Tiffany O'Callaghan, Opinion editor
Ian McDiarmid as Galileo (left) and James Tucker as the Bursar (Image: Ellie Kurtz)
It has been more than 400 years since Galileo Galilei pointed his telescope toward the night sky and observed the movement of the moons around Jupiter, providing proof that all things do not revolve around the Earth - and drawing the ire of the Catholic church.
And it has been nearly 80 years since playwright Bertolt Brecht wrote the first version of A Life of Galileo while living in Denmark after fleeing Germany when Hitler took power.
Yet the latest retelling of this famous tale by the Royal Shakespeare Company underscores the emphatically contemporary nature of the struggle between static world views and dynamic knowledge.
This is reinforced by using the familiar, modern clothing of tweedy dishevelment among Galileo and his colleagues and pupils, and sets featuring the lab-staple whiteboard and a large blue backdrop that resembles a wall of solar panels.
But of course this is not simply an old story with modern accoutrements and gimmicky staging. Portrayed by Ian McDiarmid, Galileo’s compulsive curiosity, his sheer joy when his pupil grasps a new concept for the first time, and his bewildered frustration when adversaries refuse to observe the evidence literally in front of them feel both timely and timeless. “All I ask is for them to believe their eyes!” exclaims poor Galileo.
In a moment when 46 per cent of US citizens believe the Earth is less than 10,000 years old and four US states are weighing up bills that would challenge the teaching of evolution, the tension remains strong between theologies that carve out a creation story for humans and the evidence that we are the serendipitous result of millions of years of evolution.
There are strong reminders of these tensions in the play, for example, when a cleric bullies Galileo to keep his heliocentric ideas to himself, crystallising the church’s terror at the implications of his ideas: “Is no one watching us?" asks the cleric. "Has no one imagined a part for us to play other than this one?”
Galileo is cowed into compromise. His new ideas may be used to help seafarers better navigate by the stars, but not to upend the understanding of the order of things. They may answer practical questions, but not existential ones. “We may research, but we may not draw conclusions.”
He accepts the new conditions in word only. His experiments continue, and when given the slimmest opening his feverish curiosity breaks out into the light of day. When he learns that his friend and science enthusiast Cardinal Barberini may ascend to the papacy, he lauds the arrival of an era of reason. Too soon, of course.
In the second act, we meet the new pope in his undergarments. As he debates the use of torture and threats to force Galileo to renounce the Copernican ideas laid out in his Dialogue Concerning the Two Chief World Systems, Barberini dons layer upon layer of vestments. Crimson robes, a glittering great cape, and finally the mitre: when he is cloaked in the power of his office, Barberini assents to the threat of torture.
The scene parallels the opening scene of the play, in which Galileo, also in only his undergarments, is bathing and getting ready for the day. The contrast is evident: in the flesh, they are both ageing men. But their power to spread ideas is proportional to the grandeur of their garments. When Galileo is threatened and ultimately abjures his earlier assertions, he returns beaten and bare-legged in a crumpled white gown.
The legacy of Galileo’s recantation is left open. Brecht rewrote aspects of the play following the bombings of Hiroshima and Nagasaki in 1945, when he was living in the US. “Overnight the biography of the founder of the new system of physics read differently,” he wrote in an introduction to the new version. “The infernal effect of the great bomb placed the conflict between Galileo and the authorities of his day in a new sharper light.”
Brecht never saw the stage production of his later version in New York, as he left the country after being questioned by the House Committee on Un-American Activities.
By the end of the play, Galileo is wary of science shaped by interests more nefarious than the quest for truth. He sees a danger in scientists being reduced to little more than “inventing pygmies” for sale to the highest bidder, their ideas open to be used for cruel ends. Galileo’s public recantation and private pursuit of truth and Brecht’s ambivalence about the responsibility of scientists to shape the use of their research for the benefit of humankind are not necessarily two sides of the same coin, it seems.
But it isn’t clear that in publicly defying the church Galileo would have reshaped the way that scientific knowledge is applied. And in real life, as in the play, in sneaking his final, influential publication Discourse and Mathematical Demonstrations About Two New Sciences out under the noses of the church which held him under house arrest for the final years of his life, Galileo seems vindicated in his decision to live to think another day.
As New Yorker critic Adam Gopnik recently put it, “the best reason we have to believe in the moons of Jupiter is that no one has to be prepared to die for them in order for them to be real”.
It may be an excruciatingly slow process, but the truth has a way of emerging into the light eventually. It was just two decades ago - and 350 years after Galileo’s death - that the Catholic church finally admitted that it had been wrong to condemn him.
A Life of Galileo is on at the Swan Theatre, Stratford-upon-Avon, UK, until 30 March.
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