Classic plays have lasted through the ages by being redone and modernised at every turn in history. Contemporary theatre relies on reworking and utilising themes and events classical playwrights have exercised many times over, however this poses the question of whether or not theatre is being dumbed down for the modern audience and whether it is simply becoming fast entertainment.
Adapting classic plays helps modern audiences engage with the themes and characters presented and provides easier entertainment. Shakespeare, for example, intertwined themes of hardship, heartbreak, love and betrayal as well as countless other motifs and issues which people are still experiencing today; these never go out of fashion and illustrate why his plays find themselves staged so often. The diversity of modern adaptations not only allows audiences to better appreciate and understand Shakespeare’s
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In giving the director the liberty to shape classic plays into their own through adapting them, they can gain a sense of ownership from their production (Crabs 2014) while communicating the audience that it was and still is a commentary of the time in which it was written. The audience can often feel whether or not a production is truly authentic, which is why Peter Meineck professor of Classics at New York University argues “it is more important for plays to work than to be accurate” (van Nievelt 2013) and so it is vital that the director feels ownership of the adapted play. This new wave of auteur directors means there is a multitude of avenues being opened up for the audience to fully understand both play and playwright from a divergent perspective, exploring the classical texts which are so often redone and revamped to fit into contemporary theatre in a way that audiences today can engage
The Seagull does this, but only to a short extent- there is a small play performed within the play, and there is talk about the relevance of theatre and art to modern life. In contrast, SFB is a veritable motherload of meta. The characters know that they’re characters, and that they happen to be performing for you. They even know that they’re specifically in an adaptation- in our specific production vision, we like to see it as our characters taking the story into their own hands to retell it. The audience see two overlapping worlds: the reality the characters face in the plot of the play, and the constructed reality of a theatrical
William Shakespeare is known for his creativity being expressed by writing plays and poems. Many of his plays throughout time have been made into epic movies. When Shakespeare’s plays are recreated there are usually changes made within the scenes. Sometimes the changes would be made to the language for the movie to adapt to modern times. Other times there would be minimal changes made by the director to have more of an emphasis of the themes.
Throughout the centuries, a commonality of time enduring plays is that they often include themes that are consistently relevant to audiences as time goes on. Henrik Ibsen 's A Doll 's House and Susan Glaspell 's Trifle are two plays that were written in 1879 and 1916, and both are still well read and enjoyed plays because of this reason. One relevant theme for contemporary viewers that can be found throughout both of these works is the character 's conflict against conformity to social norms. This struggle is relevant to present-day readers because of the increased value of the individualistic mentality that has been prevalent in our culture. By analyzing these characters during their struggle against conformity to social norms, we can discover how this theme makes these two works relevant to present-day readers.
Composers can reimagine iconic texts as a way to reinforce their core themes and significantly challenge contextual norms. ‘Hag-seed’ written in 2016 by Margaret Atwood is a prose fiction novel that reimagines Shakespeare’s ‘The Tempest’ through a modern-day lens, allowing audiences to connect and deepen their understanding of the original text in a more digestible way. As a modern female author, Atwood utilises redefined plotlines in her novel to embed relevant social commentaries, expressing the differing values and contexts between herself and Shakespeare. Atwood’s representation of the character Miranda better helps the audience understand the actions and motives of Miranda in the base text. The intentional similarities and differences
Shakespeare and Modern Popular Culture. By Douglas Lanier. Reviewed by Jari Ullah. M.Phil. Roll# 10 Shakespeare and Modern Popular Culture by Douglas Lanier introduces us to the Shakespeare of later-days and its multiple “appropriations”.
“The Empty Space”, a book written by the director Peter Brook outlines his four theories of theatre each that evokes a different meaning, Deadly, Holy, Rough and Immediate. In his opinion, Deadly Theatre is the most common type of theatre, which fails to modernize, instruct or even entertain. This style concentrates on the act of imitation by mimicking successes from the past and relying on old schemes instead of exploring the deeper meaning from the text (Brook, Peter). However, Shylock, a character from the Merchant of Venice a play written by Shakespeare, has had various interpretations from actors through out time, causing tendentious reactions from its audience. This thought fueled my inquisitiveness to investigate the importance on how
In Shakespeare’s own time, audiences were transported into his plays through the power of language in the evocation of plot, set against the simply dressed stages of the Renaissance. However, as expectations of theatrical experience grow and audiences emerge that are either alienated from Shakespeare or numbed to his effect, directors attempt to demonstrate the playwright’s power in new ways. This tendency is intensified in film, where viewers expect a full setting to be visualised for them, in the absence the immediacy of action one gains from theatre. No text plays into these contemporary issues more than Romeo and Juliet. Whilst stage directions are sparse, characters’ preoccupation with ‘Verona’ pervades their language.
