140:, was attempting to reverse modern trends which focused on the Shakespeare play as an artistic experience, at the expense of more practical elements of social critique. By creating a politically effective piece from a similar story, he was more likely to cause people to question their society and themselves, rather than simply to have an uplifting aesthetic experience. According to one critic, his plays "are not meant merely to entertain but to help to bring about change in society." Also, according to Hilde Klein, "Bond argues that Shakespeare gave an answer to the problems of his particular society, which is not valid for our age."
474:(1965) in the same paper, and stated that the playwright "has here become so obsessed with the idea of violence that he has neglected to give it plausible, or even theatrically coherent, organization. I do not necessarily quarrel with what he says . The trouble with “Lear” is that he is saying it: his characters aren't, his narrative isn't. Everything is imposed by the author from the outset; the ' people' on stage can only do his bidding.mindlessly,’ without personality or so much as rationalized purpose."
147:, building a wall to keep out imagined "enemies". His daughters Bodice and Fontanelle rebel against him, causing a bloody war. Lear becomes their prisoner and goes on a journey of self-revelation. He is blinded and haunted by the ghost of a Gravedigger's Boy, whose kindness towards the old King led to his murder. Eventually Lear, after becoming a prophet, makes a gesture toward dismantling the wall he began. This gesture leads to his death, which offers hope as an example of practical activism.
419:
In the late 1970s, the
British theatrical community was interested in the failure of the postwar socialist promise, and used historical drama to offer, in the words of Keith Peacock, “a clear reflection of the aspirations, activities, and worries of the Left during the 1970s”. According to Louise
164:
and a machine which sucks out Lear's eyeballs. The play's emphasis on violence and brutality was mentioned in mixed reviews by top critics. Although some critics praised its message against violence (and its cast), others questioned whether the play was convincing enough to garner the reaction it
537:
that Kent "can't hide the monotonous rhythm of some of the writing, which often steamrollers characters into flattened mouthpieces, but the bleak, barbed comedy is all there". The critic also said that "after a while, we become inured to the grisly spectacle, and more and more aware of the moral
481:
wrote, "The play’s horrors. . . have their perhaps overemphatic place in plot and theme: they also, you feel, reflect authentic pain and anger....Yet another horror, you say; but not one that quite eradicates the impression of human nobility, briefly and precariously achieved." A critic for
488:
dubbed it "one of the most powerful plays to have emerged in years...Although its tragic scale is unimaginable except in the theatre, it is not primarily a play for 'theatregoers', but is meant for anyone concerned with our apparently hell-bent course towards self-destruction." In
436:, “it may be that the excessive amount of realistic violence in the play—far greater than in any of Bond’s previous dramas and never equaled in any play since—considerably alienated reviewers and public alike when the play was first performed". Conversely, Ronald Bryden of
468:"is so determinedly a thesis play, an intellectual exercise, that there is scant consideration for drama". Gussow stated that the play "lacks transitions and credibility. Bond has allowed his philosophy to overcome his artistry." Walter Kerr compared it unfavorably to
38:
446:
had by then become a "standard play in the
European repertory" and garnered acclaim from critics, but that Royal Court audiences reacted unfavorably. Richard Scharine dubbed the events of the play "grotesque and difficult to believe."
524:'s 2005 production a full five stars, praising the "dazzling directness of Bond's writing" and stating that the production "restores Bond to his place as the greatest of post-war British playwrights."
493:, Leslie Smith argued that "Bond sets up in his play a real, creative dialogue with the original, out of which comes a theatrical experience of impressive power, a
1785:
538:
force of Bond's writing." Charles
Spencer lauded one sequence as an "improvement" on Shakespeare's original sequence due to a "revoltingly ingenious" addition.
567:
510:
stated in 1994, "Seeing Saved and Lear changed my life. They said something directly about my world - world too - of surburban London." In a 2001 article for
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features some punishing scenes of violence, including knitting needles being plunged into a character's eardrum, a bloody on-stage
1012:
457:, "Unlike Shakespeare, Bond has a tendency to preach...his play lacks the richness and compassion of the Shakespeare original".
424:
is "often read as part of the renewed interest in the historical epic, and viewed as a nostalgic response to a troubled time."
698:"Theater and Usable Culture in Late Twentieth-Century Britain: Theater and Usable Culture in Late Twentieth-Century Britain"
1780:
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646:"Edward Bond: " Lear Was Standing in My Path... "Lear's Progressive Journey from Blindness to Moral Insight and Action"
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wrote, "The play’s ending may not chasten you (as intended) but its bleak vision is not easily dismissed." Actor
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wrote that "Bond's glittering and brittle dialogue is searing in its intensity." Dominic
Cavendish argued in
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The play also features a character called
Cordelia, wife of the murdered Gravedigger's Boy who becomes a
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Bond Plays: 2: Lear; The Sea; Narrow Road to the Deep North; Black Mass; Passion
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as seen by one of the most original and versatile dramatists of our time."
