Well done! Not enough is said about these difficult parts of Lear. I did some teaching a while back about Regan, Goneril, and Cordelia representing changes in government and society, you’ve given me some things to look into should I ever revise and share the lecture. A silly addition to your list of adaptations, Vincent Price’s Theatre of Blood is a very strange and funny take on Shakespeare, complete with a Cordelia speech!
Thanks very much! I do love the blinding machine in Theatre of Blood, I remember absolutely losing it the first time I saw it, it’s so unnecessarily complicated. I’ve had to stop myself mentioning ToB in every single one of these articles but will return to it when we get to Shakespeare’s goriest play…
I teach youth Shakespeare, and the youngins exclusively want to stage to violence (because kids are hella morbid). Every year at my summer Shakespeare day camp, we have Blood Day, during which a pack of shrieking teenagers descends upon the park nearest the theatre and learn to make stage blood and squibs. We let them reenact the blinding of Lear with pingpong balls painted like eyes that we teach them to palm with a squib so that they get the requisite spray of blood. Then they take it in turns to shout "OUT, VILE JELLY!" and wave bloody pingpong balls at passerby.
I never knew I could be horrified and fascinated in equal measures! So thanks for another great edition to a brilliant series.
Strangely enough; I've only ever read King Lear - so (perhaps fortunately!) have never really seen this scene performed or in films etc. But it's interesting to know all these different approaches, and how the tide has slowly shifted from it not really being shown at all, to other directors really exploring how it can have maximum impact.
Thank you so much George! It is quite shocking sometimes to actually see a Shakespeare in performance and realise just how different it feels when it's lifted from the page. I hope you enjoy the rest of the series!
I'm fight directing for a production of Macbeth at the moment.
In my experience (and this is true for this production), I'm not a core part of the production team. I'm an outside specialist who does a specific job for a limited part of the rehearsal timeline. I choreograph the show's fights, I train actors to perform them, and I send them back to the director.
I do my work in service of the themes of the show as they have been communicated to me by the director, but I don't witness my work in the context of the broader show while it's still in-progress. You talk about how much violence is justified by its aftermath, but as the person creating the violence, I have to trust that other artists are going to justify my work. It's super scary.
That's such an interesting perspective, Sam, I hadn't considered what that must be like. It makes me think of special effects people working in film - I wonder how often someone has sat in a cinema and felt uncomfortable watching the story that has been told using their box of tricks. At least you are able to make sure the actors are protected and there's no actual bloodshed!
I loved your comparison between King Lear and modern horror when you noted, “Were the Victorians right to hide the horror of Gloucester’s torture?” You managed to seamlessly weave together theatre history, visual effects, and cultural context. This is a compelling, engaging piece that offers both historical depth and a fresh perspective on staged violence.
Years ago we went to see Oxford's Creation Theatre production of Lear at the Mini factory in Cowley. Not only were we sitting in the front row (I love being almost in amongst it) the eye gouging scene was pretty graphic, and then the "vile jelly" was flung into my mother in law's lap! It was quite the experience. I'm fairly sure it was a lychee. I hope so...
I saw this first-hand. 2008, at the Everyman in Liverpool. The great Pete Postlethwaite played King Lear, and the terrific John Shrapnel was the unfortunate Gloucester. I wasn't familiar with this particular Shakespeare. The eye-gouging scene was unexpected and brilliant! A fine time to be gifted tickets near the stage!
I know of Un chien Andalou through the Pixies song "Debaser" -
"Got me a movie, I want you to know
Slicing up eyeballs, I want you to know,
Girl is so groovy, I want you to know.
Don't know about you, but I am Un Chien Andalousian!"
And all this talk of eyes reminds me of the notorious Walking Dead Season 7 episode, where Negan hits fan-favourite Glenn so hard with his baseball bat, Lucille, that his eye pops out of his head, sitting unfeasibly large, on his face!
We used grapes in a local pro production a few years back—Regan was the one who grabbed the second eye w a really well choreographed hand gesture. She then smashed the fake-blood-soaked grape in her fingers at the audience with glee. (Can you tell I’m a violence choreographer by trade?)
I think I know which character you’re talking about next. From what I fondly call Shakespeare’s Slasher.
Excellent work! And yes it’s actually going to constitute about a third of this series of articles… but I’m leaving it till last so next week it’ll be something a bit spookier
That scene in King Lear is hard to read, let alone watch! Your point about having to live with the consequences of violence rather than just experiencing the “thrill”, for want of a better word, is a good one. I wonder if its greater significance within the plot is what makes some violence seem gratuitous rather than necessary.
I agree, it definitely matters whether or not it’s the focus, but I think Bond and Kane see putting violence at the centre of the story as a duty, forcing the audience not to look away. Such a fascinating area of debate!
I think I worded my response incorrectly. I meant that plot driven violence with purpose might well be more acceptable even if it is intended to shock. Something like Eli Roth’s Cabin Fever where shock and nastiness is the whole point but without any sort of original messaging is entirely gratuitous imo.
Ghug this one was nasty. Well done!!!
Haha, it was fun and horrible to research in equal measures
Well done! Not enough is said about these difficult parts of Lear. I did some teaching a while back about Regan, Goneril, and Cordelia representing changes in government and society, you’ve given me some things to look into should I ever revise and share the lecture. A silly addition to your list of adaptations, Vincent Price’s Theatre of Blood is a very strange and funny take on Shakespeare, complete with a Cordelia speech!
Thanks very much! I do love the blinding machine in Theatre of Blood, I remember absolutely losing it the first time I saw it, it’s so unnecessarily complicated. I’ve had to stop myself mentioning ToB in every single one of these articles but will return to it when we get to Shakespeare’s goriest play…
That was a very interesting video. I hope to catch that King Lear presentation.
