Well, this is the first installment of the Richard Notebooks, as I call them in my head, and R3, as this serial will be called and tagged as. I've decided I'm going to focus on one particular aspect of the play in each post, lest I start getting lost in analysis and analysis of analysis.
I will be updating on Fridays, and when I'm feeling particularly industrious, Mondays. I have very little else to do on these days.
First, I have been fortunate enough to get my little hands on The Year of the King, a book by the great actor Antony Sher about his preparations for playing Richard the Third. You can expect weekly installments and thoughts as I progress through it.
I've also transcribed a video interview with Peter Hartwell, Miles Potter, and Seana McKenna, respectively the designer, director, and lead in Stratford's latest incarnation of the play. I may or may not be publishing that publicly. I want to ask permission from the Festival before I do that.
I want to talk about Kevin Spacey's latest foray into the role, the planned Mandarin production that will be featuring in the Globe's wonderfully insane staging of a complete and multilingual Shakespearean canon in 2012, and Two Roses For Richard III, an acrobatic Brazilian staging of the play from Companhia Bufomecanica which will be featured elsewhere in the Shakespearean deluge of the Cultural Olympiad.
There's more, but I'm scared my own brain will explode from the sheer immensity of this project I'm undertaking.
Stay tuned!
I will be updating on Fridays, and when I'm feeling particularly industrious, Mondays. I have very little else to do on these days.
First, I have been fortunate enough to get my little hands on The Year of the King, a book by the great actor Antony Sher about his preparations for playing Richard the Third. You can expect weekly installments and thoughts as I progress through it.
I've also transcribed a video interview with Peter Hartwell, Miles Potter, and Seana McKenna, respectively the designer, director, and lead in Stratford's latest incarnation of the play. I may or may not be publishing that publicly. I want to ask permission from the Festival before I do that.
I want to talk about Kevin Spacey's latest foray into the role, the planned Mandarin production that will be featuring in the Globe's wonderfully insane staging of a complete and multilingual Shakespearean canon in 2012, and Two Roses For Richard III, an acrobatic Brazilian staging of the play from Companhia Bufomecanica which will be featured elsewhere in the Shakespearean deluge of the Cultural Olympiad.
There's more, but I'm scared my own brain will explode from the sheer immensity of this project I'm undertaking.
Stay tuned!
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