“Rosencrantz and Guildenstern Are Dead” is one of the more usual plays constructed by Tom Stoppard. The play may come off as a random sequence of events that the two main characters endure, but when aspects of the play are closely examined, there is a method to Stoppard’s writing. Rosencrantz and Guildenstern are faced with choices and countless question throughout the play. The questions the main characters ask each other may seem important at the certain time they are asked, but they ask so many questions without any answers that their questions become obsolete. Stoppard makes Rosencrantz and Guildenstern face the question do they want to actors in the play of life, which most readers don’t see because of all the other questions asked in the play.
Lynne Pembroke and Jim Kalergis in their “From Novel to Screenplay: The Challenges of Adaptation” article proposes an idea that to deal with the challenge of lengthy adaptations is by reading the books thoroughly and see what parts are still remembered after putting it down and setting it aside for weeks. After that, directors need to develop an outline from those memorable parts (par. 2). Another suggestion is by determining the general idea of the story and actuating the major sub-plots. To help get the gist of what the novel is about, movie makers can pose questions, such as who are the protagonists and antagonists?
A Doll House Analysis The movie A Doll’s House offers a close representation to Henrik Ibsen’s play. Although the script respects the play in most instances, it slightly varies, and certain scenes differ in the interpretation of this dramatic work. A comparison is necessary to reveal the choices that were done in the adaptation process and the manner they were tackled (Labrecque 52). The director of the movie proposes a different point of view when Nora meets Krogstad a second time.This paper demonstrates variations between the play and the cinematic adaptation. It illustrates the unfairness between Nora and Krogstad.
Adaptation or the filmed novel is a specific genre in which a film is either based on a poem or a short story or a play or a novel. In the filmed novel, literature and cinema both overlap. In spite of the obvious similarities there are certain hidden differences that startle the filmmakers and the critics. These differences always prove to be problematic to the filmmakers. The basic difference between the novel and the film is in the form of certain distinguishing traits of both the mediums of expression.
Shakespeare has a special way of handling the plots in order to keep the audience guessing. This is one of the main reasons why he still manages to surprise us even today in ways that probably the Greeks and the French never have. Aristotle defines comedy as “an imitation of men that are worse than the average” Since we are dealing with normal people and the problems they might have, we cannot expect a perfect outcome for everybody in all aspects at the end of a play. If life was perfect we will probably not have a need for comedies. These situations and characters are there to helps us appreciate what is really happening in the
Film analysts have been trying to ascertain and prescribe a code to the region that makes film communication dissimilar or distinct in its own way from the other forms of art, One art form is not necessarily better than another, but both forms of media and art can be used for propaganda or to spread and communicate particular ideas or messages. Nonetheless, the utilization of a code that puts forth a message mainly by images on a screen as opposed to by words helps to determine and describe the powerful unconscious responses of movie audiences and separates and draws a line of distinction between film and literature. Film has come up with a series of signals that bring about a response from a spectator every single time a signal is used. In the writing art form, a word such as Hiroshima brings to memory certain images and scenes related to it, most of them from the rolls that audiences have seen in movies, and get a context of their own. Under sound film, moving images often are seen to be carrying meaning more in comparison to the words that come along with them.
“What is my motivation?”, “Why does he turn on the lamp”, “Why does she drink water?” etc. These answers are often difficult to find in the playwright, however actors are supposed to use their imagination and sense to come up with an answer which would most likely be their attitude to the action. Nonetheless the actor must study the text in depth to determine the motivation behind a character's words and actions. I think that these elements are vital for a successful development of character, as natural reactions are the most authentic acting you can get. Stanislavski’s methods may be debated to be harsh and involving messing with an actor’s mind and body, however it has had great success in the development of natural
2 Significance and Objective of the Research Throughout the ages, man has always been seeking alienation from his society, group, sect, religion or even his or her country for different reasons. This theme dominated the major works of great poets, novelists and playwrights, like Matthew Thomas Arnold, Daniel Defoe and many others. This study; therefore, aims at developing and extending our understanding of what alienation means in modern theater, and what the reasons behind the alienation of the modern individuals are. This study too aims at identifying the reasons why modern playwrights present such type of alienated protagonists, it also attempts to appreciate tragic plays which are concerned with people we can find among us. Being
We have been discussing cinematic adaptation, we need to begin by clarifying what we take “cinematic adaptation” mean. We take cinematic adaptation to mean the process undertaken to put the mental images, which arise while reading the literary text, into the visual one. This is the journey of a story which needs a collaborative endeavour, planned by director with the help of script-writer, producers, cameras and the other humane and technical aids besides personal. Thus, a film adaptation is the transfer of a written work into a feature film. Different film theorists have taken different views on screen adaptations.
This is pertinent to those areas affected by LWE where people have felt marginalised and taken to radicalisation as a solution though futile. Both central and state govts have to look into this aspect at the earliest to combat LWE. 26. Legislation reforms. Indian laws to deal with terrorism are outdated and need urgent reforms/ legislation of new laws.