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Beyond Shakespeare: Screening Early Modern Drama

超越莎士比亚：放映早期现代戏剧

基本信息

批准号：
AH/I020985/1
负责人：
Pascale Aebischer
金额：
$ 8.14万
依托单位：
UNIVERSITY OF EXETER
依托单位国家：
英国
项目类别：
Fellowship
财政年份：
2011
资助国家：
英国
起止时间：
2011 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FI020985%2F1
关键词：
Beyond Shakespeare Screening Early Modern

项目摘要

Repeatedly, in Shakespeare in Love (1999), Marlowe and Webster risk upstaging Shakespeare, feeding him lines as much as they absorb Shakespeare's ideas. The film thus suggests a continuity between Shakespeare and his rivals that runs counter to the dominance it otherwise accords to Shakespeare. Beyond Shakespeare argues that the prominence of Marlowe and Webster in Shakespeare in Love is symptomatic of the larger irruption of Shakespeare's rivals into Shakespeare's screen monopoly. While scholars have concentrated on studying the spate of Shakespeare films produced during and after 'the Kenneth Branagh era', we have taken our eyes off the counter-Shakespearean, transgressive films produced in the wake of Peter Greenaway's pastiche of a Jacobean cannibalistic feast in The Cook, the Thief, His Wife and Her Lover (1989) and Derek Jarman's 'queer' Edward II (1991). The project investigates how early modern plays are marketed and interpreted on film and television. The research is broad in scope, considering over 30 films that range from Tourneur's 1940 Volpone to the films of Malfi and Volpone released by Stage on Screen in 2010. At the same time, tightly structured research questions and the subdivision of the corpus into three broad strands will enable a sharp focus on the often fraught relationship between early modern dramatists and the dominant figure of Shakespeare in the film adaptations of plays by Marlowe, Jonson, Webster, Middleton and Ford produced in the last two decades. The bulk of the book will thus focus on how and why present-day filmmakers and audiences invoke discourses of authenticity, heritage, and/or transgression when dealing with Shakespeare's contemporaries. Beyond Shakespeare: Screening Early Modern Drama will be the first in-depth study to analyse and theorise these films. The book will explore the distinguishing features and probe the tensions between the following strands of filmmaking:1. Counter-Shakespeares: Like Greenaway and Jarman in the 1980s, independent art house films by Marcus Thompson (Middleton's Changeling, 1998), Mike Figgis (Hotel, 2001) and Alex Cox (Revengers Tragedy, 2003) are self-consciously iconoclastic and oppositional. Taking Shakespeare and the heritage industry as their targets, they claim an alternative lineage, from Jacobean drama to Sade and Artaud's 'Theatre of Cruelty', to justify their exploration of the extremes of human experience. 2. Theatrical authenticity: At the other extreme, Original Practices stagings in reconstructed early modern theatres have prompted Martin White's AHRC-funded Chamber of Demonstrations DVD (2009), which brings together practitioners and scholars to provide insights into the lighting and staging in a Jacobean indoor theatre. Omitting Shakespeare, White's DVD implicitly identifies authenticity with Shakespeare's rivals. 3. 'More of the same': these films stress the continuity between present-day Shakespeare-centred theatre practice and their productions of his contemporaries. DVDs of Faustus (2009), Volpone (2010) and Malfi (2010) by Stage on Screen elide differences between Shakespeare and his contemporaries. Similarly, Jacobean TV adaptations of the 1970s-1980s styled themselves on the BBC Shakespeare series and ITV's Compulsion (2009) uses the successful BBC Shakespeare ReTold format to transpose the plot of The Changeling into a present-day Asian British context. Due to the difficulties involved in funding and marketing films of Shakespeare's contemporaries, many Jacobean films make use of recent developments in digital video technology and alternative marketing strategies. To study the material contexts for the creation of such films 'from within', the project includes collaboration with Stage on Screen and interviews with a range of film directors. Through research methods and content, Beyond Shakespeare thus challenges the boundaries of Shakespearean performance studies, mapping out a vibrant new field.

