THE LION IN WINTER: Adaptation from Stage to Screen

The Lion in Winter: Adaptation from Stage to Screen

authors

Haas, Alfke de

source

Faculty of Humanities Theses (2007)

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document type Master thesis

disciplines

Letteren

abstract

This thesis looks into the specific chan es made to a play !hen it is used as the "asis for a tele#ision or film adaptation$ %t i#es a "rief o#er#ie! of rele#ant adaptation theory and discusses the chan es made in !ritin , creatin the on sta e&screen locations, characters and the film'specific a"ility to choose camera an les and editin $

key ords

Adaptation, Film

Alfke de Haas Nr. 9953043 August 2006 Master Literatuurwetenschap ni!ersiteit trecht "criptie#egeleiders$ dr. %. &rillen#urg'(urth dr. ). *. %. &rands+a

CONTENTS %,N-.N-" /N-0,1 %-/,N /N-0,1 %-/,N -, -H. *LA2 AN1 )/LM" -he "t3r4 -he Auth3r -he *la4 -he 5966 )il+ -he 2003 Miniseries %HA*-.0 5$ A1A*-A-/,N -H.,02 5.5 Adaptati3n criticis+ 5.2 Adaptati3n #etween theatre and fil+ %HA*-.0 2$ -.8- -, )/LM 2.5 Additi3ns 2.2 1eleti3ns 2.3 -ransp3siti3n 2.4 0ewriting the te9t %HA*-.0 3$ L,%A-/,N" 3.5 )il+ l3cati3ns 3.2 ,pening 3ut 3.3 "h3wing instead 3f telling %HA*-.0 4$ %HA0A%-.0" 4.5 %asting 4.2 %3stu+es 4.3 Acting %HA*-.0 5$ %AM.0A AN:L." AN1 .1/-/N: 5.5 %a+era angles$ the direct3r;s ch3ice 5.2 .diting$ the final f3r+ %,N%L "/,N List 3f (3rks %ited Appendi9 A$ A#stract 3f the pla4 Appendi9 &$ L3cati3ns Appendi9 %$ -he characters Appendi9 1$ .9a+ples 3f sh3ts Appendi9 .$ "tage pr3ducti3ns 2 3 4 4 4 5 6 6 7 7 9 52 53 53 54 55 57 56 59 20 22 22 24 24 26 26 27 30 32 35 37 45 46 52

Introduction Adaptati3n the3r4 is a relati!el4 43ung field 3f criticis+< ha!ing started in the 5940s. /t als3 3ften deals with relati!el4 43ung f3r+s 3f art such as fil+s 3r c3+ic #33ks. -he differences +ade t3 st3ries when the4 are adapted fr3+ 3ne +ediu+ int3 an3ther can #e e9tensi!e< #ut adapt3rs 3ften tr4 t3 #e as true t3 their s3urce +aterial as p3ssi#le. Adaptati3n #etween theatre and fil+ has f3cused +ainl4 3n "hakespearean pla4s and fil+s< esta#lishing the differences #etween these +edia 3nl4 t3 a +in3r degree. )il+ adaptati3ns 3f "hakespeare;s pla4s are 3ften e9tre+el4 different fr3+ their s3urce< cl3uding the real differences #etween the tw3 +edia. -he pla4 The Lion in Winter was written #4 =a+es :3ld+an in 5966. /t was #ased 3n hist3rical characters and e!ents and tells the st3r4 3f a ficti3nal %hrist+as in 5563< cele#rated #4 >ing Henr4 // and his fa+il4 at his castle in %hin3n< )rance. -he pla4 was adapted f3r fil+ in 5966< the screenpla4 als3 written #4 :3ld+an. -he fil+ in!ig3rated interest in the pla4< which has since #een pr3duced #4 a+ateur c3+panies all 3!er the w3rld. /t was< h3we!er< n3t until 2003< 5 4ears after :3ld+an;s death< that an3ther fil+ !ersi3n was +ade< als3 #ased 3n his screenpla4. &ecause all three !ersi3ns 3f the st3r4 were written #4 the sa+e auth3r< it is likel4 that an4 differences #etween these !ersi3ns were caused #4 the different +edia in which the4 are t3ld. Alth3ugh theatre and fil+ +a4 appear t3 #e cl3sel4 linked as f3r+s 3f perf3r+ance< the tw3 +edia ha!e different wa4s 3f sh3wing a narrati!e. / will e9pl3re the depth 3f these differences #4 discussing The Lion in Winter in c3nnecti3n t3 its tw3 fil+ adaptati3ns. An intr3ducti3n t3 The Lion in Winter #riefl4 ela#3rates 3n the st3r4 that is t3ld in the pla4 and fil+s. /t als3 discusses the career 3f the auth3r =a+es :3ld+an< the hist3r4 3f the pla4 and the details 3f the tw3 fil+ adaptati3ns. After this #rief intr3ducti3n chapter 5$ Adaptati3n -he3r4 discusses the phen3+en3n 3f adaptati3n and its pr3#le+atic hist3r4< with special e+phasis 3n the adaptati3n fr3+ theatre t3 fil+. %hapter 2$ -e9t t3 )il+ #egins the discussi3n 3f the adaptati3n 3f The Lion in Winter. /t starts with a #rief discussi3n 3f the alterati3ns that can #e +ade t3 a te9t when adapted t3 fil+ and then gi!es e9a+ples 3f additi3ns< deleti3ns< transp3siti3n and rewriting f3und in #3th adaptati3ns 3f the pla4. %hapter 3$ L3cati3ns ela#3rates 3n the differences #etween the setting 3f pla4s and fil+s and the p3ssi#ilities fil+ 3ffers f3r creating a w3rld c3+pared t3 the li+ited p3ssi#ilities 3f the stage. -he different use 3f l3cati3n and sets are discussed f3r all three !ersi3ns 3f The Lion in Winter. %hapter 4$ %haracters discusses the creati3n 3f a character #4 casting< c3stu+e design and acting f3r #3th stage and fil+ pr3ducti3ns< gi!ing e9a+ples 3f h3w the fil+ adaptati3ns ha!e used and ela#3rated 3n the li+ited inf3r+ati3n 3ffered #4 =a+es :3ld+an in the pla4. %hapter 5$ %a+era angles and editing f3cuses 3n the ele+ents 3f fil+ that are +3st 3ften seen as the defining difference with 3ther +edia. -he use 3f different ca+era angles< ca+era +3!e+ent and editing #etween sh3ts in #3th adaptati3ns is c3+pared t3 the p3ssi#ilities 3f the stage. "e!eral appendices 3ffer additi3nal inf3r+ati3n 3r e9a+ples. Appendi9 A 3ffers a scene'#4'scene a#stract 3f the pla4;s narrati!e. Appendi9 & 3ffers screen captures fr3+ #3th fil+ !ersi3ns sh3wing the differences #etween sets. Appendi9 % 3ffers pictures 3f the cast +e+#ers and their c3stu+es. Appendi9 1 gi!es e9a+ples 3f the sh3ts discussed in chapter 5 and an i+pressi3n 3f the tw3 scenes discussed in relati3n t3 the editing pr3cess. )inall4< appendi9 . 3ffers pictures 3f se!eral stage pr3ducti3ns t3 gi!e an i+pressi3n 3f the different p3ssi#ilities 3f set design and c3stu+e design the stage 3ffers.

Introduction to the play and film The Story The Lion in Winter #4 =a+es :3ld+an tells the st3r4 3f king Henr4 // 3f .ngland and his wife .lean3r 3f A?uitaine. /t is set during %hrist+as c3urt at %hin3n in )rance in the 4ear 5563. Henr4;s heir< Henr4 the 23ung >ing has died< lea!ing his 3ther three s3ns uncertain 3f wh3 will inherit the cr3wn at their father;s death. 0ichard< :e3ffre4 and =3hn ha!e all #een in!ited t3 c3+e #4 Henr4< as has their +3ther< .lean3r< wh3 was i+pris3ned in "alis#ur4 -3wer after leading a re!3lt against Henr4 and is 3nl4 per+itted t3 lea!e it when Henr4 all3ws it. -he A?uitaine< a c3unt4 which was f3r+erl4 in her p3ssessi3n< n3w #el3ngs t3 0ichard and is dee+ed a suita#le c3ns3lati3n pri@e f3r the prince wh3 d3es n3t get the cr3wn. Henr4 has als3 in!ited the 43ung king *hilip 3f )rance t3 discuss a l3ng'standing treat4 #etween )rance and .ngland in!3l!ing *hilip;s sister Alais and her d3wr4. Alais has #een raised at Henr4;s c3urt and is destined t3 +arr4 0ichard. Her d3wr4 was the strategicall4 i+p3rtant c3unt4 3f Ae9in< which f3r+s a #3rder #etween the .nglish territ3ries in )rance and the kingd3+ 3f )rance. Henr4< h3we!er< +ade Alais his +istress and is unwilling t3 let her +arr4 his s3n. *hilip c3+es t3 %hin3n t3 +ake sure that the treat4 is h3n3ured 3r t3 get the Ae9in #ack. Against this #ackdr3p 3f affairs Henr4;s fa+il4 +e+#ers struggle t3 gain p3wer 3!er the .nglish cr3wn< a )rench princess and ass3rted regi3ns in )rance. Henr4 fa!3urs his 43ungest s3n< =3hn< wh3 grew up with hi+. .lean3r fa!3urs 0ichard< wh3+ she raised with her in )rance. :e3ffre4< wh3 was +ade 1uke 3f &rittan4 thr3ugh +arriage is fa!3ured #4 n3ne< alth3ugh he is respected #4 all f3r his intelligence. (hile Henr4 and .lean3r pla4 ga+es with each 3ther< helping their fa!3ured s3ns and using an4thing the4 can t3 f3il each 3ther;s plans< the s3ns als3 f3r+ different alliances a+3ngst each 3ther and with king *hilip< wh3 is +3re than happ4 t3 interfere as l3ng as the 3utc3+e suits hi+. Alais is the 3nl4 character wh3 has n3 flair f3r treacher4 and is at the +erc4 3f Henr4< wh3+ she l3!es. He uses her< #ut it e!entuall4 #ec3+es clear that he has n3 intenti3n 3f gi!ing her up. Henr4< .lean3r and their s3ns +anage t3 hurt each 3ther deepl4 during their p3wer struggle #ut the4 all rec3!er fr3+ it and in the end the three s3ns lea!e %hin3n< .lean3r sails #ack t3 .ngland and Henr4 and Alais sta4 t3gether. -he st3r4 ends with the pr3+ise that the ne9t ti+e the4 +eet the4 will all tr4 again.5 A +3re detailed e9cerpt 3f the pla4 can #e f3und in appendi9 A. The Author =a+es :3ld+an was #3rn in 5929 in %hicag3< /llin3is and died in 5996 in New 23rk %it4. Like his #r3ther< fa+3us screenwriter and n3!elist (illia+ :3ld+an< he was a pr3lific writer f3r +an4 4ears. 1uring his lifeti+e =a+es :3ld+an wr3te se!eral pla4s$ Blood, Sweat and Stanley Poole B5965C< They Might be Giants B5965C< The Lion in Winter B5966< re!i!ed in 5999C and The Lion in Summer B5967C. "e!eral 3f these pla4s were &r3adwa4 pla4s. :3ld+an als3 wr3te se!eral &r3adwa4 li#retti. He wr3te the #33k f3r A Family Affair B5962C< f3r which his #r3ther (illia+ wr3te the l4rics and =3hn >ander wr3te the +usic and f3r Follies B5975C< f3r which "tephen "3ndhei+ wr3te the l4rics and +usic. As a screenwriter he wr3te the screenpla4s f3r The Lion in Winter B5966C< They Might be Giants B5975C< Ni holas and Ale!andra B5975C< "obin and Marian B5976C and White Nights B5965C. )3r tele!isi3n he wr3te #$ening Primrose B5966C< %li$er Twist B5962C< Anna &arenina B5965C and the +iniseries Anastasia B5966C. /n additi3n t3 these w3rks he als3 wr3te se!eral n3!els$ Myself as Witness< Waldorf< The Man from Gree' and "oman and Fulton (ounty.

:3ld+an< =a+es. The Lion in Winter. 5966. New 23rk$ 0and3+ H3use -rade *aper#acks< 2004.

:3ld+an was n3+inated f3r the -3n4 Award f3r &est &33k 3f a Musical f3r Follies and recei!ed an Acade+4 Award< as well as awards fr3+ the (riters :uild 3f A+erica and the (riters :uild 3f :reat &ritain f3r his screenpla4 3f The Lion in Winter.2 The !lay The Lion in Winter first 3pened 3n &r3adwa4 3n March 3< 5966. Alth3ugh it is currentl4 seen as a !er4 successful pla4< it recei!ed widel4 differing re!iews in its earl4 peri3d and was a#and3ned after 63 perf3r+ances. Acc3rding t3 =a+es :3ld+an in his intr3ducti3n t3 the pla4 it was the 5966 fil+ !ersi3n that reignited interest in the pla4$
D/ still can;t ?uite #elie!e what happened. -here are +an4 pla4s that fail and then #ec3+e successful +3!iesE (asablan a< f3r e9a+ple. &ut the pla4 itself re+ains a failureE there were n3 new pr3ducti3ns 3f #$erybody (ame to "i ')s< the pla4 3n which the fil+ was #ased. And there are 3ther pla4s that attain a #rief new lease 3n life fr3+ #eing fil+ed< 3nl4 t3 disappear again. &ut Li3n< as a stage piece was +3re than reprie!ed #4 the +3!ie. /t was transf3r+ed int3 a theater w3rk that has #een perf3r+ed all 3!er the w3rld.; 3

:3ld+an re+ained passi3nate a#3ut the characters he p3rtra4ed in The Lion in Winter. /n later pr3Fects he returned t3 the t3pic #4 letting >ing =3hn appear in his screenpla4 f3r "obin and Marion and #4 writing a#3ut the final da4s 3f >ing =3hn;s life in his n3!el Myself as Witness. He studied the *lantagenet fa+il4 hist3r4 e9tensi!el4< #ut ad+its that his characters are fictiti3us. N3 3ne kn3ws what these pe3ple were reall4 like< #ut :3ld+an tried t3 i+agine wh3 the4 were< what the4 felt and said and what the4 wanted 3ut 3f life.4 /t is this intenti3n that critics ha!e #3th respected and c3nde+ned. -he pla4 is stated t3 c3+#ine Dkeen hist3rical and ps4ch3l3gical insight with delici3us< +3rdant wit;.5 /t was called D+3dern< as well as peri3d;6 #4 actress :lenn %l3se< #ut has als3 #een said t3 #e Da +egaph3ne f3r the si9ties the+e 3f fa+il4 +alice;.7 The Lion in Winter is generall4 accepted t3 #e a hist3rical fa+il4' and ps4ch3l3gical dra+a< #ut alth3ugh s3+e critics ha!e ch3sen t3 dis+iss its sh3wing 3f hist3r4 as i+perfect< +3st critics ch3se t3 c3ncentrate 3n the ps4ch3l3gical fa+il4 dra+a it is. :3ld+an +erel4 ch3se the setting as a #asis and then let the characters l33se 3n each 3ther. &4 far +3st critics c3ncentrate 3n the pla4;s language and the interacti3n it sh3ws #etween the characters. As 0ichard .. 1ansk4 puts it$
D:3ld+an;s great success in the pla4 is in his dial3gue. His characters all carr4 ar3und unsheathed and #l33died rapier wits. (e get t3 kn3w the+< n3t thr3ugh their acti3ns< #ut rather thr3ugh their w3rds< thr3ugh the !er#al snares the4 set and the !er#al #ar#s the4 cast at 3ne an3therG -he attenti!e reader< the 3ne wh3 treasures whip'crack sharp writing and characters s3 sharpl4 delineated that their edges see+ t3 cut< that reader will read and re'read The Lion *n Winter and gain s3+ething new fr3+ it e!er4 ti+e.;6

The "#$% film

2

H=a+es :3ld+an.I Wi'i+edia, The Free #n y lo+ediaE :3ld+an< n. pag.E H=a+es :3ld+an B/C.I *nternet Mo$ie ,atabase. 3 :3ld+an< p. !ii. 4 /de+ 5 :3ld+an< c3!er. 6 :3ld+an< n. pag. 7 :3ld+an< n. pag. 6 1ansk4.

-he fil+ that rein!ig3rated the pla4 s3 successfull4 was #ased 3n the screenpla4 =a+es :3ld+an wr3te. -he fil+ was directed #4 Anth3n4 Har!e4 and starred *eter ,;-33le as king Henr4 // and >atherine Hep#urn as .lean3r 3f A?uitaine. "ir Anth3n4 H3pkins +ade his fil+ de#ut as 0ichard< as did -i+3th4 1alt3n #4 pla4ing king *hilip //. =3hn and :e3ffre4 were pla4ed #4 Nigel -err4 and =3hn %astle and Alais was pla4ed #4 =ane Merr3w. -he fil+ was released 3n ,ct3#er 30< 5966.9 -he fil+ was n3+inated f3r se!eral awards. /t w3n Acade+4 Awards f3r the screenpla4< the +usic B=3hn &arr4C and f3r &est Actress B>atherine Hep#urnC. /t als3 recei!ed n3+inati3ns f3r Acade+4 Awards f3r &est *icture< &est 1irect3r and &est Act3r B*eter ,;-33leC and f3r %3stu+e 1esign B#4 Margaret )urseC.50 &esides these ,scars the fil+ w3n &ritish Acade+4 Awards f3r >atherine Hep#urn;s perf3r+ance and f3r =3hn &arr4;s +usic< :3lden :l3#e Awards f3r &est 1ra+a and &est Act3r B*eter ,;-33leC.55 -he fil+ was +uch appreciated #4 critics wh3se a!erage 3pini3n is illustrated #4 the f3ll3wing e9a+ple$ D-his is fa+il4 dra+a at its +3st !ici3us '' #ut it is als3 dial3gue at its +3st #rilliant. -he setting is a#3ut as accurate as a 60Js fil+ can get< and while there are a few flaws in the hist3rical details< there are a#s3lutel4 n3ne in the perf3r+ances< deli!ered with p3wer and insight #4 a superi3r cast.;52 /t is generall4 agreed that the r3les are e9tre+el4 well'perf3r+ed< especiall4 #4 *eter ,;-33le and >atherine Hep#urn< #ut als3 #4 the 43unger act3rs< +3st n3ta#l4 Anth3n4 H3pkins and -i+3th4 1alt3n.53 Alth3ugh the fil+ was appreciated f3r its setting and acting< it is als3< at ti+es< seen as D+3re 3f a ph3t3graphic rec3rd 3f a stage pla4; than a fil+.54 -his is pr3#a#l4 due t3 Anth3n4 Har!e4;s st4le 3f directing as +uch as it is due t3 =a+es :3ld+an;s rew3rking 3f a pla4 int3 a screenpla4. The &''( mini erie /t was 3nl4 after =a+es :3ld+an;s death in 5996 that an3ther adaptati3n 3f his pla4 was +ade. /n 2003 Hall+ark .ntertain+ent +ade a +iniseries #ased 3n the screenpla4 f3r the 5966 fil+. /t was released in the > 3n 1ece+#er 26< 2003. -he direct3r< Andrei >3nchal3!sk4< is a 0ussian writer and direct3r 3f internati3nal fa+e wh3 w3rked in H3ll4w33d in the 5960s< #ut n3w 3nl4 3ccasi3nall4 returns there f3r special pr3Fects< such as The Lion in Winter. /t starred :lenn %l3se and *atrick "tewart as .lean3r and Henr4< Andrew H3ward as 0ichard< =3hn Light as :e3ffre4< 0afe "pall as =3hn and =ulia A4s3tsk4 as Alais. =3nathan 0h4s Me4ers pla4ed *hilip //.55 -he +iniseries was +uch appreciated f3r its l33ks< recei!ing an .++4 Award in 2004 f3r ,utstanding %3stu+es f3r a Miniseries< M3!ie 3r a "pecial and #eing n3+inated f3r further .++4 Awards f3r its pr3ducti3n and the w3rk 3f Andrei >3nchal3!sk4 and :lenn %l3se. /t als3 recei!ed .++4 Award n3+inati3ns f3r Art 1irecti3n f3r a Miniseries< M3!ie 3r a "pecial Bpr3ducti3n design< art directi3n< set dec3rati3nC and f3r its hairst4ling.56
9

