richard iii - performance/theatricality Flashcards
Loncraine 1.1
half of 1.1 soliloquy in front of audience (reminiscent of theatre), other half in the bathroom, turn to camera partway through. Literally doubleness - contrast in on-scene and ‘backstage’ comments, centralising theme of deception
‘dive thoughts, down to my soul’
RSC 3.7
Bishops that accompany Richard are played by the Murderers - highlights the incencirity and adds to the deception
‘Props of virtue’
Troughton depiction of R 1.1
Introduced with false entrance (interrupted by giggling courtiers, enters with jesters outfit - cap and bell, perfomativity)
- only switches back to engaging with theatre audience when lunged forward on ‘but I, that am not shaped for sportive tricks (+ at end walks off stage to the ghosts side to applaud richmond)
gunby - humourous, farcical - ‘i thank god for my humility’ - gullibility
greenblatt metatheatrical
shakespeares metatheatrical manipulation and pointed use of the ‘art of theatre’
richard’s ‘rage at the world’ manifests in a ‘sadistic sense of humour’
shuttleworth - richard ‘dressing up in priestly robes from a theatrical costume trunk’ (theatre itself is deceiving, play was written to condemn richard and bolster the tudor myth)
Play the maid’s part: still answer “nay,” and take it.
gunby - introductions
‘here clarence comes’ = SIEMAN - introducing action already under way ‘plots have I laid, inductions dangerous’ (cue victim)
‘but who comes here, the new-delivered Hastings?’
‘see, he brings the mayor along’
patterned intentionality - develop and maintain our sense of the play as a play
help place richard outside of the action (as director, controlling events of the play - or simply exploiting them)
- makes majority of stagey introductions + three times buckingham remarks on the ‘good time’ in which characters arrive/ timeliness furthers richard’s cause
significant that these opportune intros cease in ACT IV when his power ceases
kyle’s 1975 Stratford production with ian richardson
dressed as mental patients or concentration camp inmates
- allegory of opression and revolution + political futility
- margaret served as stage manager
