Huy
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Okay, so freaking_out has been enquiring about the Cut Theatre production of King Lear, so I've decided to type up some notes that I have (it will be a long post), since I don't have a scanner, fax or any friends who would be willing to help (strangers).
These notes were from the 2002 and 2003 production of king lear, by cut theatre. (my hands are going to fall off in an hour or two...)
here goes:
Megan Finlay Cut Theatre Production (2002)
Opening scene: (Act 1 sc i)
Techniques used (2002)
* Mixed media form images projected onto the back of the set, which is all white, allowing:
* Costume: white, stark and bare, exemplifying the cold and disillusioned Lear world.
* Music: modern orchestral music, sense of ceremony and royalty.
* Lighting: floodlights light the background, highlighting all characters. Giving all characters equal weighting, thus all have importance.
* Choreography: when Lear demands expressions of love, daughters are lined in front of him, similar to a judge and perpetrators to a crime.
* Dialogue:
- Lear: royalty and narcissistic tone
- Regan and goneril: exaggerated and melodramatise but toned down relative to other productions
- Cordelia: uncomfortably and straightforwardly nothing
Effect of techniques and values presented (in a new context)
- The speeches of goneril and Regan are toned down, reasonable and logical.
- Structure highlights Lears mistreatment of his daughters; thus the actions of abandoning him are justified
- Values presented demonstrate the influence of context and ideologies of the director following womens liberation as dealt with by the feminist perspective
- Removal of animal imagery contrasts to Shakespeares reversion to illustrating the two daughters as masculine and unnatural. In the original goneril was described as a detested kite whose ingratitude is sharper than a serpents tooth and her face being wolvish
Storm scene: (act 2 sc iv)
Techniques used (2002)
* visual: electrostatic images presented on the back of the stage symbolising pandemonium in both nature and Lears mind
* lighting: no light at the beginning of the scene, but as the scene progresses light is amplified, signifying the knowledge he has progressively regathered.
* music: heavy metal music combined with sounds of a fearsome storm brewing and creating havoc. Sets tone and atmosphere
* choreography: Lear and Kent (because the fool is omitted) are predominantly on the floor in this scene symbolising their weakness against nature. As the scene progresses, Lear begins to stand and find his feet indicative of his regain of control and the insight he has gathered after being enlightened from the mayhem on the heath.
Effect of techniques and values presented (in a new context)
- fool has been omitted. Finlay feels that his lines have outdated and that they are not humorous in a modern context. The obscurity and dullness of his lines are not receptive by modern audiences.
- omission of the fool will allow the narrative to be placed to the forefront, thus emphasising Lears decent into madness. Clearly, this emphasises the Aristotelian interpretation whereby Lear, who is over higher social status, suffers a catastrophe and eventually recognises his appalling state of affairs crux of Aristotelian tragedy.
Notes from question and answer session with the director and cast (2002)
* why have you used white for the costuming and stage?
- allows me to strip the play to its essence the plot. Not distracted by props, costuming, etc
- helps to portray the cold and stark world of Lear
- allows ease of projecting images onto the stage and actors
* why has the fool been omitted?
- personal decision by the director, he is a dated character. Not relevant to modern society
- the fool can be either seen as wise or comical. The time constraints do not allow for the fool to be fully developed, and therefore he can end up just being a tool of social commentary. He just states the obvious of what is happening on the stage (think about the implications this has on the character development of Lear)
* why did you leave out the mock trial?
- this is a comical scene in the play where we as an audience laugh at Lears insanity. The director did not want us to focus on Lear being crazy, since this is after the tumultuous storm. He is a victim in a serious situation.
- there are many other scenes that develop Lears madness. They have been condensed. (in your opinion, what effect does this have on the plot, values and characters?)
* Edmund seems to be a major focus in the production. Why?
- he plays a large role in driving the plot with Gloucester, Edgar, the sisters and the letters.
- Edmund appears to be on stage more than he is because he talks directly to the audience on many occasions, especially during his monologues. In addition, many characters talk about him when he is not there
- also appears this way because Lears scenes have been condensed
- Lear has no monologues, which is peculiar for a Shakespearean lead character.
* use of lighting and colour
- amber and red: usually a sign of regalness, but also power and destruction
- blue can be coldness, but also freshness
- up to the interpretation of the viewer
- letters are coloured for ease of tracking the action
* why was a spotlight used in the fight between Edmund and Edgar?
- trying to overcome the lack of costuming. Edmund does not know it is Edgar because he is disguised. Director did not want to cover Edgars face because this would look ridiculous. The strong light behind Edgar turns him into a silhouette so it is difficult to see his identity.
- the strong background spotlight also links with the Christ like image of being surrounded by light
* what was the purpose of your production?
