Extollager
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- Joined
- Aug 21, 2010
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One of the best things I ever read about Shakespeare was a short book by S. L. Bethell called Shakespeare and the Popular Dramatic Tradition. Published by the obscure firm of Staples Press in 1944, but with an introduction by T. S. Eliot, this book got me to think about how important it is to think of the plays as performed on an Elizabethan stage. To be brief: Plays are performed in a theatre open to the afternoon sky; the audience surrounds the stage; the actors perform mostly on a stage thrust out into the audience area a bit, or in a gallery. There is no electronic amplification of sound, of course, and props are minimal.
So the poetry has to convey the gloom of night in Macbeth, the enchanted depths of forest in Midsummer Night's Dream, etc. The actors' movements are probably stylized so as to be intelligible to viewers distant from the stage (some of whom may have trouble seeing over the shoulders of audience members packed standing around the stage). The actors are are males.
So the audience doesn't just watch a play, but it is put in a position that would be a little like us listening to old-time radio drama. What you hear is vitally important. But there are no close-ups of authors' faces, etc.
These things, I suppose, work against the conventions of the movies and TV. I love Shakespeare, but I generally haven't been all that pleased by visual adaptations that I've seen. (NB I have seen a few productions at the Oregon Shakespearean Festival, many years ago, on their outdoor stage before the area was extensively remodeled. That was a good experience.) I tend to think of Kurosawa's Throne of Blood as the most successful "Shakespearean" movie I know, which is a very free adaptation to a samurai milieu of Macbeth in which both the cinematic skills of a master director and, as I understand, some conventions of Japanese Noh are used. It's great; I think it is one of the things that justifies cinema itself as an art form, doing something of high artistic value that could not have been done without the resources and conventions of motion pictures. But it works in part because it is so free with the Shakespearean material.
J. D.'s old thread about whether Shakespeare is irrelevant prompted quite a bit of commentary, so I thought I'd throw this out and see if people want to present their opinions.
So the poetry has to convey the gloom of night in Macbeth, the enchanted depths of forest in Midsummer Night's Dream, etc. The actors' movements are probably stylized so as to be intelligible to viewers distant from the stage (some of whom may have trouble seeing over the shoulders of audience members packed standing around the stage). The actors are are males.
So the audience doesn't just watch a play, but it is put in a position that would be a little like us listening to old-time radio drama. What you hear is vitally important. But there are no close-ups of authors' faces, etc.
These things, I suppose, work against the conventions of the movies and TV. I love Shakespeare, but I generally haven't been all that pleased by visual adaptations that I've seen. (NB I have seen a few productions at the Oregon Shakespearean Festival, many years ago, on their outdoor stage before the area was extensively remodeled. That was a good experience.) I tend to think of Kurosawa's Throne of Blood as the most successful "Shakespearean" movie I know, which is a very free adaptation to a samurai milieu of Macbeth in which both the cinematic skills of a master director and, as I understand, some conventions of Japanese Noh are used. It's great; I think it is one of the things that justifies cinema itself as an art form, doing something of high artistic value that could not have been done without the resources and conventions of motion pictures. But it works in part because it is so free with the Shakespearean material.
J. D.'s old thread about whether Shakespeare is irrelevant prompted quite a bit of commentary, so I thought I'd throw this out and see if people want to present their opinions.
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