H-he Li3n in (inter B5966C.I *nternet Mo$ie ,atabase. D-he Li3n in (inter$ ,scar in the Middle Ages.; 55 Magill. 52 D-he Li3n in (inter$ ,scar in the Middle Ages.; 53 "ee Magill and "harp. 54 (e#. 55 H-he Li3n in (inter.I Wi'i+edia, The Free #n y lo+ediaE HAndrei >3nchal3!sk4.I Wi'i+edia, The Free #n y lo+edia. 56 H-he Li3n in (inter.I "-* #ntertainment.
50

Chapter ": Adaptation Theory Introduction -here are +an4 f3r+s 3f adaptati3n< alth3ugh that 3f te9t t3 screen generall4 see+s t3 #e the +3st c3++3n. (e ha!e all heard 3f fil+ adaptati3ns 3f such classic n3!els as =ane Austen;s Pride . Pre/udi e 3r Arthur %3nan 134le;s "herl3ck H3l+es st3ries. Much research has f3cussed 3n the adaptati3n 3f n3!els< #ut an3ther p3pular f3r+ 3f te9t t3 screen adaptati3n is +aking fil+ !ersi3ns 3f pla4s< such as (illia+ "hakespeare;s.57 %ritics ha!e c3+e up with !ari3us reas3ns wh4 adaptati3ns are s3 p3pular in cine+a. %3+panies +a4 assu+e that p3pular #33ks will +ake p3pular fil+s. )il+ +akers +a4 stri!e t3 +ake the +3st authentic< definiti!e fil+ !ersi3n 3f a classic 3r t3 +ake a radicall4 re!isi3ned !ersi3n as a new w3rk 3f art.56 ,ther intenti3ns in +aking a fil+ adaptati3n +a4 #e t3 +ake a st3r4 Dreal; in the wa4 3nl4 a fil+ can 3r t3 gi!e pe3ple wh3 will ne!er read the #33k a chance 3f #ec3+ing Dcultured; #4 getting t3 kn3w a classic.59 -he success 3f such fil+s f3r the audience depends 3n their entertain+ent !alue< #ut f3r sch3lars it depends 3n its rendering 3f the s3urce +aterial. -he f3ll3wing paragraphs will deal with s3+e 3f the ke4 pr3#le+s 3f adaptati3n studies. Alth3ugh sch3lars ha!e taken an interest in the field since the 5960s<20 e9isting 3pini3ns 3n the different +edia ha!e l3ng influenced all atte+pts at defining what adaptati3n reall4 d3es. (hen it first ca+e int3 e9istence fil+ was a !isual +ediu+< #ut as the +ediu+ de!el3ped further this idea 3f its !isualit4 ne!er left adaptati3n the3r4. /t was th3ught i+p3ssi#le t3 adapt a literar4 te9t int3 a !isual +ediu+< #ecause it was c3nsidered i+p3rtant t3 c3n!e4 as +uch 3f the 3riginal as p3ssi#le. ")" Adaptation critici m

Adaptati3n the3r4 is a !er4 #r3ad field< n3t 3nl4 #ecause 3f the nu+er3us +edia #etween which adaptati3n can take place 3r the nu+er3us f3r+s adaptati3n can take< #ut als3 #ecause critics ha!e !er4 different !iews 3n the +atter. %ritics 3f fil+ adaptati3n ha!e 3ften< see+ingl4 in an aut3+atic reacti3n< gi!en pri3rit4 t3 the s3urce which is percei!ed as a higher< +3re c3+ple9 f3r+ t3 the fil+.25 A fil+ is< h3we!er< n3t +erel4 !isual< #ut als3 c3ntains language< s3und and cultural inf3r+ati3n that can all #e 3f ke4 i+p3rtance t3 the st3r4 and can #e interpreted +uch like an4 te9t.22 -he wa4 adaptati3ns treat their s3urce defines t3 a large degree their p3pularit4 a+3ng sch3lars. :e3ffre4 (agner suggested there are three t4pes 3f adaptati3n !ar4ing fr3+ direct transp3siti3n 3f the s3urce int3 a new +ediu+ t3 departing fr3+ the s3urce and +aking a new w3rk 3f art.23 An4 s3rt 3f criticis+ 3f an adaptati3n +ust theref3re #egin with an assess+ent 3f h3w +uch the fil+'+aker has ch3sen t3 retain 3f his s3urce and h3w he has used it.24 H3we!er< +3st 3f these fil+s< n3 +atter which t4pe 3f adaptati3n was +ade< are Fudged inferi3r t3 their s3urce 3n the #asis 3f fidelit4. &rian Mc)arlane states that Dfidelit4 criticis+ depends 3n a n3ti3n 3f the te9t as ha!ing and rendering up t3 the BintelligentC reader a single< c3rrect H+eaningI which the fil++aker has either adhered t3 3r in s3+e sense !i3lated 3r
57 56

%art+ell and (helehan< p. 23E e9a+ples +4 3wn. /de+< p. 6. 59 /de+< p. 26. 20 /de+< p. 2. 25 /de+< p. 6. 22 Mc)arlane< p. 29. 23 /de+< pp. 50'5. 24 /de+< p. 23.

ta+pered with.;25 )idelit4 is n3t 3nl4 difficult #etween +edia< #ut is als3 difficult in adapting within a +ediu+< f3r e9a+ple in re+aking a classic fil+. -he 5996 re+ake 3f Alfred Hitchc3ck;s Psy ho< f3r e9a+ple< was als3 c3nsidered inferi3r t3 its s3urce.26 &ecause fidelit4 is c3nsidered s3 i+p3rtant< sch3lars ha!e tried t3 find 3ut what passes #etween +edia in the act 3f adaptati3n. -he capacit4 f3r narrati!e is 3ne 3f the aspects fil+ is th3ught t3 share with its s3urces. As %hristian Met@ puts it Dfil+ tells us c3ntinu3us st3riesE it Hsa4sI things that c3uld #e c3n!e4ed als3 in the language 3f w3rdsE 4et it sa4s the+ differentl4.;27 As narrati!e is i+p3rtant t3 #3th the s3urce and the fil+ adaptati3n< it is n3 w3nder that certain ele+ents 3f the narrati!e e9pressi3n 3f the s3urce ha!e t3 #e +aintained in adaptati3n. "3+e features 3f the literar4 narrati!e are essential in the repr3ducti3n 3f what is called the Dc3re +eaning; 3f a s3urce te9t.26 /t is theref3re necessar4 t3 in!estigate which ele+ents can #e transferred and which ha!e t3 #e adapted.29 -here are se!eral the3ries a#3ut which ele+ents 3f a narrati!e are s3 i+p3rtant that an adaptati3n cann3t d3 with3ut the+. Acc3rding t3 >a+illa .lli3tt it is the c3ntent 3f a s3urce that is adapted$ pl3ts< characters and the+es can #e gi!en a new f3r+.30 /+elda (helehan suggests that what is transferred fr3+ 3ne +ediu+ int3 an3ther is the relati3nship #etween characters< an aspect that can #e detached fr3+ language and f3r+. (hen the characters are taken 3ut 3f their 3riginal c3nte9t the4 +a4 #e changed t3 a certain degree< #ut f3r a successful adaptati3n t3 take place their relati3nships ha!e t3 re+ain as the4 were in the s3urce.35 "i+ilarl4< Aladi+ir *r3pp;s the3r4 3n the structure 3f f3lktales states that there are se!en t4pes 3f character at the #asis 3f all functi3ns in a narrati!e< all with their 3wn t4pes 3f acti3n. -3 *r3pp< theref3re< a functi3n is Dan act 3f character< defined fr3+ the p3int 3f !iew 3f its significance f3r the c3urse 3f the acti3n;.32 &rian Mc)arlane argues that *r3pp;s the3r4 is linked with the transfera#ilit4 3f +4ths. M4ths are +ade up 3f uni!ersal ele+ents that are n3t specific t3 an4 3ne +3de 3f e9pressi3n. -he4 ha!e a sta#ilit4 that cann3t #e ta+pered with #4 adaptati3n and are theref3re eas4 t3 transfer a+3ng +edia.33 (hich ele+ents are +4th3l3gical in this sense 3f the w3rd is n3t specified. ,ne +a4 assu+e that the+es< as +enti3ned #4 >a+illa .lli3tt< are transfera#le and !er4 likel4 t3 fall int3 the categ3r4 3f +4thical ele+ents. H3we!er< as Mc)arlane argues< the +atter depends highl4 3n which ele+ents are f3und t3 #e uni!ersal and 3f great i+p3rtance t3 the st3r4< lea!ing the 3ther functi3ns t3 #e adapted rather than easil4 transferred.34 03land &arthes< alth3ugh n3t stud4ing the field 3f adaptati3n< als3 suggested that e!er4 narrati!e is +ade up 3f functi3ns. "3+e 3f these< fun tions +ro+er< are c3ncerned with acti3ns and e!ents and are linked linearl4 thr3ugh3ut the te9t. -he 3ther functi3ns< indi es< pr3!ide inf3r+ati3n that is necessar4 t3 the st3r4< such as ps4ch3l3g4 3f the characters< at+3sphere 3f the scenes and inf3r+ati3n a#3ut the setting. M3st functi3ns pr3per ha!e t3 #e transferred fr3+ the s3urce t3 the adaptati3n< #ut s3+e indices are als3< at least partl4< adapta#le.35 )uncti3ns pr3per can #e su#di!ided int3 ardinal fun tions and atalysers Bcalled 'ernels and satellites #4 "e4+3ur %hat+anC. %ardinal functi3ns are ke4 acti3ns 3r e!ents
25 26

/de+< p. 6. Leitch< pp. 565'2. 27 Mc)arlane< p. 52. 26 %art+ell and (helehan< p. 7. 29 Mc)arlane< p. 53E %art+ell and (helehan< p. 9. 30 .lli3tt< p.533. 35 %art+ell and (helehan< p. 6. 32 Mc)arlane< pp. 24'5 33 /de+< pp. 25'6. 34 /de+< p. 26. 35 /de+< p. 53.

with3ut which the st3r4 w3uld change #e43nd rec3gniti3n. -hese are< f3r e9a+ple< acti3ns that can change the 3utc3+e 3f a st3r4. %atal4sers 3n the 3ther hand are s+all acti3ns that supp3rt the cardinal functi3ns. -heir r3le is t3 gi!e details with3ut which the cardinal e!ents cann3t take place. )3r e9a+ple< if the cardinal functi3n takes place during a dinner< the la4ing 3f the ta#le c3uld #e 3ne 3f the catal4sers.36 %atal4sers als3 fill in the ti+e #etween cardinal functi3ns. -he4 can gi!e the st3r4 a higher pace 3r dela4 the se?uence 3f e!ents< gi!ing a different effect t3 the st3r4.37 -his is wh4 %atal4sers are als3 i+p3rtant ele+ents t3 #e c3nsidered in adaptati3n. -he ele+ents that are n3t included a+3ng the functi3ns pr3per 3r the i++ediate #asics 3f character relati3ns are indices. -he4 are n3t !ital t3 the st3r4 #ut the4 gi!e it at+3sphere 3r sh3w the specific pers3nalities 3f characters in s+all details. -he p3int'3f'!iew used in the s3urce is als3 c3unted as 3ne 3f the indices.36 Mc)arlane argued that s3+e functi3ns 3f the narrating pr3se can #e t3ld #4 the fil+;s +ise'en'scKne< f3r e9a+ple esta#lishing the setting 3r a character;s ph4sical appearance. A writer;s t3ne 3r his p3int'3f'!iew can #e replaced #4 the ca+era;s e4e< f3cusing 3n ele+ents in the +ise'en'scKne that can c3++ent 3n 3r ?ualif4 what the characters sa4.39 ")& Adaptation *et+een theatre and film

)3r this thesis it is i+p3rtant t3 c3+pare the +edia 3f theatre and fil+ in the light 3f adaptati3n the3r4< #ut critics see+ t3 #e unclear 3n what the defining ele+ents 3f these +edia are. ,n the 3ne hand pla4s are seen as literature< a st3r4 t3ld in w3rds< #ut 3n the 3ther pla4s are perf3r+ed< gi!ing the+ se!eral 3ther c3des that can #e interpreted< Fust as fil+ w3rks in se!eral c3des. Acc3rding t3 Marc3 1e Marinis a perf3r+ance te9t is n3 l3nger a literar4 artefact #ut Dis c3ncei!ed 3f as a c3+ple9 netw3rk 3f different t4pes 3f signs< e9pressi!e +eans< 3r acti3ns.;40 -he c3+ple9 p3siti3n 3f this f3r+ 3f adaptati3n is sh3wn #4 the fil+ adaptati3ns 3f "hakespeare;s pla4s. -hese pla4s< alth3ugh fir+l4 set in the theatre< are als3 c3unted as literature. (hat is +3re< the place "hakespeare h3lds in Dhigh culture; als3 influences the place 3f fil+ adaptati3ns 3f his w3rk.45 -hese adaptati3ns currentl4 h3ld an e9tra3rdinar4 place in adaptati3n studies as the4 are a+3ng the few fil+s that are treated with keen interest #4 sch3lars and n3 l3nger suffer as +uch fr3+ Dte9tual HpuristsI a+3ng sch3lars< critics and re!iewers; as 3ther adaptati3ns.42 -he +atter is further c3+plicated #4 the hist3rical c3nnecti3n #etween +edia. "3+e critics ha!e c3nnected fil+ with literature in stating that these are Dsister arts sharing f3r+al techni?ues< audiences< !alues< s3urces< archet4pes< narrati!e strategies and c3nte9ts.;43 -he nineteenth'centur4 Aict3rian n3!el is 3ften seen as a great influence 3n fil+. /t has the p3ssi#ilit4 3f shifting #ack and f3rth #etween different characters within a scene< creating different p3ints 3f !iew< +uch like fil+ creates this effect #4 ca+era +3!e+ent and editing.44 H3we!er< the fil+ +ediu+ has als3 #een c3nnected t3 3ther art f3r+s< as is illustrated #4 a 5926 re!iewer cited #4 >a+illa .lli3tt$

36 37

/de+< p. 54. %art+ell and (helehan< p. 50. 36 /de+< pp. 50'55. 39 Mc)arlane< p. 57. 40 &ul+an< p. 5. 45 %art+ell and (helehan< p. 29. 42 13nalds3n< p. 255. 43 .lli3tt< p. 5. 44 /de+< pp. 554< 522.

50

D/t in!3l!es a +anipulati3n 3f character and acting and stage as in legiti+ate dra+aE it in!3l!es a +anipulati3n 3f !isual c3+p3siti3n as in painting BG +3!ingG and theref3re +uch +3re c3+ple9CE it in!3l!es a +anipulati3n 3f te+p3 as in +usicE it in!3l!es a +anipulati3n 3f !isual suggesti3n and !isual +etaph3r as in p3etr4. &e43nd all that< it in!3l!es a +anipulati3n 3f such effects as are peculiar t3 itself Llike cine+at3graph4 and editingM.;45

%ritics wh3 fa!3ur the relati3n #etween theatre and fil+ argue that the #3nd #etween these tw3 +edia has e9isted since the #eginning 3f fil+ +aking. )il+s were called mo$ing +i ture +lays until the 5930s and +an4 fil+ pr3ducti3n practices are cl3se t3 th3se 3f the theatre. "creenwriting< f3r e9a+ple< 3ften f3ll3ws the sa+e Arist3telian principles as pla4writing and D3ther aspects 3f pr3ducti3n ' directi3n< writing< acting< c3stu+ing< +akeup< +usic< and set design N regularl4 gr3up theater< tele!isi3n< and fil+;.46 -hese critics als3 argue that the dial3gue< characters< s4+#3lic and realistic use 3f 3#Fects and space and shifting p3ints 3f !iew f3und in the Aict3rian n3!el and in fil+< is als3 f3und in theatre.47 /n discussing the difficult4 in!3l!ed in perf3r+ance criticis+< =a+es %. &ul+an sh3ws a few ke4 ele+ents 3f a stage pr3ducti3n< such as Dthe +aterial c3nditi3ns 3f perf3r+ance< the d4na+ics 3f audience resp3nse< the p3ssi#ilit4 3f err3r latent in li!e perf3r+ance< and a#3!e all the ph4sical presence 3f the act3rs the+sel!es;.46 At first sight n3ne 3f these ele+ents appl4 t3 fil+. A fil+ is an 3#Fect< unlike the theatrical pr3ducti3n. /t gi!es a single< c3ntr3lled< f3r+ 3f a perf3r+ance. A theatre perf3r+ance is entirel4 different< alth3ugh it +a4 #e rec3rded and ha!e se!eral fi9ed f3r+s.49 A pla4 is perf3r+ed se!eral ti+es< each ti+e changing f3r+. -he script< dOc3r and pr3ps sta4 the sa+e< #ut each perf3r+ance differs slightl4 fr3+ e!er4 3ther perf3r+ance. -he f3r+ 3f a pla4 can 3nl4 #e c3ntr3lled up t3 a certain p3int.50 -his difference in f3r+ influences the relati3nship with the audience. -heatre is seen as an e9change with the audience< s3+ething a fil+ can ne!er #e.55 A fil+ is a representati3n 3f an e!ent that takes place 3!er a certain a+3unt 3f ti+e. (hen the audience sees it the e!ent has passed and the fil+ 3ffers a dela4ed Dpresence; 3f the act3r 3n screen< whereas the pla4 is an e!ent that takes place in fr3nt 3f the audience with the act3r actuall4 present #ef3re it.52 -his difference has gi!en rise t3 the ?uesti3n 3f identificati3n. -he audience in a +3!ie theatre is ph4sicall4 far re+3!ed fr3+ the 3n'screen w3rld. Acc3rding t3 AndrO &a@in this distance #etween the audience and the act3r all3ws the audience t3 see the character as a pers3n in his 3wn surr3undings< whereas the ph4sical presence 3f an act3r 3n stage can #reak up the illusi3n 3f an3ther w3rld and +ake the audience t33 aware 3f the fact that the character is pla4ed.53 H3we!er< the stage 3ffers a certain !i!acit4 t3 a pr3ducti3n$ the e9perience 3f watching a pla4 with three di+ensi3ns< stage acti3n and a +3!ing spectat3r;s e4e. /f the ca+era is fi9ed in 3ne place< gi!ing 3nl4 3ne p3int 3f !iew< f3r e9a+ple fr3+ an audience seat< in single sh3t scenes< all the li!eliness 3f a perf3r+ance is l3st. .diting and +3ntage sh3ts< the +3st p3pular defining ele+ents 3f fil+ +aking< s3l!e this pr3#le+ #4 rest3ring s3+e 3f the li!eliness and three'di+ensi3nalit4 3f the perf3r+ance.54
45 46

/de+< p. 555. /de+< pp. 520'525. 47 /de+< p. 523. 46 &ul+an< pp. 5'6. 49 /de+< p. 2. 50 "3ntag< pp. 256'9. 55 /de+< p. 256. 52 &a@in< pp. 277'6 53 /de+< pp. 260'2. 54 .lli3tt< p. 523.

