Popularizing Shakespeare’s History Play in Korea: Reshaping Richard III as a Revenge Tragedy
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This paper examines the most recent Korean adaptation of Shakespeare’s Richard the Third, SEM Company’s Richard III (2022), and analyzes its strategies to popularize Shakespeare’s history play for Korean theater. I argue that R3(2022) reshapes Shakespeare’s original history play into a revenge tragedy by using existing conventions of Korean Shakespeare adaptations as well as elements of film noir. I highlight R3(2022)’s two distinctive modifications of Shakespeare’s text—portraying Margaret as a mysterious revenge ghost and staging Richard’s bloody murder—which reconstruct the play as a double revenge play of Margaret and of Richard. First, R3(2022) reinterprets Margret as a revenge ghost, who plays the role of a chorus commenting on the course of the play, and as a representation of Richard’s inner struggle in the nightmare scene. It uses pansori, the genre of Korean traditional vocal music, to give Margaret a distinctive voice. A second aspect of the adaptation revolves around Richard’s failed revenge against the world. Accentuating Richard’s vengeful villainy, this production adopts characteristic styles of film noir by staging Richard’s excessive violence, on the one hand, and downplaying the subtle dynamics between female characters on the other. By casting the “100-million-viewer” movie star Jung-min Hwang, who is especially prominent in noir films, R3(2022) underlines the actor’s physical strain to reenact Richard’s crooked body as it intensifies his deformity in connection with his savagery.
Abstract
This paper examines the most recent Korean adaptation of Shakespeare’s Richard the Third, SEM Company’s Richard III (2022), and analyzes its strategies to popularize Shakespeare’s history play for Korean theater. I argue that R3(2022) reshapes Shakespeare’s original history play into a revenge tragedy by using existing conventions of Korean Shakespeare adaptations as well as elements of film noir. I highlight R3(2022)’s two distinctive modifications of Shakespeare’s text—portraying Margaret as a mysterious revenge ghost and staging Richard’s bloody murder—which reconstruct the play as a double revenge play of Margaret and of Richard. First, R3(2022) reinterprets Margret as a revenge ghost, who plays the role of a chorus commenting on the course of the play, and as a representation of Richard’s inner struggle in the nightmare scene. It uses pansori, the genre of Korean traditional vocal music, to give Margaret a distinctive voice. A second aspect of the adaptation revolves around Richard’s failed revenge against the world. Accentuating Richard’s vengeful villainy, this production adopts characteristic styles of film noir by staging Richard’s excessive violence, on the one hand, and downplaying the subtle dynamics between female characters on the other. By casting the “100-million-viewer” movie star Jung-min Hwang, who is especially prominent in noir films, R3(2022) underlines the actor’s physical strain to reenact Richard’s crooked body as it intensifies his deformity in connection with his savagery.
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