King Lear

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King Lear is a canonical text, which has been preserved over centuries, but as culture and society have evolved, readings and interpretations of the play have broadened and changed. This play deals with universal and basic and fundamental social and human issues. As King Lear moves from 17th C Elizabethan times to the 1st C, different representations of the themes are demanded. In order to appeal to the contemporary audience these representations must closely parallel the cultural and social values of the era in which the play is produced. For a modern 1st C audience the issues of politics, feminism and chaos would be issues of great importance and relevance in this democratic but unstable environment. Through King Lear the director could make a valuable comment and criticism on society. A director can stage different readings of King Lear though highlighting and foregrounding certain aspects of the play.

The play can be considered from a feminist perspective. Feminists challenge the traditional power of men in a patriarchal institution. In King Lear all daughters' motivation is to wrest power from patriarchal control. Goneril and Regan act together to challenge Lear, their concern is expressed at the end of I,I, "he hath ever but slenderly know himself" suggesting he has had a history of unreasonable demands and decisions. Equally Cordelia speaks her mind and is assertive, when asked in the "love test" to "draw a third more opulent than [her] sisters", she responds truthfully "I love your majesty according to my bond no more nor less". Cordelia thereby shows her unwillingness to submit to her father's caprice.

Act scene ii could be dramatically utilised to illustrate Lear's culpability from the daughters' treatment of him. According to Goneril, Lear's knights are "riotous", and are disrupting the peaceful running of the kingdom "more like a tavern or a brothel / than a graced palace". By Goneril and Regan remaining calm and rational when trying to reduce Lear's "100 retinue", their protestations would appear perfectly reasonable. Lear would enter in a wheelchair, responding with the curse "darkness and devils!", calling her "degenerate bastard". The use of a wheelchair would divert audience attention from Lear's suffering, and to his manipulative determination to have his own way. Furthermore by overacting violently and impetuously while simultaneously blocking his ears unwilling to listen to any protestations and the wheelchair with reckless gleefulness, Lear conveys the stubborn selfishness with which Goneril and Regan are justifiably exasperated.

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