- to emphasise the plot and the cause & effect relationship in the play
- this brings out the values of:
- parenting/family
- tyranny
- power
- machinations of evil
- people are not what they seem (illusion and reality). For example Lear and Gloucesters vanity and arrogance play a large role in their own destruction. It takes them a long time to realise this
- to experiment with multimedia the projected video images. They can help create the mood or to emphasise what is happening on stage.
* portrayal of Gloucester
- his persona is semi-comical to begin with because it gives the actor somewhere to go. Since Gloucester ends up in the pits of despair you cannot begin there.
- also keys to the audience that the actor is no longer playing Albany.
* why was fire projected onto the stage?
- the burning hamlet (house) was seen burning and then collapsing to the ground. The whole stage was then consumed by flames. This was chosen because it was a broad image of destruction and is not associated with any particular cause eg war, nuclear power. Flames are general and can be related to the audiences own interpretation.
- similar to the use of the stark, white, bare stage. We project our own ides into the production. We can imagine our costumes on the actors
- the flames looked good when projected
* was it intentional to make the audience feel sympathetic towards goneril and Regan?
- I did not set out to make a feministic interpretation of the play, however, my own (the directors Megan finlays) ideologies and beliefs have probably had an inadvertent effect on the production. Obviously my production would be very different to that of 60 year old misogynist male. I do hold strong feminist perspectives.
- the speeches of the sisters are very reasonable and logical when read on their own. The structure of the production highlights Lears bad behaviour so gonerils, and then Regans request seem well founded.
- in the play a lot of animal imagery is used to portray the sisters. We did not show this in our portrayal since this is only one interpretation coming from the males in the play who have been hard done by.
- the sisters are not entirely good or evil, there are shades of grey. As they grow gradually stronger, they move a step at a time towards being consumed with power, greed and jealousy
- it was intentional to make Lear look like a victim, especially when the sisters band together to discuss his state of mind. (this was seen after Lear divided his kingdom. He moved to the side of the stage with Albany and Cornwall, and the two sisters huddled together on centre-front stage).
- Lears state of welfare at the end of the play is due to his age and mental state.
* why were Cordelias asides in (act I, sc i) omitted?
- they take away from the energy of the scene that is unfolding. They dont add anything new that we dont already know and therefore weaken the scene.
- we dont know Cordelia as an actor yet, so it would be difficult for her to talk to us.
* choice of music
- it is eclectic in style and the snippets were chosen to suit the mood of the scene, to build energy or to create a sense of unease.
- it was important to have evocative music, but not soppy melodramatic violins.
Notes on production techniques (2002)
- all white costuming
- characters laugh at Cordelias initial nothing
- in act 1 sc i, the characters are distanced from each other. Lear, goneril, Regan, Albany, Cornwall stand on one side of the stage, whilst Cordelia and France stand on the other.
- act I sc ii opens with Edmund shooting them killing a fly. This leads into his now gods stand up for bastards monologue.
- Gloucester is stooped, old and comical
- as Edmund tells Gloucester of Edgars letter, breezy melodic music can be heard brewing in the background. The storm is beginning
- as Edmund leaves the stage to find Edgar, he is covered by a red light. This then consumes the whole stage.
- Kents act of becoming disguised is almost ceremonial. Kent changes into a second shirt and pants behind a sheet, whilst the characters laboriously fold his old clothes and march off stage.
- as goneril chastises Lear for his boisterous behaviour, a wall of a castle courtyard is projected onto the screen. As the scene progresses and Lear becomes inflamed with anger, the castle gradually loses its colour to become grey. The storm appears to be brewing in the sky.
- the gap between goneril and Lear widens as they move to opposite ends of the stage.
- Oswald (played by Cordelia) is stiff and exaggerated in his actions. He talks in gruff monosyllables.
- as Edmund tells Edgar to run and hide they are covered by a warm of blowflies. Link to the quote like flies to wanton boys, are we to the gods. They use us for their sport
- the scene of Kent beating up Lear is quite slapstick in approach
- as goneril and Regan take away all of Lears men, the song we care a lot is played irony.
- as Edgar takes on the disguise of poor tom, an image of a dirty and ragged man is projected onto the screen.
- props used: daggers, letters, chair at Gloucesters eye-gouging, bed for final scene
- Gloucester is covered by red light as he lies on the floor after he is blinded. At this moment flames engulf the whole screen
- as Edgar leads Gloucester to the cliffs of Dover, rocky uneven ground and cliff images are projected
- before the final scene, there is an image of two men walking off into the sunset, one leading the other. One falls to the ground as the other continues on. This is accompanied by Indian like chanting
- Lear is in bed
- as Edmund and Edgar fight, a spotlight follows their movements (hand held by Oswald/Cordelia)
- the whole theatre is used as actors enter from the sides and back of the theatre
- use of sub-headings to introduce characters: Lear, Edmund, Kent, Edgar.