55

An3ther ele+ent that is th3ught t3 #e specific t3 fil+ is the t4pe 3f space that can #e sh3wn in fil+. -he audience is a#le t3 see the 3n'screen acti3n as taking place in its 3wn realit4 3nl4 when the setting is #elie!a#le. -he d0 or 3f a pla4 is different fr3+ that 3f a fil+ in its nature and functi3n. -he stage 3f a pla4 is separated fr3+ the audience #4 its architecture. -he space #ehind the dOc3r is li+ited #4 curtains and the walls 3f a #uilding and the audience will alwa4s #e aware 3f this. Alth3ugh the screen in a +3!ie theatre is als3 set apart fr3+ the audience< AndrO &a@in argues that cine+a has n3 #3undaries$ the screen is n3t a fra+e that li+its the w3rld 3f the st3r4< it is a +ask that all3ws 3nl4 part 3f the 3n'screen realit4 t3 #e seen. ,n screen the act3r #ec3+es the centre 3f his 3wn uni!erse. (hen he g3es 3ff screen it is n3t hard t3 i+agine that he is still Fust #e43nd 3ur !isi3n. -his is wh4 identificati3n #ec3+es s3 +uch easier with cine+a.55 ,ther sch3lars ha!e als3 f3r+ed the3ries a#3ut space 3n screen. &rian Mc)arlane discusses tw3 3f these the3ries and c3+pares the+ t3 the p3ssi#ilities that theatre 3ffers. Acc3rding t3 N3el &urch there is 3n'screen space and si9 areas 3f 3ff'screen space$ the spaces #e43nd each side 3f the screen< the space #ehind what is !isi#le 3n screen and the space #ehind the ca+era. ,ff'screen space causes Dspatial tensi3n;. /t all3ws the audience t3 #elie!e that 3n all these sides 3f what the4 see the w3rld 3f the fil+ c3ntinues< e!en th3ugh< +uch like in the theatre< the audience +a4 still #e aware that there was a crew w3rking ar3und what is !isi#le 3n screen. 0a4+3nd &ell3ur discussed the use 3f space f3r the cine+atic narrati!e< f3r e9a+ple #4 alternating #etween cl3se'ups and l3ng sh3ts 3r characters seeing 3r #eing seen. Alternati3n re?uires spatial +3#ilit4< s3+ething that is i+p3ssi#le f3r the theatre audience.56 %3+pared t3 the authentic< realistic l3cati3ns cine+a uses t3 set e!ents in< theatre c3+es acr3ss as artificial.57 /n the earl4 da4s 3f fil+ the +ediu+ 3ften f3ll3wed theatrical c3n!enti3ns< #ut e!entuall4 let g3 3f such things as theatrical furnishings< which 3ften lack realis+< theatrical fr3ntalit4 Bkeeping the !iew fr3+ an audience seat as ca+era angleC and 3f theatrical acting< which entails st4li@ed< e9aggerated gestures t3 +ake the audience see what a character is d3ing 3r feeling.56 Conclu ion Alth3ugh 3pini3ns 3f the s3urces 3f the fil+ +ediu+ and theref3re its relati3n t3 3ther +edia differ< it is clear that fil+ in its present f3r+ is +3re than a !isual +ediu+. Much like the theatre cine+a 3ffers a narrati!e in se!eral c3des$ perf3r+ances are !isual and audit3r4 and s3+e fil+s als3 +ake use 3f te9tual c3des Bsh3wing letters 3r newspapers< f3r e9a+pleC and cultural c3des Bespeciall4 when dealing with hist3rical settingsC. )il+ can tell a st3r4 in +an4 wa4s and is n3 l3nger a +erel4 !isual +ediu+ as it +a4 ha!e #een in its earl4 4ears. (hile the narrati!e 3f a fil+ +a4 #e different fr3+ that 3f n3!els< it d3es n3t see+ t3 differ s3 +uch fr3+ the narrati!e 3f pla4s< which was als3 written t3 #e perf3r+ed in se!eral c3des. -he f3r+ in which these narrati!es are #r3ught t3 the !iewer< h3we!er< +a4 differ c3nsidera#l4. -he place 3f the audience in relati3n t3 what the4 see is different f3r each +ediu+< as are the setting< acting and the use 3f the a!aila#le space.

55 56

&a@in< pp. 263'5E "3ntag< p. 256. Mc)arlane< p. 26. 57 "3ntag< pp. 255'2. 56 /de+< p. 249.

52

Chapter &: Te,t to -ilm Introduction A screenpla4;s structure +a4 3ften #e !er4 si+ilar t3 that 3f +3st pla4s. Alth3ugh screenpla4s can !ar4 the 3rder 3f e!ents< the4 3ften sh3w the+ in chr3n3l3gical 3rder as is cust3+ar4 f3r pla4s as well. The Lion in Winter is linear< as are the fil+ adaptati3ns. Acc3rding t3 *hilip *arker linear pla4s and fil+s 3ften ha!e the sa+e three'act structure. Act 5 is used t3 esta#lish the para+eters 3f the narrati!e and intr3duces the setting< the characters and the t3pic 3f the st3r4. Act 2 is used t3 intr3duce t3 the audience the ?uesti3n 3f what will happen ne9t and +ake the audience w3nder h3w the st3r4 will end. -he e9pected cl3sure is gi!en in act 3 where issues are res3l!ed in s3+e wa4.59 H3we!er< the pla4 3f -he Li3n in (inter is di!ided int3 3nl4 tw3 acts< with the first tw3 scenes 3f act 5 intr3ducing the characters as well as the situati3n. 1uring act 5 the relati3nships #etween the characters get pr3gressi!el4 w3rse until the act ends at a p3int where n3 3ne see+s t3 #e a#le t3 get what the4 want fr3+ the 3thers. /n act 2 Henr4 intr3duces a new plan that +a4 get hi+ what he wants and f3rces the 3thers t3 fight hi+. At the end the situati3n is !er4 +uch as it was at the #eginning 3f the pla4< gi!ing the linear e!ents an e9tra structure that d3es n3t fit the three'act structure as such. A +3re detailed a#stract 3f the narrati!e is gi!en in appendi9 A. =3hn H3ward Laws3n argued that< alth3ugh there are +an4 #asic si+ilarities #etween pla4s and fil+s< there are s3+e differences in the e9p3siti3n< pr3gressi3n and c3ntinuit4 3f the narrati!e. -he e9p3siti3n 3f a pla4 3ften in!3l!es characters re+iniscing a#3ut the e!ents leading up t3 the narrati!e 3f the pla4< #ecause there is n3 r33+ t3 sh3w all 3f these e!ents. -he e9p3siti3n 3f a fil+ is 3ften l3nger and +3re c3+ple9 in its structure.60 /n the 3pening scenes a Df3rceful esta#lish+ent 3f the principal characters< indicati3ns 3f +ilieu and the spring#3ard 3f the st3r4 are essential.;65 /t is f3r this reas3n that the tw3 first scenes 3f The Lion in Winter were +i9ed t3gether f3r the screenpla4. /nstead 3f first intr3ducing Alais and Henr4 and 3nl4 intr3ducing the 3ther characters in scene 2< the4 are intr3duced in a series 3f inter'cutting scenes. -he pr3gressi3n 3f the fil+ after the e9p3siti3n is fairl4 straightf3rward< #uilding tensi3n until the final scenes res3l!e the issues raised during the fil+. -he difference is in the c3ntinuit4 3f the narrati!e. -he inner structure 3f a fil+ scene +a4 !ar4 fr3+ its theatrical e?ui!alent #ecause 3f inter'cutting. -he wa4 scenes 3r i+ages are linked is als3 !er4 different in fil+ than 3n stage and finall4 the wa4 tensi3n is heightened differs in fil+< where the speed 3f the acti3n 3n screen and inter'cutting #etween i+ages #uilds tensi3n.62 -he length 3f a fil+ influences the a+3unt 3f characters< e!ents and the+es that can #e dealt with.63 /t als3 influences the a+3unt 3f dial3gue that can #e retained in adaptati3n 3f a pla4. )il+ sh3uld sh3w acti3n< rather than tell the st3r4 thr3ugh w3rds. -3 esta#lish the ideal running ti+e 3f under tw3 h3urs lines are cut fr3+ scenes and speeches with3ut har+ing the scene;s 3riginal shape 3r its +eaning. "cenes 3r parts 3f the+ can als3 #e transp3sed 3r cut as l3ng as the narrati!e 3f the s3urce is adhered t3.64 ,n the 3ther hand fil+s 3f hist3rical pla4s 3ften re?uire +3re #ackgr3und inf3r+ati3n t3 esta#lish the setting and scenes are 3ften added t3 suppl4 this inf3r+ati3n that is usuall4 3nl4 referred t3 in the lines 3f the pla4.65 &)" Addition
59 60

*arker< pp. 27'26. Laws3n< p. 409. 65 =acks3n< p. 30. 62 Laws3n< pp. 403< 407. 63 *arker< pp. 25'23 64 =acks3n< pp. 56'7. 65 /de+< pp. 26'9.

53

As is t3 #e e9pected a l3t 3f the additi3ns t3 the te9t 3f the pla4 in the fil+ and +iniseries are the result 3f D3pening 3ut;< #eing a#le t3 sh3w +3re 3n screen than it is p3ssi#le t3 sh3w 3n stage. -his especiall4 affects the e9p3siti3n 3f #3th adaptati3ns and will #e discussed in chapter 3. -here are +an4 +3re +in3r additi3ns t3 the te9t 3f the pla4 in #3th adaptati3ns which were caused #4 3pening 3ut< #ut there are als3 a few additi3ns that clarif4 the relati3nships #etween the characters faster than in the pla4 and are a part 3f the e9tended e9p3siti3n +enti3ned a#3!e. )3r e9a+ple< at the start 3f the fil+ Henr4 clearl4 tells Alais what her place is$ H/f / sa4 43u and / are d3ne< we;re d3ne. /f / sa4 +arr4 =3hn< it;s =3hn. /;ll ha!e 43u #4 +e and /;ll use 43u as / like.I -his change was +aintained in the +iniseries< which has still +3re e9a+ples 3f this t4pe 3f additi3n$ the relati3nship #etween 0ichard and =3hn is n3t intr3duced #4 their first argu+ent as it is in the pla4 and the fil+< #ut #4 =3hn calling 3ut t3 his #r3ther as if happ4 t3 see hi+ and #eing ign3red. An3ther tell'tale e9a+ple is the c3n!ersati3n #etween :e3ffre4 and Henr4 B3riginall4 in Act 5< scene 2C in which :e3ffre4 asks wh4 n3 3ne e!er thinks 3f hi+ as an heir t3 the thr3ne and Henr4 asks hi+ if he is s3 unsatisfied with #eing c3unt 3f &rittan4. Henr4 f3rgets which c3unt4 it is and :e3ffre4 has t3 tell hi+ #ef3re Henr4 can finish his sentence< p3inting 3ut that :e3ffre4 is s3 uni+p3rtant t3 Henr4 that he is e!en una#le t3 re+e+#er which c3unt4 he rules. ,ther i+p3rtant additi3ns t3 the +iniseries are s3+e lines which were dr3pped fr3+ the pla4 f3r the 5966 fil+. )3r e9a+ple< at the end 3f Act 2< scene 5< when .lean3r< in an act 3f !engeance< tells Henr4 she slept with his father< Henr4 +u+#les that he is g3ing t3 #e sick. /n the fil+ he 3nl4 utters a few cries 3f anguish and re!ulsi3n< #ut in the +iniseries he speaks the line again. -his is n3t the 3nl4 instance in which the +iniseries is +3re true t3 the pla4;s te9t.66 &)& .eletion

-he 5966 screenpla4 lacks +an4 lines fr3+ the pla4. "3+e 3f these lines +a4 ha!e #een seen as superflu3us< #ecause the surr3unding lines that were +aintained state their c3ntent e?uall4 well. Man4 3f these deleti3ns are s+all< entailing 3nl4 3ne 3r tw3 lines fr3+ tw3 characters< #ut a#3ut thirt4 lines 3f dial3gue were cut fr3+ Act 5< scene 4< where =3hn speaks t3 Henr4 Fust after he has pl3tted against his father with *hillip and :e3ffre4. -his secti3n 3f the scene sees =3hn taking his distance fr3+ his father #4 deciding n3t t3 g3 3n a hunting trip the4 had planned. Henr4 tries t3 reach 3ut t3 hi+< #ut =3hn declines the atte+pt< clearl4 +istrusting an4thing his father d3es. -he scene 3#!i3usl4 sh3ws =3hn;s feelings t3wards his father at that +3+ent< #ut this +istrust #etween the+ is als3 sh3wn #4 =3hn;s reacti3n t3 Henr4;s decisi3n t3 gi!e 0ichard e!er4thing and #4 =3hn;s decisi3n t3 #etra4 his father. /t is unnecessar4 t3 linger 3n their relati3nship an4 +3re than the adaptati3ns d3. &eside the +an4 deleti3ns 3f the t4pe descri#ed a#3!e there are als3 a few deleti3ns that were +ade clearl4 t3 put the f3cus 3f a scene 3n a different aspect 3f it. -here are a few scenes in the pla4 that deal with Henr4 and his s3ns in which Henr4 the 23ung >ing is +enti3ned. "3+e 3f these are n3t in the screenpla4. /n Act 5< scene 6< f3r e9a+ple< 0ichard gi!es his unfa!3ura#le 3pini3n 3f his dead 3lder #r3ther and asks his father wh4 he fa!3ured Henr4 3!er hi+. &4 deleting 0ichard;s 3pini3n 3f Henr4 the f3cus 3f the scene is put +3re fir+l4 3n 0ichard;s relati3nship with his father and less 3n the relati3nships 3f the tw3 +en with the dead prince. A si+ilar thing happens in Act 5< scene 3< where =3hn asks 0ichard wh4 he has alwa4s hated hi+ when =3hn 3nl4 e!er wanted t3 ha!e hi+ as an 3lder #r3ther. -he scene than shifts f3cus t3 =3hn;s relati3nship with .lean3r when she< in a +3+ent 3f pit4<
66

"ee paragraph 2.4.

54

reaches 3ut t3 hi+. /n the screenpla4 the l3ng discussi3n 3f =3hn and 0ichard;s relati3nship is sh3rtened t3 the last line that causes .lean3r;s pit4 t3 f3cus s3lel4 3n his hateful relati3nship with .lean3r< which is far +3re i+p3rtant t3 the fil+. "adl4 in fa!3ur 3f the idea that s3urce +aterial is +3re c3+ple9 than a fil+ adaptati3n< s3+e cultural references was als3 deleted.67 .lean3r and Henr4 are sh3wn in the pla4 t3 #e intellectuals with an e9tensi!e kn3wledge 3f +edie!al and classical culture. .lean3r +enti3ns A#Olard P HOl3Qse< tw3 !er4 fa+3us +edie!al writers and #3th she and Henr4 +enti3n such classical writers as "3ph3cles and %aesar. -hese deleti3ns are n3t 3f c3re interest t3 the narrati!e and +a4 ha!e #een caused #4 a c3ncern with the length 3f the fil+. -he 2003 +iniseries was als3 #ased 3n :3ld+an;s screenpla4 and in!3l!es +3st 3f the changes a#3!e. H3we!er< s3+e +3re lines were deleted in the +iniseries. )3r e9a+ple< .lean3r and Alais speak t3 each 3ther at the start 3f Act 2< scene 5 and .lean3r tells Alais 3f the argu+ent #etween Henr4 and his s3ns in Act 5< scene 6. -he c3n!ersati3n #etween the tw3 w3+en has n3thing further t3 d3 with this argu+ent as it is a#3ut their relati3nship and Henr4 and n3t a#3ut the princes< s3 the deleti3n has n3 effect 3n the rest 3f the narrati!e. &)( Tran po ition

-ransp3siti3n is in s3+e cases cl3sel4 c3nnected t3 the editing pr3cess. -here are se!eral instances in the adaptati3ns where editing has +ade it p3ssi#le t3 +i9 scenes t3gether. As has alread4 #een stated a#3!e the e9p3siti3n 3f the fil+s is such a +i9ture 3f scenes 5 and 2 3f Act 5. H3we!er< there are als3 changes that ha!e n3thing t3 d3 with the setting 3r editing 3f the adaptati3ns. -3 intr3duce the c3ncerns that dri!e Henr4 the adaptati3ns +i9 lines he has in scene 5 and scene 2< all sp3ken in his c3n!ersati3ns with Alais$ in scene 5 he states that he has #uilt an e+pire and that he +ust kn3w that it will sur!i!e his death. /n scene 2 he repeats this need and tells the st3r4 3f king Lear t3 gi!e an e9a+ple 3f h3w it sh3uld n3t end. -he tw3 are easil4 +i9ed< +aking his p3int all the str3nger in 3ne speech. An3ther series 3f transp3siti3ns takes place at the end 3f Act 5< scene 2< where .lean3r and Henr4 argue #ef3re the4 g3 t3 dinner. /n the pla4 the se?uence 3f e!ents is that Alais; d3wr4< the Ae9in< is #r3ught up and .lean3r threatens Henr4 that she will see hi+ l3se the pr3!ince if Alais d3es n3t +arr4 0ichard. Henr4 then asks her wh4 she cares and she answers she d3es #ecause he d3es. Henr4 then e9plains that since he had n3 )rance t3 fight he has f3und peace and he wants .lean3r t3 let hi+ keep it< which she i++ediatel4 denies hi+. 0eacting t3 this he threatens t3 strike her in an4 wa4 he can if she c3ntinues t3 fight. .nding the c3n!ersati3n he tells her t3 pretend t3 #e the l3!ing c3uple f3r the hundred #ar3ns in the dining hall and as the4 walk awa4 she asks hi+ if he e!er l3!ed her. (hen he denies it she tells hi+ that that will 3nl4 +ake it +3re pleasant t3 fight hi+. /n #3th adaptati3ns Henr4 first starts speaking 3f h3w he has f3und peace< after which .lean3r asks hi+ if he still needs the Ae9in and the4 argue a#3ut Alais; +arriage. As the4 walk t3wards the dining hall he asks her t3 pretend f3r the #ar3ns and as the4 walk int3 the hall .lean3r warns Henr4 that 0ichard will #e the ne9t king< which #rings Henr4 t3 ask wh4 she cares s3 +uch. -hen he tells her he wants peace and when she denies it he threatens her. -he4 sit d3wn at their ta#le and while the4 are washing their hands .lean3r asks whether he l3!ed her and pr3+ises t3 enF34 cr3ssing hi+. -he ele+ents that ha!e #een transp3sed in this scene are Henr4;s talk 3f peace and the reference t3 the #ar3ns. -he latter is easil4 e9plained #4 the fact that the4 are +3!ing t3wards the dining hall instead 3f standing 3n a stage that depicts a different r33+. -he first< h3we!er< is a different +atter. -he lines a#3ut Henr4;s appreciati3n 3f peace f3ll3w a scene that .lean3r and he end 3n friendl4 ter+s. &4 +3!ing Henr4;s lines f3rward the transiti3n
67

%art+ell and (helehan< p. 6.

