Now is the winter of our discontent
Made glorious summer by this sun of York;
And all the clouds that lour'd upon our house
In the deep bosom of the ocean buried.
Come tutti drammi di Shakespeare, anche Riccardo III è bellissimo. La figura del tiranno machiavellico che fa di tutto per ottenere il potere è delineata magnificamente. Un protagonista dalle molteplici facce, diventa però veramente tale alla fine, quando il terrore di quello che sta per accadere e la realizzazione delle sue turpi azioni lo colpiscono in pieno.
Magnifica la scena in cui i fantasmi delle persone uccise da Riccardo compaiono in sogno al tirannico re e a Richmond, maledicendo l'uno ed esaltando l'altro.
A teatro deve essere spettacolare.
Il più bastardo dei bastardi.
"Now is the winter of our discontent
made glorious summer by this son of York,
and all the clouds that loured upon our house
in the deep bosom of the ocean buried..."
Da rivedere anche "Looking for Richard" con un Al Pacino strepitoso sulla messa in scena teatrale del dramma.
For me, the tragedy of Shakespeare's historical dramatization of Richard III is that it has passed on to posterity the myth that Richard was a conniving, vicious, murderous machiavel who got what was coming to him. Many historians dissent from this view, but unfortunately, history is written by the winners, as the saying goes, and the house of York lost the War of the Roses - and their name has been vilified through subsequent generations by Lancaster, and later Tudor, chroniclers. This play's perversion of the truth is nothing more than an example of Shakespeare pandering to the Tudor dynasty.
However, there are some redeeming qualities. Several excellent speeches and an intense climax highlight this otherwise forgettable - and regrettable - "historical" play.
Particularly interesting to modern readers is the mirroring of the haunting and taunting of Richard III on the night before his battle and the climax of "Harry Potter and the Goblet of Fire". It's a really nice "holler out" by Rowling to the immortal bard....Continua
Shakespeare's most popular villain completely dominates this play, murdering his way through the fifteenth century English aristocracy with gleeful abandon. It's one of the earlier plays and Shakespeare still seems to be writing under Marlowe's shadow, with the language at times being quite rigid and the pace of the plot not always quite working. A good read, but better by far is to see it performed. The Ian McKellen version (1995) is breath-taking....Continua