Notes from question & answer session with the director and cast (2003)
* why have you used white for costuming and stage?
- allows me to strip back the play so the plot survives on its own. Not distracted by props, costumes, etc
- puts the world in a bubble could happen anywhere. This is Lears world
- ease of projecting images onto white. Example the fly and the storm
- the change in character (actor double-up) is subtle. The actor should show the change through the body language, etc instead of change in costuming
* why cut out the fool?
- not a plot driving character. Just a commentator on the plot and Lear which the audience should easily recognise for themselves
- the comedy of the fool is funny in the text, however, does not translate as humorously onto the stage
* why was the image of the burning house and flames used?
- it occurred after the gouging out of Gloucesters eyes, so it therefore enhanced this part of the plot. It symbolised the destruction of the family and the house of Gloucester.
* why was goneril included in the eye-gouging, since she is not present in the original script?
- wanted to have both sisters involved to show that they are equal in their development and journey
- also adds a pack bashing mentality to the scene as they circle around Gloucester to enhance the cruelness
* why did you not include Edmunds speech at the end of the play where he redeems himself?
- this redemption is seen as too forced after his calculating actions throughout the play. His repentance after all of these actions does not seem to hold much strength or believability.
- during the Elizabethan era, it was important to make peace with your maker before dying. For modern audiences this concept of redemption is not necessary as we do not have that expectation.
- allows the play to finish on a climax, without the long speeches
- similar to why Edgars monologue informing the death of Gloucester was taken out. The projected image of a man leading another man across a plain and then leaving him there as he dies conveys this part of the story more emotionally and effectively than a monologue.
* do you feel it is necessary to include Elizabethan beliefs of the play?
- yes because some of these things are inherent in the plot and its symbolism. For example the concept of the human condition and capabilities is a constant/timeless concept.
- the play is based on pagan beliefs, hence the references to sun/moon/astronomy. This is universal concept that can be included to represent the concepts of fate and the role of god/s in our lives.
* why was Kent played by a woman?
- having Kent as a women does not change the plot. Having it this way possibly adds to the emotional element of the relationship between Kent and Lear
- Oswald is played by a female but is still a male character
- finlay does hold feminist beliefs and looks for roles in Shakespearean plays that could be changed to females to fit her own reading. In many cases this is easy to swap the roles
* what was the significance of the fly image that buzzed around Edmund that he caught?
- links to Edmund speech thou nature art my goddess. Edmund considers that in nature the strongest will survive, and this is how he will win over Edgar. Him crushing the fly is symbolic of this he crushes what is bothering him and then moves on
- Edmund is given a lot of power in the play. For example he is the only one given the power to stop time when he freezes the scene and decides between the two sisters. He is also the only one to directly address the audience.
* why was Lears costume the same throughout the play without the shedding of the trappings of kingship?
- minimalist, sparse approach to the design of the play
- maintains the fast, punching momentum not stopping to disrobe
- character portrayed through body/voice and not clothing (Lear is shown in a lot of hunched over poses and rubbing the sides of his head).
* why was the spotlight used behind Edgar during his fight with Edmund?
- to simulate Edgars disguise instead of using a helmet, etc. looking at the light you are blinded and cannot see his face. It represents Edmunds blindness in not recognising his brother.
- gives Edgar the Christ-like light of redemption
* were the shadows intentional or just a by-product of the lighting on the white screen?
- stylistic decision to use the artistic side lighting. It adds an element of mystery and gives some characters multiple shifting backgrounds
* could you comment on the eclectic mix of music that is used?
- chosen to suit the scene and match her (Megan finlays) modern tastes. Not chosen to fit a specific genre
- used to highlight specific scenes and to move the play forward quickly
* have you been influenced by the brooks production at all?
- did see it 10 years ago and remembered the rowdy scenes of the knights banging on the tables and the dishevellery.
* would you consider the play to be feminist interpretation?
- no, but due to her own personal beliefs she will not make her female characters weak.
* why did you give the play a comedic feel?
- many parts of the play lend itself to humour, such as the early Gloucester plot and the deception that goes on.
- it adds light relief to the play to increase the tragedy of the serious scenes
- the Kent and Oswald fight with the long lists of insults etc was written to be comedy and slapstick. Shakespeare did not intend a serious scene here.
* why did the cast double-up and play more than one character?
- financial decision and impossible to have 100 people on the stage
- design and style decision. The actors show the change in character through physical demonstration. This was the intention for the line-up of the 8 actors in the beginning of the play
* why was the mock trial scene deleted?
