SIFA 2025 Educational Kit: LEAR

LEAR Ramesh Meyyappan (SG/UK) SOTA STUDIO THEATRE 23 – 25 May, Fri – Sun

Image courtesy of Niall Walker

EDUCATIONAL KIT

LEAR

BEFORE THE SHOW

Ramesh Meyyappan (SG/UK) SOTA STUDIO THEATRE 23 - 25 May, Fri – Sun Man. Father. Fool.

In this dark and claustrophobic world, LEAR is the all-powerful patriarch but he is also his own fool. Being a fool is one thing. Having power and being a fool is quite another. What happens when the power we hold is taken away?

“Blow, winds, and crack your cheeks! Rage, blow!”

This contemporary re-imagining of Shakespeare’s King Lear will bring together a cast of four with Ramesh Meyyappan’s trademark bold visual story-telling, exploring universal themes of escalating madness, loss of power, betrayal and trust with empathy and a deep understanding of the human condition.

how to use this kit This kit is designed for deeper engagement and discussion with the SIFA programme.

Divided into 4 sections, it comes with guiding questions, suggested activities and links for further exploration on the subject and themes presented in the show:

BEFORE Pre-show preparation to understand the context.

DURING Questions to think about while watching the show.

AFTER A reflective exercise to jot down thoughts.

POST For further exploration on the subject, topic or themes.

THE SHOW

THE SHOW

THE SHOW

SHOW ACTIVITY

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BEFORE THE SHOW

1. Introduction: why king lear still matters?

What happens when a leader gives up power but expects the same respect?

What happens when a parent mistakes flattery for love?

What happens when truth is punished, and deception is rewarded?

Welcome to King Lear, one of Shakespeare’s most tragic and psychologically intense plays. A story of power, family conflict, madness, and betrayal, it has long been regarded as Shakespeare’s greatest masterpiece. Written over 400 years ago, it remains one of the most powerful plays ever staged—because its struggles are still ours today.

• • •

A powerful king makes a terrible mistake.

A family is torn apart by greed and manipulation.

A father loses everything—including his mind.

King Lear asks us to reflect on power, love, betrayal, and regret.

Who do we trust? How do we measure love? And when words fail us—what do we have left?

Cordelia—the heroine in the tragedy— at the center of the composition, having just been renounced by Lear in the opening scene Edwin Austin Abbey (1898), King Lear, Act I, Scene I

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2. the world of king lear

BEFORE THE SHOW

A Super-Brief Summary!

KING LEAR, an aging ruler, decides to divide his kingdom among his three daughters, testing their love through words.

A Stick Figure Summary

False Words, True Loyalty

Goneril & Regan flatter him with lies, so they get the biggest share. Cordelia, his youngest and most honest daughter, refuses to play along. Lear banishes her in anger.

Power Given, Trust Broken

Once Lear gives away his kingdom, his older daughters betray him and throw him out into a storm.

Madness & Regret

Lost and wandering in a storm, Lear realizes too late that power does not equal love.

Another Betrayal

Meanwhile, another nobleman, Gloucester, is also betrayed by his own son, Edmund.

A Tragic End

By the time Lear and Cordelia reunite, Cordelia is killed, and Lear dies of grief.

SHAKESPEARE 101 Shakespeare did not write in “Old English”— his plays are in Early Modern English, which is still readable today!

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BEFORE THE SHOW

So, is King Lear a tragedy?

Source: https://goodticklebrain.com/home/2014/6/8/a-stick-figure-king-lear-summary

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BEFORE THE SHOW

James Barry, King Lear Weeping over the Dead Body of Cordelia, 1786-88, Tate, London, England, UK.

WANT TO READ

AN ASPIRING SHAKESPEARE SCHOLAR?

The full plot summary?

Click or Scan here

For full range of TEXTS including Folio (1623), Quarto 1 (1608), and Quarto 2 (1619) Click or Scan here

SHAKESPEARE 101 How to Read a Citation?

“Nothing will come of nothing.”

(King Lear, 1.1.93) What does this mean?

• King Lear = The Play Title • 1.1.93 = Act 1, Scene 1, Line 93 This helps you find the exact line in the play!

DID YOU KNOW?

Famous Quotations from King Lear From this play of an aging monarch who decides to divide his kingdom amongst his three daughters, according to which one recites the best declaration of love, is packed with lines that we use every day in presentday culture. Here are 8 most famous lines:

Nothing Will come of nothing.

(1.1.93), King Lear

Ay, every inch a king.

(4.6.122), King Lear

The wheel is come full circle: I am here.

(5.3.203), Edmund

Pray you now, forget and forgive.

(4.7.99), King Lear

Although the last, not least.

(Act 1, Scene 1, 85), King Lear

How sharper than a serpent’s tooth it is To have a thankless child!

(1.4.283), King Lear

Take her or leave her.