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514:, Nightingale lauded the work as "grimly imaginative". Lyn Gardner of
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derided the ending as "sentimental and unaffecting", and argued that
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Performing
Nostalgia: Shifting Shakespeare and the Contemporary Past
626:
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And other soldiers, Workers, Strangers, Court
Officials, Guards
854:"Stage: Yale Repertory Theater Presents 'Lear' by Edward Bond"
774:"In London, John Gielgud Plays a Suicidal William Shakespeare"
1160:"How Shakespeare's masterly use of suspense can still shock"
288:
Soldier E at the
Gravedigger Boy's House - Geoffrey Hinsliff
1040:"THEATER; An English Playwright With Very Mixed Notices"
808:"The Use of the Grotesque in the Plays of Edward Bond"
177:, where it opened on 29 September 1971, directed by
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The
English Stage Company presented the play at the
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682:Kerr, Walter. "The Audience Simply Rose and Fled."
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309:Soldier H, guard in the prison - Geoffrey Hinsliff
91:is a 1971 three-act play by the British dramatist
348:Prisoner 4, later Prison Doctor - William Hoyland
270:The Gravedigger's Boy's Wife - Celestine Randall
988:"High-Stepping 'Heartstopper' at Eagle Theatre"
749:
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546:a "mighty riposte to Shakespeare's tragedy".
333:Soldier K - Convoy Escort - Geoffrey Hinsliff
8:
327:Bodice's Aide (Major Pellet) - Struan Rodger
318:Soldier J, Guard in the Prison - Bob Hoskins
291:Soldier F at the Gravedigger Boy's House -
282:Soldier D at the Gravedigger Boy's House -
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1194:"The Sea, Theatre Royal Haymarket, London"
1038:Nightingale, Benedict (18 February 2001).
357:Soldier N, Prison Guard - Matthew Guinness
36:
27:
336:Soldier L, Convoy Escort - Richard Howard
306:Ben, a prison orderly - Matthew Carpenter
113:in the title role. It was revived by the
594:"Production of Lear | Theatricalia"
324:Wounded Rebel Soldier - Matthew Guinness
1013:"THEATRE / Happy birthday, Edward Bond"
555:
561:
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330:Soldier J, Convoy Escort - Bob Hoskins
1786:Plays and musicals based on King Lear
105:. The play was first produced at the
7:
1126:"Violent revival with a moral force"
1124:Cavendish, Dominic (17 March 2005).
360:Soldier O, Prison Guard - Eric Allen
354:Soldier M, Prison Guard - Ray Barron
1100:"Lear, Crucible Theatre, Sheffield"
888:"The Audience Simply Rose and Fled"
143:In Bond's play, Lear is a paranoid
825:Bennett, Susan (5 November 2013).
702:Interdisciplinary Literary Studies
321:Old Prison Orderly - Anthony Douse
14:
772:Bryden, Ronald (25 August 1974).
566:Bond, Edward (12 November 2013).
432:David L. Hirst wrote in his book
312:Soldier I, guard in the prison -
1192:Taylor, Paul (25 January 2008).
1158:Spencer, Charles (2 June 2006).
615:– via www.theguardian.com.
1098:Walker, Lynne (23 March 2005).
920:Bond, Edward (1 January 2014).
351:Prison Commandant - Gareth Hunt
1072:Gardner, Lyn (17 March 2005).
755:"Lear | Encyclopedia.com"
730:10.5325/intelitestud.17.2.0189
714:10.5325/intelitestud.17.2.0189
611:Gardner, Lyn (17 March 2005).
258:Duke of Cornwall - Alec Heggie
19:For the Shakespeare play, see
1:
852:Gussow, Mel (29 April 1973).
372:Farmer's Son - Anthony Milner
303:Old Sailor - Matthew Guinness
42:Poster of original production
986:Loynd, Ray (20 March 1987).
886:Kerr, Walter (13 May 1973).
806:Demling, Anne Marie (1983).
345:Prisoner 3 - Derek Carpenter
228:Fontanelle - Rosemary McHale
1074:"Lear, Crucible, Sheffield"
627:"Lear Summary - eNotes.com"
613:"Lear, Crucible, Sheffield"
181:. The cast was as follows:
121:, and revived again at the
1802:
1637:BBC Television Shakespeare
1318:The Mirror for Magistrates
411:Lighting by Andy Phillips
363:Farmer - Geoffrey Hinsliff
339:Prisoner 1 - Struan Rodger
255:Duke of North - Eric Allen
231:Warrington - Anthony Douse
165:sought from the audience.
18:
1741:The Prince of the Pagodas
1310:Historia Regum Britanniae
936:– via Google Books.
841:– via Google Books.
582:– via Google Books.
115:Royal Shakespeare Company
35:
1749:The Tragedy of King Lear
1393:The History of King Lear
264:The Gravedigger's Boy -
154:-type dictator herself.
696:Geddes, Louise (2015).
460:In 1973, Mel Gussow of
342:Prisoner 2 - Ron Pember
297:Judge - William Hoyland
261:Soldier A - Bob Hoskins
246:Firing Squad Officer -
1482:(Libretto only) (1896)
1326:Holinshed's Chronicles
949:"Edward Bond's "Lear""
947:Smith, Leslie (1979).
