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Q8 Discuss the characterisation in the play. How important are they in the production of the play?
In any play, the characters and how they are performed are they key to how the meaning and themes within the play are communicated to the audience. Shakespeares “King Lear” is no different- although the various productions, both on stage and in film adhere to the same basic plot and themes set up by Shakespeares original, the script is, at the same time, open to interpretation according to the directors’ contexts and perception. Directors, through their choice of actors, setting, costume, lighting, and camera techniques cannot help but influence the audience’s response to the play.
The comparison of Peter Brooks production of “King Lear”, (produced in 171) with the Michael Elliot version (produced in 18), demonstrates how dramatically contrasting the interpretations of the play and its characters can be. The differing portrayals of King Lear and his daughters, Goneril, Regan and Cordelia, is just one example of how different characterisation can impact upon the responders’ reaction to the play.
Brooks’ King Lear (Paul Schofield) is from the first scene showed as a harsh, authoritive figure and this idea is further enhanced by the icy, desolate tundra landscape and sparse black and white cinematography. Lear’s relationship with his daughters (or lack of) is communicated effectively in this version, especially during Cordelias speech in the first scene where the camera is shot from her perspective, looking at Lear who appears to be far away encased by darkness. Lear’s tyrannical nature is demonstrated throughout the film, for example in Act I sc. 4 where he whips Oswald and overturns tables in a rage. This is also shown through Brooks focus on Lear’s more misogynistic speeches rather than his rational ones. Brook effectively uses camera techniques such as extreme close-ups, seen in Act III sc.4 where there is a close-up focused just on Lear’s eyes, in order to make clear his emotionless, unsmiling nature. Lear’s descent into madness is hard to distinguish in this production- it seems that the same man at the beginning, a man focused on status and authority, remains at the end. In Act III sc. 1 Lear is in the hovel, with no outward signs of distraught or hurt and in Act V, the relationship between Cordelia and Lear seems at times stressed, more like a “teacher and student” rather than father and daughter- it seems more like Lear is teaching Cordelia a lesson rather than apologizing. The final scene is the closest we see Lear to emotion and turmoil, with the powerful visions of Cordelia and Kent. The last view we see of Lear being as he descends slowly off the screen, leaving a numbing, white blank screen.
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Goneril, Regan and Cordelia are, in contrast to Lear, shown to be quite ‘human’. There are often times when there are cuts to Regan and Gonerils expressions, and they are often ones of fear and emotion, for example in Act II sc. 4. Upon Lear’s arrival at Gloucester’s Castle, Regan extends her arms to embrace Lear. Regan also seems to have a genuine relationship with Cornwall, as in Act III sc. 4 where they comfort each other, and Goneril appears to have true feelings for Edmund.
The characterisation in this production has a dramatic impact on the audience response- Lear’s lack of humanity at the start dulls the emotional impact of the ending. It is impossible to find sympathy for Lear, with both him and his daughters shown as inhumane and savage. Brooks’s interpretation is greatly contrasting to many other productions, and thus it is of great value through providing the audience with a differing perspective on the play.
Michael Elliott’s production has an opposite perspective on the characters of Lear and his daughters. Laurence Olivier’s Lear is introduced to us as benevolent, a somewhat frail old man. This is helped not only by Lear’s physical appearance but also by his entrance with Cordelia, entering with his arm around her, both of them laughing and talking together. The close relationship between the two is immediately established; therefore Lear’s foolishness is made clearer when he forces her into exile. His role as a respected ruler is made clear, with trumpets blaring and his adornment with a crown and other lavish costuming. High angle shots of Lear on his throne, surrounded by his people kneeling to him, and his proud survey of the room, also give this impression. Lear is very emotional in Elliott’s version- instead of responding to Cordelia’s speech with rage, his hurt is demonstrated through his trembling “I…. loved her most”. This mixes at times with anger, but he is never as cold and callous as in the Brook version.
Lear’s relationship with the Fool in this version is also demonstrative of his protective, caring side- he often takes on the role of protector, as seen especially in the ‘storm’ scene (Act III sc.). Lear’s emotional frailty emerges often, for example with him rubbing his eyes, throwing himself onto the floor and praying, and his collapse into the Fools arms in Act II sc. . Act IV sc. shows as somewhat delirious, crazy mad- he is in a field stringing daisy chains and eating raw rabbit- he is back in the wild, a man like everyone else. The audience are given the impression he is just blocking out his situation, however, as he immediately returns to his ‘normal’ state in sc. 5.
Goneril and Regan are from the start portrayed as plotting and evil- Regan’s speech shows her as snaky and superior, with her drawn out words, and Goneril’s obvious evil nature is shown by her stern, unemotive face. Their obvious disdain for their father is seen in Act II sc. where Regan is amused by Lear’s obvious emotional pain. Cordelia is meek, in need of protection and her asides in the first scene show her as afraid and with feeling of deep love for her father.
This demonizing of Goneril and Regan, and the presence of Cordelia as such a weak childish character serves to show Lear’s foolishness in not realizing his mistakes earlier. However, the audience can not help but feel some sympathy for Lear as he is treated so badly by Goneril and Regan, and for his deeply emotional reaction to Cordelias death.
These two dramatically dissimilar interpretations of characters end up provoking two totally different responses from the audience- In the Brook production Lear seems to be deserving of bad treatment yet in Elliott’s his humanity at the start enable the audience to have an emotional response. Thus, the characterisation of Lear and the three daughters is of immense importance to the overall presentation of themes and issues.
Shakespeares “King Lear” is a play open to many translations- all of which are equally valid and valuable as indicators of the director’s contexts and values. The characters are an integral part of how the play is perceived and accepted by the audience, and the wide variety of ways they can be played ensure that Shakespeares tragedies are passed on through time.
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