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• W2335573667 abstract "*,)3[ TRATFORD I973 rested, and had need to rest, on John Barton's production of Richard II in which Ian Richardson and Richard Pasco alternated the parts of Richard and Bolingbroke. This had never, so far as I know, been done before, and it would alone have lent an exceptional interest to the season. For, with Paul Scofield, these are the outstanding classical actors of their generation, although Scofield's swan song at Stratford as Macbeth was disappointingly out of tune. Their performances in Richard 11 provided a fascinating exercise in comparative histrionics, but they did much more than this. They illustrated a profoundly original conception of the play. That this was pushed occasionally to the point of mannerism, hampering the actors instead of helping them, is only incidentally to the point. Mr. Barton had seen that this is a play about kingship before it is a play about those competing for the crown, and that the competitors meet in a kind of amity as well as in a mortal struggle. Of course the same idea could have been conveyed in a straightforward historical production, which might have been none the worse for challenging tradition less stridently. At Stratford, the stylization of method, and monochrome of decor and costumes, left the spectator free from the distractions of the picturesque, although one occasionally missed its pleasures. Like the imminent prospect of death to Dr. Johnson, they wonderfully concentrated the mind. The play was stated before it was performed. Actors in a kind of plain, subfusc, Elizabethan uniform stood or sat in rows, walked now and again on stilts to emphasize the pressures of feudal power, and emerged at the beginning from a somber background. The decor was flanked by what looked like moving stairways, although they did not move, and it was only rarely that anyone moved up or down them. They served, however, to facilitate the descent of an inconvenient bridge representing the battlements of Flint Castle. It is, of course, essential that Richard should be seen upon the battlements; and equally important that he should be able to come down from them. The point is missed if the battlements themselves descend. Qne reflected that the upper level of the Elizabethan stage would have solved the problem far more neatly. If the staircases were meant to remind us that, in a wider sense, this is very much a play about people going up and down, the point was taken; but in fact escalators which were plainly out of order did not, in fact, suggest the rapidity of Richard's fall and of Bolingbroke's ascent. They only made it easy for a bridge to move which had no business to be moving at all. I have labored this detail because it showed how the intention to make things clear can sometimes leave them more complicated. When the groom came into Richard's cell at Pomfret, he turned out to be Bolingbroke in disguise." @default.
• W2335573667 created "2016-06-24" @default.
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• W2335573667 date "1973-01-01" @default.
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• W2335573667 title "The Stratford-upon-Avon Season" @default.
• W2335573667 doi "https://doi.org/10.2307/2868600" @default.
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