(1.1.220), King Lear

Come not between the dragon and his wrath.

(1.1.127), King Lear

Adapted from Famous Quotations from King Lear https://www.shakespeare-online.com/quotes/learquotes.html

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BEFORE

3. themes of tragedy: today & tomorrow

THE SHOW

What makes lear’s story timeless?

Why do we keep returning to this tragedy across centuries and cultures?

At its core, King Lear is more than just a play about an aging king—it is a story about power, family, betrayal, and loss. Its conflicts still feel relevant today: • What happens when power is handed to the wrong people?

• Why do leaders trust flattery over truth?

• How does silence become more powerful than words?

As we explore the key themes of the play, think about how these questions resonate beyond Lear’s world—in politics, family, and society today.

Each theme will build upon the last, preparing us to experience an adaptation where Lear’s greatest mistakes—built on words—are retold without them.

A: Lear’s Mistake: Power, Favouritism & Betrayal

One of the central conflicts in King Lear is Lear’s misjudgement of love as performance rather than sincerity. The opening scene is the pivotal moment where Lear’s fatal mistake begins. He believes he is making a wise decision by dividing his kingdom before his death to avoid conflict. However, his demand for flattery over truth leads to betrayal, loss, and madness.

Lear’s Speech (1.1.40-58) Meantime we shall express our darker purpose.

Give me the map there. Know that we have divided In three our kingdom, and ‘tis our fast intent To shake all cares and business from our age, Conferring them on younger strengths, while we Unburdened crawl toward death. [...]

Tell me, my daughters— Since now we will divest us both of rule, Interest of territory, cares of state— Which of you shall we say doth love us most, That we our largest bounty may extend Where nature doth with merit challenge?

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BEFORE THE SHOW

ANALYSIS • • • •

Lear mistakes flattery for genuine love, turning affection into a competition.

His favouritism fuels jealousy and division, leading to betrayal.

He avoids responsibility by transferring power too soon, foreshadowing his downfall.

His demand for love as performance makes family bonds political.

LET’S THINK 1.

2.

3.

4.

5.

Why does Lear think dividing the kingdom before his death is a good idea?

How does the act of measuring love create unfairness?

How does favouritism create jealousy and division?

Can we compare Lear’s actions to modern parenting styles?

What modern situations can we compare this to? (Inheritance feuds, business successions, political transfers of power).

6. Which contemporary political figures or business leaders have been accused of favouritism? How does this shape public trust?

SHAKESPEARE 101 Historical Context: Primogeniture In Shakespeare’s time, inheritance often followed primogeniture, where the eldest son inherited everything. Lear’s decision to divide his kingdom equally was unconventional and dangerous.

Modern Connection: Today, inheritance is often settled through a will, but disputes still happen. In many cultures, land and wealth are still passed unfairly.

ACTIVITY: The King’s Map

Objective: Understand the consequences of inheritance disputes.

Steps: 1.

2.

3.

4.

Start with a full map of a kingdom.

Divide it into three unequal parts.

Assign resources (e.g., trade routes, farmland).

Each “daughter” must justify their claim to their portion.

POST-ACTIVITY DISCUSSION • • •

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Who benefits the most? Who loses the most?

How might giving away power too soon lead to disaster?

Can you think of modern-day conflicts that is caused by unfair claims to lands and places?

B: Betrayal & The Price of Power

BEFORE THE SHOW

In King Lear, power is not just given—it is taken through manipulation and betrayal.

Lear’s love test turns affection into a political game, rewarding flattery over truth. Goneril and Regan craft exaggerated declarations to secure power, while Cordelia, the only daughter who truly loves him, refuses to perform and is cast out.

The Three Daughters of King Lear (1875–6) by Gustav Pope in the Museo de Arte de Ponce, Puerto Rico

This moment is more than just family conflict—it reveals how power blinds, language deceives, and silence is punished. Lear, desperate for validation, mistakes lies for loyalty and honesty for defiance. What happens when leaders value words over actions? Why do those who manipulate often rise, while those who speak truth fall?

Goneril’s Speech (1.1.56-62) Sir, I love you more than words can wield the matter; Dearer than eyesight, space, and liberty; Beyond what can be valued, rich or rare; No less than life, with grace, health, beauty, honour; As much as child e’er loved, or father found; A love that makes breath poor, and speech unable; Beyond all manner of so much I love you.

ANALYSIS • • •

Goneril’s speech is exaggerated and unrealistic—she claims words can’t describe her love, yet she keeps talking.

She compares her love to priceless things (sight, liberty, life itself), strategically choosing imagery that flatters Lear’s ego.

Her over-the-top flattery immediately secures a large portion of the kingdom.

LET’S THINK 1. Why do you think Lear believes Goneril’s exaggerated praise?