- not an essential scene in driving the plot
- after viewing this scene in a number of other recent productions, finlay does see the potential for this scene now and its possibilities, yet the added comic element is not necessary for her production
* why engage in a multimedia approach?
- it is a personal interest as well as providing a challenge in mixing it with the on-stage action
* did you make any deliberate decisions when putting your play together that doesnt just for style/design, but for symbolism etc?
- intentional that the shifting power in the play is brought out by the performers. For example, Edgar needs to become more like Edmund to get by.
* when Gloucester is being led out into the wild and meets Edgar, why did you replay the eye-gouging scene in the background?
- it highlights Gloucesters blindness and that was the last thing he saw cruelty. It gives us an insight into his possible emotional/mental state and what is going through his head.
* when you projected the image of Edgar leading Gloucester and then him dying, you chose to play some Indian music which was very different from the other pieces of music. This seemed to be a pivotal moment which I found moving, yet a lot of the audience tuned out. Why did you choose this piece?
- the scene needed an emotionally moving piece of music, but one that was not too saccharine or Disney. This piece fits the scene really well, however, yes for some audiences it does not keep them engaged. With some it works really well.
- (note: some words of the song translate as come home, which is appropriate since Edgar who has been banished has just lost his father and now needs to find a place in the world as well as confront his brother).
Notes on production techniques (2003)
- the first character introduced is Lear. As his name flashes onto the screen he stands centre stage and is enveloped by the chaotic mess of black and white scribble that is used later to represent the storm.
- sisters look shocked as Lear announces the love contest. All three sisters stand together in unity. Gloucester stands in the background and Cornwall in the foreground. Cordelia is only distanced once she begins nothing. The sisters stand by their husbands during this.
- Kent is extremely defiant in reprimanding Lear for his banishment of Cordelia. Lear actually goes to strike Kent as he stays hear me recreant
- Gloucester portrays as comic relief and quite absurd in the opening scenes
- during Edmunds soliloquies which are directed at the audience, the lights dim
- humour in Edmunds mocking of Edgar as he marches behind him; like the catastrophe of the old tragedy
- Lears escort arrive down the sides of the theatre quite loudly, slovenly and drunk
- Oswald is absurd in portrayal (obviously to indicate the actor is no longer playing Cordelia)
- as Lear defies and curses goneril with an empty womb, the projected castle image darkens and there is a slight rumbling sound. Goneril and comforted by her husband and looks mortified as Lear curses her.
- Oswald and Kent fight extreme slapstick, exaggerated
- Lears character becomes increasingly erratic. At times he is very loud and defiant, at others he is reclusive and mumbling.
- as Lear rages at both goneril and Regan as they fight over his men, they are strong silences amongst his raging words. The two sisters stand together holding stands what need one? As Lear leaves the stage he leans on the wall for support showing increasing frailty. As the play progresses he increasingly becomes hunched over and often his hands wringing the hair on the sides of his head.
- the structure of the play is changed as Edgars disguising into poor tom does not occur until just before he meets Lear in the storm. Together they behave childish
- images of flames and a burning house engulf the stage before the blinding scene. After this scene, Gloucester lies blinded on the stage as it is drenched in red and then once again is engulfed in flames. An image of a person engulfed by flames and other people running away from the house is projected.
- both Regan and goneril are present at the blinding scene. In the original text, only Regan is present as Cornwall does the blinding
- as Gloucester is led into the wild the blinding scene is replayed in the background leading into his as flies to wanton boys speech
- the hovel scene is deleted as well as the mock trial
- as poor tom leads Gloucester to Dover, images of uneven rocky land and then sheer cliffs are projected. A white bird (dove?) flies over the water and cliffs. The difference in the rocky land and steep cliffs could reflect where Edgar has taken Gloucester in contrast to where Gloucester thinks he actually is.
- as Lear and Gloucester meet after the storm and Dover scenes the screen projects an image of bluish skies with clouds that appear to be clearing. There is an image of a blazing sun moving across the screen
- as Edgar, and then Albany, read gonerils letter to Edmund, the content is typed onto the screen
- after Edgar leads Gloucester off the stage there is an image of a man leading another man across a plain whom then collapses onto the ground. This represents the death of Gloucester and is accompanied by Indian music meaning come home
- as Edgar and Edmund fight, the screen projects what looks like prison bars. This could represent Lear and Cordelia who are presently in prison
- the deaths of Regan and goneril occur off stage and are not played up
- last line of the play by Edgar: we that are young shall never see so much nor live so long
-------------------------------------------------------------------------------------------------------
God damn... my left hand is about to fall off from all the A's and S's
there you go guys/girls, if you don't ace king lear (cut-theatre in particular), I'll kill you!!! lol just kidding
also, i've attached a word document if you guys want to print it out or whatever, sorry I couldn't be bothered formatting and changing the fonts, capitalising and what not... im sure you're all big enough to do it yourself prior to printing
These notes were from the 2002 and 2003 production of king lear, by cut theatre. (my hands are going to fall off in an hour or two...)
here goes:
Megan Finlay Cut Theatre Production (2002)
Opening scene: (Act 1 sc i)
Techniques used (2002)
* Mixed media form images projected onto the back of the set, which is all white, allowing:
* Costume: white, stark and bare, exemplifying the cold and disillusioned Lear world.
