The most gripping of all Shakespeare's history plays, Richard III follows a protagonist who - having killed the king - knocks off his own brother, his two nephews, and his wife on the way to securing the crown. Audiences have found it hard to look away from this work's magnetic, perversely charismatic embodiment of vice. The lead role is demanding (second only to Hamlet and Falstaff in terms of line count), often reserved for the stage and screen's finest actors. Yet this same play is perhaps the only Shakespeare tragedy in which, as Gilles Deleuze of all critics once observed, "the women do battle for themselves." No wonder the most recent screen adaptation drew a star-studded cast from Sophie Okonedo and Judi Dench to Benedict Cumberbatch. This course proceeds through two phases to link the interpretative and performing arts. It brings the capacities of close reading and literary study to bear on a collaborative staging of selections from the play. Participants first focus on the play-text and the creative openings afforded by Shakespeare's historical interlocutors (Thomas More, History of Richard III; The Mirror for Magistrates [ed. 1563]), modern works of literary criticism, and recent adaptations for screen and stage (including The Hollow Crown series [2016], dir. Dominic Cooke). The second half of this course draws from these insights towards a scaled-down performance of the play to be given at the close of the quarter. Along the way, guest lecturers will lead workshops to enrich our sense of the possibilities of script adaptation, stage direction, and dramatic performance. Students will not be graded on their performance as actors. This remains a literature-forward course; no prior experience in the theater necessary. Students willing to contribute to the final production through non-acting roles (e. g. as publicists, musicians, costume designers, stagehands, extras) are very welcome. Participants should reserve time for THREE additional rehearsal sessions to be held on Mondays at 7:ENGLISH 30 pm.
3 units · Letter (ABCD/NP)
The most gripping of all Shakespeare's history plays, Richard III follows a protagonist who - having killed the king - knocks off his own brother, his two nephews, and his wife on the way to securing the crown. Audiences have found it hard to look away from this work's magnetic, perversely charismatic embodiment of vice. The lead role is demanding (second only to Hamlet and Falstaff in terms of line count), often reserved for the stage and screen's finest actors. Yet this same play is perhaps the only Shakespeare tragedy in which, as Gilles Deleuze of all critics once observed, "the women do battle for themselves." No wonder the most recent screen adaptation drew a star-studded cast from Sophie Okonedo and Judi Dench to Benedict Cumberbatch. This course proceeds through two phases to link the interpretative and performing arts. It brings the capacities of close reading and literary study to bear on a collaborative staging of selections from the play. Participants first focus on the play-text and the creative openings afforded by Shakespeare's historical interlocutors (Thomas More, History of Richard III; The Mirror for Magistrates [ed. 1563]), modern works of literary criticism, and recent adaptations for screen and stage (including The Hollow Crown series [2016], dir. Dominic Cooke). The second half of this course draws from these insights towards a scaled-down performance of the play to be given at the close of the quarter. Along the way, guest lecturers will lead workshops to enrich our sense of the possibilities of script adaptation, stage direction, and dramatic performance. Students will not be graded on their performance as actors. This remains a literature-forward course; no prior experience in the theater necessary. Students willing to contribute to the final production through non-acting roles (e. g. as publicists, musicians, costume designers, stagehands, extras) are very welcome. Participants should reserve time for THREE additional rehearsal sessions to be held on Mondays at 7:30 pm.