2. How do modern leaders or influencers use flattery to gain power?

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BEFORE THE SHOW

Regan’s Speech (1.1.74-81) I am made of that self-mettle as my sister, And prize me at her worth. In my true heart I find she names my very deed of love; Only she comes too short: that I profess Myself an enemy to all other joys Which the most precious square of sense possesses, And find I am alone felicitate In your dear highness’ love.

ANALYSIS • •

Regan competes with Goneril, one-upping her by claiming she has no joy in life except Lear’s love.

This echoes real-world power struggles between siblings competing for favour and inheritance.

LET’S THINK 1. Why do Goneril and Regan compete to flatter Lear?

2. What happens when siblings are forced to compete for a parent’s approval?

Cordelia’s Response (1.1.93-99) Nothing my lord. […]

Nothing. […]

Unhappy that I am, I cannot heave My heart into my mouth: I love your majesty According to my bond; no more nor less.

ANALYSIS • • •

Cordelia does not exaggerate. She speaks truthfully, showing genuine love instead of empty words.

This infuriates Lear, as he equates silence with disloyalty.

Her refusal to flatter leads to banishment, while her sisters gain the kingdom through lies.

LET’S THINK 1. Why does Lear misinterpret Cordelia’s honesty as disloyalty?

2. In today’s world, do people expect performative love over real love?

SHAKESPEARE 101 Historical Context: Political Tools In Shakespeare’s time, daughters were often used as political tools—married off to strengthen alliances. Public declarations of love were common in royal courts, but love was often strategic rather than emotional.

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BEFORE THE SHOW

Why does this matter?

✔ Goneril & Regan manipulate Lear—they say what he wants to hear. ✔ Cordelia’s truth is seen as disloyalty—but she’s the only one who truly loves him. ✔ Power and flattery go hand in hand—but real love doesn’t need performance.

ACTIVITY: Family Courtroom Debate

Objective: Recreate the inheritance scene as a modern courtroom trial.

Steps: 1.

2.

3.

4.

One group plays Goneril & Regan (arguing they deserve the kingdom).

One group plays Cordelia (arguing against flattery).

One group plays Lear (deciding who to trust).

EXTENSION: Create a mock news segment, where students create headlines about Lear’s decision and public reactions.

POST-ACTIVITY DISCUSSION • • •

Why does flattery work better than honesty?

How do modern leaders fall for false promises?

Can we compare Lear’s daughters to modern power struggles?

Let’s Take A Closer Look: The Three Daughters: Who Are They Really?

Each of Lear’s daughters represents a different way of handling power and love.

Which of these phrases do you think represent the three daughters? “brutal tyranny” Character

“genuine love and integrity”

Personality & Symbolism

“hypocrisy in leadership” Key Quotes (from Act 1, Scene 1)

Goneril Calculating, manipulative, politically intelligent.

Sir, I love you more than words can wield the matter.

Regan Ruthless, cruel, competitive.

“Tis the infirmity of his age: yet he hath ever but slenderly known himself.”

Cordelia Honest, moral, loyal.

“I cannot heave my heart into my mouth. I love your Majesty according to my bond; no more nor less.”

Answers: “brutal tyranny” [R] “genuine love and integrity” [C] “hypocrisy in leadership” [G]

ACTIVITY: Character Monologue Rewrite

Objective: Rewrite one key speech from each daughter into modern-day speech.

Steps:

1. Pick a monologue from Goneril, Regan, or Cordelia.

2. Rewrite it as a modern conversation (e.g., in a courtroom, a family inheritance dispute, or a political speech).

3. Perform or read aloud, analysing how the tone and meaning change.

POST-ACTIVITY DISCUSSION • • •

Does modernizing the speech change how we see the character’s personality?

Which daughter, if any, is the most “modern” in her views?

If Cordelia had flattered her father, would the story have changed?

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C: Madness, Silence & The Storm

BEFORE THE SHOW

Lear’s descent into madness is not just a personal tragedy—it is a reflection of a world unravelling. Stripped of power, home, and identity, he is cast into the storm, where his mind fractures alongside the chaos of nature.

The storm is not merely a setting but an extension of his psyche, a physical manifestation of his fury, grief, and desperation. His speech, once commanding, dissolves into fragmented rants and poetic outbursts. He curses the heavens, rages at unseen enemies, and laments his suffering—all while refusing to acknowledge his role in his downfall.

William Dyce, King Lear and the Fool in the Storm (1851) National Galleries of Scotland.

Yet in King Lear is a play about power, and in a world where power is tied to voice, what happens when words are taken away? Lear’s madness is often articulated through language—disjointed speech, repetition, and poetic disorder.

What happens when words are taken away? If Lear’s storm scene were expressed through movement, silence, and physical storytelling, how would his anguish, regret, and descent into chaos take form? How do we see his crumbling identity when the voice that once commanded a kingdom is rendered voiceless?

