The Winter's Tale-productions
INTERPRETATIONS OF 'THE WINTER'S TALE'This essay will look closely at three different interpretations of Shakespeare's 'The Winter's Tale'; the 1989 BBC production: Director: Jane Howell, producer: Jonathan Miller, the 1999 Royal Shakespeare company, director: Greg Doran, and the 2002 RSC: director: Matthew Warchus. The intention in this essay is to compare parts of the three interpretations; examining the scenes that had the most impact on me. The atmosphere, staging and symbolism are dramatic effects that will be taken into account; looking in particular at Act 3 scene 2 and Act 5 scene 3. In the opening scene arousing the audiences' attention seemed to be Warchus' first objective. He was able to create a magical and spectacular atmosphere through the accompaniment of noisy kettledrums. His opening scene was more powerful and appealing compared to Howells' and Dorans'. Warchus makes use of symbolism, for example, the magic trick. The woman in the coffin could represent Hermione, yet the woman exits out of the coffin symbolising Hermione will still be alive. Warchus used symbolism to introduce some of the themes of 'The Winters Tale'; death, resurrection and faith.
Howell added a white set in the background, which could symbolise the fact that it is winter, and it could be reinforcing the title of the play. This quote by Leontes is also linked back to Warchus' opening with the coffin and the "magic" trick. Leontes facial expression was very effective when Hermione started to move; as his mouth instantly drops. In both Doran's interpretation and Howell's' interpretation Leontes is wearing a dressing gown, this again reinforces his illness as everyone else around him is smartly dressed. Hermione is looking down and holding her stomach, which could represent that she misses her baby or perhaps the fact that she was so hurt about what has happened. Perhaps Perdita symbolised Hermione and Florizel symbolised Polixenes, to show to the audience that they will soon reunite and forgiveness comes into the play. In all three interpretations music was played as Hermione descended. This was effective as it rang for a long time, yet Leontes delayed it by not picking it up quickly. We see her on a pedestal, and we could compare her looking like the beautiful Virgin Mary, as this could symbolise Hermiones' innocence and purity. This reinforced the fact that it was more modern than the other two. Leontes circulated Hermione, as if she was his prey. Leontes and Hermione seemed to be the only characters in sight on stage, perhaps we the audience were the spectators, symbolising the public watching Hermione as the trial scene is a public event. This is a beautiful image as the audience sees that Leontes, Hermione and Perdita are reunited. In ACT 3, SCENE 3, Antigonus leaves baby Perdita. We can see, through the amount of props and costume that Howell and Doran's interpretations were probably set in the 17th century, and Warchus' interpretation was probably set in the 20th century.
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