542:'s Paul Taylor dubbed
500:In 1987, Ray Loynd of
442:reported in 1974 that
387:Small Man - Ron Pember
279:Sergeant - Bob Hoskins
1401:The Yiddish King Lear
644:Klein, Hilde (1989).
406:Costumes designed by
390:Officer - Gareth Hunt
378:John - Richard Howard
95:. It is a rewrite of
1781:Plays by Edward Bond
1689:Story within a story
759:www.encyclopedia.com
479:Benedict Nightingale
375:Thomas - Alec Heggie
252:Bishop - Gareth Hunt
1369:Cordelia of Britain
1246:William Shakespeare
812:LSU Digital Commons
535:The Daily Telegraph
454:The Daily Telegraph
300:Usher - Gareth Hunt
175:Royal Court Theatre
169:Original production
109:in 1971, featuring
107:Royal Court Theatre
97:William Shakespeare
70:Royal Court Theatre
16:Play by Edward Bond
1044:The New York Times
892:The New York Times
858:The New York Times
778:The New York Times
684:The New York Times
512:The New York Times
462:The New York Times
439:The New York Times
428:Critical reception
393:A Boy - Ray Barron
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1762:
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1661:Second Generation
1538:Gunasundari Katha
992:Los Angeles Times
953:Comparative Drama
926:. A&C Black.
572:. A&C Black.
503:Los Angeles Times
491:Comparative Drama
401:Sets designed by
234:Old Counsellor -
188:Geoffrey Hinsliff
84:
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77:Original language
61:29 September 1971
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1578:A Thousand Acres
1452:A Thousand Acres
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123:Crucible Theatre
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449:Charles Spencer
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248:William Hoyland
224:Carmel McSharry
179:William Gaskill
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129:, in 2005 with
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1019:. 14 July 1994
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708:(2): 189–205.
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686:: 13 May 1973.
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1717:(2015 film)
1714:The Dresser
1709:(1983 film)
1706:The Dresser
1701:(1980 play)
1698:The Dresser
1549:(1971 USSR)
1409:Safed Khoon
1378:Adaptations
434:Edward Bond
403:John Napier
383:Diana Quick
242:Gareth Hunt
240:Engineer -
236:George Howe
212:Bob Hoskins
93:Edward Bond
52:Edward Bond
1776:1971 plays
1770:Categories
1621:Television
1602:My Kingdom
1586:Gypsy Lore
1259:Characters
550:References
284:Ray Barron
210:Soldier -
206:Ron Pember
186:Foreman -
48:Written by
1677:King Lear
1669:King Lear
1645:King Lear
1629:King Lear
1594:King Lear
1570:King Lear
1557:(1971 UK)
1554:King Lear
1546:King Lear
1530:King Lear
1522:King Lear
1425:King Lear
1334:King Leir
1266:King Lear
1251:King Lear
1172:0307-1235
1138:0307-1235
1052:0362-4331
965:0010-4078
959:(1): 84.
900:0362-4331
866:0362-4331
786:0362-4331
738:143173298
722:1524-8429
662:0210-6124
477:However,
451:wrote in
222:Bodice -
152:Stalinist
138:socialist
127:Sheffield
102:King Lear
21:King Lear
1610:Lear Rex
1444:La Terre
1291:The Fool
1271:Cordelia
973:41152817
670:41055419
650:Atlantis
520:awarded
381:Susan -
145:autocrat
136:Bond, a
119:Bob Peck
72:, London
1479:Re Lear
1352:Related
1301:Sources
1276:Goneril
1203:15 June
1177:13 June
1143:13 June
1109:13 June
1083:13 June
1023:12 June
871:13 June
415:Context
216:Lear -
162:autopsy
80:English
1733:Tiriel
1680:(2018)
1672:(2008)
1664:(2003)
1656:(2002)
1648:(1983)
1640:(1982)
1632:(1953)
1605:(2001)
1597:(1999)
1589:(1997)
1581:(1997)
1573:(1987)
1565:(1985)
1541:(1949)
1533:(1916)
1525:(1910)
1506:(2000)
1498:(1998)
1490:(1978)
1471:Operas
1463:(2009)
1455:(1991)
1447:(1887)
1436:Novels
1428:(1978)
1420:(1971)
1412:(1907)
1404:(1892)
1396:(1681)
1337:(1594)
1329:(1577)
1321:(1555)
1313:(1136)
1286:Edmund
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1057:9 June
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631:eNotes
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1725:Other
1613:(TBA)
1514:Films
1385:Plays
1281:Regan
969:JSTOR
734:S2CID
726:JSTOR
666:JSTOR
471:Saved
1487:Lear
1460:Fool
1417:Lear
1359:LlĹ·r
1205:2020
1179:2020
1168:ISSN
1145:2020
1134:ISSN
1111:2020
1085:2020
1059:2020
1048:ISSN
1025:2020
999:2020
961:ISSN
928:ISBN
907:2020
896:ISSN
873:2020
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833:ISBN
793:2020
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718:ISSN
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544:Lear
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