MOD A - RICHARD QUOTES

physiognomy - innate villainy

“rudely stamped”

metaphor - duplicity + stage costuming image

“and thus i clothe my naked villainy”

metatheatricality - role of the machiavel

“determined to prove a villain” + “vice”

tricolon, soliloquy → meta-theatricality takes audience into complicity

“subtle, false, and treacherous”

buckingham engaging in performance

“play the orator”

buckingham the machiavel - metaphor

“golden fee”

buckingham as the director and co-conspirator - politics = theatre

“stand betwixt two churchmen”

what concept does lfr reframe? machiavel vs. divine order → metatheatrical

“[playing]" the devil”

modern language = modern relevance → richard’s machiavellian nature is like what?

“gangsters and thugs” “iran-contra affair”

scenes that emphasise the inaccessibility of shakespeare contemporarily

vox pop → “boring” “it sucked”

scene that emphasises the usefulness of shakespeare’s play as an educational tool when portrayed in a way that is accessible to the lived reality of the audience

vox pop , homeless man - “instructed us” … “to feel”

pacino is trying to do WHAT?

“create a shakespeare about how we think and feel today”

pacino’s approach to richard → multifaceted perspective frames actors as fit to reclaim shakespeare

“analyse…approach [RIII] from different angles”

opening scene → pacino’s contributions through LFR are intrinsic to keeping shakespeare relevant → blurs line between actor and character = staking authority over the text

method acting, dressed up as richard while shakespeare watches from the audience

richard as the virtue vs. richard as the vice → deus ex machina - medieval morality play (didactic purpose, tudor propaganda)

“restore fair England” + “smooth-faced peace”

senecan tragic elements: ghost chorus (RICHMOND), blessing and religious imagery

“live and flourish…good angels guard thy battle”

senecan tragic elements: ghost chorus (RICHARD), cursing and religious imagery, anaphora

“god’s enemy” + “despair and die”

final word of RIII → reinforces political propaganda and tudor myth, richmond is the christian prince, richard is an evil that has been defeated (justified fall)

“amen”

richard is this in LFR

“a man who hasn’t had love”

what LFR focuses on → social ostracisation is the catalyst for richard’s villainy, not predeterminsim

“no creature that loves [him]”

not a stock character, but a human lead astray by his own hunger for power

“lost his sense of humanity”

multifaceted perspectives portrayed → postmodern skepticism of grand historical narratives that dominated the OG text + instead align with pacino’s ideas of richard as deserving of sympathy. post-freudian psychological response, not divine intervention

Barbara Everett: “subsumed into himself”

ENDING SCENE: existential uncertainty following richard’s death, no richmond, postmodern relativism deconstructs theatrical propaganda that overpowered RIII

over-the-shoulder shot of Pacino and crew → fade to black and uncertain silence