By Dian Henderson
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Indeed, Feuillade’s work shows an extraordinarily disciplined, expansive interest in the possibilities of upstaging and downstaging afforded by a fixed camera and long take: figures and objects in the foreground of the screen “reveal” and “cover” the action, objects, and figures behind them, in a symbolic choreography (Bordwell 1996: 16). In the solicitor’s office, for example, arriving daughters and in-laws loom as they move forward to cluster around the old man, gradually filling the frame; once he signs the will the group swallows him up as they exit through a door upstage right.
There is nothing new in the observation that the 1960s RSC directed its Shakespeare in the style of (or, sometimes, almost as) Beckett, Brecht, Pinter and so on. Hall, especially, was quite explicit about it: as he saw it, the stylistic and thematic continuities between Shakespearean and modern drama both legitimate and even compel this approach. As Alan Sinfield points out, this particular construction of “Shakespeare-plus-relevance” tends to assume a common ground of timeless, essentialised human nature, loosely characterised at the time in terms of “a sense of general violent destruction, proceeding both 25 26 11 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 81 9 20 1 2 3 4 5 6 7 8 9 30 1 2 3 4 5 6 711 ROBERT SHAUGHNESSY from uncontrollable political systems and from mysterious inner compulsions” (1985: 164).
Rejecting the idea that the success of a performative can be traced to the intentionality of the speaker, Austin distinguishes between “felicitous” and “infelicitous” speech acts on contextual and circumstantial grounds, specifically identifying theatrical performance as an arena in which infelicities proliferate: “a performative utterance will, for example, be in a peculiar way hollow or void if said by an actor on the stage, or if spoken in a poem, or spoken in soliloquy” (Austin 1962: 22, his italics).