The mode of the play in the play is very cute. Before telling about the war that took place in 1415, the grand scene of the Globe Theatre in 1600 was perfectly reproduced. The loud cheers of gentlemen dressed in costumes at the turn of the 16th and 17th centuries seemed to tell me the silent audience waiting in front of the screen, what kind of dramatic Henry V is about to be presented here, and "him" is on him. How to bear the ever-expanding patriotism in that vigorous and crisis-conscious age? When the plot progressed to a grand scene that was difficult to simulate on the stage, the camera finally panned to the vast location, and our protagonist Henry finally put on the costume of the 15th century. I had already planned to respond to the narrator's request happily and spread the wings of imagination to make up for the shortcomings of the small stage, not to mention the 20th century film technology that helped me. It's just that the stage-like distorted scenery still keeps emerging, making the atmosphere of the play more and more indistinguishable, reminding me all the time-this is after all the interpretation of Henry V in the era of Elizabeth I.
So the heavy losses of the British army under the city of Hafele were omitted, the massacre of prisoners of war after the battle of Agincourt was omitted, and the political marriage of Henry and Catherine became a blessed romantic light comedy. The plot, which is obviously not kind, is normal and understandable when placed in that small theater, because the audience in Shakespeare’s era did not want a real, complex, and diverse Henry V, but just a young one. Legendary hero.
What's more, the British in Lawrence Oliver's era wanted the main theme that could support them in the end of World War II.
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