* Music: modern orchestral music, sense of ceremony and royalty.
* Lighting: floodlights light the background, highlighting all characters. Giving all characters equal weighting, thus all have importance.
* Choreography: when Lear demands expressions of love, daughters are lined in front of him, similar to a judge and perpetrators to a crime.
* Dialogue:
- Lear: royalty and narcissistic tone
- Regan and goneril: exaggerated and melodramatise but toned down relative to other productions
- Cordelia: uncomfortably and straightforwardly nothing
Effect of techniques and values presented (in a new context)
- The speeches of goneril and Regan are toned down, reasonable and logical.
- Structure highlights Lears mistreatment of his daughters; thus the actions of abandoning him are justified
- Values presented demonstrate the influence of context and ideologies of the director following womens liberation as dealt with by the feminist perspective
- Removal of animal imagery contrasts to Shakespeares reversion to illustrating the two daughters as masculine and unnatural. In the original goneril was described as a detested kite whose ingratitude is sharper than a serpents tooth and her face being wolvish
Storm scene: (act 2 sc iv)
Techniques used (2002)
* visual: electrostatic images presented on the back of the stage symbolising pandemonium in both nature and Lears mind
* lighting: no light at the beginning of the scene, but as the scene progresses light is amplified, signifying the knowledge he has progressively regathered.
* music: heavy metal music combined with sounds of a fearsome storm brewing and creating havoc. Sets tone and atmosphere
* choreography: Lear and Kent (because the fool is omitted) are predominantly on the floor in this scene symbolising their weakness against nature. As the scene progresses, Lear begins to stand and find his feet indicative of his regain of control and the insight he has gathered after being enlightened from the mayhem on the heath.
Effect of techniques and values presented (in a new context)
- fool has been omitted. Finlay feels that his lines have outdated and that they are not humorous in a modern context. The obscurity and dullness of his lines are not receptive by modern audiences.
- omission of the fool will allow the narrative to be placed to the forefront, thus emphasising Lears decent into madness. Clearly, this emphasises the Aristotelian interpretation whereby Lear, who is over higher social status, suffers a catastrophe and eventually recognises his appalling state of affairs crux of Aristotelian tragedy.
Notes from question and answer session with the director and cast (2002)
* why have you used white for the costuming and stage?
- allows me to strip the play to its essence the plot. Not distracted by props, costuming, etc
- helps to portray the cold and stark world of Lear
- allows ease of projecting images onto the stage and actors
* why has the fool been omitted?
- personal decision by the director, he is a dated character. Not relevant to modern society
- the fool can be either seen as wise or comical. The time constraints do not allow for the fool to be fully developed, and therefore he can end up just being a tool of social commentary. He just states the obvious of what is happening on the stage (think about the implications this has on the character development of Lear)
* why did you leave out the mock trial?
- this is a comical scene in the play where we as an audience laugh at Lears insanity. The director did not want us to focus on Lear being crazy, since this is after the tumultuous storm. He is a victim in a serious situation.
- there are many other scenes that develop Lears madness. They have been condensed. (in your opinion, what effect does this have on the plot, values and characters?)
* Edmund seems to be a major focus in the production. Why?
- he plays a large role in driving the plot with Gloucester, Edgar, the sisters and the letters.
- Edmund appears to be on stage more than he is because he talks directly to the audience on many occasions, especially during his monologues. In addition, many characters talk about him when he is not there
- also appears this way because Lears scenes have been condensed
- Lear has no monologues, which is peculiar for a Shakespearean lead character.
* use of lighting and colour
- amber and red: usually a sign of regalness, but also power and destruction
- blue can be coldness, but also freshness
- up to the interpretation of the viewer
- letters are coloured for ease of tracking the action
* why was a spotlight used in the fight between Edmund and Edgar?
- trying to overcome the lack of costuming. Edmund does not know it is Edgar because he is disguised. Director did not want to cover Edgars face because this would look ridiculous. The strong light behind Edgar turns him into a silhouette so it is difficult to see his identity.
- the strong background spotlight also links with the Christ like image of being surrounded by light
* what was the purpose of your production?