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BEFORE THE SHOW

The Storm (3.2.1655-64) Lear: Blow winds and crack your cheeks. Rage, blow You cataracts, and hurricanoes spout, Till you have drenched our steeples, drowned the cocks.

You sulfurous and thought-executing fires, Vaunt-couriers of oak-cleaving thunderbolts, Singe my white head, and thou all-shaking thunder, Strike flat the thick rotundity o’th’world, Crack nature’s molds; all germens spill at once That makes ingrateful man.

ANALYSIS • • •

Violent Imagery: The storm is personified as an enraged force of destruction, mirroring Lear’s inner turmoil. His words demand the storm to tear apart the world as he feels torn apart inside.

Symbolism of Fire and Water: The contrast between “spout” (water) and “singe” (fire) suggests a struggle between cleansing destruction and consuming wrath.

Loss of Rational Thought: Unlike earlier in the play, where his words were measured and strategic, his speech now flows erratically, mimicking his mental disintegration.

Lear’s Reflection on Power & Betrayal (3.2.1669-79) Lear: Rumble thy bellyful. Spit fire, spout rain.

Nor rain, wind, thunder, fire are my daughters.

I tax not you, you elements, with unkindness.

I never gave you kingdom, called you children.

You owe me no subscription. Then let fall Your horrible pleasure. Here I stand your slave, A poor, infirm, weak, and despised old man.

But yet I call you servile ministers, That will with two pernicious daughters join Your high-engendered battles ‘gainst a head So old and white as this. Oh ho, ‘tis foul.

ANALYSIS • • •

Lear’s Shift in Perspective: He contrasts nature with his daughters, recognising that the elements, unlike them, owe him nothing.

Recognition of Powerlessness: He finally acknowledges his vulnerability, calling himself “a poor, infirm, weak, and despised old man”—a stark contrast to his earlier selfperception as an omnipotent ruler.

Existential Helplessness: Lear realises he has no control over nature, fate, or his daughters—a moment of profound existential despair.

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BEFORE THE SHOW

Lear’s Judgment on Humanity (3.2.1702-13) Lear: Let the great gods That keep this dreadful pudder o’er our heads Find out their enemies now. Tremble thou wretch That hast within thee undivulgèd crimes Unwhipped of justice. Hide thee, thou bloody hand,Thou perjured, and thou simular of virtue That art incestuous; caitiff, to pieces shake, That under covert and convenient seeming Has practised on man’s life; close pent-up guilts,Rive your concealing continents and cry These dreadful summoners grace. I am a man More sinned against than sinning.

ANALYSIS • • •

Paranoia & Projection: Lear assumes that those suffering in the storm, like him, must be guilty of some crime. He believes nature is enacting divine justice, yet he continues to paint himself as a victim.

Moral Blindness: He claims to be “more sinned against than sinning,” refusing to fully acknowledge his own faults.

A Shift Towards Insight: While still self-pitying, his words suggest a growing realisation that power does not equate to moral superiority.

LET’S THINK Shakespeare uses the storm as both a physical and symbolic force—but how do we interpret it?

1. How does the storm mirror Lear’s unraveling? How do the sounds, movements, and intensity correspond with his shifting emotions?

2. Why does Lear blame others—his daughters, fate, and the heavens—rather than himself? What does this reveal about power and denial?

3. How does Shakespeare present madness? How do fragmented sentences, repetition, and poetic chaos shape Lear’s speech? What changes when these words are removed?

4. If words were taken away, how can express Lear’s breakdown? How can we show regret, anguish, and defiance through silence, movement, and the physical space?

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ACTIVITY: The Storm’s Impact

BEFORE THE SHOW

Objective: Explore how Lear’s physicality shifts as he loses control.

Steps:

1. Standing Still in Power: Begin by embodying Lear at his peak—upright posture, firm gestures, slow, deliberate movements.

2. Introducing the Storm: Slowly add disruptions—first subtle instability in stance, then in breath, then in limbs.

3. The Collapse: Gradually let the storm consume you—whether through shaking, staggering, or resistance.

4. Rebellion vs. Surrender: Try defying the storm (fighting back) vs. letting it overpower you (giving in to madness).

POST-ACTIVITY DISCUSSION • •

What happens to your body as you shift from control to chaos?

How does physical resistance vs. surrender change the emotional impact?

ACTIVITY: Partner Work: Madness vs. The Elements

Objective: Use interaction and tension to show power dynamics.

Steps:

1. Lear vs. The Storm: One person plays Lear, the other plays the storm.

2. Storm’s Influence: The storm moves around Lear—aggressive, playful, overwhelming—how does Lear react?

3. Resistance vs. Desperation: Lear first tries to command the storm, then begs it for mercy— how does body language shift?

