Director: PAUL STEBBINGS
Producer: GRANTLY MARSHALL
Director’s notes/ Description
KING LEAR is Shakespeare’s masterpiece. The king of Britain-Lear was getting older and older. He needed someone to take over his charge of the country. Therefore, he was wishing to cut the nation’s land into three parts and give them to his three daughters. When the day came, Lear would like his three daughters to express their respect and love towards him in public. The two elder daughters-Goneril and Regan managed to satisfy Lear’s demands with beautiful but hypocritical words while the little daughter Cordelia didn’t manage to. Her words were so simple and pure that it couldn’t express her deepest love for Lear but astonishingly made Lear angry. Because of the misunderstanding, Lear expelled Cordelia. Sadly, Cordelia had no choice but to go to France and became the queen of France. After Lear got off the king’s throne, he was powerless and weak. Equipped with authority, Goneril and Regan began to despise Lear and maltreated him, which reminded Lear of Cordelia who had been very kind to him. Meanwhile, with the deep love towards her father, Cordelia assembled an army in France and began to fight against Goneril and Regan. At first, the path of the war was smooth. Cordelia’s army won several battles and saved Lear’s life. After three years’ departure, Cordelia finally got a reunion with Lear. However, Goneril’s and Regan’s army united and beat justice. Both Cordelia and Lear were captured. Before they were executed, Lear strongly regretted about his wrong judging about Cordelia very sadly, but it was too late.
The play is particularly suited to outdoor performance as its great scenes are set on the wild heath, by towering cliffs and indeed by the towers and battlements of ancient castles.This production will use startling imagery, dynamic action and choreography and the company’s trademark of integrated live music to explore this magnificent tragedy that sets man against the power and laws of nature. Although the play is deeply serious it is also highly entertaining, exciting, and at times even comic. The Fool’s laughter lights up the play as the lightening illuminates the broken King in literature’s most celebrated storm scene. In this case rainy weather can be a blessing.
TNT music theatre presents an extraordinary production of KING LEAR. This magnificent but unwieldy text is streamlined and sharply focused to create a unique theatrical event that blends live music, spectacular imagery and thrilling action. The production has been acclaimed by public and critics alike from Tokyo to Berlin and Malta to Oslo. After an eight month tour of some twelve countries in 2005, this season sees TNT’s KING LEAR return by popular demand to tour Central and South America, East Asia, Italy and Britain. The production focuses on the families of Lear and Gloucester, stripping away lesser characters and incidental scenes to concentrate on the main narrative. No one knows what KING LEAR was performed in Shakespeare’s day, certainly not the full text that we have today, cobbled together by Victorian editors. Is there a lost performing ‘Quarto’ version like we have for HAMLET? We will never know but we do know that KING LEAR is a too great play to be left in the library but one that seldom thrills on the stage. TNT have addressed the problem and gone for the heart of this dark and dramatic work. If the production strips much away it also builds up an extraordinary sound texture. Cello, violin, drums and a five part sung score add a whole dimension to the play – a dimension that existed in Shakespeare’s own day – there may have been no set, no lights and little special costuming in the Globe but there were certainly musicians. The Music of TNT’s KING LEAR (by Thomas Johnson) was composed during the rehearsal period and is seamlessly integrated in the play. The storm scene is a tour de force of choreography and sound, music and raw energy. Shakespeare’s magnificent language is not sidelined by this approach, but rather allowed to breathe, freed from the distractions of lesser characters and incidental scenes the play emerges in sharp focus. (The majority of the Folio text is performed). The setting is Celtic and historical: Lear is a Priest-King in a violent world that knows nothing of Christian mercy or Roman Law. KING LEAR is directed by Paul Stebbings, whose multi-award winning productions of Shakespeare’s plays have been seen from Tehran to London, Atlanta to Dubai and Munich to Shanghai. TNT collaborate with producer Grantly Marshall and the American Drama Group Europe to create one of the most popular and innovative touring ensembles in the world.
The best way to watch TNT Theatre‘s production of Shakespeare‘s King Lear is to detach oneself from one‘s own vision of the play and to thus gain access to an interpretation which through extreme close study and penetration of the existing text has successfully produced a unique rendering of the themes and conflicts that both works and engages dramatically.
本场演出全长约150分钟，包括中场休息15分钟。 Approximately 150 mins with 15 mins intermission.
本场演出适合10岁以上人士观看。Suggested age: 10 and above.
迟到观众可随时入场。Latecomers will be admitted at any time.