I am off to the Ebenezer Chapel this weekend for Unite FoR Peace. This year it's on "heroic violence", and I'm leading a session on "Henry V", and, well, how ambivalent it is about heroic violence, and how by cutting or emphasising or subverting various different things, you can create very different versions of the story. (Using the Olivier and Branagh films as examples, though I'm not aware of any outright anti-war productions - I'd say Branagh's was more ambivalent than anti.)
I could do with picking the brains of some fellow fans, so I have a question for discussion, in case any of you have the time or inclination to answer it in comments. :-)
I am putting the question behind a cut. smhwpf and strangederby2, you are honour-bound not to look. :-D
In the play text, which would you say are the three most challenging bits to deal with if you're trying to produce a pro-war and/or nationalist staging or filming? And which would you say are the three most challenging bits if you're trying to produce an anti-war and/or pro-French stating?
(Please feel free to mention things that may be both anti-war and anti-French - I can think of one obvious example...)
I have several ideas for each category, but I'm wondering what I've missed, and either way I'd like to know if my ideas chime in with others who know the play. :-)
I'm going to give a short background talk about Henry V/Agincourt, the play, the performance history, and the text. And then get them to divide into small groups and be producers, with a list of key moments from the play that they can cut, emphasise, move on-stage, subvert, etc., and some ideas about how they might do that. (There will be hand-outs. :-) ) Then we gather again and discuss what each group decided, and generally chat. I *think* it will work. :-) I'm hoping to get the 90 minute slot.
All ideas welcome! I'd also appreciate some good luck wishes, as the last time I ran a session at UFP was *mumble* years ago and I'm very nervous...