Raquel S. Albano | Universidad Autónoma de Madrid (original) (raw)

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Thesis Chapters by Raquel S. Albano

From its Renaissance in the 1980s, Shakespeare film and television adaptation has become a more a... more From its Renaissance in the 1980s, Shakespeare film and television adaptation has become a more accessible and prolific bridge between contemporary audiences and Shakespeare’s work as a playwright. With the turn of the millennium, they have increased both in their number and difference from their predecessors, since the first adaptations in the 1930s, but so has changed our perspective as 21st century audience towards Shakespeare and the theatre of his time as cultural emblems. In the last twenty years, a new wave of Shakespearean adaptations has been responding to the audience’s needs in the form of film and television by providing us with some of the more ‘divergent’, experimental, and original adaptations of Shakespeare, and bringing the plays to life once again. By looking at and comparing three examples of Shakespeare film adaptations produced after the year 2000 — Caesar Must Die (2012), Private Romeo (2011), and Omkara (2006) — and analysing their approach to race, gender, sexuality and some of the performative aspects in the plays and films such as space, text and characters, this study will try to explore and document how more recent and less popularized by western media Shakespeare adaptations have been addressing and subverting the original texts, but also responding and establishing a dialogue with 21st century aesthetics, and ethical and socio-political issues.

Papers by Raquel S. Albano

From its Renaissance in the 1980s, Shakespeare film and television adaptation has become a more a... more From its Renaissance in the 1980s, Shakespeare film and television adaptation has become a more accessible and prolific bridge between contemporary audiences and Shakespeare’s work as a playwright. With the turn of the millennium, they have increased both in their number and difference from their predecessors, since the first adaptations in the 1930s, but so has changed our perspective as 21st century audience towards Shakespeare and the theatre of his time as cultural emblems. In the last twenty years, a new wave of Shakespearean adaptations has been responding to the audience’s needs in the form of film and television by providing us with some of the more ‘divergent’, experimental, and original adaptations of Shakespeare, and bringing the plays to life once again. By looking at and comparing three examples of Shakespeare film adaptations produced after the year 2000 — Caesar Must Die (2012), Private Romeo (2011), and Omkara (2006) — and analysing their approach to race, gender, sexuality and some of the performative aspects in the plays and films such as space, text and characters, this study will try to explore and document how more recent and less popularized by western media Shakespeare adaptations have been addressing and subverting the original texts, but also responding and establishing a dialogue with 21st century aesthetics, and ethical and socio-political issues.