4. Silent Performance: Replay the scene, but now Lear has no voice—how does this change the audience’s perception?

POST-ACTIVITY DISCUSSION 1. How do movement and gesture communicate madness in place of speech?

2. Does Lear fight against the storm, beg for forgiveness, or accept his fate?

ACTIVITY: Sensory Theatre - The Weight of Regret

Objective: Physicalise the burden of Lear’s downfall through weight, tension, and loss.

Steps: 1.

2.

3.

4.

Provide a weighted object (e.g. a heavy cloak, sandbags, or resistance bands).

Participants take turns wearing or carrying it while walking as Lear during the storm.

Gradually, others remove the weight—representing Lear shedding power and responsibility.

Or Instead of having the weight removed, the weight keeps increasing. Respond physically how Lear fight against the weight of his past decisions.

POST-ACTIVITY DISCUSSION • • • •

How does the shifting burden change posture, movement, and emotion?

What happens when power physically leaves a person?

Does losing power feel like freedom, or does it leave Lear adrift?

How does the physical weight mirror Lear’s emotional burden?

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BEFORE THE SHOW

4. lear: a physical theatre adaptation Reimagining King Lear Without Words

Ramesh Meyyappan’s LEAR transforms Shakespeare’s tragic tale into a visually compelling experience, relying entirely on movement, gesture, and visual storytelling instead of spoken language. How does removing Shakespeare’s language reshape the tragedy? What new emotions or meanings emerge when King Lear’s suffering is told through movement alone?

How do we tell a story of power, deception, and regret—without words?

How can movement and silence capture the weight of Lear’s downfall?

Before watching this adaptation, let’s explore physical theatre as a performance form, how international and local artists have used it to retell Shakespearean works, and how it shapes King Lear in this production.

Meet Ramesh Meyyappan: A Visual Storyteller A Glasgow-based Singaporean theatre-maker, Ramesh Meyyappan has pioneered an eclectic mix of visual and physical theatre, blending techniques from puppetry, circus arts, mime, bouffon, and illusion. He creates narratives that transcend words, making his works accessible across cultures and languages.

WATCH THIS!

READ MORE

Ramesh Meyyappan’s Showreel

About His Work Click or Scan here

Click or Scan here

“ One of the great things about theatre is that it is a space without limits where you can truly express exactly what you want to an audience.”

- Ramesh Meyyappan, Culture Plus (2025)

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Being deaf has obviously impacted Ramesh Meyyappan’s journey but theatre offered him a space of freedom. As a pioneer theatre maker, he has been creating stories with shared and universal themes transcending words, speaking to everyone. He invented a specific visual theatrical vocabulary for each piece of work, with an eclectic mix of visual and physical theatre styles to support the storytelling and the narrative.

Adapted from “With Ramesh Meyyappan: Love and Theatre Have No Limits.”

Culture Plus, 2025

BEFORE THE SHOW

READ MORE

About This Interview Click or Scan here

“I am proud to be deaf and it is also who I am. However, I do try to avoid having my work being labelled as deaf work […] instead I hope we look at the artistic merits of the work – the creativity rather than the disability.”

- Ramesh Meyyappan, CNA Interview (2017)

WATCH THIS!

Singaporean deaf actor makes himself heard

READ MORE Communicating Visually

Click or Scan here

Click or Scan here

Ramesh Meyyappan shares about how he makes use of the body and object on stage to create a visual language with an excerpt of Off Kilter (2017)

What is Physical Theatre?

Physical theatre is a performance style that prioritizes body movement over dialogue to tell stories. It blends gesture, spatial awareness, and physical interaction, with minimal reliance on spoken words.

Some Key Elements of Physical Theatre

✔ Expressive Movement & Gesture Utilizing the body to depict characters’ emotions and relationships. ✔ Minimalist Set & Symbolic Props Employing objects and settings that serve metaphorical purposes. ✔ Multisensory Elements

Incorporating lighting, sound, and visual composition to enhance storytelling.

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BEFORE THE SHOW

Explore Physical Theatre Techniques: The UK’s National Theatre offers insights into their creative process, highlighting how movement and physicality are integral to their productions.

CLICK HERE To Know Further

Click or Scan here

Source: https://www.nationaltheatre.org.uk/about-us/how-we-make-theatre/

These resources offer valuable insights into the techniques and philosophies underpinning physical theatre, demonstrating how movement can convey intricate narratives and emotions on stage.

WATCH THIS!

A playlist exploring movement in theatre Click or Scan here

Source: https://www.youtube.com/watch?v=2FWAUncAvv4

Théâtre de Complicité, a theatre company in London that uses extreme movement to represent their work, offers teaching resources that delve into the nuances of physical storytelling, showcasing their unique approach to theatre-making.

