Richard of Bordeaux
WRITING a paragraph about Richard of Botdeaux makes me feel rather like Shakespeare confronted by his wooden QO. Perhaps I could begin by saying that any resemblance between Gordon Davioet’s Richard I] and Shakespeare’s ig purely historical. Of the two I much prefer the later model. Miss Daviot’s blend of artist; philosopher and réalist is much the more credible, though this may be bécausé he expresses himself in 20th Century idiom, is influenced by reasonably 20th Century motives, ahd spéaks to a 20th Century audiénceé. (Thé Elizabéthans, and even his céntémporaties, would have found him incomprehensible.) John Gidlgud makes Him a moving ahd compelling character, though he failed to convey the youth of the Richard of the fitst few scénes. But if Gielgtid did justice to the title role the adaptation did less than justicé to author and audiénce. To reduce the play to the méagre hour and a quarter meant Héavy cutting of the lighter scenes, and wé were robbed of much 6f Miss Daviot’s wit ard of a eteat deal of necessary illumination,
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https://paperspast.natlib.govt.nz/periodicals/NZLIST19540319.2.22.3
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New Zealand Listener, Volume 30, Issue 765, 19 March 1954, Page 10
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178Richard of Bordeaux New Zealand Listener, Volume 30, Issue 765, 19 March 1954, Page 10
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Copyright in the work University Entrance by Janet Frame (credited as J.F., 22 March 1946, page 18), is owned by the Janet Frame Literary Trust. The National Library has been granted permission to digitise this article and make it available online as part of this digitised version of the New Zealand Listener. You can search, browse, and print this article for research and personal study only. Permission must be obtained from the Janet Frame Literary Trust for any other use.
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