- to emphasise the plot and the cause & effect relationship in the play
- this brings out the values of:
- parenting/family
- tyranny
- power
- machinations of evil
- people are not what they seem (illusion and reality). For example Lear and Gloucesters vanity and arrogance play a large role in their own destruction. It takes them a long time to realise this
- to experiment with multimedia the projected video images. They can help create the mood or to emphasise what is happening on stage.
* portrayal of Gloucester
- his persona is semi-comical to begin with because it gives the actor somewhere to go. Since Gloucester ends up in the pits of despair you cannot begin there.
- also keys to the audience that the actor is no longer playing Albany.
* why was fire projected onto the stage?
- the burning hamlet (house) was seen burning and then collapsing to the ground. The whole stage was then consumed by flames. This was chosen because it was a broad image of destruction and is not associated with any particular cause eg war, nuclear power. Flames are general and can be related to the audiences own interpretation.
- similar to the use of the stark, white, bare stage. We project our own ides into the production. We can imagine our costumes on the actors
- the flames looked good when projected
* was it intentional to make the audience feel sympathetic towards goneril and Regan?
- I did not set out to make a feministic interpretation of the play, however, my own (the directors Megan finlays) ideologies and beliefs have probably had an inadvertent effect on the production. Obviously my production would be very different to that of 60 year old misogynist male. I do hold strong feminist perspectives.
- the speeches of the sisters are very reasonable and logical when read on their own. The structure of the production highlights Lears bad behaviour so gonerils, and then Regans request seem well founded.
- in the play a lot of animal imagery is used to portray the sisters. We did not show this in our portrayal since this is only one interpretation coming from the males in the play who have been hard done by.
- the sisters are not entirely good or evil, there are shades of grey. As they grow gradually stronger, they move a step at a time towards being consumed with power, greed and jealousy
- it was intentional to make Lear look like a victim, especially when the sisters band together to discuss his state of mind. (this was seen after Lear divided his kingdom. He moved to the side of the stage with Albany and Cornwall, and the two sisters huddled together on centre-front stage).
- Lears state of welfare at the end of the play is due to his age and mental state.
* why were Cordelias asides in (act I, sc i) omitted?
- they take away from the energy of the scene that is unfolding. They dont add anything new that we dont already know and therefore weaken the scene.
- we dont know Cordelia as an actor yet, so it would be difficult for her to talk to us.
* choice of music
- it is eclectic in style and the snippets were chosen to suit the mood of the scene, to build energy or to create a sense of unease.
- it was important to have evocative music, but not soppy melodramatic violins.
Notes on production techniques (2002)
- all white costuming
- characters laugh at Cordelias initial nothing
- in act 1 sc i, the characters are distanced from each other. Lear, goneril, Regan, Albany, Cornwall stand on one side of the stage, whilst Cordelia and France stand on the other.
- act I sc ii opens with Edmund shooting them killing a fly. This leads into his now gods stand up for bastards monologue.
- Gloucester is stooped, old and comical
- as Edmund tells Gloucester of Edgars letter, breezy melodic music can be heard brewing in the background. The storm is beginning
- as Edmund leaves the stage to find Edgar, he is covered by a red light. This then consumes the whole stage.
- Kents act of becoming disguised is almost ceremonial. Kent changes into a second shirt and pants behind a sheet, whilst the characters laboriously fold his old clothes and march off stage.
- as goneril chastises Lear for his boisterous behaviour, a wall of a castle courtyard is projected onto the screen. As the scene progresses and Lear becomes inflamed with anger, the castle gradually loses its colour to become grey. The storm appears to be brewing in the sky.
- the gap between goneril and Lear widens as they move to opposite ends of the stage.
- Oswald (played by Cordelia) is stiff and exaggerated in his actions. He talks in gruff monosyllables.
- as Edmund tells Edgar to run and hide they are covered by a warm of blowflies. Link to the quote like flies to wanton boys, are we to the gods. They use us for their sport
- the scene of Kent beating up Lear is quite slapstick in approach
- as goneril and Regan take away all of Lears men, the song we care a lot is played irony.
- as Edgar takes on the disguise of poor tom, an image of a dirty and ragged man is projected onto the screen.
- props used: daggers, letters, chair at Gloucesters eye-gouging, bed for final scene
- Gloucester is covered by red light as he lies on the floor after he is blinded. At this moment flames engulf the whole screen
- as Edgar leads Gloucester to the cliffs of Dover, rocky uneven ground and cliff images are projected
- before the final scene, there is an image of two men walking off into the sunset, one leading the other. One falls to the ground as the other continues on. This is accompanied by Indian like chanting
- Lear is in bed
- as Edmund and Edgar fight, a spotlight follows their movements (hand held by Oswald/Cordelia)
- the whole theatre is used as actors enter from the sides and back of the theatre
- use of sub-headings to introduce characters: Lear, Edmund, Kent, Edgar.
