Directorial Interpretation notes on Richard III
Richard Loncraine, 1995 production - the adaption draws from the aesthetic of the Third
Reich, using explicitly Fascist iconography.
Act I, Scene I
● Uses an aesthetic drawn from the world of the Third Reich
● Dog whining/barking as the stronghold is attacked - indicates Richard’s treachery -
synonymous with the line in Richard's opening soliloquy.
● Heavy breathing (and use of gas masks) used to emphasise the danger, nerves of the
character’s approach in death.
● Setting of a lavish ball/palace to emphasise the prosperity and growth of the country
under Yorkist rule - the use of a singer also indicates a growth in culture (few books
were written at the time of the War of the Roses, lack of culture). Carefree atmosphere,
joy and security in the kingdom.
● Richard presents soliloquy at ball in public rather than just to the audience, guests are
amused by his words - halfway through the soliloquy the shot changed to Richard in the
bathroom (an indication of privacy) to continue to deliver the more sinister half of his
speech - brought together the soliloquy from the end of Henry VI and the start of Richard
III to accentuate Richard’s ability for evil - delivered directly to the audience alone.
● Puts arm around Clarence trying to ‘comfort him’ keeping up his facade.
● Waves a handkerchief at Clarence as the boat departs - duplicitous act as he is sending
Clarence to his death, rather than just a normal farewell. - typical 20th century way of
saying farewell when they prepare for a long voyage.
● Very direct eye contact with the camera - same as The Hollow Crown - sharing
intentions with us, the audience.
Act I, Scene II
● Takes place in a mortuary beside the corpse of Edward, Anne’s husband, rather
than Henry’s corpse - intensifies the mockery that Richard exercises over her.
● Comforting herself by holding the dead corpse — demonstrates mourning
● Richard creeps in behind her
● When in conversation, she does not meet his eyes until he starts to talk about her, not
her husband and his death.
● Close contact with one another - shows intensity between them, stichomythia - they spit
words at one another.
● Makes a spectacle of him wiping tears away from his eyes when he speaks of her
beauty - dramatises the act.
● He gives her a dagger not a sword, used in the mortuary not his own.
● Drops the knife, cuts the breathing and silence between them.
● Anne stammers her words - nervous at feelings she has.
● Salutes Edward’s body - sign of intense respect in the military to a friend/superior - ironic
as he feels soo respect or pity towards Edward’s death.
● Shaking random peoples hands, touching the people he passes affectionately and
getting louder - demonstrates growing excitement at how easily he wooed her.
Jazz music also reflects his mood, pride - very bright and bouncy
Richard Loncraine, 1995 production - the adaption draws from the aesthetic of the Third
Reich, using explicitly Fascist iconography.
Act I, Scene I
● Uses an aesthetic drawn from the world of the Third Reich
● Dog whining/barking as the stronghold is attacked - indicates Richard’s treachery -
synonymous with the line in Richard's opening soliloquy.
● Heavy breathing (and use of gas masks) used to emphasise the danger, nerves of the
character’s approach in death.
● Setting of a lavish ball/palace to emphasise the prosperity and growth of the country
under Yorkist rule - the use of a singer also indicates a growth in culture (few books
were written at the time of the War of the Roses, lack of culture). Carefree atmosphere,
joy and security in the kingdom.
● Richard presents soliloquy at ball in public rather than just to the audience, guests are
amused by his words - halfway through the soliloquy the shot changed to Richard in the
bathroom (an indication of privacy) to continue to deliver the more sinister half of his
speech - brought together the soliloquy from the end of Henry VI and the start of Richard
III to accentuate Richard’s ability for evil - delivered directly to the audience alone.
● Puts arm around Clarence trying to ‘comfort him’ keeping up his facade.
● Waves a handkerchief at Clarence as the boat departs - duplicitous act as he is sending
Clarence to his death, rather than just a normal farewell. - typical 20th century way of
saying farewell when they prepare for a long voyage.
● Very direct eye contact with the camera - same as The Hollow Crown - sharing
intentions with us, the audience.
Act I, Scene II
● Takes place in a mortuary beside the corpse of Edward, Anne’s husband, rather
than Henry’s corpse - intensifies the mockery that Richard exercises over her.
● Comforting herself by holding the dead corpse — demonstrates mourning
● Richard creeps in behind her
● When in conversation, she does not meet his eyes until he starts to talk about her, not
her husband and his death.
● Close contact with one another - shows intensity between them, stichomythia - they spit
words at one another.
● Makes a spectacle of him wiping tears away from his eyes when he speaks of her
beauty - dramatises the act.
● He gives her a dagger not a sword, used in the mortuary not his own.
● Drops the knife, cuts the breathing and silence between them.
● Anne stammers her words - nervous at feelings she has.
● Salutes Edward’s body - sign of intense respect in the military to a friend/superior - ironic
as he feels soo respect or pity towards Edward’s death.
● Shaking random peoples hands, touching the people he passes affectionately and
getting louder - demonstrates growing excitement at how easily he wooed her.
Jazz music also reflects his mood, pride - very bright and bouncy
