This document involves two essays. The first is on
This essay This document involves two essays. The first is on has a total of 2252 words and 9 pages.
This document involves two essays. The first is one that I used for Module A from my very first assessment task for Module A. I had an hour to write it, so the length is fairly up there. In a HSC exam, you have only 40 minutes. So the second essay in this document is my typed-up trial essay. So you can see how I adapted to the question and shortened the essay to suit the circumstance.
It is often felt by contemporary audiences that Shakespeare's plays are locked in an inaccessible realm with British academia being the only key. William Shakespeare's King Richard III is textually dense and linguistically prolific - two reasons for both the fascination with and the repulsion from his oeuvre. Shakespeare composed the play for an audience well familiar with the Medieval Hierarchy and had to pursue the purpose of supporting the current Tudor throne. Al Pacino's docudrama Looking For Richard was born with the aim of allowing King Richard III to transcend the confines of its Elizabethan context. Through exploring the theme of defiance in two epochs and converting the appeal of Elizabethan theatricality to contemporary American film, Pacino provides a new lens for a contemporary audience so that we can appreciate and understand Shakespeare's text.
As society continues to grow and alter in its course the basic nature of human defiance persists. Shakespeare's King Richard III opens with an eloquent soliloquy as the protagonist establishes his intention of defiance against the notion of providentialism . The soliloquy incorporates a prophetic pun, "unless to see my shadow in the sun." As the play opens in "the winter of our discontent" because of the Yorkist ascension to the throne, Richard duplicitously aims to defy the divinely appointed King and aims to cast his "shadow" over this apparent royal "sun." Shakespeare's audience found the current Tudor right to the thone to be topical and to "prove a villain" of Richard, a York, he had to portray the King in the light of his deceitfulness and intentions of usurpation as established in the opening soliloquy. Furthermore, this defiance for divine appointment is supported by the feigning of morality as a veil for his ulterior motives in the scene with Lady Anne. The mellifluous orator skills continue as Lady Anne has undoubtable reason to define the King as a "foul devil" yet Richard courts Lady Anne as he praises "thy beauty." Richard's feigning of spirituality in defiance against the divinity of the true monarch is further revealed through the biblical allusion, "more wonderful when angels are so angry." Shakespeare's play had to project King Richard III in a way that flattered the current monarch through highlighting the King's defiance and rejection of morality and divinity, thus illustrating him to be an unworthy leader.
The continuity of defiance in humanity is also apparent in Pacino's docudrama "Looking for Richard." Through Pacino observing the role of both director and actor, the capacity for dual appearance in Richard is emulated. Pacino openly defies the notion that Shakespeare is inaccessible to modern audiences to the extent that he declares his aim to "communicate a Shakespeare about how we feel and about how we think today." Pacino alleviates anxiety felt by contemporary American audiences about Shakespeare's perceived ostentatious ownership by the British by juxtaposing visual stimuli of himself as a basketball playing, accented American against Emrys Jones, a British academic drinking tea. Thus, the defiance against the British authority of Shakespeare is a reshaping of Richard's defiance for the divinely appointed leader in power. To be true to the parent text, Pacino uses the dialogue of the wooing Lady Anne scene, a part of Richard's plan to defy the Tudor Myth. However, to appeal to his own audience, he fuses the originality of the character's encounter with seraphic non- diagetic music to allude to Richard's self-perceived divinity. Furthermore, the chiaroscuro lighting is a direct reflection of the duplicitous nature of Richard and the ongoing symbolic metaphor of the sun and shadow. Pacino embodies the defiance of Richard III as he enhances the originality of the text with filmic visual stimuli in order to enhance the modern understanding and appreciation of King Richard
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