Wow- so this clip is very exciting
because it features such a bold dramaturgical choice! The film has
completely restructured the text of I.i by altering its soundscape.
I've discovered from experience that I
often overestimate general knowledge of Shakespeare, but I suspect
that Richard's opening monologue, or at least the first two lines of
the speech, is one of the more recognizable passages of text in the
canon. I'd certainly propose that, barring the prologue from Romeo
and Juliet, the phrase “Now is the winter of our discontent
made glorious summer by this sun of York...” is the most
recognizable opening line of a Shakespeare play. Okay- The Chorus of
Henry V might be better known, and “When shall we three meet
again” from Macbeth. I suppose that Orsino's “If music be
the food of love, play on” could be more recognizable, but that
scene is so often placed after the shipwreck scene that I doubt
modern audiences would recognize it as the opening line of Twelfth
Night. Anyway, I'd say that Richard III's opening line is
one of the top five most recognizable opening lines of a Shakespeare
play.
But this production does NOT begin with
those opening lines! Instead, someone (for the sake of this class,
I'll pretend it was the dramaturg) has inserted a musical rendition
of Christopher Marlowe's “Passionate Shepherd to his Love.” In
fact, “Now is the winter of our discontent” is an interruption of
that song! Bold move! (I suppose that our production of Richard
III, as Gavin was explaining, will do a similar thing, but I
suspect that the material with which he has chosen to dramaturgically
restructure the first scene of the play is going to undercut his
production in a way that this dramaturg's choice has really enhanced
the film. I'm referring to Gavin's explanation of beginning his
production with a scene from 3 Henry VI. Although,
I'll admit, splicing the “why I can smile and murder while I smile"
segment from 3 Henry VI
into the monologue was a smart and effective moment in the film.
Perhaps I should reserve judgment on Gavin's opening scene.)
But, forgive me, I digress. I think
that beginning with Marlowe's poem works extremely well for this
version of Richard III for a number of reasons. First, it is
so strongly tied to the “glorious summer” of York that Richard
disrupts. There are thematic connections between the summer Richard
describes and the pastoral idyll of the shepherd. Similarly, the fact
that the poem is presented musically connects it to the “delightful
measures” which have replaced “dreadful marches.” But the
director has also chosen to visually connect the song to the Yorks by
using it as the music to which Elizabeth and Edward dance. (I also
wonder if the moment in which Elizabeth and Rivers dance to the song
might be the first indication of their too fond relationship. Could
the “come live with me and be my love” be an indication of
transgression on their part?) Anyway, the song quickly becomes a
symbol of decadence. It also gives an indication of historical placement.
Additionally, the song is long enough and
simple enough to become boring in its musical repetition. It simply
begs to be interrupted. The song plays for over five minutes, if you
include the two minute instrumental interlude we hear prior to the
female soloist, and is extremely pleasant. If the song, and by
extension all that it represents, were never to be interrupted, we'd
be in for a rather dull, if lovely, evening. Richard's interruption
very quickly accomplishes a few major things. 1- Richard's boredom
with the song establishes him as an outsider. 2- Richard's
interruption of the song creates affinity for him. Richard is the one
who ends what has become an insufferable interlude, so I at least,
appreciated his action of stopping it. On a symbolic level, Richard
gains audience affinity by inserting himself into the scene and
disrupting its peace. Certainly, his disruption of peace is the
action for which he will name himself villain, but before we hear
that line, we are granted the experience of relishing his disruption
of the elegant anthem of York. This establishes the enjoyment of
villainy. 3- The song's length creates a dramaturgical situation
which demands that the song must be interrupted. This note is really
an extension of some things I've already discussed, mainly that the
interruption creates affinity for villainy. However, the interruption
also moves the dramatic action of the scene. If the song (and by
extension, the peace of the kingdom) were never interrupted, the film
would never achieve any dramatic action. Hence, the interruption of
the song allows villainy to serve a structural/functional purpose. Also, since
the interruption is the beginning of a soliloquy, Richard's
soliloquies to the audience also gain a functional purpose to move
dramatic action (which may seem antithetical as little action
generally occurs during a soliloquy.) 4- By stressing the function of
the interruption, the very presence of the interruption creates a
scenario in which we immediately recognize that Richard's soliloquies
do work within the play. By emphasizing that work, the soliloquies
quickly become signposts of Richard's manipulative gestures.
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