While actors and costumes add other elements in both cases, the budgets for both projects are often vastly different. Language was also another element that Miller had to adjust from both projects. If you look in the text, the language used is far more relevant to that of the time period. The screenplay however, uses a similar form of this historical speech. Though, the text was written in the language patterns of the late 1700’s, when compared to the more modern Americanized version is lessened by Miller who states, “The Problem was not to imitate the archaic speech but to try to create a new echo of it which would flow freely off American actor’s tongues,” an important field to maintain when writing dialogue for
The 1977 Movie appears to have a loud tone, digging deep into the features of play that are similar and embodied within the daily human activities and lifestyles. The changes from the initial story to the present appear to be successful. The decision for the adaptation was successful since by acting the play; there is much more significance given to it, are acting more audience. The audience has also been captured in a stronger way unlike in the initial presentation (Eby
One quote in particular is the most important. A single quote in Much Ado About Nothing can help the reader understand what is occurring in the play and can change the plot of the story. In Act 3 scene 2, Don Pedro, Claudio, and Benedick are all discussing how Benedick has been acting different lately. Don Pedro says a line crucial to the story that begins a whole new order of events. He states, “Indeed, that tells a heavy tale
The Tempest by William Shakespeare is projected to be written in 1610-1611 and is first performed in November 1611 and it is also believed to be the last play that Shakespeare has written alone. The play is largely engaged on the theme of power whether it be bad or good. Power is demonstrated in various ways in The Tempest, it can be seen as the characters desire power amongst each other, the power over slaves and men, the power of love and lastly the supernatural power of magic. These forms of power is witnessed through governance and possession in the play as well. Shakespeare depicts this power predominantly through Prospero who seems to have the greatest extent of power in the play.
Different Cinematic Portrayals of Macbeth Not only has Shakespeare’s, Macbeth, been told through page but also through the theater, opera, and the magic of Hollywood. Many writers have attempted to bring Shakespeare to audiences many a times with new settings set throughout time. There are a plethora of adaptations of Macbeth, some brilliantly made, others that weirdly work, and some that just should have never been allowed to have been made but there is no doubt that each one allows the viewer to dive into William Shakespeare 's original story. One of the most unconventional versions of Macbeth would be the 2006 film, Macbeth, created by Geoffrey Wright. The movie was made for the Toronto Film Festival and won two awards for the Best Costume Design and Best Production Design.
In recent years, Shakespeare has been parodied in television shows and films more than almost anything else. Merriam-Webster’s dictionary defines parodies as “a literary or musical work in which that style of an author or work is closely imitated for comic effect or in ridicule” or “a feeble or ridiculous imitation”(Merriam-Webster). One of the most notable parodies of Shakespeare is The Lion King; because the famous child film has some outstanding parallels to Hamlet it has drawn a considerable amount of attention.
Michelle Lee, a published writer and Shakespeare critic, states that “The enigmatic influence of fate, fortune, and the heavens on the lives of human beings forms a compelling theme in Shakespearean dramas and comedies” (Lee, 2004, para. 1). Lee is essentially saying the theme of chance and pure luck is an essential theme in Shakespearean dramas and comedies. This is certainly evident in A Midsummer Night’s Dream. She goes on to say “Critics suggest that Shakespeare's depiction of fortune in the comedies relies in large part on medieval and Renaissance perceptions of this obscure force.
Manifestly, the play The Taming of The Shrew is about a common premise of courtship dealings and relationships; a broad theme that is envisioned by another progressive and ever-changing factor, that of the English language, and the revamps of newer artists. Generally, mirroring humanity is the need to link ourselves through art and historical accounts, and Shakespeare’s works are scaffolds of many modern renditions of the Shr., such as, the novel “Vinegar Girl” (2017) authored by Anne Tyler, and a comedic adaptation from BBC, Shakespeare RE-Told (2005 TV Episode). Subsequently, the Bard’s dramatic expression is unprecedented and at the same time coherent but overshadows any subsequent improvement or modernization attempts. However, the interpretations are vast and an homage for an artist that has had an enormous influence on the English language, which is commonly known today, and in varied artistic platforms. The Pulitzer Prize winning Tyler’s “Vinegar Girl,” is as a stand alone a well-written, and easy to read story.
We can take notice to this in the book as well as in both films. However, like all adaptations, there are some differences between the three works. The newer movie appears to be the closest though. With the newer technology that we have, that’s not surprising. The scenes are bold and draw attention.
I usually do not enter the intensifying stage with others. But, I feel lucky by having a few friends at the intensifying relational escalation stage. Finally, I do agree that there is a level of communication and relational escalation that involves the merging of personalities. For instance, my friend got married a couple of years ago. And, I observed how he eventually started to change some factors about his personality.