I teach youth Shakespeare, and the youngins exclusively want to stage to violence (because kids are hella morbid). Every year at my summer Shakespeare day camp, we have Blood Day, during which a pack of shrieking teenagers descends upon the park nearest the theatre and learn to make stage blood and squibs. We let them reenact the blinding of Lear with pingpong balls painted like eyes that we teach them to palm with a squib so that they get the requisite spray of blood. Then they take it in turns to shout "OUT, VILE JELLY!" and wave bloody pingpong balls at passerby.
It's one of the highlights of my summer tbh.
I would have absolutely loved that, the pingpong balls are amazing! I am very in favour of teaching gore effects as young as possible.
I didn’t know the etymology of obscene, how interesting!
I never knew I could be horrified and fascinated in equal measures! So thanks for another great edition to a brilliant series.
Strangely enough; I've only ever read King Lear - so (perhaps fortunately!) have never really seen this scene performed or in films etc. But it's interesting to know all these different approaches, and how the tide has slowly shifted from it not really being shown at all, to other directors really exploring how it can have maximum impact.
Looking forward to reading more of your work.
Thank you so much George! It is quite shocking sometimes to actually see a Shakespeare in performance and realise just how different it feels when it's lifted from the page. I hope you enjoy the rest of the series!
I'm fight directing for a production of Macbeth at the moment.
In my experience (and this is true for this production), I'm not a core part of the production team. I'm an outside specialist who does a specific job for a limited part of the rehearsal timeline. I choreograph the show's fights, I train actors to perform them, and I send them back to the director.
I do my work in service of the themes of the show as they have been communicated to me by the director, but I don't witness my work in the context of the broader show while it's still in-progress. You talk about how much violence is justified by its aftermath, but as the person creating the violence, I have to trust that other artists are going to justify my work. It's super scary.
That's such an interesting perspective, Sam, I hadn't considered what that must be like. It makes me think of special effects people working in film - I wonder how often someone has sat in a cinema and felt uncomfortable watching the story that has been told using their box of tricks. At least you are able to make sure the actors are protected and there's no actual bloodshed!
I loved your comparison between King Lear and modern horror when you noted, “Were the Victorians right to hide the horror of Gloucester’s torture?” You managed to seamlessly weave together theatre history, visual effects, and cultural context. This is a compelling, engaging piece that offers both historical depth and a fresh perspective on staged violence.
Years ago we went to see Oxford's Creation Theatre production of Lear at the Mini factory in Cowley. Not only were we sitting in the front row (I love being almost in amongst it) the eye gouging scene was pretty graphic, and then the "vile jelly" was flung into my mother in law's lap! It was quite the experience. I'm fairly sure it was a lychee. I hope so...
Amazing! Did she know that the scene was going to happen or was it her first introduction to the play?
She did know the play, but we certainly didn't expect such exciting eyeball action!
Love it!
Fantastic arty, thank you!💀I also appreciate the origin of obscene, very cool.
It’s a great origin story! Thanks, Sheila
Out vile jelly - SPLATTT!
evil laughing
squishing eye jelly between my toes - make sure actors go unshod for this bit
Brings back memories of Kill Bill.
Yes!!
Ewwwwwwww
I saw this first-hand. 2008, at the Everyman in Liverpool. The great Pete Postlethwaite played King Lear, and the terrific John Shrapnel was the unfortunate Gloucester. I wasn't familiar with this particular Shakespeare. The eye-gouging scene was unexpected and brilliant! A fine time to be gifted tickets near the stage!
I know of Un chien Andalou through the Pixies song "Debaser" -
"Got me a movie, I want you to know
Slicing up eyeballs, I want you to know,
Girl is so groovy, I want you to know.
Don't know about you, but I am Un Chien Andalousian!"
And all this talk of eyes reminds me of the notorious Walking Dead Season 7 episode, where Negan hits fan-favourite Glenn so hard with his baseball bat, Lucille, that his eye pops out of his head, sitting unfeasibly large, on his face!
Wow what a thing to write a song about! Memorable moments all round
We used grapes in a local pro production a few years back—Regan was the one who grabbed the second eye w a really well choreographed hand gesture. She then smashed the fake-blood-soaked grape in her fingers at the audience with glee. (Can you tell I’m a violence choreographer by trade?)
I think I know which character you’re talking about next. From what I fondly call Shakespeare’s Slasher.
Excellent work! And yes it’s actually going to constitute about a third of this series of articles… but I’m leaving it till last so next week it’ll be something a bit spookier
Fascinating, never knew about the origin of ‘obscene’, and wonderful to see Sarah Kane included in this rich and macabre tradition!
Thank you!! I’m fascinated by Kane
Corblimey was that ever interesting! You sounded like you had a lot of fun with this material.
Thank you! This was one of my favourites to write in this series…
That scene in King Lear is hard to read, let alone watch! Your point about having to live with the consequences of violence rather than just experiencing the “thrill”, for want of a better word, is a good one. I wonder if its greater significance within the plot is what makes some violence seem gratuitous rather than necessary.
I agree, it definitely matters whether or not it’s the focus, but I think Bond and Kane see putting violence at the centre of the story as a duty, forcing the audience not to look away. Such a fascinating area of debate!
I think I worded my response incorrectly. I meant that plot driven violence with purpose might well be more acceptable even if it is intended to shock. Something like Eli Roth’s Cabin Fever where shock and nastiness is the whole point but without any sort of original messaging is entirely gratuitous imo.
Ah yes that makes sense - to this day I've never watched a single Eli Roth film, I just know them by reputation!