a visual context. They create their own mind images out of roman’s world and characters, and it is interesting for them to compare their images with those dramatist has created. However, as Christian Metz put it, “the reader does not always find his/her own version of play or film on the stage or screen, since, in fact, he/she is watching imaginary world of another person”. Thus, it seems that dramatists insist to prepare the audience to encounter with someone else’s imagination; it is interesting that appropriating the places, characters, and ideas of roman into a play on the stage is performed by a single person – dramatist or stage director. This conversion can take different shape if it is done by a different person. But, fidelity to original …show more content…
It is possible that dramatist reconstructs the roman in his/her own work, or changes and intervenes it. Here, it should be noted another important issue: in adaptation process, word-by-word fidelity to the story fundamentally differs from fidelity to the story’s context and essence. Of course, discerning the boundary between these two versions of fidelity would be much more difficult if we go beyond the mere parallelism of the paly and roman, because when investigating an adapted work, it is the various types of reading that matters; from the way of reading a roman by a dramatist to its reading by a reader/viewer. Since a dramatist approach to roman is not usually consistent with that of audiences, the fidelity to the original source can be questioned. Here, a critic, when he/she faces with an adapted work, can argue: “this perception of the original text does not consist with …show more content…
Insistence on fidelity to the original source, has prevented the developing other approaches to the adaptation phenomenon. The mainstream line of thought tends to ignore adaptation as a way of encounter approaching the arts, and it looks over that, through adaptation, we can nurture a rich culture. However, where translating fiction to drama takes an intricate form, this way of thinking fails to provide a serious explanation. Awareness of this genuine view, perhaps, is more useful that a body of literature that argue dramas have played down the romans.
In contrast to traditional ways, the modern critical thinking has revealed more complicated structures beneath the adaptation skin. As Christopher Orr put it: “Within this critical context [i.e. of intertextuality], the issue is not whether the adapted film is faithful to its source, but rather how the choice of a specific source and how the approach to that source serve the film's
When Mary Zimmerman adapts a play from an ancient text her directing process and the way she engages with text are woven together, both dependent on the other. She writes these adaptations from nondramatic text, writing each evening while working through the pre-production rehearsals and improvisations during the day with the cast. The rehearsal process influences the text, and the text enriches the rehearsal process, so that one cannot exist without the other. Every rehearsal is structured the same but each production is unique because as Zimmerman states in “The Archaeology of Performance”, she is always “open to the possibilities”. The piece is open to everything happening in the world and to the people involved, so the possibilities are honest and endless.
Phillips, Gene D. Conrad and Cinema: The Art of Adaptation. New York: Peter Lang Publishing, Inc., 1995.
To realize the vision of the play, the script, set-up, costumes, stagecraft, sound design, and acting have to communicate a unified message with which the audience will relate. The script will be tailored to ensure that the audience can understand the play as it proceeds. This is in terms of the language and terms used. Though the language will not be modern, it will be English that can be understood by the audience. This will be English of antique England as it will give the play a feeling of ancient times. The scriptwriter will carry out research on the level of understanding the local people will have of ancient English so as to ascertain that the script matches this level. Although many plays of that era were sung and accompanied by dance, this play will be acted out with spoken word rather than songs. This is because speaking will ensure the audience hears the conversations as they go on and that they understand. This is ...
Brecht argues that the ultimate purpose of play is to induce pleasure and to entertain, and that--because of this purpose--play needs no justification. Plays should not be simply copied from or seen through older performances, but need to develop on their own to better relate to a new audience. Through the use of alienation which aims to make the familiar unfamiliar, play and theatre can be seen under a new perspective, and the actor can feel more free to perform under a new guise.
These interactions further bolster the relationship between stage and audience evoking all forms of responses. In Othello, Iago discloses his fundamental plans and his end goals to only the audience through a series of monologues and soliloquies (1.3.375-396).
Adaption of nostalgic popular culture allows for new interpretation of characters, plot and reimagining of the narrative arc that are beloved both by older audiences and discovered by younger generations. As Glover expresses, “the remaking of popular fiction not only brings into new sorts of
No society remains immobile, even if some human beings resist changes. Advances in technology and the emergence of new beliefs allow people to have a broader imagination. Thus, numerous new interpretations of ancient works, whether they are plays, folktales, or poems, permeate around the world. These renditions re-tell the original stories in contexts that adjust to the modern world. What was considered serious in the past becomes mockery nowadays.
