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Home :: Archive :: 2002 :: March ::
Re: Film and Other Adaptations
The Shakespeare Conference: SHK 13.0881  Friday, 29 March 2002

[1]     From:   Brian Willis <
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        Date:   Thursday, 28 Mar 2002 10:11:17 -0800 (PST)
        Subj:   Re: SHK 13.0868 Re: Film and Other Adaptations

[2]     From:   Dana Shilling <
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        Date:   Thursday, 28 Mar 2002 15:41:08 -0500
        Subj:   Re: SHK 13.0868 Re: Film and Other Adaptations


[1]-----------------------------------------------------------------
From:           Brian Willis <
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Date:           Thursday, 28 Mar 2002 10:11:17 -0800 (PST)
Subject: 13.0868 Re: Film and Other Adaptations
Comment:        Re: SHK 13.0868 Re: Film and Other Adaptations

Janet's comments reminded me of another modern living playwright with a
tight grip on his works.  Edward Albee does not let anyone perform his
plays. He rarely allows productions off-Broadway to be staged so that
"Who's Afraid of Virginia Woolf?" has been performed under 10 times
EVER. He doesn't want amateurs or merely competent companies to ruin its
reputation. No high schools, no amateurs. My friend tried to purchase
the rights for his dream production and was denied outright. He has
complete control.

As for the transitioning of war into basketball in "O", isn't war itself
equally as much an "inexplicably hyped arena for pituitary cases"?
Strange how war uses the terms theatre and arena to describe its
battlegrounds. Basketball is also played out in arenas. War and
basketball both have absurd importance to our societies. It seems that
increasingly nations and boys have little practical gain from winning a
war or a game except to wipe out or defeat your enemy and inflate your
own ego.

Othello is all about perception and ego. Anyone who knows the scandals
in high school basketball or has seen "Hoop Dreams" knows how serious
the sport has become. Kids and schools are sponsored by Nike now!  And
it is especially intense in Southern California and my personal
experience. Coaches fired for illegal recruiting, promising figures like
Schea Cotton - very Odin James as a black kid playing on a white squad
that recruited him and is in turn recruited by colleges in high school -
ruined by the very processes that created them. Odin is raised on his
status as a star and Hugo bursts the bubble. I thought it correlated
wonderfully.

Brian Willis

[2]-------------------------------------------------------------
From:           Dana Shilling <
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Date:           Thursday, 28 Mar 2002 15:41:08 -0500
Subject: 13.0868 Re: Film and Other Adaptations
Comment:        Re: SHK 13.0868 Re: Film and Other Adaptations

Janet Costa said:

>No where does WS offer a definition of 'dignity', as
>with many other descriptive terms throughout the play. The Montagues >and
>the Capulets are simply 'two households in fair Verona'. Most of the
>'conservative' interpretations rely heavily on sources outside WS's >play
>and on the Victorian presentations, not WS. Therefore, the door is open
>to portray them as whatever social classes may seem relevant to the
>director, as in the last two productions at the RSC.

Well, the Capulets aren't short of a bob or two, if they can have a posh
party, and if Count Paris is a cousin, they can't be the Jukes and the
Kallikaks either. The households are "alike" in dignity, and the family
members are of a status to carry swords.

Dana Shilling

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