在《恋爱中的莎士比亚》(1999)中，马洛和韦伯斯特多次冒险抢了莎士比亚的风头，既给他灌输台词，又吸收了莎士比亚的思想。因此，这部电影暗示了莎士比亚和他的竞争对手之间的连续性，这与它在其他方面赋予莎士比亚的统治地位背道而驰。超越莎士比亚认为，马洛和韦伯斯特在《恋爱中的莎士比亚》中的突出表现表明，莎士比亚的竞争对手对莎士比亚的银幕垄断造成了更大的冲击。虽然学者们专注于研究在肯尼斯·布拉纳时代期间和之后制作的大量莎士比亚电影，但我们没有关注反莎士比亚的电影，这些反莎士比亚电影是在彼得·格林威(Peter Greenaway)在《厨师，小偷，他的妻子和她的情人》(The Cook，The Thief，His and Her Lover)中模仿雅各布人吃人的盛宴(The Cook，The Thief，His and her Lover，1989)和德里克·贾曼(Derek Jarman)的《酷儿爱德华二世》(Coer，The Thief，Her and Her Lover，1991)之后创作的。该项目调查早期现代戏剧是如何在电影和电视上进行营销和解读的。这项研究的范围很广，考虑了30多部电影，从图尔内尔1940年的伏尔邦到2010年在银幕上舞台上映的马尔菲和沃尔彭的电影。与此同时，严密的研究问题和将语料库细分为三大线索，将使人们能够尖锐地关注早期现代剧作家与莎士比亚在过去20年里改编的电影中的主导人物之间的关系。这些戏剧改编自马洛、琼森、韦伯斯特、米德尔顿和福特。因此，这本书的大部分内容将集中在当代电影制作人和观众如何以及为什么在与莎士比亚的同时代人打交道时援引真实性、遗产和/或越轨的话语。超越莎士比亚：放映早期现代戏剧将是分析这些电影并将其理论化的第一个深入研究。这本书将探索电影制作的特点和以下几个方面之间的紧张关系：1.反莎士比亚：就像20世纪80年代的格林威治和贾曼一样，马库斯·汤普森(米德尔顿的《长城》，1998)、迈克·菲格斯(《旅馆》，2001)和亚历克斯·考克斯(《复仇者悲剧》，2003)的独立艺术电影都自觉地打破传统，反对传统。以莎士比亚和遗产产业为目标，他们声称有另一种血统，从雅各布戏剧到萨德和阿尔托的《残忍的剧院》，以证明他们对人类经验的极端的探索是合理的。2.剧场的真实性：在另一个极端，重建的早期现代剧院中的原始做法促使马丁·怀特制作了由AHRC资助的演示厅DVD(2009)，这部DVD将从业者和学者聚集在一起，提供对雅各布人室内剧院的灯光和舞台的见解。怀特的DVD忽略了莎士比亚，含蓄地将真实性与莎士比亚的竞争对手联系在一起。3.《大同小异》：这些电影强调当今以莎士比亚为中心的戏剧实践与他同时代人的作品之间的连续性。《浮士德》(2009)、《伏尔蓬》(2010)和《马尔菲》(2010)的DVD分阶段上映，掩盖了莎士比亚和他同时代人之间的差异。同样，改编自20世纪70年代至80年代的雅各布电视剧改编自英国广播公司莎士比亚系列，英国独立电视台的《强迫》(2009)使用了成功的英国广播公司莎士比亚重述格式，将《长岭》的情节转换为今天的亚英背景。由于莎士比亚同时代的电影在融资和营销方面存在困难，许多雅各布电影都利用了数字视频技术和另类营销策略的最新发展。为了研究从内部创作这类电影的具体背景，该项目包括与银幕上的舞台合作，以及对一系列电影导演的采访。在研究方法和研究内容上，《超越莎士比亚》挑战了莎士比亚表演研究的边界，勾画出一片生机勃勃的新领域。