55

#etween the tw3 scenes is +3re fluent< especiall4 since their c3n!ersati3n #ec3+es +3re agitated fr3+ the +3+ent the Ae9in is +enti3ned and all the 3ther ele+ents speak 3f h3stilit4. A nu+#er 3f transiti3ns is +uch s+aller in scale. )3r e9a+ple< when +eeting her children :e3ffre4 greets her first. "he reacts #4 sa4ing$
D:e3ffre4 N #ut / d3 ha!e hands3+e children. =3hn N 43u;re s3 clean and neat. Henr4 takes g33d care 3f 43u. And 0ichard. 13n;t l33k sullen< dearE it +akes 43ur e4es g3 s+all and pigg4 and 43ur chin l33k weak.;66

/n the screenpla4 :e3ffre4 is n3t the first t3 speak when she enters and his na+e is +3!ed t3 the end 3f .lean3r;s speech. (hereas she pa4s en3ugh attenti3n t3 =3hn and 0ichard t3 sa4 s3+ething t3 the+< e!en if it is n3t !er4 kind< she sa4s n3thing a#3ut :e3ffre4< which is an3ther clear e9a+ple 3f h3w #3th parents ign3re :e3ffre4. -he transiti3n here is c3+pletel4 unnecessar4< #ut i++ediatel4 gi!es +3re inf3r+ati3n than it did in the pla4< where a reference t3 hands3+e children c3uld +3re easil4 ha!e #een interpreted as a reference t3 :e3ffre4. &)/ Re+riting the te,t

M3st 3f the differences in the lines 3f the three !ersi3ns 3f The Lion in Winter are !er4 s+all< e9changing 3ne w3rd with an3ther 3f si+ilar +eaning 3r turning the 3rder 3f the w3rds in a sentence ar3und with3ut changing the +eaning. /t is hard t3 tell whether these changes were written int3 the script 3r +erel4 +ade #4 the act3rs while the4 were perf3r+ing. "3+e changes are caused #4 an additi3n t3 the script. Act 5< scene 5 3f the pla4 starts with Henr4 getting ann34ed with Alais #ecause she refuses t3 d3 as she is t3ld. H3we!er< in the fil+s this f3ll3ws the earlier intr3ducti3n 3f the tw3 characters< in which the4 d3 get al3ng. -his argu+ent w3uld #e t33 sudden after that< all the +3re as it is set earl4 in the +3rning. /nstead 3f ann34ing Henr4 #4 n3t d3ing as she is t3ld< she asks Hwhat if Fust f3r 3nce / didn;t d3 as / was t3ldRI t3 which Henr4 reacts with the sa+e angr4 lines as he had in the pla4. ,ther changes are caused #4 a deleti3n 3f lines. /n Act 5< scene 2 :e3ffre4 e9plains his +3ti!ati3n$ HN3 3ne e!er thinks 3f cr3wns and +enti3ns :e3ff. (h4 is thatR / +ake 3ut three pri@es here N a thr3ne< a princess and the A?uitaine. -hree pri@es and three s3nsE #ut n3 3ne e!er sa4s< HHere< :e3ff< here :e3ff #34< here;s a #3ne f3r 43u.I69 Henr4 replies #4 sa4ing that he Hsh3uld ha!e th3ught that #eing chancell3r was a satisf4ing #3ne.I H3we!er< in the adaptati3ns +3st 3f :e3ff;s w3rds were cut< lea!ing 3nl4 the first tw3 sentences. .!er4 +enti3n 3f thr3wing a #3ne is deleted< s3 Henr4 cann3t react in the sa+e w3rds and his reacti3n is changed int3$ H/sn;t #eing chancell3r p3wer en3ughRI %hanges +a4 als3 #e +ade t3 put the f3cus 3n s3+e aspects 3f the pl3t. /n Act 5< scene 2 3f the pla4 the princes ask which 3f the+ ha!e seen .lean3r and 0ichard answers that he and .lean3r are n3t as friendl4 as the4 used t3 #e. /n the fil+ and +iniseries the e+phasis is put 3n the relati3nship #etween 0ichard and .lean3r and their intenti3ns$ :e3ffre4 asks 0ichard if .lean3r still wants hi+ t3 #e king< t3 which 0ichard reacts as #ef3re #4 sa4ing the4 are n3t as friendl4 as the4 were. Conclu ion Alth3ugh it is clear that the general linear 3rder 3f e!ents still f3ll3wed the sa+e line in #3th adaptati3ns as it did in the pla4< there are indeed differences in the e9p3siti3n and c3ntinuit4
66 69

Act 5< scene 2E :3ld+an< p. 55. Act 5< scene 2E :3ld+an< p. 56.

56

3f the narrati!es. -he changes +ade can #e di!ided int3 additi3ns< deleti3ns< transp3siti3ns and rewriting. )il+ scenes 3r lines were added< f3r se!eral reas3ns. A fil+ tends t3 intr3duce the characters that pla4 an i+p3rtant r3le in the pl3t as earl4 as p3ssi#le. -his was n3t the case in the pla4 where +3st 3f the cast was n3t intr3duced until the sec3nd scene. -he adaptati3ns als3 added lines 3r details t3 sh3w the relati3nships #etween the characters s33ner 3r clearer than the4 were sh3wn in the pla4. -he adaptati3ns als3 deleted se!eral parts 3f scenes 3r lines in 3rder t3 sh3rten the length 3f the fil+. M3st 3f these lines were uni+p3rtant in c3ntent as 3ther lines fr3+ which the sa+e +eaning f3r the pl3t c3uld #e deri!ed were +aintained. ,ther deleti3ns in!3l!ed f3cussing the attenti3n 3f a scene +3re 3n 3ne aspect instead 3f se!eral Bsuch as relati3nships #etween tw3 characters instead 3f +3reC 3r deleting the +an4 references t3 +edie!al culture that were used in the pla4 t3 illustrate the intelligence 3f the characters< which c3uld #e deri!ed fr3+ 3ther lines as well. -e9t was als3 transp3sed fre?uentl4 t3 f3r+ the screenpla4. M3st 3f these changes had t3 d3 with the new p3ssi#ilities 3f fil+ as it was n3 l3nger necessar4 t3 di!ide the narrati!e int3 scenes that t33k place in 3ne r33+. =a+es :3ld+an see+s t3 ha!e taken the chance t3 transp3se +3re than that h3we!er< re3rdering lines t3 +ake a c3n!ersati3n +3re l3gical 3r fluent and s3+eti+es t3 add a deeper la4er which tells s3+ething 3f the characters. )urther changes were +ade #4 rewriting lines. -hese were caused #4 additi3ns 3r deleti3ns< #ut c3uld als3 change the e9act +eaning 3f a line< changing the f3cus 3f a scene.

57

Chapter (: Location Introduction /t has alread4 #een esta#lished in chapter 5 that there is a difference #etween space 3n stage and 3n screen. -he fil+ +ediu+;s a#ilit4 t3 create spatial tensi3n and spatial +3#ilit4 changes the wa4 in which we l33k at the setting 3f the st3r4. -he dOc3r 3f a stage pr3ducti3n is !er4 different fr3+ fil+ l3cati3ns and is 3ften said t3 #e +3re artificial.70 =a+es :3ld+an ga!e his pla4 si9 l3cati3ns$ Alais; cha+#er< a recepti3n hall< .lean3r;s cha+#er< *hilip;s cha+#er< Henr4;s cha+#er and the wine cellar. He was als3 !er4 specific a#3ut the at+3sphere the set sh3uld ha!e$ D-he palace at %hin3n was fa+3us f3r its grace and #eaut4. -he arches< walls and c3lu+ns 3f the set< th3ugh st3ne< are s3ft and light. -here are n3 signs 3f r34al wealth 3r p3+p. -he r33+s in which the pla4 3ccurs are si+ple< air4< clean and as free 3f furniture and things as p3ssi#le.;75 At the #eginning 3f each scene he descri#es the r33+ in which it takes place. Alais; cha+#er is Da s+all and graceful r33+< c3ntaining Fust a #ench< a chest and a chair. Late aftern33n light strea+s in thr3ugh a wind3w.;72 -he recepti3n hall< that sa+e aftern33n< Dis a #right and spaci3us r33+. -here is a #ench< a large refect3r4 ta#le and a +assi!e chair. A pile 3f h3ll4 #3ughs lies stacked in a c3rner.; /n a later scene a %hrist+as tree is added.73 .lean3r;s r33+ is descri#ed as Da plain and pleasant r33+< it h3lds a chair< a ta#le and a l3w w33d chest. "3ft tapestries gi!e war+th and c3l3r.; /n 3ne scene she is wrapping %hrist+as presents< in an3ther she has a #39 3f Feweller4.74 *hilip;s cha+#er is said t3 #e a Dgraci3us r33+< its #ack wall lined with tapestries. A can3p4 #ed< the curtains cl3sed< stands at 3ne side. A pair 3f chairs sit< 3ne at each side 3f a l3w ta#le 3n which there are tw3 g3#lets and a wine decanter.;75 Henr4;s cha+#er is a Dlarge r33+< unad3rned and with3ut 3rna+ent. -here is a plain hard #ed< an ar+chair and a charc3al #ra@ier.; -here is a p3t 3f +ulled wine 3n the #ra@ier.76 -he si9th r33+ in which the pla4 is set is the wine cellar$ Dit is a large< dark and !aulted placeE its walls and hea!4 d33r are 3ffstage< l3st in shad3w. %andles flicker in tall candlesticks. -here are great casks 3f wine and 3ne s+all ta#le in the cellarE n3thing else.77 )r3+ all these descripti3ns speaks an austerit4 that suits the stage perfectl4< #ut that als3 suits the character 3f Henr4< wh3 has n3 place f3r an4 real lu9ur4 in his life. He is first and f3re+3st a s3ldier< as is als3 stated #4 his Dplain and uni+pressi!e; cl3thes.76 Alth3ugh 3ther secti3ns 3f the castle are +enti3ned< f3r e9a+ple the dining hall which 3ffers r33+ f3r a hundred #ar3ns< 3r the c3urt4ard and the gates< n3 3ther r33+s can #e sh3wn.79 /n fil+ adaptati3n the +atter is entirel4 different. (hereas the stage ac?uires +3!e+ent #4 ann3uncing the+ in dial3gue and clearing the stage it has #ec3+e cust3+ar4 t3 D3pen 3ut;$ )il+ scenes are set in +3re than 3ne r33+ and can +3!e thr3ugh !ari3us
70 75

"ee paragraph 5.4. :3ld+an< n. pag. 72 /de+< p. 3. 73 /de+< pp. 9< 33. 74 /de+< pp. 25< 49. 75 /de+< p. 55. 76 /de+< p. 69. 77 /de+< p. 95. 76 /de+< p. 3. 79 )3r pictures 3f se!eral stage dec3rs see Appendi9 ..

56

l3cati3ns.60 -3 add realit4 t3 the setting 3f a fil+ sh3ts 3f the surr3unding c3untr4side can als3 #e sh3wn. An3ther p3ssi#ilit4 fil+ has is t3 sh3w an ele+ent 3f the narrati!e rather than telling it. )3r e9a+ple< in the pla4 se!eral references are +ade t3 the re!3lt that caused Henr4 t3 i+pris3n .lean3r. -he 2003 +iniseries has ch3sen t3 sh3w this re!3lt< rather than +enti3ning it in passing in the dial3gue. ()" -ilm location

"ince it #eca+e technicall4 p3ssi#le< fil+s ha!e usuall4 #een sh3t 3n l3cati3n as +uch as p3ssi#le. -his is cl3sel4 c3nnected t3 the design 3f the fil+. -he direct3r has t3 pa4 attenti3n t3 tw3 t4pes 3f !isual design$ pict3rial and se?uential. -he first in!3l!es set design< c3stu+es< pr3ps and an4 ele+ents that ha!e t3 #e added t3 the l3cati3n t3 create the right en!ir3n+ent f3r the st3r4 t3 take place. Making this en!ir3n+ent is the w3rk 3f the art direct3r< wh3 w3rks in cl3se c3ntact with the direct3r and a pr3ducti3n designer t3 create the right l33k f3r the fil+.65 -he l3cati3ns in which this en!ir3n+ent is created is als3 linked t3 the sec3nd t4pe 3f !isual design$ se?uential 3r c3ntinuit4 design. -he direct3r has t3 decide where each scene 3f the fil+ will #e sh3t< usuall4 in c3nference with the pr3ducer and pr3ducti3n designer. -his in!3l!es l33king at +an4 l3cati3ns that ha!e #een selected #4 l3cati3n sc3uts 3r deciding t3 sh33t in a studi3. /t is necessar4 t3 walk thr3ugh the acti3n 3f e!er4 scene 3n l3cati3n< #ecause ideas that see+ed perfect in the i+aginar4 w3rld 3f the script< +a4 n3t w3rk 3n l3cati3n and ha!e t3 #e altered.62 -he pla4 3f The Lion in Winter is set in a !er4 austerel4 furnished< #ut #eautiful castle. -he walls are light< the r33+s are air4 and clean. -he fil+ adaptati3ns ha!e #3th used real l3cati3ns< alth3ugh the 5966 fil+ als3 used a studi3 f3r +3st 3f the interi3rs.63 -he l33ks 3f the tw3 fil+s differ fr3+ each 3ther c3nsidera#l4. (here the interi3rs 3f the 5966 fil+ retained s3+e 3f the austerit4 3f the stage setting as descri#ed #4 =a+es :3ld+an< the 2003 +iniseries was sh3t 3n l3cati3n in a light< air4 castle filled with all the necessar4 furnishings t3 +ake it a suita#le r34al residence. -he 5966 fil+ used se!eral l3cati3ns t3 sh33t the e9teri3rs seen in the fil+ and s3+e 3f the interi3rs that p3se as %hin3n castle. All 3ther interi3rs were sh3t in Ard+3re studi3s in /reland. M3st 3f the e9teri3rs seen in the fil+ were sh3t at M3nt+aF3ur A##e4< a &enedictine +3naster4 n3rtheast 3f Arles in )rance. /t was f3unded in 946 and #uilt during the fi!e centuries that f3ll3wed. -he #uildings still ha!e 03+anes?ue and g3thic features. -he a##e4 is well'preser!ed and still has a chapter h3use< a refect3r4< cellar< li#rar4 and kitchen. /t als3 has an i+pressi!e high t3wer and a cl3ister with #eautiful c3lu+ns.64 )il+ing als3 t33k place at -arasc3n castle< als3 near Arles< situated #eside the ri!er 0hSne. -he castle dates fr3+ the first half 3f the fifteenth centur4.65 /t is a +assi!e #uilding which d3es n3t rese+#le M3nt+aF3ur A##e4< #ut #4 using parts 3f #3th l3cati3ns the fil+ creates the idea 3f 3ne %hin3n. Alth3ugh #3th l3cati3ns ha!e features 3f architecture that p3stdate the fil+;s te+p3ral setting< the4 3ffer an austere %hin3n< with3ut +uch 3rna+entati3n. -he general l33k 3f the fil+< h3we!er< is darker than :3ld+an;s descripti3n 3f his stage setting. /n his direct3r;s c3++entar4 Anth3n4 Har!e4 ad+its t3 intenti3nall4 gi!ing the fil+ a darker l33k$ DM4 +ain c3ncern was Lthat weM didn;t d3 an3ther hist3rical fil+ with prett4 pictures< that the thing w3uld ha!e a reall4 pri+iti!e desperate l33k$ little fireplaces< huddled in c3rners< pe3ple
60 65

=acks3n< pp. 56'9. >at@< p. 503. 62 >at@< p. 504. 63 "ee Appendi9 & f3r pictures 3f the l3cati3ns discussed #el3w. 64 HA##a4e de M3nt+aF3ur.I 65 H-arasc3n.I

59

shi!ering;66 He achie!ed this #4 ch33sing walls that were 3f a darker c3l3ur than :3ld+an +a4 ha!e en!isi3ned and using !er4 few #right c3l3urs in the sets. As +3st 3f the pla4 takes place in the e!ening and night the castle l33ks darker that the real l3cati3ns d3 #4 da4light. -3 add e!en +3re t3 the pri+iti!e l33k 3f the castle Har!e4 added chickens and /rish w3lfh3unds t3 the set. -his atte+pt at +aking the +edie!al setting l33k +3re real than +3st 3ther fil+s had #ef3re then< is still appreciated #4 critics$ D-he fil+ d3es an e9cellent F3# 3f sh3wing the le!el 3f e9istence in the twelfth centur4. Alth3ugh Henr4 is a >ing wh3 can aff3rd an4thing #4 twelfth centur4 standards< his palace is c3ld< sparse< and dirt4. -he gr3unds< far fr3+ #eing the id4llic palaces seen in earlier fil+s a#3ut +edie!al ti+es< are dirt4 with peasants and ani+als sharing li!ing space.;67 Much has changed since the 5960s. /t has #ec3+e cust3+ar4 t3 sh33t hist3rical fil+s in eastern .ur3pe< where there are +an4 hist3rical t3wns< castles and churches and where pr3ducti3n c3sts re+ain l3w.66 -he 2003 +iniseries takes full ad!antage 3f this 3pp3rtunit4. /t was fil+ed 3n l3cati3n in &udapest and in "pissk4 castle in "l3!akia. "pissk4 castle is an ela#3rate site with a high r3und t3wer and a r3+an palace #eside it. -he site 3f the castle is enlarged with se!eral walled c3urt4ards that g3 d3wn the hill it was #uilt 3n. /t is 3ne 3f the largest castles 3f %entral .ur3pe and was #uilt in the twelfth centur4 and rest3red se!eral ti+es until the eighteenth centur4. -he r3und t3wer< used e9tensi!el4 in the +iniseries< was #uilt at the #eginning 3f the thirteenth centur4< 3nl4 a few decades after the ti+e the pla4 was set.69 Much like :3ld+an;s ficti3nal %hin3n< "pissk4 castle features light walls and s3+e refined c3lu+ns in arched r3+an wind3ws. -he %hin3n 3f the +iniseries is 3ne castle. -he castle;s architecture itself is !er4 like :3ld+an;s descripti3n< #ut the interi3rs ha!e #een furnished +3re e9tensi!el4 than was descri#ed #4 the auth3r. )3r e9a+ple< Alais; and Henr4;s r33+ ha!e #een +ade int3 3ne r33+ f3r all scenes set in #3th r33+s in the pla4. -he furniture +enti3ned f3r #3th r33+s is a #ench< a chest and a chair and a hard #ed< an ar+chair and a charc3al #ra@ier. /nstead the r33+ has a c3+f3rta#le #ed with curtains< a chair #eside the #ed< a wardr3#e 3pp3site the #ed< a fireplace in the c3rner #4 the d33r and a ta#le in fr3nt 3f the wind3w. -he wind3w is arched with tw3 s+all c3lu+ns di!iding it int3 three parts and is set in a #a4 which is arched #4 a carefull4 sculpted #3rder. -here is als3 3ld wallpaper 3n the walls< which gi!es the r33+ a c3s4 appearance. ()& Opening out

)il+ adaptati3ns 3ften use the p3ssi#ilit4 3f 3pening 3ut scenes #4 setting the+ in a different l3cati3n fr3+ that descri#ed in the pla4 3r ha!ing the act3rs +3!e fr3+ 3ne r33+ t3 an3ther during the scene. &4 ha!ing the characters walk thr3ugh se!eral interi3rs 3f %hin3n castle the setting 3f the 5966 fil+ can see+ like a wh3le< e!en th3ugh +3st interi3rs were #uilt in a studi3 and the fil+ +i9es these with real l3cati3ns in )rance. Alth3ugh the castle used in the +iniseries is a wh3le< +3!ing thr3ugh this #uilding during scenes creates the spatial tensi3n discussed in paragraph 5.4. &4 sh3wing h3w these r33+s are linked an i+age 3f the castle is created. .!entuall4 the audience will #e aware 3f the general relati3n 3f a r33+ 3n screen t3 the surr3unding 3ff'screen #uilding< creating a realit4 in +uch the sa+e wa4 as the fil+ d3es #4 +3!ing thr3ugh its l3cati3ns.
66

Har!e4< ti+e$ 0$55$06'0$55$25. Magill. 66 H3f+ann. 69 >ukura.

