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 1
... performances in the nineteenth century put extreme realism on the stage and developed the processes of focus and fast changes between different concomitant plots . It is important to define what we mean by ' realism ' before moving any ...
... performances in the nineteenth century put extreme realism on the stage and developed the processes of focus and fast changes between different concomitant plots . It is important to define what we mean by ' realism ' before moving any ...
Pagina 3
... performances were candle - lit , and used illusionist processes inspired by the masques of the time with elaborate ... Performance ( Cambridge University Press , 1996 ) , p . 99 . 6 See Andrew Gurr , The Shakespeare Stage ( Cambridge ...
... performances were candle - lit , and used illusionist processes inspired by the masques of the time with elaborate ... Performance ( Cambridge University Press , 1996 ) , p . 99 . 6 See Andrew Gurr , The Shakespeare Stage ( Cambridge ...
Pagina 4
... performance , participating in the action with their own reactions.10 Fiction was thus designated as such . The deceit and trickery that are part of acting were pointed out by the mise - en - scène itself . frontal viewpoint, and ...
... performance , participating in the action with their own reactions.10 Fiction was thus designated as such . The deceit and trickery that are part of acting were pointed out by the mise - en - scène itself . frontal viewpoint, and ...
Pagina 5
... performance and dropped only at the end of the show: the audience could still see the changing of sets between scenes. The Restoration stage was still largely based on an intimate relationship between actors and spectators. It did not ...
... performance and dropped only at the end of the show: the audience could still see the changing of sets between scenes. The Restoration stage was still largely based on an intimate relationship between actors and spectators. It did not ...
Pagina 6
... performance, and were positioned on the stage at various dis- tances to createtrompe-l'œileffects.16 Painted landscapes or interiors seemed to get smaller according to the natural laws of perspective, and merged into a distant point on ...
... performance, and were positioned on the stage at various dis- tances to createtrompe-l'œileffects.16 Painted landscapes or interiors seemed to get smaller according to the natural laws of perspective, and merged into a distant point on ...
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