CLICK HERE For Teacher’s Resource

Click or Scan here

Source: https://www.complicite.org/wp-content/uploads/2023/03/1439372000Complicite_Teachers_pack.pdf

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BEFORE THE SHOW

Physical Theatre & Shakespeare: Movement as Storytelling Shakespeare’s works have often been adapted using physical theatre techniques, replacing spoken dialogue with gesture, movement, and visual metaphors. Many theatre companies worldwide have used this approach to reimagine King Lear and other tragedies.

Notable Physical Theatre Companies & Their Shakespearean Work Complicité – Directed by Annabel Arden

Blends movement, text, and music to create visually rich adaptations. Their reimagining of The Winter’s Tale demonstrates LEARN MORE their unique approach.

Click or Scan here

Frantic Assembly

– Directed by Scott Graham and Steven Hoggett

Renowned for their dynamic, movement-based storytelling, Frantic Assembly has LEARN adapted plays like Othello, MORE presenting Shakespeare’s tragedy with a contemporary, physical twist.

Click or Scan here

Tanztheater Wuppertal – Directed by Pina Bausch

The legendary Pina Bausch fused dance and theatre to reinterpret classical texts, LEARN making Shakespeare’s emotions MORE viscerally felt through movement.

Click or Scan here

Deafinitely Theatre – Directed by Paula Garfield

This British company presents Shakespearean works through British Sign Language LEARN and visual storytelling. Their MORE production of A Midsummer Night’s Dream was a landmark in inclusive theatre.

Click or Scan here SIFA.SG

Local Singaporean Adaptations of King Lear

BEFORE THE SHOW

Singapore has seen several adaptations of King Lear, each bringing distinct cultural perspectives to the play. These productions have reinterpreted the tragedy through multilingual performances, contemporary staging, and nontraditional storytelling techniques.

Notable Singaporean Adaptations Lear (1997-1999) – Directed by Ong Keng Sen, TheatreWorks

A pan-Asian reimagination of King Lear, blending traditional Asian performance styles.

• Staged across Tokyo, Osaka, Hong Kong, Singapore, Jakarta, Perth, Berlin, and WATCH A Copenhagen.

SNIPPET • Explored Asian dynastic power struggles through Click or Scan here Shakespeare’s themes.

The King Lear Project: A Trilogy (2008) – Directed by Ho Tzu Nyen & Fran Borgia

• Part of the Singapore Arts Festival, this project deconstructed Lear in three experimental ways.

• Questioned how the play exists in the collective consciousness rather than READ a direct retelling.

MORE Click or Scan here

Lear Dreaming (2012)

– Directed by Ong Keng Sen, TheatreWorks

• Fused Asian musical and theatrical traditions to reinterpret Lear’s psychological descent.

• Explored how different READ performance styles shape MORE the meaning of the text.

Click or Scan here

Lear is Dead (2018)

– Directed by Nelson Chia, Nine Years Theatre

• A Mandarin-language adaptation of King Lear.

• Used Nine Years Theatre’s signature movementbased staging, influenced by READ Suzuki and Viewpoints MORE techniques.

Click or Scan here

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BEFORE THE SHOW

Beyond Singapore, King Lear has been reimagined across film, television, and theatre—each adaptation reflecting cultural, political, and artistic perspect ives. Below are some notable international adaptations of King Lear:

Ran (1985)

– Directed by Akira Kurosawa

A Japanese samurai film inspired by King Lear, reinterpreting the play through the lens of feudal Japan.

Visually stunning, Kurosawa uses slow-motion battles and sweeping landscapes to replace Shakespearean dialogue.

FIND OUT MORE

Click or Scan here

King Lear (2009)

– Directed by Trevor Nunn, starring Ian McKellen

A BBC television adaptation that preserves Shakespeare’s text but intensifies psychological realism and power dynamics.

FIND OUT MORE Click or Scan here

DID YOU KNOW?

SIFA & Shakespeare Did you know that the Singapore International Festival of Arts (SIFA) has a history of staging bold and imaginative Shakespeare-inspired productions? Since its early days as the Singapore Arts Festival, SIFA has reinterpreted the Bard’s works through fresh cultural and artistic lenses. Recent Shakespearean productions at SIFA include: • • •

Bangsawan Gemala Malam (2022) – A Malay-language reimagining of A Midsummer Night’s Dream, infused with traditional Bangsawan opera.

Hamlet | Collage (2016) – A mesmerizing solo performance by Russian actor Evgeny Mironov, condensing Hamlet into a single-actor spectacle.

Cry, Trojans! (2014) – A radical reworking of Troilus and Cressida

by The Wooster Group, blending modernity with Shakespearean tragedy.

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DURING

observing physical storytelling

THE SHOW

Ramesh Meyyappan’s adaptation of LEAR removes Shakespeare’s dialogue and replaces it with physical theatre, movement, and visual metaphors.

The questions below will guide your analysis of the themes, stagecraft, and storytelling.