67

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/nstead 3f using 3nl4 the si9 r33+s that f3r+ the setting 3f the pla4 the fil+ uses se!eral hallwa4s< a c3urt4ard< the ri!erside 3f the 0hSne< a cl3ister< a dining hall< a garden< a chapel< the 3uter wall 3f the castle< the #edr33+s 3f the princes and the staircase leading t3 the dunge3n. -here is als3 +3re +3!e+ent #etween these settings than was a#s3lutel4 necessar4 f3r the narrati!e and #4 changing ca+era angles 3r @33+ing in 3r 3ut the sets #ec3+e larger 3r +3re detailed than the4 c3uld #e 3n stage. -he changes in setting 3f the +iniseries f3ll3w th3se in the fil+ cl3sel4< alth3ugh the tw3 %hin3ns hardl4 rese+#le each 3ther. )3r e9a+ple< the scene in which .lean3r arri!es and greets Henr4 takes place 3n the ri!erside< where she arri!es #4 #3at< instead 3f in the recepti3n hall in #3th adaptati3ns. H3we!er< the sh3ts leading up t3 the scene differ. /n the fil+ Henr4 and Alais are seen walking thr3ugh se!eral interi3rs< int3 the c3urt4ard and unt3 the wall a#3!e the c3urt4ard t3wards the ri!erside< while in the +iniseries the4 walk thr3ugh the c3urt4ards 3f "pissk4 castle until the4 c3+e 3utside. -he architectural unit4 3f "pissk4 castle f3rces a different appr3ach t3 that 3f the fil+ where se!eral l3cati3ns ha!e #een +ade t3 see+ 3ne. Alth3ugh the scenes that are related t3 r33+s< such as the wedding scene in the chapel 3r the argu+ent #ef3re dinner 3utside 3f and in the dining hall are set in the sa+e r33+s in #3th adaptati3ns< s3+e scenes that were 3pened 3ut in the fil+ are changed in the +iniseries. -he fil+ has Henr4 ann3unce t3 his fa+il4 that 0ichard will #ec3+e king BAct 5< scene 3C in the c3urt4ard instead 3f .lean3r;s cha+#er< while the +iniseries sets the scene in the c3rrid3r 3utside the dining hall. -his is the result 3f a change in the preceding e!ents. Alais and Henr4 gi!e al+s t3 the p33r in the c3urt4ard in #3th adaptati3ns< #ut t3 underline the fact that the4 ha!e finished d3ing s3 the4 walk #ack int3 the castle in the +iniseries and +eet up with the fa+il4 there< instead 3f sta4ing 3utside and #eing +et #4 the+. ,n the wh3le the +iniseries see+s t3 +ake +3re detailed use 3f the l3cati3n. )3r e9a+ple< #4 ha!ing :e3ffre4 +3!e fr3+ *hilip;s r33+ t3 =3hn;s Bpri3r t3 dial3gue fr3+ Act 5< scene 4C. :e3ffre4 is pl3tting and +3!es ?uietl4 thr3ugh the r3und t3wer d3wn the stairs and takes care n3t t3 #e seen. -he fil+ did n3t ha!e this additi3n< pr3#a#l4 #ecause the interi3rs were +ade in a studi3 and there was n3 eas4 wa4 t3 sh3w the transiti3n fr3+ 3ne r33+ in the castle t3 an3ther. /n c3+paris3n the fil+;s use 3f l3cati3n see+s +3re si+ilar t3 theatrical setting in se!eral r33+s than the +iniseries. ()( Sho+ing in tead of telling -he p3ssi#ilit4 3f using l3cati3ns has n3t 3nl4 caused screenwriters t3 3pen 3ut their s3urce +aterial< #ut has als3 ena#led the+ t3 sh3w e!ents instead 3f telling the+. -he stage 3ffers li+ited p3ssi#ilities 3f sh3wing e!ents #ecause it is i+p3ssi#le t3 use t33 +an4 different dOc3rs. )il+< 3n the 3ther hand< is capa#le 3f using as +an4 l3cati3ns as the #udget will all3w. Man4 pla4s allude t3 e!ents that happened in the ti+e #ef3re the acti3n takes place< 3r e!ents that are taking 3r will take place elsewhere. /n the pla4< Act 5< scene 5< Henr4 3nl4 #riefl4 sa4s he had the fa+il4 su++3ned< #ut n3 inf3r+ati3n is gi!en a#3ut where :e3ffre4 and 0ichard were #ef3re the4 ca+e t3 %hin3n.90 /n the fil+ :e3ffre4 is seen directing a #attle 3n a #each< which is presu+a#l4 in his c3unt4 3f &rittan4< #ut was fil+ed 3n l3cati3n in (ales. 0ichard is seen practicing f3r a t3urna+ent in a castle s3+ewhere< which was als3 fil+ed in (ales.95 -he re!3lt that led t3 .lean3r;s i+pris3n+ent in "alis#ur4 -3wer is alluded t3 #4 Henr4 #riefl4 in Act 5< scene 2$ D23u led t33 +an4 ci!il wars against +e.; -3 which .lean3r
90 95

:3ld+an< p. 6. Har!e4< ti+e$ 0$06$04'0$07$44.

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answers$ DAnd / da+n near w3n the last 3ne.;92 -he +iniseries sh3ws this re!3lt. -he scene i++ediatel4 sh3ws the strife #etween all +e+#ers 3f this fa+il4< e!en =3hn< wh3 at this ti+e is Fust a s+all #34< telling his father t3 kill the trait3rs$ .lean3r< 0ichard and :e3ffre4. Henr4 +akes his p3siti3n clear #4 telling his s3n that he is una#le t3 d3 s3 #ecause the4 are fa+il4. /n the sa+e scene .lean3r< 0ichard and :e3ffre4 als3 sh3w their p3siti3ns in a c3n!ersati3n. 0ichard screa+s f3r acti3n< while .lean3r tries t3 +ake hi+ see that the4 ha!e l3st the #attle and ha!e t3 retreat. .!entuall4 he d3es as she tells hi+< which defines their relati3nship i++ediatel4. An3ther e9a+ple is f3und in Act 2< scene 5< where Alais tells .lean3r that Henr4 ca+e int3 his r33+ a while #ef3re and st33d #4 the fire #ef3re he went 3utside t3 walk.93 -his e9a+ple is unrelated t3 the e9p3siti3n and ser!es a different purp3se than the intr3ducti3ns 3f the fil+s. -he fil+ sh3ws Henr4 stu+#ling int3 his r33+ #riefl4 and then walking 3ut again with3ut speaking after which he g3es 3utside and e!entuall4 c3llapses 3n the 3uter wall 3f the castle. /t differs fr3+ what is said t3 ha!e happened in the pla4 3nl4 in a s+all degree. -he +iniseries ch3se a different setting< ha!ing Henr4 end up 3n the l3west fl33r 3f the r3und t3wer instead 3f 3n the wall. -he effect is that Henr4;s reacti3n t3 the treas3n c3++itted #4 his s3ns is sh3wn l3nger than when he lea!es *hilip;s r33+ Band the stageC and it #ec3+es unnecessar4 t3 ha!e Alais and .lean3r allude t3 the e!ents that ha!e 3nl4 Fust #een sh3wn 3n screen. Conclu ion /t is clear that the fil+ +ediu+ 3ffers 3pp3rtunities that the theatre cann3t. -he a+3unt 3f space that can #e sh3wn 3n stage is li+ited< n3t 3nl4 in the nu+#er 3f different settings< #ut als3 in the a+3unt 3f space that can #e en!isi3ned #e43nd that !isi#le 3n stage. -heatre can sh3w a r33+ 3r e!en a garden< Fust as fil+ can< #ut fil+ can +3!e fr3+ this setting t3 the space #e43nd it< f3r e9a+ple int3 the c3rrid3r 3r 3!er the wall int3 the fields #e43nd the garden. )il+ can als3 set scenes 3r pieces 3f scenes in different r33+s 3r 3utside 3r ha!e characters +3!e thr3ugh se!eral settings during a scene. ,pening 3ut scenes like this is n3t the 3nl4 effect l3cati3ns can ha!e 3n the narrati!e 3f a fil+. /t is als3 p3ssi#le t3 sh3w e!ents that were 3nl4 referred t3 in the pla4. -he use 3f l3cati3n als3 fre?uentl4 entails ch33sing se!eral different l3cati3ns and using parts 3f the+ t3 f3r+ 3ne 3n'screen wh3le< #e it a #uilding< a !illage< a regi3n 3r a w3rld. -he fil+ adaptati3ns 3f The Lion in Winter +ake effecti!e use 3f l3cati3ns #3th #4 sh3wing +3re 3f the narrati!e than is p3ssi#le 3n stage and #4 +3!ing scenes t3 +3re than 3ne l3cati3n. -he creati3n 3f 3ne %hin3n 3ut 3f +an4 l3cati3ns f3r the 5966 fil+ as 3pp3sed t3 the use 3f 3ne eastern .ur3pean castle f3r the 2003 +iniseries< clearl4 sh3ws the changes that ha!e #een +ade in the fil+ industr4 in the few decades that separate these tw3 adaptati3ns. -he tw3 %hin3ns differ in at+3sphere. -hat 3f the fil+ was deli#eratel4 +ade c3ld and dirt4 t3 take its distance fr3+ the earlier H3ll4w33d fil+s that were set in the Middle Ages< #ut were !er4 r3+anticised. -he castle 3f the +iniseries is cleaner and lighter. An eff3rt see+s t3 ha!e #een +ade t3 +ake it l33k like a suita#le h3+e t3 a +edie!al king.

92 93

:3ld+an< p. 56. /de+< pp. 69'70.

22

Chapter /: Character Introduction %haracters are< 3f c3urse< 3f ke4 i+p3rtance t3 all narrati!e and acc3rding t3 /+elda (helehan their relati3nships with each 3ther is the ele+ent 3f a narrati!e that is transferred fr3+ 3ne +ediu+ t3 an3ther in adaptati3n.94 -heref3re the +anner in which the characters are p3rtra4ed is als3 3f ke4 i+p3rtance t3 the fil+. A +iscast act3r 3r actress can ruin the #elie!a#ilit4 3f the fil+< #ut #ad c3stu+es 3r +akeup can als3 distract fr3+ a perfect perf3r+ance. /n the case 3f a hist3ricall4 set fil+< such as The Lion in Winter< it is Fust as i+p3rtant t3 sh3w the characters in +edie!al cl3thing as it is t3 ch33se a suita#le +edie!al l3cati3n t3 fil+ the scenes. H3we!er< it is als3 i+p3rtant that the act3rs sh3uld ph4sicall4 l33k like the characters the4 are p3rtra4ing +ight ha!e l33ked. -3 create an i+age 3f a character #3th casting and c3stu+ing are i+p3rtant. Man4 act3rs feel that the4 can 3nl4 gi!e a c3n!incing perf3r+ance when in c3stu+e< #ecause it is 3nl4 then that the4 reall4 l33k like the character the4 are pla4ing.95 H3we!er< there is +uch +3re t3 creating a character than +erel4 the !isual i+age. /t is i+p3rtant t3 get t3 kn3w the character #4 reading the part e9tensi!el4 and f3r+ing a +ental i+age 3f what the character is< what he 3r she wants 3r h3w he 3r she will react t3 what happens.96 -3 create a character the act3r needs t3 find an indi!idual speech< dep3rt+ent and a wa4 3f +3!ing. "tage acting re?uires a certain a+3unt 3f e9aggerati3n$ acting natural is n3t en3ugh t3 c3n!e4 the inner life 3f a character.97 -here are +an4 the3ries a#3ut what it is t3 act 3r h3w 3ne sh3uld act. )r3+ the 5940s a new the3r4 was ad!anced< causing a distincti3n #etween Dtechnical; act3rs and De+3ti3nal; act3rs. -echnical act3rs were n3t supp3sed t3 sh3w their 3wn identit4 thr3ugh their acting t3 ensure that the character was +3st !isi#le 3n stage< whereas e+3ti3nal act3rs were taught t3 use their 3wn e+3ti3ns t3 #etter c3n!e4 th3se 3f their characters. .+3ti3nal acting #eca+e kn3wn as Meth3d acting. -he Meth3d als3 enc3uraged the use 3f the act3r;s 3wn !3ice instead 3f the .ur3pean traditi3n 3f speaking with a c3rrect accepted pr3nunciati3n. -his was th3ught t3 +ake the characters +3re like n3r+al< real life pe3ple t3 wh3+ the audience c3uld +3re easil4 relate.96 ,!er the 4ears Meth3d acting has #ec3+e +3re and +3re p3pular in fil+ and it is likel4 that the 2003 +iniseries sh3ws +uch +3re 3f its influence than the 5966 fil+. -he f3ll3wing paragraphs will first discuss the !isual i+age 3f the characters in #3th adaptati3ns 3f The Lion in Winter in c3+paris3n t3 the wa4 :3ld+an descri#ed the+ in his pla4. Appendi9 % 3ffers pictures 3f the cast and their c3stu+es fr3+ #3th fil+ and +iniseries. -he final paragraph will deal with the different wa4s in which the act3rs ch3se t3 p3rtra4 their characters with reference t3 stage acting and its influence 3n the perf3r+ances. /)" Ca ting

/t is !er4 i+p3rtant t3 create the right l33k f3r each character< #ut it is als3 i+p3rtant t3 ch33se g33d act3rs. /t was clear that >atherine Hep#urn w3uld pla4 Tueen .lean3r in the 5966 fil+ e!en #ef3re the direct3r< Anth3n4 Har!e4 was ch3sen t3 lead the pr3Fect.99 =a+es
94 95

"ee paragraph 5.5. (hite< p. 75. 96 (hite< p. 66. 97 (hite< pp. 54< 57. 96 Harr3p< pp. 35'45. 99 Har!e4< ti+e$ 0$02$55'0$02$35.

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:3ld+an descri#ed .lean3r as a fe+inine w3+an 3f si9t4'3ne wh3 is still #eautiful and has great presence and auth3rit4.500 Hep#urn was the right age f3r the r3le and she had +uch e9perience in pla4ing str3ng w3+en. Her .lean3r is 3ld< #ut her hair has n3t l3st its c3l3ur 4et< n3r has she l3st her !italit4. :lenn %l3se;s .lean3r l33ks 43unger< #ut is 3f si+ilar age as *atrick "tewart;s Henr4 and has n3t l3st her !italit4 either. Henr4 was ele!en 4ears 43unger than his wife< #ut was pla4ed in the fil+ #4 *eter ,;-33le< wh3 was thirt4'fi!e 4ears 3ld at the ti+e.505 Acc3rding t3 :3ld+an Henr4 d3es n3t l33k 3ld< alth3ugh 3ld age is setting in.502 -his i+age lea!es s3+e r33+ f3r interpretati3n< #ut t3 fit the part ,;-33le;s Henr4 had t3 l33k 3lder that the act3r$ his hair is starting t3 l33k gre4 and his full #eard and +3ustache hide +3st 3f his face. -he real difference< h3we!er< is +ade #4 his acting< which will #e discussed #el3w.503 *atrick "tewart did ha!e the right age f3r the r3le. His Henr4 has l3ng gre4 hair and a sh3rt #eard and is well'#uilt< alth3ugh +uch sh3rter than ,;-33le;s Henr4 :3ld+an descri#es 0ichard as a hands3+e twent4'si9 4ear 3ld +an< graceful and i+pressi!e< and e+phasi@es that 0ichard is a warri3r.504 Alth3ugh H3pkins is n3t as tall as either ,;-33le 3r -i+3th4 1alt3n< he see+s the ph4sicall4 str3ngest +e+#er 3f the cast< which suits his r3le perfectl4. He has a sh3rt #eard and +3ustache and his hair is sh3rt and well'gr33+ed. Andrew H3ward;s 0ichard l33ks !er4 different. He see+s str3ng and s3+ewhat taller than H3pkins and with tw3 scars 3n his face l33ks like he has seen #attle. His hair is !er4 sh3rt and he has stu##le rather than a #eard. :3ld+an d3es n3t specif4 what :e3ffre4 sh3uld l33k like< 3ther than that he is twent4'fi!e and attracti!e.505 &3th =3hn %astle;s :e3ffre4 and =3hn Light;s are slender< well' gr33+ed characters< #ut the l33k 3f the character is achie!ed far +3re #4 facial e9pressi3ns than an4thing else. =3hn is descri#ed as a sweet'faced #34 3f si9teen with pi+ples. Alais adds that he s+ells 3f c3+p3st.506 Nigel -err4 is a slender 43ung +an wh3 is slightl4 sh3rter than the 3ther +en in the cast. He has s3+e facial hair< #ut has n3t sha!ed< and his hair is a little t33 l3ng and l33ks per+anentl4 ruffled. /t creates the l33k 3f a #34 wh3 w3uld indeed s+ell 3f c3+p3st< alth3ugh he has n3 pi+ples. 0afe "pall;s =3hn d3es ha!e pi+ples and is a great deal +3re chu##4 than -err4;s< which helps t3 achie!e a sweet'faced l33k when he s+iles. He is als3 taller than +3st 3f the act3rs ar3und hi+< which +akes hi+ see+ less 43ung than -err4. *hilip was descri#ed #4 :3ld+an as a tall< well'#uilt and i+pressi!e 43ung +an 3f se!enteen< wh3 was hands3+e with3ut #eing prett4.507 -i+3th4 1alt3n was twent4'tw3 when he pla4ed *hilip and 3ne 3f the tallest cast +e+#ers in the fil+. His hair was neatl4 cut< as was his #eard and +3ustache< creating a l33k that suited his status and pers3nalit4 as seen fr3+ the pla4< rather than :3ld+an;s descripti3n. =3nathan 0h4s Me4ers< alth3ugh n3t as tall< was as slender. His *hilip has l3ng< well'gr33+ed hair and n3 facial hair. -he 3nl4 descripti3n gi!en 3f the final character< Alais< is that she is twent4'three and serenel4 #eautiful.506 &3th =ane Merr3w and =ulia A4s3tsk4 are indeed 43ung< #eautiful actresses. /)& Co tume
500

:3ld+an< pp. 50'55. (e#. 502 :3ld+an< p. 3. 503 Har!e4< ti+e$ 0$47$25'0$46$09. 504 :3ld+an< p. 9. 505 /de+< p. 9. 506 /de+< pp. 9< 5. 507 /de+< p. 52. 506 /de+< p. 3.
505

24

%3stu+es can help act3rs t3 interpret their characters< #ut #ad c3stu+es can easil4 #reak the c3ncentrati3n 3f #3th the act3r and the audience.509 %3stu+es als3 help t3 create the 3n'stage 3r 3n'screen w3rld< Fust as l3cati3ns and pr3ps d3. H3we!er< =a+es :3ld+an gi!es !er4 little inf3r+ati3n a#3ut c3stu+es in the pla4. /n the first scene Alais is said t3 #e dressed f3r a state 3ccasi3n and Henr4 is said t3 alwa4s wear plain and uni+pressi!e cl3thes. -he 3nl4 3ther inf3r+ati3n a#3ut the wa4 the characters are dressed is when .lean3r is ad3rning herself with Feweller4 in Act 5< scene 5.550 -he fact that scene 5 is rel3cated t3 a different setting +akes it unnecessar4 f3r Alais t3 #e dressed f3r a state 3ccasi3n< #ut #3th adaptati3ns ha!e held true t3 a certain e9tent. /t has alread4 #een discussed in chapter 3 that Anth3n4 Har!e4 ch3se t3 +ake %hin3n l33k austere< c3ld and dirt4. -he c3stu+es see+ t3 fit this setting. Henr4 and his s3ns are all dressed in si+ple cl3thes +ade 3f sturd4 +aterials. All characters< e9cept =3hn< wear different cl3thes when the4 are first intr3duced fr3+ when the4 c3+e t3gether f3r %hrist+as c3urt. =3hn d3es n3t change his cl3thes during the fil+< as is fitting f3r a character that is said t3 ne!er take a #ath. )r3+ the +3+ent e!er43ne starts t3 arri!e f3r %hrist+as c3urt !er4 few characters change their cl3thes. Henr4 wears a si+ple green shirt with a #r3wn tunic 3!er it< tr3users and #33ts. ,nl4 when he g3es t3 +eet *hilip in the c3urt4ard d3es he wear a cr3wn and a statel4 cl3ak< which he takes 3ff again as s33n as the4 c3+e t3 the recepti3n hall afterwards. .lean3r;s< Alais; and *hilip;s cl3thes f3r+ an e9cepti3n t3 the austerit4 3f the c3stu+es. >ing *hilip wears a si+ple dark #lue tunic 3!er his 3therwise #lack cl3thes< #ut it is dec3rated with g3ld stitching. His cl3ak is tri++ed with fur. *hilip< Alais and .lean3r are all seen in nightg3wns 3r r3#es when the setting 3f scenes asks f3r this. .lean3r is the 3nl4 character that changes c3stu+es +3re 3ften than is necessar4. "he has tw3 #asic g3wns and se!eral +antles t3 g3 with the+. &4 the ti+e the +iniseries was +ade< +uch +3re was kn3wn a#3ut +edie!al c3stu+es. /t is n3t surprising that the +iniseries l33ks less austere and the fa#rics 3f the c3stu+es l33k +3re rich and +3re suited t3 the un?uesti3na#le wealth 3f the characters. -he a+3unt 3f different c3stu+es f3r each character has changed little. =3hn wears a different tunic in the 3pening scene< indicating that he +a4 #e a little less unclean than his 5966 c3unterpart< #ut 3f the 3thers 3nl4 Henr4< .lean3r and *hilip ha!e +3re c3stu+es than in the fil+. Henr4 has se!eral r3#es and +antles t3 wear 3!er his +ain c3stu+e 3r his nightshirt. .lean3r has 3ne red dress f3r the durati3n 3f her sta4 at %hin3n< #ut in the 3pening scenes she is seen in "alis#ur4 -3wer< 3nce in #lack and 3nce in white and 3n the #attlefield in ar+3ur. Her c3stu+es were influenced #4 her c3nnecti3n t3 the H3l4 land555< which is +3st !isi#le in her wi+ples and in her ar+3ur. -he casting and c3stu+es al3ne d3 n3t +ake the difference #etween theatre and fil+. -he c3stu+es f3r se!eral stage pr3ducti3ns 3f the pla4 clearl4 sh3w that stage c3stu+es can #e e?uall4 austere 3r rich< depending 3n the ch3ice 3f the pr3ducers.552 /)( Acting

Alth3ugh a !isual i+age can g3 a l3ng wa4 in creating a character e!er4thing depends 3n the acting. "tage acting re?uires +3re 3#!i3us +3!e+ents t3 c3n!e4 the inner life 3f a character than is necessar4 3n screen. Much has changed in the wa4 act3rs appr3ach their w3rk since the #eginning 3f fil+< s3+ething that is +ade clear #4 the differences #etween #3th adaptati3ns.
509 550

(hite< p. 75. :3ld+an< pp. 3< 49. 555 -here are references in the pla4 t3 her uncle 0a4+3nd< a king in the H3l4 Land B:3ld+an< p. 69C and t3 the crusade she t33k part in B/de+< p. 40C. 552 "ee Appendi9 ..

