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“No beast so fierce but knows some touch of pity”: Compassion and the Nonhuman in "Richard III"

100%
Refskou A. S.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2021
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vol. 24
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issue 39
121-135
EN
When Lady Anne accuses Richard of cruelty in the wooing scene of act one in Richard III, she claims that even the fiercest beast will demonstrate some degree of pity. Her attempt to categorize Richard as somehow both less than human and less than a beast, however, leaves her vulnerable to Richard’s pithy retort that he knows no pity “and therefore [is] no beast” (1:2:71-2). The dialogue swiftly moves on, but the relation between the emotional phenomenon known as pity or compassion and the nonhuman, briefly raised in these two lines, remains unresolved. Recent scholarship at the intersection of early modern studies, historical animal studies and posthumanism has demonstrated ways in which the human-animal binary is often less than clearly articulated in the sixteenth and seventeenth centuries. Building on such work, and adding perspectives from the history of the emotions, I look closely at the exchange between Anne and Richard as characteristic of pre-Cartesian confusion about the emotional disposition-in particular compassion-of animals. I argue that such confusion can in fact be traced throughout Richard III and elsewhere in the Shakespeare canon and that paying attention to it unsettles the more familiar notion of compassion as a human species distinction and offers a new way to read the early modern nonhuman.
2
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Grzegorz Wiśniewski’s Production of Richard III in Teatr Jaracza in Łódź-Textual Authority, the “Director's Cut”, and Theatre Status

86%
Cieślak M.
Multicultural Shakespeare: Translation, Appropriation and Performance
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2018
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vol. 17
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issue 32
69-80
EN
Grzegorz Wiśniewski’s 2012 Richard III in Teatr Jaracza in Łódź was a very successful production with critics and audiences alike. At the 2012 Gdańsk Shakespeare Festival it won the Golden Yorick, a prestigious Polish award for the best staging of a Shakespearean play in the season. Wiśniewski, a renown Polish theatre director and professor at the National Film School in Łódź, has his own way of understanding theatre, its role in culture, and Shakespeare’s place in it. Wiśniewski believes in the theatre of the middle path, as he calls it, that is neither classical/conservative, nor radically avantgarde. He wants to attract wide audiences and offer them intellectual and well-balanced cultural entertainment. Without diminishing the weight of such cultural and literary icons as Shakespeare, he vivisects texts to make productions that can easily speak to a contemporary audience. This paper analyzes Wiśniewski’s Richard III to show how the director manages to achieve balance between his own auteur power, the authority and complexity of Shakespeare’s text, and theatre’s cultural mission.
3
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Reappropriations of Shakespearean history on the post-communist Hungarian stage

72%
Földváry K.
Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)
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2021
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vol. 24
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issue Special_Issue
239-253
EN
The essay examines Hungarian theatrical productions of Shakespeare's history plays in the post-1989 period, pointing out the paradoxical qualities of the genre that can make these plays at once distant and foreign to non-British audiences. Nevertheless, these dramas' representations of political conflict and power struggles may also explain their adaptability to local socio-historical and political contexts. After an overview of the stage history of the chronicle plays on Hungarian stages, including possible reasons given for the noticeable popularity of certain works over others, this article also reflects briefly on the new attitudes to Shakespearean translation since the post-1989 period. The final section focuses on three contemporary productions of Shakespearean history plays, comparing and contrasting the way they make use of the early modern practice of doubling. Ways in which textual strategies are employed as well as how casting and scenographic choices infuse the dramas with political interpretations rooted in the here and now of the performances are also considered.
4
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Irish Bards in Shakespeare's Richard III and As You Like it

58%
Breeze A.
Language. Culture. Politics. International Journal
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2021
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vol. 1
129-136
EN
Shakespeare alludes twice to Irish bards. In Richard III, the king mentions a prophecy by one of his imminent death; in As You Like It, Rosalind jokes on how Irish bards can supposedly rhyme rats to death. Both refer to supposed bardic powers of seeing the future and of ritual cursing of enemies. A survey of the literature shows satire and prophecy as going back to ancient times. There is in addition ample material on the (sometimes deadly) eects of satire in medieval and later Ireland, where it is known from chronicles, legal tracts, handbooks of poetry, and various surviving poems. There are in addition comic tales on how bards exploited their power, including an eleventh-century one on King Guaire's Burdensome Company, wherein the poet SenchÆn rhymes to death certain mice that had spoiled an egg reserved for him. Shakespeare's references can thus be related to traditions well-known in Gaul and medieval (or early modern) Ireland and Scotland.
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