know. Meaning emerges, in a drama, suspensefully, out of the interplay of forces, from the collision of voices. There is no such thing, in art, as non-contingent truth.
That Trumpists don’t recognize this process is not surprising. Mr. Trump’s appeal is to those who think truth comes in a capsule. But their rage at the depiction of the president as the soon-to-be-assassinated Caesar is encouraging to the satirist. Satire is less subtle than Shakespearean drama. It lowers its head and charges. The questions always asked of it — will it do any good, will it change minds, will it even be noticed by the people satirized? — are hereby answered. Yes, no and yes.
Vexation is its own reward. It is consoling to see how thin-skinned the partisans of Mr. Trump are. But in truth, we’ve always known this about people of an absolutist bent. Just before the war, Adolf Hitler tried diplomatic means to get the British cartoonist David Low barred from drawing cartoons of the Führer. It has even been suggested that Mr. Low’s name was on a list of people to be killed when the Nazis occupied Britain..."