![]() But what's being proposed here is a standalone text which doesn't assume you know the play already, but which also provides a gloss on (presumably) most of the play. I wonder how many people enjoy R&G without having Hamlet pretty well to hand: not many, to judge from the dire film of it a few years ago.It's one thing to write a text that stands on its own but uses some elements of Shakespeare for those that want to spot it (10 Things I Hate About You) and another to write a text that is intimately bound up with a text you're assumed to know (R&G). ![]() ![]() The basic pitch - that the smaller characters have lives of their own - plays out in front of the (almost completely unseen) "other play". ![]() ![]() But it relies on the audience having a pretty solid knowledge of the play, even down to some of the more minor characters in it, and being able to fit them into the large context. (Original Review, )The book industry is becoming like the film industry no new ideas so just reboot or copy a previous story.Star Trek Into Darkness being the most cynical by simply reorganizing original a Trek film script and a couple of cases word for word."Rosencrantz and Guildernstern are Dead" (an) "interesting, imaginative reworkings of Shakespeare". ![]()
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