Intrinsic to both texts, there is the notion that art is used to directly influence and impact existing historical perceptions. Shakespeare’s “Richard III” explores this idea, using the most influential artistic medium of the time, theatre, to further publicise the ‘Tudor Myth’ perception. On stage, the visual motif of Richard’s appearance as “deformed, unfinished” reflects his moral deficiencies, reinforced by his soliloquys and asides that expose his underlying treachery. He forges a duplicitous role as both director and actor within the play, stating in the opening soliloquy “plots that I have laid, inductions dangerous…” Richard seemingly ‘stage manages’ the entirety of his world, creating a sense of dramatic irony from the juxtaposing of the different “masks” he feigns in contrast to his true intentions; he plays the role of the “grieving” brother, “Christian prince,” etc. As such, Richard’s meta-theatricality engages us on a psychological level that reinforces the perception of the Tudor Myth given not just the heinous nature of his crimes but the “villainous”…
Write a comparison between 'Richard III' by William Shakespeare and 'The Homecoming' by Harold Pinter…
Shakespeare’s play King Richard III and Al Pacino’s documentary Looking for Richard are two text composed more than 400 years apart that can be linked through their themes and techniques. The influence of these themes or values however, is subject to the context of the audience. Both texts explore the characterisation of the main character Richard and how he is presented. They explore the craft of performance, presenting two different approaches to acting and ownership of the actor. The theme of ambition is also prominent in the opening scenes of the texts as audience members are both implicitly and explicitly presented the objectives of the composers and Richard throughout the productions. Due to the mediums of the texts these themes are conveyed using different devices available to plays and documentaries respectively. Shakespeare relies of soliloquies and strong religious reference to establish the importance behind Richard’s plots, the over dramatic representation of Richard as a deformed cripple insights humour and alliance with Queen Elizabeth. Al Pacino instead uses voxpopuli and explanations of the play, as it develops to ensure audience members are able to understand Shakespeare’s intended purpose in a contemporary setting. The storyline is also altered through certain omission and additions highlighting certain aspects of the plot to suit his objective. It is important also to note the differing purposes of the two texts when considering not only links between them but also their differences.…
William Shakespeare’s “King Richard III”, an Elizabethan play written as a piece of Tudor propaganda, and Al Pacino’s 1996 docudrama “Looking For Richard” set in contemporary New York, have distinctive parallels in what values they concern themselves with despite their markedly different contexts. Our understanding of both texts is advanced through exploring the composers’ contrasting values of free will clashing with Providentialism and the importance of integrity and honesty in the Murder of Clarence scene from “Looking for Richard” as well as its corresponding scene from “King Richard III” (Act 1 Scene IV) and the Coronation scene (Act 3 Scene 7) and from an examination of how these flow from the changes in context.…
A deeper understanding of ambition and identity emerges from pursuing the connections between King Richard III and Looking for Richard.…
The widely admired work of William Shakespeare has been, over the span of decades, adapted into films which originate from the same source but differ in context and means of portrayal. Filmmakers, as generations grow and society evolves, must master the art of successfully reaching out and empathizing with differing audiences whilst taking in the social, cultural and economic values widely appropriated by societies, into serious consideration. Kenneth Branagh directed and interpreted his adaptations of Hamlet by Shakespeare. Branagh, in his adaptation (1996), have interpreted Act 5, Scene 1, quite distinctly in means of sound/music, costumes and make up, lighting, camera angles and shot compositions, and editing. All of these factors are relevant…
The exploration of William Shakespeare’s play ‘King Richard III’ and Al Pacino’s 1996 doco-drama film ‘Looking for Richard’ reveals the explicit relationships between each text and their respective audience. The Elizabethan and twentieth century contexts in each of these texts are important as it demonstrates the value of each text and enables the understanding of how the film enriches the ideas presented in the play. Shakespeare’s ‘King Richard III’ portrays a malicious and corrupted Richard to explore the themes of divine justice and the notion of outer appearance versus inner reality in the theocentric context of the Elizabethan society. Four centuries later, Al Pacino’s ‘Looking for Richard’ reflects the director’s quest to come to terms with a Shakespearean text in a contemporary context, providing a personal examination of the same Richard’s behaviour, whist simultaneously reflects the post modern era with the absence of divine order and the change in views of conscience. Ultimately, it is through the study of these texts and a comparative study that these texts illuminate our understanding of different contexts and values.…
