2020-11-22 17:04:38 ¶ ●

## BONUS ROUND (aka part 1.5)- Some additional things for staging King Lear so that Edmund is 100% more sympathetic

Part 1

Due to the fact that the audience needs to be told things via physical action makes this job of mine (ie making Edmund more sympathetic) (that I definitely did not have to do) a whole lot more difficult.

I gotta add in some more stage directions to really push the points I’m going for. So that even the dumbest audience member will get my point.

Casting/ Costumes

-Curan, who I have previously decided is the Captain Edmund talks to later, has red hair. Like, a bright shade of red. Since it’s not a common hair color, the audience will be able to recognize that the same servant is now the captain.

- regarding Cornwall’s costume- This is a very valid example of what I was trying to describe (but like- plus a black jacket)

-Edgar and Gloucester have a very strong family resemblance to each other. Edmund does not. In fact, Edmund looks almost nothing like them. (For example, if Edgar and Gloucester have dark brown hair, Edmund would have light blond hair.) (I know, I know- that’s not necessarily how genetics work. BUT. That’s also not not how genetics work.)

-EXCEPT. Now hear me out because I’m right. Hear me out. This is good. Edmund and Gloucester share the same, very distinctive, eye color. So that when Gloucester’s eyes get stabbed out, it’s also severing the one strand of a connection he had with Edmund. ✨Symbolism!✨

ACT 1 SCENE 1

-At the start of the scene, the stage already has people on it. It’s like. A party kinda but not really? It’s a royal event- a bunch of noblepeople would be there. The Door ™ (and by now (assuming you read part 1) you should know that The Door ™ is one of my favorite set pieces here) is on the stage towards the middle in the back.

-you can see Gloucester, Kent, and Edmund walking towards it, ie to enter and join the other guests in the room. There is no wall between “behind” the door and in front of it. Only an implied wall created by how the set is set up. So you can still see them.

Here’s a not-so-helpful illustration:

I do recognize how unhelpful that illustration is. I’m sorry.

-As they approach the door, Gloucester pauses, waiting. Kent stands behind him- waiting to see what he’s waiting for. As you’ve guessed by now, this Earl of Gloucester is waiting for his bastard son to open the door for him. (Headcanon that Gloucester treats Edmund like a servant 99% of the time. Headcanon that Edmund would rather be a servant, because at least servants can quit their jobs.)

-Edmund opens it. Kent’s just like “what- what just happened?”. But Gloucester enters, and Edmund seems to be waiting for him to enter as well, and so he does. (It was this, combined with everything I wrote in Part 1, that makes Kent ask “Is not this your son, my lord?”, ie ??he’s not a servant tho?? Why, Gloucester?? Why are you like this??)

-As I mentioned earlier (I think- Unless I was just planning on mentioning it, and I didn’t actually get around to doing so) (I don’t exactly write these things in order), Extras are already on stage. The whole stage has a “ah yes this is an upper class event. The people here are all fancy rich people” vibe.

-As Gloucester has his epic conversation with Kent, other less high ranking noblemen stand around them as well. They don’t say anything or join in- probably because they’re less higher ranking.I know nothing about the hierarchy of English nobility, but let’s just say that Gloucester and Kent are pretty high ranking people.

-anyway the only purpose of doing that is for the “make Gloucester 100% more of a jerk” aspect of this.

-ie, he’s not just insulting Edmund in private, or in front of a close friend of his. He’s insulting him in public, in front of all the random noblemen.

-everything else I wrote in Part 1 about this scene stays the same.

ACT 1 SCENE 2

-Edmund stands by the desk as he talks to Edgar. (As you’d remember from part 1, he was sitting at the desk as he started his 2nd soliloquy).

-at “Some villain hath done me wrong!” Edgar slams his hands down on the desk. Edmund backs away as he says his lines “That’s my fear….”. He sees that Edgar is really angry (yeah, no kidding.), and is like “oh…. oh he would not hesitate to kill me with his bare hands at the moment.”

ACT 2 SCENE 1

-at “and of my land?….. loyal and natural boy, I’ll work the means to make thee capable”, Gloucester is still facing away from Edmund/ not looking at him. He motions vaguely to him at the words “loyal and natural..”. The line is said in a way making it clear that by it he’s actually saying “well Edgar’s not a valid heir to my stuff anymore, what’ll I do with my land??…. ah, I guess Edmund will have to get them. Oh well.”