Besides the vivid display of ferocious violence that can be acquired from William Shakespeare’s Titus Andronicus, the audience can develop a distinct separation between the Roman and Gothic culture through the families of the characters of Titus and Tamora. Titus, as a general, and his family are members of high Roman society. As Roman citizens, they stand at the pinnacle of civilization in the ancient world. The contrasting side, Tamora and her fellows are Goths, a Germanic tribe existing on the northern borders of the Roman Empire (Meister,1). It has often been argued within the scholarship that while the Goths were racially different, the Gothic culture within Titus Andronicus was also represented as barbaric and uncivilized. Marcus even refers to the Goths as barbarous when he speaks of Titus’ return (1.1.28) and in the quote, “Thou art a Roman, be not barbarous,” (1.1.378). The Roman culture often appeared to embody that of a masculine and righteous society. However, there are instances throughout the play where these cultures mingle or are in fact influences on one another. This essay will investigate these casts or fixes within Shakespeare’s work regarding these cultures, as while provide examples within the text to support these realizations.
Theatre Journal 37.4 (1985): 426-439. Print. Wheeler, Kip. " Literary Terms and Definitions M." Literary Terms and Definitions "M" Carson-Newman University, n.d. Web. 12 May 2014.
An adaptation is defined as the revamping of a genre of literature into a modern form of entertainment, more often film. It is due to these adaptations that William Shakespeare is as popular today as he was during the days of the “Golden Age” and purposefully receded hairlines. Maybe even more so today because his works have reached a wider audience, across countries and continents. His plays have seen their fair share of adaptations, from different cultural takes to generational representations. Adaptations are quite necessary to keeping classic literature alive. As times change, so do fads and slang, and things that were popular in a previous century will be seen as done and dried out in a later one. Adaptations are ultimately alternate
One notable difference between William Shakespeare’s The Tempest and Julie Taymor’s film version of the play is the altered scenes that made quite a difference between the play and the movie version. This difference has the effects of creating a different point of view by altering the scenes affected the movie and how Taymor felt was necessary by either by keeping or deleting certain parts from the play. I use “Altered Scene” in the way of how Julia Taymor recreates her own point of view for the movie and the direction she took in order to make the audience can relate to the modern day film. I am analyzing the way that the altered scenes changes to make a strong impression on the audiences different from the play. This paper will demonstrate
Filmmaking and cinematography are art forms completely open to interpretation in a myriad ways: frame composition, lighting, casting, camera angles, shot length, etc. The truly talented filmmaker employs every tool available to make a film communicate to the viewer on different levels, including social and emotional. When a filmmaker chooses to undertake an adaptation of a literary classic, the choices become somewhat more limited. In order to be true to the integrity of the piece of literature, the artistic team making the adaptation must be careful to communicate what is believed was intended by the writer. When the literature being adapted is a play originally intended for the stage, the task is perhaps simplified. Playwrights, unlike novelists, include some stage direction and other instructions regarding the visual aspect of the story. In this sense, the filmmaker has a strong basis for adapting a play to the big screen.
Linda Hutcheon argues that adaptations are often considered as second-line art forms, since they are always originated from other pieces of arts, hence critics and reviewers usually compare these works with the original ones. When people talk about adaptations, most of the time they think about literary texts like a novel or short story being remade as a big screen movie, or a television show and opinions are usually that these remade stories are less in value, then the original ones, although there are other forms of art, like ballet, or opera which are less attacked by public opinion. This might be because, people tend to think about texts like novels and such superior to any other art form because of it is among the first ones of their kind, and it lets the reader to use their imagination and create a world of their own, while movies take this experience away from the viewer. The reason of the popularity of adaptations nowadays might be explained with financial facts. It is simply because if something made profit and was popular once, there is a high possibility of it will do the...
Goldman, Michael. "'Romeo and Juiliet': The Meaning of the Theatrical Experience." Shakespeare and the Energies of Drama. Princeton, NJ: Princeton UP. 1972. 33-44. Rpt.
Greek and Elizabethan theatre, while similar in some respects, had a few large differences. The Greeks believed in a certain unity of theme, which was prevalent throughout the production. Greek plays were often drawn from myth or of historical significance, so it seems that only ki...