ABSTRACT Staged at several points in Manila in 2018, RD3RD, Anton Juan and Ricardo Abad’s radical adaptation of Shakespeare’s Richard III, relocates the play from the Wars of the Roses to the War on Drugs waged by Rodrigo Duterte during his presidency of the Philippines. Since its beginnings in July 2016, the Duterte regime in the Philippines has been implicated in the slaughter of thousands of suspected ‘drug addicts’ mostly in slums across the country. This production responds to that phenomenon by attempting to articulate the Philippine experience of violent and random deaths within the language and narrative of Shakespeare’s play on the rise of a famously bloody despot. This essay seeks to reflect upon the process of bodying forth Shakespeare’s play and giving it a local – and horrifically bloody – habitation and a name. Framing the performance as an exemplification of Artaudian aesthetics, this essay examines forms of doubleness – of embodiments and disembodiments, resonances and dissonances, of overdetermined significations and semiotic excess – brought to the fore by the ghosts that embody and modulate traumatic histories and presents that haunt the performance. It concludes with speculations on history and the real as theatre’s ambiguous double.
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