Orson Welles is held in the minds of many as a notable film director and actor, but his work in other modes of storytelling is often overlooked. I intend in this paper to analyze one of those overlooked works, the play he authored and produced in London Moby Dick—Rehearsed, adapted from the novel. It is my intention to demonstrate that this work subscribes to what we may call Welles’s philosophy of storytelling in order to encompass his film, theatre, and radio works—he frames the story of the novel in a way that is consistent with his other works, he himself plays and “transfigures” the role of the “king,” and he parodies the genre of theatre itself. Moby Dick—Rehearsed is not a “straight” adaptation of the novel. Instead, Welles adapts
Revivals of Shakespeare 's plays and other works have been featured in nearly 500 films and/or videos world-wide. Outrageous high comedy ensues as the pangs of unrequited love affect the unforgettable characters of Shakespeare’s Twelfth Night. While the lovelorn Duke Orsino plots to win the heart of the mourning Olivia, an alliance of servants and hangers-on scheme against the high-handedness of Olivia’s steward, the pompous Malvolio. When Orsino engages the cross-dressed Viola, who has disguised herself as a young man under the name Cesario, to plead with Olivia on his behalf, a bittersweet and hilarious chain of events follows. There have been many Revivals of the classical Shakespeare comedy “Twelfth Night or What You Will”.
As a result, the experience of Shakespeare’s plays in the theater took a populist turn” (Octane 1). This shows that Shakespeare brought many new elements to playwriting, which seemingly improved plays because “Audience members engaged with the events taking place on stage, becoming vocal and often raucous” (Octane 1). This suggests that the new elements in Shakespeare’s writing sparked emotion in audience members as if the events were real. If an author can spark emotion in so many audience members, it shows that their writing style is extremely effective. Additionally, “Shakespeare is also credited as having invented genres that mixed both tragedy and comedy.
St1: “To tell the truth, sometimes it is boring and tiring. I feel confused.” In line with the argument “theatre plays versus drama” in educational contexts, some students stated that acting in front of their friends and parents; preparations, rehearsals and memorizing the texts are frustrating and
In the twenty-first century, the plays of William Shakespeare may at first appear dated and irrelevant: they use archaic language, are set in the age of Kings and Queens, and the Kingdom of England. However, it would be plainly mistaken to construe that Shakespeare’s works do not still remain integral to a twenty-first century society. Shakespeare’s plays gave the words and expressions one uses every day, revolutionized the art of theater as it was known, and forewarned about issues that would unknowingly still apply centuries later. Therefore, Shakespeare has had a profound effect on our lives by enriching our language and culture, as well as providing ideas that would still apply five centuries later, and it would thus behoove us to learn from his works and life.
Despite being written a long time ago, readers in this day and age can still relate to the themes and characters. Each reader can find something that appeals to them. Shakespeare’s and Jonson’s works are evidence that there is no one definition of great literature. Even though they didn’t have the same approach or use the same techniques, they are both perfect and their works are jewels that need to be cherished in years to
A Story Well Told Art is found in many forms that stretch through the ages, all of them have found a way into the human heart but only one is almost completely dominated by one name. Shakespeare, honorary ruler of the play world, has taken over the play world for around 200 years. In this time people have and still do remake his plays.
Sometimes a play opens and everyone immediately recognizes it as a historical, life altering, enormous success. Sometimes plays open and close and no one notices. And sometimes plays open and are openly reviled, scorned, laughed at, or even worse, met with general indifference. It is this group that Famous Flops in Theatre History explores: plays that were at first hated but later recognized as valuable and significant. In this issue of Famous Flops in Theatre History, plays by Anton Chekhov, John Millington Synge, and Luigi Pirandello will be analyzed, comparing their initial performances with their legacy in the realm of theatre history.