theartsdesk Q&A: Actor Colin Firth

The best interview ever with the Oscar-winner as he talks about what made him an actor

In some ways it’s been an odd career. Everyone else in Another Country (1982), the stage play by Julian Mitchell about gays and Marxists in a 1930s English public school, shot out of the blocks. Colin Firth was the only actor to play both lead parts, one onstage, the other on film (1984), but he took the slower road to outright stardom and only now is he clearly the bigger cheese than Rupert Everett, Kenneth Branagh and possibly even Daniel Day-Lewis.

Corin Redgrave, 1939-2010

Corin Redgrave: 'Very good, but his eyes too close together' according to his father Michael Redgrave

The Marxist theory of thespianism: how a career revived after the Cold War

I once witnessed Corin Redgrave, who died last week, terrify a member of the audience at the National Theatre. He was playing an old beast of a journalist in Joanna Murray-Smith’s play, Honour. It opened with Redgrave in mid-rant, so when a mobile phone trilled about five seconds after his entrance, Redgrave was already in the zone. This was a traverse staging in the Cottesloe, and the woman rummaging in her bag was in the second row, so he was practically on top of her when, without slipping out of character, he swivelled and yelled, “Turn it off!”

Extract: The Burning Leg

Tess takes a hike: Gemma Arturton in the BBC adaptation of Tess of the D'Urbervilles

An exploration of the whys and wherefores of walking in fiction

Walkers, like lovers of literature, are driven by the urge to explore, and writers have blessed their fictional characters with itchy feet since the earliest of narratives. Walks found in novels, short stories and even drama can have a multitude of meanings. The Burning Leg: Walking Scenes from Classic Fiction (Hesperus Press) collects extracts from Dickens and Dostoevsky, Proust and Poe, Kipling, Kafka and many more to show imaginations time and again set in motion by the simple act of walking. The following introduction is by the anthology's editor, Duncan Minshull

Emma, BBC One

An Austen heroine for Facebookers: the meddlesome Miss Woodhouse logs in again

There’ll always be Austen on the telly. As the Bard is to the boards, so is Saint Jane to the box. The six novels were published (though not all written) in a seven-year period in the 1810s. In a rather shorter tranche of the 1990s they were all adapted for the (mostly small) screen. They’ve now just been done again, on the whole rather less well than the first time round.

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