Notes from question & answer session with the director and cast (2003)
* why have you used white for costuming and stage?
- allows me to strip back the play so the plot survives on its own. Not distracted by props, costumes, etc
- puts the world in a bubble could happen anywhere. This is Lears world
- ease of projecting images onto white. Example the fly and the storm
- the change in character (actor double-up) is subtle. The actor should show the change through the body language, etc instead of change in costuming
* why cut out the fool?
- not a plot driving character. Just a commentator on the plot and Lear which the audience should easily recognise for themselves
- the comedy of the fool is funny in the text, however, does not translate as humorously onto the stage
* why was the image of the burning house and flames used?
- it occurred after the gouging out of Gloucesters eyes, so it therefore enhanced this part of the plot. It symbolised the destruction of the family and the house of Gloucester.
* why was goneril included in the eye-gouging, since she is not present in the original script?
- wanted to have both sisters involved to show that they are equal in their development and journey
- also adds a pack bashing mentality to the scene as they circle around Gloucester to enhance the cruelness
* why did you not include Edmunds speech at the end of the play where he redeems himself?
- this redemption is seen as too forced after his calculating actions throughout the play. His repentance after all of these actions does not seem to hold much strength or believability.
- during the Elizabethan era, it was important to make peace with your maker before dying. For modern audiences this concept of redemption is not necessary as we do not have that expectation.
- allows the play to finish on a climax, without the long speeches
- similar to why Edgars monologue informing the death of Gloucester was taken out. The projected image of a man leading another man across a plain and then leaving him there as he dies conveys this part of the story more emotionally and effectively than a monologue.
* do you feel it is necessary to include Elizabethan beliefs of the play?
- yes because some of these things are inherent in the plot and its symbolism. For example the concept of the human condition and capabilities is a constant/timeless concept.
- the play is based on pagan beliefs, hence the references to sun/moon/astronomy. This is universal concept that can be included to represent the concepts of fate and the role of god/s in our lives.
* why was Kent played by a woman?
- having Kent as a women does not change the plot. Having it this way possibly adds to the emotional element of the relationship between Kent and Lear
- Oswald is played by a female but is still a male character
- finlay does hold feminist beliefs and looks for roles in Shakespearean plays that could be changed to females to fit her own reading. In many cases this is easy to swap the roles
* what was the significance of the fly image that buzzed around Edmund that he caught?
- links to Edmund speech thou nature art my goddess. Edmund considers that in nature the strongest will survive, and this is how he will win over Edgar. Him crushing the fly is symbolic of this he crushes what is bothering him and then moves on
- Edmund is given a lot of power in the play. For example he is the only one given the power to stop time when he freezes the scene and decides between the two sisters. He is also the only one to directly address the audience.
* why was Lears costume the same throughout the play without the shedding of the trappings of kingship?
- minimalist, sparse approach to the design of the play
- maintains the fast, punching momentum not stopping to disrobe
- character portrayed through body/voice and not clothing (Lear is shown in a lot of hunched over poses and rubbing the sides of his head).
* why was the spotlight used behind Edgar during his fight with Edmund?
- to simulate Edgars disguise instead of using a helmet, etc. looking at the light you are blinded and cannot see his face. It represents Edmunds blindness in not recognising his brother.
- gives Edgar the Christ-like light of redemption
* were the shadows intentional or just a by-product of the lighting on the white screen?
- stylistic decision to use the artistic side lighting. It adds an element of mystery and gives some characters multiple shifting backgrounds
* could you comment on the eclectic mix of music that is used?
- chosen to suit the scene and match her (Megan finlays) modern tastes. Not chosen to fit a specific genre
- used to highlight specific scenes and to move the play forward quickly
* have you been influenced by the brooks production at all?
- did see it 10 years ago and remembered the rowdy scenes of the knights banging on the tables and the dishevellery.
* would you consider the play to be feminist interpretation?
- no, but due to her own personal beliefs she will not make her female characters weak.
* why did you give the play a comedic feel?
- many parts of the play lend itself to humour, such as the early Gloucester plot and the deception that goes on.
- it adds light relief to the play to increase the tragedy of the serious scenes
- the Kent and Oswald fight with the long lists of insults etc was written to be comedy and slapstick. Shakespeare did not intend a serious scene here.
* why did the cast double-up and play more than one character?
- financial decision and impossible to have 100 people on the stage
- design and style decision. The actors show the change in character through physical demonstration. This was the intention for the line-up of the 8 actors in the beginning of the play
* why was the mock trial scene deleted?
- not an essential scene in driving the plot
- after viewing this scene in a number of other recent productions, finlay does see the potential for this scene now and its possibilities, yet the added comic element is not necessary for her production
* why engage in a multimedia approach?
