The real thing? Adaptations, transformations and burlesques of Shakespeare, historic and post-modern

Autores

  • Manfred Draudt

DOI:

https://doi.org/10.5007/%25x

Resumo

The practice of adapting great authors to fit current requirements is not just a recent phenomenon. The first great wave of adaptations of Shakespeare came after the period of the closing of theatres in 1642, with the advent of the Restoration in 1660. Political change was accompanied by a radical change in tastes, ideals and conditions: theatres were roofed in and artificially illuminated (like the earlier private theatres); there was also elaborate changeable scenery; and for the first time female roles were taken by professional actresses. Most importantly, French neo-classicism was adopted as the fashionable theory that shaped both the form and the language of plays.

Biografia do Autor

Manfred Draudt

Manfred Draudt prepared his Ph.D. thesis at the Shakespeare Institute of the University of Birmingham and submitted it at University of Vienna, Austria. At the English Department of this university he made his career as lecturer, senior lecturer and eventually Professor of English Language and Literature, from which post he retired in 2003, though he is still teaching. His research interests have focussed mainly on Shakespeare and Renaissance drama, in which area he covers a wide range: textual studies, comparative studies, biography, meta-drama and stagecraft; burlesque; theatre history, and topography. Presently he is preparing a contribution on “Aesthetics vs. Politics or Aesthetics and Politics in Shakespeare´s Plays”. He has been on various advisory boards and has lectured in Spain, the Czech Republic, South Africa, India and Japan.

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Publicado

2005-01-01

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