1

themes of betrayal, power, and loss

• How does Lear’s body language and facial expressions convey his downfall?

• How are Goneril and Regan’s physical interactions with Lear different from Cordelia’s?

• What visual metaphors (e.g., hands, broken objects) symbolise betrayal?

• Do silent betrayals fee l more or less painful than verbal ones?

2

staging and minimalist set design

3

movement & gesture in storytelling

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• What props or objects are used to represent power?

• How does lighting help distinguish power shifts?

• Are characters positioned high or low on stage to show their status?

• If a scene were reintroduced with only one word, what word would carry the most weight?

• How does gesture replace dialogue?

• Does the performance use slow-motion, fast movement, or stillness to create impact?

• Does Lear’s body language change as he loses control?

• What does Lear’s posture reveal about his changing sense of power?

• How do the actors interact with invisible objects or imaginary space?

reflection & Interpretation what did you take away?

AFTER THE SHOW

Flash thoughts! Quick notes Now that the performance is over, what is one key image or movement you remember most? Why?

Key Moments Guided reflections Recalling the performance, write down your observations for the following questions:

Which scene had the strongest emotional impact on you? Why?

Did the performance change your understanding of Lear’s downfall?

How did the actors’ movements tell the story without words?

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Understanding Silence And Sound

AFTER THE SHOW

King Lear is known for its intense speeches and dramatic monologues, but Ramesh Meyyappan’s adaptation removes the traditional spoken language.

POST-ACTIVITY DISCUSSION • • •

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Did the absence of speech allow for more emotional depth, or did it create a distance between the audience and the characters?

How did sound design and music contribute to the mood?

Would this performance have worked if it were told entirely in spoken dialogue instead?

exploring further creative & critical extensions

POST SHOW ACTIVITY

Reimagining shakespeare & beyond

Now that you’ve experienced Lear through Ramesh Meyyappan’s physical theatre adaptation, let’s explore how Shakespeare’s works have been reimagined across film, music, theatre, comics, and digital media.

• How do artistic choices reshape our understanding of King Lear?

• What happens when Shakespeare’s words are replaced, restructured, or removed altogether?

• How do cultural, historical, and theatrical contexts influence adaptation choices?

Shakespeare’s works live beyond the stage—they appear in Disney movies, pop albums, Broadway musicals, TikTok trends, and even sci-fi novels. Some adaptations stay close to the text, while others take bold liberties to make the stories more relatable and fresher.

1. Shakespeare In Pop Culture: From The Lion King To Taylor Swift Disney’s The Lion King (1994 & 2019) – A Hamlet Adaptation Did you know that The Lion King is loosely based on Hamlet?

• Mufasa = King Hamlet (the wise ruler who dies) • Simba = Prince Hamlet (a son seeking justice) • Scar = Claudius (the scheming usurper) • Timon & Pumbaa = Rosencrantz & Guildenstern (comic relief sidekicks)

ACTIVITY: Rewrite King Lear as a Disney Movie Steps:

1. Identify key King Lear characters (Lear, Cordelia, Goneril, Regan).

2. Imagine them as talking animals, mythical creatures, or futuristic robots.

3. Write a Disney-style dialogue exchange or song lyrics for a key moment.

POST-ACTIVITY DISCUSSION •

Why do Shakespeare’s stories work so well in animation?

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Taylor Swift & Shakespeare: The Poetry of Betrayal

POST SHOW ACTIVITY

Taylor Swift’s lyrical storytelling mirrors Shakespeare’s themes of love, revenge, and power struggles. Some fans believe certain Eras Tour songs feel Shakespearean: Taylor Swift Songs That Could Be in King Lear The Archer – Cordelia’s heartbreak & exile Mad Woman – Goneril & Regan’s ambition My Tears Ricochet – Lear’s grief & downfall Nothing New – Lear’s fear of aging

🎶 🎶 🎶 🎶

ACTIVITY: Shakespeare x Taylor Swift Mashup

Steps: 1. Pick a Shakespearean monologue (from Lear, Hamlet, Macbeth).

2. Pair it with a Taylor Swift song that shares similar themes.

3. Perform it spoken-word style over the instrumental of the song.

POST-ACTIVITY DISCUSSION •

2.

How do Shakespeare’s words and Swift’s lyrics connect across centuries?

Singapore’s Take On Shakespeare

Shakespeare’s works have been localised and adapted in Singaporean film, theatre, and literature.

Singaporean Film Adaptations

🎬 Chicken Rice War (2000, Dir. CheeK) – A Romeo & Juliet retelling in a Singaporean hawker centre, where rival chicken rice stall owners feud over love and business. 🎬 Pericles (2022, Dir. Ong Keng Sen, The Theatre Practice) – A theatre-to-film

adaptation blending Chinese opera, Southeast Asian storytelling, and Shakespearean text.

