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Essay / Research Paper Abstract
A 6 page paper which examines some big and small screen interpretations of Shakespeare’s most popular tragedies to analyze how they attempt to improve the play, how they can reach more audiences, how the works have to be altered to fit the film format, and considers whether or not this hurts the integrity of the work. Bibliography lists 6 sources.
Page Count:
6 pages (~225 words per page)
File: TG15_TGwsfilm.rtf
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Unformatted sample text from the term paper:
forever touched by his creative imprint. Shakespeare did not create the stories he chose to dramatize; but could, nevertheless, make them his own through his powerful prose. He
was particularly effective in elevating the tragic literary form to its highest level. Shakespeares action-packed dramas were natural choices to make the leap from the stage to the screen,
both large and small. However, because Shakespeares works were staged specifically for the theater, directors needed to alter them by "toning down" the plays in order to depict a
more realistic and viewer-friendly representation. Also, Shakespeares plays were created to appeal to Elizabethan audiences; and therefore, many filmmakers have chosen to adapt the plays so that they will
offer a greater appeal to contemporary film and television audiences. In the case of Hamlet, undoubtedly Shakespeares most popular play, although it might appear to make a smooth transition from
stage to celluloid, appearances are deceiving. When Laurence Olivier directed and starred in a 1948 screen version of Hamlet, producers feared that film audiences would grow restless during the
many long speeches. Since uncut theatrical version of Hamlet was an exhausting four-and-a-half hours, Olivier wasted no time in deleting most of Hamlets famous soliloquies, except for the ones
which heightened dramatic impact, such as "To Be or Not to Be." He shrewdly chose these speeches to be used as voice-overs while visually demonstrating Hamlets anguish over his
fathers murder and the betrayal he felt over his mothers sudden remarriage to her brother-in-law, Claudius. Olivier also realized that while Shakespeares prose was lyrical when read aloud, it
could prove confusing to viewers unaccustomed to Elizabethan English, so in certain pivotal scenes, he rewrote dialogue in order to give the work a more twentieth-century "feel," and to provide
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