25

-he 5966 fil+ sta4s !er4 cl3se t3 its stage antecedent< #3th in acting and in fil+ing.553 &3th the leading act3rs and the supp3rting cast had theatre e9perience. Anth3n4 H3pkins was e!en appearing 3n the L3nd3n stage during fil+ing.554 -h3ugh the act3rs #ring real passi3n t3 their perf3r+ances and s3+e scenes w3uld n3t ha!e had the sa+e effect 3n stage< the influence 3f the theatre is n3ticea#le 3n s3+e 3ccasi3ns. )3r e9a+ple< *eter ,;-33le;s perf3r+ance is clearl4 influenced #4 what was traditi3nall4 seen as wa4s t3 l33k 3ld 3n stage$ +3!e+ent #ec3+es +3re stiff< +3re deli#erate and the #3d4 #3ws f3rward a little< sagging.555 Alth3ugh it c3n!inces< it s3+eti+es see+s t3 put t33 +uch e+phasis 3n his age< s3+ething that d3es n3t happen in the +iniseries #ecause *atrick "tewart d3es n3t ha!e t3 pretend #eing +uch 3lder than he is. -he sa+e applies t3 =3hn. 23uth is sh3wn #4 ?uick< unrestricted +3!e+ents and skipping 3r Fu+ping while walking. Nigel -err4 uses e9actl4 th3se techni?ues t3 sh3w the age 3f his character while the p3rtra4al #4 0afe "pall in the +iniseries d3es n3t. His =3hn 3ccasi3nall4 runs< #ut d3es n3t +3!e as freel4 and childishl4 as -err4;s. /nstead he pla4s little ga+es$ when .lean3r arri!es and she speaks t3 her s3ns< he and :e3ffre4 pla4 #4 thr3wing a r3und ca##age #etween each 3ther. Later while Henr4 is discussing his treat4 with *hilip in the recepti3n hall< =3hn tries t3 spit s3+e pips int3 a #ra@ier fr3+ a distance. /t is in these little differences that the c3ntrast #etween stage acting and screen acting can #e seen. At ti+es< th3ugh< the fil+ walks a fine line #etween the+< #3th +aking use 3f the fact that the ca+era can see things a theatre audience +ight +iss and e9pressing feelings #4 gesturing +3re than is necessar4 f3r fil+. A g33d e9a+ple 3f this is gi!en in the wedding scene where 0ichard dares his father t3 frighten hi+. -he cast is lined up< literall4 and Alais and .lean3r are standing #etween the tw3 characters as the4 argue. Anth3n4 H3pkins d3es n3t #reak this line< #ut instead gestures a l3t t3 undersc3re his angr4 w3rds< e9tending his ar+s t3wards Henr4 and past Alais se!eral ti+es. -his appr3ach +a4 ha!e t3 d3 with their p3siti3n. -he +iniseries has father and s3n +3!ing ar3und the r33+ as the4 argue< 0ichard walking a circle ar3und Henr4 instead 3f +aking wild gestures. Here 0ichard;s anger is +3re c3ntr3lled< Fust #el3w the surface. -he acting is in his walk< his facial e9pressi3n and his !3ice and gi!es an entirel4 different interpretati3n 3f 0ichard;s reacti3n. Conclu ion /t is hard t3 sa4 what +akes 3ne perf3r+ance different fr3+ the 3ther and hard t3 see where the line #etween theatre and fil+ lies. A character is created #3th #4 ph4sical appearance and dress and #4 the act3rs; interpretati3n 3f the pla4 3r screenpla4. Acting 3n stage has a l3ng esta#lished traditi3n which especiall4 in the earl4 4ears 3f fil+ +ust ha!e influenced the acting 3n screen. -he adaptati3ns 3f The Lion in Winter sh3w !er4 different wa4s 3f p3rtra4ing the characters e!en th3ugh +3st 3f the screenpla4 is the sa+e and certainl4 n3 +aF3r changes were +ade in the writing 3f each character. -he l33k 3f the characters d3es n3t c3+e d3wn as +uch 3n casting as it d3es 3n c3stu+ing< with the fil+ g3ing f3r a dark< austere l33k and the +iniseries g3ing f3r a twelfth centur4 r34al l33k. -he acting in the fil+< alth3ugh c3n!e4ing the characters; pain< anger and pl3tting !er4 well< see+s far +3re influenced #4 theatre traditi3ns than that in the +iniseries. -his +a4 #e d3wn t3 the use 3f theatre act3rs in the first and tele!isi3n act3rs in the sec3nd.

553

"ee %hapter 5. Uad. 555 (hite< pp. 537'564.

554

26

Chapter 0: Camera angle and editing Introduction /t has alread4 #een discussed in chapter 5 that 3ne 3f the +ain differences #etween cine+a and 3ther !isual 3r perf3r+ance arts is that the cine+a tells a st3r4 in +3!ing i+ages. A w3rld is created 3n screen #4 sh3wing sh3ts in a specific 3rder< influenced #3th #4 ch3sen ca+era angles and editing. ,f specific i+p3rtance t3 a fil+ as character'3riented as The Lion in Winter are ca+era angles that c3n!e4 +eaning a#3ut the characters and their relati3nships. "3+e ca+era angles are influenced #4 the ch3ice 3f p3siti3n 3f act3rs in a specific setting. -he p3siti3n 3f act3rs has its e?ui!alent 3n stage< creating spatial relati3nships #etween characters< which in the+sel!es can tell st3ries. )il+s< h3we!er< are said t3 ha!e their 3wn Dn3n'!er#al +eans 3f den3ting transacti3ns #etween characters< G n3ta#l4 the ch3ice 3f ca+era angles and the rh4th+ 3f sh3ts in the edited fil+.;556 %a+era angles< especiall4 cl3se' ups can clarif4 feelings< pers3nalit4 and relati3nships. %a+era angles can c3n!e4 what a character sees and what it l33ks like t3 the character.557 -here are als3 !ari3us c3n!enti3nal ca+era angles t3 clarif4 the setting 3f fil+s 3r t3 f3cus attenti3n 3n aspects 3f the narrati!e. .diting t3 a large degree deter+ines the e!entual f3r+ 3f the narrati!e 3f a fil+. /t n3t 3nl4 deter+ines which acti3n is sh3wn when 3r in what 3rder in a scene< #ut als3 which ele+ents are e+phasi@ed. /t als3 deter+ines where a scene ends and an3ther #egins. .diting can sh3w causal relati3ns #etween sh3ts within a scene< #ut can als3 sh3w h3w +uch ti+e has elapsed #etween sh3ts 3r h3w 3ne sh3t relates t3 an3ther in ter+s 3f space.556 -he tw3 fil+ adaptati3ns 3f The Lion in Winter differ in their use 3f ca+era angles< ca+era +3!e+ent and editing< alth3ugh the scenes 3ften take place in si+ilar l3cati3ns. 1irect3r Anth3n4 Har!e4 states in his direct3r;s c3++entar4 3n the 1A1 3f the 5966 fil+ that he feels ca+era +3!e+ent and editing d3 n3t +ake a fil+ a fil+< c3ntrar4 t3 p3pular #elief.559 -he 2003 +iniseries 3n the 3ther hand uses +an4 3f the p3ssi#ilities that ca+era angles and +3!e+ent 3ffer< as well as using the p3ssi#ilities that editing 3ffers. 0)" Camera angle : the director1 choice

%a+era angles can sh3w a fil+;s cine+at3graph4< intr3ducing where the fil+< 3r a scene takes place. -he4 can als3 intr3duce the characters that are present in 3ne l3cati3n t3 intr3duce the para+eters 3f the f3ll3wing dial3gue #etween the+< 3r the4 can intr3duce 3ne character< f3cussing 3n their appearance 3r s3+e acti3n the4 are perf3r+ing when intr3duced. An4 3n'screen +3!e+ent within the fra+e 3f a sh3t can als3 c3n!e4 !isual +eaning #4 drawing attenti3n t3 it.520 -he difference with the wa4 characters< acti3ns and dial3gue are witnessed in the theatre is that the +e+#ers 3f a theatre audience can ch33se which aspects 3f the pla4< !isi#le t3 the+ fr3+ their !ar4ing p3siti3ns in the theatre< the4 wish t3 f3cus 3n. /n cine+a the audience;s !iew 3f what is !isi#le is c3ntr3lled #4 the ch3ice 3f ca+era angles and the 3rder in which the4 see it is c3ntr3lled #4 editing.525 %ine+a 3ften uses !ista sh3ts B3r !er4 l3ng sh3tsC t3 intr3duce the setting 3f the fil+. &3th adaptati3ns 3f The Lion in Winter use these f3r e9a+ple when intr3ducing %hin3n
556 557

=acks3n< p. 56. /de+. 556 /de+< pp. 56'9. 559 Har!e4< ti+e$ 0$56$37'0$59$05. 520 L3ehlin< p. 564. 525 =acks3n< p. 24.

27

castle. -hese sh3ts sh3w space and distance. A l3ng sh3t B3r full sh3tC intr3duces pe3ple in their #r3ad surr3undings< f3r e9a+ple when the fil+s gi!e a !iew 3f the #us4 c3urt4ard. A wide sh3t B3r c3!er sh3tC intr3duces the act3rs and their surr3undings in #r3ad detail< f3r e9a+ple in the +iniseries when .lean3r +eets her children and the4 are all sh3wn 3n the fl33r le!el 3f the r3und t3wer in !ari3us places in the r33+.522 ,ther sh3ts are 3ften c3ncerned with h3w the act3rs are sh3wn< especiall4 in dial3gues. %3++3n p3ints 3f !iew are the fr3ntal sh3t< the side !iew< the three'?uarters fr3ntal !iew and the #ack !iew< all 3f which are used in #3th adaptati3ns t3 sh3w the spatial relati3n #etween characters as the4 speak t3 each 3ther.523 )3r e9a+ple< Henr4 +a4 #e standing in fr3nt 3f the ca+era #ut he can speak t3 .lean3r wh3 is standing t3 the left 3f the ca+era. .?uall4 the ca+era +a4 #e f3cussed 3n #3th Henr4 and .lean3r as the4 speak with each 3ther and sh3w a side !iew 3f #3th t3 clarif4 their distance fr3+ each 3ther. %a+era angles can als3 influence the sh3t. An e4e'le!el !iew +a4 create a sta#le i+age 3f where the acti3n takes place 3r what is happening< #ut high'angle 3r l3w'angle !iews +a4 +ake a sh3t !isuall4 +3re interesting t3 the audience. .speciall4 as a se?uence +3!es fr3+ a wide sh3t t3 a cl3ser sh3t the audience +a4 feel drawn int3 the w3rld 3f the fil+.524 &3th adaptati3ns fre?uentl4 use high'angle !iews t3 intr3duce settings and s3+eti+es acti3n< f3r e9a+ple when Alais is led t3 the chapel in the 5966 fil+. -he fa+il4 +3!es thr3ugh the dining hall and is sh3wn fr3+ a !er4 high angle t3 sh3w where the4 are and in which directi3n the4 are +3!ing. L3w'angle sh3ts are rarel4 used f3r an4 3ther reas3n than that act3rs are sh3wn as the4 +3!e d3wn staircases t3wards the ca+era #el3w the+ 3r +3!e upstairs awa4 fr3+ it. /n dial3gue se?uences act3rs +a4 #e sh3wn full4 Ba full'length sh3t 3r +ediu+ l3ng sh3tC< 3ften clarif4ing their p3siti3n in a r33+ 3r a gr3up 3f pe3ple. /f this +akes a sh3t t33 wide the4 +a4 #e sh3wn in a V sh3t B3r knee sh3tC. -he +3st c3++3n sh3t in dial3gue se?uences has alwa4s #een the +ediu+ sh3t< sh3wing act3rs fr3+ head t3 waist. /f the ca+era @33+s in further the sh3ts are na+ed cl3se'ups< !ar4ing fr3+ +ediu+ cl3se'up Bsh3wing the head as well as part 3f the t3rs3C t3 !er4 cl3se'up Bsh3wing less than the wh3le headC. An e9tre+e cl3se'up can sh3w an is3lated detail 3f the hu+an #3d4 3r the surr3undings t3 place e+phasis 3n it.525 -hese !ari3us degrees 3f sh3wing the characters as the4 speak with each 3ther are used in #3th fil+s. -he difference #etween the st4le 3f the fil+ and that 3f the +iniseries is f3und in the !ariati3n #etween sh3ts. 0)& Editing: the final form

-3 sh3w this !ariati3n in st4le it is i+p3rtant t3 discuss the a+3unt 3f editing that takes place. .diting is cl3sel4 c3nnected t3 the ch3ice 3f ca+era +3!e+ent. A +3!ing ca+era +a4 +ake cutting #etween scenes unnecessar4< either #4 +3!ing fr3+ 3ne character t3 an3ther 3r #4 @33+ing in 3r 3ut. "uch a si+ple +3!e 3f the ca+era is called a pan and +a4 #e used t3 !ari3us effects< f3r e9a+ple t3 f3ll3w the acti3n 3r a pers3n in a scene and refra+e 3n a different sp3t in the a!aila#le space t3 keep f3cus. *anning can als3 #e used t3 gi!e a kinetic effect< f3ll3wing a +3!e+ent 3ne wa4 and then f3ll3wing an3ther +3!e+ent in the 3pp3site directi3n. /t can als3 #e used t3 e+phasi@e depth< f3ll3wing +3!e+ent in the #ackgr3und and then refra+ing t3 f3cus 3n s3+ething in the f3regr3und.526 /f the direct3r ch33ses n3t t3 use ca+era +3!e+ent< editing +ust take its place< unless a ca+era angle is ch3sen that sh3ws all 3f the Dstage;< +uch like it is in theatre< which w3uld depri!e the fil+ narrati!e 3f an4 f3cus. -here are !ari3us wa4s 3f cutting #etween sh3ts< #ut
522 523

Millers3n< pp. 66'7E e9a+ples are +4 3wn. Millers3n< p. 66. 524 >at@< pp. 240'4. 525 Millers3n< p. 69. 526 >at@< pp. 279'63.

26

#3th adaptati3ns 3nl4 use the cut Ban instantane3us fl3w fr3+ 3ne sh3t t3 an3therC and the fade Bwhere the screen +3+entaril4 fades int3 #lack t3 +3re clearl4 define the end 3f 3ne scene #ef3re the ne9t starts.527 .diting can #e used t3 sh3w c3nnecti3ns 3n the te+p3ral< spatial and l3gical le!el in a fil+.526 /f the ca+era sh3ws Henr4 speaking a line 3f dial3gue and the ne9t sh3t is 3f 0ichard< it can #e l3gicall4 assu+ed that he was speaking t3 0ichard 3r a#3ut 0ichard. /t can als3 #e assu+ed that ti+e has +3!ed realisticall4 and that 3nl4 a +3+ent has passed #etween the last sh3t 3f Henr4 and the ne9t sh3t 3f 0ichard. -his is called c3ntinuit4 editing. /f Henr4 is l33king t3 the left 3f the screen the spatial c3nnecti3n f3r+ed #4 editing< the e4e line +atch< re?uires 0ichard t3 l33k t3 the right in the f3ll3wing sh3t. &el3w / will discuss tw3 scenes fr3+ The Lion in Winter as the4 were used in the fil+ adaptati3ns. /n #3th cases the dial3gue differs !er4 little and 3nl4 in +in3r details. -he real change is +ade #4 editing and the ch3ice 3f ca+era angles. /n the first scene .lean3r +eets her three s3ns inside the castle. -he fil+ intr3duces the scene si+pl4 #4 cutting fr3+ the preceding sh3t 3f the s3ns 3n the castle wall l33king at their +3ther arri!ing 3n the ri!er#ank t3 a tight cl3se'up sh3wing .lean3r;s head in the centre as she starts speaking t3 =3hn. -he ca+era d3es n3t +3!e< #ut @33+s 3ut t3 include =3hn wh3 is in fr3nt 3f her< slightl4 t3 the left. -hen the ca+era @33+s 3ut further and +3!es slightl4 t3 put 0ichard and :e3ffre4 wh3 are standing t3 the right 3f .lean3r in the fra+e as well. -he ca+era h3lds this +ediu+ sh3t while .lean3r speaks t3 her s3ns< #ut as she c3ntinues 3n the su#Fect 3f *hilip and her hist3r4 with his father< the ca+era sl3wl4 @33+s in 3n her again until she finishes her speech. At that +3+ent tru+pets are heard and the scene cuts t3 a +ediu+ sh3t 3f all f3ur characters again as .lean3r draws attenti3n t3 the s3und and the4 start lea!ing the r33+ at which p3int the scene cuts again t3 a different part 3f the castle where the4 talk 3n. -he scene sh3ws a re+arka#le lack 3f +3!e+ent< #3th in the act3rs and in the ca+era< and is al+3st a se?uence sh3t< a scene taken in 3ne sh3t with3ut editing.529 -he lack 3f cutting and the sl3w +3!e+ent 3f the @33+ +akes the scene see+ static. ,n the wh3le the +iniseries +akes +3re use 3f editing and ca+era +3!e+ent in the dial3gues. /n this scene a pan is used as .lean3r enters the fl33r le!el 3f the r3und t3wer and +3!es ar3und a l3w cart in the +iddle al3ng the walls t3 the 3ther side. -he pan ends 3n a +ediu+ sh3t 3f her 3n the left side 3f the screen and her guard t3 the right 3f her. As she turns the ca+era f3ll3ws her #ack t3wards the centre 3f the r33+ t3 a full'length sh3t 3f =3hn in the centre and .lean3r t3 the right 3f the screen with her #ack t3wards the ca+era. -he f3ur characters are distanced fr3+ each 3ther< p3siti3ned ar3und the r33+. )r3+ .lean3r;s perspecti!e =3hn is in the +iddle 3f the r33+ in fr3nt 3f the cart< :e3ffre4 is se!eral feet t3 the left< nearer t3 her< while 0ichard is leaning against the wall far #ehind =3hn. 1uring their c3n!ersati3n =3hn and :e3ffre4 thr3w a ca##age #etween the+< which is sh3wn #4 cutting t3 sh3ts 3f the+ catching the ca##age se!eral ti+es. .lean3r +3!es #etween =3hn and :e3ffre4< #ut d3es n3t +3!e t3wards 0ichard. (hen she speaks t3 her s3ns indi!iduall4 the scene cuts first t3 a sh3t 3f her starting t3 speak and then t3 the 3#Fect 3f her attenti3n in a +ediu+ sh3t 3r cl3se'up< depending 3n the i+p3rtance 3f #3d4 language 3r facial e9pressi3n. -he !ari3us cuts during the c3n!ersati3n sh3w the reacti3ns t3 .lean3r;s w3rds as well as the relati3nship #etween the three #r3thers as the4 are seen watching each 3ther< as i+plied #4 the e4e lines in the sh3ts that f3ll3w each 3ther. )3r e9a+ple< 0ichard is seen watching s3+ething t3 his rightE the ne9t sh3t is 3f =3hn< i+pl4ing that he is watching =3hn. -he scene ends when .lean3r lea!es the r33+ and a wide sh3t sh3ws the three s3ns in silence.
527
526

H%ine+a$ H3w are H3ll4w33d )il+s Made.I >at@< p. 546. 529 "ee n3te 52.

