Comparison of King Richard III and Looking for Richard Essay

Examinations of Shakespeares play King Richard deuce-ace and Pacinos docu-drama smell for Richard spread abroads relationships between the schoolbooks and their respective reference. The fifteenth century and twentieth century con text editions demonstrates the set of each text and enables sagacity of how the film enriches the ideas presended in the play. King Richard terzetto presents a hateful, corrupted Richard exploring divine justice and the notion of appearance versus humankind in the context of the Elizabethan date of reference. With a term difference of quartet centuries facial expression for Richard reflects the Pacinos quest to understand a Shakespearean text through a personal examination of the same char propeler. This docu-drama reflects the postmodern eras absence of divine auberge and the change of conscience. Through the comparative study of these texts our understanding of different contexts and values are illuminated.Shakespeare portrays Richards dec eitfulness through his soliloquies and asides, revealing his multifaceted nature. Richard is sh proclaim to use intelligent word play, badinage and stichomythia he is ultimately cast as the Machiavellian character placed to play a villain. Richard blames his appearance for his immoral acts deformed, unfinished, sent in front my time and uses it to fulfill his hunger for power. Richards duplicity is emphasized when Clarence is sent to the tower. Any sympathy elicited from the audience is undermined by the thick irony in the dialogue. Richard appears to have no idea what is going on and innocently asks Brother, good day. What means this armed guard/ That waits upon your grace? Richard then tries to act like the loving brother Brother farewell this deep dismantle/ Touches me deeper than you good deal imagine. The Elizabethan audience is reassured that divine gear up will be restored and avenging will be reaped, Richard will be punished for his deceptive act.Looking for Richard r eflects the values of its society as Pacino attempts coiffure Shakespeare accessible to a twentieth century audience. The film begins and ends with an intertextual extract from The agitation justifying the ambiguity of the twentieth century this insubstantial pageantsuch overeat that dreams are made on reinforcing that life cannot provide us with perceptual constancy in the search for the truth andmorality as it is endless, unlike the Elizabethan era. Pacinos portrayal of Richard shows his ability to deceive those who trust him hes in good shape. He can move around. He can maneuver. He plays the villain, loving brother, resistant king and desperate caramel br deliver with skill. The fluid editing between rehearsal scenes, the staged performances and the actors heated discussions reveal Richards ability to construct the truth. Richards punishment is not beau ideals divine retribution as he is haunted by his conscience. The final scene almost persuades the audience to feel sympa thy in his death. Low angle shots reflect his loss of power. A contemporary audience understands that humans are multifaceted and do not condemn his legerdemain as instantaneously as the Shakespearean audience.King Richard III depicts Richards character through divine order and justice. Richard attempts to usurp authority as king being the catalyst of chaotic events. Richard removes anyone that acts as a barrier, including his profess family lies well steeled with weighty arguments. His hunger for power results in his diabolic limning foul devil, as he attempts to disturb divine order. The text was set in a theocentric society, God will seek retribution to anyone who goes against his will, demonstrated by Shakespeare when Margaret curses Richard for killing her husband and son sin, death and madhouse have their marks set on him. Richards disruption to moral order caused chaos, t herefore divine order had to be restored. Richard had to pay the ultimate set for his sins Hie thee to hell for shame there thy kingdom is as excuse in the Elizabethan era. Looking for Richard ignores Richards villainous chaos, instead targeting the audience who bang in a world where importance is placed on the individual. This is patent when Pacino states A person has an opinion. Its only an opinion. Its never a question of right or wrong.The dialogue demonstrates that theocratic elements are no longer universally accepted. The film juxtaposes twentieth century values with those of the Elizabethan people to show that people are guided only by their own morals. This is shown as Pacino chooses to focus the conversation of Clarences murderers on their own individual guilty consciences Faith, certain dregs of conscience are here within me. Pacino chooses to cut out the religious rhetoric to stress that Elizabethan values seem irrelevant to the contemporary audience. Rapid camera movements portrayRichard as a tormented, psychologically unstable man. He becomes haunted by the ghost of his conscience and is punished by his madness rather than his death. Looking for Richard proves there is no fear of retribution, only the impact of their immoral conduct on their identity. In our contemporary context justice is displayed as of individuals own psychological destruction and guilt, rather than endorsed by God.The analysis of King Richard III by Shakespeare and Looking for Richard by Al Pacino extends our understanding of the values and contexts of the texts and the attributes they share. Shakespeares Elizabethan audience valued religion and Gods getting even of rigid order as Pacinos twentieth century audience have no decisive spiritual references and live in a world where independence is placed on the individual. The contextual comparison of the texts furthers our understanding of the values portrayed within two largely diverse time periods.