In spite of the fact that the plot evokes the implication that it occurred between the close of 16th century and the start of the 17th century, Shakespeare’s Hamlet surpasses the constraints of time and muses upon both the primitive and contemporary man. In the late 16th century in England, people of all classes on the social echelon, with the exception of royals, were able to publicly eyewitness theatre. Audiences craved new plays to assuage their appetites. One of numerous dramatists that capitalized this abundance of opportunity was Shakespeare. Opposed to the modern time, audiences spectated the play to hear it rather than see it. The articulation of the lines and significance of how the story was recited was crucial…
Shakespeare’s works are not limited to expressing the concerns and interests of a narrowly confined historical period. They have in them the…
Love is an essential part of life. Every individual wants to be loved, and needs someone to love. It is an element that is fundamental to the well-being of all human kind; it is that magic that can heal wounds. However love also has the capacity to traumatize a person if it is extracted from their life. While we all wish to experience love, many of us tend to find the often inevitable detachment to be quite painful. In the novel The Great Gatsby, Jay Gatsby's longing for Daisy Buchanan leads him to his own downfall. Similarly in the novel Hamlet, Hamlet's extreme love for his father and his hatred towards his mother play a major role in his tragedy. In these works, there are a number of motivating factors that contribute to the downfall of the main characters- obsession, hatred, and the wanting to be accepted – but ultimately it is love that leads to the demise of Gatsby and Hamlet.…
The Shakespearean tragedy Macbeth, though written over 400 years ago, still has relevance to today’s modern society. These are connected through the issues in the text such as the idea of revenge and the theme of appearance vs reality, the conventions of tragedy seen through Macbeth, context, language techniques, dramatic techniques and characterisation.…
King Richard III and Looking For Richard are compositional products that directly correlate to historical and social contexts respectively, the latter drawing on the former’s challenge to the context in which it was written. Shakespeare’s late sixteenth century play was crafted in a turbulent time of rigid political and religious adherence, and written under the weight of sectarian distrust and forced political alignment to the reigning Tudors. Thus, Shakespeare’s portrayal of Richard as a Yorkist focus’s on his devilish and Machiavellian nature. Written eight decades earlier, Niccolo Machiavelli’s The Prince asserts that an effective ruler should abandon traditional Christian virtues and morality to grow in power at any cost: ‘Politics have no relation to morals.’ This view of power and politics indicates a shift to a secular notion of leadership. Richard is, to a degree, a Machiavel; he calls himself a devil, ‘Thus like the formal Vice, Iniquity, I moralise two meanings in one word.’ (III.iii.82–83) This play is weighted with rigid historical context, but also challenges the notion of providentialism through Richard’s determination to ‘prove a villain.’ There is also a challenge in Pacino’s Looking for Richard for the modern audience, and…
As time progresses away from the Shakespearean era, the central values of Shakespeare’s King Richard III are steadily losing touch with the modern audience. Throughout Al Pacino’s modern remake of Looking for Richard, many modern cinematic techniques such as the specific use of colours, rearrangement of the original text as well as comparisons made in commentary are heavily included. It is through such cinematic techniques that the modern audience is able to comprehend not only the central values that were significant of that era but also understanding the value of the play itself.…
Compare the ways in which Shakespeare presents the two kings in these extracts from Richard II and Macbeth.…
Comparisons between plays can always be made; the question is, how useful are they? The core comparison that springs to mind between these two plays, Othello and Hamlet, is that these are both tragedies driven by character. That is to say, they all follow classically great men from great heights to terrible ends and deaths. Each man is in a situation where he is especially vulnerable. If these men swapped places, they might not have fallen so easily. As they fall, others fall with them, including those they love. When the great fail, entire sections of society fail.…