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About this Adaptation
1.1 From Agincourt to the Entente Cordiale: a double timeline
1.2 Thresholds: prologues and metatheatrical frames
1.3 Stage Arrangement: from duel to duo
1.4 Performing War: distancing and diffraction effects
1.5 Verbal and Paraverbal Comedy: another distancing strategy1904 postcard celebrates the Entente Cordiale by showing Britannia (Britain) and Marianne (France) dancing together. In this adaptation, British and French soldiers, all of them patients in a hospital, decide to improve their living conditions and healing process, and to entertain themselves by putting on a play.
The place of the action of the embedding play, which also turns out to be the venue of the embedded play, is highly significant: a military hospital – that is, a place where soldiers are taken care of and where their wounds are tended. Just like the timeline, the treatment of place enhances the reparative power of the production. The patients lift their spirits as they either rehearse or attend the embedded play. And at diplomatic level, British and French soldiers come to an agreement and share a common project, thus renewing symbolically and metonymically the pact of the Entente Cordiale concluded between their respective countries ten years earlier.
The opening scene works as a parable of the complex relationship between France and Great-Britain, and of the difficulty of staging Henry V in France. A wounded British soldier newly arrived at the military hospital gives the French soldier that helped him and brought him there a book he has in his pocket, as a token of his gratitude. The book is an edition of Henry V by Shakespeare. As both are wounded and can hardly move, they remain seated and a nurse acts as a mediator between them, going from one to the other. When the French soldier gets the book, he mistakes the British soldier's friendly gesture for a provoking one and flies into a temper. The British soldier has to justify himself and explain that the book is the only thing he has about him. Following an animated discussion, they eventually decide to put on the play as an entertainment for their comrades in hospital.
The very first scene of the adaptation thus works as a prologue for French audiences, which acknowledges their potentially problematic reception of the play and mitigated feelings about it, and yet encourages them to attend its performance as it may be more promising than they think. It invites them to go beyond prejudices, beyond the dramatization of military events that were unfavorable to their nation, so as to allow themselves to (re)discover the play, to view it in a different light and to reconsider its reception. The printed play of Henry V – the book as object – fulfills a role of mediation at the internal level of communication (between the characters), as well as at the external level of communication (between stage and audience), since it allows to establish a very specific pact of performance based on curiosity and trust, deriving from the acknowledgement that performing Henry V in France is a challenge that both stage and audience need to address together. Such negotiation cannot but evoke Shakespeare's own prologue to Henry V, based on mutual understanding and cooperation between stage and audience.
The opening scene thus contains the whole argument of the production and its main strategies in a nutshell: it triggers off theater within the theater, challenging the medium while enhancing its reparative power.
And yet, this duality is resolved when the soldiers decide to put on a play together. Duality is instantly turned into collaboration and complicity, leading to reconfigure the twofold nature of space. The characters' nationality is no longer the main criterion prevailing upon the stage organization as it is replaced by their functions in the embedded production: the acting area is divided into stage and audience, mirroring the configuration of the playhouse. Like the treatment of fictional place, that of the stage aims at reconciliation.
2 The performance of war ends as all the characters chant a military song together, reminding one of the chorus that punctuates Shakespeare's play.
Such displacement from stage to audience shows that the focus of the production is not so much on the Anglo-French conflict in particular, but that it rather aims to initiate a reflection on conflicts in general. War is transposed from the fictional space to the space of social reality, calling upon the spectator's critical faculty – an awareness Shakespeare meant to develop in The Third Part of Henry VI when dramatizing the War of the Roses.3
These scenes further utilize paraverbal communication, a branch of non-verbal communication that relates to the materiality of the voice and vocal effects. Paraverbal elements include the tone and intonation, pronunciation, accent, rhythm (pauses, acceleration…), hesitations, interruptions, and interjections. In Henry V, the confrontation of various accents is a source of comedy. The French lesson and the wooing scene resort to both paraverbal and verbal comedy as words are distorted and generate double-entendre.