ACT 2 SCENE 2

-Not exactly a stage direction, but a second reason for why “his” in the sentence “no more, perchance, does mine, nor his, nor hers” is referring to Gloucester and not Edmund: Kent’s response to this is “I have seen better faces in my time”, so “his” can’t be Edmund, since practically the first thing Kent says about Edmund in Act 1 Scene 1 is “hmmm yes that is a Nice Looking person”

-I’m revising what I said in part 1 (mainly just about where Edmund is standing on stage/ where everyone is standing on stage)- I’m changing this scene to be more in favor of @suits-of-woe​’s Cornwall Theory. (HEY PEOPLE, GO READ THE CORNWALL THEORY. I don’t just link it here for fun- I link it so you all can go read it)

-SO

-just to reiterate what I said last time about this scene- Edmund enters to break up Kent and Oswald’s fight with a sword (more specifically- Edgar’s two handed sword that he just used to fight Edgar and stab himself with). His arm is wounded from that one time about two seconds ago when he stabbed it. It’s been bandaged. He’s holding the sword well enough, but it’s clear that he wouldn’t be able to actually fight anyone with it.

-NOW MOVING ON TO NEW STUFF

-at “..come, I’ll flesh ye..”, Kent draws his sword and challenges Edmund. (Wait. His sword’s already drawn, right? Ok then nevermind, he just challenges Edmund.)

-Gloucester, Cornwall, and Regan Enter, and walk a bit onto the stage.

-At “Weapons! Arms! What’s the matter here??”, Gloucester notices the fight and takes like 5 steps away from it. It’s clear that he’s like “nope nope nope not dealing with this today-”

-Regan stays where she is. She’s not particularly scared of the fight, and knows that neither Kent nor Oswald would dare injure her, considering she’s literally the king’s daughter.

-Cornwall, however, at his lines of “Keep peace, upon your lives! He dies that strikes again!” moves to stand in between Edmund and Cornwall- ie facing Cornwall, in a way that would be protecting Edmund. He also is confident neither Kent nor Oswald would hurt him- he’s higher ranking than both of them.

(Illustrated for your convenience) (Scribbled out Edmund bc I didn’t know how tall to make him)

-Cornwall can see clearly that Edmund is in no condition to fight (at least not with a two handed sword). As the next few lines are said, Cornwall takes the sword from Edmund, in a “don’t worry about this- I got this” sort of way. He gently pushes Edmund towards where Gloucester and Regan are standing- in the same sort of way; showing “hey. I’ll deal with this. It’s not your job to defend us. Go chill with the rest of The Group.”

ACT 3 SCENE 3

-remember when I said Gloucester is angry in this scene?

-yeah well I gotta really push that point using some ✨stage directions✨ rather than just “Gloucester yells a lot”

-ANYWAY

-The Door ™ is turned sideways for this scene, and Gloucester and Edmund enter from the side of the stage

Here’s a totally helpful illustration

-Gloucester is clearly angry, Edmund is Hiding His Emotions ™.

-Gloucester starts his lines while he grabs the doorknob and forcefully opening the door. As Gloucester storms on to the main part of the stage, he slams the door behind him, right before Edmund could walk through it after him. Because of course, Gloucester has to forget that Edmund exists at lest once a scene. Edmund stands outside the door for a sec, as if saying “……wow.”. Then he enters and joins Gloucester inside.

ACT 5 SCENE 3

-As Albany says “Half blooded fellow, yes!”, last time I wrote that Edmund is momentarily surprised, then glares at him. This time I’m here to change this a bit-

At first I was picturing it like This:

But then I was like, “no,, that won’t make Edmund 100% more sympathetic- that would only make him like 65% more sympathetic.”

-anyway, we gotta raise Albany’s aggression level. Because if they’re equally aggressive to each other The Audience might just. Not get it. They won’t get that we’re out here trying our hardest to make ya sympathize with Edmund.

-So. And Hear me out. Because this DOES have a point. I’m gonna get to it. So to raise Albany’s aggression levels here, Albany grabs Edmund’s tie or jabot (whatever neck piece the costume has. I don’t care how historically accurate the costumes are) and pulls him towards him (in like. An aggressive Way.) He lets go as soon as he finishes saying that one line- he only did it to prove he was serious about challenging Edmund. Either way, he did It in a more pulling forward motion than a grabbing on motion, and so now Edmund is standing on the other side of Albany. (Was this basically just a way for me to change where Edmund is standing? Maybe.)

-now that Edmund is standing on the other side of Albany, the scene continues as I wrote it out in part 1- ie Edmund glares at Albany. Except Albany is no longer standing in front of him (ie facing him).

Here’s an illustration to help out-

So far, Edmund never glared at anyone (or showed his anger in general) straight to a person’s face. He always only lets his mask fall when he’s alone or when the subject of his anger can’t see him. So now it’s more consistent- their positions on the stage changed so that Edmund can still glare at Albany, and also doesn’t have to drop his act.

-AND THAT’S IT-

(-FOR NOW-)