Texts with resonating ideas and values are inextricably connected across time and place when composers reshape these ideas to remain contextually relevant. A study of the conversation between two texts, namely William Shakespeare’s 1953 tragedy “King Richard III” and Al Pacino’s 1997 docudrama “Looking for Richard” heightens an audiences understanding of human nature transcendent of contextual surroundings. The universal qualities of ambition, in regards to pursuing power and the manipulation of others through the implementation of facade take form in the historically embellished character Richard III. It is through such conversation responders grasp elements of human nature.

The human nature of Richard depicted in Shakespeares play is that of unbridled lust for personal and political power. Influenced by the spread of pragmatic Machiavellian politics - eschewing morality for personal gain regardless of consequence to reputation- the depiction of Richard as an amoral villain succumbing to human nature validates Shakespeares purpose of supporting the reigning Tudor house. The full extent of Richards hunger for power is demonstrated with the foreshadowing pun “i will deliver you… go tread the path from which thou shalt never return”, as he plots to murder obstructive brother Clarence. At his coronation, the villainous effect of pursuing power is continued as he dehumanises his soon to be subjects with simile “like dumb statues… tongueless blocks”. Building on the relationship established with the audience through soliloquy, the meta theatrical reference “Thus like the formal vice, Iniquity!” Heightens an Elizabethan audiences understanding of Richard as a vice-like figure from earlier christian morality plays, thus depicting him as inhuman and amoral to their context. Richards ambition for power proves significant as a human quality to resonate with further composers and audiences.

Pacino’s reinterpretation of power for oneself as a human concept teaches audiences of the ambiguity of power. Composed in an era where striving ambitiously to determine ones own future is acceptable, ‘Looking for Richard’ reinterprets the moral dilemma of humanism in contrast to determinism into a simpler dichotomy of good and evil for a contemporary American audience to find resonance in. The position of power Richard desires at his coronation is demonstrated with a selection of low angle shots, creatively positioning the audience to narrow their chances of misinterpretation of an evil shakespearean villain. The deliberate costuming choices of Pacino- dressing Richard in black for both rehearsal and performance in the hybrid film- and the innocent Clarence in white heightens the humanity of Clarence in his murder, portraying Richard as undeniably evil. further, emphatic voiceover from esteemed actor Vanessa Redgrave “among these noble concepts… the truth is that those in power have total contempt for everything they promise” effectively communicates to a modern audience the nature of Richard in vernacular language. Pacino uses actors and academics to validate his post-modern interpretation of Richard, giving him more power in his directorial debut and Richard more power in his actions. Thus, the ambition of Richard is reinterpreted without Shakespeares secular notions to resonate across time and place in regards to human nature.

The conversation between the two texts strengthens an audiences understanding of the human capability to manipulate, transcendent of all contexts. Drawing on deterministic notions of Christianity of the Elizabethan era, Richard is crafted to resemble the Vice, solidifying Shakespeare's role in promulgating the Tudor myth. The multifaceted nature of Richard is depicted in personifying his emotions in “Dive, thoughts, down to my soul, here Clarence

comes”, accentuating the carefully constructed facade he presents when condemning Clarence. Richards attempts to imbue himself in the religion he rejected until coronation only in order to gain the favour of the people is demonstrated with stage directions “enter Richard aloft between two bishops”, again presenting the necessary facade to manipulate. He furthers his religious act with dramatic irony “But, God be thanked, there is no need of me” epitomising Shakespeare’s representation of Richard as a duplicitous, yet skilful manipulator striving for power. It is in Richards human nature a resonating idea of facade is crafted and travels through context to reach numerous audiences.

The duplicity of Richard is reshaped by Pacino, the textual conversation between the two strengthening Richards human nature- striving to achieve his best. Emerging from an era of deep political mistrust, such as the 1973 Watergate scandal, Pacino’s American audience was able to to draw connections between their deceitful politicians and Richard. Pacino uses intercutting between Clarence’s reality of imprisonment with his last encounter with Richard to illustrate clarences realisation of Richards multifaceted nature to his audience. He furthers the moral incompetence prescribed by Shakespeare with film noir influenced chiaroscuro lighting- depicting the figurative splitting of the self- human nature of Richard. Colloquial voiceover of actor Kimball “It’s and act, and these people buy it” when performing the coronation scene emphatically communicates antiquated facade to the diverse audience Pacino desires to reach. The duplicitous nature of Richard is reimagined forges stronger textual conversations between the two texts in regards to the human nature of Richard III.

Texts become undeniably intertwined when their core values are reshaped for the purposes of reaching a new audience. Transcendent ideas originated by Shakespeare become accessible to a new audience when the human nature of Richard is considered- his tendency to manipulate, and his unbridled desire for power in a political campaign. Textual conversation gives audiences the insight to see these resonating ideas in the world around them, recognising Richard in their world, wherever that may be.