29

,ne 3f the scenes that features all characters in The Lion in Winter is the wedding scene. /n #3th adaptati3ns this scene takes place in the castle;s chapel #ecause 3f which a #ish3p is added t3 the scene. /n the 5966 fil+ the #ish3p with tw3 attendants take their place in the chapel while the +ain characters are lined up 3pp3site the+. -he fil+ alternates #etween full length sh3ts 3f the entire line 3f pe3ple and the chapel #ehind the+< +ediu+ sh3ts 3f 0ichard< Alais< .lean3r and Henr4 standing in line as the4 speak and se!eral cl3se' ups 3f tw3 characters #eside each 3ther. -he sh3ts f3cus the attenti3n 3n the characters that are speaking< 3nl4 cutting fr3+ 3ne sh3t t3 an3ther when the attenti3n is f3cussed 3n different characters in the line. )ull length sh3ts are used when characters step 3ut 3f line t3 lea!e the chapel 3r when all characters are sh3wn t3 see h3w the characters with3ut dial3gue react t3 what is happening. -he 3nl4 #ig cl3se'up in the scene is 3f Henr4 when he sh3ws pain at the +enti3n 3f his dead s3n Henr4. All these sh3ts are +ade fr3+ a straight line in fr3nt 3f the +ain characters 3r fr3+ the 3pp3site end 3f the chapel. -his fr3ntalit4 is #r3ken 3nl4 twice #4 placing the ca+era at the end 3f the line in a +ediu+ sh3t< centrali@ing the reacti3n 3f .lean3r and 3f 0ichard. -he chapel in the +iniseries is s+aller and the characters are placed differentl4. 0ichard and Alais st3p in fr3nt 3f the #ish3p< Henr4 #eside Alais and .lean3r slightl4 #ehind 0ichard. &ehind .lean3r is :e3ffre4. =3hn st3ps in the #ackgr3und near the entrance. *hilip enters when Alais tries t3 run 3ut and f3rces her t3 return t3 her place #eside 0ichard. H3we!er< as the scene pr3gresses the characters +3!e ar3und the r33+ and each 3ther. (hile speaking t3 0ichard Henr4 st3ps near his s3n< a se?uence d3ne in a sh3t re!erse sh3t cutting<530 alternating #etween cl3se'ups 3f the tw3 characters as the4 speak t3 each 3ther. (hen Henr4 speaks with *hilip he has t3 +3!e acr3ss the chapel #ef3re he can reall4 argue with hi+< which is sh3wn #4 a pan sh3t f3ll3wing Henr4 fr3+ a +ediu+ sh3t int3 a cl3se'up. &ecause the characters argue with each 3ther s3 +uch there are +an4 cuts #etween sh3ts 3f speaking characters< #ut these are als3 alternated with sh3ts 3f .lean3r and :e3ffre4 l33king 3n< 3f =3hn sulking in the c3rner until Henr4 drags hi+ int3 the c3n!ersati3n< 3f Alais cr4ing ?uietl4 and 3f c3urse 3f se!eral characters lea!ing the chapel. -his +3ntage 3f rapidl4 changing sh3ts is +uch less static than the scene in the fil+< n3t in the least #ecause the act3rs are n3t lined up #ut +3!e ar3und the r33+. Conclu ion -he +3st n3ta#le thing a#3ut the use 3f ca+era angles< +3!e+ent and editing in the fil+ adaptati3ns 3f The Lion in Winter is that the 5966 fil+ is s3 +uch +3re static than the +iniseries. N3t 3nl4 d3 the characters in the +iniseries +3!e ar3und their l3cati3ns +3re< #ut the ca+era f3ll3ws the+ +3re. -he +iniseries als3 +akes +3re use 3f editing #4 alternating #etween sh3ts 3f the speaking characters rather than sh3wing the+ t3gether in 3ne sh3t. Alth3ugh there are +an4 p3ints 3f !iew a ca+era can take the +3st c3++3n sh3ts are still e4e'le!el !iews 3f the characters in full length< +ediu+ 3r cl3se sh3ts. ,ther angles Bhigh sh3ts and l3w sh3tsC are used when staircases 3r castle walls are used 3r when e9teri3rs are intr3duced. -he difference #etween the use 3f these techni?ues in the +iniseries and the fil+< +akes the fil+ see+ +3re static and cl3ser t3 a stage perf3r+ance< where there is 3nl4 3ne p3int 3f !iew f3r the audience +e+#er.

530

>at@< p. 575.

30

Conclu ion Adaptati3ns 3ffer a c3+ple9 pr3#le+ t3 critics and sch3lars. (hat +akes an adaptati3n g33d 3r #ad is +3st 3ften a +atter 3f pers3nal taste 3r 3f a presupp3sed idea that n3 adaptati3n will e!er #e as g33d as its s3urce. /t is f3r this reas3n that +3st s3urces that discuss the fil+ adaptati3ns 3f The Lion in Winter discuss and c3+pare their +erit in ter+s 3f h3w enF34a#le 3r c3n!incing these fil+s are. Little attenti3n is paid t3 h3w true the adaptati3ns are t3 their s3urce te9t 3r what +akes the tw3 adaptati3ns differ fr3+ each 3ther. -he +3st #asic differences< the acting and the speed 3f editing are 3nl4 #riefl4 discussed #4 critics< s3+eti+es fa!3uring the 5966 fil+< s3+eti+es the 2003 +iniseries. (hether these ele+ents are c3nsidered effecti!e is t3 a certain e9tent a +atter 3f taste. -hat these differences e9ist is n3t. -he tw3 adaptati3ns 3f The Lion in Winter pr3!e that e!er4 fil+ adaptati3n that is +ade< e!en when the sa+e screenpla4 is used< has its 3wn specific l33k and can use the fil+ +ediu+ in different wa4s. -his +akes it difficult t3 sh3w the differences #etween fil+ and theatre. -he 5966 fil+ differs less fr3+ what is percei!ed as theatrical than the 2003 +iniseries. Alth3ugh the screenpla4 3f The Lion in Winter f3ll3ws +3st 3f the narrati!e 3f the pla4 the structure a fil+ re?uires caused certain changes in the intr3ducti3n 3f characters and e!ents. (hile the intr3ducti3n 3f the cast was di!ided 3!er tw3 scenes with tw3 different stage dec3rs< #3th fil+s ch3se t3 cut #etween the tw3 scenes s3 that all the characters c3uld #e intr3duced at the start 3f the fil+. -he re?uire+ents f3r the length 3f a screenpla4 caused =a+es :3ld+an t3 delete se!eral lines 3f dial3gue< alth3ugh these deleti3ns did n3t change the relati3nships #etween characters. /n the pla4 se!eral lines 3nl4 repeated 3r e+phasi@ed the +eaning 3f 3thers. &ecause 3f the li+it t3 what can #e sh3wn 3n screen in a certain a+3unt 3f ti+e< deleti3ns 3r transp3siti3ns were +ade within scenes< putting an e+phasis 3n the +3st i+p3rtant characters in a scene rather than all the characters present< as was the case 3n stage. Here a ch3ice is +ade #4 the fil++akers that in the theatre #el3nged t3 the audience. )urther changes t3 the narrati!e were +ade #ecause the l3cati3ns in which theatre and fil+s are perf3r+ed can differ s3 e9tensi!el4. &3th fil+ adaptati3ns ch3se t3 intr3duce se!eral characters 3utside the setting 3f the pla4$ %hin3n at %hrist+as 5563. -hese l3cati3ns that were used t3 depict different regi3ns 3r different ti+es cann3t #e used 3n stage as easil4. /t w3uld entail t33 +an4 shifts in the dOc3r. -heatre usuall4 s3l!es this pr3#le+ #4 referring t3 different l3cati3ns< ti+es 3r e!ents in the dial3gue< as d3es The Lion in Winter. H3we!er< the use 3f l3cati3n in fil+ adaptati3ns can change the at+3sphere 3f the setting c3+pletel4. (here :3ld+an descri#ed a light< air4 castle< Anth3n4 Har!e4 ch3se t3 +ake the 5966 fil+ l33k dark and dirt4 s3 as t3 #reak with the H3ll4w33d traditi3n 3f sh3wing the Middle Ages as c3l3urful and clean. -he 2003 +iniseries was influenced #4 an3ther de!el3p+ent in fil+ pr3ducti3n. M3st hist3rical fil+s these da4s are fil+ed in .astern .ur3pe which 3ffers +an4 hist3rical l3cati3ns and were pr3ducti3n c3sts are l3w. Andrei >3nchal3!sk4 ch3se a light< large castle< alth3ugh se!eral r33+s appear t3 #e less large than :3ld+an en!isi3ned the+ f3r the stage. An3ther difference #etween the use 3f l3cati3n in #3th adaptati3ns is that the +iniseries uses 3ne l3cati3n t3 d3u#le f3r %hin3n< while the fil+ used se!eral l3cati3ns in )rance and se!eral sets #uilt in a studi3 t3 f3r+ the i+age 3f a wh3le castle. &ecause characters +3!e ar3und the castle +3re in the fil+s than the4 can 3n stage< it is i+p3rtant t3 displa4 the spatial c3nnecti3ns #etween r33+s and i+pl4 a c3nnecti3n< e!en when a hallwa4 is l3cated in a +edie!al a##e4 and the r33+ it 3pens int3 is a studi3'#uilt set. 1ispla4ing these spatial c3nnecti3ns is easier in the +iniseries #ecause 3ne castle is used where halls and r33+s are indeed c3nnected.

35

An ele+ent 3f stage and fil+ pr3ducti3n that differs little is the casting and c3stu+ing 3f act3rs. -heatre can 3ffer c3stu+es as ela#3rate 3r si+ple as fil+ can and the casting 3f act3rs need n3t #e different. -here is h3we!er a difference #etween h3w +uch can #e sh3wn 3n stage and h3w +uch the ca+era can capture 3n fil+. -heatre acting theref3re re?uires a +3re e9plicit p3rtra4al 3f the inner w3rld 3f a character thr3ugh +3!e+ent and speech< while fil+< especiall4 when sh3wing cl3se'ups 3f characters< can sh3w their e+3ti3ns #4 their facial e9pressi3n al3ne. Acting 3n stage has als3 de!el3ped wa4s 3f sh3wing the age 3f characters #4 their dep3rt+ent and +3!e+ents +3re than casting. -he tw3 fil+ adaptati3ns differ in their p3rtra4al 3f the characters. (here the 5966 fil+ f3ll3ws theatrical traditi3ns +3re cl3sel4< als3 #ecause 3f static ca+era angles< the 2003 +iniseries +akes use 3f ca+era +3!e+ent t3 sh3w as +uch 3f the characters; e+3ti3ns as p3ssi#le and +akes it unnecessar4 t3 use the e9aggerated gestures used in stage acting. As +enti3ned a#3!e the use 3f ca+era angles< +3!e+ent and editing in the tw3 fil+ adaptati3ns als3 differs. -heatre 3ffers t3 the audience 3ne !iew 3f the stage. -he 3nl4 +3!e+ent 3f the p3int'3f'!iew that is p3ssi#le is a turn 3f the head t3 f3ll3w the acti3n 3n stage 3r t3 f3cus 3n a character instead 3f an3ther. -he +ain difference in fil+ is that the ca+era 3ften ch33ses the p3int'3f'!iew f3r the audience. /n wide sh3ts 3r +ediu+ sh3ts an audience +e+#er +a4 still f3cus 3n 3ne 3f the characters seen 3n screen< #ut when a fil+ gi!es a cl3se'up 3f 3ne act3r instead 3f sh3wing all the characters present ar3und hi+< the ch3ice is alread4 +ade. -his directs n3t 3nl4 the f3cus 3f a narrati!e #ut als3 c3n!e4s +eaning. An3ther use 3f the ca+era and editing is cl3sel4 c3nnected t3 sh3wing space. -he relati3nship #etween characters in a r33+ can #e sh3wn #4 their distance fr3+ each 3ther 3r #4 l33ks in a certain directi3n and a f3ll3wing +atching sh3t 3f whate!er is seen. -his can c3n!e4 +eaning as well. )urther+3re< ca+era angles can hide the fact that s3+e sets are n3t a wh3le and are c3nstituted fr3+ se!eral different l3cati3ns< thus creating the illusi3n 3f 3ne l3cati3n. -he differences #etween theatre and fil+ are thus cl3sel4 c3nnected t3 the p3ssi#ilities 3ffered #4 l3cati3n and #4 th3se 3ffered #4 ca+era use and editing. 0ewriting in +an4 cases is influenced #4 a change 3f l3cati3n 3r the p3ssi#ilit4 3f cutting #etween scenes. -he w3rld created 3n stage is less ela#3rate than that created 3n fil+ and can #e sh3wn in less detail and fr3+ a +3re static p3int'3f'!iew 3nl4. )il+ +a4 3ffer a !er4 si+ilar narrati!e t3 theatre< perf3r+ed in si+ilar wa4s< #ut it alwa4s has its 3wn wa4 3f sh3wing this narrati!e. .!en when a direct3r< such as Anth3n4 Har!e4< ch33ses a !er4 static ca+era p3int'3f'!iew and ch33ses t3 refrain fr3+ editing t33 +uch< fil+ing in l3ng takes< the ca+era #rings act3rs cl3ser 3r sh3ws the+ further awa4 than is p3ssi#le 3n stage. M3re +3!e+ent and +3re p3ints'3f'!iew are 3ffered in scenes than is p3ssi#le f3r theatre.

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Li t of Wor2 Cited !rimary ource : :3ld+an< =a+es. The Lion in Winter. 5966. New 23rk$ 0and3+ H3use -rade *aper#acks< 2004. The Lion in Winter. 1ir. Anth3n4 Har!e4. *erf. *eter 3;-33le< >atharine Hep#urn< Anth3n4 H3pkins< and -i+3th4 1alt3n. %3n#3w *r3ducti3ns< /nc.< 5966. 1A1. M3+entu+ *ictures< 2002. 537 +inutes. Har!e4< Anth3n4. H1irect3r;s %3++entar4.I The Lion in Winter< 5966. 1A1. M3+entu+ *ictures< 2002. The Lion in Winter. 1ir. Andrei >3nchal3!sk4. *erf. *atrick "tewart< :lenn %l3se< Andrew H3ward< and =3nathan 0h4s'Me4ers. Hall+ark H3+e .ntertain+ent< 2003. 1A1. &ridge .ntertain+ent :r3up &.A.< 2004. 553 +inutes. Secondary ource : HA##a4e de M3nt+aF3ur.I Monum, (entre des Monuments Nationau!. 2006. M3nu+. 23 =une 2006 Wwww.+3nu+.frX!isite@Xdec3u!rirXfiche.d+lRlangYenPidY66Z HAndrei >3nchal3!sk4.I Wi'i+edia, The Free #n y lo+edia. 2006. (iki+edia )3undati3n< /nc. 56 =une 2006 Whttp$XXen.wikipedia.3rgXwikiXAndrei[>3nchal3!sk4Z &a@in< AndrO. D-heater and %ine+a.; /n$ Film Theory and (riti ism. .ds. :erald Mast and Marshall %3hen. New 23rk< L3nd3n and -3r3nt3$ ,9f3rd *< 5974$ 276'90. &ul+an< =a+es %.< D/ntr3ducti3n.; /n$ Sha'es+eare, Theory and Performan e. .d. =a+es %. &ul+an. L3nd3n$ 03utledge< 5996. %art+ell< 1e#3rah< and /+elda (helehan< eds. Ada+tations1 From Te!t to S reen, S reen to Te!t. L3nd3n and New 23rk$ 03utledge< 5999. H%ine+a$ H3w are H3ll4w33d )il+s Made.I (inema. 5997'2006. Annen#erg Media. 57 =une 2006 Wwww.learner.3rgXe9hi#itsXcine+aXres3urces.ht+lZ 1ansk4< 0... 0e!. 3f The Lion in Winter< #4 =a+es :3ld+an. Green Man "e$iews. 2006. :reen Man 0e!iew. 54 =une 2006 W http$XXwww.green+anre!iew.c3+X#33kX#33k[g3ld+an[li3ninthewinter.ht+lZ 13nalds3n< *eter ". 0e!. 3f. The (ambridge (om+anion to Sha'es+eare on Film< ed. 0ussell =acks3n< and A -istory of Sha'es+eare on S reen1 A (entury of Film and Tele$ision < #4 >enneth ". 03thwell. Sha'es+eare Studies 35 B2003C$ 240'59. .lli3tt< >a+illa. "ethin'ing the No$el2Film ,ebate. %a+#ridge$ %a+#ridge *< 2003. Harr3p< =3hn. A ting. L3nd3n and New 23rk$ 03utledge< 5992.

