Shakespeare, from Stage to ScreenCambridge University Press, 12 aug 2004 How is a Shakespearean play transformed when it is directed for the screen? In this 2004 book, Sarah Hatchuel uses literary criticism, narratology, performance history, psychoanalysis and semiotics to analyse how the plays are fundamentally altered in their screen versions. She identifies distinct strategies chosen by film directors to appropriate the plays. Instead of providing just play-by-play or film-by-film analyses, the book addresses the main issues of theatre/film aesthetics, making such theories and concepts accessible before applying them to practical cases. Her book also offers guidelines for the study of sequences in Shakespearean adaptations and includes examples from all the major films from the 1899 King John, through the adaptations by Olivier, Welles and Branagh, to Taymor's 2000 Titus and beyond. This book is aimed at scholars, teachers and students of Shakespeare and film studies, providing a clear and logical apparatus with which to examine Shakespearean screen adaptations. |
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Pagina 3
... action to create a particular atmosphere . Music was used when heavy props were carried on stage , covering the noise of machinery and adding a spectacular flourish to the sudden apparitions . However , musicians and singers always ...
... action to create a particular atmosphere . Music was used when heavy props were carried on stage , covering the noise of machinery and adding a spectacular flourish to the sudden apparitions . However , musicians and singers always ...
Pagina 4
... action , while a Chorus , a Prologue or an Epilogue could directly call out the spectators and alienate them from the action . The actors ' soliloquies and asides were conventions that estab- lished intimacy with the public while ...
... action , while a Chorus , a Prologue or an Epilogue could directly call out the spectators and alienate them from the action . The actors ' soliloquies and asides were conventions that estab- lished intimacy with the public while ...
Pagina 5
... action will be seen.11 The Restoration stage, or the generalization of the decorated set In 1660, with the Restoration, English theatres reopened. They had been closed – at least officially – since 1642, following an edict adopted by ...
... action will be seen.11 The Restoration stage, or the generalization of the decorated set In 1660, with the Restoration, English theatres reopened. They had been closed – at least officially – since 1642, following an edict adopted by ...
Pagina 6
... action with their instruments stood in an upper gallery that the spectators could see. Musical moments were admittedly more frequent, but they remained in view. The Restoration stage was the result of several influences, both English ...
... action with their instruments stood in an upper gallery that the spectators could see. Musical moments were admittedly more frequent, but they remained in view. The Restoration stage was the result of several influences, both English ...
Pagina 7
... action at the back of the stage but also variations in luminous inten- sity in order to suggest different times of day.20 By focusing the audience's attention on a particular action , it anticipated the function of modern spotlights.21 ...
... action at the back of the stage but also variations in luminous inten- sity in order to suggest different times of day.20 By focusing the audience's attention on a particular action , it anticipated the function of modern spotlights.21 ...
Inhoudsopgave
1 | |
CHAPTER 2 From theatre showing to cinema telling | 33 |
towards a real world | 66 |
from metatheatre to metacinema? | 94 |
the example of Hamlet | 127 |
CHAPTER 6 Case studies | 152 |
Bibliography | 177 |
Index | 186 |
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action actors aesthetic alienating Almereyda André Antony audience Baz Luhrmann Cambridge University Press camera moves camerawork characters cinema Claudius close-ups construction create devices dialogues diegesis diegetic discourse dramatic editing effects Elizabethan emotional emphasizes enunciation extradiegetic music fiction film directors filmic flashback focuses frame Franco Zeffirelli French gaze genre Ghost Hamlet Henry high-angle shot Hollywood Iago Ibid identification illusion images inserts interpolations Juliet Katherine Kenneth Branagh King Kozintsev Laurence Olivier London low-angle shot Luhrmann metacinematic metafilmic metaphorical Midsummer Night’s Dream mirror monologue movements movie narration narrative Oliver Parker Olivier's Ophelia original play Othello Paris performance present production realistic reflect reveal Richard Richard III Richard Loncraine romantic Romeo scene screen adaptations screenplay semiotic sequence Shakespeare adaptations Shakespeare films Shakespeare on Film Shakespeare on Screen Shakespeare text Shakespeare’s plays showing slow-motion soliloquy space spectators speech stage story subtext Taymor technique theatre theatrical Titus trans viewers viewpoint visual words Zeffirelli