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John Ford's Strange Truth

Lisa Hopkins

is stirred to action and Ithocles is not. 1 Perkin Warbeck is a sequel to Richard III , but it is a sequel which undoes its original, for the story it tells is fundamentally incompatible with Shakespeare's. The Lover's Melancholy is almost

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Masquerading Early Modern Disability

Sexuality, Violence, and the Body (Politic) in Richard III

Lauren Coker

Building on Katherine Schaap Williams’s (2009) reading of the play, this article uses a disability studies approach to consider Richard Loncraine’s 1995 film adaptation of Shakespeare’s Richard III. Loncraine’s adaptation allows modern-day viewers to experience a highly visual (and often intimate) exchange with Sir Ian McKellen as Richard Gloucester. Specifically, Gloucester’s verbal claims of a disability that renders him unsuitable as a leader and a lack of sexual prowess are juxtaposed alongside sexually violent visual actions and imagery—particularly in the form of phallic symbols. The juxtaposition of verbal passivity in opposition to visual aggression demonstrates how Richard showcases or hides his disability as he pursues the throne: the first half of the film features Richard masquerading ability, while the second half features him masquerading disability.

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Shakespearean Boars and Dolphins

Representing Character through Animal Dreams in Richard III and Antony and Cleopatra

Claude Fretz

motors of his plots. By examining the plays of Richard III (c.1593) and Antony and Cleopatra (1606), the article will argue that Shakespeare deploys dream devices at crucial junctures in order to anchor the catalysts of plot development firmly in the

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Shakespeare's Clarence

The Medieval Shell-Shocked Soldier

Linhan Gan

consequence of this collapse of personality is thoroughly dramatised in Richard III , as Clarence, like the war neurotic observed in Beyond the Pleasure Principle , is compulsively-repetitively brought back into his wartime experience. So far as Clarence is

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Beautified Q1 Hamlet

Douglas Bruster

responsible for Q1 Hamlet . Alan Craven has argued that a single individual – ‘Compositor A’ – set most of Simmes's playbooks, including, in addition to Q1 Hamlet , Richard II and twelve sheets of the 1597 Richard III , The First Part of the Contention

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Francis Meres Revisited

Wit, Design and Authorship in Palladis Tamia (1598)

Roger Stritmatter

facsimile of the copyright entry to Burby is here subjoined’. 7 Only after nine plays had been published anonymously (1591–1597) does the name ‘Shakespeare’ appear on the second 1598 quartos of Richard II and Richard III and then, some months later

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From Summit to Tragedy

Sulayman Al-Bassam's Richard III and Political Theatre

Graham Holderness

Richard III is one of Shakespeare’s best-known characters, a familiarity independent of the history plays, Henry VI and Richard III, in which he appears. This celebrity has less to do with Richard’s historical reputation, and more with the way in which great actors of the nineteenth and twentieth centuries gave the role status and popular visibility, particularly perhaps via Laurence Olivier’s 1955 film version. Just as Hamlet is automatically identifi able by black suit and prop skull, Richard is immediately recognisable by his legendary deformity (mandatory hump, optional limp), and by the famous opening line of his initial soliloquy: ‘Now is the winter of our discontent’.

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Screening Disability

Brian Bergen-Aurand

This issue of Screen Bodies features a Screen Shots section focusing on screening disability, including essays on new disability documentaries, vacillation and the dis/abled male body—especially as it plays out in Fred Zimmerman’s 1950 film The Men—and questions of masquerade and representations of Richard III on stage and screen. It also includes general essays on “undoing” gender through complicity and subversion, the rise in the importance of the haptic in Japanese society, culture, and filmmaking in the 1920s, and an investigation of uncertainty and the “generosity paradox” with regard to gender, sexuality, and ability in cyborg cinema.

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Editorial Afterword

Graham Holderness

dramatic creativity then went much further, as I became involved in Sulayman’s next project, his adaptation of Richard III , commissioned by the RSC – talking to the writer as he was in the process of creating the work, receiving successive drafts and

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Book Reviews

Elizabeth Hoyt and Gašper Jakovac

, whereas Richard III embodies realism (p. 76). Both, in her opinion, are fatally flawed: Henry VI’s piety leads him to avoid war to the point of hurting his people; Richard III’s brutality prompts a war, which, according to the author, is just in every