Laurence Olivier’s Versus Peter Brook’s Hamlet (S): The Text as an Instrument of Performance
| المصدر: | مجلة موارد |
|---|---|
| الناشر: | جامعة سوسة - كلية الآداب والعلوم الإنسانية |
| المؤلف الرئيسي: | Ben Halima, Abdellatif (Author) |
| المجلد/العدد: | عدد خاص |
| محكمة: | نعم |
| الدولة: |
تونس |
| التاريخ الميلادي: |
2016
|
| الصفحات: | 193 - 204 |
| DOI: |
10.38168/1061-000-999-010 |
| ISSN: |
0330-5821 |
| رقم MD: | 1283157 |
| نوع المحتوى: | بحوث ومقالات |
| اللغة: | الإنجليزية |
| قواعد المعلومات: | AraBase, HumanIndex |
| مواضيع: | |
| كلمات المؤلف المفتاحية: |
Drama | Theatre | Performance | Fourth Wall | Empty Space | Defamiliarisation | Technological Instrumentalisation
|
| رابط المحتوى: |
| المستخلص: |
This paper addresses the issue of the relationship between drama and performance by means of a comparative study of two screen adaptations of William Shakespeare’s Hamlet, namely, Laurence Olivier’s film Hamlet and Peter Brook’s television adaptation The Tragedy of Hamlet. The contrastive approach shall allow us to focus on the major differences between these two adaptations which transpose Shakespeare’s text from the stage to the screen. The aim is to show that in Brook’s Hamlet Shakespeare’s text is not only played but also played with. Consequently, the performance is to be simultaneously read as a self-contained work by Brook and as a simple production of Shakespeare’s play. While the relationship between Olivier’s film and Shakespeare’s text is to be approached as one of mere re-production, that between Brook’s performance and Hamlet is to be read as an example of technical – or even technological – and strategic instrumentalisation. |
|---|---|
| ISSN: |
0330-5821 |
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