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H3f+ann< >atFa. D"trength in Nu+#ers$ .astern #l3c recruits add depth t3 . ;s cine+atic 3utput.; 3ariety Wee'end #dition. 2006. 0eed &usiness /nf3r+ati3n. 56 Aug 2006 Whttp$XXwww.!ariet4.c3+Xac2005[articleXA05557954495Rna!YefaZ =acks3n< 0ussell< ed. The (ambridge (om+anion to Sha'es+eare on Film . %a+#ridge$ %a+#ridge *< 2000. H=a+es :3ld+an.I Wi'i+edia, The Free #n y lo+edia. 2006. (iki+edia )3undati3n< /nc. 56 =une 2006 Whttp$XXen.wikipedia.3rgXwikiX=a+es[:3ld+anZ H=a+es :3ld+an B/C.I *nternet Mo$ie ,atabase. 5990'2006. /nternet M3!ie 1ata#ase /nc. 56 =une 2006 Whttp$XXwww.i+d#.c3+Xna+eXn+0063953XZ >at@< "te!en 1. Film ,ire ting Shot by Shot1 3isuali4ing from (on e+t to S reen . "tudi3 %it4< %A$ Michael (iese *r3ducti3ns< 5995. >ukura< 0ud3lf. S+iss'y -rad. 9 =ul4 2006 Wwww.spissk4hrad.skXen.ht+lZ Laws3n< =3hn H3ward. Theory and Te hni5ue of Playwriting and S reenwriting . New 23rk and L3nd3n$ :arland *u#lishing< 5965. Lietch< -h3+as. D-wel!e )allacies in %3nte+p3rar4 Adaptati3n -he3r4.; (riti ism 45$2< 2003$ 549'75. L3ehlin< =a+es N. DH-3p 3f the w3rld< +aI$ "i hard *** and cine+atic c3n!enti3n.; /n$ Sha'es+eare, The Mo$ie, **1 Po+ulari4ing the Plays on Film, T3, 3ideo, and ,3, . .ds. 0ichard &urt and L4nda .. &33se. L3nd3n and New 23rk$ 03utledge< 2003. Magill< ).N. D-he Li3n in (inter.; Magill)s Sur$ey of (inema. 55 =une 5995. 0ealit4 M3use Media. 54 =une 2006 Whttp$XXwww.realit4+3use.c3+X3t33leXarticlesXli3n.ht+lZ Mc)arlane< &rian. No$el to Film1 An *ntrodu tion to the Theory of Ada+tation . ,9f3rd$ %larend3n *ress< 5996. Millers3n< :erald. 3ideo (amera Te hni5ues. ,9f3rd$ )3cal *ress< 2005. *arker< *hilip. The Art and S ien e of S reenwriting. .9eter$ /ntellect &33ks< 5996. "harp< /s3#el. 0e!. 3f The Lion in Winter< dir. Anth3n4 Har!e4. eFilm(riti 6 om. 5997'2006. H&" .ntertain+ent /nc. 54 =une 2006 Wwww.efil+critic.c3+Xre!iew.phpR+3!ieY5642Pre!iewerY295Z "3ntag< "usan. D)il+ and -heatre.; /n$ Film Theory and (riti ism. .ds. :erald Mast and Marshall %3hen. New 23rk< L3nd3n and -3r3nt3$ ,9f3rd *< 5974$ 249'67. H-arasc3n.I Wi'i+edia, The Free #n y lo+edia. 2006. (iki+edia )3undati3n< /nc. 56 =une 2006 Whttp$XXen.wikipedia.3rgXwikiX-arasc3nZ H-he Li3n in (inter.I "-* #ntertainment. 2004. 0H/ .ntertain+ent 1istri#uti3n. 54 =une 2006 Whttp$XXwww.rhifil+s.c3+Xpr3pert4.phpRpr3pert4/dYLi3n/n(interZ

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H-he Li3n in (inter.I Wi'i+edia, The Free #n y lo+edia. 2006. (iki+edia )3undati3n< /nc. 56 =une 2006 Whttp$XXen.wikipedia.3rgXwikiX-he[Li3n[in[(interZ H-he Li3n in (inter B5966C.I *nternet Mo$ie ,atabase. 5990'2006. /nternet M3!ie 1ata#ase /nc. 56 =une 2006 Whttp$XXwww.i+d#.c3+XtitleXtt0063227XZ H-he Li3n in (inter B2003C.I *nternet Mo$ie ,atabase. 5990'2006. /nternet M3!ie 1ata#ase /nc. 56 =une 2006 Whttp$XXwww.i+d#.c3+XtitleXtt0359754XZ D-he Li3n in (inter$ ,scar in the Middle Ages.; 2006. A#3ut< /nc. 54 =une 2006 Whttp$XXhist3r4+edren.a#3ut.c3+Xli#rar4X+3!iesX#l+!winter.ht+Z (e#< =. 0e!. 3f The Lion in Winter< dir. Anth3n4 Har!e4. 56 =une 2006. Whttp$XXwww.sc33p4.c3+Xli3ninwinter.ht+Z (hite< .dwin %. and &att4e< Marguerite. A ting . Stage Mo$ement. %3l3rad3 "prings$ Meriwether *u#lishing< 5965. Uad< Martie. HD-he Li3n in (inter; B*:C.I Washington+ost6 om. 27 Mar 5994. -he (ashingt3n *3st %3+pan4. 54 =une 2006 Wwww.washingt3np3st.c3+Xwp' sr!Xst4leXl3ngter+X+3!iesX!ide3sXtheli3ninwinterpg@ad[a09e0f.ht+Z

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Appendi, A The play Act " "cene 5 is set in Alais; cha+#er in the late aftern33n. Alais and Henr4 argue a#3ut Henr4;s relati3nships with .lean3r and his s3ns< a#3ut her d3wr4 and >ing *hilip 3f )rance< her #r3ther and a#3ut the c3+ing %hrist+as t3 which e!er43ne is in!ited. "cene 2 is set in a recepti3n hall. /t intr3duces all the characters t3 each 3ther and i++ediatel4 +akes clear the underl4ing relati3nships. /t #ec3+es 3#!i3us that Henr4 and .lean3r are p3werful 3pp3nents and that all 3ther characters are tr4ing t3 h3ld their 3wn against e!er43ne else. -he scene als3 intr3duces the +3ti!es these characters ha!e f3r fighting 3!er the cr3wn< Alais and their pr3!inces. >ing *hilip clearl4 states that Henr4 sh3uld h3n3ur the treat4 he +ade with )rance and ha!e Alais +arr4 0ichard. /n scene 3< set in .lean3r;s cha+#er s3+e ti+e after the first tw3 scenes< .lean3r tries t3 win 0ichard #ack< #ut he d3es n3t #elie!e she reall4 cares f3r hi+. He feels the 3nl4 thing she wants is her preci3us A?uitaine #ack. -hen the 3ther princes and Henr4 and Alais enter. Henr4 tells the+ he has decided what t3 d3 in the argu+ent with *hilip$ 0ichard gets e!er4thing and the kingd3+ will re+ain intact. 0ichard d3es n3t trust Henr4 either< #ut =3hn and :e3ffre4 d3. =3hn lashes 3ut at 0ichard and :e3ffre4 parts with =3hn in fa!3ur 3f the winning side. Alais and =3hn lea!e< hurt and furi3us. :e3ffre4 lea!es intending t3 sell e!er43ne 3ut t3 e!er43ne else if he can find a wa4 t3 d3 it and .lean3r is left t3 win 0ichard;s heart and with it the A?uitaine #ack< which she e!entuall4 d3es. "cene 4 is set in the recepti3n hall again< i++ediatel4 after scene 3. -he pl3t thickens as :e3ffre4 regains =3hn;s trust and gets hi+ t3 pl3t with *hilip t3 get an ar+4 with which the4 can gain p3wer. Henr4 tries t3 get the A?uitaine f3r =3hn as a c3ns3lati3n pri@e f3r l3sing the cr3wn #ut .lean3r f3rces hi+ t3 let 0ichard +arr4 Alais in return. (hen it #ec3+es clear t3 0ichard that he will ha!e t3 gi!e up the A?uitaine f3r Alais< he refuses t3 +arr4 her< declares war 3n Henr4 and is +ade a pris3ner inside the castle. =3hn and :e3ffre4 are sure =3hn will #ec3+e king again and Alais and Henr4 are rec3nciled. "cene 5 is set in .lean3r;s cha+#er sh3rtl4 afterwards and c3ncentrates 3n her relati3nship with her s3ns. "he feels heart'#r3ken n3w that she see+s t3 ha!e l3st e!er4thing. :e3ffre4 c3+es t3 her and asks her wh4 she has alwa4s #een s3 indifferent t3wards hi+< #ut she cann3t answer. -hen 0ichard and =3hn c3+e in< still antag3nistic t3wards each 3ther. (hen =3hn accidentall4 re!eals his treacher3us pact with *hilip .lean3r regains her strength< seeing an 3pp3rtunit4 t3 get 0ichard #ack in the ga+e. "he gets :e3ffre4 t3 help her keep =3hn awa4 fr3+ *hilip and tells 0ichard t3 g3 and ask *hilip f3r an ar+4. /n scene 6< set in *hilip;s cha+#er late in the e!ening< the three s3ns g3 t3 *hilip t3 ask f3r an ar+4< pr3+ising !ari3us regi3ns 3f .nglish )rance in return. /n a classic scene e!er43ne hides #ehind tapestries while 3thers c3+e t3 the r33+. =3hn is there when :e3ffre4 arri!es t3 ask *hilip t3 help hi+ #ec3+e king instead 3f =3hn. :e3ffre4 then has t3 c3n!ince =3hn that it was 3nl4 t3 +ake sure that *hilip w3uld n3t tell Henr4 a#3ut their f3r+er agree+ent< #ut the4 are interrupted #4 the arri!al 3f 0ichard and hide. 0ichard turns 3ut t3 #e an 3ld friend and f3r+er l3!er 3f *hilip and is f3rced t3 hide when Henr4 arri!es t3 discuss his treat4 with

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)rance. *hilip e!entuall4 #etra4s 0ichard t3 his father< at which p3int :e3ffre4 #etra4s =3hn as well< stating that he is the 3nl4 s3n Henr4 has left. Henr4< h3we!er< heart'#r3ken 3!er e!er43ne;s treacher4 declares that he has n3 s3ns and that n3ne 3f the+ will get his kingd3+. Act II Act 5 ended with e!er43ne l3sing as Henr4 disinherited all his s3ns. *hilip at this p3int disappears fr3+ the pla4. Act // sees Henr4 threaten t3 annul his +arriage with .lean3r s3 that he can take Alais as his wife and get a new heir t3 the thr3ne. An heir< wh3< as e!er43ne tells Henr4< will #e unpr3tected after his death. -3 ensure his safet4 Henr4 will #e f3rced t3 keep his 3ther s3ns l3cked up 3r ha!e the+ killed. -his new turn 3f e!ents unifies the #r3thers in a c3++3n cause. "cene 5 is set late at night in Henr4;s cha+#er< where Alais sits al3ne until .lean3r c3+es in. "he has c3+e t3 ask Henr4 f3r peace as she feels tired 3f all the intrigue. "he and Alais talk with each 3ther as the +3ther and daughter the4 3nce al+3st were< #ut Alais re+ains sceptic 3f .lean3r;s intenti3ns. Henr4 returns t3 the r33+ and Alais lea!es. Henr4 and .lean3r talk a#3ut their s3ns and ad+it that it is their fault the4 ha!e #ec3+e wh3 the4 are. .lean3r tries t3 c3n!ince Henr4 that she Fust wants a peaceful life< #ut as Henr4 re!eals his new plan she pr3+ises t3 fight hi+ e!er4 step 3f the wa4. Henr4 is planning 3n g3ing t3 03+e t3 speak with the p3pe< #ut l3cks his s3ns up t3 st3p the+ fr3+ taking his kingd3+ while he is g3ne. "cene 2 is set in Alais; cha+#er at dawn the ne9t da4. Henr4 c3+es in t3 wake her up and tell her the4 will #e lea!ing f3r 03+e. He has #een up all night t3 f3r+ an ent3urage and he has l3cked his s3ns up in the wine cellar. Alais re+inds hi+ that a te+p3rar4 c3nfine+ent is n3t g33d en3ugh and that if he wants her t3 +arr4 hi+ and +ake a new heir he will ha!e t3 keep his s3ns l3cked awa4 f3re!er. He lea!es t3 tell the+ the4 will indeed ne!er #e released. -he pla4 is c3ncluded in scene 3< which is set in the wine cellar. .lean3r #rings her s3ns weap3ns t3 escape in the c3nfusi3n caused #4 Henr4;s preparati3n f3r his F3urne4. 0ichard i++ediatel4 Fu+ps at the chance t3 escape< #ut :e3ffre4 suggests the4 can sta4 and kill Henr4. He accuses .lean3r 3f helping the+ 3nl4 with that purp3se in +ind< #ut she is +3rtified that her s3ns are willing t3 #ec3+e assassins. (hen Henr4 enters she sh3ws hi+ the weap3ns t3 +ake sure that their s3ns cann3t trick hi+. Henr4 is sh3cked< #ut dares the+ t3 c3+e f3r hi+. 0ichard turns 3ut t3 #e incapa#le 3f attacking his 3wn father and gi!es up. =3hn #egs Henr4 f3r f3rgi!eness #ut when he runs t3wards hi+< Henr4 keeps hi+ at a distance with his sw3rd. As his s3ns ha!e n3w c3++itted seri3us treas3n he sentences the+ t3 death< #ut when he #rings his sw3rd d3wn t3wards 0ichard he turns 3ut t3 #e e?uall4 incapa#le 3f killing his s3n. He tells the+ t3 lea!e< which the princes d3. Henr4 and .lean3r are left t3 face the realit4 the4 ha!e created. Henr4 feels his kingd3+ is useless< while .lean3r ad+its that the 3nl4 thing 3f !alue she e!er had< and has n3w l3st< was hi+. -he4 c3+f3rt each 3ther and then laughingl4 pr3+ise t3 c3ntinue their ga+e at .aster c3urt.

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Appendi, 3 Location Sali *ury Ca tle: 5. 5966< interi3r M3nt+aF3ur A##e4E 2. 2003< unkn3wn castle.

Other location : 5. 5966< A #each in &rittan4< fil+ed in (alesE 2. 5966< 0ichard;s castle< fil+ed in (alesE 3. 2003< #attlefield f3r the re!3lt< fil+ed in &udapest.

E,terior of Chinon: 5. 5966< e9teri3r 3f M3nt+aF3ur A##e4E 2. 5966< field 3utside %hin3n< fil+ed near %arcasc3nE 3. 2003< "pissk4 castle e9teri3rE 4. 2003< "pissk4 castle and ri!er< adapted #4 c3+puter t3 create the necessar4 l33kE 5. 2003< field 3utside "pissk4 castle.

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Chinon courtyard : 5. 5966< c3urt4ard< fil+ed at -arasc3nE 2. 5966< walls t3wards the ri!er< fil+ed at -arasc3nE 3. 2003< first c3urt4ard 3f "pissk4 castleE 4. 2003< 3uter c3urt4ard 3f "pissk4 castle.

Chinon4 reception hall: 5. 5966< studi3E 2. 2003< "pissk4 castleE 3. 2003. "een fr3+ staircase 3utside *hilip;s r33+.

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Chinon4 dining hall: 5. 5966< refect3r4 3f M3nt+aF3ur A##e4E 2. 2003< dining hall in "pissk4 castle.

Chinon4 chapel: 5. 5966< church near M3nt+aF3ur A##e4E 2. 2003< r33+ in "pissk4 castle.

Chinon4 garden: 5. 5966< garden 3f M3nt+aF3ur A##e4E 2. 2003< cl3istered garden 3f "pissk4 castle.

Chinon4 !hilip1 room: 5. 5966< studi3E 2. 2003< r33+ in "pissk4 castle.

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Chinon4 cellar: 5. 5966< !aulted cellar 3f M3nt+aF3ur A##e4E 2. 2003< !aulted cellar 3f "pissk4 castle.

Other interior of Chinon: 5. 5966< studi3'#uilt hallwa4E 2. /de+E 3. 5966< cl3ister 3f M3nt+aF3ur A##e4E 4. 2003< fl33r le!el 3f the r3und t3wer in "pissk4 castleE 5. 2003< Henr4;s r33+ in "pissk4 castleE 6. /de+.

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Appendi, C The Character 5ing Henry II "#$%

)ig. 5. *eter ,;-33le as Henr4E Henr4;s +ain c3stu+eE a cl3ak f3r state 3ccasi3ns 3!er the +ain c3stu+eE Henr4;s c3stu+e in the 3pening scenes 3f the fil+. &''(

)ig 2. *atrick "tewart as Henr4E Henr4;s +ain c3stu+eE Henr4;s +ain c3stu+e with a cl3ak f3r state 3ccasi3ns.

)ig. 3. Added c3stu+es f3r a statel4 dinner< war and earl4 +3rnings.

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6ueen Eleanor "#$%

)ig. 4. >atherine Hep#urn as .lean3r in pris3nE .lean3r;s red c3stu+eE .lean3r;s 3chre c3stu+eE a green cl3ak f3r 3utside 3!er the 3chre c3stu+eE a fur cl3ak f3r 3utside 3!er the red c3stu+eE a cl3ak f3r inside 3!er the 3chre c3stu+eE .lean3r;s nightg3wn. &''(

)ig. 5. :lenn %l3se as .lean3rE .lean3r;s red c3stu+eE a fur cl3ak f3r 3utside 3!er the red c3stu+eE a c3arse red cl3ak f3r inside 3!er the red c3stu+eE a silk cl3ak f3r inside 3!er the red c3stu+e.

)ig. 6. Added c3stu+es f3r war< tra!elling in capti!it4< i+pris3n+ent and a statel4 dinner.

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!rince Richard "#$%

)ig. 7. Anth3n4 H3pkins as 0ichardE 0ichard;s +ain c3stu+eE 0ichard;s c3stu+e with a fur cl3akE 0ichard;s t3urna+ent c3stu+e in the 3pening scenes. &''(

)ig. 6. Andrew H3ward as 0ichardE 0ichard;s c3stu+e with a fur cl3ak and the chain +ail cap pulled d3wnE the sa+e c3stu+e with3ut cl3ak 3r chain +ail.

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!rince 7eoffrey "#$%

)ig. 9. =3hn %astle as :e3ffre4E :e3ffre4;s +ain c3stu+eE a c3arse cl3ak 3!er the +ain c3stu+eE :e3ffre4;s c3stu+e in the 3pening scenes. &''(

)ig. 50. =3hn Light as :e3ffre4E :e3ffre4;s c3stu+e with a cl3akE :e3ffre4;s c3stu+e with3ut the cl3ak 3r his necklace.

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!rince 8ohn "#$%

)ig. 55. Nigel -err4 as =3hnE =3hn;s c3stu+e with3ut his cl3akE =3hn;s c3stu+e with cl3ak. &''(

)ig. 52. 0afe "pall as =3hnE =3hn;s c3stu+eE =3hn;s c3stu+e with a cl3akE =3hn;s c3stu+e in the 3pening scenes.

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5ing !hilip of -rance "#$%

)ig. 53. -i+3th4 1alt3n as *hilipE *hilip;s c3stu+eE *hilip;s c3stu+e with a cl3akE *hilip;s r3#e f3r the e!ening. &''(

)ig. 54. =3nathan 0h4s Me4ers as *hilipE *hilip;s c3stu+eE *hilip;s c3stu+e with cl3ak and cr3wnE *hilip;s sec3nd tunicE *hilip;s r3#e f3r the e!ening.

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!rince "#$%

Alai

)ig. 55. =ane Merr3w as AlaisE Alais; +ain c3stu+eE Alais; +ain c3stu+e with cl3akE Alais; c3stu+e in the 3pening scenesE Alais; nightg3wn. &''(

)ig. 56. =ulia A4s3tsk4 as AlaisE Alais; +ain c3stu+eE Alais; +ain c3stu+e with a d3u#le cl3ak B3ne #lue< 3ne green !el!et and furCE Alais; c3stu+e f3r the earl4 +3rningE Alais; c3stu+e f3r a statel4 dinner.

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Appendi, . E,ample of hot

-ig) ": 5. Aer4 cl3se'upE 2. &ig cl3se'upE 3. %l3se'up.

-ig) &: 5. %l3se'upE 2. Mediu+ cl3se'upE 3. Mediu+ sh3tE 4. V BkneeC sh3tE 5. Mediu+ l3ng Bfull lengthC sh3t.

-ig) (: Aista sh3t.

-ig) /: (ide Bc3!erC sh3t.

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E,ample of cene

-ig 0: /+pressi3n 3f the first scene discussed in paragraph 5.2$ .lean3r +eets her s3ns B5966C.

-ig $: /+pressi3n 3f the first scene discussed in paragraph 5.2$ .lean3r +eets her s3ns B2003C. 50

-ig 9: /+pressi3n 3f the sec3nd scene discussed in paragraph 5.2$ the wedding scene B5966C.

55

-ig %: /+pressi3n 3f the sec3nd scene discussed in paragraph 5.2$ the wedding scene B2003C.

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Appendi, E Stage production The Lion in Winter< dir. 0ich :irardi. -3wer Audit3riu+< &3st3n< MA< 2005. -he recepti3n hall in !ari3us scenesE Act //< scene 3$ the cellar. "3urce$ 7bi5uityStage -ome. 5999'2003. #i?uit4 "tage. 57 =une 2006 Wwww.u#i?uit4stage.c3+Xli3ninwinter.sht+lZ

The Lion in Winter< c3stu+e design AndrO &ruce (ard. -heatre Me+phis< Me+phis< 2003. Henr4 and .lean3r in %3stu+e "3urce$ DMe+phis Man; Stage ,ire tions. 2004. Lifest4le Media /nc. 56 Aug 2006. Wwww.stage'directi3ns.c3+X#ackissuesXFul404Xcurtaincall.sht+lZ

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The Lion in Winter< dir. 0h3nda %lark. "et design -3+ Harringt3n. %3stu+e design %3re4 Martin. %arpenter "?uare -heatre< ,klah3+a %it4< 2005. -he setE .lean3r in c3stu+eE Alais< Henr4 and *hilipE :e3ffre4< 0ichard and =3hn. "3urce$ (ar+enter S5uare Theatre. 5999'2006. %arpenter "?uare -heatre. 57 =une 2006 Wwww.carpenters?uare.c3+Xsh3wsXsh3w[li3n[winter.ht+ Z

The Lion in Winter< dir. Milt3n >atselas. "et design %larke 1unha+. &ucks %3unt4 *la4h3use< New H3pe< *A< 5966. -he r3tating set$ recepti3n hall< r33+< cellar. "3urce$ DHLi3n in (interI$ "u++er "t3ck ' 5966.; ,unham Studios. 2002. 1unha+ "tudi3s. 57 =une 2006 Whttp$XXwww.dunha+studi3s.c3+XtheatreXstraight[pla4s2.ht+Z

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