THE TRAGEDY OF MACBETH IN THE ADAPTATION OF ROMAN POLANSKI

Studies in Literature and Language, 2010

The main purpose of this essay is to examine the obstacles that modern adaptors encounter when filming Shakespeare's plays, particularly Macbeth and Antony and Cleopatra. This essay argues that in trying to overcome the problems of the text, the language, poetry and stage convention, filmmakers have developed certain techniques in order to enable the screen serve Shakespeare's dramatic structure, his characterisation and his poetry.

2021

Shakespearean Dramatic theatre and Brechtian Epic theatre represent two divergent paradigms in the field of genre-drama. The plays falling under these two varying paradigms invite their readers or audience to learn to approach them by adopting a different theoretical perspective or critical stance. As per Martin Esslin “human capacities can change through time: human beings may learn to adjust themselves to new ways of perception ..., and gain practice in accepting new ways of seeing both reality and art” (15). In the proposed study, the two plays chosen for comparative analyses are Hamlet by Shakespeare and Mother Courage and Her Children by Brecht: the former one centring on empathy, and the other one on alienation. Of the two paradigms discussed in the present study, in one type, admittedly, an emotional catharsis occurs and the second theoretically disclaims emotional catharsis.

Shakespeare Quarterly, 2016

The purpose of this paper is to show how recent research on the nature of dramatic language can further our understanding of the problematic nature of exporting Shakespearean texts on to the medium of film. This paper is written in three parts. The first part discusses the performance-orientation of dramatic language; the second part considers the possible choreography for spatial organization and kinesics suggested by dramatic language; the third part looks at some of the ways cinema neutralizes the performative potential of dramatic language. The central argument is that a successful modern-day adaptation of Shakespeare's plays will in some ways be hindered by the retention of the original script.

Essays on the Medieval Period and the Renaissance: Things New and Old, Cambridge Scholars Publishing, pp.75-90., 2019

In my essay, I intend to investigate the ways in which "Shakespearean" acting tradition (or style) is adapted in contemporary performances of Shakespeare's plays, especially at the Globe theatre. As Mark Rylance, the previous artistic director of the Globe stated in several interviews, when working in the Globe, he was interested both in exploring the structure and working practices of the original Globe company and exploring the theatre space itself. Rylance, such as other theatremakers enthralled by Shakespeare, has palpable ideas about how early modern actors could have played, and he strongly connects these acting styles to the Shakespearean text. The mission of Shakespeare's Globe, thus, is not only to enshrine dramas in the form of performance, but also to understand and practice "original" Elizabethan performance. My paper analyses how conceptual patterns of early modern (Shakespearean) performance have developed and have been adapted/embedded in English acting tradition, and how they are understood and preserved in contemporary theatrical discourse. For several decades, there have been many attempts of theatre professionals to become a contemporary to William Shakespeare. In a performative/theatrical context, this means the production of modernised stage realizations. Making Shakespeare a contemporary could also be connected to the approach of the texts with quasi new interpretational strategies, to which theatrical adaptations and understandings can contribute a lot. However, while these projects are seemingly revolutionary, in fact, they often adapt to the canonised and idealised image of the Author, which is the result of the nineteenth-century cult of Shakespeare. Moreover, in the twentieth century it has become common that Shakespeare scholars cooperated in theatre projects, while actors and directors published theoretical writings on the stage mechanisms and the performance of Shakespeare. As

European Medieval Drama, 1998

Contemporary Issues in Indian Society, ISBN 9788192291321, 2014

According to Michelle Foucault, truth, morality, and meaning are created through discourse. Every age has a dominant group of discursive elements that people live in unconsciously. (Stuart, 2001) In 'Othello', Shakespeare represents society in many ways fundamentally different from his own, and rather than minimizing or obscuring these differences he explores them in a politically creative way. He portrays a strong concept of Italian city-state instead of a feudal monarchy or a renaissance court. As a whole, the play is a fascinating example of Shakespeare's Republicanism. Here two cities Venice and Cyprus play a symbolic shift in the attitude and the general mood of the play.