Drama in the Eye of the Beholder Performance of plays can take various shapes depending on the director’s perspective of the text, the key element, within the framework of the play. In addition text can be interpreted different ways, regarding directing technique, such as style and action choices, and scenery decisions. These factors contribute to the overall result of the performance containing either conventional elements or having a contemporary twist. Examples of the two perspectives could include costume selection or incorporating bizarre props into the performance. Throughout Shakespeare’s writing career, no play has been transformed more than the historical plays of King Richard. Richard the II and Richard III over the years have been performed either the time-honored way or containing modern elements relating to the style, action, and visual aspects chosen. These revisions to the classic renewed the audience’s sense that art does come in many shapes and forms. Specifically, during the late 19th century, director Frank Benson and Triple Action Theatre have concentrated on the aforementioned modern adaptations regarding structure and costume/scenery of the performance. Richard the II has been a central play to analyze and revise due to the continuous debate of King Richard’s personality. The debate revolves around the difference in King Richard’s public versus private self, whether he was as powerful as he appeared on the throne compared to behind curtains. Margaret Shewring, author of Shakespeare in Performance: Richard the II Chapman 2emphasized this point by saying, “Although it was not until the mid to late nineteenth century that the personality of the King… of the actor playing the King- was allowed to dominate the stage” (63). Many directors and theatre companies delight in this debate for it allows them to take their imagination and rework the play to their liking, or view...