Singaporean Theatre & Shakespeare

🎭 Outdoor Shakespeare Productions

Singapore Repertory Theatre has rich tradition of staging Shakespearean plays in an open-air setting of Fort Canning Park, known as Shakespeare in the Park, offering audiences a unique blend of classic theatre amidst Singapore’s lush greenery.

🎭 A Theatre like Shakespeare’s

In 2019, W!LD RICE unveiled a new performing arts facility in Funan Mall, featuring Singapore’s first thrust stage inspired by the Royal Shakespeare Company’s Swan Theatre in Stratford-Upon-Avon. This design choice reflects the company’s commitment to creating immersive theatrical experiences reminiscent of traditional Shakespearean performances.

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ACTIVITY: Modern-Day Singapore Shakespeare

POST SHOW ACTIVITY

Steps: 1. Rewrite a scene from King Lear (or another Shakespearean play) in a Singaporean setting.

2. Use Singlish, dialects, or modern slang to make it relatable.

3. Perform it as a short skit or Instagram Reel.

POST-ACTIVITY DISCUSSION •

How does a local setting & language change Shakespeare’s meaning?

FINAL CALL TO ACTION

Keep the Shakespeare conversation going!

Which adaptation surprised you the most?

Would Shakespeare have been a Swiftie?

Can you imagine King Lear as a K-Drama? A Marvel movie? A VR experience?

Shakespeare isn’t just literature—he’s an evolving storyteller who keeps reinventing himself across art forms. The question is:

HOW WILL YOU REIMAGINE HIM NEXT?

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SINGAPORE INTERNATIONAL FESTIVAL OF ARTS (SIFA)

As Singapore’s annual pinnacle performing arts festival, the Singapore International Festival of Arts (SIFA) presents captivating and diverse works across theatre, music, dance, film and visual arts. First launched as the Singapore Festival of Arts in 1977, the festival has gone through several evolutions and inspired generations of arts lovers and practitioners.

Under the helm of Festival Director Natalie Hennedige from 2022 to 2025, SIFA focuses on performance and creation in the physical and online space, around the theme The Anatomy of Performance.

Today, the highly anticipated festival is a high point on Singapore’s arts and cultural calendar. SIFA continues its festival mission to champion the creation and presentation of Singaporean and international works.

#SIFA2025

We can’t wait to welcome you at SIFA. Share with the world (and us!) what you are most excited to see at this year’s festival, or your photos and videos of your favourite SIFA festival moment. sifa.sg

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ARTS HOUSE LIMITED (AHL)

Arts House Limited (AHL) is a not-for-profit organisation dedicated to inspiring and enriching lives through the transformative power of the arts.

Arts House Limited (AHL) is a not-for-profit organisation dedicated to inspiring and enriching lives through the transformative power of the arts.

We proudly organise two flagship national festivals: the Singapore International Festival of Arts, a celebration of the local and international performing arts, and the Singapore Writers Festival, a multilingual festival presenting the world’s leading literary talents.

At the heart of AHL’s mission are six arts spaces designed to support our vibrant arts sector and forge connections within communities. It includes two national monuments—The Arts House, multidisciplinary arts centre, and Victoria Theatre & Victoria Concert Hall, a heritage building that is home to the Singapore Symphony Orchestra.

AHL also runs the Drama Centre, a dedicated performing arts space, as well as three creative enclaves for arts groups and innovative enterprises: the Goodman Arts Centre, Aliwal Arts Centre, and Stamford Arts Centre.

Established in 2002 as The Old Parliament House Limited, AHL transitioned to its current identity as Arts House Limited in 2014. As a public company limited by guarantee under the National Arts Council, we remain steadfast in our mission to champion the arts as a powerful force for positive change.

For more information, visit https://artshouselimited.sg/.

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ticketing info for school bookings Engage your students in the arts at SIFA with our special deals for schools.

CONCESSIONS

SIFA offers 15%* off ticket purchases to local and international students. *Applicable to selected ticket categories and programmes

TOTE BOARD ARTS GRANT

For selected programmes, government schools may enjoy subsidies up to 50% of the ticket price. Applicable for Secondary Schools, Junior Colleges, Centralised Institute and Institute of Technical Educations (ITE) levels.

Special Education Schools may use the Tote Board Arts Grant to subsidise up to 70% of the programme cost. For more details on school bookings or Tote Board Arts Grant, please email sifatickets@artshouse.sg.

SCHOOL BOOKING DEALS

For every 20 students tickets purchased, 1x complimentary ticket

CONTACT US

For further enquiries on programmes or education kits, please contact meganlee@artshouse.sg.

For group bookings, please contact sifatickets@artshouse.sg.

To read more about the Tote Board Arts Grant,visit tinyurl.com/nac-Tote-Board-Arts-Grant.

For more information on the festival, visit sifa.sg.

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