Transformation of Costume Selection and Incorporating Props into the performance of Shakespeare's plays of King Richard, Richard the II and Richard II

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Transformation of Costume Selection and Incorporating Props into the performance of Shakespeare's plays of King Richard, Richard the II and Richard III

Performance of plays can take various shapes depending on the director's perspective of the text, the key element, within the framework of the play. In addition text can be interpreted different ways, regarding directing technique, such as style and action choices, and scenery decisions. These factors contribute to the overall result of the performance containing either conventional elements or having a contemporary twist. Examples of the two perspectives could include costume selection or incorporating bizarre props into the performance. Throughout Shakespeare's writing career, no play has been transformed more than the historical plays of King Richard. Richard the II and Richard III over the years have been performed either the time-honored way or containing modern elements relating to the style, action, and visual aspects chosen. These revisions to the classic renewed the audience's sense that art does come in many shapes and forms. Specifically, during the late 19th century, director Frank Benson and Triple Action Theatre have concentrated on the aforementioned modern adaptations regarding structure and costume/scenery of the performance.

Richard the II has been a central play to analyze and revise due to the continuous debate of King Richard's personality. The debate revolves around the difference in King Richard's public versus private self, whether he was as powerful as he appeared on the throne compared to behind curtains. Margaret Shewring, author of Shakespeare in Performance: Richard the II

emphasized this point by saying, "Although it was not until the mid to ...

... middle of paper ...

...e and scenery decisions influence the overall impression of the play. These

decisions have an impact on the audience; the impact evokes some kind of emotion within the spectators, ranging from shock to sympathy. Depending on the director's interpretation, many

messages can be conveyed about the tragedies. That is the beauty of plays; there is no concrete formula. The plays of Richard the II and Richard the III throughout their stage history have been performed various ways, as the times change, so do the performances. If the future play productions are anything like the ones performed in the past, playgoers are in for a treat.

Bibliography:

Bevington, David. The Necessary Shakespeare, New York, 2002.

Cohn, Ruby. Modern Shakespeare Offshoots, New Jersey, 1976.

Shewring, Margaret. Shakespeare in Performance: King Richard the II, New York, 1996.

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