to get across to the audience. Another example of a visuial directing choice demonstrating a subliminal message was that “the young prince’s heads were enclosed in large, cardboard diamonds, suggesting a playing-card helplessness” (317), this further proves that interpretations can tell a lot about someone’s perspective of the play. The physical elements came through the dialogue being spoken rapidly and loudly so as make it incomprehensible. Another distinguished feature not typically seen was that “The Richard- Anne courtship is highlighted in pantomimed against a background of mirrors” (317), this element proves that the director thought this subplot within the play was essential and important to show, but only through actions, not necessarily dialogue. In fact, this production of Richard the III used numerous lighting and smoke techniques displaying the director’s mood of the play. The Triple Action Theatre established its unusual structure by showing in the last scene when “in ripple lighting Richard is crowned with an iron ring if spikes, and after the coronation his bare shoulders are covered with… leather pads inset with nails” (318), verifying that Shakespeare doesn’t have to be performed the traditional way. Richard the II and Richard the III have as proven been produced with modern elements during the current time period. All of the above elements such as structure, whether that is action or dialogue, costume and scenery decisions influence the overall impression of the play. These Chapman 5decisions have an impact on the audience; the impact evokes some kind of emotion within the spectators, ranging from shock to sympathy. Depending on the director’s interpretation, many messages can be conveyed about the tragedies. That is the beauty of plays; there is no concrete formula. The plays of Richard the II and Richard the III throughout their stage history ...