- it is a personal interest as well as providing a challenge in mixing it with the on-stage action
* did you make any deliberate decisions when putting your play together that doesnt just for style/design, but for symbolism etc?
- intentional that the shifting power in the play is brought out by the performers. For example, Edgar needs to become more like Edmund to get by.
* when Gloucester is being led out into the wild and meets Edgar, why did you replay the eye-gouging scene in the background?
- it highlights Gloucesters blindness and that was the last thing he saw cruelty. It gives us an insight into his possible emotional/mental state and what is going through his head.
* when you projected the image of Edgar leading Gloucester and then him dying, you chose to play some Indian music which was very different from the other pieces of music. This seemed to be a pivotal moment which I found moving, yet a lot of the audience tuned out. Why did you choose this piece?
- the scene needed an emotionally moving piece of music, but one that was not too saccharine or Disney. This piece fits the scene really well, however, yes for some audiences it does not keep them engaged. With some it works really well.
- (note: some words of the song translate as come home, which is appropriate since Edgar who has been banished has just lost his father and now needs to find a place in the world as well as confront his brother).
Notes on production techniques (2003)
- the first character introduced is Lear. As his name flashes onto the screen he stands centre stage and is enveloped by the chaotic mess of black and white scribble that is used later to represent the storm.
- sisters look shocked as Lear announces the love contest. All three sisters stand together in unity. Gloucester stands in the background and Cornwall in the foreground. Cordelia is only distanced once she begins nothing. The sisters stand by their husbands during this.
- Kent is extremely defiant in reprimanding Lear for his banishment of Cordelia. Lear actually goes to strike Kent as he stays hear me recreant
- Gloucester portrays as comic relief and quite absurd in the opening scenes
- during Edmunds soliloquies which are directed at the audience, the lights dim
- humour in Edmunds mocking of Edgar as he marches behind him; like the catastrophe of the old tragedy
- Lears escort arrive down the sides of the theatre quite loudly, slovenly and drunk
- Oswald is absurd in portrayal (obviously to indicate the actor is no longer playing Cordelia)
- as Lear defies and curses goneril with an empty womb, the projected castle image darkens and there is a slight rumbling sound. Goneril and comforted by her husband and looks mortified as Lear curses her.
- Oswald and Kent fight extreme slapstick, exaggerated
- Lears character becomes increasingly erratic. At times he is very loud and defiant, at others he is reclusive and mumbling.
- as Lear rages at both goneril and Regan as they fight over his men, they are strong silences amongst his raging words. The two sisters stand together holding stands what need one? As Lear leaves the stage he leans on the wall for support showing increasing frailty. As the play progresses he increasingly becomes hunched over and often his hands wringing the hair on the sides of his head.
- the structure of the play is changed as Edgars disguising into poor tom does not occur until just before he meets Lear in the storm. Together they behave childish
- images of flames and a burning house engulf the stage before the blinding scene. After this scene, Gloucester lies blinded on the stage as it is drenched in red and then once again is engulfed in flames. An image of a person engulfed by flames and other people running away from the house is projected.
- both Regan and goneril are present at the blinding scene. In the original text, only Regan is present as Cornwall does the blinding
- as Gloucester is led into the wild the blinding scene is replayed in the background leading into his as flies to wanton boys speech
- the hovel scene is deleted as well as the mock trial
- as poor tom leads Gloucester to Dover, images of uneven rocky land and then sheer cliffs are projected. A white bird (dove?) flies over the water and cliffs. The difference in the rocky land and steep cliffs could reflect where Edgar has taken Gloucester in contrast to where Gloucester thinks he actually is.
- as Lear and Gloucester meet after the storm and Dover scenes the screen projects an image of bluish skies with clouds that appear to be clearing. There is an image of a blazing sun moving across the screen
- as Edgar, and then Albany, read gonerils letter to Edmund, the content is typed onto the screen
- after Edgar leads Gloucester off the stage there is an image of a man leading another man across a plain whom then collapses onto the ground. This represents the death of Gloucester and is accompanied by Indian music meaning come home
- as Edgar and Edmund fight, the screen projects what looks like prison bars. This could represent Lear and Cordelia who are presently in prison
- the deaths of Regan and goneril occur off stage and are not played up
- last line of the play by Edgar: we that are young shall never see so much nor live so long
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God damn... my left hand is about to fall off from all the A's and S's
there you go guys/girls, if you don't ace king lear (cut-theatre in particular), I'll kill you!!! lol just kidding
also, i've attached a word document if you guys want to print it out or whatever, sorry I couldn't be bothered formatting and changing the fonts, capitalising and what not... im sure you're all big enough to do it yourself prior to printing
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