Beyond Shakespeare: Screening Early Modern Drama

在1999年的《恋爱中的莎士比亚》（Shakespeare in Love）中，马洛和韦伯斯特一再冒险抢了莎士比亚的风头，在吸收莎士比亚思想的同时，也给他提供了大量的台词。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，这与它赋予莎士比亚的统治地位背道而驰。《超越莎士比亚》认为，《恋爱中的莎士比亚》中马洛和韦伯斯特的突出地位是莎士比亚的竞争对手更大程度地侵入莎士比亚银幕垄断地位的征兆。当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时，我们已经把目光从彼得·格林纳维在《厨师，小偷，他的妻子和她的情人》（1989）和德里克·贾曼的“酷儿”爱德华二世（1991）中模仿蚕豆吃人盛宴之后制作的反传统，越界的电影中移开。该项目调查了早期现代戏剧是如何在电影和电视上营销和解释的。这项研究的范围很广，考虑了30多部电影，从图尔纳1940年的《Volkswagen》到2010年由Stage on Screen发行的《Malfi》和《Volkswagen》。与此同时，结构紧凑的研究问题和语料库分为三大部分的细分将使早期现代剧作家和莎士比亚在电影改编的马洛，琼森，韦伯斯特，米德尔顿和福特在过去的二十年中产生的戏剧的主导人物之间的关系往往令人担忧的焦点。因此，本书的大部分内容将集中在当今的电影制片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引用真实性，遗产和/或违法的话语。超越莎士比亚：筛选早期现代戏剧将是第一个深入研究，分析和理论化这些电影。这本书将探讨电影制作的特点，并探讨以下几个方面之间的紧张关系：1。反倾销：就像20世纪80年代的格林威和贾曼一样，马库斯·汤普森（1998年的《米德尔顿的换生灵》）、迈克·菲吉斯（2001年的《酒店》）和亚历克斯·考克斯（2003年的《复仇者的悲剧》）的独立艺术电影都是自觉的偶像崇拜和对立的。以莎士比亚和遗产产业为目标，他们声称从蚕豆戏剧到萨德和阿尔托的“残酷戏剧”，他们的另一种血统，以证明他们对人类经验的极端探索是合理的。2.真实性：在另一个极端，在重建的早期现代剧院的原始实践舞台，促使马丁白色的AHRC资助的演示DVD（2009年），其中汇集了从业者和学者提供的照明和舞台上的蚕豆室内剧院的见解商会。省略莎士比亚，白色的DVD含蓄地确定与莎士比亚的竞争对手的真实性。3.“更多的相同”：这些电影强调了当今以莎士比亚为中心的戏剧实践与他同时代的作品之间的连续性。《浮士德》（2009年）、《伏尔泰》（2010年）和《玛菲》（2010年）的DVD在银幕上的舞台上省略了莎士比亚和他同时代人之间的差异。同样，20世纪70年代至80年代的英国电视剧改编自BBC莎士比亚系列，ITV的《强迫》（2009年）使用了成功的BBC莎士比亚重述格式，将《换生灵》的情节转换到当今的亚洲英国语境中。由于莎士比亚同时代的电影在资金和营销方面存在困难，许多蚕豆电影利用了数字视频技术和替代营销策略的最新发展。为了研究“从内部”创作此类电影的材料背景，该项目包括与舞台屏幕上的合作以及对一系列电影导演的采访。通过研究方法和内容，超越莎士比亚，从而挑战了莎士比亚表演研究的边界，描绘了一个充满活力的新领域。

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.