richard iii - performance/theatricality Flashcards

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1
Q

Loncraine 1.1

A

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’

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2
Q

RSC 3.7

A

Bishops that accompany Richard are played by the Murderers - highlights the incencirity and adds to the deception
‘Props of virtue’

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3
Q

Troughton depiction of R 1.1

A

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

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4
Q

greenblatt metatheatrical

A

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.

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5
Q

gunby - introductions

A

‘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

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6
Q

kyle’s 1975 Stratford production with ian richardson

A

dressed as mental patients or concentration camp inmates
- allegory of opression and revolution + political futility
- margaret served as stage manager

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